Washington City Paper (March 2, 2018)

CITYPAPER Washington

Free VoluMe 38, no. 9 washingtoncityPaPer.coM March 2-8, 2018

THE ANSWERS ISSUE

Politics: Mayor Barry is Back for good 5 food: on the joB with lady security guards 15 Arts: d.c. theater scene deals with #Metoo 19

2 march 2, 2018 washingtoncitypaper.com

INSIDE on tHe CoVer: tHe anSwerS ISSUe 8

Once again, we’ve solved the D.C. mysteries that consume your minds.

DIStrICt LIne 5 Mayor barry is back: The Mayor for Life returns to the Wilson Building in the form of a statue.

6 savage love 7 gear prudence

FooD 15 changing of the guard: Women working security at D.C. bars and restaurants still encounter harassment.

17 rolling in dough: New pastry options to pair with your morning coffee.

17 hangover helper: Supra’s Ajaruli Ketse Bostneuli

artS 19 house rules: Women are leading the charge to make D.C. theaters safer.

21 curtain calls: Klimek on Theater Alliance’s The Raid, Lyons on Signature’s Light Years, and Croghan on Spooky Action’s The Lathe of Heaven 24 sketches: Anderson on the National Portrait Gallery’s Obama portraits 25 short subjects: Zilberman on Bombshell: The Hedy Lamarr Story

CIty LISt 27 31 31 32 34

Music Books Dance Theater Film

DIVerSIonS 34 Crossword 35 Classifieds

Darrow MontgoMery 1500 Block of Pennsylvania ave. nW, feB. 21

EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes city lights editor: kAylA rAndAll loose lips reporter: Andrew giAmbrone staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: john Anderson, morgAn bAskin, VAnce brinkley, kriston cApps, chAd clArk, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim ebner, cAsey embert, jAke emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA kolson hurley, louis jAcobson, rAchAel johnson, chris kelly, steVe kiViAt, chris klimek, priyA konings, julyssA lopez, Amy lyons, neVin mArtell, keith mAthiAs, j.f. meils, triciA olszewski, eVe ottenberg, mike pAArlberg, pAt pAduA, justin peters, rebeccA j. ritzel, Abid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn trombly, kAArin VembAr, emily wAlz, joe wArminsky, AlonA wArtofsky, justin weber, michAel j. west, diAnA yAp, AlAn zilbermAn

ADvERTIsIng AnD OpERATIOns

publisher: eric norwood sales Manager: melAnie bAbb senior account executives: renee hicks, Arlene kAminsky account executives: chAd VAle, brittAny woodlAnd sales operations Manager: heAther mcAndrews director of Marketing, events, and business developMent: edgArd izAguirre operations director: jeff boswell senior sales operation and production coordinator: jAne mArtinAche publisher eMeritus: Amy Austin graphic designers: liz loewenstein, melAnie mAys

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local advertising: (202) 650-6937 fax: (202) 650-6970, Ads@wAshingtoncitypAper.com find a staff directory With contact information at WashingtoncityPaPer.com vol. 38, no. 9 March 2–8, 2018 wAshington city pAper is published eVery week And is locAted At 734 15th st. nw, suite 400, wAshington, d.c. 20005. cAlendAr submissions Are welcomed; they must be receiVed 10 dAys before publicAtion. u.s. subscriptions Are AVAilAble for $250 per yeAr. issue will ArriVe seVerAl dAys After publicAtion. bAck issues of the pAst fiVe weeks Are AVAilAble At the office for $1 ($5 for older issues). bAck issues Are AVAilAble by mAil for $5. mAke checks pAyAble to wAshington city pAper or cAll for more options. © 2018 All rights reserVed. no pArt of this publicAtion mAy be reproduced without the written permission of the editor.

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DistrictLine Mayor Barry Is Back

Darrow Montgomery

An 8-foot bronze statue of D.C.’s forever-Mayor Marion Barry will be unveiled Saturday on Pennsylvania Avenue NW.

By Tom Sherwood

Steven Weitzman

Courtesy Marion Barry Legacy Committee

If MarIon Barry cut a larger-than-life figure in city politics for 50 years, get ready for his next act. Barry is back. Scores of critics will be inflamed anew, his supporters happy to see their old friend Boss Barry again.

Newer residents of the city may not understand what all the fuss is about.

An elaborate ceremony next Saturday morning will unveil an 8-foot-high, life-like statue of Barry in a classic pose: hand up waving to the crowd, a confident hitch in his step, sporting his prized snakeskin shoes.

The statue will stand—no, it will command— the northeast corner of the John A. Wilson Building, the city government headquarters at 1350 Pennsylvania Avenue NW. And its presence on America’s Main Street is permanent, just like the ongoing divide about Barry. Was he a good mayor who did too many bad things, or a bad mayor who did some good things?

When Barry died in November 2014, the New York Times summed up our local politician known worldwide.

“Mr. Barry was a charismatic yet confounding politician,” the Times wrote. “Admirers saw him as a Robin Hood who gave hope to poor black

Ward 8 Council seat. Then, improbably, he won the mayor’s office for a fourth time in 1994, his supporters gleefully waving signs and shouting, “Barry’s Back!” He later won the Ward 8 Council seat yet again, serving until he died.

When the statue was first announced more than a year ago, one person tweeted that he’d place a crack pipe in Barry’s hand if the statue went up. He wasn’t alone in his disdain.

Opinions of Barry are as sharply drawn as the cut of his statue’s suit.

From his civil rights activism to his first election as mayor in 1978, Barry had opened all levels of the local government to the city’s majority African-American population that largely had been bit players in city politics. Barry’s policies helped jump-start redevelopment of downtown Washington in the 1980s, a precursor of the development still sweeping the city today.

His summer youth jobs program gave new opportunities to tens of thousands of young Afri-

residents. His detractors saw a shameless rogue who almost ruined the city by stuffing its payroll with cronies and hacks and letting services decay. Indisputably, he was a political Lazarus with a gift for convincing his followers that their hopes and disappointments were his, too.”

Barry’s political career was interrupted in 1990 by his misdemeanor conviction for cocaine drug use and the six months in prison that followed. In 1992, a renewed Barry won a

can-Americans. When confronted with managerial problems—some youths didn’t show up and got paid, other youths showed up and didn’t get paid—Barry shrugged off the critics, pointing to the overall good achieved. Current Mayor Muriel Bowser last year named the summer jobs program for Barry. Bowser also established the legacy commission that led to the statue. She’ll speak at the statue dedication on Saturday.

A few dozen veterans of the Barry years re-

cently crowded into the Prince George’s artist studios of sculptor Steven Weitzman to see the finished project at a private reception. No photography was allowed.

Weitzman seems to have gotten Barry spot on. The small crowd applauded with warm recognition of the man so influential in their lives, now looming over them in classic bronze. The District government budgeted $300,000 for the statue. Weitzman was paid $50,000, and the remainder went to his materials, site work, and guiding the project through the lengthy local and federal approvals needed. It was the federally appointed Commission of Fine Arts that recommended the statue be 8 feet, not 6.

Cora Masters Barry, who was separated from Barry but still married to him and advising him when he died, helped oversee the creation of the statue. She carried Barry’s suits and shirts, his watch and shoes to the sculptor in the early process. She made frequent visits to the studio, invited to offer guidance on Barry’s facial expressions.

Weitzman, an accomplished sculptor, did the Frederick Douglass statue that represents the District in the halls of Congress. Still, it will be unique to have a black man’s statue so prominent on Pennsylvania Avenue NW, where millions of tourists and presidential inaugural parades pass by.

Of more than 100 exterior statues in the District of Columbia, only a few commemorate African-Americans, including Martin Luther King Jr., Duke Ellington, singer Chuck Brown, Mary McLeod Bethune, and Carter G. Woodson. None but King will be as visible as Barry standing between Congress and the White House.

Barry joins one other nearby statue, Alexander “Boss” Shepherd, who stands on the western corner of the Wilson Building. That statue has its own tale. It had been removed from the front of the building in 1979 by Barry himself. It was replaced in 2005 after a public campaign led by local historian Nelson Rimensnyder and the Association of Oldest Inhabitants of D.C. (AOI).

Shepherd was a post-Civil War local official and territorial D.C. governor who nearly bankrupted the nation’s capital with aggressive spending on infrastructure. But his bold modernizing of the city streets dragged D.C. into the next era.

On Saturday, Pennsylvania Avenue NW will be closed off around the Wilson Building. The 11:30 a.m. ceremony will feature singing and tributes. It’s time, Cora Barry says, to solidify Barry’s place in city history. The statue certainly will do that as it rekindles the endless argument about him.

CP

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I recently stumbled on an Instagram account of a young woman who’s a “knife play” enthusiast. I consider myself sex-positive, but I must say I was disturbed by the images. I was also shocked that I didn’t know this was a thing! But of course it’s a thing cuz everything is a thing, right? I don’t want to outlaw it, and everyone has a right to their kinks, I guess, but I’m so wigged out! I guess I don’t have a question here besides wondering what you think about it. Ick! —Can’t Understand This Everything is, indeed, a thing, CUT, and intimidating things like knives—objects that symbolize power, danger, and control—are far likelier to become things (fetishized objects) than non-threatening things like waffle irons or useless things like moderate Republicans. As for what I think about knife play, well, it’s definitely not for me. But if someone wants to incorporate knife play into their sex life safely, responsibly, and consensually, and package it in a manner that doesn’t violate Instagram’s terms of service, I don’t have a problem with it.

—Dan Savage I’m a first-time dog owner. I LOVE my dog, but here’s the thing: He sleeps in my bed with me, and would probably whine and bark at this point and wake up my roommates if I kicked him out of the room. Is it wrong to masturbate when my dog is on my bed? He’s not always sleeping. Could this damage my pup in some way?

—Conundrums Are Tacky Dogs have been watching humans fuck for 30,000 years. So long as your pup is a passive observer and not (ick) an active participant, he’ll be fine and you won’t go to jail.

—DS

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About three years ago my wife declared an end to sex. (We are in our late sixties.) However, she insists on “taking one for the team” once a month.

She makes it clear she derives no enjoyment from sex, but I cannot refuse to participate without a huge fight. I find that I have developed a sexual attraction to other men my age. Every man I encounter in gay bathhouses considers oral sex safe, and no one wants to use a condom. Most of these guys seem very experienced and are not worried about STDs from oral sex. Should I be worried?

—Concerned Older Man Enquires You can get all sorts of things from giving and receiving oral sex: gonorrhea, syphilis, chlamydia, herpes, etc. My advice: Stop having sex with your wife so long as you’re seeking out men in bathhouses. I suspect your wife is only fucking you once a month to keep you from straying (which you’re already doing) because she believes—incorrectly—that if you aren’t getting sex at home, COME, you’ll leave her to go get sex. That’s obviously not

6 march 2, 2018 washingtoncitypaper.com

the case—you’re getting sex elsewhere without her knowledge (or her consent and putting her at risk in the process) and you aren’t leaving. Tell her you’re also done with straight sex (the “straight” can be silent), have one last huge fight, and then go suck some dick.

—DS

Objects that symbolize power, danger, and control are far likelier to become things (fetishized objects) than nonthreatening things like waffle irons or useless things like moderate Republicans.

Gay and married here. My dad got on Instagram, followed me and some of my friends, and then requested to follow a friend whose account is private. My friend stupidly approved my dad’s request without realizing it was my dad. There were some R-rated photographs of my husband and me having some pretty kinky (and pretty great) sex with our friend on his account. My dad called me screaming about how he and my late mom were faithful to each other for 42 years and that’s what marriage means and my husband and I shouldn’t have gotten married at all if we were going to be having sex with other people. Just before my mother died she confided in me about an affair she’d had and asked me to retrieve and destroy some letters and cards, which I did.

I’ve had three screaming fights with my dad about monogamy in the last two weeks. Can I tell him his marriage wasn’t monogamous?

—Son Blows Friend, Dad Blows Gasket No, SBFDBG, you can’t. Your mom isn’t around to defend herself and, absent proof of the affair, your dad will think it’s a spiteful (and incredibly) hurtful lie. And even if you had proof, SBFDBG, telling your father about your mother’s affair would be an act of grotesque cruelty.

You have every right to be angry—your dad is being an asshole—but poisoning his memories of his marriage isn’t a proportionate response

to his assholery. Instead, tell your dad your sex life is none of his business and that you refuse to discuss it with him any further. If he brings it up, hang up. Repeat as necessary.

Your mom wanted to take this to the grave and you promised her—on her deathbed—that you would help her do just that. Don’t betray her.

—DS I’m a 52-year-old woman who has been in an open relationship with my partner for 2.5 years.

Great sex, intense connection, best friends! Early on he expressed a desire for me to play with his ass. At first I did, but I was never comfortable with it. I’m not into anal myself and doing anal with him turns me off. Over the course of the 2.5 years he’s become very frustrated. I tell him to go find a woman or a man who enjoys ass as much as he does and play with them. We are in an open relationship, after all. He claims he has no time to date anyone else. We are at a crossroad in our relationship. He’s suggesting that I play with his ass or we go our separate ways. It’s ludicrous to me that it has come to this. Any words of wisdom?

—Ass Play Or Else Your “best friend” is a petulant, manipulative asshole. DTMFA. —DS The idea of spanking my wife really captures my sexual imagination. I don’t want to inflict a lot of pain, but seeing her over my lap with a bit of pink on her ass is the hottest thing in the world to me. My wife indulged me once—it was incredibly hot for me, but she found it degrading and refuses to do it again. By her own admission, I treat her with respect in our day-today lives. I would be ecstatic even if we only did this rarely, say, once a month. Again, no dice from the wife—it’s degrading, end of discussion. Otherwise, our sex life is fantastic. I believe that Dear Prudence would side with my wife: If you don’t enjoy it, don’t do it. My view is that it’s a small inconvenience that brings your husband an incredible amount of joy, so of course you should do it! What are your thoughts?

—Wife Is So Hot Over The Knee If I were your wife, WISHOTK, your argument would carry the day—but I’m not your wife.

Your wife is your wife and she gave spanking a try, found it degrading in a non-sexy way, and doesn’t want to do it again. And that’s the notthe-least-bit-pink end of it. Being treated with respect by our romantic partners—literally the bare-ass minimum—doesn’t obligate us to indulge our partners in sex acts we find unpleasant, degrading, or disgusting. So you’ll have to settle for that otherwise fantastic sex life.

—DS Email your Savage Love questions to mail@savagelove.net.

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Dear BIKETWIN: Obviously the best way to tell a friend that you disapprove of his action is to write to GP, hope he reads it and realizes that it’s about him, immediately sees the errors of his ways, cancels his order, and makes some flashy public apology, perhaps involving a Jumbotron. Or, you could just talk to him about it like normal person. But before you do, figure out the root cause of your frustration and whether your verdict of “not cool” behavior is accurate.

You posted your bike build on Facebook.

Maybe you expected everyone to praise you for your good taste—which, other than spreading agitprop and learning how racist friends of friends are, is pretty much the only reason to be on there—but you had to have realized that sharing something on social media hardly sends the message that it’s a closely guarded secret. You put the info out there and your friend (who admires your good taste!) pounced without doing any of the work of spending months poring over bike parts. You can’t be too mad about this—you’re the one who told him about it!

That said, nobody likes a copycat. Imitation may be the sincerest form of flattery, but you don’t want to be flattered—you want to be the guy with the badass unique dream bike. Your friend swooping in after the fact and getting the same one feels bad because it diminishes the specialness of your bike. You saw the bike purchase as the culminating event of a long-term process and a reflection of your personal expertise, and he reminded you that, nope, the bike is an object, no more special than any other object that can be bought. Of course this hurts your feelings, and you can tell him as much, but don’t lose sight of the most important thing: No matter what he does, you still get your dream bike.

Maybe it’s not one-of-a-kind, but it’s yours.

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

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Gear Prudence: Over the last few months, I’ve put together my ‘dream bike’ build. Piece by piece, I selected the exact components and a pretty expensive and rare frame. I put in the order for everything and proudly posted my parts list on Facebook. About a week later, I got a message from a friend of mine who said he’d always admired my taste and that it inspired him to order essentially the same exact bike. Him copying me, especially after I put so much time and effort into selecting everything (especially the very rare frame) seems so wrong. Maybe I shouldn’t be mad about it, but I am. How do I tell him that what he’s doing is not cool?

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THE ANSWERS ISSUE The questions our readers submit to City Paper’s annual Answers Issue give us some insight into what they’re thinking about, be it development, restaurants, or odd pieces of street art. This year, one question invoked pro-D.C. action from a California senator. Transportation was also top of the mind. Metro’s continuous delays and the federal government’s increased intervention in the District are clearly rubbing off.

So, once again, we acted as researchers and historians to figure out why D.C. television viewers receive three PBS channels, how traffic signals are timed, and what lurks in underground tunnels. Public information officers were called, questions were relayed, and answers were recorded, like an elaborate game of Telephone. Most of this year’s mysteries were solved with relative ease, but plenty more still exist. Until next year, keep wondering about strange building facades, awkwardly drawn streets, and questionable contracts.

—Caroline Jones Photographs by Darrow Montgomery

Are all the new dockless bikes hurting Capital Bikeshare membership growth or ridership?

Counterintuitively, no. Or at least not so far. When five new dockless bike share providers entered the scene in September, it was easy to view them as rivals to Capital Bikeshare, the stalwart docked system with 269 stations throughout the region. Dockless bikes offered cheaper rides and the freedom to leave them wherever you want. But while they offer a different flavor of bikesharing, they’re not proving to be competitors.

According to the District Department of Transportation, not only is Capital Bikeshare ridership up from where it was at this time last year, but their initial analysis suggests that dockless bike share is complementing the existing system rather than drawing users from it. The total number of bike share trips (Capital Bikeshare and dockless bike share) has increased.

But this could still change. During the pilot, each dockless provider can only have 400 bikes, making them relatively inaccessible compared to the thousands of Capital Bikeshare bikes. If the cap is lifted and dockless bikes flood the streets with equal or superior numbers, even the most diehard Capital Bikeshare addict might make the switch.

—Brian McEntee

8 march 2, 2018 washingtoncitypaper.com

Between K and L streets NW on 14th Street NW, there’s a building with a Brown Bag in it. But look way up high and there’s a weird Roman column area on top of this building. What’s up with that? Is it for rituals, or something else?

Is it a helipad? I gotta know!

Sorry. Like many things in Washington, it only appears to be something important. It’s a Tuscan-style bell tower that is neither Tuscan nor a home for bells. “It’s not used for anything,” an office manager told us. Turns out, it’s merely an ornamentation topping off Franklin Court at 1099 14th Street NW, which was built in a mostly postmodern style and opened in 1992.

Architecture critic Benjamin Forgey wrote in the Washington Post in 1993 that the tower was part of a movement to break the rigid, square box tops that marked most downtown buildings. Forgey called the tower by architect Arthur May “certainly the quirkiest of the many new towers downtown.” In a recent interview, Forgey allowed that the tower “is one of my least liked.” The building itself, with a striking, segmented, long-marbled lobby, is home to the Washington Design Center and offices for the multinational Caci International Inc., among other businesses. —Tom Sherwood

What are the bars and restaurants in D.C. that people who work in the industry frequent when they have time off?

About half a dozen of the restaurant and bar industry pros we asked this question declared Service Bar their favorite place to knock one back after a shift. Classic cocktails like old fashioneds, classic daiquiris, and mint juleps go for $7, and the fried chicken is served in waffle cones. “They know how to have fun just as well as they know how to make great cocktails,” says Maxwell Park’s Brent Kroll. Espita’s Megan Barnes names Lost & Found as her favorite place when she’s craving a beer. She also likes to drink wine at The Red Hen and cocktails at Room 11. Chef Matt Adler of Michael Schlow Restaurants likes hitting Mandu on K Street NW late at night. “I love the fried chicken sandwich and Cass beer,” he says. Other industry professionals we talked to called out Showtime, Tunnicliff ’s Tavern, All Souls, and The Gibson.

—Laura Hayes

How do bartenders at bars with many unmarked taps (like Churchkey, the Sovereign, or Anxo) remember which tap is for which beer? There can be 25 taps and the bartender knows exactly which one to pour from.

The bartenders at these havens for beer lovers might have incredible memories, but at ChurchKey, they also get some help from the bar’s point of sale (POS) system. As Neighborhood Restaurant Group Beer Director Greg Engert explains, “We number each and every line, surreptitiously, on the draft tower. With dim lighting, the numbers are hard to see. We then include the tap line number and glassware information in simple code in the bar POS system.” Since the order of operations requires employees to enter beers before they’re served to generate a ticket with the draft line number, the system comes with an added bonus: Nary a beer is left off someone’s tab.

—Laura Hayes

Why are the stop lights going north on Georgia Avenue so poorly timed? It’s an evacuation route, yet the lights are timed so that you practically catch each one. Why?

Are there any pick-up lacrosse groups for adults in the DMV? I’m fascinated by the sport and would like to learn, but only know of youth programs.

The process of determining traffic signal timing, especially on busy routes, is elaborate. According to the District Department of Transportation, Georgia Avenue signals are set to five different plans: a.m., midday, p.m., weekend, and late night. The plans are designed to support heavier traffic volumes during rush hours (southbound in the mornings, northbound in the evenings) and feature what DDOT calls “a more balanced approach” outside of rush hour.

To break down the transportation speak, this means that northbound traffic will get stopped at lights more frequently during the morning rush because fewer vehicles are traveling northbound in the morning. In the afternoon, signals are coordinated in the northern direction so that drivers will encounter fewer stops, but because more cars are traveling north, it might feel as if you stop at signals just as frequently. Midday and evening patterns are designed to make movement easier for pedestrians and reduce wait time on side streets. All of these decisions are made using DDOT’s wealth of traffic data.

Don’t worry about finding an alternate evacuation route. If the big one hits and everyone needs to get out of D.C. quickly, DDOT can also implement different signal timing plans to better direct traffic out of the city.

—Caroline Jones

If you’re really committed to lacrosse, check out the DC Lacrosse Club, which formed in 2001 and “give[s] local collegiate and post-collegiate players the opportunity to continue playing lacrosse in the Washington, D.C. metro area.” It features separate leagues for men and women.

If you’re more of a novice, check out the co-ed Red Line Athletic Club, which runs field and box lacrosse games in Montgomery County for newcomers over the age of 18. —Kayla Randall

Why does the D.C. area have three PBS TV stations? It looks like Boston has two and NYC has one. (I know universities may play a part in this, but NYC and Boston have a large number of universities just like D.C. does.)

It’s true: D.C. television viewers can watch The Great British Baking Show, Masterpiece, and other public broadcasting favorites on channels 22, 26, or 32. I’ll let the good people at PBS explain why.

According to PBS senior director of corporate communications Aparna Kumar, “In the 1950s, the FCC assigned a certain number of noncommercial (public television) licenses to each television market. The Washington, D.C. metro area is one market, and there are at least two noncommercial licensees assigned to this market—WETA, headquartered in Arlington, and WHUT, which is licensed to Howard University. Maryland Public TV, based in Baltimore, is a statewide licensee that also has signals that reach this market, so it is a third channel received by D.C. viewers. Each station is independent and locally owned and operated.”

—Kayla Randall washingtoncitypaper.com march 2, 2018 9

Why did D.C. arborists choose to plant ginkgo trees? (For the record, I absolutely love ginkgoes, and they are a great city tree, but with so much attention and money spent on spraying them, who made the original decision to plant them and why?)

As someone who once lived on a street lined with ginkgo trees, I understand the nosewrinkling curiosity behind this question well.

These beautiful, prehistoric trees drop small pods that rot and emit a wretched smell. Or at least, some of them do.

There are male and female ginkgo trees, and only the females produce these smelly seeds. According to Earl Eutsler, Associate Director for the District Department of Transportation’s Urban Forestry Division, a ginkgo is durable enough to withstand the unique trials cities throw at trees. “It is tolerant of the kinds of conditions that one finds in a city. So things like pollution, disturbance, drought.” These desirable qualities in an ever-changing city made ginkgoes a popular choice among arborists in cities like D.C., New York City, and London.

Their heartiness also means that many ginkgoes were planted decades ago, before arborists could tell male trees from their stinky female counterparts.

Arborists have since figured out how to differentiate between male and female ginkgoes. Now, any ginkgo DDOT plants in D.C. is cloned from a “known male.”

—Will Warren

Has there ever been an attempt to build a museum to preserve/chronicle the “harDCore” punk scene?

While there has not been an attempt to build a harDCore museum, per se, there have been significant efforts to preserve and chronicle D.C.’s illustrious punk and hardcore history.

Specifically, the DC Public Library started the DC Punk Archive in 2015 as a way to “collect, preserve and provide access to primary source materials that document the history and culture” of D.C.’s lively punk scene.

The archive, which is part of the DC Public Library’s Special Collections, includes personal items from past and present figures in the D.C. punk scene. It’s comprised of photographs, zines, books, records, cassettes, CDs, DVDs, videos, live recordings, fliers, posters, setlists, letters, tickets, buttons, and other ephemera. But here’s the downside: You can only view it if you’ve made an appointment.

It normally lives in the Washingtoniana Collection at Martin Luther King Jr. Memorial Library, but since that library is currently under renovation, you’ll have to head to the Georgetown Library for your dose of hardcore nostalgia.

—Matt Cohen 10 march 2, 2018 washingtoncitypaper.com

Breeze’s Metro Club and Straight Up Funk Go Go Style are both fairly cheap and common on Discogs, an online marketplace for vinyl records, but my suggestion would be to just peruse the gogo bins at local record stores. You’re bound to find timeless gems in there.

—Matt Cohen

While the Capital Transit Station at Dupont Circle is well known, I understand there are more abandoned platforms and tunnels all over the area. Which are still there, hidden or repurposed?

Why do only a few D.C. cabs have rooftop ads? Seems like a high-visibility way to get word out. Some have digital screens, some have normal ads, but most have nothing.

Seems like a market niche!

In part because fringe spaces are so few and far between in straight-laced D.C., the Dupont Underground nonprofit has been able to capture the attention of residents, visitors, and artists over the past few years by turning former streetcar tunnels into public art space. But many of the other subterranean spaces in the District lie under federal buildings. Beneath and around the Capitol alone, there is the Capitol subway system (which senators and members of Congress ride, out of public view); the Library of Congress tunnels (which include the Architect of the Capitol’s offices, a Subway, and a Dunkin’ Donuts); and a passageway that links the Cannon House Office Building with the Capitol (and features art by high school students).

Several blocks west, a 700-foot tunnel beneath the National Mall connects the Natural History Museum to the Smithsonian Castle. This was originally built to help melt snow along the mall through steam ducts. A few more blocks west, a series of tunnels form roots under the White House. One leads to a bomb shelter; another goes from the Oval Office to the basement of the Residence; a third, initially built as a shelter from air raids, joins the East Wing to the underbelly of the Treasury Building; and a fourth unites 1600 Pennsylvania with the Old Executive Office Building. If Elon Musk gets his way, a Hyperloop tunnel will link D.C. to cities along the East Coast, too. —Andrew Giambrone

If there haven’t been too many rooftop cab ads out on the streets, expect to see a lot more in the near future. iDigital Media Group, an outdoor digital advertising agency, was recently awarded a contract with the city to ramp up rooftop advertising. These won’t be the traditional static ads, however: The digital screens are 3G enabled and can even be remotely copyedited while the vehicle is out on the road. iDigital Media Group President and CEO Sidney Shelton explains that some of the ad revenue goes back to drivers who opt to install the signs on their cabs. In addition to iDigital, there are two other companies approved by the Department of For Hire Vehicles to install rooftop cab ads, so will more cabbies take advantage now?

—Stephanie Rudig

What are your best tips for surviving D.C.’s awful humidity?

D.C. is often referred to as a swamp. But I’m here to tell you that I am originally from the actual swamp—the Big Easy, the Crescent City, the Boot: New Orleans, Louisiana. It’s a state so swampy that in certain areas, we need to put up alligator crossing signs—those gators love to cause traffic jams! Compared to the subtropical humid hellmouth of my hometown, where proper air conditioning is quite literally a life and death issue, D.C.’s humidity might as well be a box fan. I am an expert on swamp-like humidity and can actually answer this question. Here are my tips: Hydrate! It’s important to stay hydrated in general, but especially during the spring and summer months when it’s most humid and your body loses much of its water through sweat. Drink water, people.

Carry antiperspirants with you at all times. This is self-explanatory.

Wear your hair up. If you have longer hair and live in a humid climate, it’s best to pull that hair on up to avoid things like bangs sticking to your forehead, or hair touching your neck, making you feel hot and gross.

Minimize your makeup in the summer. Trust me, it’s not fun to sweat that stuff off and have it run into your eyes.

Carry a portable mini-fan. Those babies were staples for me growing up. Get one that squirts a little water on you while the breeze flows and you’re golden.

—Kayla Randall

What are the first three go-go records a D.C. resident should buy, and where can you find them on vinyl?

Ah yes, go-go: the native sound of D.C. that has since been gentrified out. It’s natural that any District transplant who wants to know about the history and culture of the city they now call home will eventually come to go-go. Chuck Brown, may he rest in power, is forever known as the Godfather of Go-Go, but where to start for someone who wants to get into go-go?

I have several opinions on this, but I am in no way a go-go expert. So I reached out to one: Kato Hammond, a D.C. native, go-go musician, and editor and publisher of the online magazine and radio show Take Me Out To The Go-Go. According to Hammond, the essential albums one should acquire as they’re getting into go-go are Rare Essence’s Live at Breeze’s Metro Club; Chuck Brown & The Soul Searchers’ Go Go Swing Live; and Trouble Funk’s Straight Up Funk Go Go Style.

Finding these on vinyl, however, might be difficult. A lot of go-go records, like Go Go Swing Live, weren’t ever pressed on vinyl, and hardly any go-go records have been reissued. Live at

I live in Woodley Park, and there is a vacant plot of land at Cathedral Avenue NW and 28th Street NW that is marked with a fancy plaque as being the property of the Republic of Benin. Always struck me as weird that Benin would leave a presumably valuable piece of property vacant and overgrown. What’s the story there?

This enigmatic plot of land is located about a block west of the National Zoo, at 2737 Cathedral Ave. NW. And that address, per property records, is considered “retired” for city purposes. A representative for the Embassy of Benin couldn’t be reached, but public documents and Woodley Park residents paint the following picture.

The West African nation and former French colony once known as Dahomey opened a chancery on the plot in the 1960s. It operated there for more than three decades—with occasional controversy. In 1985, the Beninese mission asked the District for permission to build a 38-foot radio transmitter in the backyard of the chancery to communicate with its home country. Neighbors overwhelmingly opposed the proposed structure, and despite State Department support for Benin’s request, zoning officials shot it down.

After an appeals court ruled in Benin’s favor, the NIMBY battle over the radio tower cooled in 1988, when the embassy announced that it was looking to relocate to a larger, newer space. It did so after buying its current property, in 2000, at 2124 Kalorama Road NW. Oldtime Woodley Park residents say one morning in 2007, workers arrived at the Cathedral Avenue site and demolished the prior chancery building. DC Water put a lien of $310.81 in “delinquent water/ sewer charges” on the property in 2012, and Benin paid off that debt a year later. The District now assesses the vacant land at almost$1.75 million.

—Andrew Giambrone washingtoncitypaper.com march 2, 2018 11

Courtesy Anacostia Community Museum

What do the letters mean on Metro bus lines?

What is the deal with the black-and-white photos of a young African-American man in a kind of steampunk outfit (retro round glasses, stovepipe hat, overcoat, maybe with an ascot or fur collar) that are pasted on street-corner utility boxes around town? They’ve been there for years, and there are no words or anything to indicate the deal. Was this a street art project, or a bygone promotion, or what?

Around 2010, local artist Steven M. Cummings began putting these artworks around the city.

Cummings is the man in the portrait and pasted his mug around town as an act of self-promotion. It’s paid off: His photography has been exhibited at the Anacostia Community Museum multiple times. “If you want to be able to survive as an artist, you have to create some sort of image,” Cummings told Smithsonian Magazine in 2012. “They’re buying into you, what you produce. So once you build that image, then you can produce almost anything.”

—Kayla Randall

Why do Car2Gos keep smelling like weed? Especially the 4-door Mercedes option.

After asking Car2Go representative Kelsey why their vehicles often smell like marijuana, she put me on a lengthy hold. Upon reconnecting, she said, “I can’t personally answer that question for you,” and passed me on to the member services department, which never responded. I think it’s fair to say that if you’re renting a larger car, it’s either to do something fun, like go to the beach or out to Korean barbecue in Annandale, or to accomplish something that royally sucks, like going to Home Depot or the mall. A little THC could improve both situations for passengers, hence the hot-boxing.

—Laura Hayes 12 march 2, 2018 washingtoncitypaper.com

City Paper decoded the Metrobus letter and number system in both the 2014 Answers Issue and our “Huh?” Bub column, a strange precursor to the Answers Issue that ran in 2006, which WMATA spokesman Richard Jordan pointed out when we contacted him with this question. Rather than copy-pasting from our archives, though, we’ll explain it one more time.

The letters mean very little. Back in the days before WMATA, both buses and streetcars served D.C. neighborhoods. Streetcar lines were numbered and buses were lettered, starting with “A” in Southeast D.C. and continuing in a counter-clockwise arc. So while it might seem that the X in the east-west-running X2 stands for crosstown, it’s actually just a coincidence. One notable exception is the S line, which runs north-south along 16th Street but falls outside the alphabetical system.

The letters in the 30N and 30S buses do actually have some meaning. These lines, which run southeast from Friendship Heights, have different terminal points. The 30N finishes its run at Naylor Road Station, while the 30S route concludes at Southern Avenue Station.

—Caroline Jones

The “Person of Interest” videos that MPD posts are fun to watch but really grainy. How often do they lead to meaningful info?

Considering how frequently those “Person of Interest” videos pop up in the local media, this is a good question. Unfortunately, it seems as though the answer to it isn’t simple. I reached out to the Metropolitan Police Department for an answer, and MPD public information officer Karimah Bilal explained that because “many different units within MPD process tips, there is no percentage of how many of them lead to arrests.” However, Bilal added that “typically, better video quality often produces more tips. The ‘grainy’ videos are sometimes the very best lead we have in a case, and the idea of putting something out is better than putting out nothing at all.”

Though the MPD doesn’t keep track of how many of those tips lead to an arrest and/or conviction, Bilal does say that “you’d be surprised how many people can identify suspects in poor quality videos.”

—Matt Cohen

What is the proper pronunciation of Ingraham Street? Is it three syllables to fit in with D.C. nomenclature?

Much is made of D.C.’s street names—the absence of a J street, the presence of cross-cutting avenues that bedevil visitors—but the syllabic nomenclature to which our dear questioner refers may not be front of mind for locals.

Throughout much of the 1800s, the land north of Florida Avenue NW, known as Washington County, was largely undeveloped. Later in that century Congress approved a plan to extend the streets of Pierre L’Enfant’s D.C. up and into the county. A Washington Post article from 1905 alludes to the syllabic nomenclature our questioner mentions: “Until the alphabet is exhausted names of two syllables, alphabetically arranged, are given, and then names of three syllables are selected.” Put more simply, north of Florida Avenue NW you’ll find streets with two syllables like Belmont Street NW and Yuma Street NW. After Yuma, the streets start over at “A,” but with three syllable names. It’s in this part of D.C.—the three syllable part—that you’ll find Ingra-ham Street.

D.C. residents agree with history. A non-scientific survey of people on Ingraham Street NW showed that, while many residents had heard the street pronounced both ways, the majority pronounced it with three syllables.

—Will Warren

the experience of gentrification for longtime residents extensively. “In the context of an absolute shortage of housing for many income groups, the real estate industry has been able to raise prices, as people compete for limited options,” she says. “In this game of musical chairs, some have no place to ‘sit’ and become homeless. In the cities at the forefront of gentrification, the massive increases in homelessness are startling and tenacious.”

Intervening in this trend involves substantial investments in affordable housing, she says.

Many scholars and policy makers concur.

Lily Song, a lecturer in urban planning and design at Harvard, advises taking a hard look at history. “A piece that has really shaped my own thinking about gentrification is Ta-Nehisi Coates’ ‘The Case for Reparations,’” she says. The Atlantic article draws a line from slavery to America’s racist housing policies.

“I would argue,” says Song, “that we cannot begin to tackle gentrification without a reparations agenda of targeted spatial and social investment and deeper reckoning, reconciliation, and healing that not only takes seriously institutional racism but also the moral/ethical deficiency and complicity among Americans who do not know or choose to overlook our collective history of mass plunder and trauma. It would go beyond simply recognizing the profound injustice of politics, business, or urban development as-usual to actually begin unraveling the system from the core.”

—Alexa Mills

Why do MPD officers have the Capitol on their badges?

Shouldn’t it be the Wilson Building? A D.C. flag? Anything more local and less federal than the Capitol!

I, too, bristle at materials that use monuments and federal buildings as lazy shorthand for D.C. at large, particularly when it’s not coming from out of town. The rest of the U.S. might not know what lies beyond the Mall, but District residents ought to know better. That said, we are the seat of democracy, and police officers here are sworn to protect the more than 20 million people that visit us annually, as well as those who reside here year-round. According to the MPD’s public information office, the U.S. Capitol Building was chosen “not only to indicate the District of Columbia’s unique status as our Nation’s Capital, but also to symbolize the free and democratic society that American citizens enjoy and which police officers strive to protect.”

—Stephanie Rudig

When will gentrification end?

The person who submitted this question wrote it in all caps. The question warrants it. People dedicate their entire careers to this topic, though none can predict the future.

Find answers in the condition and style of the buildings of D.C., and also the buildings they replaced. Look for clues in the history of each edifice and plot, which you can read in sale documents and rental agreements from present day back to when boundary lines were first drawn on the oncewild land. Topographical maps may hold answers, too. The presence of urban floodplains and highlands often dictate what can—or at least what should—be built in certain areas in the future.

You’ll also need to talk to people: longtime residents who have seen the city change, those who left against their will, those who left wealthy after selling their properties, and those who have moved in.

Saskia Sassen, a professor of sociology at Columbia University, lays out the financial landscape. “Gentrification might diminish a bit,” she says, “but there is an even more negative force: the buying of properties by national and foreign individuals (who just want a luxury place), speculators who are cleansing their money by buying buildings, and financial firms who can make money off luxury buildings even when those buildings stand empty.”

Sassen describes some of her findings in a 2015 Guardian article, “Who owns our cities—and why this urban takeover should concern us all.” Financial data from diverse sources reveal corporate buying of existing urban properties in the billions of dollars for many cities in 2015, with D.C. among the top cities for global property investments.

“Cities are the spaces where those without power get to make a history and a culture, thereby making their powerlessness complex,” writes Sassen. “If the current large-scale buying continues, we will lose this type of making that has given our cities their cosmopolitanism.”

Dr. Mindy Fullilove, a clinical psychologist and professor at The New School, has researched

Why is the street color—and possibly the street type—in front of Metro bus stops (usually white/gray) sometimes different than the adjoining street?

Your eyes aren’t fooling you! The different colored sections of road aren’t extensions of the sidewalk. Some bus stops, especially those where buses might linger, feature pads made of light gray concrete. According to the District Department of Transportation, the concrete is tougher and holds up to oil and other bus drippings better than traditional asphalt. Long-term exposure to oil can weaken the binding agent that holds asphalt together, making the pavement soft and eventually in need of more repairs.

—Caroline Jones

Why won’t Sen. Kamala Harris (D-California) support D.C. statehood, unlike her other Congressional Black Caucus colleagues?

In response to an inquiry by City Paper, a spokesman for Harris says the ex-California attorney general supports S. 1278, the currently pending Senate bill to make the District a state. Harris has favored the bill “for a long while,” according to the spokesman, and, as of Wednesday, her name has not been formally added to it as a co-sponsor.

Harris’ absence from the legislation, which Sen. Tom Carper (D-Delaware) proposed, had puzzled many Democrats, especially since she’s a Howard University graduate and has a reputation as a reliable progressive. (An identical House bill led by D.C. Del. Eleanor Holmes Norton recently achieved support from more than 75 percent of House Democrats.) The Senate legislation now has more than 20 co-sponsors. One of them is Harris’ fellow Congressional Black Caucus member Cory Booker of New Jersey.

Carper proposed the present version of the bill in May 2017, and Harris met with statehood advocates the following month. It would rename D.C. “Douglass Commonwealth” and give us two voting senators and one voting representative. Given that more than 90 percent of District voters opted for Hillary Clinton in the 2016 race, Democrats would almost surely fill these three seats.

—Andrew Giambrone washingtoncitypaper.com march 2, 2018 13

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America Eats Tavern from José Andrés will replace Old Glory BBQ in Georgetown in early summer. Andrés is planning to keep barbecue on the menu, which also includes Mid-Atlantic fare and iconic American dishes.

Changing of the Guard

Female security personnel still face sexism while keeping you safe at D.C. bars and clubs.

By Laura Hayes “We call her the jellybitch,” Lauren McGrath says. She’d just finished recounting one of her most trying evenings working security at DC9—a popular, three-level nightclub off U Street NW that serves up burgers alongside musical acts. It happened during the drunk olympics known as Halloween.

Six people were walking toward the club in a group jellyfish costume that was a mess of umbrellas and tendrils. “At the back, there’s a couple that’s fighting in a way that sets off a lot of red flags,” McGrath says. “I don’t want to let this group in, it’s just a bad vibe.” Upon informing them that they wouldn’t be dancing at DC9 that night, it got ugly.

One of the women went off. “She started yelling, ‘I bet you voted for Donald Trump, you love Donald Trump,’” McGrath recalls.

The inebriated invertebrate continued nonsensically, “I live in Brooklyn and have a blog there! I’m going to get you shut down for not letting us in.”

She took the verbal abuse, got back-up from the manager on duty, and eventually removed the jellyfish from the club. But not before the group threatened to stage a “protest” in the foyer and get her fired.

McGrath is one of many women who work security at clubs in the District. Some venues have long histories of hiring women, while others are just coming around to placing them in the job too often stereotyped as being about sumo-wrestler-sized bouncers tossing troublemakers into the streets.

“There’s this idea that nightclub security is like Road House,” McGrath says, dropping the name of a 1989 movie starring Patrick Swayze as a bouncer trying to get a rowdy bar under control. “You’re not breaking up fights and turf wars,” she says. “That doesn’t happen at DC9.”

The job is far less physical than most imagine, but McGrath says she faces sexism every shift. “I have dudes tell me all the time, ‘I had no idea they would let a woman work this job,’” she says. “My move is to pull them in real

Lauren McGrath

Darrow Montgomery

Young & hungrY

close and whisper, ‘Don’t tell anyone, but they started letting us run for office, too.’”

When you get down to the brass tacks of what

the job entails, not only can women handle it, but they might even have a competitive advantage over men according to McGrath and three

other women who work security at local clubs.

They excel in the face of unwelcome advances, cat calls, and other forms of harassment.

Responsibilities of security personnel include taking cover charges, checking identification, wanding bags for weapons, answering questions, and roaming the club looking for suspicious activity, underaged drinking, and overserved patrons. Most go through inperson or online training to learn everything from conflict resolution to how to identify club drugs and how to handle an active shooter.

To keep all club-goers safe, these workers must be perceptive, intuitive, and make sound judgement calls. There aren’t always clearly defined rules for when to intervene or when to end someone’s evening. “You just know,” McGrath says. “There’s a line in the sand and you know exactly where it is. Young people.

Older people. Stupid doesn’t discriminate.”

McGrath often feels like “a drunk girl’s big sister” on the job. A few weeks ago, two college-aged women McGrath suspected were intoxicated asked to come in from the cold at 2:30 a.m. She told them it was too late to enter the venue, but they could call an Uber.

“They’re loud and a pain in the ass, but they’re standing next to me and I’m keeping an eye on them,” she says. The women went out to find their Uber but couldn’t locate it.

“This dude from down the street comes out of nowhere knowing exactly what he’s seeing,” McGrath continues. She makes a habit at watching the area immediately outside of DC9, too.

“I went outside and grabbed them both, saying, ‘You’re coming back in here with me.’”

One New Year’s Eve, McGrath spotted a man flying solo. “Dudes who come in alone and aren’t meeting up with anyone and are lurking, I’m always watching,” she says. She spotted him repeatedly ordering drinks, taking three sips, and disappearing.

Turns out he was chatting up girl after girl, ending each encounter with face-grabbing kisses. “I’m like, ‘You can’t do this in my bar— you’re not drinking anymore, you’re cut off.’”

She got a golf clap from other patrons, presumably for a job well done.

“The main difference between a male security officer and a woman is women can tell the dif-

washingtoncitypaper.com march 2, 2018 15

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ference between creeps and genuine OK social interactions a little better,” McGrath hypothesizes. She puts herself in the customer’s shoes to gauge whether she would welcome the advances. “I’m not going to screw up anyone’s game, but I’m going to stand nearby and make sure my bright orange security armband is visible.”

Sasha Woodward, another female security worker at DC9, says women constantly assess the safety of their surroundings, and that pays off when monitoring activity in a club.

“It’s exhausting to explain to people what I do,” Woodward says. “I tell them I do security at a bar and that it’s about de-escalation, charming people, and telling them to get the fuck out in a very nice way. Being a woman doesn’t hamper that much for me.”

“There are unique skills we bring to this job in being able to de-escalate situations in an effective way,” adds Torrey Sanders, who works security at Black Cat on 14th Street NW. “For better or worse, there’s something about being female that’s less threatening … Women don’t think of themselves as being able to work in this space, but we totally can.”

The Rock & Roll Hotel makes a point of scheduling one female security guard per night, according to the club’s general manager Kaitlin Wilding. She has also worked security at the H Street NE bar and music venue.

“It’s nice to have a well-rounded presence,” Wilding says. “Culture is changing for the better. We don’t try to have big bulky security guys. Having women on the team helps the image too. When you walk into a club and you see four 6’5” dudes with angry faces, do you want to go in?”

Some male security guards can’t cope with the idea of a woman doing the job, according to Wilding. They question how she could possibly kick someone out. McGrath has gotten similar questions, especially because of her short stature.

“I talk you out the door,” McGrath says.

“Drunk people are chatty. As we’re talking, I’m slowly backing away knowing you’re going to follow me. I say, ‘I can’t hear you, let’s step out front.’ Then, when I’ve got you out of the building I say, ‘You’re not welcome here tonight.

We’d love to have you back another time.’”

When hiring security staff, DC9 co-owner Bill Spieler says he’s looking for calm, quickthinking, and patient individuals. He doesn’t think twice about hiring women because he says it’s more about talking than being physical. And he agrees with Wilding that it’s less intimidating for patrons. “When the customer walks through the door, I want them to feel like they’re in a fun place.”

“I don’t like the term gender-blind, but I don’t think it’s crossed Bill’s mind that this isn’t a job that men and women are equally capable of doing,” McGrath says. “His ethos has always been, ‘Why not?’”

If there’s a drawback, it’s that women on

duty often face harassment. “Every Friday night someone touches me at some point,” McGrath says. That’s the night she works the door. “It’s not a boob grab. I usually wear jeans with holes in them and they love touching my knees.” Sanders has had similar experiences at The Black Cat. “There are times late at night when you’re working the job where guys think it’s okay to grab your knees and shoulders.”

McGrath recalls carding someone who didn’t want to show his I.D. and immediately pointed to his gray hair as proof of age. She checks everyone’s I.D. because it puts her in control. When she’s holding someone’s driver’s license, she can ask them a question or two to determine if they’re sober enough to enter.

McGrath told Mr. Salt and Pepper that she was just doing her job. “‘You look real good doing it,’” he exclaimed. “‘Oh no, you can’t talk to me like that,’” McGrath responded. “‘I’m trying to do my job without you saying things about my appearance.’”

Racism surfaces too. Someone was so desperate to get out of paying a $2 cover charge that they tried to connect with Woodward, who is African-American. “After the Eric Garner murder, this adorable white man comes up to me and says, ‘How are you feeling? You know, with the Eric Garner thing? You must be going through some shit.’”

Several live music venues don’t report having any female security workers, including Hill Country Live and Gypsy Sally’s. But Wilding thinks she’s seeing an uptick in female security workers looking to break into the music or hospitality industries.

“All the venues in D.C. are doing a really great job overall of having a more diverse presence,” Wilding says. “There doesn’t have to be three girls for every three guys, but it’s cool to see how it’s becoming a more accepted position.”

Just ask Diane Groomes. After devoting 27 years to the D.C. Police Department, she stepped into the role of director of security and public safety at The Wharf. Groomes oversees a mixture of contract security guards and off-duty police and liaises with security officers who work at the various retail, dining, and concert venues. She says about 25 to 30 percent of her security officers are female and that her project manager is also a woman.

Groomes and her team, like the female security workers at DC9, Rock & Roll Hotel, and Black Cat, are tasked with maintaining the public’s safety—especially during the large events. She encourages more women to consider careers in policing and public safety because of the opportunities for advancement and job security.

“Policing and security is not about physical force, it’s more about communication,” Groomes says. “You’re the ambassador for customer service—giving directions, being there when there are questions. It gives people a sense of peace.”

CP

DCFEED Grazer

what we ate this week: Fry bread with curried garbanzo beans, coconut collard greens, and cucumber relish, $11, Spark at 12.

Satisfaction level: 4 out of 5. what we’ll eat next week: enchiladas de mole negro with braised brisket, sesame seeds, cotija cheese, and crema, $21, Mi Vida. Excitement level: 4 out of 5.

Hangover Helper

Rolling in Dough Looking to avoid drinking java on an empty stomach? When ordering a pick-me-up from the local coffee shop, traditional pastries (croissants, muffins, scones) often beckon but don’t always satisfy. Luckily, D.C. coffee shops are providing an ever-increasing variety of to-go foods for the hungry folks seeking something more exciting behind the glass.

When someone compiles a sequel to this list a decade from now, it’ll be titled “Beyond the Kolache.” Since Republic Kolache launched in D.C. mere years ago, the Czech baked good’s reach has continued to grow. As with croissants, the “national pastry of Texas” boasts sweet and savory fillings, but the dough is fluffier. The Saag Paneer variety tastes like a gourmet Hot Pocket—a great way to sate hunger pangs on the move.

Rachel Kurzius

Energy Bites Find them at: Gregorys Coffee, 1000 Vermont Ave. NW; 1990 L St. NW; and 1147 20th St. NW Too frequently, opting for a pastry at a coffee shop means taking an unhealthy dietary turn just as the day begins. New York transplant Gregorys Coffee has a bevy of balls to prevent you from swallowing up your daily caloric intake before 10 a.m. With options like the Crunchy Power Bite, the PB Banana Energy Bite, and the Almond Butter Cranberry Coconut Bite, the gluten-free spheres with a peanut or almond butter base are filling without feeling heavy.

Kolaches Find them at: Compass Coffee, La Colombe, Zeke’s Coffee, Ebenezers Coffeehouse, Hotel Hive, Midnight Mug, Odd Provisions, Pear Plum Cafe, Rare Bird Coffee, and Vigilante Coffee

Churros Find them at: Little Pearl, 921 Pennsylvania Ave. SE It’s no shock that the edible treats at this cafe offshoot of Pineapple & Pearls are delicious. Aesthetically speaking, Little Pearl eschews a pastry-filled glass case in favor of small cake stands that show off samples of its products. There are a couple of unique sweet and savory options baked on-site. Just as milk and cookies make for an unimpeachable combo, so too do coffee and churros. The long, sugar-coated Spanish treat comes with a spicy, salty chocolate sauce on the side.

It’s a little messy to eat while walking, so take a moment to sit and consider how the churro’s soft center contrasts with the crystallized exterior.

Roti Find them at: The Eckington Qualia Coffee, Eckington Place and Harry Thomas Way NE Try Sri Lankan breakfast all day at the Qualia Coffee outpost in Eckington, courtesy of Short Eats, the people behind the expanding Sri Lankan street food pop-up at Ten Tigers. The coffee shop heats up roti—imagine a flattened spice-filled breakfast burrito with a flakier exterior—with options for vegetarians and for those looking for meat in the morning. Roti selections come with a condiment called sambol, a heady mix of ginger, coconut, onions, chili, and other spices. The sambol is the only reason you’d need utensils to tackle this treat.

Tim Ebner

By Rachel Kurzius

The Dish: Supra’s Ajaruli Ketse Bostneuli Where To Get It: Weekend brunch at Supra, 1205 11th St. NW; (202) 789-1205; supradc.com Price: $15 What It Is: Supra’s Ajaruli Ketse Bostneuli is a mash-up of two worldly comfort foods: Georgia’s cheese filled bread known as khachapuri and Middle Eastern shakshuka—eggs baked in tomato and pepper sauce.

It’s tough to pronounce, but just ask your server for some help spotting this dish on the new brunch menu. Warm bread forms the base of a bubbling stew of fresh vegetables including eggplant, tomatoes, mushrooms, potatoes, orange bell pepper, zucchini, and squash.

The restaurant sprinkles Georgian sulguni cheese on top so it melts and adds fennel, cilantro, and green onions for additional flavor.

How It Tastes: This Georgian dish will pulverize any hangover you might experience with a one-two punch of starches and cheese. Pull off pieces of the warm, flaky bread and dive deep into this veggie stew, which has a distinctly smoky taste. The two fried eggs on top coronate a perfect breakfast dish that will leave you feeling well nourished and needing a nap.

Why It Helps: Georgia is the place where shots of wine are taken from a rimmed horn, commonly referred to as a khantsi. So leave it to the Georgians to invent the perfect hangover cure of bread, cheese, eggs, and stewed vegetables. If you ever find yourself in a situation where you’re tipping back a ram’s horn, look to Ajaruli Ketse Bostneuli as your hangover helper.

—Tim Ebner

washingtoncitypaper.com march 2, 2018 17

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CPArts

Prince George’s County author Jesse J. Holland talks about writing Black Panther comics and telling black stories. washingtoncitypaper.com/arts

House Rules

In the era of #MeToo, the D.C. theater scene is making changes for actors and crew members to address sexual harassment and feel safe.

By Rebecca J. Ritzel For local actor Erika Rose, the #NotInOurHouseDC movement could not come soon enough.

Last spring, the Helen Hayes Award-winning actor— best known for starring in hit shows like An Octoroon and Mr. Burns, a Post-Electric Play at Woolly Mammoth Theatre Company—was mulling whether or not to take a role at a theater she had vowed to never work at again. A theater where, several years before, she had watched a fellow cast member face sexual harassment.

The situation had made Rose—and other women involved with the production—extremely uncomfortable, but the harassed actress was a young woman of color who Rose felt was not in a position to speak up. So Rose played the part of whistleblower; she took her concerns to the director and artistic director.

What she expected was an investigation and a reprieve from having to hang around the perpetrator while the theater looked into the situation. That’s not what happened.

The alleged harasser was told to “stay out of the green room,” Rose says. He was also told it was Rose who complained.

“I was damned if I said something and damned if I didn’t,” she recalls. “It was just a mess.”

So when she heard last spring that her fellow Woolly Mammoth company member Naomi Jacobson had invited the founder of a Chicago initiative to make theaters safer to come speak at Arena Stage, Rose was relieved. And impressed with the gumption of Laura T. Fisher, an actor who took the lead after an abuse scandal at Chicago’s now-shuttered Profiles Theatre.

As initially reported by the Chicago Reader, Profiles actor and director Darrell W. Cox spent years hand-picking violent and misogynistic roles to star in at the theater, which employed individuals who weren’t members of Actors Equity, the union that represents live theatrical performers and stage managers.

Over a two-decade period, he allegedly physically and psychologically abused dozens of young women.

By March 2015, Fisher and her colleagues had formed the Not In Our House support group and had begun developing formal standards that theaters should adopt for ensuring workplace safety. Twenty Windy City theaters agreed to adopt the standards, which were revised and galvanized in the wake of the 2017 #MeToo movement.

However, Jacobson’s plan to discuss #NotInOurHouse in Washington predates revelations related to Harvey Weinstein, Louis CK, and other badly behaving and sometimes criminal celebrities. After months of networking, Jacobson

Stephanie Rudig

theater

brought Fisher to speak at Actors Arena—a monthly continuing education gathering—on June 12, 2017. The reaction was mixed.

“Some people said, ‘We’re not Chicago. Nothing happens here,’” Jacobson recounts. And then she laughed, ruefully. “No. Yeah, it is happening here. I have been in dressing rooms where every single woman has told me that a guy has stuck his tongue down her throat.”

Prior to Fisher’s talk at the Actors Arena in June of last year, Jacobson created a Gmail account and asked members of the area’s theater community to send in sexual harassment stories. She then recruited actors to read those anonymous accounts.

“There were some pretty horrifying things,” Jacobson says.

She declined to share specifics beyond her example that Washington has multiple male actors who enjoy forcibly French-kissing scene partners.

After the readings and Fisher’s Q&A, Jacobson asked if anyone wanted to join an ad hoc #NotInOurHouseDC committee.

Rose had left two young children home so she could come hear Fisher speak, and although the recent star of Queens Girl in Africa does not exactly have oodles of spare time on her hands, she was one of 25 people who signed up.

“I got involved because this was something I desperately

needed, and because I was feeling isolated,” Rose says.

Jacobson was thrilled that the event had gone so well, but she didn’t have the bandwidth to run Actors Arena, the nascent #NotInOurHouseDC movement, and prepare to play Queen Elizabeth I in Shakespeare in Love at Baltimore Center Stage.

(Jacobson is now starring as Dr. Ruth Westheimer at Theater J.) So she passed the effort on to Amy Austin, president of theatreWashington, an umbrella organization that supports Washington-area theaters and puts on the annual Helen Hayes Awards. (Austin is publisher emeritus of City Paper.) Now Austin is working with the committee to adapt the list of standards created in Chicago, but for D.C. theaters.

“This is a holistic effort,” Austin says. “It is a way to build a culture so that if the artists have a problem, they have a way to approach it.” the 33-page chicago Theater Standards document is akin to a college syllabus. Ideally, on the first day of rehearsal, everyone involved in a production would review the standards, putting a particular emphasis on the “concern resolution path” should a problem arise.

By the end of the first week of rehearsal, the cast would select a “non-Equity deputy” to serve as liaison between the theater and whoever comes to the deputy with a concern. (Union washingtoncitypaper.com march 2, 2018 19

CPArts theaters would follow this process too; the term simply means that the standards are internal, not a mechanism for reporting issues to unions. ) For example, if there were a non-Equity deputy working on the show where Rose witnessed sexual harassment, she wouldn’t have had to go to the director herself, and she wouldn’t have been singled out as the whistleblower.

The standards deal with much more than just sexual harassment, however.

Deb Sivigny, a freelance set and costume designer, voluntarily employed the standards when Rorschach Theatre remounted the Neil Gaiman fantasy Neverwhere last fall. Sivigny looks back at the original 2013 production with some chagrin. She knows many features of the dystopian set that would not be allowed in an Equity production, like unsteady catwalks, for example.

But for the second go-round, she wanted the performers to feel safer. She installed more railings, and says there were “actors wearing sneakers when the character called for heels.”

Sivigny knows that adopting the standards will be challenging for some of D.C.’s smaller, scrappier theaters, but still feels that everyone needs to raise their standards. For example, if a rehearsal venue isn’t going to have a bathroom, or air conditioning, or a fight choreographer or some other baseline amenity, everyone involved should know that before they sign a contract.

Even some of the area’s largest theaters didn’t have those basics initially, Sivigny notes, citing the infamous Signature Theatre

garage where Eric Schaeffer put on Sondheim musicals.

“I have enjoyed that scrappiness,” Sivigny says. “I am not [lobbying for change] from an elitist point of view, I’m doing this because I’ve been through it. I just want everyone to play nicer.”

What it means to “play nicer” is still a matter for discussion among committee members. Even some of the highest-profile artistic directors in D.C. have been known to lash out at their actors and designers in verbally abusive tirades, and that may or may not change if theaters adopt the standards.

“The document does not address assholes,” Sivigny says. “It addresses potential asshole behavior.”

Austin puts it this way: “I would hope [the standards] might prompt people who feel losing their temper is part of their artistry to be a bit more reflective about their behavior.” theaters have not been immune to #MeToo allegations.

In Houston, the Alley Theatre’s artistic director abruptly retired after several actors came forward alleging sexual harassment, including Jacobson’s Center Stage costar Emily Trask, who accused him of calling her a “stupid cunt” and grabbing her ass in rehearsal.

In Toronto, the former artistic director of Soulpepper Theatre is facing civil suits from actresses alleging that he is “a serial sexual predator” who was enabled by his wife, the theater’s former executive director. In Minneapolis, a pair of backstage Guthrie Theater employees publicly resigned and accused the theater of promoting a misogynistic tyrant to run the scene shop.

D.C. hasn’t been rocked by any comparable scandal, and hopefully none are buried under rocks. Last month, the #NotInOurHouseDC committee held a townhall meeting at Sidney Harman Hall’s Forum space to unveil results of a community-wide survey which actress Allyson Harkey collated into a PowerPoint presentation. Of the 479 respondents, 71 percent said there is someone in the theater community who they do not work with because they are “afraid of what might happen” if they do.

That’s alarming. That shows D.C. has work to do.

As it stands now, Sivigny, Harkey, and other committee members are revising the Chicago document and mulling over how they can best require theaters to implement the standards. At Rorschach, Sivigny had it easy: She’s married to co-artistic director Randy Baker. But when Rose took the standards to a theater recently, she was met with resistance.

“They did none of the things I asked them to do,” she said.

“I’m not going back.”

She declined to share that theater’s name on the record, because calling people out is “not in the spirit of #NotInOurHouse,” she says.

Still, she is going to keep making every effort to see the standards adopted.

“I want every single actor in our area to know that they deserve to be treated well,” she says. “I have got to be sure that the people who come after me know that they are going to be alright.”

CP

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TheaTerCurtain Calls The Raid

ams), his 35-years-younger second in command, or Emperor (Dylan Fleming), an aide to Douglass—risk his wrath. And those who, like Douglass and Tubman (Tiffany Byrd), believed he should wait for the war they all saw coming and then volunteer his services for the Union Army, break his heart.

Hovde has configured the black-box playhouse with seats on all four sides and the actors in the middle. Danielle Preston’s period-noncommittal costumes, Megan Thrift’s nocturnal lighting design, Kevin Alexander’s war drums-inspired soundscape, and Cliff Williams III’s brutal fight choreography all gel into a transfixing illusion of long ago despite the absence of a set. (Scenic designer Jessica Cancino conjures the rugged landscape of Harpers Ferry with some paper or fabric wall hangings suggestive of a rock face.) John Brown’s body lies a-mouldering in the grave, according to one of the most popular songs of 1861. But his ghost is alive and well.

—Chris Klimek 2020 Shannon Place SE. $30–$40. (202) 2412539. theateralliance.com.

of dependable singers and actors, but its book and lyrics lack depth, descending too often into repetitious ya-ya-ya-ing and striking the same emotional note ad nauseam.

Young Robbie (a stand-out John Sygar) bangs pots and pans to channel his musical aspirations and describes his relatively happy childhood spent in India, Switzerland, and the U.S. His father Konnie (Bobby Smith) is a Jewish immigrant, a hard-working businessman who occasionally supports his son’s artistic sensibilities, but more often wishes the boy would grow up and get to work. When 20something Robbie (Luke Smith) does grow up, he continues to strum his guitar, this time as a professional musician, while also marrying Annie (Natascia Diaz) and raising children.

Predictably, married life puts a strain on Robbie’s musical career and he’s conflicted. Later, when Robbie (now played by real-life Robbie) ages further, Konnie suffers from dementia and Robbie discovers a shocking, secret part of his father’s past, which doesn’t feel at all surprising, though it’s staged as a dramatic reveal.

After Konnie’s death, Robbie again relies on Light Years

Douglass Debates The Raid

By Idris Goodwin Directed by Colin Hovde At the Anacostia Playhouse to March 18 The opporTuniTy To see plays about historical figures on or near the grounds where they performed the deeds that secured their immortality is not uncommon here in our Nation’s Capital. And while I know Frederick Douglass didn’t move here until after the Civil War, there’s still something stirring about watching the magnetic Marquis D. Gibson embody the famed abolitionist at the Anacostia Playhouse, less than half a mile from the home where Douglass spent the last 17 years of his life, and only about a mile from the bridge over the Anacostia River named in his honor 55 years after his death.

The play is Idris Goodwin’s taut and haunting 2015 drama The Raid, presented by Theater Alliance, which details the white abolitionist leader John Brown’s attempts to persuade

Douglass and Harriet Tubman, among other enemies of slavery whose names are not as deeply inscribed in our national memory, to support his doomed 1859 assault on the federal arsenal at Harpers Ferry. Brown hoped this operation would allow him to arm a guerilla force of liberated slaves and conscientious whites to scare slave owners from hideaways in the Allegheny and Appalachian mountains.

If you know Brown’s name, you know how that ended. But Goodwin and director Colin Hovde make this musty 19th century story feel urgent and contemporary anyway. Hovde seats his actors in the audience to watch the scenes they’re not performing in along with the rest of us. With a run time of only 80 minutes, there’s the no opportunity for the tension to dissipate.

Like all social justice movements, the drive to end slavery had radical and temperate factions. That’s the seam of history Goodwin runs his finger over here. Brown, played with arresting zealotry by Nicklas Aliff, believed his campaign of violent insurrection to be divinely inspired. Those who fear his divine rage—like his own adolescent son who pleads with his father to show mercy in his holy war—or doubt his tactical acumen—like Henri Kagi (Josh Ad-

Darkness anD light Light Years

By Robbie Schaefer Directed by Eric Schaeffer At Signature Theatre to March 4 pop songwriTers, from Elton John to Sheryl Crow to Duncan Sheik, have found success in musical theater in part because they understand how to craft a catchy tune. Robbie Schaefer could stand to take some lessons from those composers should he attempt to craft another musical. Light Years, the Eddie From Ohio frontman’s biographical show about his relationship with his late father features a cast

music to find his way out of depression.

The act of channeling life’s griefs and injustices into a piece of art is admirable, and Schaefer deserves some praise for doing just that. But in order to hold an audience captive, the whole production needs to be ratcheted up and re-worked to create more tension and explore deeper emotions. In its current form, the show plays like a book report set to song: a highlevel summary of ordinary events told via onthe-nose lyrics and run-of-the-mill music.

The most compelling moment of the show is just that, a moment powered by its brevity and its show-don’t-tell quality. Robbie’s real-life, dementia-stricken dad appears on a half-dozen television screens behind the actors in footage that bears all the imperfection and nostalgia of a spontaneously shot home movie. Robbie flanks his frail father at a pia-

washingtoncitypaper.com march 2, 2018 21

Suzanne Ciani

TheaTerCurtain Calls no, a note is struck, and father lays head on son’s shoulder. More moments like this could lay the foundation for a great production.

—Amy Lyons

PRESENTS

4200 Campbell Ave., Arlington. $40–$65.

(703) 820-9771. sigtheatre.org.

The Lathe of Heaven

almost ParaDise The Lathe of Heaven

Adapted from the Ursula K. Le Guin novel and directed by Natsu Onoda Power At Spooky Action Theater to March 11

March 5–19, 2018

MUSIC / DANCE / FILM / DIALOGUE Be a part of today’s art—and tomorrow’s transformation.

For a full listing of events, plug in at direct-current.org

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TICKETS ON SALE NOW! direct-current.org 202-467-4600 / Groups 202-416-8400

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

David M. Rubenstein is the Presenting Underwriter of the NSO.

New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin.

The NSO Music Director Chair is generously endowed by Victoria and Roger Sant.

Support for Jazz at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

The Blue Series is sponsored by United Technologies Corporation.

Support for Explore the Arts is provided by The Morris and Gwendolyn Cafritz Foundation.

DIRECT CURRENT is supported in part by the National Endowment for the Arts.

22 march 2, 2018 washingtoncitypaper.com

The worlds of science fiction and theater don’t often overlap; the genres perhaps most memorably collided in 1920’s R.U.R., a play that coined the word and a lot of the concept of “robots.” The two worlds have generally careened apart since then; especially in the last few decades, sci-fi has been the realm of enormously budgeted movies and TV shows that ooze with expensive special effects, which would often be difficult to adapt to live theater.

Science fiction theater does exist and playwrights and directors often find creative ways to explore high-concept technology without a blockbuster budget. Caryl Churchill has shown with A Number that it’s possible to do a nuanced show about the ethics of cloning that requires only two actors and a minimal or even non-existent budget for sets and props.

But the story that Spooky Action Theater has selected to adapt and stage for this year’s Women’s Voices Theater Festival all but demands some spectacular effects. Ursula K. Le Guin’s 1971 novel The Lathe of Heaven, adapted for the stage and directed here by Natsu Onoda Power, may rely on a small cast—there are only three main characters—but the story also requires some sweeping world building. In Le Guin’s story, everyman George Orr (Matthew Marcus) finds that sometimes, when he wakes from a troubled sleep, the world around him has been reshaped in the form of whatever he last dreamed of and that only he remembers

the world as it was before.

This means that the play must transport George, his scheming doctor (Matthew Vaky) and love interest/lawyer Heather (Erica Chamblee) from a world like ours to a post apocalyptic future to a world being invaded by aliens and finally to a world where racism has been eliminated by erasing the skin color of every human being, all within the space of a dream.

T h e p ro d u c t i o n doesn’t edit away all of this potentially expensive worldbuilding. Cleverly, Power has chosen to instead flaunt the low-budget solutions made for special effects. A helmet that modifies George’s dreams, for example, is obviously a barelymodified pasta strainer, which George clearly recognizes as such, and which doesn’t give him a lot of confidence when he straps it to his head. But it works, both as a device that controls his dreams, and as a comedic moment. A set that mostly consists of swivelling walls of cardboard boxes hides props and enacts lightningquick scene (and universe) changes. And Power utilizes a large ensemble to fill out the world(s) around the small main cast, who act as lab assistants, aliens, a chorus (Greek and vocal), and puppet-assisting kuroko.

Even effects that would otherwise be very ordinary, like showing aliens invading a space station by projecting a video of that onto one of the cardboard walls rather than creating a set and costumes for the moment, are transformed into something impressive and captivating. The audience can watch these video story beats being made on the fly, as the ensemble manipulates dozens of miniatures and cutouts in front of a camera to create the live footage that is blown up to larger-than-life proportions on the screen behind them.

Despite this impressive bag of budget tricks, there are still times where the production feels unpolished. Heaven’s pacing is frenetic and its 90-minute runtime flies by, but the constant energy dispersal means that sometimes characters seem to glide around in their swivel chairs or endlessly circle someone as they speak just to avoid even a single moment of stasis on stage. Still, Spooky Action has developed an entertaining and thoughtful adaptation of Le Guin’s enormous work that manages to create some astonishing and sweeping visuals. Le Guin passed away shortly before the show began its run, but it’s hard not to believe she’d approve of seeing this particular dream brought to life.

—Riley Croghan 1810 16th St. NW. $20–$40. (202) 248-0301. spookyaction.org.

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Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123. washingtoncitypaper.com march 2, 2018 23

galleriesSketcheS A FATHER’S POWER. A SON’S PASSION. A ROYAL FAMILY DESTINED FOR WAR.

Don Carlo

March 3–17 | Opera House Music by Giuseppe Verdi / Libretto by Joseph Méry and Camille du Locle

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400.

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

Major support for WNO is provided by Jacqueline Badger Mars.

David M. Rubenstein is the Presenting Underwriter of WNO. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

WNO's Presenting Sponsor

Generous support for WNO Italian Opera is provided

by Daniel and Gayle D’Aniello.

Don Carlo is a production of the Clarice Smith Opera Series.

Additional support for Don Carlo is provided by The Dallas Morse Coors Foundation for the Performing Arts

24 march 2, 2018 washingtoncitypaper.com

first portraits Former President Barack Obama by Artist Kehinde Wiley and Former First Lady, Michelle Obama by Artist Amy Sherald At the National Portrait Gallery to Feb. 28, 2028 and Nov. 4, 2018

“Never believe what you see on TV,” was an adage that defined a generation. Today, it’s “Never believe the things you see on the internet.” While many seemingly prepped articles hit the web the day of the unveiling—pulling quotes from the event, giving background about the artists, and remarking on the significance of black artists painting a black president and first lady—they responded more to the moment than to the paintings.

Although, to be fair, many who didn’t attend the event and thus didn’t see the portraits in person, did respond on Twitter, heaping praise and insults. Despite the tweeted criticisms of likeness and “unpresidential-ness,” the recently unveiled portraits of Barack and Michelle Obama received (let alone wackadoodle conservative websites musing on “racist conspiracy,” and “sperm face”), it wasn’t enough to keep 50,000 people from viewing them at the National Portrait Gallery over President’s Day weekend. Even if only for a minute at a time, seeing the work in person is certainly different than on the portable screen.

The first view of the portrait of President Obama is disarming. For those unfamiliar with Kehinde Wiley’s work, it was the foliage. For others, it was the image of the seated president.

Technically, most of our presidents have been seated for a portrait, often with chair cropped out: Standing for a painted portrait is no picnic. With exception to Lincoln, none have been painted head to toe while seated: Even Robert Anderson cut off George W. Bush just below the ankles.

Wiley gave us the full picture of President Obama, not unlike what Obama attempted to do with his first book in 1995. Despite the suit and calm-but-uncomfortable posturing at the end of his chair, he feels approachable and ready to listen. Once face-to-face with the larger-thanlife portrait, however, he looks to the horizon as much as to the viewer. It’s reminiscent of the

man who met with survivors of Hurricane Sandy and Sandy Hook: a president who would attempt to take personal experience to affect legislation for a greater good.

The success of Wiley’s hyperreal portrait likely has more to do with its allusory elements: its floral backdrop. While Wiley noted that it represents the land of Obama’s Hawaiian birth, Kenyan heritage, and Chicago home, the flowers also represent something else entirely, three stupid fauxtroversies: All the conservative handwringing over Hawaiian vacations, the murder rate in Chicago, and his birth certificate.

The stronger of the two paintings is the more quiet one. While the collective response to the unveiling ranged from befuddlement to horror, the painted likeness of the former First Lady was not intended for glaring lights on a stage, transmitted globally via web video. It played best oneon-one, in person, away from a spotlight. Much has been stated of Amy Sherald’s gray-scale approach to flesh in portraiture. Omitted is the glow that flesh emits: a warm radiance, as if painted on copper instead of linen. It isn’t the only alchemy in Sherald’s portrait. Mrs. Obama’s expression seems to shift, like Mona Lisa’s smile. While not the most photogenic of the two portraits, it’s by far the more enchanting.

But it’s also not without its subtle allusion to fauxtroversy and hypocrisy. Certainly the bare arms didn’t escape anyone’s attention.

Jackie Kennedy had them prior, and Melania Trump since. What first lady shouldn’t have the right to bare arms? However, since the gown consumes most of the painting, it has also received most of the criticism.

While the gown is ripe with symbolism— the Obamas’ support of contemporary art, warnings from the Underground Railroad, MILLY clothes designer Michelle Smith’s support of LGBTQ issues—it’s Mrs. Obama’s affordable fashion sense that made her relatable, as well as a target by conservative media.

What’s unmistakable about the two pieces is that they aren’t simply works of portraiture: They are works of 21st century art. Built on centuries of what precede them, they break traditions, and barriers, and encourage new generations to tread in their wake.

I’m talking about the portraits, but the same applies to the people who sat for them, too.

—John Anderson 8th and F Streets NW. Free. (202) 633-8300. npg.si.edu.

FilmShort SubjectS

Behind the SceneS Bombshell: The Hedy Lamarr Story

Directed by Alexandra Dean Although she wAs born in Austria, Hedy Lamarr was born in the right circumstances to become a Hollywood icon, even if she could have been more. Fleeing Europe before the outbreak of World War II, Lamarr got the attention of the mogul Louis B. Mayer (of Metro-GoldwynMayer fame). He was actively looking to scoop up European talent, and Lamarr was one of his most promising finds.

This would be an incredible story on its own, but Lamarr was too smar t and extraordinary for just that. She was also a genius, and her most noteworthy invention paved the way for modern communication as we know it today.

Yes, you read that correctly.

Bombshell: The Hedy Lamarr Story is a traditional biographical documentary, complete with the usual mix of archival footage and talking heads. Director Alexandra Dean mostly handles the material with tact, yet there are some moments and flourishes that undermine her film’s credibility.

Lamarr’s son Anthony narrates most of the story, and the opening section is most interesting because Dean dovetails Lamarr’s biography with Hollywood sexism and the American propaganda effort during the War. She had a keen mind for invention: Alongside composer George Antheil, she developed “frequency hopping” technology for the U.S. Navy, and yet everyone thought she was only good for her looks and celebrity, so she helped sell war bonds.

Once the war ended, she went through many husbands, produced her own films, and starred in the megahit Samson and Delilah. This material would be dry, even a little obtuse, if Dean did not have a series of interviews with Lamarr and a journalist. These interviews would be the basis for the news story of her as an inventor, and here they serve as a diary of her past exploits.

Dean is selective in her handling of Hollywood’s institutional sexism. She returns to the paradox of being a great beauty—when you’re a bombshell, no one cares about anything but your looks—yet there are also scenes that undermine her attempts for empathy. One of the talking heads is Mel Brooks, who made running jokes at Lamarr’s expense in Blazing Saddles, and at one point he describes his plans for

courtship: “If I can’t marry her, I’ll take her out to dinner and feel her up under the table.

Whatever I can get!”

Dean lets this comment pass, perhaps chalking it up to Brooks’ age and the sensibilities of his heyday, and yet the comment is jarring since it’s precisely the sort of thing that would make Lamarr herself feel uncomfortable (there is also archival footage of Woody Allen—arguably the most controversial figure in the film world—drooling over her on The Merv Griffin show).

Another strange thing about Bombshell is how it tells half-truths by omission. Through shrewd editing, the Lamarr recordings seem like a long-lost discovery, almost as if Bombshell unearths new details ab out her life. As the do c u m e n tary continues, we realize that there is nothing new here except the feature-length presentation. Anyone with a passing interest in Lamarr could learn about as much from reading her Wikipedia page.

To her credit, Dean includes footage from many of her films, including the controversial Austrian drama Ecstasy in which she appears nude at age 18. Dean and her subjects rarely comment on or observe these episodes, so most of the footage only appears for posterity’s sake. Contrast this with the Hollywood history podcast You Must Remember This, in which host Karina Longworth digs into Lamarr’s filmography, arguing that even her most controversial work is a secret camp success.

The latter half of Hedy Lamarr’s life was nowhere as glamorous as the first. She was a regular patient of “Dr. Feelgood,” an unethical physician who would prescribe methamphetamine to his addict celebrity clientele.

This would cripple Lamarr’s life, leading toward legal troubles, many failed marriages, and financial ruin.

By the time the scientific community acknowledged her contribution to everything from WiFi to Bluetooth, she was living as a recluse (years of plastic surgery changed her appearance considerably). These final scenes have a somber note to them, without much of the frustration or bitterness Lamarr must have felt.

Bombshell is a decent, albeit uninspired introduction to a unique figure who secretly succeeded at everything she attempted. A more interesting film would be angry, not wistful, about what her life could have been under fairer circumstances.

—Alan Zilberman Bombshell: The Hedy Lamarr Story opens Friday at Landmark E Street Cinema.

Mason Bates, DJ Derek Hena & DJ Justin Reed

MERCURY

SOUL

March 15 at 7:30 p.m. / 9:30 Club New music meets electronica in this immersive “classical rave” featuring D.C. premieres of music by Mason Bates / Derek Bermel / Ted Hearne Jennifer Higdon / Missy Mazzoli

$25 TICKETS ON SALE NOW! www.930.com washingtoncitypaper.com march 2, 2018 25

26 march 2, 2018 washingtoncitypaper.com

CITYLIST

thh

NEW MUSIC VENUE

NOW OPEN THE WHARF, SW DC

DINER & BAR OPEN LATE!

Music 27 Books 31 Dance 31 Theater 32 Film 34

Music

CITY LIGHTS: FRIDAY

FRIDAY ClASSICAl

Barns at Wolf trap 1635 Trap Road, Vienna. (703) 255-1900. Marc-André Hamelin. 7:30 p.m. $40. wolftrap.org.

Kennedy Center MillenniuM stage 2700 F St. NW. (202) 467-4600. National Symphony Orchestra Prelude. 6 p.m. Free. kennedy-center.org.

CouNtRY

MARCH CONCERTS

fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Eric Johnson with Tommy Taylor and Kyle Brock plus special guest Arielle. 8 p.m. $25–$45. fillmoresilverspring.com.

F2 SA 3 F9 SA 10

THE MIGHTY PINES w/ MOUNTAIN RIDE NO SECOND TROY w/ TOMMY GANN BUMPIN UGLIES w/ DUB CITY RENEGADES & JOINT OPERATION CRYS MATTHEWS w/ ECHO BLOOM

SU 11

CURLEY TAYLOR & ZYDECO TROUBLE

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams Quartet featuring Lenny White.

8 p.m.; 10 p.m. $30–$35. bluesalley.com.

TU 13 W 14

SAtuRDAY

F 16

FY5 w/ THE HIGH AND WIDES SHERMAN EWING WITH SPECIAL GUEST JOHN JO JO HERMANN w/ JAMIE MCLEAN BAND

JAzz

atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Free Café Concert: Ney Mello. 6:30 p.m. Free. atlasarts.org.

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rachelle Ferrell. 7:30 p.m. $59.50. birchmere.com.

BluES

SA 17

the haMilton 600 14th St. NW. (202) 787-1000. Justin Jones. 8 p.m. $12.00-$27.00. thehamiltondc.com.

Kennedy Center eisenhoWer theater 2700 F St. NW. (202) 467-4600. Lean On Me: José James Celebrates Bill Withers. 8 p.m. $25–$55. kennedy-center.org.

CouNtRY

HIP-HoP JAzz

atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Free Café Concert: Brittney Allen & Herman Burney. 5 p.m. Free. atlasarts.org. atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Free Café Concert: Hope Udobi. 7 p.m. Free. atlasarts.org.

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rachelle Ferrell. 7:30 p.m. $59.50. birchmere.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams Quartet featuring Lenny White.

8 p.m.; 10 p.m. $30–$35. bluesalley.com.

oPERA

atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Really Spicy Opera: The Princess Pirate Party Musical. 9 a.m. $12. atlasarts.org.

Kennedy Center opera house 2700 F St. NW. (202) 467-4600. Washington National Opera. 7 p.m. $45–$300. kennedy-center.org.

W 21

THE FABULOUS THUNDERBIRDS FEAT. KIM WILSON MARTY O’REILLY AND THE OLD SOUL ORCHESTRA SMITHSONIAN FOLKWAYS PRESENTS THE REVELERS ZYDECO DANCE LESSON INCLUDED!

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. DJ Snake. 9 p.m. $40–$50. echostage.com. hoWard theatre 620 T St. NW. (202) 803-2899. DJ Muggs & Meyhem Lauren. 9 p.m. $15–$49.99. thehowardtheatre.com.

WAREHOUSE WEST PRESENTS TOSHA HILL

F 23

ElECtRoNIC

AN EVENING WITH

KRISTIN HERSH & GRANT LEE PHILLIPS THE BEAT HOTEL FREE SHOW!

TU 20

TH 22

the antheM 901 Wharf St. SW. (202) 888-0020. Little Big Town. 8 p.m. $75–$369. theanthemdc.com.

ZYDECO DANCE PARTY 3PM DOORS ZYDECO DANCE LESSON INCLUDED!

PARK SNAKES

I’d be hard-pressed to name another band in D.C. with a sound as assured as Park Snakes. It’s not proto- or post- anything and there’s no fusion of sounds or genres. It’s just straight-up, selfdescribed “noir rock;” that’s as accurate a description as any for this trio’s dark, surf-y songs.

Poet Nenet’s silky smooth crooning is thick, with an air of enigmatic allure, but her lyrics are razor sharp. On “Alien,” the first track off their new album Silk, Nenet, who moved to D.C. from Buenos Aires six years ago, sings about her immigrant experience. “I’m an immigrant and the word ‘alien’ is always used on official paperwork,” she told City Paper last year. “The song is about alienation, and the idea of being unseen and unwanted.” Throughout Silk, Nenet doesn’t mince her words: “Ugliest Man In The World,” one of the album's best songs, is a kiss-off anthem about garbage men and their trash behavior. But for Park Snakes, what makes this trio, which also includes guitarist Jason Coile and drummer Van Hillard (and on Silk, guest bassist Benjamin Schurr) so assured is a kind of classic coolness; songs that feel like they would fit right at home in a Jim Jarmusch film. Park Snakes perform at 8:30 p.m. at Slash Run, 201 Upshur St. NW. $5. (202) 838-9929. slashrun.com.

—Matt Cohen

SA 24

KYLE CRAFT

F 30 SA 31

BLAIR CRIMMINS AND THE HOOKERS REVELATOR HILL w/ KAREN JONAS

APRIL CONCERTS SU 1 CASEY NEILL AND THE NORWAY RATS TU 3 JEN HARTSWICK & NICK CASSARINO W4

SMITHSONIAN FOLKWAYS PRESENTS DOM FLEMONS CD RELEASE

TH 5 SU 8

FORLORN STRANGERS DWIGHT “BLACK CAT” CARRIER AND THE ZYDECO RO DOGGS

W 11

ZYDECO DANCE PARTY 3PM DOORS ZYDECO DANCE LESSON INCLUDED!

DELLA MAE w/ ONLY LONESOME

TICKETS ON SALE! pearlstreetwarehouse.com

washingtoncitypaper.com march 2, 2018 27

KC JAZZ CLUB

CITY LIGHTS: SAtuRDAY

ALL PERFORMANCES AT 7 & 9 P.M. IN THE TERRACE GALLERY

JASON MORAN & THE BANDWAGON

F E AT U R I N G P O E T S ELIZABETH ALEXANDER & Y U S E F K O M U N YA K A A F R I D A Y, M A R C H 2 Jason Moran and his Bandwagon unite with poets Elizabeth Alexander and Yusef Komunyakaa for an evening of poetry and music.

MYRA MELFORD WITH SNOWY EGRET S AT U R D AY, M A R C H 1 0 American avant-garde jazz pianist and composer Myra Melford returns to the Kennedy Center with her quintet.

HARRY PottER AND tHE PRISoNER oF AzKABAN

A PART OF

D I S C O V E RY A RT I S T

JOEL ROSS GOOD VIBES

S AT U R D AY, M A R C H 1 7 Vibraphonist Joel Ross convenes some of his most talented peers with established veterans for a cross-generational collaboration of extraordinary jazz.

AKUA ALLRICH

It’s 2004. Young wizard Harry Potter is about to begin his third year at Hogwarts and notorious criminal Sirius Black has escaped from Azkaban prison. As usual, trouble is brewing in the wizarding world and it has come to track down Harry Potter and his friends. The nostalgia for Alfonso Cuarón’s masterful work—far and away the best Harry Potter movie—is real. Thankfully, the Baltimore Symphony Orchestra is here to walk you through it note by note. Led by director Edward Maclary of the University of Maryland Concert Choir, the orchestra presents Harry Potter and the Prisoner of Azkaban in concert for Potterheads of all ages to relive the magic and excitement of this tale based on J.K. Rowling’s record-shattering book series. But don’t cry over spilled Polyjuice Potion if you’ve been living under a rock for the last two decades and haven’t seen the movies or read the books. The film is just as captivating as the orchestral performance of its iconic John Williams score is sure to be. The performance begins at 3 p.m. at The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. $45–$85. (301) 581-5100. strathmore.org.

—Mikala Williams

RoCK BlaCK Cat 1811 14th St. NW. (202) 667-4490.

S AT U R D AY, M A R C H 2 4

1000mods. 8 p.m. $20. blackcatdc.com.

Jazz vocalist and D.C. native Akua Allrich returns to the Kennedy Center to display her extraordinary ability to merge jazz, blues, soul, and pan-African music into a fluid musical experience.

sixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Rodriguez. 8 p.m. $55–$59.50. sixthandi.org.

VoCAl atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Free Café Concert: Culture Queen. 10 a.m. Free. atlasarts.org.

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

WoRlD

Tickets also available at the Box Office. Groups call (202) 416-8400.

(202) 399-7993. Cultura Plenera: Puerto Rico’s Uplift-

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

ing, Rebellious and Defiant Music. 2 p.m. $25.

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

Support for Jazz at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

atlas perforMing arts Center 1333 H St. NE.

atlasarts.org. atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Natalie Jean: Haiti Mwen Renmenw (Haiti I Love You). 4:30 p.m. $20. atlasarts.org.

28 march 2, 2018 washingtoncitypaper.com

SuNDAY ClASSICAl

atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. LeDroit Chamber Players: Split Screen. 2:30 p.m. $25. atlasarts.org. atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Capital City Symphony: Mambo! And Beyond. 6 p.m. $30. atlasarts.org.

FuNK & R&B Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Harold Melvin’s Blue Notes. 2 p.m.; 7:30 p.m. $30. bethesdabluesjazz.com.

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Dwele. 7:30 p.m. $59.50. birchmere.com.

HIP-HoP fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Jeezy: The Cold Summer Tour with Tee Grizzley. 8 p.m. $39–$115. fillmoresilverspring.com.

washingtoncitypaper.com march 2, 2018 29

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams Quartet featuring Lenny White.

8 p.m.; 10 p.m. $30–$35. bluesalley.com.

oPERA

atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Sopranessence: Virtues and Vices.

5:30 p.m. $25. atlasarts.org.

RoCK

MARCH S3

JOE CLAIR & FRIENDS COMEDY SHOW (7/10PM - 2 SHOWS)

SU 4

HAROLD MELVIN’S BLUE NOTES (2/7PM – 2 SHOWS) W 7 CEDRICK NAPOLEON AND BRIAN LENIAR TH 8 JON CARROLL W/SCOTT AMBUSH AND DEREN BLESSMAN PLUS SPECIAL GUEST CECILY F9 CELEBRATING THE LIFE OF NOTORIOUS B.I.G FEAT. SECRET SOCIETY SU 11 A TRIBUTE TO THE MUSIC OF PHYLLIS HYMAN TH 15 JANE BUNNETT & MAQUEQUE F 16 TONY CRADDOCK, JR. & COLD FRONT ALBUM RELEASE CONCERT S 17 CELEBRATE ST. PATRICK’S DAY WITH “O’MALLEY’S MARCH” SU 18 WILSON PICKETT’S MIDNIGHT MOVERS FEATURING CURTIS POPE & WINFIELD PARKER TH 22 RONNIE LAWS F 23 STONE SOUL PICNIC W SOUL CRACKERS & THE TEXAS CHAINSAW HORNS S 24 BE’LA DONA’S SPRING JAM

JUST ANNOUNCED FRI, MAR 30 ALGEBRA BLESSET FRI, APR 6 SOUL-BLUES SUMMIT:

BILLY PRICE BAND W/SPECIAL GUEST JOHNNY RAWLS THU, APR 26 MIKE PHILLIPS FRI, APR 27 CONYA DOSS & LIN ROUNTREE SAT, APR 28 MELBA MOORE

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

FRI, MAR 2

MARC-ANDRÉ HAMELIN, piano

CHAMBER MUSIC AT THE BARNS

JOHN EATON

INDIANA ON OUR MINDS: THE MUSIC OF COLE PORTER & HOAGY CARMICHAEL FRI, MAR 9

SHOSTAKOVICH AND THE BLACK MONK: A RUSSIAN FANTASY CHAMBER MUSIC AT THE BARNS

SUN, MAR 11

BARRY FLANAGAN OF HAPA WITH SPECIAL GUEST ERIC GILLIOM FRI, MAR 16

SPHINXtravaganza

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Phillip “Doc” Martin. 8 p.m.; 10 p.m. $22. bluesalley.com.

RoCK

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Frigs.

7:30 p.m. $10. blackcatdc.com.

BlaCK Cat 1811 14th St. NW. (202) 667-4490. BRNDA. 7:30 p.m. $10. blackcatdc.com.

CoMet ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Crumb. 9 p.m. $12. cometpingpong.com.

MoNDAY

union stage 740 Water St. SW. (877) 987-6487.

Shopping. 7:30 p.m. $12. unionstage.com.

ClASSICAl

VoCAl

oPERA

WEDNESDAY

atlas perforMing arts Center 1333 H St. NE. (202) 399-7993. Capital City Symphony: Mambo! And Beyond. 6 p.m. $30. atlasarts.org.

Kennedy Center opera house 2700 F St. NW. (202) 467-4600. Washington National Opera. 7 p.m. $45–$300. kennedy-center.org.

PoP

BirChMere 3701 Mount Vernon Ave., Alexandria.

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

RoCK

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Report Suspicious Activity. 7:30 p.m. $12. blackcatdc.com.

WoRlD

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Meklit. 8 p.m.; 10 p.m. $25. bluesalley.com.

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Sweet Honey in the Rock. 7:30 p.m. $39.50. birchmere.com.

CouNtRY

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Pat Green. 7:30 p.m. $39.50. birchmere.com.

FuNK & R&B

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Zo! + Carmen Rodgers. 8 p.m.; 10 p.m. $25. bluesalley.com.

JAzz

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Cedrick Napoleon and Brian Leniar. 8 p.m. $25. bethesdabluesjazz.com.

CITY LIGHTS: SuNDAY

DEBUT ARTISTS

CHAMBER MUSIC AT THE BARNS

SUN, MAR 18

THE LAST BANDOLEROS SKRIBE

TUE, MAR 20

AND MANY MORE! 1 6 3 5 T R A P R D, V I E N N A , VA 2 2 1 8 2

D.C.’s awesomest events calendar. washingtoncitypaper.com/ calendar

(240) 330-4500 www. BethesdaBluesJazz.com

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

tuESDAY

washingtoncitypaper.com

30 march 2, 2018 washingtoncitypaper.com

JEEzY

Born in Columbia, South Carolina, but a native of Atlanta, Georgia, Jeezy has made a name for himself throughout the years as a quintessential hustler. As plenty of artists of his time get forgotten, Jeezy hasn’t, with early aughts hip-hop nostalgia serving as the wind at his back. Plenty can spit Jeezy’s verses on “Soul Survivor” featuring Akon just as well now as they could in grade school, and his hard-hitting lyrics and contributions to the Kanye West 808s & Heartbreak lexicon remain modern classics in the new world of rap. But he’s not done giving us music: His latest album, Pressure, marks his continuation as just “Jeezy,” instead of his former moniker “Young Jeezy.” It showcases his mastery of merging Southern sounds with the trap flavor that makes Atlanta today’s haven for hip-hop. The album is also a revival of his very early 2000s style and swagger that first made him a rap fan favorite. With features from an all-star lineup, including Diddy, J. Cole, and Kendrick Lamar, Jeezy makes it evident that he’s not ready for this nostalgia wave to let up. Jeezy performs with Tee Grizzley at 8 p.m. at the Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $42.50. (301) 960-9999. fillmoresilverspring.com. —Jazmin Goodwin

CITY LIGHTS: MoNDAY

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

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

Tix @ Ticketmaster.com 800-745-3000

JONES

Fri. Sept 28, 8pm

Tickets on sale Fri. Mar. 2 at 10am at Ticketmaster.com 800-745-3000.

Mar 4

JUSTIN

Warner Theatre Washington, DC

W/ THE BEANSTALK LIBRARY

SATURDAY MAR

3

TUESDAY MAR

6

DWELE

DAVID ARCHULETA 6 SWEET HONEY IN THE ROCK 5

PAT GREEN

7 8

An Evening of

WHISTLE DOWN THE WIND out now

Every ticket purchased includes a CD or download 9 Newmyer Flyer Presents of Joan’s new album, Whistle Down The Wind.

LAUREL CANYON:

Purchaser will receive an email with instructions for redeeming offer approximately 7 days after purchase.

Laura Pergolizzi is a force to be reckoned with. She’s crazy weird, makes music that can’t be confined to any genre space, and has incredible style caught somewhere between pirate and grunge rocker. Her musical ferocity can be felt on what is probably her most popular song, the achingly relatable, foot-stomping folk-pop jam “Lost On You,” from her 2016 album of the same name.

You may think you’ve never heard LP’s music or lyrics, but you probably have: She has written songs for a range of artists, from Rihanna to the Backstreet Boys to Cher. But now’s the time to get to know her as a solo artist, the type of artist who, once you discover, you ask yourself “Why the hell didn’t I discover her sooner?” With no new album to promote, she’s just bringing her old music and her authenticity to 9:30 Club. Like her music, she’s honest, raw, and carefree, serving looks like a witchy extra from The Craft. Authenticity is a market she has cornered. LP performs at 7 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com.

—Kayla Randall

Golden Songs of Los Angeles 1966-73 Warner Theatre Fri. Sept 28, 8pm Washington, DC

THE FOUR BITCHIN’ BABES

Tickets on sale Fri. Mar. 2 at 10am at Ticketmaster.com/800-745-3000.

10

Christine Lavin, Debi Smith, Sally Fingerett, Deirdre Flint

WATCH Awards Ceremony -7pmEd 13 THE ZOMBIES Rogers 11

14

The Very Best of

DAVE MASON Gretchen Rhodes 15 TAB BENOIT's Whiskey Bayou Records Revue

RoCK

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Nada Surf. 7:30 p.m. $25. blackcatdc.com. fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Noise Presents Sabaton & Kreator with Cyhra. 7:30 p.m. $28. fillmoresilverspring.com. linColn theatre 1215 U St. NW. (202) 888-0050.

Dixie Dregs. 8 p.m. $55. thelincolndc.com.

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Ben Wendel Seasons Band. 8 p.m.; 10 p.m. $25. bluesalley.com.

RoCK

fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Michael Schenker Fest with A Sound of Thunder. 8 p.m. $45. fillmoresilverspring.com.

WoRlD

Barns at Wolf trap 1635 Trap Road, Vienna. (703) 255-1900. Enter The Haggis. 8 p.m. $28–$34. wolftrap.org.

tHuRSDAY ClASSICAl

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: John Adams’ The Gospel According to the Other Mary. 7 p.m. $15–$89. kennedy-center.org.

CouNtRY

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. An Evening with Edwin McCain. 7:30 p.m. $29.50. birchmere.com.

FolK

MiraCle theatre 535 8th St. SE. (202) 400-3210.

Adrianne Lenker and Nick Hakim. 8 p.m. $18. themiracletheatre.com.

HIP-HoP

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Excision Presents: The 2018 Paradox Tour.

9 p.m. $35–$45. echostage.com.

Books

steven pinKer The psychologist and science author’s latest is Enlightenment Now: The Case for Reason, Science, Humanism, and Progress, which expands his claim that because of societal advancements human life today is better than ever. Sixth & I Historic Synagogue. 600 I St. NW. March 7. 7 p.m. $20–$50. (202) 408-3100.

Dance

dorranCe danCe MacArthur Fellow Michelle Dorrance and her company of tap dance artists and musicians return with ETM: Double Down, featuring solos, duets, and ensemble choreography incorporated with live music and electronic tap dance instruments. Music Center at Strathmore. 5301 Tuckerman

16 17

THE OAK RIDGE BOYS “Shine The Light Tour” THE MANHATTANS featuring GERALD

ALSTON

AVERY*SUNSHINE 20 MARC BROUSSARD 21 ROBIN TROWER 22 SQUIRREL NUT ZIPPERS 23 LEE ANN WOMACK Matt 24 TOM RUSH Nakoa 25 RIDERS IN THE SKY '40th Anniversary!'

19

26

JAMES McMURTRY & JOHN MORELAND

27

MIKE + THE MECHANICS

28

NIGHT I

THURS, MAR 8

NIGHT II

BELUSHI & THE BOARD OF COMEDY

The new album

lP

WED, MAR 7

AN EVENING WITH JIM

EDWIN McCAIN

AN EVENING WITH JIM

BELUSHI & THE BOARD OF COMEDY

FRI, MAR 9

KAT WRIGHT SAT, MAR 10

ROOMFUL OF BLUES

W/ VINTAGE #18

WED, MAR 14

SOLD OUT A BENEFIT CONCERT IN SUPPORT OF THE NATIONAL COUNCIL FOR THE TRADITIONAL ARTS

MASTERS OF AMERICAN MUSIC FEATURING JERRY DOUGLAS, AMANDA SHIRES, JASON ISBELL, & MORE THURS, MAR 15

THE EMBASSY OF HUNGARY PRESENTS A BENEFIT CONCERT IN SUPPORT OF THE MARTIN COUNTY HISTORICAL AND GENEALOGICAL SOCIETY

HUNGARIAN HERITAGE BLUES FESTIVAL FEATURING LITTLE G. WEEVIL, JOHN NEMETH, & JOHN POPPER FRI, MAR 16

ALL GOOD PRESENTS

ANDERS OSBORNE W/ RYAN MONTBLEAU WED, MAR 21

AN EVENING WITH

GOLDEN GATE WINGMAN FRI, MAR 23

NIGHT I

SAT, MAR 24

NIGHT II

RED BARAAT FESTIVAL OF COLORS W/ ZESHAN B

RED BARAAT FESTIVAL OF COLORS W/ WOMEN’S RAGA MASSIVE

An Intimate Evening with

LANGHORNE SLIM 29 CRIS WILLIAMSON, BARBARA HIGBIE, TERESA TRULL

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washingtoncitypaper.com march 2, 2018 31

2017–2018 CONCERTS

Dumbarton Concerts

MUSIC BY CANDLELIGHT 2017–2018 SEASON

CITY LIGHTS: tuESDAY

Upcoming Dumbarton Concerts March 17, 2018 at 4pm & 8pm Celtic Tenors April 21, 2018 at 8pm The Music of Dumbarton May 5, 2018 at 8pm Judy Kuhn: A Broadway Cabaret

ORDER YOUR TICKETS TODAY: dumbartonconcerts.org 3133 Dumbarton Street NW Washington, DC 20007 • 202-965-2000

MY DAD WRotE A PoRNo

British writer Jamie Morton made a discovery that would horrify some, but delighted him and became podcast gold: His dad wrote a porno. Under the pseudonym Rocky Flintstone, Morton’s dad wrote not just a short story but multiple full-fledged filthy novels. Flintstone is so prolific in fact that he’s enabled Morton's comedy podcast, My Dad Wrote A Porno, to go on for three series now and into the foreseeable future. And notoriety from the podcast hasn’t seemed to change the deliciously bad quality of these dirty stories. And oh, are they bad. The epitome of “so bad it’s good,” especially as they get dissected on air by Jamie and his two hilarious friends James Cooper and Alice Levine (of BBC’s Radio 1). Each episode has the friends reading and picking apart a chapter of the erotic novels. Now that the podcast has an international following and more than 100 million downloads, this chance to hear the trio read live is a hot ticket... for the humor, because truly there’s nothing actually sexy about this porno. The show begins at 8 p.m. at the Warner Theatre, 513 13th St. NW. Sold out. (202) 783-4000. warnertheatredc.com.

—Diana Metzger

Lane, North Bethesda. March 2. 8 p.m. $35–$80. (301) 581-5100. strathmore.org. druMs of the islands Learn about island traditions as Meki’s Tamure Polynesian Dance Group dra-

Voting ends March 4 Best of 2018 out April 12

matizes island life through Tahitian dance and drum performances. Atlas Performing Arts Center. 1333 H St. NE. March 3. 2 p.m. $20. (202) 399-7993. atlasarts.org. exit12 danCe CoMpany The company performs a selection of works with a conflict theme, including “Sometimes, Silence,” an autobiographical ballet choreographed by an Army mother watching her two sons leave to fight in Afghanistan. Atlas Performing Arts Center. 1333 H St. NE. March 4. 7:30 p.m. $25.

(202) 399-7993. atlasarts.org. flaMenCo, passion and soul Furia Flamenca Dance Company performs fiery flamenco solo and group dances in this show that presents the best of

washingtoncitypaper.com

flamenco in its traditional form. Atlas Performing Arts Center. 1333 H St. NE. March 2. 8 p.m.; March 3. 7 p.m. $30. (202) 399-7993. atlasarts.org.

Reserve now! Call the advertising department to book your Best of D.C. ad today: 202-650-6937

une soirée de danse Bowen McCauley Dance returns to the Terrace Theater for two performances with a seven-member cast featuring a group dance, set to the piano music of Franz Liszt and played live

by Nikola Paskalov. Kennedy Center Terrace Theater.

2700 F St. NW. March 2. 7:30 p.m.; March 3. 7:30 p.m. $40–$50. (202) 467-4600. kennedy-center.org.

32 march 2, 2018 washingtoncitypaper.com

Theater

auBergine As part of the Women’s Voices Theater Festival, the Olney Theatre Center presents a story of family, food, and memories. Written by Julia Cho and directed by Vincent M. Lancisi, Aubergine focuses on a Korean family, in which a son leaves his job as a chef to care for his dying father and strives to gain acceptance from him. Performed in English and Korean with English supertitles. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 4. $49–$74. (301) 924-3400. olneytheatre.org.

BeCoMing dr. ruth Theater J presents the story of America’s favorite sex therapist, Dr. Ruth. She Karola Ruth Siegel had to flee Germany in the Kindertransport, become a sniper in Jerusalem, and survive as a single mother in America. Directed by Holly Twyford and starring Naomi Jacobson, Becoming Dr. Ruth is written by the author of Theater J’s Freud’s Last Session. This one-woman show is infused with humor and honesty, showcasing the life-affirming tale of a girl who created a special place for herself in the world. Theater J. 1529 16th St. NW. To March 18. $24–$69. (202) 777-3210. theaterj.org. every Brilliant thing Written by Duncan Macmillan with Jonny Donahoe, this Jason Loewith-directed production is about a 7-year-old who makes a list of things to live for—from ice cream to the alphabet—after his mother’s attempted suicide that grows from childhood to adolescence to adulthood. Every Brilliant Thing is a one-person show that invites its

audience to become a custodian of the all-important list. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 25. $49–$74. (301) 924-3400. olneytheatre.org. the farnsWorth invention This regional premiere production is directed by Alex Levy and written by Aaron Sorkin, writer of The West Wing and The Social Network. Set in 1929, it centers on two ambitious visionaries who race against each other to invent a device called television. 1st Stage. 1524 Spring Hill Road, McLean. To March 11. $15–$33. (703) 854-1856. 1ststagetysons.org. the great soCiety As civil rights protests and the horrors of the Vietnam War divide the country, President Lyndon B. Johnson struggles to maintain his relationship with Dr. Martin Luther King, Jr., stave off his political opponents, and put forth ambitious social policy projects. Playwright Robert Schenkkan’s lauded production makes its highly-anticipated D.C. premiere. Arena Stage. 1101 6th St. SW. To March 11. $56–$111. (202) 488-3300. arenastage.org. haMlet Shakespeare’s classic tragedy makes its way to Sidney Harman Hall, starring Michael Urie, of Ugly Betty fame, as the desperate Danish prince Hamlet and directed by Michael Kahn. Sidney Harman Hall. 610 F St. NW. To March 4. $44–$125. (202) 547-1122. shakespearetheatre.org. handBagged From playwright Moira Buffini and director Indhu Rubasingham comes the American premiere of Handbagged, a tale of two powerful British women born just six months apart: Margaret Thatcher and Queen Elizabeth II. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda.

To March 3. $45–$66. (240) 644-1100. roundhousetheatre.org.

hoBson’s ChoiCe Harold Brighouse’s comedy of turn-of-the-century Lancashire manners comes to Quotidian Theatre. Curmudgeonly cobbler Henry Hobson faces his ultimate choice: Take a life with three daughters in his shop forever unmarried or let them wed their sweethearts and leave him all alone.

Quotidian Theatre Company at The Writer’s Center.

4508 Walsh St., Bethesda. To March 11. $15–$30. (301) 816-1023. quotidiantheatre.org. hold these truths From playwright Jeanne Sakata and director Jessica Kubzansky comes the true story of Gordon Hirabayashi, the American son of Japanese immigrants who defied judicial injustice to uphold the ideals and values on which America was founded during a time of fear and rage. Hold These Truths presents an America reeling from the 1941 attack on Pearl Harbor, and, driven by prejudice, placing its own citizens of Japanese ancestry in internment camps. Arena Stage. 1101 6th St. SW. To April 8. $81–$111. (202) 488-3300. arenastage.org. the iMaginary invalid Translated and adapted from Molière’s work, The Imaginary Invalid combines the genres of satire and farce, with its lead, a fearful and miserly hypochondriac, wrapped up in a fastmoving plot that lampoons doctors, hypochondria, romance, and the idea of control. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To March 4. $10–$20. (888) 945-2468. cfa.gmu.edu.

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light years Robbie Schaefer, of the acclaimed indie rock band Eddie From Ohio, crafts a world premiere musical that is a touching and funny personal tale of music, immigration, and the bond between father and son. The story centers on Schaefer’s journey from a childhood in India to the struggles of growing up and raising a family, and how his father’s dark past

CITY LIGHTS: WEDNESDAY

NADA SuRF

The band Nada Surf are proof that there are, indeed, second acts in American musical life. The New Yorkers first broke through in 1996 with the spoken-word novelty song “Popular”—federal law mandates that every article about Nada Surf must contain at least one reference to “Popular”—but have long since shown that they’re far more than one-hit wonders. Since 1996, they have released seven consistently impeccable albums of tuneful, reverb-drenched indie pop.

The band’s current hot streak began with 2002’s marvelous Let Go, certain songs from which— “Blizzard of ’77,” “Inside of Love,” “Neither Heaven nor Space”—have resonated in my brain for more than a decade. Nada Surf will play Let Go in its entirety at Black Cat, to be followed by a second set comprised of songs from their other albums. The gig is perfectly timed: Nada Surf make music for the month of March, with frontman Matthew Caws’ breathy tenor vocals evoking wintry ennui tinged with hopes for the oncoming spring. See this show. Nada Surf perform at 7:30 p.m. at Black Cat, 1811 14th St. NW. $25. (202) 667-4490. blackcatdc.com.

—Justin Peters washingtoncitypaper.com march 2, 2018 33

Puzzle

CITY LIGHTS: tHuRSDAY

A HERO AMONG US

By Brendan Emmett Quigley

Across

1 Actress Kunis 5 Dictator’s order 9 “___ Go� (Frozen showstopper) 14 Years of Spanish class 15 Have a sore spot?

16 OTC analgesic 17 Weightlifter working on his legs?

19 Wild West legend ___ Bill 20 The Audacity of Hope family 21 Weightlifter working on his biceps?

23 NBA executive Pat 24 “Tyger! Tyger! burning bright� poet 26 Lost GI 27 Feast day figs.

28 Pretty Little Liars writer Shepard 30 Gets the word out?

32 Country with a territory that uses polar bear-shaped license plates 34 In medias ___

35 Weightlifter who is working on his presses?

38 Abbr. for a king or queen 39 Utensils used with pastas 40 Fix a drink order with a bad head 43 Record label for Big Star 44 Setting for a posterized picture 47 ___ rampage (tearing) 48 Some turban wearers 50 “To know my deed, ___ best not know myself�: Macbeth 52 Weightlifter who lifts barbells to his shoulders?

54 Big Eyes director 55 “Dude!�

56 Weightlifter who keeps track of how much he lifts?

59 Carefully avoid 60 Student ___ debt 61 Fairway obstacle 62 Big name in chocolate 63 Like verbose writing

64 Parts of bread often the last to be eaten

Down

1 AAA player’s goal, with “The�

2 “Can’t you see I’m busy?�

3 Townies 4 “I know everything!�

5 Wikis alternatives 6 RN’s room 7 Word said with a finger snap 8 Bright aquarium fish 9 Thirsty dog, say 10 Household util.

11 Shawnee chief in the War of 1812 12 Piano, slangily 13 Magnetic induction units 18 Opens up at the dentist 22 Comic Barinholtz on The Mindy Project 24 Grains in breakfast cereals 25 Feminine 29 ___ Taylor (clothing store) 31 Stories follow them 32 Salmon variety 33 Disables a security camera, perhaps 35 1983 arcade eater 36 With 46-Down, Ryan Gosling’s better half 37 “After the break,� in TV lingo 38 Wars of the Roses monarch 40 WWII commander also known as “The Desert Fox�

41 Web forums’ ancestor 42 Long, narrow inlet 44 ___ of the Jedi 45 Hard pressed?

46 See 36-Down 49 Mournful bell toll 51 Composed 53 Shane star Alan 54 Loud explosion 57 Monkey house spot 58 Was on a November ticket

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JASoN MoRAN

In 2018, itâ&#x20AC;&#x2122;s hard to fathom that a jazz pianist could be a rock star. Jason Moran shatters that perception. The Houston-born musical savant is remaking the genre. He scored Ava DuVernayâ&#x20AC;&#x2122;s groundbreaking film Selma. Moran, ever the craftsman, turned that score into a nuanced yet powerful meditation on its subject matter. The Kennedy Center took notice of Moranâ&#x20AC;&#x2122;s many talents, naming him its artistic advisor for jazz in 2011 and artistic director for jazz in 2014. There, heâ&#x20AC;&#x2122;s widely expanded the breadth of its jazz programming, bringing in greats like Roy Hargroveâ&#x20AC;&#x2122;s RH Factor and Esperanza Spalding. But his work with the Kennedy Center hasnâ&#x20AC;&#x2122;t made him a slouch. The 43-year-old is still doing his jazz thingâ&#x20AC;&#x201D;experimenting with and revolutionizing technique, composition, and improvisation. At The Phillips Collection, Moran will offer personal, improvisatory musical responses to one of the collectionâ&#x20AC;&#x2122;s current art exhibitions, Ten Americans: After Paul Klee. The work of Swiss-born painter Klee combined with Moranâ&#x20AC;&#x2122;s piano skills will make for a world of color. Jason Moran performs at 5:30 p.m. at The Phillips Collection, 1600 21st St. NW. Sold out. (202) 387-2151. phillipscollection.org. â&#x20AC;&#x201D;Kayla Randall

impacts their relationship. Signature Theatre. 4200 Campbell Ave., Arlington. To March 4. $40â&#x20AC;&#x201C;$65. (703) 820-9771. sigtheatre.org.

Madeline farrington: that part is true Local playwright Madeline Farrington presents a story about members of a D.C. activist collective who must deal with being snowed in together during a blizzard. Snowed in, the group discovers that one of the members is not what they seem. Atlas Performing Arts Center. 1333 H St. NE. To March 3. $20. (202) 3997993. atlasarts.org. noura Part of the Womenâ&#x20AC;&#x2122;s Voices Theater Festival, Noura challenges our notions of modern marriage, the idea of home, and motherhood from the perspective of Iraqi immigrants living in New York preparing to celebrate their first Christmas as American citizens. Lansburgh Theatre. 450 7th St. NW. To March 11. $44â&#x20AC;&#x201C;$118. (202) 547-1122. shakespearetheatre.org. shear Madness A famed concert pianist who lives above the Shear Madness unisex hair salon dies in a scissor-stabbing murder. Set in modern day Georgetown, this interactive comedy whodunit lets its audience solve the crime. Kennedy Center Theater Lab. 2700 F St. NW. To June 10. $54. 202-467-4600. kennedy-center.org. speeCh and deBate This black comedy with music from the acclaimed Stephen Karam (The Humans) is about outcasts in a puritanical town in Salem, Oregon. Linked by a local sex scandal, this unlikely trio of outsiders joins forces to expose the truth. Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. To March 18. $20â&#x20AC;&#x201C;$30. (703) 228-1850. arlingtonarts.org. the Wolves From writer Sarah DeLappe, The Wolves explores the violence and teamwork of sports and adolescence, following a group of 16-year-old girls who become warriors on the field with an ear for

the empathy of the teenage years. Studio Theatre.

1501 14th St. NW. To March 11. $20â&#x20AC;&#x201C;$106. (202) 3323300. studiotheatre.org.

Film

annihilation Natalie Portman stars as a biologist who goes on a dangerous expedition in which reality and the laws of nature are turned on their heads. Costarring Tessa Thompson and Gina Rodriguez. (See washingtoncitypaper.com for venue information) death Wish Bruce Willis is a family man who, after an attack on his family, becomes a vengeance-fueled killing machine. Co-starring Vincent Dâ&#x20AC;&#x2122;Onofrio and Elisabeth Shue. (See washingtoncitypaper.com for venue information) gaMe night Weekly game night goes wrong for a group of friends as they must solve a murder mystery. Starring Rachel McAdams, Jesse Plemons, and Jason Bateman. (See washingtoncitypaper.com for venue information) red sparroW Jennifer Lawrence stars as a Russian ballerina who becomes a spy forced to use her body as a weapon. Co-starring Joel Edgerton and Matthias Schoenaerts. (See washingtoncitypaper.com for venue information)

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