Washington City Paper (February 12, 2016)

CITYPAPER Washington

politics: d.c.’s Ag prepAres for 2016 7

food: trucking through winter 25

Free Volume 36, no. 7 WashingtonCityPaPer.Com February 12–18, 2016

’Gram Slam2016 spRiNG aRts Guide iNside

Renwick Gallery Curator-in-Charge Nicholas R. Bell discusses the success of the museum’s “Wonder” exhibition. 16 By ElENa GoukassiaN photos By daRRoW moNtGomERy

R

2 february 12, 2016 washingtoncitypaper.com

INSIDE

16 ’Gram slam How the Renwick Gallery’s “Wonder” won Instagram

By Elena Goukassian Photos by Darrow Montgomery

4 Chatter

City list

DistriCt line

35 35 39 41

7

9 10 11 12 14 15 21

Loose Lips: Karl Racine seeks to stay in control Pet Block: Is it legal to effectively ban pets in public housing?

City Desk: Permits, mapped Gear Prudence Unobstructed View Savage Love Straight Dope Buy D.C.

D.C. FeeD

23 Keep on Truckin’: How food trucks survive the winter 25 Grazer: Restaurant Additions 25 Underserved: Provision No. 14’s Redenbacher Old Fashioned 25 The ’Wiching Hour: Pennsylvania 6’s Strip Steak Sandwich

arts

27 Theater: Klimek on Sweat, Paarlberg on Señorita y Madame: The Secret War of Elizabeth Arden and Helena Rubinstein 29 Short Subjects: Zilberman on Deadpool 30 Galleries: Capps on “Maggie Michael: A Phrase Hung in Midair as if Frozen” 32 Speed Reads: Villacorta on Get a Grip 33 Disco: Galil on Magrudergrind’s II

City Lights Music Theater Film

42 ClassiFieDs Diversions 43 Crossword

“

There is no secreT room aT The office of The aTTorney General or in my residence where we are ploTTinG ouT whaT’s GoinG To happen in 2016. —paGe 7

”

washingtoncitypaper.com february 12, 2016 3

CHATTER State of the Wards

In which readers white-knuckle their pearls over Brandon Todd

DarroW MontgoMery

ReadeR lol can’t wait to kick Yvette Alexander off the D.C. Council, not for the councilmember’s policy stances but for her alleged dietary choices: “Bye Yvette.... and take your potato chip eating self off the dias. LaRuby make way for a real man because Trayon is coming” Chips, away! But what about Brandon Todd, whom LL predicted in his story “Ward War III” will “cruise to reelection in the mayor’s old seat”? Readers weren’t having it. Marvin E. Adams wrote, “I find it incredulous beyond comprehension one would conclude Council member Todd’s campaign for reelection will be a cake walk. Let me state, with emphasis, there is only one way Todd get’s reelected: There is a replay of last year’s special election, with respect to the number of candidates... I’m hoping Ward 4 will not be hoodwinked and bamboozled this time around.” sick-of-green-in-W4 griped in reply, “I certainly hope you are correct. I have never voted for Bowser, did not vote for Todd and will not vote for either of them in the future.” And Green Team exhaustion has officially set in. But Arf pointed out it’s probably an inevitable win. “Why do you believe someone better than Todd is going to come out of the woodwork? ... I haven’t seen anybody better materialize, despite all the degrees and political experience we know live in Ward 4. He’s willing to work hard for it, so let the kid try.” None other than Will Sommer, LL himself, waded in, backing up Arf: “Everyone doubting that Todd is cruising to re-election: show me the candidates who can beat him. Right now, they aren’t there, and petitions are due next month.” The good news is we’ll all have something to quarrel over for some time if (when?) he wins reelection.

—Emily Q. Hazzard Department of Corrections: Due to a reporting error, last week’s theater feature, “The Next Stage,” originally stated that Flying V partnered with the Hillyer Museum and Theater J. The company, in fact, partnered with the Hillwood Museum and The Rockville JCC. Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

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DISTRICTLINE

In the latest round of ChurCh v. Bike Lane, the discourse was more civil, but the outcome is still unclear. washingtoncitypaper.com/go/bikelane

Loose Lips

Independent Counsel Attorney General Karl Racine survived 2015. Here comes 2016.

By Will Sommer

Darrow Montgomery

In 2015, newly elected District Attorney General Karl Racine managed to hang on to much of his office’s power in its first year as an elected position.

“I think we had a spectacular year,” Racine says.

Now that 2016 is here, Racine has another challenge: doing it again. In his second year in office, Racine hopes to hold off any attempts by Mayor Muriel Bowser to chisel away at his office’s responsibilities—and maybe get a bigger budget in the meantime.

Racine won the District’s first elected attorney general term in November 2014, after months of wrangling between the D.C. Council, the D.C. Board of Elections, and attorney general hopeful Paul Zukerberg over whether the referendum-mandated election would actually happen.

Hefty political contributions and loans from his personal fortune vaulted Racine into office, though he’s still fundraising to pay back the loans. Endorsements from Washington establishment types ranging from the Washington Post editorial board to Bill Clinton didn’t hurt.

After taking office in January, Racine found the position slipping away from him almost immediately. New Mayor Muriel Bowser, who had voted in favor Karl Racine wants to keep his office independent from the mayor’s. of delaying the attorney general elecRacine has succeeded in keeping his oftion while she was still on the Council, moved be subordinated to Bowser, managed to fend in April to take approval for city development off the mayoral maneuver. He got help from fice’s responsibilities out of the mayor’s ofdeals and other projects out of OAG and into simpatico councilmembers like Ward 5 Coun- fice for now, ensuring that he can keep opher own legal staff. cilmember (and prominent Bowser antago- posing Bowser. In November, he blasted the campaign finance loophole that allowed “Demonstrating my complete naivete, I was nist) Kenyan McDuffie.

“It became absolutely important for us to Bowser supporters to take unlimited consurprised that the job would so rapidly become understand how politics is played in the Dis- tributions through now-closed political acpolitical,” Racine says. tion committee FreshPAC. (Racine says he’s Racine, fearing that his entire office would trict of Columbia,” Racine says.

working on legislation with new restrictions on political contributions.)

Racine sued the owners of a decaying Congress Heights property that has ties to two prominent Bowser supporters in Ward 8, something Racine says he isn’t sure he would have been able to do if his office had been more closely tied to the mayor’s. And Racine’s OAG

washingtoncitypaper.com february 12, 2016 7

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also opposed a portion of Bowser’s marquee crime bill that would have allowed police to search the homes of violent offenders who are on supervised release.

“We would, I’m sure, have been requested—directed—to support the legislation,” Racine says. “We did not, because we’re independent.”

But Bowser and Racine aren’t always in opposition. In January, Walmart pulled out of two planned stores in Ward 7—conveniently ditching the two stores that were likely to be the least economically viable—after opening three stores on the west side of the Anacostia River. Racine says OAG has been talking to Bowser’s administration about potential legal action against Walmart. The District almost certainly can’t force Walmart to open the stores, but the city might be able to get damages by leveraging the retailer’s leases, according to Racine.

Attempting to preserve his office’s responsibilities inspired Racine to politick the Council, a tactic he’s now hoping to use to get more money in the coming budget cycle to hire new staffers. For one thing, Racine wants his office to receive a cut of the settlements and court judgments OAG wins on the District’s behalf.

To some Wilson Building watchers, it’s clear that Racine’s tactics in ensuring a friendly Council go beyond power lunches. After former at-large hopeful Robert White lost a bid for a seat November 2014, Racine hired him to work his community relations office.

Racine did the same with Ward 8 Council candidate Trayon White, who narrowly lost to Bowser favorite LaRuby May. Now both Robert White and Trayon White are running again, facing Bowser-backed candidates in the at-large and Ward 8 races, respectively.

Given that Racine’s current position hinges on narrow Council voting margins and allies in control of certain committee chairmanships, the prospect of both Whites landing on the Council after next June’s primary must be appealing to Racine.

Racine will lavish praise on his former employees—Trayon White, he says, goes to “pockets of this city where many politicians never go.” But he says he isn’t trying to build a Racine-friendly Council bloc.

Still, Robert White even uses the political firm that helped put Racine in the attorney general’s chair. Racine claims LL is seeing a strategy where there isn’t one.

“There is no secret room at the Office of the Attorney General or in my residence where we are plotting out what’s going to happen in CP 2016,” Racine says.

Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.

DISTRICTLINE Dog Blocker

The D.C. Housing Authority’s strict pet policy is illegal, advocates say.

By Sarah Anne Hughes In 2013, the ASPCA and Washington Humane Society were working on a study on animal relinquishment when they noticed a trend: Housing was one of the main reasons people were giving up their pets. This led to another discovery.

“We realized that there was this very restrictive pet policy in place in D.C. public housing projects,” says ASPCA Director of Regulatory Affairs Deborah Press.

Since 2005, the D.C. Housing Authority has maintained a near-ban on pets in buildings it own and manages. Tenants with a disability who require a service animal may request a reasonable accommodation; and residents who lived in a senior-only or family building before the new regulation went into place were able to keep their pets.

But every other pet owner has since faced a difficult choice: Get rid of your pet or lose the housing. This, some advocates for pets and owners claim, is a violation of federal law as the elderly and people with disabilities have a legal right to pet ownership in public housing.

One resident of a DCHA-run building, who asked to keep his identity and place of residence anonymous, says he gave up his dog of 15 years in order to accept housing.

“I was pissed off about that,” says the resident, who moved into the building three years ago. “I was really, really pissed off.”

His dog was “not vicious or nothing like that, because she was nice and trained under me,” he says.

Some pets do cause problems, the resident admits. “I don’t think they’re properly trained.” But he doesn’t understand why everyone who lives in DCHA housing should be punished for the bad behavior of a few owners.

In its argument, the ASPCA points to a section of the Housing and Urban-Rural Recovery Act of 1983, which states that “no owner or manager of any federally assisted rental housing for the elderly or handicapped may as a condition of tenancy or otherwise prohibit or prevent any tenant in such housing from owning common household pets.”

In July 2015, at the request of the ASPCA, HUD’s D.C. Field Office director, Mar-

vin Turner, sent a letter to Del. Eleanor Holmes Norton stating that department had reviewed DCHA’s pet policy. The housing authority, Turner wrote, “remains responsible for compliance” with that section of the Recovery Act. “In summary HUD will work with DCHA to implement the department’s regulations governing pet policies and to ensure that the agency is in compliance,” Turner wrote.

A spokesperson for HUD said the department “is reviewing the legal opinions provided by both DCHA and ASPCA and will provide DCHA a letter with the department’s position shortly.” She was unable to specify a timeline, however.

DCHA has maintained that its pet policy is in the best interest of its tenants.

White. “Families that need the support of a service animal are always welcome to have one. We will continue to work with HUD and our customers on what is best for the communities we serve.”

ASPCA representatives have done a few outreach meetings to DCHA resident leaders, Press says, and were “received warmly and enthusiastically.”

“This is an issue that is really important to a lot of people who’ve had to give up pets to move into public housing or who could benefit physically or emotionally from pets,” she says. Press says these meetings “contradict” DCHA’s assertion that the current policy is popular with residents.

“No one should have to choose between their home and their pet,” Press says. “And

“No one should have to choose between their home and their pet.”

DCHA Executive Director Adrianne Todman wrote in an August 2015 letter that the change to its pet policy more than a decade ago “went through a rigorous public hearing process.”

“DCHA has received overwhelming support from our resident council leaders,” Todman wrote. She added that HUD approved the DCHA Moving to Work plan— which gives public housing authorities greater discretion in spending federal funds and allows them to seek exemptions—that changed the pet policy. (Advocates believe this may have been an oversight.) In its most recent MTW, DCHA noted “cost savings with respect to the potential wear/tear of units and common areas related to the restrictions placed on pet ownership with the establishment of the agency’s pet policy.”

“DCHA has a policy that was designed with the residents of public housing, and reflects their concerns about animals at the properties,” says DCHA spokesperson Rick

we’re hearing from a lot of people who are being faced with that very difficult position.”

Councilmember Mary Cheh, whose office ASPCA and WHS approached with concerns about DCHA’s pet policy, says she would like to “see a tolerant, open attitude about” pets. “They have to reconsider their position,” Cheh says of DCHA. She adds that it’s preferable for DCHA to work out the issue with the ASPCA and WHS, but that a legislative fix is an option.

“If you’re living in public housing, you’re suffering economically. We shouldn’t add to the burden,” Cheh says. “It’s particularly harsh to impose these limitations.”

David Meadows, spokesperson for Councilmember Anita Bonds, whose office was likewise approached, says she “believes that [pet] ownership should be allowed in accordance with HUD guidelines and if permitted, rules that are applicable to the general population should be applied to public housing properties as well.” He added, “To my knowledge, not a single public housing

resident has ever contacted the Council office or member complaining about their inability to... own a pet.”

The DCHA resident, however, says “when it comes to us, it’s a very big deal.”

He says he suffered a job-related injury and can no longer work, and now badly misses his pet. “That was like my No. 1 companion, always by my side,” he says. “Coming here, it’s taken a lot out of me, where now I just keep to myself a whole lot.”

WHS’ Scott Giacoppo says as public housing buildings close, residents who have been hiding pets are surrendering them to shelters. “Some of the cats in particular are ending up outside,” he says.

“There are already pets in housing,” Press says. “It’s just that they are unregulated, and it’s a bad situation for the pets and for the owners.”

Giacoppo says both WHS and ASPCA “want to be a partner with D.C. in making [a new pet policy] work.”

Under the Recovery Act, public housing authorities are able to impose “reasonable” regulations on pet ownership, such as requiring licensing and registration, charging a pet fee, and restricting the size or breed of the animal. Agencies may also remove pets deemed a “nuisance.”

Giacoppo says WHS offers no- or lowcost vaccination and spay-neuter services as well as other kinds of assistance. “[Public housing residents] love and want to take care of their animals just like anyone,” Giacoppo says. “Whatever the problem would be, we would help them.”

If DCHA changed its pet policy, the resident says he would “most definitely” get another dog. “It’s a great pleasure to have a companion like an animal somewhere around you,” he says.

It’s not clear exactly how many tenants a change in policy would affect. DCHA says 14 of its 52 public housing developments serve seniors and people with disabilities. Because DCHA gives preference to these two groups, the ASPCA believes the federal statute could apply to all public housing buildings.

Press says the ASPCA is not “naive” to the many challenges DCHA is facing. “We’re also sensitive to the unfairness of denying public housing residents the comfort of a pet.” CP

washingtoncitypaper.com february 12, 2016 9

DISTRICTLINE City Desk

Tomorrow’s History Today: This was the week that Mayor Bowser announced what would replace the D.C. General family shelter—smaller facilities in each ward.

Lamond-Riggs

Edgewood

Woodridge

Georgetown

Shaw

Brick, Brick… Boom!

D.C. is undergoing a construction boom that is dramatically altering the city’s built environment. To keep up with a growing population and increasing demand for urban living, vacant lots are being developed and new apartment buildings are rising to the height restriction around the District.

Since 2012, the D.C. residential construction explosion has touched most of the city, with the exception of historically preserved neighborhoods including Capitol Hill, Dupont Circle, and Georgetown. Clusters of new residential buildings appear in the Northwest and Southeast corners of the District, along with Brookland, Edgewood, and the corridors of Shaw, Logan Circle, and H Street NE. More than 1,000 of the new buildings are single-family homes. These are largely concentrated around the perimeter of the District while more of the inner-city development is multi-family. New buildings in Southwest are almost exclusively apartments, helping to put neighborhoods like Navy Yard on track to be the most densely populated in the city. The H Street NE corridor and lower Northwest neighborhoods are a mix of duplexes and larger apartment buildings.

The data here shows permits issued, which precede construction completion by months or even years for larger projects, since 2012. With more than 30 permits for new residential buildings already issued in 2016, the District landscape will continue to change for some time.

—Kate Rabinowitz

10 february 12, 2016 washingtoncitypaper.com

Mayfair

Marshall Heights

Buena Vista

Gear Prudence: Sometimes I ride on the sidewalk, especially on roads that have very fast cars.

Because I’m scared. The other day, a cyclist riding on the road passed me and yelled at me for riding on the sidewalk, insisting that I should ride on the road instead. Riding on the sidewalk isn’t illegal there, and I don’t feel safe riding in the road! On the other hand, I’m new to biking, so is this something that I just need to get over?

—Shouting Idiot Dashes Esteem Dear SIDE: Here’s the deal: Unless it’s about fleeing from a burning building or escaping an imminent shark attack, heeding the advice yelled at you by strangers is almost never the optimal strategy. The other cyclist was likely trying to convey assorted concerns with sidewalk cycling, which is subpar due to potential conflicts with pedestrians and/or with drivers at driveways and other intersections.

Over time, you might become more comfortable around high-speed traffic, but until then (or always), if riding on the sidewalk where it’s legal is the difference between you feeling safe or not (or the difference between you bicycling or not) then you do what you have to do, yelling strangers be damned. Just be careful and espe—GP cially deferent to pedestrians.

Gear Prudence: There are three bicycle emojis. Can I use them interchangeably or does each have its own special meaning?

—Three! Which Emojis Elicit Themes?

Dear TWEET: Two of the emojis depict bicycle and rider, and one emoji depicts a riderless bicycle. Of the bicycle-with-rider emojis, one displays a mountainous background; this emoji is only accessible when your phone’s altimeter registers sufficient distance above sea level. Large swaths of people living in the Midwest and in low-lying coastal areas do not even know this emoji exists. Both riders in the roadcycling and mountain-biking emojis wear helmets, so you’re less likely to see these emojis in Amsterdam or Copenhagen.

The bicycle-without-rider emoji is suitable for all contexts, though the bicycle depicted looks awfully lonely. Be sure to use this emoji in conjunction with smiley face emojis or heart emojis to indicate that it is loved.

If you are riding an e-bike, please pair this emoji with the battery emoji. In no situation should you pair the bicycle emoji with the syringe emoji or you will face a two-year ban from both cycling and texting. Also, whenever using the bicycle emoji, be mindful of the various car, truck, bus, and stoplight emojis.

—GP Share the, um, tweet.

Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com. washingtoncitypaper.com february 12, 2016 11

DC

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BEST OF 2016 OUT APRIL 7 Reserve Now! Call the advertising department to book your Best of D.C. ad today: 202-332-2100 12 february 12, 2016 washingtoncitypaper.com

UNOBSTRUCTEDVIEW Even before Bill Simmons was a national pundit with an HBO deal and his own podcasting network, back when he was just the Boston Sports Guy, he was including his friends in his columns. It’s a big part of what created the every-dude persona that served as the foundation to Simmons’ career: He talked about the games like you did, about how he and his buddy J-Bug watched the Celtics, or how he fought with Jack-O about the Yankees.

Or how his buddy Joe House loved the Washington teams.

As Simmons’ profile got bigger, his buddies not only remained a part of his anecdotes, they started appearing on his podcasts and, once he was running ESPN’s boutique Grantland imprint, contributing articles or starring in videos. Now, despite having a day job in consulting totally unrelated to sports writing or commentary, Joe House has a regular weekly podcast with Simmons and a public profile with a huge following on Twitter. Which, in turn, is how one of the most downloaded sports podcasts on the Internet winds up spending a few minutes every Friday discussing D.C. sports while dishing out betting advice and statistical trends.

Fascinated, I reached out to House for an explanation. He sums the situation up pretty bluntly: “The increase in opportunities I’ve had to interject my corny two cents into the ceaseless cycle of voices and pixels boils down to one simple fact of fate: I’m a dude who is friends with a dude who worked his ass off for two decades (and counting) to achieve a national voice.”

Don’t underestimate that voice. Simmons’ podcast, even without the benefit of an ESPN boost anymore, has a half-million regular listeners and racked up 27 million downloads in four months on his own. It’s near the top of most podcasting charts.

House is D.C. through and through— enough so that he won’t call himself a D.C. native because he grew up in Silver Spring, even though he went to high school in D.C. and has lived in the city since 1994. His D.C. sports memories sound like the montage from a local sports TV special: Capitals games in the mid-1970s and “Thank Brooks Day” at Memorial Stadium in 1977; Bullets games in ’79 and Pigskins games from the early Joe Gibbs years.

Let’s put his Twitter followers in perspective: At 42,000, House has more followers than Washington Post Pigskins beat writer Mike Jones (28,000) or ESPN Pigskins beat writ-

er John Keim (32,000), and is close to a popular local radio voice like Chad Dukes (55,000).

As a person discussing D.C. sports, House has as much reach as anyone, a fact that he seems more amused than impressed by. “The day everything got real for me was the day @wzzntzz started following me on Twitter,” he says (which is about as D.C. sports fan as you can get).

“It’s obviously fun having a place to say bad things about Dan Snyder that people all over can hear,” he notes, but then immediately turns the conversation to the woeful state of D.C. sports in general. He’s low-key about his on-air contributions, namechecking a halfdozen different writers he reads to inform any analysis he does, also noting that he credits them on the show when he cites them.

This is House’s favorite experience as part of his quasi-celebrity: When Simmons and his Grantland crew met President Obama at the White House, House managed to get a spot in the group. When the time came for a photo with the president, House, a tall guy, lined up behind Obama and Simmons to avoid blocking anyone.

“Wouldn’t you know it,” House tells me, “The Prez took me by the shoulder saying ‘No, no, no one in back,’ and slid me in next to him bumping Simmons over a spot. So the pic is of a whole crew and me next to the president.

Lifetime achievement. Simmons has never forgiven me.”

Speaking of trading places: Simmons’ rise in the media world has been matched by his hometown’s ascent from lovable sports wasteland to insufferable city of champions, while House has been stuck in the D.C. sports doldrums that whole time.

“It has really been a challenge over the years to take the relentlessly underwhelming/mediocre/disappointing/under-delivering dose that the local teams have served up, while each and every goddamned Boston franchise has won at least one title,” House notes. “I have enjoyed it as much as an enema.”

The parallel is not lost on House. “When Simmons and I were in school in the late ’80s [and] early ’90s,” he says, “the sports scene in Boston was in a pretty similar place as D.C.” Now, however, it’s been such a long drought that he says he has “literally no idea how I’m going to feel when one of the locals finally breaks through.”

Whenever it does happen (he’s hoping for this year’s Caps squad), at least he’ll have the opportunity to easily tell an awful lot of people CP all about it.

Follow Matt Terl on Twitter @matt_terl.

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“Mary Jane”

• Grow within your primary residence up to six marijuana plants, no more than three of which can be mature

You CANNOT

• Possess, grow, consume, sell, or give or receive marijuana if you are under the age of 21 • Possess amounts of marijuana in excess of two ounces • Consume marijuana in your car, a public space, anywhere to which the public is invited, or someone else’s private property without their consent (i.e., apartment complexes, restaurants, or private clubs)

“Reggie”

• Sell any amount of marijuana. This includes the acceptance of donations • Grow marijuana in excess of six plants, outdoors, or on public property For more information and resources about DC’s marijuana laws, visit theblunttruthdc.com.

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“Kush” washingtoncitypaper.com february 12, 2016 13

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Gay male in my late 20s. I recently ended things with a guy. Our relationship started as a strictly sexual one. We’re both involved in the kink scene in our city and have interests that align in a particularly great way. Quickly it became clear there was a real connection. The next two months were great! I had a toothbrush at his place within three weeks. But early on, I noticed that he was a much more extroverted person than I was. He would laugh loudly at movies, work the room at parties, say things about kink in the middle of crowded restaurants. I prefer to blend in. Initially I thought of this as “the price of admission,” one I was willing to pay, but it soon became tiresome. I ended things, telling him that there were conflicts with our personalities that made a relationship difficult, not specifying what. He fell for me—he’s stated it over and over—but I don’t want him to think he has to change who he is to be with me. I’m confused, Dan. I loved being in a relationship again (I’ve been single for a VERY long time), the sex is great, and finding someone who shares your kinks and you’re attracted to emotionally is rare. We have a ton in common when he’s being down-to-earth. He’s asking me to reconsider. Was I right to end this?

—Tired Of Being Single He shouldn’t have to change who he is to be with you, TOBS, but what if he wants to?

It’s unlikely he’ll morph into an alwaysquietly-tittering, always-discreetly-kinking introvert, just as you’re unlikely to morph into a braying, oversharing extrovert. But if making an effort to dial it back is the price he has to pay to be with you—along with reserving convos about his kinks (and, by inference, your kinks) for fetish clubs and play parties—why not let him decide if he’s willing to pay?

Gays represent a tiny percentage of the general population, TOBS, and kinky gays represent a not-so-tiny-but-still-smallish percentage of the gay population. I don’t think you have to marry this man, regardless of his flaws, just because you’re gay and your kinks align. But you should think twice about discarding a guy who’s gay and kinky and whose company you enjoy most of the time just because he gets on your nerves now and then.

At the very least, you owe it to yourself, just as you owe it to him, to be specific about the reasons you pulled the plug—because he might want to make an effort to win you back.

There’s a lot that’s good here—your kinks align (rare!) and you enjoy spending some-but-not-all of your time together (common!)—and there are always workarounds for the bad. An example from my own life: My husband is way more extroverted than I am. So sometimes he goes to movies, restaurants, clubs, and concerts without me.

I stay home and read or sleep or clean. And

14 february 12, 2016 washingtoncitypaper.com

then, when he gets home, we have something to talk about—how the movie was, whether the restaurant was any good, who was out at the clubs, and if there were any cute boys in the band. He doesn’t make me go out; I don’t make him stay home. It’s a work-around that works for us.

With some effort, TOBS, you could find the work-arounds that work for you two: He makes an effort, when you nudge him, to dial it back; he goes to comedies with his friends, dramas with you; if he’s working a room, he won’t take offense if you slip into another room.

Give it—give him—a chance.

—Dan Savage I’m a gay male college student in a healthy D/s relationship with a bisexual guy. My boyfriend posts pictures of our kink sessions to his Tumblr. (No faces.) A trans woman active in campus queer politics confronted me today. Ze had seen my boyfriend’s Tumblr (!) and recognized me (!!!). Ze demanded I stop engaging in BDSM because ze has to see me on campus and knowing my boyfriend “controls and abuses” me is triggering for zir. Ze said images of me in medical restraints were particularly traumatizing. Ze was shaking and crying, and I wound up comforting zir. I stupidly let zir think I would stop.

Now what? —Scenario Utterly Bananas P.S. Ze also threatened to out my boyfriend if ze saw new pictures go up on his Tumblr. My boyfriend is already out—about being bi and being kinky—so he laughed it off. But how fucked up is that?

You tell this woman you take orders from your boyfriend, SUB, not from random campus nutcases. You advise zir to stay away from Tumblr porn ze finds traumatizing. And if ze pushes back, you explain to zir that if anyone’s being controlling and abusive here, it’s zir. And if ze starts shaking and crying, SUB, direct zir to the student health center.

And for your own protection, SUB, tell zir all of this with at least one witness present.

Document everything, and if ze keeps getting in your face about your consensual, nonabusive D/s relationship, take the ironic step of filing a restraining order against zir. —Dan I’m a 24-year-old gay male. My boyfriend and I have been together for just over a year. I have a hang-up when it comes to anal sex. I like bottoming, and I’ve had my fair share of great experiences, but I’ve bottomed only once with my boyfriend. I think I’ve identified why: The ceremonies around anal sex (the lube and condoms part) turn me off due to the smell of the lube and the sound of the condom wrapper. It brings up memories of times when I didn’t have a great time bottoming. Additionally, he is a little bigger than

Ze had seen my boyfriend’s Tumblr (!) and recognized me (!!!). most, so there’s that. What do you suggest? Would it be as simple as finding a lube that doesn’t smell so much? When I top him, which is something we both enjoy, there isn’t a problem.

—Wants Anal Now, Goddamnit!

Usually when someone complains about an unpleasant smell associated with anal sex… lube isn’t the issue. But that’s an easily solved problem, WANG, so easily solved that you bundled the answer up with your question: There are 10 million brands of lube on the market, kiddo. Shop around until you find one that doesn’t offend your nostrils.

As for the condom-wrapper issue, try opening condoms 10 or 20 minutes in advance.

Condoms are likelier to be an interruption— one that derails hot butt sex—if you wait until the split second before penetration to bust one out. Open condom packets early, WANG, and put the condom on the BF during foreplay.

That way, if the fumbling deflates your bottom-boner (which is a state of mind), you’ll have time to make out, roll around, rim each other, stroke yourself—whatever it takes to get your bottom-boner back.

To get a handle on your performance anxiety and those negative associations—bad memories of lousy experiences, fear of your boyfriend’s big ol’ dick, concerns about whether you’ll have to bail—get some butt toys of varying sizes, and use ’em when you’re alone. With no boyfriend around to disappoint, the penetration will be about your pleasure. In a month or two, with a little effort and non-stinky lube, you’ll have built up a store of positive associations and gained some confidence.

And finally, WANG, if nothing works…

—Dan maybe you’re a top?

Send your Savage Love questions to mail@savagelove.net.

THESTRAIGHTDOPE If plug-in cars become a reality, how will we pay for highways without a federal gas tax?

—Steve Phelan

for your Records (33S or 45S) CD’s or DVD’s

washingtoncitypaper.com/ calendar

Slug Signorino

You’re right that relying on a federal gas tax to pay for highway upkeep is an unsustainable scenario, Steve, but you’re not exactly describing some distant carbon-free future.

It ain’t working now, either.

Consider: The nation’s roadways are supported by a tax on gas that goes into the Highway Trust Fund, established in 1956 to help build the interstate system. This arrangement derives from the quaint notion that the feds should be responsible for a few basic infrastructure-related commitments—say, drivable roads. But that proposition’s been in question at least since 1993, which was the last time Congress could agree to raise the gas tax (currently 18.4 cents per gallon for regular, 24.4 cents for diesel). According to one estimate, adjusted for inflation the value of the tax fell 28 percent from 1997 to 2011.

To put it mildly, we’re not keeping pace. A recent study by the American Society of Civil Engineers found that the U.S. will need to invest $2.7 trillion by 2020 to maintain roads, bridges, and transit systems. The federal levy (there are state and local taxes, too) currently pulls in about $30 billion a year, which, you’ll notice, isn’t quite going to make it. We can expect things to get worse. Not only has the tax not gone up; gas sales have been more or less stagnant since 2002. And the Department of Energy expects revenues to decline as much as 21 percent (from 2013 levels) by 2040.

Most of that has to do with stricter fueleconomy standards, and not a whole lot with any widespread adoption of electric cars.

Indeed, in 2014 Americans bought a mere 123,000 new electric vehicles, out of a total of 16.5 million new vehicles sold nationwide.

According to government projections, just 7 percent of the cars on the road in 2040 will be hybrid or electric-powered. So, to sum up: 1. Some means are needed for dramatically increasing the revenue going to U.S. roads, bridges, etc.

2. Electric vehicles, while depriving the trust fund of a little bit of cash, won’t make the situation appreciably worse than it already is.

Still, if we figure out a way to wean ourselves from the gas tax now, we’ll be better equipped for some eventual future that involves more widespread use of electric cars and other non-gas-burning vehicles. (Highspeed long-distance rail? Hey, a guy can dream . . .) Ideas floated in this regard include a federal tax on the purchase of new vehicles, an annual tax on vehicle registrations, and a mileage-based tax.

Of these, the mileage-based user fee, or MBUF, seems to have the greatest traction. California is currently looking for 5,000 volunteer

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drivers for a pilot program to determine the feasibility of such a regime; Oregon has signed up more than 1,000 since last July. It makes sense on its face, but some logistical issues present themselves: How, for instance, to track the mileage?

One way would be an annual odometer inspection, but doing away with the relatively painless per-gallon tax add-on and replacing it with a yearly lump sum is going to be a tough sell for consumers. What about a device in the car that records mileage continuously—say, via GPS? This raises obvious, and understandable, concerns about privacy; it’s not like the government doesn’t have access to enough of your personal data already. A study undertaken by the Colorado Department of Transportation investigating the idea of an MBUF system neatly encapsulates the challenges to its implementation: the authors concluded that Colorado would be best off as a “near follower,” rather than a “national leader,” in adopting MBUF. In other words, let somebody else figure out the details, and then we’ll think about it.

That’s at the state level, of course. Might such a system be adopted nationally, such as meets the funding needs of the country’s crumbling transportation infrastructure?

Don’t be ridiculous. Meanwhile, this time last year President Obama had just floated a plan to bolster the transportation fund with a 14 percent repatriation tax on offshore cash held

by U.S. corporations—a perfectly fine proposal, and one with zero chance of becoming reality in the current political climate.

It’s possible we’re not thinking nearly far enough outside the box here. A recent Wall Street Journal article suggested that, with the dual advent of self-driving cars and ridesharing concepts such as Uber, individual vehicle ownership might swiftly be on its way out—and good riddance: the piece noted that in the U.S., the usage rate for cars is 5 percent, meaning that the other 95 percent of the time they just sit in the driveway. In the paradigm-shifting scenario envisioned, travelers wouldn’t own their driverless cars; they’d pay by the mile. This still doesn’t solve how to pay for roads, of course. Some things even Silicon —Cecil Adams Valley can’t fix.

Have something you need to get straight? Take it up with Cecil at straightdope.com.

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’Gram Slam

Renwick Gallery Curator-in-Charge Nicholas R. Bell discusses the success of the museum’s “Wonder” exhibition. photographs by darrow montgomery

By Elena Goukassian Even if you haven’t seen the Renwick Gallery’s “Wonder” exhibition in person, you’ve likely seen the Instagram photos: its walls of geometric insect designs, roomspanning rainbow strings, selfies taken within wondrous stick shelters.

After undergoing two years of renovations, the Renwick reopened in November to more fanfare than anyone could have predicted. On the first day alone, about 9,000 people queued up to see the craft museum’s celebratory exhibition. (In years past, this same number of people would’ve been spread out over a whole month.) Even now, months after its reopening, hundreds of visitors continue to stream into the museum daily to experience “Wonder,” a museumwide exhibition that completely transforms the interior of the Renwick—the first structure in the United States built specifically as an art museum.

Filling the Renwick with nine room-sized installations by as many contemporary artists (Jennifer Angus, Chakaia Booker, Gabriel Dawe, Tara Donovan, Patrick Dougherty, Janet Echelman, John Grade, Maya Lin, and Leo Villareal), the Renwick’s curator-incharge, Nicholas R. Bell, remains exuberantly surprised by the exhibition’s popularity. Bell comes from a background in material history and culture, not the more traditional art history route. He’s been at the Renwick since 2009 and has been responsible for a handful of successful exhibitions, including 2012’s popular 40th anniversary show, “40 under 40: Craft Futures.”

With “Wonder,” however, Bell has not only redefined what the Renwick Gallery is but what it can be: an interactive museum that engages visitors through the veil of social media. Recently, Washington City Paper sat down with Bell to talk about how “Wonder” came about, why it resonates with so many people (but not with everyone), what it’s like curating a museum in the age of selfies, and the evolving definitions of craft.

This interview has been edited for length and clarity.

How did you come about with the idea for “Wonder”?

The show really came about in answer to a funny question, which is “Why is a museum?” It’s an odd question. “Why do you have a museum? What is it for? Why do we need them? Why should we care about them? Why should we strive to maintain them instead of letting them go?” And I started to think about [it]. “Well, what do we hope to experience at a museum? What are we really looking for there?” And there’s all sorts of answers in terms of education and understanding history and where you come from.

Entertainment, of course, is a loaded part of that quotient, but I think there’s something more profound at play, and that’s the opportunity to experience wonder. That’s not something we’ll experience always. In fact, I think each of us is lucky to experience it a handful of times in our life in a museum setting, and it will be different for every person. It depends on such subjective forces that you never know what kind of thing or what kind of context will help somebody to experience wonder. But I think that as museums, one of the cornerstones of our service to the public is to create a space with the opportunity for subjective, intensive encounters with art, be those what they may.

And so then I was confronted with an even more difficult question, which was, “How do you purposely—not just by chance—give people the opportunity to experience wonder?”

I was looking for artists that are really adept at activating architectural space, because I think in all of this what’s important to circle back around to is the fact that you have to come here to experience it. It’s not going to be the same on Instagram or in a newspaper or in the Washingtonian. You have to be there yourself. You have to put your physical self in the museum to understand its value and the potential for that experience.

So right after we closed, I started to call these artists up and said, “Look, you don’t know me, but this is the Renwick Gallery, this is what it’s about, this is what this building is like, and here is this idea of trying to tease out wonder as an experience that you can have. I think that your work already does that so let’s talk about doing it all together.”

And they all came to the museum.

To what do you owe the exhibition’s success? Do you think it’s the concept of wonder as you described it before, or is there something else going on?

I think there are different reasons that people have come. I think one is that we got great press. I think [that’s] the reason for why people came at the very opening, because of course there was no word of mouth. There was just a press office article. Once people came, I think we’ve had incredible word of mouth. I mean that both in person and I see countless comments, comment cards, and posts online, and

washingtoncitypaper.com february 12, 2016 17

What about many artists who today just have the people in their studio make their works?

so forth saying, “I went, and then I came back with my parents and I came back with my friends.”

And the other has been that social media has allowed people not only to show people what the exhibit looks like but to tell them about it.

I keep saying this, but the most exciting part of Instagram, for me, is not the photographs; it’s the comments. I love seeing the things that people say about their visits when they post those photographs, because it’s a way for us to sort of eavesdrop on the public and to hear how people genuinely express their feelings about the experience at the museum when they’re not even saying it to us.

All those people working in those studios are craftspeople.

Yes, they are. But would you call the artist a craftsperson? Or are they merely a designer?

Do I consider the artist to be a craftsperson in that regard?

Yes.

Because it’s always so crowded, do you feel like the crowds are getting in the way of other people experiencing what’s going on?

I don’t think so. I think there are different kinds of experiences. I’m in here first thing in the morning, and this morning even, I walked around and made sure everything was where it should be, and I was the only person in the galleries. And that is a completely different experience than being in here with thousands of people. But it’s not a better experience. I watch people come through here by the hundreds an hour and what I’ve noticed is strangers sharing some kind of joint moment. People connecting with each other over their appreciation of the work.

In fact, I read our last couple of week’s comment cards just before you came, and one of them said something like, “It’s so interesting to see strangers making eye contact with each other, smiling at each other, kind of following each other through the galleries.” I think there’s something about the way that you can experience these galleries that makes people want to do it with other people, even if you come by yourself. I think that’s very meaningful.

I think that people are coming for the art.

They may have a different experience, but not for a second do I think people will stop coming to the museum if they couldn’t take pictures. But I do think that it encourages them thoroughly to have a different quality of experience, because they can.

Do you feel that people taking photos all the time distracts them from actually experiencing the art?

Would you consider it? It could be an interesting experiment to have a “no photos” day.

I take a decidedly non-partisan view on that.

I know many people will come through here and take zero photos. And many people will come through here and take many, many photos. I don’t think it is the role of the museum to judge who is having a more profound or meaningful experience. I think that those people can decide perfectly well for themselves what makes the best experience for them.

That is certainly a debate within our culture right now. It seems to be a hot topic at the moment. I’m perfectly happy for us to be a sort of ground zero for people to test out how they really truly feel about that themselves.

I’ve been asked this a number of times now. Should we have a “no photos” day? It would be interesting, but what I don’t like about the idea is that it renders judgment.

It says [that] by taking photographs, you are somehow devaluing your museum visit.

“Why don’t you come here and have a better visit?” That’s how I read it. To which I say, “We’re not the right person to tell you that.”

Do you feel like you would have such huge lines out the door if you said “no photos” or if you had a “no photos” day?

I have a whole bookshelf about that question.

The Renwick Gallery defines itself as a “contemporary craft museum.” How do you define craft these days?

18 february 12, 2016 washingtoncitypaper.com

What about with modern technologies— like the maker movement and 3-D-printed art—is that considered craft?

I think it can be.

But how do you distinguish what’s craft and what isn’t?

There are many, many definitions of craft.

Some of it we pay more attention to in this museum than others. Look at what’s called modern craft, which is essentially the way that craft has been thought about since the Industrial Revolution. Suddenly, once you have mass industrialization, making becomes something that you think about critically, as opposed to something that you just do. [A] great design historian in England came up with a definition that I like very much, in the ’60s. He called it “workmanship of risk” versus “workmanship of [certainty].” Instead of saying, “Did you use tools or did you use technology? Did you use a 3-D printer?” [we should ask], “Did the end result of what you were trying to do rely on your skill or not?

Did it rely on you somehow being skilled in such a way that you manifested the appropriate outcome? Or was that outcome done really by pushing a button?”

That’s a good question. This is going to be a disappointing answer for you probably, but the truth is, a lot of people often want to engage me in some sort of hairsplitting between “what is an artist?” [and] “what is a craftsperson?”

The more time I spend at the Renwick, the less value I put into nomenclature and strict disciplinarity. It’s all such a big gray area. And really, what we’re trying to do here is, instead of putting people in boxes and saying, “Oh no, no, no, no. You are an artist, and you’re a craftsperson. Never the two shall meet,” [we’re] saying “Let’s look at how people engage with making: How is making a part of our culture?”

So, I’m a lot less interested in giving people titles than I am in trying to tease out how craft exists less as a discipline than as it does as a way of approaching life. Because I think throughout the modern period—really from the Industrial Revolution on—we’ve been really struggling with the idea of what our values are around how things come into being, how things are created, and what that says about us as different peoples. And we are the appropriate place to have that conversation.

There have been a lot of comparisons between the Renwick and the Hirshhorn, though the Hirshhorn is a contemporary art museum and this is a craft museum.

I’ve heard a number of comparisons between us and the Hirshhorn since we reopened, which I think is funny.

Because you have these contemporary artists, who have also shown in the Hirshhorn.

I guess you’re right, except, I think, if you were going to show something much more conceptual, it would make absolute sense in the Hirshhorn. What these artists have in common is that they are heavily invested in the making of their artworks. This is not conceptualism. It’s not minimalism. But it is really about creation.

This is about creating objects and how we interact with those objects and what they mean

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for us. And I think that was key [for] the artists that I selected for the show. It couldn’t just be, “Oh I put some text on the wall and maybe there’s a strobe light somewhere or drew some lines on the floor.” That’s not going to cut it at the Renwick. It has to have that sensitivity to materials and to making.

A lot of critics have written reviews of this show saying that it’s either not serious enough—too Instagrammable—or not craft.

I just have to say, “too Instagrammable?” Is it a crime to have something be photogenic?

No, but some critics have written that there’s not enough substance to the artworks. What do you say to people who say that? And why do you think there’s this disconnect between the critics and the audience?

I don’t think it’s that clean cut. I disagree with them obviously. Otherwise I wouldn’t have thrown two years of my life into it.

Of course, but what would you say to prove them wrong?

I’ve read a handful of critical reviews that say, you know, it’s not their cup of tea. I think if I

somehow did the impossible and pleased everybody, I would’ve done something wrong.

A, it’s just not realistic, but, B, if you’re making everyone happy, somehow you’re not doing anything original. I have seen such reviews, for example from your newspaper.

I didn’t write that one.

I know you didn’t. And I simply don’t agree.

I don’t want to get into a whole detailed rebuttal of [Washington City Paper contributor] Kriston [Capps] or some other person.

But I will say that there is the exhibition that you come [to] see. And then, the book I wrote about it is there almost as a shadow exhibition. So, I thought that if our specific goal was to somehow elucidate or to somehow create a space for this very specific response type, which is completely different than anything we’d ever tried to do before, it needed to be largely unmediated.

And I know that, for example, [Philip] Kennicott [of the Washington Post] said, “Oh you know, the book is great, but there’s so little information on the walls.” Well that was on purpose. That was because I think that the more information I put into the galleries, the more I would be mediating people’s experience, instead of saying, “Just come and feel this,” because, really, I’m looking not simply for an intellectual connection. I’m looking for a physiological connection to the space. Come and experience this. I didn’t want to get in people’s

20 february 12, 2016 washingtoncitypaper.com

way of having them have that moment.

How is technology changing the nature of curating museums?

So it’s more democratized, the show in general. You have families and all kinds of people who might not normally go to an art museum.

You’re able to do a lot more from your chair than you used to be able to.

It’s true. Just in the comments I read today, somebody wrote to us that they’d gone through the galleries and taken turns with their son. They would each take turns covering their eyes and having the other person describe to them what they were seeing. And I thought that was the coolest thing. I should do that with my kids. So, like, what does this look like to an eight-year-old? If you haven’t seen it before, and then uncovering your eyes and seeing how different it is for you.

And I thought that was great, but yes, it was specifically designed to connect with people of all ages, because it is meant to be an emotional experience. It is not meant to be something where it’s like, “Oh, well you have to have this background in Western thought, otherwise you don’t really understand what ‘Wonder’ is.”

I want people to walk in and say, “Wow, I’ve never seen anything like this. What is that?

What is it about? How did it get in here? What is it made out of? How did they do that?” Because in that 90 seconds or two minutes that they’re thinking through that, nothing else is going on in their life. And that right there justifies the museum as a physical place to go.

But how are you setting things up differently?

You know, I think throughout the field, there is a temptation to use more and more technology in the galleries, and that’s a double-edged sword. On the one hand, they can offer us different ways of connecting to information than we had before, and there is value. And I’m thinking for example of touchscreens and throwing up new video content and so forth or having QR codes in galleries. I don’t know if you saw the “Greek Slave” upstairs, where you have the QR code. You can download the 3-D scan. So that’s great. I love that. But it is really easy to overdo it, and if there’s anything we’ve learned from the last two months, it’s that there is no substitution for the real thing. People will continue to visit museums to experience authenticity, as loaded a term as that is. People want to see what they imagine to be the real thing.

Some of the greatest and most profound museum experiences I’ve had are in places like the Freer-Sackler, because I will walk into a gallery there and see something that is 5,000 years old that was made by a person, and it will blow me away. No technology, no emerging technology or digital CP technology can replicate that experience.

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YOUNG & HUNGRY

Keep on Truckin’

As winter weather hits hard, food trucks look for ways to survive until spring For at least three months of the year, Doug Povich knows his Red Hook Lobster Pound food trucks are going to lose money. He sends them out anyway.

Povich says he’s lucky to make it halfway to his break-even point from December through mid-March. He’s only able to make it through with reserves from the busy spring and summer season, plus catering gigs and other revenue streams like UberEats. (Yes, mobile vendors sometimes rely on other mobile vendors to deliver food.)

It’s no secret that food truck sales drop along with temperatures, but February can be one of the most brutal months.

Some trucks close for the season. Others like Red Hook Lobster Pound suck it up, knowing they’ll lose money. Those with low food or operating costs are able to stay open and make some profit. And nearly everyone is looking for other revenue streams that sometimes have little to do with the truck itself.

“By and large, people are happy to break even,” says Povich, the chairman of the DMV Food Truck Association.

Sloppy Mama’s Barbeque owner Joe Neuman began tracking the correlation between weather and sales last year and ultimately decided that it’s not worth going out when the temperature drops below 40 degrees. On a recent 42-degree day with 15-mph winds, Neuman let his staff decide if they needed the hours. “They were like, ‘No, don’t worry about it,’” Neuman says. “Because they don’t like going out either and doing nothing, just sitting on the truck freezing their asses off.”

While a burger truck, which grills to order, can save the patties for another day, Sloppy Mama’s food doesn’t keep well. So while Neuman might be able to repurpose some brisket in the baked beans, any unsold meat is more likely to be a lost expense.

Right now, Neuman says Sloppy Mama’s is losing money, “but not that much.” “If we were sending the truck out every day, we’d be losing more money,” he says.

Some cuisines fare better than others in the winter because of their seasonal appeal. Ice cream, obviously, doesn’t sell so well, and many of the frozen treat vehicles hibernate for the winter. Ball or Nothing owner Rob Miller says he’s also seen taco trucks particularly struggle, but his meatballs are more suited for sweater (or parka) weather. He manages to turn a profit, but his winter sales are about 30 to 50 percent lower than his peak summer sales.

Darrow Montgomery

By Jessica Sidman

Some food trucks hibernate during the winter, when profits can be low or nonexistent. washingtoncitypaper.com february 12, 2016 23

DCFEED(cont.)

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Miller has also found people at certain locations seem to be more adverse to venturing out in bad weather than others. “State Department, for example, if the weather’s not good, that place is useless,” he says. “Franklin [Square] will come out for anything. I love them.”

Meanwhile, BBQ Bus co-owner Che Ruddell-Tabisola, the executive director of the DMV Food Truck Association, says he’s breaking even. He says his truck does 75 percent of its volume between May and October, when there are tons of festivals and the truck is out seven days a week. “By the time you get to February or March, your cash flow, you can’t wait for that first spring day,” he says. He also uses the slower months to plan for the year ahead and start booking events and festivals.

Winter is also physically tough on trucks. On very cold nights, Ruddell-Tabisola has to put a space heater next to the hot water heater so the pipes don’t freeze and crack. He doesn’t want to make such repairs when the cash flow is already tight.

La Tingeria owner David Pena says his engine blew out right before the December holidays, but he doesn’t plan to get his Mexican food truck up and running again until midMarch. “We already know the winter’s pretty slow, so why fix the engine right now?” Pena says. “We’re about to fix it in the upcoming months, so we can be back during the spring.”

Plus, Pena worries that the cold and snow will only cause further problems for the truck.

In the past, he says he’s had trouble getting his propane to work properly in below freezing temperatures.

Instead, Pena is focusing on catering, as he’s done for the past two winters when he also suspended the truck’s operations. He says he manages to make some money in the winter from special events. Recently, for example, he ran a Super Bowl promotion offering 40 tamales for $60.

Last February, only 145 trucks registered for parking with the Department of Consumer and Regulatory Affairs—the lowest number in any part of 2015. During the summer, at least 200 trucks registered each month, peaking at 223 in September.

Mobile vendors who stick it out in the winter do so in large part to hold onto and support their employees.

Povich says some of his employees have been with him since he launched Red Hook Lobster Pound almost six years ago. The turnover rate in the food truck industry is bad enough, so many operators don’t want to lose reliable people who know their businesses.

Povich has done the math on whether it would be better to just give the staff a threemonth paid vacation or to “limp through” the winter with catering and holiday parties.

“We’ve just decided it’s better to keep the name of the brand out there and keep it open.”

Plus, going out, even if it’s not profitable, can breed future business. “The food truck is a rolling billboard,” Sloppy Mama’s Neuman says.

“I send the truck out, we get catering jobs.”

Neuman says it also maintains a loyal customer base. Sloppy Mama’s served a measly 18 people in Tysons Corner the other day. But Neuman says they’re all regulars who eat at his truck every time he’s there. “Obviously, you want to make money, but when my wife and I started the business, it wasn’t, ‘OK how much money can we make?’ It was ‘How many people can can we make happy?’”

Neuman has also found an alternate revenue stream through pop-ups. He’s done a series of collaboration menus at Brookland’s Finest. Now, he’s popping up Mondays at Dupont Circle German beer garden Sauf Haus.

His next move is a permanent menu takeover at Solly’s Tavern beginning in March. (Still, he’ll continue to operate the truck.)

And it’s not just restaurants or bars where food truck operators are showing up. Flik Hospitality Group, a subsidiary of Compass Group USA which manages food services for office buildings and other venues, recently began partnering with food trucks to serve Greensboro Station Cafe, a cafeteria on the ground floor of the SAIC Tower in Tysons Corner. Different food truck operators, including Red Hook Lobster Pound and Ooh DaT Chicken, rotate through the kitchen three days a week. “The jury is still out on how successful it will be, but I thought it was an interesting move,” Povich says.

Even with the alternate revenue streams, everyone is still vying for the top spots in the monthly D.C. parking lottery in the winter.

Povich says Farragut Square brings out the most business, followed by Metro Center.

He also does well on a private lot that the DMV Food Truck Association manages in Tysons Corner.

Ultimately, Povich says his goal is to open a brick-and-mortar spot for Red Hook Lobster Pound.

“I think that’s everybody’s goal once they’ve been in this food truck business a while,” he says. “I know everybody says the restaurant business is hard, but this is crazy hard.”

Povich has been looking for locations for three years and may finally be coming close.

He says the restaurant would help level out his cash flow and better allow his employees to work through the off-season.

“That’s what keeps me going during the winter,” he says. “It’s worth losing all the CP money if I can pull this thing off.”

Eatery tips? Food pursuits? Send suggestions to jsidman@washingtoncitypaper.com.

DCFEED

what we ate last week:

Moules frites, $19.50, Le Diplomate. Satisfaction level: 4.5 out of 5 what we’ll eat next week:

Bicky burger, $14, The Sovereign. Excitement level: 4 out of 5

Grazer

Restaurant Additions

Underserved The best cocktail you’re not ordering

February is already turning out to be a busy month for yet more restaurant and bar openings, including some of the year’s most anticipated. In case you blinked and missed one, here’s a shorthand synopsis you won’t need to stare at too long.

—Jessica Sidman Belgian beer - Stella + sour + funky + more bottles than bar stools + beer-braised meats + a deep fried burger + Dutch-style mussels + reindeer chandeliers + hidden alley entrance = The Sovereign (1206 Wisconsin Ave. NW)

Pizzas inspired by the 13 colonies - historical accuracy + pricing that correlates to historic years + blackboards listing local ingredients + cocktails on draft + a wall made out of nickels - tails-up coins = Declaration (804 V St. NW)

Komi and Little Serow alums - a tasting menu + vaguely Mediterranean influence + seaweed sourdough + lamb ribs for two + housemade pastas + eclectic wines = Tail Up Goat (1827 Adam Mills Road NW)

Fancy cocktail prix-fixe menu + ticketed reservations + ingredients like kelp water and oyster leaf + old fashioneds + highballs + rare spirits - bar stools + leather armchairs = Columbia Room (124 Blagden Alley NW)

Hank’s Oyster Bar - the oysters + 14 housemade pastas + gluten-free fusilli + pasta samplers + Italianstyle meats and fish + negronis + barn doors = Hank’s Pasta Bar (600 Montgomery St., Alexandria)

THE’WICHINGHOUR

agrodolce onions, fontina cheese Thickness: 4 inches

The Sandwich: Strip Steak Sandwich Where: Pennsylvania 6, 1350 I St. NW Price: $18 Bread: Hoagie roll Stuffings: Skirt steak, broccolini,

Pros: The warm, perfectly toasted roll envelops the ingredients in a soft pillow. Broccolini, a veggie not regularly found on sandwiches, provides a pleasant bitterness, while the tangy onions add sweetness—plus a hint of citrus—that cuts through the slightly dull steak.

Cons: Apart from being very under-salted, each slice of steak feels dry and crumbly. The piles of broccolini overwhelm the rest of the sandwich, and the tiny amount of fontina

melted on top gets lost.

Sloppiness level (1 to 5): 2. In order to keep the entire sandwich together, it’s wise to bite off a few pieces of errant broccolini stems before digging in. Some steak will likely fall onto your plate, but because the hoagie roll is so large, that’s the most damage you’ll see.

Overall score (1 to 5): 2. With a price tag at nearly $20, you’d expect this sandwich to both taste great and keep you full. Consuming the entire sandwich will offset your hunger pangs for a few hours, but when the primary ingredient is poorly prepared, this sandwich doesn’t justify putting down an entire Jackson.

—Caroline Jones

What: Redenbacher Old Fashioned with popcorn-infused Lyon white rum, brown sugar, and Angostura bitters.

Where: Provision No. 14, 2100 14th St. NW Price: $13 What You Should Be Drinking Remember trying to pass the popcorn Jelly Belly off to friends as pineapple or lemon? Provision No. 14’s Redenbacher Old Fashioned— starring popcorn-infused white rum—tastes just like America’s most misunderstood jelly bean. But it’s time to give this flavor a second chance. Bartenders Glendon Hartley and Chad Spangler put a lot of elbow grease into the “fat-washed” infusion. The team pops two bags of Redenbacher popcorn per bottle of Lyon Distilling Co. white rum. “We wanted that same flavor and profile that you get at home rather than what you get at restaurants with popcorn makers,” Spangler says. The popcorn is vacuum-sealed in a bag with the rum and cooked sous vide for six hours before it’s frozen, defrosted, and strained. The technique leaves behind butter flavor, not fat. Only demerara sugar syrup and Angostura bitters join the buttery rum in the finished drink.

Why You Should be Drinking It Provision No. 14’s take on an old fashioned enables those not on the brown liquor bandwagon to experience the trending cocktail. “A lot of people don’t know that old fashioned doesn’t necessarily mean whiskey,” Hartley says. “When someone asks me for one, I ask if they want brandy or rum because those are two things I love making them with.” While it’s a smooth, savory sip, imbibers remain a little cagey about ordering the cocktail. Fortunately, the restaurant has found an audience for the popcorn-infused rum : “One of the things people ask for are buttery nipple shots, but we don’t carry Buttershots liqueur, so I’ll put the popcorn rum with Bailey’s,” Spangler says. “People seem to enjoy it.”

—Laura Hayes

washingtoncitypaper.com february 12, 2016 25

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CPARTS

9:30 Club is debuting its own musical variety show on PbS this spring. washingtoncitypaper.com/go/liveat930

Handout photo by C. Stanley Photography

A hectoring portrayal of working-class Pennsylvanians gets bogged down in its lack of imagination.

Some ASSembly RequiRed Sweat

By Lynn Nottage Directed by Kate Whoriskey At Arena Stage to Feb. 21 Working “the line” in a factory is a repetitive, physically grinding bore, but it’s a living. Or rather, it was. The dignity-obliterating race to the bottom whereby manufacturers seek ever-cheaper labor and the grim consequences for eight residents of a Pennsylvania city are the subject of Lynn Nottage’s tragedy Sweat. If that sounds like a hard sit, your instincts have not misled you.

The piece begins and ends in 2008, but flashes back for most of its two-and-a-half hours to the year 2000, when some could see the cliff approaching but no one knew how deep the chasm would be. The setting is Reading, Pa., a city of about 88,000 that in the 2010 census just beat Flint, Mich. as the most impoverished mid-sized community in the nation. All of the 2000-era scenes take place at a bar where three middle-aged wom-

en who’ve worked the line since high school go to blow off steam. Rumors that management will demand big concessions from the union at the upcoming contract talks have everyone on edge.

When Cynthia (Kimberly Scott), an African-American woman, is promoted and charged with delivering bad news to the rank-and-file, her white pals Tracey and Jessie (Johanna Day and Tara Mallen) are quick to accuse her of selling out and of having affirmative action to thank for her good fortune.

Cynthia and Tracey have both secured jobs at the same plant for their recent high schoolgrad sons; add in Jack Willis as Stan, who retired from the factory after an injury and now tends bar, and that’s three generations of labor drowning their sorrows in the same little room. Reza Salazar’s Oscar—the son of Central American immigrants—works at the bar, too, but when he asks Tracey to help him get a better-paying job at the factory, she turns him down flat.

Kate Whoriskey staged Sweat for the Oregon Shakespeare Festival, and the worldpremiere 2015 production is now making its D.C. debut at Arena Stage. Nottage and Whoriskey, who previously collaborated on 2003’s Intimate Apparel and the 2009 Pulit-

zer Prize winner Ruined, interviewed residents of Reading as research for Sweat. Particularly authentic are Nottage’s observations about how shared hardship can uncork racial discord that stays bottled up in sunnier times, and how entitlement has a way of snuffing out generosity. Tracey and her son Jason (Stephen Michael Spencer) slide into base bigotry to explain their misfortune, while dismissing the economic news disbursed through expository bursts of CNN on the bar TV as “bullshit.”

(John Lee Beatty’s detailed revolving set is utterly convincing as a dive bar, except for the fact that the TV is tuned to cable news.)

Sweat’s stumbling block isn’t a lack of authenticity, but a lack of imagination. It’s an earnest dramatization of an existential problem, one that can only grow more dire as a shrinking sliver of the U.S. population controls a swelling percentage of the wealth. In the passages where Nottage lets her skills as a storyteller (and too infrequently, as a joketeller) soar, the results are undeniably powerful—for example, when Mallen performs a drunken monologue about a trip she and her ex planned long ago, one she now knows she’ll never take. But her intention here is less to entertain than to bear witness to the suffering of an entire class of Americans—not,

generally speaking, the one that goes out to see new plays.

Fair enough. I just wish there were something here that Bruce Springsteen hasn’t already illuminated, again and again, in the space of four-and-a-half minutes, with a melody to keep us listening. Nottage wants us to feel how the tedium of these characters’ lives feeds their bitterness, but her method—writing scenes of angry recrimination among friends that feel repetitive and tedious—makes me more inclined to clap my hands over my ears than to lean in. There is a nagging sense that we the audience are being lectured, and maybe that’s appropriate: There are a lot of fatcats in these seats, after all. But there probably weren’t many when it played in Ashland, Ore., and there probably won’t be if it ever gets to Reading, Pa. —Chris Klimek 1101 Sixth St. SW. $55–$100.

(202) 554-9066. arenastage.org.

WAR of the RougeS Señorita y Madame: The Secret War of Elizabeth Arden and Helena Rubinstein

By Gustavo Ott Directed by Consuelo Trum At GALA Hispanic Theatre to Feb. 28 There aren’t many places a Venezuelan government official would be applauded by the president of the Hispanic Chamber of Commerce, but Gala Theatre brings together strange bedfellows. In this instance, it’s for Venezuelan playwright Gustavo Ott’s ribald dramatization—bordering on farce—of the rivalry between two onetime giants of the cosmetics business, Helena Rubinstein and Elizabeth Arden.

Ott’s play is surprisingly engaging for an otherwise obscure subject (with no particular Latino connection, Gala’s usual niche; the play is in Spanish with English surtitles). Today, Rubinstein’s and Arden’s legacies persist in much reduced form, their products relegated to the outer wings of Macy’s beauty department by bigger names like Estée Lauder and L’Oréal. The latter now owns Rubinstein’s line, and while Arden’s company still exists under new ownership, it’s moved more into the celebrity fragrance market, with

washingtoncitypaper.com february 12, 2016 27

CPARTS smells from Justin Bieber, Nicki Minaj, and Taylor Swift. But a century ago, the two were the undisputed leaders of an industry they had largely built from scratch. Rubinstein took skin creams from hospital burn wards to every mall in the world, using aggressive marketing, value-based pricing, and dubious scientific claims to perfect the great formula of American capitalism—scaring insecure people into buying something they don’t need. Arden made makeup, associated at the time with prostitutes, respectable for the ruling class and developed new marketing techniques like in-store makeovers.

They also hated each other’s guts, and Ott and director Consuelo Trum draw terrific humor from this vicious contest with performances by Ana Verónica Muñoz and Luz Nicolás. Whether or not they are true to life (the two women never actually met in person, but the play invents such an encounter), their characterizations are perfect foils for one another: Muñoz, as Rubinstein, is alternately haughty, paranoid, and driv-

en to social climbing by her estrangement from her Jewish-Polish parents who couldn’t quite fathom having a business magnate for a daughter. Nicolás, one of the most consistently electrifying actors in D.C. theater, plays Arden as some kind of mad banshee, crawling over the stage and shrieking obscenities about her rival. Both are gleefully vulgar, Arden’s insults seasoned with a reflexive anti-Semitism, which got her in bed with the Nazis in the ’30s.

The historical settings, spanning turn-ofthe-century Poland to Australia, Paris, and 1960s New York, are not quite as evocative as the trash-talking. The World War II scenes are a perfunctory detour into now-we’re-beingserious territory that doesn’t jibe with the rest of the play’s slapstick, or even with the World War I–era scenes of Rubinstein and Arden taunting each other over the backs of chairs in an irreverent allusion to trench warfare. Their real-life interactions with artists and authors such as Hemingway, Matisse, Picasso, and Proust get passing mention (mostly played for

28 february 12, 2016 washingtoncitypaper.com

Handout photo by Rose Campiglia

Continued

Gala goes beyond its niche and finds success at the cosmetics counter.

laughs about Rubinstein’s ignorance of those she patronized); so does their role in the women’s suffrage movement, including one of Arden’s more notable marketing schemes, organizing a voting rights march that doubled as an advertisement for her lipstick.

The simple stage design of paired desks and doors (Arden’s in her trademark red) doesn’t offer much sense of time or place, but is supplemented by black-and-white projections of the actors being filmed in real time, illustrating Ott’s framing device: an end-oflife interview with the two women by a beleaguered reporter played by Cecilia De Feo. Señorita y Madame isn’t much of a history lesson, or a business lesson, though it touch-

es on everything from the rise of fascism to the rise of modern advertising (with some wry observations by Arden on the intersection of the two). It can be seen as a feminist allegory, from a kind of Beyoncé, CEO-as-feminist-icon perspective. But it’s more of a cautionary tale than a celebration: two of the first self-made millionaire women whose personal squabbles blinded them to the Charles Revsons, Max Factors, and other male corporate competitors who would eventually overtake and absorb the empires they created.

—Mike Paarlberg 3333 14th St. NW. (202) 234-7174. $20–$42. galatheatre.org.

FilmShort SubjectS

Voting ends March 1.

HITTING NEWSTANDS APRIL 7

Crass aCtion Hero Deadpool Directed by Tim Miller Marvel’s biggest antihero is Deadpool, who made his comic book debut in 1991. Unlike other costumed fighters with superpowers, this costumed fighter with superpowers traffics in dirty jokes, genuine bloodlust, and a cheeky breaking of the fourth wall. He is rebellious like a preteen boy who just discovered The Jerky Boys; he celebrates profanity for its own sake and rarely breaks from a formula. The new film Deadpool continues in that tradition. It contains everything that made the character a cult hit, and yet it doesn’t use that freedom to accomplish anything interesting or genuinely subversive.

When we first meet Deadpool (Ryan Reynolds), he’s getting ready for a car chase. The chase involves exploding heads, severed limbs, and a borderline sociopathic disdain for civilian wellbeing. Director Tim Miller might have shot the sequence with verbal wit, except Miller and his screenwriters Paul Wernick and Rhett Reese have a clumsy framing device. They jump between the chase and a protracted origin story, one that takes up the majority of the film’s already crisp running time. Including the flashbacks, the origin story takes well over an hour.

We learn that Deadpool started as Wade Wilson, a fast-talking mercenary who falls in love with Vanessa (Morena Baccarin). The relationship requires Wade to feel feelings, except when he learns he has cancer and ignores the implied partnership with his special lady. A mysterious stranger tells Wade he can cure the cancer and give him superpowers, so Wade abandons Vanessa only to discover the stranger plans to use him as a mindless super-soldier. Wade escapes, obviously, and spends the rest of the film exacting revenge on his captors.

Reynolds is a naturally charismatic actor, and the Deadpool mask does a disservice to his expressive eyes. Still, Wilson is a total motormouth, and most of Deadpool’s jokes are one-liners that ignore drama and character development. Miller and his screenwriters tilt toward intrigue when they see Wilson’s jokes as a personality flaw, but most of the time they celebrate his asides for their own sake.

Deadpool takes a kitchen-sink approach that recalls the spoof films of the Zucker brothers and Mel Brooks, so some jokes land better than others. Deadpool is funniest when Wilson upends traditional superhero masculinity. There’s a throwaway gag when his tiny hand rejuvenates, and another as he takes a dildo up the ass. The vast majority of Deadpool’s humor is adolescent to a fault. There is nothing wrong with poop jokes—indeed, poop is often the funniest bodily excretion— except Deadpool treats them as asides to material that’s already too thin.

The other significant plot departure is the love story—Wilson fights to save Vanessa, not the world—yet she’s not quite a fully formed character; more of a “friends with benefits” Cool Girl cliché. This is a teenager’s ideal of a girlfriend, which is another of this film’s superficial, easy forms of subversion.

Other superheroes help out Deadpool— the X-Men heroes Colossus and Negasonic Teenage Warhead—and the script uses them as a chance to comment on tropes of the X-Men franchise. All of these jokes are predictable, just like Stan Lee’s perfunctory appearance. A more rebellious Deadpool would comment on how its climax looks just like every other Marvel climax, but instead there’s safety to the tone that veers only from amusing to dull.

Unlike other films from Marvel, Deadpool feels like a labor of love. Reynolds, Miller, and the others clearly have an affinity for the character, and their energy creates the ironic feeling that they should have had gone further. The ubiquity of Marvel and superhero films means that they deserve to be knocked down a peg or two.

The adaptation of Watchmen did that, albeit without much humor, and perhaps the issue with Deadpool is that it’s too close the source. The transition to film should arrive with more sophistication, and Deadpool defiantly pretends it does not require any. This is a film that would rather nibble than bite.

—Alan Zilberman Deadpool opens Friday in theaters everywhere. washingtoncitypaper.com february 12, 2016 29

Galleries

Express Yourself

A mid-career survey of Maggie Michael’s abstract paintings sometimes struggles to be seen at the American University Museum.

“Maggie Michael: A Phrase Hung in Midair as if Frozen” At the American University Museum at the Katzen Arts Center to March 13

By Kriston Capps One perfect moment tucked away in Maggie Michael’s mid-career painting survey shines through the show. It’s a sequence of four of her “Clone” paintings, early works that saw the artist pour latex into puddles and carefully maneuver them to produce mirror-image pools of paint.

This is a moment that the American University Museum at the Katzen Arts Center does its best to bury.

Like cells divided by meiosis, Michael’s clones demonstrate her twin impulses as a painter. She strives for abstractions that address the big questions: totemic themes, such as nature’s dual identity as life-giver and lifetaker. Yet she also pushes painterly strategy to the forefront, pressing form forward as an engine for content. “A Phrase Hung in Midair as if Frozen” succeeds in showcasing both of these impulses in Michael’s work, narrative and tactical. And despite some missteps, the show makes the case for her as the strongest painter to emerge from D.C. in a generation.

For “A Phrase Hung in Midair as if Frozen,” curator Sarah Newman has avoided any simple chronological or stylistic categorization. While a sampling of her older poured paintings are presented together in one gallery (including those 2002- and 2003-era “Clone” paintings, sentenced to a corner), the rest of the show hums with paintings from across Michael’s 15 years or so in the District. Hung all at once this way, they illustrate the fact that her work has never evolved in a linear direction.

As always with shows at the museum, Michael’s survey is wedged into too tight of a space. The sharply curved walls, along with several irregular galleries in the EYP Architecture & Engineering–designed building, have never been forgiving for painting shows. But it’s the museum’s insistence on stuffing the galleries chock-a-block with exhibits that makes the museum so hard on viewers. No show in the building’s history has ever been given the room it needs to breathe. On the night of the opening of Michael’s show, for example, three other large surveys also opened (all of them starring female artists, a meta conceit). So much programming means that shows are shoved up against every corner and crevice of the institution.

Newman turns these restraints to her advantage, for the most part. At least two-dozen paintings in “A Phrase Hung in Midair as if Frozen” are installed salon-style on one large wall on the museum’s third floor. This lets out some of the pressure on the rest of the show, which stretches out to fill the remaining third-floor galleries. But the salon-style hanging also raises a point about Michael’s work and her place in art history.

30 february 12, 2016 washingtoncitypaper.com

“No Symbols Where None Intended” by Maggie Michael; 2015 Along the spectrum of American abstract painters, Michael falls somewhere between Jackson Pollock and Agnès Martin. Perhaps unstably so—not at the midway point, but rather lurching backward and forward between Pollock’s totalistic abstraction and Martin’s grid-oriented reductivism.

In a catalog essay, Olivier Schefer describes Michael’s simultaneous appraisal of order and chaos as “a unique and unexpected encounter of two major and antithetical tendencies of modernism.”

The salon hanging teases out a different dimension of Michael’s work, a vector that runs orthogonal to the whole Pollock–Martin continuum. Think of either of these painters’ works in a museum: They stand alone—severe, standoff-ish, iconic. There’s more give-and-take between Michael’s paintings, by comparison. Her works flow in fluid sequences, borrowing liberally from prior arcs in her career. Paintings by Michael read like phrases of a long and winding sentence.

“A Phrase Hung in Midair as if Frozen” is a success for sussing out this quality of Michael’s art: that she only ever adds to her vocabulary, never discarding brushstrokes or applications. Text surfaces rarely in Michael’s paintings,

but not all at once; she’s returned to letterforms several times. The same goes for spray paint, scrapes, stains, and so on. Three paintings from Michael’s “Perfect X” series, hung along a single wall adjacent to the salon room, show how she mines certain concepts over and over. While they’re newer works, the Xs are cousin to the Os she first showcased back in 2002.

In places, especially the large-format salon hanging, the busy nature of the show underscores something frenetic about Michael’s work. It’s easy to see the repetitions across her career, as one kind of brushstroke resurfaces in a totally different painting 10 years later. What gets lost is something narrative: There are too few opportunities to isolate and compare certain elements (for example, the way the feminine figure appears over and over, across all kinds of works). Paintings as loud as Michael’s are bound to take up every part of a space they’re given. The only disappointment in her mid-career survey is that they weren’t given more.

CP

4400 Massachusetts Ave. NW. Free. (202) 462-1601. american.edu/cas/museum.

charles-Steck-Photography

weddings,-portraits,-headshots-and-more!

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washingtoncitypaper.com february 12, 2016 31

KENNEDY CENTER

BooksSpeed ReadS

Jason Moran, Artistic Director for Jazz

2015–2016 Season Discovery Artist in the KC Jazz Club

Matthew Whitaker

This fast-rising, 14-year-old Discovery Artist—who’s performed with the likes of Roy Ayers, Jon Batiste, the New York Pops Orchestra, and Christian McBride— brings his incredible prowess on the electric keyboard and B-3 organ to the KC Jazz Club.

Friday, February 12 Best availability 9 p.m.

Discovery Artists in the KC Jazz Club are supported by The King-White Family Foundation and Dr. J. Douglas White.

KC Jazz Club • Performances at 7 & 9 p.m. in the Terrace Gallery.

No minimum. Light menu fare available.

A Family Affair

Mark Whitfield

The Whitfield Family Band Making its Kennedy Center debut with selections from its newest recording, The Whitfield Family Band continues the jazz tradition of familial, intergenerational performance.

Saturday, February 13 This performance is made possible through the generous support of The William N. Cafritz Jazz Initiative.

KC Jazz Club

Joe Lovano Village Rhythms Band

featuring Liberty Ellman, Michael Olatuja, Abdou Mboup, and Otis Brown III with special guests Judi Silvano and Tim Hagans For two nights, the Village Rhythms Band showcases the linear relationship between West African music and jazz in a way that is unique to Joe Lovano’s voice--warm, sinuous, and constantly moving over an emphatic pulse.

Friday & Saturday, February 19 & 20 Best availability 9 p.m.

KC Jazz Club WPFW 89.3 FM is a media partner of Kennedy Center Jazz.

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

32 february 12, 2016 washingtoncitypaper.com

If It AIn’t Broke Get a Grip Texas Review Press; 2015 Lisa works at her father’s statuary business selling stone squirrels, fairies, frogs, hedgehogs, Alices in Wonderland, Jesuses, cherubs, and, of course, gnomes—Big Pat’s best-selling item. But the lawn ornament that Lisa’s mother chose to decorate the family’s own backyard—just behind the business— doesn’t include any of those whimsical characters. It’s a bird bath made of “just plain granite with sharp, sensuous lines, unapologetic for its functional strength, its elegant simplicity.” Lisa finds herself gazing at this bird bath on her 40th birthday, reflecting on its similarity to her mother and how her own life looks more like her sunken grocery-store birthday cake. “The dark sink hole in the white sugary surface looks angry and deep and is a little like the feeling you have in your chest,” Lisa thinks. She has plenty to be upset about: Her ex-boyfriend, whom she may still be in love with, is engaged to a much younger woman; she lives in the garage apartment behind the family business; and her mother died of a brain aneurysm when she was 12 years old.

Lisa’s messy life is typical of the characters

in Get a Grip, Baltimorebased writer Kathy Flann’s collection of short stories.

Mrs. Polasky is a widow with debilitating neuropathy whose husband dies of a cocaine-induced heart attack in the middle of a tryst with a younger employee.

Two Estonian brothers from a violent Baltimore neighborhood lose their chance at college basketball scholarships when their bus breaks down. Alexander is an alcoholic executive whose wife gives birth to stillborn twins and then leaves him for his competitor.

Flann imagines an impressively diverse set of lives. But the characters are unified by their misfortune and their struggle to “get a grip” on their lives as they yearn for higher callings.

Nearly all of the characters have a spouse, child, or parent who died prematurely or abandoned them, sometimes both. Emerging from these losses is a tendency toward self-destructive behavior. Lisa helps her exboyfriend plan his proposal to his girlfriend, even though she knows he still has feelings for her, which she returns.

Ned refuses to go to the hospital after he gets in a bad bike crash. Franz smokes weed a week before his new job’s drug test. It’s clear that Flann is interested in how people’s self loathing causes them to resist help or happiness, often injuring those who love them in the process. But these characters are so broken it’s almost unbelievable. Flann seems so eager to make things happen in her stories that they resemble TV dramas in which increasingly absurd events unfold in order to coax the viewer to tune in the next week.

All the action comes at the expense of insight into the characters’ thoughts and feelings, which makes it difficult to understand and believe their subsequent behaviors.

This is because the characters’ thoughts often don’t reflect the way most people think; they’re too complete, too expository: “Now, he knows, in a way he hasn’t before, that people hide inside themselves and outside themselves, as if they are avoiding enemy fire, as if they are at war.”

Flann would be better off keeping the stories simple, like the bird bath in the title story, which sticks in Lisa’s mind long after it is gone. Perhaps it is telling that a gnome— rather than the bird bath—appears on the —Natalie Villacorta book’s cover.

MusicDiscography Scion of the timeS II Magrudergrind Relapse Records; 2016

Earlier this month, Toyota put an end to Scion, a 13-year-old brand made with young people in mind. Executives failed to magnetize millennial drivers as the recession had its way with the company’s target audience, but in an effort to woo twentysomethings, Scion became an unexpected focal point for disparate underground sounds. As a way to get its name in front of youngsters, Scion funded and released music by subversive hip-hop, electronic, and metal acts. Among them: D.C. grindcore three-piece Magrudergrind. Dogmatic grind fans considered the result of that partnership, 2010’s Crusher EP, a failure by association, but Magrudergrind never let anyone else’s ethical code warp its sense of what feels right—and what sounds right.

Magrudergrind have largely been silent in the six years since Crusher. But late last year, the group publicly put the wheels in motion for the imminent release of an album called II. Its third full-length album comes amid noticeable changes for Magrudergrind. II is the band’s first album for venerable underground metal label Relapse Records. This is the first album without workhorse drummer Chris Moore, who joined Magrudergrind shortly after vocalist Avi Kulawy launched the group as a student at Walter Johnson High School in 2002 (full

disclosure: I attended Walter Johnson at the same time). Moore was Magrudergrind’s last residential link to this city: Kulawy and guitarist R.J. Ober now call Brooklyn home, and its new drummer, Casey Moore, plays in a hardcore-heavy Brooklyn grind outfit Psychic Limb.

Location change notwithstanding, Magrudergrind’s outsider spirit remains pivotal to its cause. That spirit developed while the group evolved in a D.C. scene unsure of wh a t t o m a ke of its unassailable blast beats, insurrect guitar riffs, and acidic squalls. Gone, in part, is some of the grit and grime that clung to the band’s frenetic assaults— no matter how much whiplash its songs might induce. II is crystalline, a reflection of Magrudergrind’s adroit precision.

M a g r u d e rgrind lashes out against the dregs of humanity with a robotic accuracy and the kind of speed Internet companies claim to control. Its relentless, nonstop intensity—large portions of II rarely leave a seconds reprieve, not nearly enough time for the heat-vapor to emerge from Ober’s guitar—is fit for this exhausting information age. Contemporary issues burble throughout II: The previously released “Sacrificial Hire” concerns the fog of conformity that keeps blood flowing through Jihadist movements, though it’s hard to make out specific lyrical points from a single pass of the minute-and-a-half blitz.

Kulawy’s confrontation, acerbic lyrics and singing make up a fraction of Magrudergrind’s hurricane approach. II requires multiple listens to begin to unravel the band’s complex direction. During one listen I was so enraptured by Moore’s drumming, which moves like a sped-up imperialist march but propelled with a rebellious heart, that Ober’s guitars and Kulawy’s screams passed like trucks on the highway. The band’s desire to explore different speeds, and its innate sense of when to do so, makes II a bruiser. When the melodic swing of “Icaro” comes into the picture, it’s easier to want to return for more lumps.

—Leor Galil

FEBRUARY F 12, S 13 & SU 14

RETURN OF THE GENTLEMEN JEFF BRADSHAW & ERIC ROBERSON 3 DAYS, 3 SHOWS, A LOVER’S WEEKEND

FRIDAY, FEBRUARY 26

RAHSAAN PATTERSON

S 27

JOE CLAIR & FRIENDS COMEDY SHOW

SU 28 BBJ 3 YEAR ANNIVERSARY FEATURING THE DUKE ELLINGTON ORCHESTRA BRUNCH & EVENING SHOWS

MARCH TH 10 & F 11

KENNY LATTIMORE THURSDAY MARCH 24 + FRIDAY MARCH 25

AN EVENING WITH LALAH HATHAWAY

APRIL FRIDAY, APRIL 22

CAMEO

M AY MONDAY MAY 2

SNARKY PUPPY 7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends washingtoncitypaper.com february 12, 2016 33

I.M.P. PRESENTS Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED! I.M.P. & AEG LIVE PRESENT

PENTATONIX w/ Us the Duo................................................................. MAY 12

THIS WEEK’S SHOWS

Big Head Todd and the Monsters w/ Mike Doughty ...................................Th 11 Graveyard w/ Spiders Early Show! 6pm Doors ..................................................... F 12 STEEZ PROMO PRESENTS SNAILIN USA TOUR PT. 2 FEATURING Snails w/ Must Die ...................................................................................................... F 12

MIRANDA LAMBERT w/ Kip Moore & Brothers Osborne ...... AUGUST 25 On Sale Friday, February 12 at 10am

SHOWS! MBO ONLY $150 FOR ALL FOUR

LAWN TIX CO

JASON ALDEAN w/ Thomas Rhett and more! ........................MAY 7 KENNY CHESNEY w/ Old Dominion ......................................MAY 19 MIRANDA LAMBERT ..................................................... AUGUST 25 WPOC WEEKEND IN THE COUNTRY ................................ DATE TBA

FEB 13 SOLD OUT!

ALL GOOD PRESENTS

The Devil Makes Three w/ Langhorne Slim .................................................... Su 14

Buy one ticket, attend four shows. Sit in the same seat for each show!

FEBRUARY Unknown Mortal Orchestra w/ Lower Dens .................................................W 17 Ralphie May This is a seated show. Early Show! 6pm Doors ..........................Th 18 ALL GOOD PRESENTS

The Soul Rebels Sound System feat. Talib Kweli Late Show! 10pm Doors . Th 18 ALL GOOD PRESENTS

Anders Osborne w/ Amy Helm and The Handsome Strangers ........................F 19 T ADDED!

FEB 23 SOLD OUT! SECOND NIGH

Josh Ritter and The Royal City Band w/ Elephant Revival ..........................W 24 Ty Segall and The Muggers w/ CFM & AXIS: SOVA ......................................Th 25 ALL GOOD AND DALE’S PALE ALE PRESENT

Steep Canyon Rangers w/ Only Lonesome Early Show! 6pm Doors .............F 26

M3 ROCK FEST FEATURING

Tesla • Vince Neil • Kix and more!..................................................APRIL 29 & 30 Jason Aldean w/ Thomas Rhett • A Thousand Horses • Dee Jay Silver ................ MAY 7 Kenny Chesney w/ Old Dominion .................................................................... MAY 19 Twenty One Pilots ........................................................................................JUNE 10 Ellie Goulding ............................................................................................................ JUNE 13 Tame Impala w/ M83 ............................................................................................ JUNE 16 The Cure w/ The Twilight Sad..................................................................................... JUNE 22 Modest Mouse / Brand New ......................................................................... JULY 12

ALL GOOD PRESENTS

• For full lineups and more info, visit merriweathermusic.com • 930.com

BoomBox w/ Ben Silver (Orchard Lounge) Late Show! 10pm Doors................F 26 STEEZ PROMO PRESENTS

The Floozies w/ Russ Liquid & Sunsquabi ....................................................Sa 27

Johnnyswim ...................................................................................................M 29

MARCH Wolfmother w/ Deap Vally ............................................................................... W 2 Pat Green & Randy Rogers Band .................................................................Th 3 Drive-By Truckers w/ Thayer Sarrano ...................................................F 4 & Sa 5 Ra Ra Riot w/ Sun Club ................................................................................... Su 6 ALL GOOD PRESENTS

Twiddle w/ LITZ.............................................................................................Th 10 ALL GOOD PRESENTS

Railroad Earth .................................................................................. F 11 & Sa 12

Brian Fallon and The Crowes w/ Austin Plaine...........................................Tu 15 Goldlink w/ Esta ..............................................................................................W 16 Cowboy Mouth w/ Dingleberry Dynasty .........................................................Th 17 Galactic w/ The Bright Light Social Hour ............................................. F 18 & Sa 19

Echostage • Washington, D.C.

JUST ANNOUNCED! I.M.P. & STEEZ PROMO PRESENT

BIG GIGANTIC w/ Mija .................................................................. FRI APRIL 8 On Sale Friday, February 12 at 10am

THIS THURSDAY!

Kid Cudi All 12/10 tickets will be honored. ..................................................... FEBRUARY 11

THIS FRIDAY!

Umphrey’s McGee w/ Tauk ........................................................................ FEBRUARY 12 Coheed and Cambria w/ Glassjaw • I the Mighty • Silver Snakes ................ MARCH 2 Logic w/ Dizzy Wright ................................................................................................... MARCH 31 Bloc Party w/ The Vaccines ......................................................................................... MAY 19 2135 Queens Chapel Rd. NE • Ticketmaster

AEG LIVE PRESENTS

Pusha T w/ Lil Bibby & G Herbo ......................................................................W 23 G. Love and Special Sauce ..........................................................................Th 24 Savages ..........................................................................................................Su 27

JUST ANNOUNCED!

APRIL

1215 U Street NW Washington, D.C.

THE BLUEGRASS SITUATION AND ALL GOOD PRESENT

COMEDY BANG! BANG! LIVE! STARRING Scott Aukerman

(F 1 - w/ Della Mae • Sa 2 - w/ Paper Bird) ...............................................F 1 & Sa 2 Ben Harper and the Innocent Criminals w/ Christopher Paul Stelling .. Su 3 & M 4

CITIZEN COPE (An Intimate Solo / Acoustic Performance) ............ APRIL 1

The Infamous Stringdusters feat. Nicki Bluhm

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

The best thing you could possibly put in your mouth Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com

with guests Paul F. Tompkins & Lauren Lapkus w/ Neil Campbell .................................. MAY 9 On Sale Friday, February 12 at 10am On Sale Friday, February 12 at Noon

THIS SATURDAY! STORY DISTRICT’S

Sucker For Love ........................................................................................FEBRUARY 13 AEG PRESENTS

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Hey Marseilles w/ Bad Bad Hats ...F FEB 12 Vinyl Theatre & Finish Ticket SafetySuit w/ Connell Cruise .............. Tu 16 w/ Irontom ........................................... Tu 23 Kat Dahlia ............................................ W 17 Moon Hooch w/ Box Era ...................... W 24

R5 w/ Ryland & Parade of Lights ....................................................................FEBRUARY 23 Laurie Berkner Band ...............................................................................FEBRUARY 28 Vicente Amigo .................................................................................................... MARCH 6 Yamato - The Drummers of Japan ........................................................... MARCH 16 Joe Satriani ............................................................................................................APRIL 2 Jewel (solo acoustic) w/ JD and The Straight Shot .............................................APRIL 7 AEG LIVE PRESENTS

Welcome to Night Vale ........................................................................... APRIL 18 & 19 93.9 WKYS AND MAJIC 102.3 PRESENT

Plastic Cup Boyz.................................................................................................. MAY 29 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

• Buy advance tickets at the 9:30 Club box office

Tickets for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office.

9:30 CLUB BOX OFFICE HOURS are 12-7PM Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

9:30 CUPCAKES The best thing you could possibly put in your mouth.

Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. www.buzzbakery.com

34 february 12, 2016 washingtoncitypaper.com

PARKING: THE OFFICIAL 9:30 parking lot entrance is on 9th Street, directly behind the 9:30 club. Buy your advance parking tickets at the same time as your concert tickets!

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

930.com

INER 60S-INSPIRED D Serving

EVERYTHING from BURGERS to BOOZY SHAKES

CITYLIST

Music . . . . . . . . . . . . . . . . . . . . . . . . .35 Theater . . . . . . . . . . . . . . . . . . . . . . 3 9 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .41

SearCh LISTIngS aT waShIngTonCITYpaper.Com

best Coast at 9:30 Club, feb. 16

HAPPY HOUR:

$2 TUESDAY $3 THURSDAY $4 FRIDAY (ALL DRAFTS AND RAIL)

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SHOT!

SUNDAY FUNDAY

Music

Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Graveyard, Spiders. 6 p.m. $25. 930.com.

with Keenan & Smudge

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Renaissance. 7:30 p.m. $29.50. birchmere.com.

Sun. Nov-Feb

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Umphrey’s McGee. 6 p.m. $35. echostage.com.

3-7pm every

Come for brunch, stay for the party!

2047 9th Street NW located next door to 9:30 club

u street musiC hall 1115 U St. NW. (202) 5881880. Hey Marseilles, Bad Bad Hats. 7 p.m. $15. ustreetmusichall.com.

Villain & saint 7141 Wisconsin Avenue, Bethesda. (240) 800-4700. Pebble to Pearl. 9 p.m. $10–$12. villainandsaint.com.

Funk & R&B amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Julia Nixon. 8 p.m. $25–$35. ampbystrathmore.com. bohemian CaVerns 2001 11th St. NW. (202) 2990800. Aaron “Ab” Abernathy with band Nat Turner.

7:30 p.m. & 10:30 p.m. $25–$77. bohemiancaverns.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700.

Tom Principato, Bobby Thompson & Friends featuring Ron Holloway. 8 p.m. $15–$18. gypsysallys.com.

Dar Constitution hall 1776 D St. NW. (202) 628-4780. Valentine’s Soul Jam: The Stylistics, Dramatics, New Birth, Blue Magic. 8 p.m. $47–$125. dar.org.

the hamilton 600 14th St. NW. (202) 787-1000.

Speakers of the House. 10:30 p.m. Free. thehamiltondc.com.

howarD theatre 620 T St. NW. (202) 803-2899.

Amel Larrieux. 7:30 p.m. $37.50–$75. thehowardtheatre.com.

iota Club & Café 2832 Wilson Blvd., Arlington.

(703) 522-8340. The Dawn Drapes, Illiterate Light, Peyote Pilgrim. 8:30 p.m. $10. iotaclubandcafe.com.

ElEctRonic

roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Heavy Breathing, Time is Fire, Smoota. 9 p.m. $12. rockandrollhoteldc.com.

9:30 Club 815 V St. NW. (202) 265-0930. Snails, Must Die. 11 p.m. SOLD OUT. 930.com. flash 645 Florida Ave. NW. (202) 827-8791. Josh Wink. 8 p.m. $5–$12. flashdc.com.

Jazz bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Eric Roberson. 8 p.m. $50–$60. bethesdabluesjazz.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. The Kevin Cordt Quartet. 8 p.m. Free. mrhenrysdc.com. twins Jazz 1344 U St. NW. (202) 234-0072. Eugenie Jones. 9 p.m. & 11 p.m. $20–$25. twinsjazz.com.

BluEs maDam’s organ 2461 18th St. NW. (202) 6675370. Lex Grey & The Urban Pioneers. 10 p.m. Free. madamsorgan.com.

countRy fillmore silVer spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Stars ‘n Guitars with Craig Morgan, Kelsea Ballerini, Easton Corbin, Granger Smith, Brothers Osborne, Maren Morris. 8 p.m. $25. fillmoresilverspring.com. gypsy sally’s 3401 K St. NW. (202) 333-7700.

Zachary Lucky. 7:30 p.m. Free. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000.

Chatham County Line. 8:30 p.m. $17–$22. thehamiltondc.com.

washingtoncitypaper.com february 12, 2016 35

----------

Folk songbyrD musiC house anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Sara Curtin, Lauren Calve, Marian McLaughlin. 9 p.m. $10–$12. songbyrddc.com.

3701 Mount Vernon Ave. Alexandria, VA • 703-549-7500

FRI 12 FRI 12 SAT 13

CHURCH NIGHT CMPVTR_CLVB

VOIVOD

SAT 13 MY ROCK & ROLL VALENTINE

VARIETY SHOW / BURLESQUE

SUN 14 CHAD AMERICA’S 17TH ANNUAL VALENTINE’S DAY

ROCK’N’ROLL DANCE PARTY

SUN 14

PROTOMARTYR

PRIESTS

MON 15HUNTER TUE 16

VALENTINE

CHUCK RAGAN

WED 17 FILM SCREENING:

POSITIVE FORCE: MORE THAN A WITNESS

THU 18

KEEPS

FRI 19

RIGHT ROUND UP!

FEB 19

BLACK BROADWAY (21+)

SAT 20 SAT 20 FRI 26

80S ALT POP DANCE PARTY

CRYFEST

CURE VS SMITHS DANCE PARTY

DEAR CREEK

PISSED JEANS

DOWNTOWN BOYS

VOIVOD

SAT FEB 13

BURLESQUE-A-PADES

14 IN LOVELAND feat. ANGIE PONTANI, The Maine Attraction, Perle Noire, Helen Pontani, Cherie Nuit, Sunny Sighed & Bal’D Lightening, The Pontani Sisters and host MURRAY HILL

TANYA TUCKER Hollis 16 JACKIE GREENE Brown 18 THE MARSHALL TUCKER BAND

15

JUNIOR BROWN

19

Ruthie & The Wranglers

JEFFREY OSBORNE Jefferson 22 LEON RUSSELL Grizzard 23 THE ROBERT CRAY BAND Owen JOE PUG Danoff 24 ALTAN 25 26 FIREFALL & PURE PRAIRIE LEAGUE 27 THE FOUR BITCHIN’ BABES 21

Evening of Musical & Political Humor with MARK RUSSELL

28 An

GAELIC STORM 2 WYNONNA & The Big Noise “Stories & Song” w/Tim & Myles Thompson

Feb29 Mar 1

RACHELLE FERRELL

3&4

FRI FEBRUARY 12TH

THE PRINCE & MICHAEL JACKSON EXPERIENCE

SUN FEBRUARY 14TH

VALENTINE'S DAY BRUNCH FEAT.

MARCUS JOHNSON SUN FEBRUARY 14TH

MAYSA

VALENTINE'S DAY SHOW

MON FEBRUARY 15TH

DALEY

AVERY WILSON

FRI FEBRUARY 19TH

GIANMARCO SAT FEBRUARY 20TH

SUN FEBRUARY 21ST

15 17 18

TO BUY TICKETS VISIT TICKETFLY.COM

AMEL LARRIEUX

KICKING OFF VALENTINES DAY WEEKEND PRODUCED BY JILL NEWMAN PRODUCTIONS & BLISSLIFE ENT

WATCH Awards 2016 7pm JESSE COOK 8 LEO KOTTKE 10 KATHY MATTEA 11

6

14

TAKE METRO!

FRI FEBRUARY 12TH

COMEDY AT THE HOWARD

Jerry Douglas Presents

EARLS OF LEICESTER

WE ARE LOCATED 3 BLOCKS FROM THE U STREET/CARDOZO STATION

GREGORY PORTER

SWEEPSTAKES A CAPELLA FESTIVAL 2016

5 HARMONY

13

CHUCK RAGAN SAT FEB 16

THU FEBRUARY 11TH

JAZZ AT THE HOWARD

gw lisner auDitorium 730 21st St. NW. (202) 994-6800. Ladysmith Black Mambazo. 8 p.m. $40–$70. lisner.gwu.edu.

!

FEBRUARY SHOWS

WoRld UT

@blackcatdc

Winter Tour 2016 Songs for All Our Times

LD O

www.blackcatdc.com

Feb 12

SO

1811 14TH ST NW

For entire schedule go to Birchmere.com Find us on Facebook/Twitter!

Tix @ Ticketmaster.com 800-745-3000

LIZZ WRIGHT TAL WILKENFELD DWELE

Maia Sharp

MARSHALL CRENSHAW ROCKETS BOTTLE & THE(All 1/22 tix honored)

Chapman Larry Burnett AMERICA &Don 22 BIG BAD VOODOO DADDY presents THE AVETT BROTHERS DENNEN

20

with special guest BRETT

Sunday, May 15, 7:30pm

Tickets On Sale Now through Ticketmaster.com 800-745-3000

36 february 12, 2016 washingtoncitypaper.com

AN EVENING WITH

PAUL REISER

K’JON

MON FEBRUARY 22ND

JADAKISS

dJ nights howarD theatre 620 T St. NW. (202) 803-2899.

The Prince & Michael Jackson Experience with DJ Dave Paul. 11 p.m. $12–$15. thehowardtheatre.com.

Vocal atlas performing arts Center 1333 H St. NE. (202) 399-7993. Gay Men’s Chorus of Washington: Rock Creek Singers and Potomac Fever. 8 p.m. $20–$39. atlasarts.org.

saturday Rock blaCk Cat 1811 14th St. NW. (202) 667-4490.

Voivod, Vektor, Eight Bells. 9 p.m. $20. blackcatdc.com. the hamilton 600 14th St. NW. (202) 787-1000.

Flow Tribe, The Trongone Band. 8:30 p.m. $15–$25. thehamiltondc.com. roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Grizfolk, Knox Hamilton. 8 p.m. $15. rockandrollhoteldc.com.

Funk & R&B howarD theatre 620 T St. NW. (202) 803-2899.

The-Dream. 8 p.m. $25–$100. thehowardtheatre.com.

ElEctRonic eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Galantis, Matthew Koma, CID. 9 p.m. $36.80. echostage.com.

Jazz barns at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Bill Frisell. 7:30 p.m. $35–$40. wolftrap.org. bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Eric Roberson. 8 p.m. $50–$60. bethesdabluesjazz.com.

A CONVERSATION WITH

bohemian CaVerns 2001 11th St. NW. (202) 2990800. Integriti Reeves. 7 p.m. & 10 p.m. $25–$77. bohemiancaverns.com.

“ART, SEX, & DISOBEDIENCE”

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Kim Scudera with Batida Diferente. 8 p.m.

Free. mrhenrysdc.com.

THU FEBRUARY 25TH

twins Jazz 1344 U St. NW. (202) 234-0072. Eugenie Jones. 9 p.m. & 11 p.m. $20–$25. twinsjazz.com.

TUE FEBRUARY 23RD

PUSSY RIOT NAUGHTY BY NATURE 25TH ANNIVERSARY TOUR

FRI FEBRUARY 26TH MORGAN HERITAGE & BLACKALICIOUS SUN FEBRUARY 28TH

A DRAG SALUTE TO THE DIVAS BUY TICKETS AT THE BOX OFFICE OR ONLINE AT THEHOWARDTHEATRE.COM 202-803-2899

BluEs birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Tab Benoit with Patty Reese. 7:30 p.m. $29.50. birchmere.com.

WoRld state theatre 220 N. Washington St., Falls Church.

(703) 237-0300. Bebel Gilberto. 7 p.m. $35–$38. thestatetheatre.com.

opERa george mason uniVersity Center for the arts 4400 University Drive, Fairfax. (703) 993-2787.

Virginia Opera: Romeo and Juliet. 8 p.m. $48–$98. cfa.gmu.edu.

classical sixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Roomful of Teeth & American Contemporary Music Ensemble. 8 p.m. $35. sixthandi.org.

Vocal atlas performing arts Center 1333 H St. NE. (202) 399-7993. Gay Men’s Chorus of Washington: Rock Creek Singers and Potomac Fever. 5 p.m. & 8 p.m. $20–$39. atlasarts.org.

bohemian CaVerns 2001 11th St. NW. (202) 2990800. Loide. 6:30 p.m. & 9:30 p.m. $25–$77. bohemiancaverns.com. howarD theatre 620 T St. NW. (202) 803-2899.

Maysa. 8 p.m. $40–$90. thehowardtheatre.com. twins Jazz 1344 U St. NW. (202) 234-0072. Eugenie Jones. 8 p.m. & 10 p.m. $20–$25. twinsjazz.com.

BluEs 9:30 Club 815 V St. NW. (202) 265-0930. The Devil Makes Three, Langhorne Slim. 8 p.m. $22.50.

930.com. barns at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Marcia Ball. 7:30 p.m. $35–$40. wolftrap.org. maDam’s organ 2461 18th St. NW. (202) 6675370. The B.T. Richardson Band. 9 p.m. Free. madamsorgan.com.

aye nako at st. stephen’s Church, feb. 14

sunday Rock

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Protomartyr, Priests, Protect-U. 7:30 p.m. $15. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. The Milestones, The Humble, YUM. 8:30 p.m. $8. dcnine.com. galaxy hut 2711 Wilson Blvd., Arlington. (703) 525-8646. Buck Gooter, Don Zientara. 9 p.m. $5. galaxyhut.com. gypsy sally’s 3401 K St. NW. (202) 333-7700.

Half Step, The Fat Catz. 8 p.m. $14. Westerly Park. 8 p.m. Free. gypsysallys.com. musiC Center at strathmore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Alan Cumming. 8 p.m. SOLD OUT. strathmore.org. sixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Laura Jane Grace and The Devouring Mothers, Dave Dondero. 8 p.m. $20–$23. sixthandi.org.

ElEctRonic u street musiC hall 1115 U St. NW. (202) 5881880. Alison Wonderland, Golden Features, 2rip vs.

The Banditz. 10 p.m. SOLD OUT. ustreetmusichall.com.

Jazz amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Chaise Lounge.

8 p.m. $30–$40. ampbystrathmore.com. bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Eric Roberson. 7:30 p.m. $50–$60. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Marion Meadows. 7 p.m. & 10 p.m. $85. bluesalley.com.

opERa george mason uniVersity Center for the arts 4400 University Drive, Fairfax. (703) 993-2787.

Virginia Opera: Romeo and Juliet. 2 p.m. $48–$98. cfa.gmu.edu.

classical phillips ColleCtion 1600 21st St. NW. (202) 387-2151. Várjon-Baráti-Várdai Piano Trio. 4 p.m. $15–$30. phillipscollection.org.

Monday Rock

barns at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Graham Nash. 8 p.m. $80–$90. wolftrap.org. blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Hunter Valentine. 7:30 p.m. $12. blackcatdc.com. galaxy hut 2711 Wilson Blvd., Arlington. (703) 525-8646. Caz, Scotch Bonnets. 9 p.m. $5. galaxyhut.com. gypsy sally’s 3401 K St. NW. (202) 333-7700.

Dressy Bessy, Old Monk. 8 p.m. $10–$12. gypsysallys.com.

Funk & R&B howarD theatre 620 T St. NW. (202) 803-2899.

Daley, Avery Wilson. 8 p.m. $20–$35. thehowardtheatre.com. maDam’s organ 2461 18th St. NW. (202) 6675370. One Nite Stand. 9 p.m. Free. madamsorgan.com.

washingtoncitypaper.com february 12, 2016 37

oh, hello at warner theatre, feb. 14–17

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You can also check out our current free events listings and sign up to receive our weekly newsletter!

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jazzy Blu. 8 p.m. & 10 p.m. $20. bluesalley.com.

countRy

Rock

9:30 Club 815 V St. NW. (202) 265-0930. Unknown Mortal Orchestra, Lower Dens. 7 p.m. $25. 930.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Tanya Tucker. 7:30 p.m. $55. birchmere.com.

Dar Constitution hall 1776 D St. NW. (202) 628-4780. Bryan Adams. 8 p.m. $43–$89.95. dar.org.

classical

DC9 1940 9th St. NW. (202) 483-5000. Timmy’s Organism, Video, and Regression 696. 8:30 p.m. $10–$12. dcnine.com.

kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. Budapest Festival Orchestra with Iván Fischer, conductor, Marc-André Hamelin, piano. 8 p.m. $55–$120. kennedy-center.org.

gypsy sally’s 3401 K St. NW. (202) 333-7700.

Vanessa Silberman. 7:30 p.m. Free. Big Sam’s Funky Nation, 8 Ohms Band. 8 p.m. $12–$15. gypsysallys.com.

tuesday

u street musiC hall 1115 U St. NW. (202) 5881880. Kat Dahlia. 7 p.m. $20. ustreetmusichall.com.

Rock

9:30 Club 815 V St. NW. (202) 265-0930. Best Coast, Wavves, Cherry Glazerr. 7 p.m. $30. 930.com. barns at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Graham Nash. 8 p.m. $80–$90. wolftrap.org. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jackie Greene with Hollis Brown.

7:30 p.m. $20. birchmere.com. blaCk Cat 1811 14th St. NW. (202) 667-4490.

Chuck Ragan & The Camaraderie, Cory Branan. 7:30 p.m. $15. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. The Loved Ones, Friendship Commanders. 8 p.m. SOLD OUT. dcnine.com. gypsy sally’s 3401 K St. NW. (202) 333-7700.

Shaun Hopper. 8 p.m. $15. gypsysallys.com. Open Mic Night. Free. gypsysallys.com. u street musiC hall 1115 U St. NW. (202) 588-1880. SafetySuit, Connell Cruise. 7 p.m. $20. ustreetmusichall.com.

Funk & R&B

38 february 12, 2016 washingtoncitypaper.com

Wednesday

ElEctRonic flash 645 Florida Ave. NW. (202) 827-8791. Tycho.

8 p.m. $30. flashdc.com.

Jazz bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Kevin Howard. 8 p.m. $15. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Indigo Love tribute to Sarah Vaughan. 8 p.m. & 10 p.m. $25. bluesalley.com. twins Jazz 1344 U St. NW. (202) 234-0072. Nathan Hook. 8 p.m. & 10 p.m. $10. twinsjazz.com.

countRy maDam’s organ 2461 18th St. NW. (202) 6675370. Big Virginia Sky. 9 p.m. Free. madamsorgan.com. mansion at strathmore 10701 Rockville Pike, Rockville. (301) 581-5100. The Bumper Jacksons.

7:30 p.m. Free. strathmore.org.

classical

maDam’s organ 2461 18th St. NW. (202) 6675370. Clusterfunk. 9 p.m. Free. madamsorgan.com.

kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Conservatory Project: Students from the San Francisco Conservatory of Music. 6 p.m. Free. kennedy-center.org.

Jazz

dJ nights

blues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Michelle Walker. 8 p.m. & 10 p.m. $20. bluesalley.com.

roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Daybreaker. 6 a.m. $21.60–$37.05. rockandrollhoteldc.com.

thursday Rock

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Marshall Tucker Band. 7:30 p.m. $45. birchmere.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Keeps, Church Girls. 7:30 p.m. $12. blackcatdc.com. gypsy sally’s 3401 K St. NW. (202) 333-7700.

Willies Light. 7:30 p.m. Free. Elise Testone, The Watt Brothers. 8:30 p.m. $12–$15. gypsysallys.com. roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Georgetown Cabaret. 8 p.m. $12. rockandrollhoteldc.com. sixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Where’s the Band? with Chris Conley (Saves The Day), Dan Andriano (Alkaline Trio), Matt Pryor (The Get Up Kids), Anthony Raneri (Bayside), and Andy Jackson (Hot Rod Circuit). 8 p.m. $16–$19. sixthandi.org.

VelVet lounge 915 U St. NW. (202) 462-3213. The Chariots, The Captivators. 9 p.m. $5. velvetloungedc.com.

Villain & saint 7141 Wisconsin Avenue, Bethesda. (240) 800-4700. The Shift. 8 p.m. $7–$10. villainandsaint.com.

Funk & R&B the hamilton 600 14th St. NW. (202) 7871000. Meshell Ndegeocello, Chargaux. 7:30 p.m. $37–$46.50. thehamiltondc.com.

ElEctRonic flash 645 Florida Ave. NW. (202) 827-8791. Lum. 8 p.m. $10. flashdc.com. u street musiC hall 1115 U St. NW. (202) 5881880. Timo Maas, Jandro. 9 p.m. $10. ustreetmusichall.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Kim Waters. 8 p.m. & 10 p.m. $43–$48. bluesalley.com. bohemian CaVerns 2001 11th St. NW. (202) 299-0800. Christie Dashiell. 7:30 p.m. & 9:30 p.m. $18–$23. bohemiancaverns.com. howarD theatre 620 T St. NW. (202) 803-2899.

Living Colour. 7:30 p.m. $25–$60. thehowardtheatre.com. twins Jazz 1344 U St. NW. (202) 234-0072. The Twins Jazz Orchestra. 8 p.m. $5. twinsjazz.com.

countRy DC9 1940 9th St. NW. (202) 483-5000. Freakwater, Jaye Jayle. 9 p.m. $12. dcnine.com. fillmore silVer spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Eli Young Band. 8 p.m. $20. fillmoresilverspring.com. hill Country liVe 410 7th St. NW. (202) 5562050. Jason Eady, Mike & the Moonpies. 8:30 p.m. $10–$15. hillcountrywdc.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. By & By. 8 p.m. Free. mrhenrysdc.com.

hip-hop 9:30 Club 815 V St. NW. (202) 265-0930. The Soul Rebels Sound System featuring Taleb Kweli. 10 p.m. $25. 930.com.

classical mansion at strathmore 10701 Rockville Pike, Rockville. (301) 581-5100. Dan Tepfer’s Acoustic Informatics, International Contemporary Ensemble.

7:30 p.m. $30. strathmore.org.

musiC Center at strathmore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: An Evening with Sutton Foster. 8 p.m. $40–$104. strathmore.org.

gospEl barns at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. The Jones Family Singers. 8 p.m. $25. wolftrap.org.

theater

agents of azeroth The Washington Rogues present this new work based on Edward Snowden’s revelation that NSA and CIA agents spent much time and money investigating World of Warcraft online communities. The company wonders what the agents found and question the surveillance of our online activity in Jennifer Lane’s new play. Flashpoint Mead Theatre Lab. 916 G St. NW. To Feb. 14. $15–$20. (202) 315-1305. culturaldc.org. antigone proJeCt: a play in 5 parts Five female playwrights present their personal takes on Sophocle’s Antigone, imagining it in different places and times, as part of this evening-length work. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. Feb. 17 to March 6. $15–$40. (443) 518-1500. repstage.org. between riVersiDe anD Crazy A disgruntled ex-cop battles to keep an enormous rent-controlled apartment and put down his demons in this dark, Pulitzer Prize-winning comedy from author Stephen Adly Guirgis, whose previous play, The Motherfucker With the Hat, played to acclaim at Studio three seasons ago. Studio Theatre. 1501 14th St. NW. To Feb. 28. $20–$86. (202) 332-3300. studiotheatre.org. br’er Cotton Tearrance Chisholm’s play follows Ruffrino, a young man determined to break out of his quiet family and assert himself in the world in the wake of the Black Lives Matter movement. Catholic University of America. 620 Michigan Ave. NE. To Feb. 20. $5–$15. (202) 319-4000. cua.edu.

Carmen: an afro-Cuban Jazz musiCal Tonynominated director Moisés Kaufman writes and directs this new adaptation of Georges Bizet’s opera.

The setting moves to 1950s Cuba and Carmen works as an arms smuggler, but the central story of two lovers divided by outside forces remains as timeless as ever. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 6. $18–$75. (301) 924-3400. olneytheatre.org. the City of ConVersation In this play tailor fit for D.C., a Georgetown hostess crafts political alliances and faces off with foes from the comforts of her living room, only to have her world rocked by the arrival of her son’s conservative wife. Doug Hughes directs the area premiere of Anthony Giardina’s comedy. Arena Stage. 1101 6th St. SW. To March 6. $55–$90. (202) 488-3300. arenastage.org.

Collaborators John Hodge’s dark comedy imagines a conversation and relationship between Russian writer Mikhail Bulgakov and Joseph Stalin.

Spooky Action’s production features a variety of local actors, including Joe Duquette and Paul Reisman. Spooky Action Theater. 1810 16th St. NW. To March 6. $25–$35. (301) 920-1414. spookyaction.org.

Constellations A theoretical physicist and a beekeeper might not fall in love in a typical environment, but in this play by Nick Payne, they find themselves drawn to each other. David Muse directs this show as part of the Studio X series. Studio Theatre.

1501 14th St. NW. To March 6. $20–$55. (202) 3323300. studiotheatre.org. the CritiC anD the real inspeCtor hounD Shakespeare Theatre Company opens 2016 with two plays in one evening, both behind-the-scenes looks at life in the theater. Jeffrey Hatcher’s adaptation of Richard Brinsley Sheridan’s 18th-century comedy The Critic is followed by Tom Stoppard’s The Real Inspector Hound, a mystery about two critics who become suspects when they see a murderous play. Lansburgh Theatre. 450 7th St. NW. To Feb. 14. $20–$108. (202) 547-1122. shakespearetheatre.org.

washingtoncitypaper.com february 12, 2016 39

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equus A troubled young man’s obsession with horses turns violent and a dedicated psychiatrist attempts to figure out how to treat the situation in this dark drama by Peter Shaffer. Constellation Theatre at Source. 1835 14th St. NW. To Feb. 14. $20–$45. (202) 204-7741. constellationtheatre.org.

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eretz ChaDasha This documentary-style play looks at the many Sudanese refugees who fled their country and took up residence in Israel. Told from the perspective of young Israeli actors, the production is led by Michael Bloom, former artistic director of the Cleveland Playhouse. Woolly Mammoth Theatre, Melton Rehearsal Hall. 641 D St. NW. Feb. 16 to Feb. 28. $20–$50. (202) 393-3939. woollymammoth.net. father Comes home from the war (parts i, ii, & iii) Suzan-Lori Parks’ play follows a slave from his West Texas home to the Confederate battlefields. To deepen the emotion of the work, Parks incorporates plot elements from ancient Greek dramas into this messy and powerful work. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Feb. 28. $36–$66. (240) 644-1100. roundhousetheatre.org. the glass menagerie Ford’s presents Tennessee Williams’ dark drama about Amanda, a mother trying to create a suitable life for her dependent adult children. When a suitor arrives to meet her shy daughter, Laura, Amanda must figure out how to connect reality with her dreams for her family. Ford’s Theatre. 511 10th St. NW. To Feb. 21. $20–$62.

(202) 347-4833. fordstheatre.org. guarDs at the taJ Two guards tasked with overseeing the completion of the Taj Mahal are assigned to do something so gruesome that it will alter their lives and relationship for years to come in this tragicomedy from playwright Rajiv Joseph. Woolly Mammoth Theatre. 641 D St. NW. To Feb. 28. $43–$68.

(202) 393-3939. woollymammoth.net. legaCy street In the world premiere of Lauren Jane Redmond’s play, a group of residents struggle to piece their lives back together following the takedown of a local drug lord. Catholic University of America. 620 Michigan Ave. NE. To Feb. 21. $5–$15.

(202) 319-4000. cua.edu. a miDsummer night’s Dream Favorite local actors, including Holly Twyford and Erin Weaver, appear in Aaron Posner’s new staging of Shakespeare’s magical comedy about challenged lovers, fairies, and donkeys. Folger Elizabethan Theatre.

201 E. Capitol St. SE. To March 13. $35–$75. (202) 544-7077. folger.edu. piCasso at the lapin agile Steve Martin’s absurdist comedy set in a Paris cafe finds Albert Einstein and Pablo Picasso interacting right before both of them become important figures in the science and art worlds. Meeting crazy bystanders as they discuss the events of the world, the two icons become humanized and silly in Martin’s play. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Feb. 14. $30–$40. (703) 892-0202. keegantheatre.com. roaD show Signature presents its 26th musical by Stephen Sondheim, this time taking on the story of two brothers who spend their days traveling around the world, from Alaska to India to Boca Raton. Gary Griffin directs this production, which he originally created at the Chicago Shakespeare Theater. Signature Theatre. 4200 Campbell Ave., Arlington. To March 13. $40–$72. (703) 820-9771. sigtheatre.org. romeo anD Juliet Synetic Theater brings back its popular silent production of the classic tale of young love and tragic loss seven years after it debuted.

Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To March 27. $15–$60. (866) 811-4111. synetictheater.org. señorita y maDame: the seCret war of elizabeth arDen anD helena rubinstein Gustavo Ott’s comedy about dueling women at the heads of the marketing and cosmetics world and the conflicts that impact their careers is brought to life

by Consuelo Trum. GALA Hispanic Theatre. 3333 14th St. NW. To Feb. 28. $20–$42. (202) 234-7174. galatheatre.org.

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Fri & Sat, Feb. 12 & 13 at Midnight!

Buy Advance Tickets Online

tickets.landmarktheatres.com FEATURING LIVE SHADOW CAST SONIC TRANSDUCERS!

shake loose: a musiCal night of blues, mooDs, anD iCons This new revue pays tribute to Thomas Jones II, William Knowles, and William Hubbard, the composers of popular musicals, like Three Sistahs, Bessie’s Blues, and Harlem Rose, that have previously been hits at MetroStage. MetroStage.

1201 N. Royal St., Alexandria. To March 6. $55–$60.

(703) 548-9044. metrostage.org. the sisters rosensweig Three sisters come together to celebrate a birthday and reconnect after being apart in this classic comedy by Wendy Wasserstein. Theater J. 1529 16th St. NW. To Feb. 21. $27–$57. (202) 777-3210. theaterj.org. st. niCholas A mad theater critic follows an actress to London with disastrous results but somehow connects with a vampire eager to offer him a new job opportunity in this ridiculous comedy from playwright Conor McPherson. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Feb. 21. $40–$50. (240) 582-0050. stageguild.org. sweat Arena Stage presents the world premiere of Lynn Nottage’s play about factory life at the turn of the 21st century. When workers in one Pennsylvania town hear rumors of layoffs and encounter a horrific crime, each character must figure out how to move forward when the future seems uncertain. Arena Stage. 1101 6th St. SW. To Feb. 21. $55–$110. (202) 488-3300. arenastage.org. when the rain stops falling Michael Dove directs this production of Andrew Bovell’s family drama that spans multiple generations and locations to tell the story of fathers and sons, mothers and daughters, and the events that happen over the course of 80 years. 1st Stage. 1524 Spring Hill Road, McLean. To Feb. 28. $15–$30. (703) 854-1856.

1ststagespringhill.org.

FilM

the ChoiCe Two young neighbors living in bucolic Beaufort, S.C. fall in love in this film adapted from the Nicholas Sparks novel of the same name. When Gabby falls into a coma following an accident, her

boyfriend Travis must decide whether to keep her alive or let her go. (See washingtoncitypaper.com for venue information) A soldier, subjected to a strange n DeaDpool experiment, develops advanced healing powers and goes on to use his strength to take on the man who almost killed him in this film based on the Marvel character. Starring Ryan Reynolds, T.J. Miller, and Morena Baccarin. (See washingtoncitypaper. com for venue information) hail, Caesar! George Clooney, Tilda Swinton, Channing Tatum, and many more stars appear in the Coen brothers’ latest caper, which follows the humorous rescue of a famous actor after he is kidnapped by a mysterious group. (See washingtoncitypaper.com for venue information) to be single Dakota Johnson and Rebel n how Wilson play two ladies in search of love, companionship, and good sex in New York City in this romantic comedy directed by Christian Ditter. (See washingtoncitypaper.com for venue information) priDe anD preJuDiCe anD zombies Elizabeth Bennet is pursued by Mr. Darcy and the undead in this adaptation of Jane Austen’s novel that finds England overrun with these creepy menaces. (See washingtoncitypaper.com for venue information) zoolanDer 2 Ben Stiller assumes his supern model alter ego one more time in this sequel that finds Derek zoolanDer working with Interpol to stop the assassination of models around the world. Co-starring Will Ferrell, Owen Wilson, and Penélope Cruz. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones. washingtoncitypaper.com february 12, 2016 41

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Legals WASHINGTON LATIN PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS Van/Bus Issued: February 12, 2016 Washington Latin is soliciting proposals from qualifi ed vendors to provide sales of a van or bus for transportation purposes.

Questions and proposals may be e-mailed directly to Washington Latin PCS (bpaul@latinpcs.org) with the subject line as the type of service, Van/Bus. Deadline for submission is 12 noon on Friday, February 19, 2016.

E-mail is the preferred method for responding, but you may also mail proposals and supporting documents to the address below. All materials for proposals must be in our offi ce by the above deadline.

Washington Latin Public Charter School Attn: Business Offi ce 5200 2nd Street, NW Washington, DC 20011

Legals Briya/Bridges Public Charter Schools Request for Proposals Dental Equipment Bridges Public Charter School and Briya Public Charter School, through the Mamie D. Lee, LLC partnership herewith invite all interested parties to submit proposals to provide Dental Equipment for the proposed Dental Clinic in a permanent facility for its subtenant Mary’s Center. The required substantial completion date for the project September 15, 2016. The complete RFP can be obtained by contacting Bob Waechter at bw@cpmfirm.com .

RFP’s will be distributed starting on Monday, February 15th, and are due by 5:00 p.m. on Friday, February 26th.

Ingenuity Prep Public Charter School solicits proposals for a strategic planning consultant.

Please go to http://www.ingenuityprep.org/bids to view a full RFP offering, with more detail on scope of work and bidder requirements.

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Legals SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION Name of Decedent, Maria A. McAtee Notice of Appointment, Notice to creditors and Notice to Unknown Heirs, Linda B. Schilder and . Daniel D. McAtee, whose addresses are: 43 Crosstree Patio, Hilton HeadIsland, SC299267/ 3100 Connecticut Ave. NW, #235 WDC 20008 were appointed Personal Representative(s) of the estate of Maria A. McAtee who died on August 7, 2015 with a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment (or to the probate of decedent’s Will) shall be filed With the Register of Wills, D.C., Building A,515 5th Street, N.W., 3” Floor, Washington, D.C. 20001, on or before 8/4/16.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before 8/4/16, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its first publication shall so inform the Register of Wills, including name, address and relationship.

Date of first pubfi cation: 2/4/16.

Personal Representatives: Linda B. Schilder, Daniel D. McAtee.

TRUE TEST COPY /s/ ANNE MEISTER Register of Wills. Name of Newspapers: DWLR, WASHINGTON CITY PAPER. Pub Dates: Feb 4, 11, 18, 2016.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION -2015 ADM 1310 Name of Decedent: Nathaniel Clark Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs: Heather Brown, whose address is 17808 Grener Cove Pflugerville TX 78660 was appointed Personal Representative of the estate of Nathaniel Clark who died on October 25, 2015 without a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., - Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before 8/11/16. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before 8/11/16 or be forever barred.

Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: Feb. 11, 2016 /s/ Heather Brown.

TRUE TEST COPY /s/ ANNE MEISTER Register of Wills. Name of Newspapers: DWLR, WASHINGTON CITY PAPER. Pub Dates: Feb. 11, 18, 25, 2016.

Legals

Roommates

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The Cesar Chavez Public Charter Schools is looking for a qualifi ed contractor that will work directly with the Marketing & Communications Manager to support and enhance the Chavez Schools’ mission and brand in the local and national media landscape and assist Chavez Schools CEO in securing partnerships, speaking engagements, etc...

The full text of the proposal is available upon request by sending an e-mail to: ashlee.lawson@ chavezschools.org.

Proposals are due to chavezbids@chavezschools.org no later than 2:00PM on Feb. 29, 2016.

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p as the most discriminating against in this country, and all over the world. In UNWELCOMED AND STIGMATIZED, the plight of Mexicans and other South American laborers is exposed. And the fi nancial favoritism enjoying by other ethnic immigrants in the United States. In HOSPITALITY IS COLOR, customer services is presented as an other aspect of white privilege. Even when blacks are on the other side of the counter, as customers, they’re still being discriminated against. In HIP HOP PARADE, the demonization of black music, especially hip hop, is demystifi ed. The question about black males apparent obsession with big booties, is answered. And when black people became aware of their bodies. In ROMAN GLADIATORS REBORN, athletes are liken to old Roman gladiators fighting in YOUR RomanOUTLET. Colosseums. To FIND please the higher ups. Black athRELAX, UNWIND, REPEAT letes contribution to the world of CLASSIFIEDS HEALTH/ sport is highlighted.

IN EDUCATED FOOLS, exposed the cockiMIND, BODY & SPIRIT ness from certain educated blacks http://www.washingtontoward those without an educacitypaper.com/ tion.

Alienating theirs, in their pursuit of racial integration with whites. Talks about affirmative action. How even when most blacks have an education, that doesn’t mean they can earn themselves better lives in this country.

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