Washington City Paper (March 10, 2017) by Washington City Paper

Free voLume 37, no. 10 WAshingtoncityPAPer.com mArch 10–16, 2017

The Answers Issue

this week, our readers ask the questions. P. 16

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CITYPAPER Washington courts: Lost evidence in A doubLe murder cAse 7 food: redefining rum 19 arts: cAge mAtch 23

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Even while the hop ﬁelds lie dormant, we’re preparing for the next crop that will become Goose IPA. Our brewers and the farmers at Elk Mountain Farm in Northern Idaho work together to carefully plan the planting of an entire year’s worth of great hops that make great IPA.

INSIDE 12 the answers issue

EDLAVITCH DCJCC

WASHINGTON JEWISH LITERARY FESTIVAL UNEXPECTED JOURNEYS

MARCH 14–19, 2017

This week, our readers ask the questions. Find out where to get a vegan croissant, how Starplex got its name, and much more. By City Paper staff and contributors Photographs by Darrow Montgomery

4 Chatter distriCt Line 7

Evidence Lost: The latest developments in the search for a missing record that could potentially exonerate a D.C. man serving 40 years for a double murder 8 Unobstructed View 9 Gear Prudence 10 Savage Love 11 Indy List

d.C. feed 19 Born to Rum: Cotton & Reed is redefining rum and the distillery model. 20 Island Hopping: Delectable dishes from Trinidad, Jamaica, Cuba, and the Dominican Republic. 20 Underserved: Conosci’s Negroni-San

arts 23 Mat Men: In less than two years, NOVA Pro has become the D.C. area’s preeminent indie pro wrestling organization.

25 Short Subjects: Gittell on Neruda and Zilberman on Kong: Skull Island 26 Sketches: Chocolate Cities: The History, Legacy, and Sustainability of African American Urban Enclaves at Prince George’s African American Museum & Cultural Center 28 Discography: Darkest Hour’s Godless Prophets & The Migrant Flora

City List 31 City Lights: Catch Orquesta El Macabeo at Atlas Performing Arts Center on Saturday. 31 Music 36 Galleries 38 Theater 40 Film

42 CLassifieds diversions 43 Crossword

TUESDAY, MARCH 14, 7:30 PM Noa Baum: Solo Show and Book Talk

An inspiring show combining performance and text from her compelling memoir, A Land Twice Promised: An Israeli Woman’s Quest for Peace.

WEDNESDAY, MARCH 15, 7:30 PM Local Authors Fair Free and open to the public, reception to follow ★ ★ ★ WEDNESDAY, MARCH 15, 7:30 PM

LOCAL AUTHORS FAIR

Listen in as we celebrate the diverse and vital community of writers living and working in the greater Washington, DC area. We’ll present a curated selection of fiction and nonfiction, and our eight writers will reflect upon the festival theme “Unexpected Journeys”. Audience members will have a chance to ask questions to individual writers as well as hear from the group collectively. This event is free and open to the public.

edcjcc.org/LitFest

/@16thStreetJ

/EdlavitchDCJCC

selectedSHORTS

Featuring Rabbi Susan Silverman, Dr. Carla Naumburg, and Marjorie Ingall

SUNDAY, MARCH 19, 10:30 AM Maya Benton: Roman Vishniac Rediscovered

Part of the Edlavitch DCJCC’s Washington Jewish Literary Festival

/@e_dcjcc

THURSDAY, MARCH 16, 7:30 PM Unpacking Parenthood: Memoir, Mindfulness and Managing the Meltdowns

In partnership with Washington Hebrew Congregation ®

Let us tell you a story.

selectedSHORTS

SUNDAY, MARCH 19, 3:00 PM EDCJCC hosts Selected Shorts ®

Performed by Tony Award-winner James Naughton, DC-based stage actress Holly Twyford, and Broadway and TV star of Ugly Betty, Michael Urie. ®

Let us tell you a story.

selectedSHORTS TICKETS ON SALE NOW ®

Let us tell you a story.

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washingtoncitypaper.com march 10, 2017 3 ®

CHATTER

Grade-A Backlash

In which readers reject overreliance on test scores

Darrow MontgoMery

Give D.C. publiC School parents credit for understanding the nuances of education reform and the myriad ways students should be measured for learning. Many of them were incredulous after Jeffrey Anderson reported that an education PAC was phone-banking residents to advocate for a school rating system based primarily on single test scores (“Dial N for Nuance,” March 3). “Thank you for this important story,” vjablow wrote on our website. “The OSSE [Office of the State Superintendent of Education] staff we met with, including the superintendent Hanseul Kang and her chief of staff, repeatedly said that the people they heard from all wanted this heavy emphasis on test scores. But none of the community members in that meeting wanted it—and testimony since the fall by parents and others in public forums, like the state board of education and the city council, has repeatedly made clear that heavy reliance on test scores to judge schools is damaging.” The PAC in question is Democrats for Education Reform (DFER), which is rallying behind an OSSE draft plan based on the federal “Every Student Succeeds Act.” It requires states to create a new school accountability system beyond the standardized math and reading tests of “No Child Left Behind.” “We should be outraged by @DFER_news astroturfing community comment on #essa standards,” Chris Sondreal tweeted. Meanwhile, in last week’s cover story by Alexa Mills and Matt Cohen (“Church v. State,” March 3), City Paper detailed D.C.’s robust interfaith movement to support area immigrants living in fear of the new administration’s erratic and threatening immigration policies. More than 150 D.C. congregations are participating at different levels—some already announcing that they’re prepared to shelter immigrants in fear of unjust deportation. “DC churches are some of the most progressive and socially active in the country,” u/thestruggleisreal wrote on reddit. And u/her_ladyships_soap asked: “Anyone know of solid ways to support efforts like this if you’re not involved in a religious community?” We do. Staffed with volunteers experienced in immigrant rights, Sanctuary DMV, which is featured in the story, is hosting a legal orientation for volunteers on March 15 and is participating in myriad other efforts. Citing the story and the group, @chiglinsky tweeted, “Well, if this isn’t the most inspiring thing I’ve read this week.” —Alexa Mills and Liz Garrigan

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EDitoR: liz garrigan MAnAGinG EDitoR: alexa Mills ARtS EDitoR: Matt Cohen FooD EDitoR: laura hayes City LiGHtS EDitoR: Caroline jones StAFF WRitER: andrew giaMbrone SEnioR WRitER: jeffrey anderson StAFF PHotoGRAPHER: darrow MontgoMery intERACtivE nEWS DEvELoPER: zaCh rausnitz CREAtivE DiRECtoR: jandos rothstein ARt DiRECtoR: stephanie rudig CoPy EDitoR/PRoDuCtion ASSiStAnt: will warren ContRibutinG WRitERS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

ADvERTIsIng AnD OpERATIOns

PubLiSHER: eriC norwood SALES MAnAGER: Melanie babb SEnioR ACCount ExECutivES: arlene kaMinsky, aliCia Merritt, aris williaMs ACCount ExECutivES: stu kelly, Christy sitter, Chad Vale SALES oPERAtionS MAnAGER: heather MCandrews DiRECtoR oF MARKEtinG AnD EvEntS: sara diCk buSinESS DEvELoPMEnt ASSoCiAtE: edgard izaguirre oPERAtionS DiRECtoR: jeff boswell SEnioR SALES oPERAtion AnD PRoDuCtion CooRDinAtoR: jane MartinaChe PubLiSHER EMERituS: aMy austin

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CHiEF ExECutivE oFFiCER: Chris ferrell CHiEF oPERAtinG oFFiCER: blair johnson CHiEF FinAnCiAL oFFiCER: bob Mahoney ExECutivE viCE PRESiDEnt: Mark bartel GRAPHiC DESiGnERS: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

LoCAL ADvERtiSinG: (202) 650-6937 FAx: (202) 618-3959, ads@washingtonCitypaper.CoM Find A stAFF directory with contAct inFormAtion At wAshinGtoncitypAper.com voL. 37, no. 10 MARCH 10-16, 2017 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. © 2016 all rights reserVed. no part of this publiCation May be reproduCed without the written perMission of the editor.

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DistrictLine Evidence Lost

The latest developments in the search for a missing recording that could potentially exonerate a D.C. man serving 40 years for a double murder By Jim McElhatton Lost in the billions of records at the National Archives and Records Administration is a Bureau of Alcohol Tobacco and Firearms file marked No. 742207-98-0020. It may be of little interest to historians, but David Wilson believes it’s his best and last chance of proving he had nothing to do with the 1998 murders of Ronnie “Squid” Middleton and Sabrina Bradley in Congress Park. Wilson, who is serving more than 40 years for aiding and abetting in the murders, knows this much about the missing file: On June 14, 1999, in a joint undercover operation, MPD and ATF agents wired a confidential informant to talk to a man named “LT” about the murders of Middleton, a hitman for the infamous 1-5 Mob, and his girlfriend Bradley, an innocent bystander. Antonio “LT” Robinson is long since dead, but he unknowingly bragged on tape to the undercover informant about killing Middleton and Bradley, an MPD memo shows. But the recording of exactly what LT said that day never made it into Wilson’s trial in U.S. District Court. After his conviction, Wilson filed multiple open records requests from prison, and MPD ultimately acknowledged the tape existed. Even then, a police official swore under penalty of perjury that an internal MPD memo shows police turned it over years ago to the ATF. Now ATF officials say the agency can’t find it and may never have had it in the first place. Whether or not Wilson is guilty, the troubling disclosures he’s prying loose from federal and local agencies regarding the whereabouts of a lost murder confession ought to concern anyone who cares about preservation of evidence and the handling of public records. “That information is out there, and they don’t want me to have it because it’s exonerating evidence,” Wilson says in a recent phone interview from prison. “It was negligent on their part. Plain and simple, it was supposed to have been turned over to me.” There’s no way of knowing without hearing the tape, of course, whether the words on it help or hurt Wilson’s case. While LT admit-

ted being the triggerman, prosecutors point out that Wilson was convicted of being the getaway driver. So the existence of a confession by LT alone may not impact his case. Prosecutors said there’s no reason to believe Wilson’s story, but Wilson insists the tape will show he’s innocent. Either way, it’s hard to argue he doesn’t deserve at least to hear what was said if he’s going to spend the rest of his life in prison. Recent developments in Wilson’s latest open records lawsuit muddle things even more. In February court papers, ATF attorneys argued that a judge should dismiss Wilson’s lawsuit against the agency, saying ATF only assisted MPD and that the agency searched its internal computer files and found no mention of Wilson. But through earlier open records work, Wilson uncovered a 1999 MPD internal memo summing up LT’s admission—and the fact the tape was turned over to ATF. “In what was described as a very brief conversation, the source advised that Robinson engaged the source in a conversation regarding the captioned shooting,” then MPD Detective Michael Will wrote. The detective added that the information was taken to the Seventh District h e a d q u a r t e rs , where “the body recorder was turned off and turned over to agent Hester.” Another MPD

detective, Daniel Whalen, said in a sworn statement years later that MPD records showed “the instrument to record this conversation, along with the content, was surrendered directly to a special agent of the Bureau of Alcohol Tobacco and Firearms.” Paul Wright, editor of Prison Legal News and director of the Human Rights Defense Center who has extensive experience filing FOIA requests with local and federal prisons, says the government makes it difficult for prisoners like Wilson. “The reality is the criminal justice system in America is the least transparent of all government institutions,” says Wright, who characterizes Wilson’s FOIA frustrations as “par for the course.” “It seems kind of obvious that when they’ve

got a vested interest in maintaining someone’s conviction, they really do go to serious lengths to keep them in prison and keep them locked up,” Wright says. After Wilson was unable to turn up the tape following open records requests with MPD and the US Attorney’s Office, he filed yet another request with ATF. Later, he filed a lawsuit against the agency, which did not respond to City Paper’s requests for comment. But in court papers, ATF attorneys urged a judge to toss Wilson’s case. “Disappointing though it may be, [ATF] is simply unable to provide plaintiff David Wilson with the recording that he seeks,” the attorneys wrote in a Feb. 27 memo. “The ATF searched everywhere it possibly can, but cannot find the requested record.” The agency did not say one way or another whether MPD was correct about turning over the tape to ATF, but attorneys noted Wilson’s name never came up in its internal records and database searches. The agency also said it went “above and beyond” in trying to locate one file consisting of work the agency did assisting MPD in the Seventh District in the late 1990s. In its motion to dismiss, ATF said the file is unlikely to contain the murder confession. Still, there was enough of a possibility that ATF formally requested that the National Archives pull the file out of storage. Unfortunately for Wilson, though, the National Archives couldn’t find the file. That’s because ATF lost a transmission slip required to track the file’s whereabouts in storage. In a declaration, Stephanie Boucher, ATF’s chief disclosure officer, said the missing file “may or may not contain” the information Wilson is seeking. She told a federal judge now weighing Wilson’s FOIA lawsuit that the agency doesn’t have any more information and that ATF has done enough already under the law. “ATF has met the reasonable search obligation required by the FOIA,” she wrote. Wilson filed his own lengthy response, but the heart of his argument is simple: When it comes to missing murder confessions, reasonable search isn’t enough. Keep looking. Find it. CP

washingtoncitypaper.com march 10, 2017 7

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RESEARCH ON ALCOHOL USE VOLUNTEERS NEEDED Doctors at the National Institute on Alcohol Abuse and Alcoholism (NIAAA) seek volunteers for a research study that will evaluate if inflammation of the brain occurs in individuals who are alcohol drinkers. Researchers want to see if 3-4 weeks without alcohol shows less inflammation in the brain.

You may qualify if you: • Are 30 to 75 years old • Have a minimum 5 year history of heavy alcohol drinking • Drink at least 20 alcohol drinks/week if male or 15 drinks/ week if female • Are seeking or not seeking treatment for your alcoholdependent condition

About the study: • Participation may require 2-3 days of inpatient overnight stay. • Participants will have magnetic resonance imaging (MRI) and positron emission tomography (PET) scans of the brain. • Participants in this study will have tests at two time points: one shortly after a bout of alcohol drinking (less than one week after you last drank alcohol). If the brain images show evidence of inflammation the tests will be repeated at least 3 weeks after abstaining from alcohol. Repeating these same tests at least 3 weeks later, will let us know if the inflammation improves with abstinence. • Participants whose results show inflammation in the brain will be invited to participate in the alcohol detox phase for 3-4 weeks followed by a repeat of the imaging scans.

Location: The NIH Clinical Center, America’s research hospital, is located on the Metro red line (Medical Center stop) in Bethesda, Maryland. There is no charge for study-related tests or procedures. Compensation and travel assistance may be provided.

You may not qualify if you: • Have a medical condition that can impact brain function • Have had head trauma with loss of consciousness for more than 30 minutes • Have a history of drug abuse other than alcohol • Are pregnant or breast feeding • Are allergic to lidocaine • Have a history of a bleeding or clotting disorder • Have a positive urine test result for illicit drugs

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A quick summary, for those who have been (wisely) paying attention to developments outside of the NFL in the dead zone of February and March: The team is at a contract impasse with Pro Bowl quarterback Kirk Cousins that many observers believe gives all control to the player and will force the team to either pay literal top-dollar or find a way to ship him out of town. The team’s other pending free agents, including two star wide receivers, appear headed for departure, with one of them, Pierre Garcon, making his displeasure clear via social media. The team’s nominal general manager (and theoretical franchise savior) Scot McCloughan is reportedly not a true GM at all, but is instead a gifted scout with a grandiose title. He is not at the NFL Scouting Combine— scouting’s biggest week, basically—for reasons that are not entirely clear. A team employee openly speculated on the radio that McCloughan, who has seen his career derailed by alcohol abuse in the past, had returned to drinking. The franchise did not publicly censure the employee, defend McCloughan, or otherwise respond to the conjecture. Conflicting reports have emerged that the GM may have been absent from the team facility since Feb. 20 and/or may be fired before the start of next season and/or may already be effectively terminated. The team’s responses to these reports have been clumsy, confusing, and largely unhelpful. Seemingly to mitigate the flood of toxic news, the team has given head coach Jay Gruden a two-year extension, reportedly pulled together on the fly over a steak dinner at the Combine— again, without the nominal GM present. And all of that is in addition to the ludicrous trade-for-Tony Romo rumor and the dozens of frantic fans who dug up the obituary for McCloughan’s late grandmother to debunk the notion that he had been absent because of her funeral. The general reaction to this in the national sports media has been mild amusement—the

ing that Ashburn would evolve into a normal, high-functioning football operation. The refrain forever was that if only owner Daniel Snyder would hire a top-notch football guy to make the play decisions, maybe things would be OK. The less-audible countermelody involved the question of why any ace football guy would want to work with this particular eternal circus of a franchise. McCloughan was the dream answer: universally respected from a football perspective but in exile for non-football reasons. It was basically the football version of the trailer for a 1990s romcom: “The team needed a GM to save their future. He needed a football team to save his.” Then the Sarah McLachlan song kicks in. It bought the team two years of relative calm, columnists two years of “Look ma, no drama in Washington!” pieces, and back-to-back winning seasons for the first time in two decades. Then the Elliott Smith song kicks in. It’s a truism of romcom pairings that they would never work in the real world. Similarly, it turns out that maybe dropping a guy wrestling with demons into the NFL’s most chthonic franchise wasn’t going to have a happy ending for anyone. Thanks in large part to the team’s bungled handling of the situation, McCloughan now finds himself again mired in uncertainty and facing possible NFL exile, in addition to whatever hell this has wreaked on his personal life. And the team has fired off its one silver bullet—the maybe-hiring-a-real-football-guy? one—and it didn’t kill the monster. (The monster, in this case, is its own shambling reputation as a high-speed badger dance.) Some fans will never give up. They’ll see every embarrassment as a media construction, every negative report as fake news, and they’ll be forever sure that this next free agent signing is the one that will finally work. But for a few—the ones who most enjoyed the relative quiet of those last two years—this return to the circa-2010 status quo is going to be unacceptable, and they’ll leave. If the rest of this offseason doesn’t take on a very different tone, very quickly, it’ll be more than just a few. Then Freedy Johnston’s “Bad Reputation” kicks in over the credits. CP

Gear Prudence Gear Prudence: I was on my bike the other day, minding my own business at a red light, when a guy on a fixie came through on the cross street and just … crashed. Bit it. Something got mixed up and he went down in the middle of the intersection, cursing. My heart broke for the guy because nothing is worse than crashing like an idiot and having a bunch of dumb gawkers asking if you’re fine. So here’s my question: What do you say when someone gets in a non-injurious wreck to seem sympathetic but not heighten their embarrassment? — When Haphazard Accidents Topple, Tempted Observer Should Avoid Yapping Dear WHATTOSAY: You ask, ‘Are you OK?’ Here’s the deal: The toothpaste is out of the tube. The guy already fell and you’ve all already seen it, and staying silent doesn’t change that. Don’t attempt to bring levity to the situation by making a dumb joke (‘gravity much?’) or moderate the tenor of your tone to match your perception of his physical well-being. If he springs up quickly and laughs to himself (as all cyclists should aim to do when their crashes are self-inflicted and inconsequential), resist the urge to smile too much. It’s important to be earnest, and a quick, but fully engaged, ‘Are you OK?’ exhibits the appropriate level of common human decency. Be prepared for him to brush off your concern, but also be ready to help if he asks for it. Bikes don’t have windshields. Human interaction is both unavoidable and totally OK. —GP

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Gear Prudence: I’m an avid TV watcher and a regular cyclist, and always notice when there’s a bike used as set decoration in the background of a sitcom. But there’s never any actual bicycling! When do these sitcom characters ride these background bikes? Which TV show, if any, best depicts a character who actually rides a bike? —Televised Velocipedes Dear TV: Have you also noticed how these same sitcoms frequently have commercials advertising cars? The networks and the car companies must be DELIBERATELY CONSPIRING to keep these beloved pop cultural characters from their bikes, thereby preventing any positive depiction of bicycling and reinforcing the notion that cars are the only reasonable way for both fictional characters and their audiences to travel. [Ron Howard narrator voice]: They’re not. Bikes make good set dressing because they’re interesting to look at and could plausibly exist in any random person’s house. As for how far not riding strays from reality, take a moment to picture your friends’ bikes and also their cycling habits. They don’t even have the excuse of only existing for 22 minutes a week. To GP’s mind, the most positive depiction of a bicyclist on a sitcom is Michael Bluth from Arrested Development. He’s regularly seen riding a bike, and in regular clothes and without a helmet. Clearly, this pro-bike agenda is meant to heighten the absurdity of the show. —GP

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SAVAGELOVE

Fortyish, straight, white dude here. I have this weird (possibly misogynistic) belief that, when it comes to sex, I can’t win. Actually, I think men in general can’t win. Thoughtful, well-meaning men at least. It comes down to this: During sex, if the man doesn’t come, it’s the man’s fault, because he clearly has problems with his dick and is barely even a man and should be ashamed of himself. If the woman doesn’t come, it’s also the man’s fault, because he’s clearly bad at sex and doesn’t even care and is barely even a man and should be ashamed of himself. So am I a misogynist or just a guy with issues? Any advice for me moving forward? —Yeah, I Got Issues

If you’ve been with women who blamed you when you didn’t come, YIGI, and then turned around and blamed you when they didn’t come, well, that must have been annoying. Or maybe you’re referring to something in the ether, and not to any inability-toclimax/inability-to-induce-climax shaming you’ve actually come in for. (Have you been with women who shamed you like this? If so, and again, that much have been annoying. Have you been with any women at all? If not, it’s possible your letter is an MRA setup and/ or you’re a misogynist with issues.) If this has actually happened to you, YIGI, chalk it up to “some people are awful, women are people, some women are awful” and let it go. And remember this about men: Sometimes we come during sex, sometimes we don’t, the number of times we don’t increases with age. Focus more on intimacy, connection, and mutual pleasure, YIGI, and less on spooging all over everything—and seek partners with the same focus. As for women: You do know that dick alone isn’t gonna do it for most women, right? Only a small percentage of women can come from PIV intercourse alone. (If you didn’t know, you know now, and you’re welcome.) And you’re familiar with the clitoris, right? (If you weren’t, google it, and you’re welcome.) But if you find yourself in bed with a woman and you’re having difficulty helping her come (you’re there to help not make), ask her if she can make herself come. If she can’t, odds are you won’t be able to help her come either— not you, not anyone else. If she can make herself come, ask her to masturbate to climax while you watch. Make a close study of what works for her. If she touches herself in a certain way, learn to touch her in that way. If she busts out a vibrator, use that vibrator before, during, and after PIV, or instead of PIV. Good luck. —Dan Savage I’m a fan from way back. A therapist told me to go out and have some fun—I’m a married woman with teen boys and feeling a bit lone10 march 10, 2017 washingtoncitypaper.com

Variance is the norm when it comes to human sexuality. It’s high time we all embraced this bit of cognitive dissonance: Everyone is weird, so no one is weird.

ly—but I’m not looking to have an affair. I just want a spanking now and then. I found the one kink club I visited in New York to be kind of depressing, and my spanking friends are more of a social group who hang out on the weekends. I just need a little recreation—some good, clean spanking fun. Would love your advice. —Seeks Paddling And Needs Know-How Kink enthusiasts, like dentists and accountants and troglodytes (hey there, CPAC), have conventions, SPANK, where like-minded/employed/aroused folks meet and socialize before heading up to their hotel rooms for some good, clean kinky fun. I think you should get your ass to one of the many spanking conventions out there—and so does Jillian Keenan, journalist and author of Sex with Shakespeare, a memoir about your shared kink (spanking) and how Shakespeare’s plays helped Keenan discover and accept herself, as a human being and as a kinkster. (It sounds like a stretch, I realize, but do yourself a favor and read Sex with Shakespeare—it’s a funny, moving read, and it’s packed with fresh and convincing kinky reads on Shakespeare’s plays.) “National parties are a great way to get safe, fun, no-sex spankings and meet other people in the scene in a low-pressure environment,” says Keenan, who sent along a list of events all over the country: Shadow Lane (Las Vegas), Boardwalk Badness Weekend (Atlantic City), Crimson Moon (Chicago), Spanking Club of New York (New York City), Texas All State Spanking Party (Dallas), and Lone Star Spanking Party (Houston). “There are some parties I’ve chosen not to attend for political reasons,” says Keenan. “The spanking community isn’t immune to

heteronormative bullshit, unfortunately, and some parties explicitly prohibit M/m play. Any party for sexual minorities that prohibits expressions of other minority sexual identities doesn’t deserve our time or our money!” —DS Someone asked me to pee on them and offered to pay me. I didn’t know what to do. They weren’t unattractive. Would you pee on someone for money? —Perplexed European Enquires I’m not ready to go pro at this stage in my career. —DS

I’m a straight man who was recently dumped over text by a woman after we dated for about four months. I thought we were in love, but she says she doesn’t have room for a relationship in her life right now. I know this is BS. I think she dumped me so that she could sleep with another guy. In fact, I think I know who the guy is. Anyways, I recently had some rebound sex (it was awesome), and the whole time during it, all I could think about was my ex-girl sleeping with this other guy, and it kind of turned me on. Am I weird? —Moving On, Remembering Ex When you say you know “this is BS,” MORE, I trust you’re referring to the text she sent when she dumped you—“I don’t have room for a relationship right now”—because that is definitely bullshit. People say that to be kind, and it’s our job to hear what they’re really saying: “I’m not interested in being in a relationship with you, right now or ever.” But if what you mean by “this is BS” is that she loves you too but had to call it off to go fuck some other guy and you still might have a shot with her, please disabuse yourself of that belief. Now, in answer to your question, MORE, you’re not weird. I don’t think your reaction is typical, but variance is the norm when it comes to human sexuality. It’s high time we all embraced this bit of cognitive dissonance: Everyone is weird, so no one is weird. If you and your ex are still speaking/texting, and you think you may be on potential future-FWB terms, MORE, you could go for broke and tell her about your weird-butnot-weird (and unexpected) reaction to the thought of her with this other guy. If your convos gravitate toward sex or sexy memories—mutually—let her know you’re up for either a FWB/MMF threesome sometime or some cuckolding-themed dirty texting. She may be game, she may not be—but nothing ventured, nothing gained. —DS Email your Savage Love questions to mail@savagelove.net.

INDYLIST

THE

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reaD: A new-to-you book,

To benefit Accelerate Brain Cancer Cure and National Brain Tumor Society

save cash, and support a neighborhood store.

Serenade by James M. Cain, $3. Idle Time Books. 2467 18th St. NW. idletimebooks.com

Pansaari. March 18. 8–11 p.m. 21+. Tickets: $10 + tax. 1603 17th St. NW. pansaari.com/calendar

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ProTecT: Your coffee table

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By Kaarin Vembar Do you have a tip for The Indy List? Independent artists, retailers, and crafters, send your info to indylist@washingtoncitypaper.com.

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PhotograPhs by Darrow MontgoMery 12 march 10, 2017 washingtoncitypaper.com

ym Is the Distri Ja es av n Ba ct? ailable i rtles &

ty? igns fro nal Arch Di en’s Marc eri ts io t m m c i dt t s h v es colle the Wo for po he Na

We always look forward to this week. Our readers send us scrambling in search of answers to the vagaries and mysteries of the District, the kinds of queries whose explanations can’t simply be searched on the web. Sure, we always get a few duds, like the guy who asks more than once if he can be the guest editor of the Answers Issue or the person who wonders why men are increasingly wearing brown shoes with blue pants. All we can say to those is “no”— and, well, Europe’s fashion sensibilities have a far reach. But if you want to know where you can find vegan croissants, how Starplex got its name, or why so many people wrongly describe parts of D.C. as Anacostia, tuck right on in. One question even manages to characterize our president as a bama. —Liz Garrigan

Please tell me

that the National Archives, or someone, collected some of the awesome signs left behind after the Women’s March. Please tell me they didn’t just all get trashed. History will be happier if they were saved!

Have no fear! The National Museum of American History sent staff members out to the streets to gather signs from the Jan. 21 march as well as materials related to the presidential inauguration the day before, though it’s unclear if and when they’ll be on view to the public. “This is part of the museum’s long tradition of documenting how Americans participate in the political process and how citizens exercise their First Amendment rights of assembly and free speech,” a press release says. Items related to the civil rights, women’s suffrage, and labor organization movements, as well as pieces from the March for Life and Jon Stewart’s “Rally to Restore Sanity,” have been added to the museum’s collection over time, and some can be seen in its The American Presidency: A Glorious Burden exhibition. —Caroline Jones

Where can I meet thir-

ty-something hetero men in D.C.? Seems like the area is full of twentysomethings.

When the D.C. streetcar first opened, sparks flew. As in sparks from the overhead wires caught fire, setting the streetcar ablaze. Well, DDOT figured out that snafu, and now ridership is really starting to heat up. So much so that the D.C. streetcar may soon be known by another name: desire. If you’re a single thirty-something woman in search of a slightly older, hot, straight man, forget Adams Morgan or Shaw. You need to ride the rails of H Street NE. Start at The Pug, where regular dudes watch the NBA, NFL, and MLB in the friendly confines of a dimly lit bar that charges $3 for a domestic beer. Or go a stop further to Maketto, where intentionally hip men sip siphoned coffees while wearing seasonally inappropriate wool knit hats. If beards aren’t your thing, head across the street to the Queen Vic, where you’ll spot a man with a thick English or Irish accent. Come armed with a pickup line, then start by ordering a proper pint, then fake some friendly banter with the bartender, maybe about Arsenal football fandom. Once you’ve met your match, it’s time to rock and roll, quite literally on the dance floor of Rock & Roll Hotel. —Tim Ebner

Why did “Anacostia” become

misused to mean all of D.C. east of the Anacostia River?

Let’s start with the question of when. According to Alcione Amos, a curator at the Smithsonian Anacostia Community Museum, residents rebranded what had been the first white settlement to the east of the river (originally known as “the Eastern Branch of the Potomac River”) from “Uniontown” to “Anacostia” toward the end of the 19th century. The washingtoncitypaper.com march 10, 2017 13

rFK stadium

Caption 4 name “Anacostia” itself comes from the Nacotchtank Native Americans who lived in the area. Because Uniontown was conflated with the one in Pennsylvania, Amos says, an east-ofthe-river post office started using the Anacostia moniker. By the late 1890s, the name appeared in newspapers, referring in many cases to all the land east of the river. “So it began very early,” Amos notes. “It’s not a new thing.” “We think it had to do with convenience, because there were a lot of small neighborhoods out here in the 19th century,” Amos explains. The use of “Anacostia River,” by 1892, reinforced this. A lot, it turns out, is in a name. Today, many D.C. residents—especially recent ones—make the same semantic slippage as their historical peers. Racial and socioeconomic difference certainly play a part in this name game. “For decades the Anacostia River was the dividing line between the desirable and undesirable parts of the city—for white folks and some black folks too,” says Parisa Norouzi, head of advocacy group Empower D.C. “Everything to the east was considered scary, and it was unimaginable to tread there. So why bother knowing the difference between Hillcrest and Congress Heights? It’s all the same to them.” Norouzi predicts that as gentrification proceeds eastward, developers “will soon market condos using long-lost names like Uniontown.” Some already see significant change. Calling the semantic lapse an “oversimplification of such a long-storied section of the city,” Amanda Stephenson, who directs the Anacostia Business Improvement District, is bullish on the nabe’s future: “Rightfully so, in recent years Anacostia has become more attractive due to its massive opportunity for new development along the river.” —Andrew Giambrone

What

is the updated land situation regarding RFK and the Pigskins returning to D.C., and will the election of that orange-ass bama have any impact on the team name being a deterrent since name-calling is his thang?

The 190-acre RFK campus remains under the control of EventsDC, the city’s official convention and sports authority, pursuant to a 75-year lease that dates to 1961. According to Erik A. Moses, senior vice president and managing di-

rector of sports and entertainment, there are no current plans to renegotiate or alter that lease, and the usual events will continue to take place for the foreseeable future. “The old girl will remain active for a few more years,” Moses says. But there is a redevelopment process that can be found at rfkcampusfuture.com. The Pigskins are apprised of this process, which could drag on for years, but there are no formal negotiations for the team to return to D.C. It remains unclear if Donald Trump knows an NFL team once played at RFK, much less that the team’s name is a patently racist slur that overtook standards of decency years ago. —Jeffrey Anderson

Where can I get some veg-

an croissants?

There’s only one option in D.C. for croissants free of animal products—Fare Well. With vegan and vegetarian lifestyles gaining in popu-

14 march 10, 2017 washingtoncitypaper.com

larity, and other vegan items like cookies and cakes relatively easy to find, why don’t more bakeries offer vegan croissants? “It’s a pain in the ass,” says Doron Petersan, owner and chef of Fare Well. Butter has a higher melting point than vegetable-based substitutes, so vegan croissant dough can quickly turn too soft, making it difficult to form the flaky layers. It took Petersan years of experimenting to get her dough to behave properly, but she now offers plain croissants, pain au chocolat, and a rotating variety of stuffed savory croissants. —Stephanie Rudig

hoW

is it possible that restaurants continuously sell out of their most popular items? At some point, don’t you pick up on the sales trend and start making more? Or is this a marketing trick, deliberate scarcity, to create buzz?

I get that demand varies and that overproduction is to be avoided, but if day after day you are selling out of a signature items well before closing time…you’re an idiot.

Every restaurant’s a different story, but we asked husband and wife culinary duo Tiffany MacIsaac and Kyle Bailey to weigh in. “We’re not trying to run out of the most popular items,” Bailey says. “Some days those items sell heavily, and it’s silly to stock only that one item.” Bailey is currently the chef at Sixth Engine where he purchases whole animals from a farm in Virginia. “There’s only so much loin to be sold.” At Buttercream Bakeshop, which MacIsaac owns, they sometimes run out of Breakfast Bombs, Cinnascones, and Queen Bees (kouign-amann). She says they’ll prepare what should be enough to last to the afternoon, but sometimes there are surprises. “The first person that came said, ‘I want

1400 I st. NW

ever do this, and when/why did they stop?

15 Bombs and 15 Cinnascones.’ We tried to race to make more, but they take two hours to make,” she says. “For bakeries, it’s hard. You take the sale now because you don’t know what’s going to happen later.” She also says reducing waste and serving product at its peak are priorities. —Laura Hayes

What’s

the deal with the building on the southwest corner of 14th and I Streets NW? It looks like a virus taking over a host.

The office building at 1400 I Street NW, where City Paper’s offices once resided, is certainly distinctive-looking. Atop three sky-high columns, a beige stack of floors juts out over the rest of the structure, which steps back in undulating tiers faced in brick. The Pacman-like design was driven by necessity, says its architect, Arthur Cotton Moore, the veteran D.C. designer known for the Washington Harbour

and the renovation of the Library of Congress’ Jefferson Building. The building stands next to, and hovers over, the McPherson Square Metro stop. When the project was conceived in the early 1980s, steering clear of Metro infrastructure was a critical concern, Moore says. It is on WMATAowned land. “[The building] could only come down, according to Metro, on a few points. Otherwise we would be affecting the tunnels or the station itself.” Hence the columns, which don’t actually support the weight of the 12-story building, since the structure is hung from trusses at the top. Moore’s design solved structural and site problems while maximizing prime upper-floor office space. As for the wavy floors below: “I made the building undulate somewhat, so it could be seen as free of the main columns that come down,” Moore says. “That is probably the source of what it makes it a little unusual.” The building, Moore adds, was a “pioneer”

in that part of downtown. Now home to other offices, banks, a Hilton Garden Inn, and a Five Guys, the immediate area was then a red-light district. Businesses included Benny’s Home of the Porno Stars and This Is It, the sex club where Marion Barry was alleged to have used cocaine in 1981 in his first public scandal. Back then, “anything beyond Connecticut Avenue was considered kind of risky” for new offices, says Moore (who originally had an ownership stake in the building). “There was a question whether you could even get financing for these things.” —Amanda Kolson Hurley

loCal PaPers

running local stories used to include the home address of each person listed in the story, as late as the 1970s (“John Doe, 37, of 1234 Main Street NW, was injured in a car crash yesterday…”). Why did they

The newspaper business was like the Wild West until the 1950s, and small-town papers were bound by even more informal standards particular to their location and readership. Andrew Seaman, ethics committee chairman for the Society of Professional Journalists, says the most likely answer is that readers used to want more information about people in the news and didn’t mind addresses being made public. But over time, they decided they didn’t like that level of disclosure. Editorial standards also evolved, Seaman says, and the industry started coalescing around questions of what is acceptable and what is not. It took a while for impartiality to be expected from 20th century media and for privacy to become so heavily guarded. The SPJ Code of Ethics states: “Realize that private people have a greater right to control information about themselves than public figures and others who seek power, influence, or attention. Weigh the consequences of publishing or broadcasting personal information.” In other words, just because someone appears in a story, and their address is available and legal to publish, doesn’t necessarily mean it’s ethical or acceptable to do so. An extreme example is when, in the wake of the Sandy Hook mass shooting, a paper outside of New York City published addresses of registered gun owners in the vicinity. That led state officials to start limiting how much such information was available to the public. In a practical sense, Seaman says, space also could have become an issue, as newspapers demanded shorter stories with cleaner copy. “It seems it became this archaic practice that might have caused too many headaches, and people just threw up their hands and got rid of it.” —Jeffrey Anderson

What

happened to the staple that used to be in City Paper for the past few years? Do you like making things harder on your readers? Or do you just love multiplying litter?

Check your environmental cynicism at the door, man. As I sit here now recovering from a too-late night at a depressing underground karaoke bar in Adams Morgan, where I now wish my wallet had been stapled shut, the latest copy

washingtoncitypaper.com march 10, 2017 15

of your favorite muckraking local tabloid is neatly bound in premium Swingline product— or at least its cheapest likeness. Not only does the current issue have staples, but so do most of those dating back weeks and months that are forming a teetering stack in my office. But to be fair, we do infrequently let it all hang out. There are times throughout the year when we have unusually small paper sizes or when we publish center spreads that are meant to be pulled out and used as guides for events or festivals. In those cases, we purposely avoid staples because they would serve neither the readers nor the advertisers. We don’t want to litter, so we try to keep those occasions to a minimum. Having said that, in the interest of environmental stewardship, please follow these instructions if you are reading this via the dead tree version: When you are finished with your issue copy, grind it in your food processor mixed with a little bit of warm water, place the paper paste in flowery ice cube molds with your favorite annual spring seed mix, then distribute the seed disks to friends and colleagues. Alternatively, shove it up this questioner’s ass. —Liz Garrigan

There’s a sign

on I-295 guiding people to the Starplex (Stadium Armory Complex). Who came up with the name and how widely was it used? When did it stop?

The D.C. Armory Board, which operated the armory and RFK Stadium from 1948 to 1994, rebranded the Stadium Armory Complex as the “Starplex” in 1977. By 1991, when the board began publishing a Starplex News newsletter—mailed to every home in the District to promote Mayor Sharon Pratt Dixon’s effort to get a new football stadium on the site— the name was falling out of favor. Judging by mentions of the term “Starplex” in Post stories and newspaper advertisements, the name was commonplace throughout the 1980s before fizzling in the mid-1990s. “Starplex” never got the one thing that would’ve guaranteed it a permanent place in the local lexicon: Metro’s endorsement. In 1979, Metro spurned the Armory Board’s request to rename the Stadium-Armory station as the Starplex station. One member of Metro’s board of directors said the name sounded “plastic,” even going so far as to insist “that train operators be strictly forbidden from announcing that name to passengers,” according to a Post story from the time. If only our transit authority leadership still had that kind of mettle in 2011, when the contrived neighborhood name NoMa won a place on the Metro map. —Zach Rausnitz

help me seTTle

a long debate I’ve had with one of my best friends. Is there a bar in D.C. that serves wine coolers? I’m not talking artisanally made stuff. I’m thinking Bartles & Jaymes Blue Hawaiian.

Calls placed to over 30 of the District’s

divey-est and most sorority-heavy bars turned up none that serves any type of wine cooler. Bartles & Jaymes doesn’t distribute to any bars or restaurants in the District, though more than 30 D.C. liquor stores carry their products. The closest establishment to which Bartles & Jaymes distributes is the Fort Myer Bowling Center, which serves 10 different wine coolers, but that’s off-limits unless you’re a current or retired service member or are accompanied by someone who is. The Westin Annapolis will fill orders for Bartles & Jaymes for special events, and when I called they did have some left over from a wedding that they were serving at the bar. Those are pretty much the only options unless you’re willing to travel three hours or more to any other Virginia or Maryland establishments that carry wine coolers—and at that point you might want to take a hard look at your life choices. —Stephanie Rudig

16 march 10, 2017 washingtoncitypaper.com

Can you define

what neighborhoods Upper Northwest consists of? Growing up, I understood it to be neighborhoods west of Rock Creek, but I’ve increasingly heard people refer to Shepherd Park, Brightwood, etc. as Upper Northwest as well.

According to two infallible sources, your childhood information still holds. “Upper Northwest is north of Georgetown and west of the park,” meaning Rock Creek Park, says Ward 3 Councilmember Mary Cheh. Darrow Montgomery, a D.C. native and City Paper photographer for 30 years, says the same. But you’re not crazy. A Craigslist scan reveals that while most apartments for rent in Upper Northwest are in the area Cheh and Montgomery define, a substantial number are not. In addition, people have posited, on various chat boards and comment sections, that

race and class distinctions make the dividing line. Gentrification is creeping eastward. If certain parties, such as Realtors and homeowners, are claiming the name Upper Northwest for places like Brightwood and Shepherd Park in an effort to make the area sound fancy or changed, they’re in bad company. Colonists changed the names of places they were inhabiting, and some academics argue that gentrification is colonization-lite. Naming and renaming neighborhoods is a typical component of gentrification in cities far and wide. But there’s a third factor to consider in the specific case of Upper Northwest. The term, in lowercase form, describes an actual geography—the upper portion of D.C.’s Northwest quadrant—which Ward 4 Councilmember Brandon Todd ouses. Brightwood and Shepherd Park, which are in his district, are within those technical bounds. The Brightwood Community Association uses the name in lowercase: “The Brightwood community is lo-

cated in upper northwest Washington, D.C.” But the Shepherd Park Citizens Association is more specific: “We are located in the northern ‘point’ of DC.” —Alexa Mills

1347 s st. nw

How do I quickly explain D.C. statehood (paragraph or less) to people who are unfamiliar?

The District of Columbia, which has more residents than Wyoming and Vermont, gets zero votes in Congress. But citizens in D.C. have all the responsibilities as those who live in states: We pay the same taxes and serve in the same wars. We don’t benefit from any special treatment. No other democracy denies representation to residents of its capital city. This predicament is just a glitch in the Constitution, a document whose defects have been corrected before—Democrats and Republicans together changed the Constitution in the early 1960s to give D.C. residents three votes in the Electoral College. Making D.C. a state would finally end centuries of taxation without representation in Congress. The only holdups are partisanship and inertia. —Zach Rausnitz

wHat’s

with the teensy weensy facade at 1347 S St. NW, just behind Garden District? The entire facade is as wide as one standard door, with one brick on either side.

The address 1347 S Street turns up nothing in city property or tax records. The building has two makeshift placards listing who occupies the space—Brian Petro Art and Hartwell Design. Sadly, Brian Petro passed away in December 2016, though a sign imploring visitors to call or text him to view his artwork remains, along with some mementos and notes from friends. Hartwell Design, which does kitchen and bathroom design, proved difficult to nail down. Calling their offices put me through to a remote call service, which refused to answer any questions or provide direct contact info, insisting I make an appointment. When my meeting time rolled around, it turned out to have been booked in Central Standard Time and at the wrong address. After some more calls to the call center, I arrived back at 1347 S Street, where nobody answered the door. After waiting about half an hour, I received a call from Hartwell’s owner, William Pendleton, who is only in D.C. on weekends and based in Florida the rest of the time. Oh, and he had no clue this appointment was happening, leading me to temporarily believe that the building houses a tear in the space-time continuum. Luckily, he was able to clear some things up—1347 S Street is actually a side entrance to the McEnearney Associates building located around the corner. The building’s facade is so tiny because it opens into a narrow hallway, leading to the stairs of the shared basement studio space. —Stephanie Rudig

wHat is the most popular

beverage in the District? Liberal tears.

—Darrow Montgomery

Is tHere any

“community theater” in D.C.? Or just the big (and thus expensive) theaters?

D.C. has one of the largest theater communities in the nation, so the options in terms of type of show and the budget on which it’s produced are plentiful. On any given night, patrons can find tickets at a variety of price points, from $15 seats for a Taffety Punk Theatre Company production at Capitol Hill Arts Workshop to $100-plus tickets to shows at Arena Stage and the Kennedy Center. As for the all-volunteer, Waiting for Guffman-esque brand of community theater that brings together amateur performers, directors, and technicians, D.C. is home to just

one. The St. Mark’s Players have operated out of St. Mark’s Episcopal Church on Capitol Hill since 1982. They produce three shows a year with a crew of 50 to 100 theater enthusiasts who participate out of sheer love for the work. Unlike most professional or semi-professional theater companies in D.C., which compete for Helen Hayes Awards, the St. Mark’s Players compete for Washington Area Theater Community Honors, facing off against other groups based in the suburbs. “Many of the community theaters in the further reaches of the WATCH group (say out in Rappahannock or Loudoun or St. Mary’s counties) really do have a small community of people who take part over and over again in their community productions,” SMP treasurer Roger Munter explains. “In the city, the lines between what is community theater and what is the semi-professional world of theater get a little more blurred.” Their shows might not be gussied-up by Tony winners, but

if you’re looking for enthusiasm, St. Mark’s is the place to go. —Caroline Jones

an avId Caps

fan for the last 10 years, I always loved the Ameritel Corporation’s commercials, featuring a set of triplets somehow related to the company saying, “We know quality copies!” What happened to them?

The cute little kids who recited the phone number for “your hometown place for copiers” aren’t so little anymore. Lauren, Courtney, and Maranda Kaufman will soon turn 21 and attend three different colleges, according to their dad, David, Ameritel Corporation’s president. They’ve simply outgrown their pitchwoman stage. Despite the kids moving on, Ameritel continues to air ads during Capitals broadcasts and sponsors dasher boards inside the rink at Verizon Center. Ameritel custom-

washingtoncitypaper.com march 10, 2017 17

tion after accidentally drilling into a buried power line). In the winter of 1972, Gau was a 27-year-old University of Illinois graduate student working on a $350,000 contract with two other grad students to “place instruments in the walls of the tunnel to test rock and detect movement,” according to a 1972 Washington Post article. A six-ton block of rock fell from the roof of the tunnel and crushed a platform where Gau and his two colleagues were working. They were injured, but Gau was killed as a result of head trauma. When the Post interviewed two other Metro workers about Gau’s death, one confirmed his decision “to go back to being a farmer in Colorado,” while the other shrugged and said “it happens.” —Matt Cohen

ers still ask about the triplets, David says, a sign that the ads really stuck with people. And while there are no plans for a commercial starring twenty-something triplets, those looking for a dose of nostalgia can check out old ads on Ameritel’s YouTube channel. —Caroline Jones

I know that

Washington City Paper’s print edition has always technically published on Fridays. But for years, it’s been distributed on Thursdays. Now it actually hits the streets on Fridays. The Current newspapers are doing the same (Thursday instead of Wednesday). What gives? A day late in a world of instant online publication makes a big difference.

Have you ever thought you could deliver your boss a requested report by Thursday afternoon but you promised it for Friday instead? Just to ensure that you were accounting for unforeseen circumstances like your daily drinking and consistently bad judgment? And to avoid potentially missing a deadline? That’s kind of what we’ve been doing at City Paper for the last 36 years. In the parlance of the industry, we “close the book” late Wednesday afternoon and send pages to the printer that evening—after clearing away the detritus of post-deadline beer-drinking. Most of the time, our papers are printed by early Thursday morning and are ready to be distributed that day. Many, though not all, readers are able to find their copies on Thursday. But we live in the nation’s capital, where traffic, protests, presidential motorcades, daytime shooting sprees, craneclimbing Greenpeace protesters, and myriad other circumstances can delay getting those papers in the boxes. So we’ve always used a Friday publish date. We’re truth tellers. We don’t want to lie to you. —Liz Garrigan

where

can I find a copy of all the development that the city has approved, but in map form?

Unfortunately for amateur urban planners reading this, there isn’t a comprehensive map for all the construction happening in D.C., which runs the gamut from big multibilliondollar, mixed-use projects like the Wharf along the Southwest Waterfront to renovations or conversions in historic neighborhoods. The District, however, tracks publicly backed developments with both a “Ward Investment Map” and a “Project Pipeline Database.” (The Washington Business Journal has a useful “Crane Watch” map.) Meanwhile, the Washington D.C. Economic Partnership has a search tool on its website that links to Google

who

invented the term DMV to refer to the greater D.C. area of D.C., Maryland, and Virginia?

Maps for individual developments. And the D.C. Preservation Network runs a map of subsidized projects in the city that offer affordable housing. —Andrew Giambrone

why does D.C. not have a

policy stipulating no net loss of community gardens?

“No net loss” policies generally apply to resources that are shrinking, like wetlands and affordable housing. But community gardens are increasing in the District. “We build multiple community gardens and farms every year,” says Joshua Singer, community garden specialist at D.C.’s Department of Parks and Recreation. “DPR alone is up to 34 community gardens and five urban farms with a few more projects coming this summer. That’s almost double what we had three years ago.” Admittedly, waitlists for community garden plots can be quite long. If you’re committed to having your own plot—where you can plant exactly what you choose, come and go as you please, and walk from your home—well, options could be limited, depending on where you live. But if you’re focused on the central goals of digging in dirt and taking home fresh produce, options are much broader. The DC Urban Gardeners Network lists a total of 69 community

18 march 10, 2017 washingtoncitypaper.com

gardens and 23 urban farms on its website dugnetwork.org. The network publishes a biweekly newsletter full of “events, classes, announcements, job openings, grants, and more.” In addition, Kid Power Inc. is looking for volunteers to tend gardens at several D.C. public schools this summer. After completing a simple registration process, you can garden at the schools on weekdays, including evenings. You’ll be helping maintain plots that kids use to learn about gardening. Since produce abounds, you’ll be able to take your share of the bounty home. Finally, if you’re over 50 or have a disability and you’ve got a backyard, the city’s AgeFriendly DC office would love to connect you with local gardeners who could help cultivate your yard. If you have the space and want to share it, call (202) 727-7937 or email agefriendly@dc.gov, and the office will work to connect you with gardeners. —Alexa Mills

what’s

the story behind the death of Fred Gau, memorialized by a plaque at the bottom of the Woodley Park Metro. It seems he was a student and killed during the excavation?

It is indeed a sad story for Mr. Gau, who was the first fatality in the construction of the Metro. (One person was killed during pre-produc-

There’s a lot of debate as to exactly who coined the term DMV, but what we do know is that it (most likely) originated from D.C.’s hip-hop community in the early 2000s, when the term started showing up on gig flyers around town. According to a 2009 City Paper article by then- arts editor Sarah Godfrey, the people most associated with coining it were DJ Rob AKA Mista DMV, 20Bello, and DJ Eurok. (Others have credited Wale, but his management tells CP that though he helped spread the term when his success broke, he takes no credit.) Rapper 20Bello, who says he began using the term around 2003, claims to have heard it from from go-go musician Kibwe Galloway, according to a 2015 Washingtonian article. But DJ Rob and his crew, the Target Squad, were the ones that started using DMV to refer to the greater Washington area, going so far as to hype the term on radio stations WKYS and WPGC in the early 2000s. But there’s another wrinkle with regard to this question. Artist, blogger, and art curmudgeon Lenny Campello also claims ownership of the term. Campello says by email that he started using the term to refer to the area in 2003 (an old blog post on his website, DC Art News, confirms this). “I remember driving home and hearing some news talk on the radio about North Korea and China, blah blah, the usual nuclear weapons talk,” Campello recalls. “I switched the radio station, and Run DMC was playing somewhere else. ... I recall then thinking DMZ (for Korea) and DMC (for the group) on the radio. ... When I got home I was whistling the tune (Walk this way with Steven Tyler), and when I sat down to do a blog post, it all came out: DMZ (Korea), DMC (the group), DMV ( D i s t r i c t , M a r y l a n d , V i r g i n i a ) .” —Matt Cohen

DCFEED

French-American restaurant Mirabelle is readying to open near the White House with Chef Frank Ruta and Pastry Chef Aggie Chin in the kitchen. Yes there will be a burger—an onion soup cheeseburger. Expect lunch within weeks.

Born to Rum By Tim Ebner At 4 p.m. on a Sunday, Lukas B. Smith is making the rounds at Union Market. He stops by Buffalo & Bergen for a knish, and then it’s off to Peregrine Espresso for a doppio espresso. The barista hands him his shot, but right before he chugs it, he pours in a generous amount of sugar. “Sugar makes the bitter better,” he says. “I’ll need this because pretty soon this place [Union Market] clears out, and my squad shows up.” According to Smith, a lot of his regulars are the staff and vendors who work at the market. Smith, now buzzed from his caffeine-sugar kick, pushes through the chaos of Union Market, outside, and across the street to his bar, Cotton & Reed. Whether or not they’re in Smith’s “squad,” people notice him as he walks. Maybe it’s his big bushy beard, or maybe it’s the fact that he wears a straw cowboy hat with a bright tangerine-colored scarf and Crocs. “He’s kind of like the summer version of Santa Claus,” says Jordan Cotton, who coowns the distillery with Reed Walker. “We like to call him the herbal Santa Claus.” That’s because unlike with his coffee, he’s adamantly opposed to putting anything too sweet into his rum—instead he uses 17 botanicals. That’s the Cotton & Reed way. Craft rum, they say, should be alive with herbs and spices, not saturated with sugar. Take one sip of their dry-spiced rum, and your palate will begin to understand. Their rum tastes herbaceous and bitter, earthy and spicy, with a subtle finish of citrus and sweetness. “When I describe our rum, I like to say we’re practicing the art of mind-trickery,” Smith says. “By bombarding the senses with multiple ingredients, what we’re really doing is tricking the brain into thinking our rum is slightly sweet, even though there’s hardly any sugar.” That approach is something that Cotton & Reed prides itself on and something far different from the sugarcane or molasses fermented rums of the Caribbean. The distillery not only has the distinction of being D.C.’s first rum distillery, but it’s also challenging our assumptions

Young & hungrY

about rum, rum cocktails, and rum distilleries. According to the American Craft Spirits Association, there are more than 1,315 craft spirits producers in the United States—the most since Prohibition. Still, there are far fewer craft rum distilleries than whiskey, gin, or vodka, Smith says. Visit Cotton & Reed, and the first thing you’ll notice are the rum cocktails. The staff treats the distillery like a bar—drink sales are actually where 88 percent of their revenue comes from. In a back room behind two double doors, they make a white and a dry-spiced rum, both of which are intentionally subtle. It gives Smith and his fellow bartenders room to experiment with cocktail accompaniments. For example, Cotton & Reed makes a riff on a classic gin and tonic, only with rum. By Sunday evening, Cotton & Reed is getting its second wind, Smith says. The crowds and vendors from Union Market start to trickle in, and there’s a disco ball spinning with a lively mix of bluegrass and funk playing. The playlist is curated by Doug Atwell, a well-known Baltimore bartender from Blue Pit Whiskey & BBQ in Hampden. Atwell does weekend stints at the bar. Smith says it’s a benefit of being so close to Union Station and the MARC train. “The rail makes it easier to bring bartending talent from both cities closer together, and it’s my hope to get up there soon for a few shifts in return,” Smith says. Another bartender, Chas Jefferson, also happens to be Cotton & Reed’s master distiller. That’s something that usually catches patrons by surprise, he says. Previously, Jefferson was an experienced sommelier and worked as a wine rep, at one point doing a stint as a bartender for Iron Gate Restaurant. About four years ago, he joined the Cotton & Reed team after responding to a Craigslist want ad. Today, he’s responsible for tasting each batch of white and dry-spiced rum. “While most people think of me as a bartender or wine guy, I used those experiences to help get me to where I am now,” Jefferson says. He fixes a drink that Smith created, a cocktail called the winterized daiquiri. This classic cocktail is turned upside down after it’s topped with some Port City Porter beer. The idea

Darrow Montgomery/File

Cotton & Reed is redefining rum and the distillery model.

behind the drink, Smith says, was to create a drink that challenges commonly held assumptions, mainly that daiquiris should be frozen and served on a beach lounger. There’s hardly any sugar in this drink, mostly lime juice and stout, which acts as a natural sweetener. “People think of rum and think Caribbean style, and they think of rum cocktails and think frozen sugary drink,” Smith says. “I think sugar is the lowest common denominator for a cocktail.” By bending the rules on rum and rum cocktails, the Cotton & Reed team is able to create an entire menu of unique cocktails. For instance, their version of a Moscow Mule calls for ginger, Campari, and white rum. Their take on a Lion’s Tail is made with rum, lime, and an allspice dram that they make in house—it’s a Jamaican liqueur made with anise, fennel, Sichuan peppercorn, cinnamon, and clove. What most people don’t see at Cotton & Reed is production day. On Mondays and Tuesdays when the bar is closed, the staff puts in 14hour shifts, and engineer Jennifer Phelps has the data to prove how long she’s been working. She carries with her a running log of times, at 30-minute intervals, when she’s measuring the rum’s alcohol proof and temperature. “I want to be able to track just how well ‘Jill’ the still is doing,” she says. “And I want to be able to make adjustments to the production, so we can refine the product further.” “Jill” is a 500-gallon compound pot still, and

next to it are two large fermenters and a mash tun. Right now, Cotton & Reed can produce about 2,400 bottles of rum every two weeks— not huge for a distillery. They use an 80/20 rule for production—80 percent of the distillate is fermented using a Belgian saison yeast, and 20 percent is fermented with a pineapple yeast. The two distillates are blended together to get a white rum made from yeast strains more commonly found in beer. For their spiced rum, Cotton & Reed soaks each batch in Brazilian hardwood, a material called amburana. It’s a product that’s typically used to age Cachaça (a sugarcane spirit popular in Brazil). The small pieces of wood are cut, then toasted and soaked in the rum to give it a molasses character. They’re also sustainably sourcing small amounts of sugar from the Gulf Coast of Louisiana. As for what’s next, the co-founders say they’re looking at how the distillery can better serve their bar service, and they hope to expand upon the two styles of rum that they’re producing now. While the allspice dram is in use behind the bar, they’re working to brew and bottle it by early spring. “We have new products that we’re constantly testing at the bar,” Walker says. “You can try them, as we experiment,” he says. “That’s different from how other distilleries do it. Really, we want people to understand that rum can be something unique, and that distilleries can look and feel different too.” CP

washingtoncitypaper.com march 10, 2017 19

DCFEED Grazer

Island Hopping

The D.C. area’s Caribbean restaurants don’t come with big name chefs making the cuisines trendy or famous, which means sometimes it takes a little effort to find them and learn what to order. The following eateries showcase food from Trinidad, Jamaica, Cuba, and the Dominican Republic. Each island’s meal offerings are different, but it’s common to find plantains, rice and beans, spiced fish, and stewed and barbequed meats. Here’s where to go and what to get. —Steve Kiviat

what we ate this week: Bright green chilled spicy noodles with Sichuan sausage, Thai basil, and candied cashews, $15, Momofuku CCDC. Satisfaction level: 5 out of 5. what we’ll eat next week: Mexican carne asada with jalapeño, nopales salad, and rice $14.95, El Sol. Excitement level: 4 out of 5.

CUBa

JaMaICa

Teddy’s roti Shop 7304 Georgia Ave. NW This longtime, small Trinidadian carry-out is worth the jaunt up Georgia Avenue for its tasty roti, a flatbread wrap that can be ordered in the dhalpouri or “buss-up-shut” style. The dhalpouri resembles a burrito while the buss-up-shut version features torn roti. Try the goat that comes with mashed chana (chickpeas) and potatoes in either style ($13.90 for dhalpouri, $16.95 for buss up shut).

Peaches Kitchen 6214 3rd St. NW The spicy jerk chicken entree ($12.49 with two sides) is the star item at this homey Jamaican locale started in 2007 by Jamaican immigrant Peaches Watson in Takoma. Also try the soft coco bread with garlic ($2.29) and the beef patties ($2.29). The oxtail ($17.49) and the brown rice with pigeon peas ($4.49) are serviceable, but the plantains ($4.49) here are a little too dry.

UnderServed The best cocktail you’re not ordering Conosci’s Negroni-San What: Negroni-San with Ford’s Gin, Tozai Sake, Salers Gentiane Apéritif, and Hakutsuru Plum Wine. Where: Conosci, 465 K St. NW; (202) 629-4662; conoscidc.com Price: $12 What You Should Be Drinking: In hon-

Los Hermanos 1426-1428 Park Road NW Dominican food is served cafeteria style at Los Hermanos. Think big portions scooped from trays behind a glass sneeze guard requiring diners to point at what they want. Try the mangu (mashed green plantains) and ask them to add sauteed red onions ($4 to $8). There’s nothing fancy about moro de habichuelas, Dominican red beans and yellow rice, but the dish makes good comfort food. Finally, try the pernil (pulled pork, $10) and wash it down with a sweet, thick passion fruit juice drink. or of sister restaurant Alta Strada’s vast selection of Negronis next door, assistant general manager Eric Di Nardo sought a variant with the classic blueprint of equal parts spirit, bitterness, and sweetness but more in line with Conosci’s Asian-leaning cuisine. The trickiest part was replacing the Campari, but Di Nardo settled on Salers Gentiane Apéritif because

20 march 10, 2017 washingtoncitypaper.com

DOMINICaN rePUBLIC

TrINIDaD aND TOBaGO

Mi Cuba Café 1424 Park Road NW The Havana-born owners of this intimate bistro do a good job of presenting their isle’s flavors. Start with guava- and cheese-filled empanadas ($2.50) before moving on to their touted lechon asado ($9.95). It could have been warmer, but this roasted pig dish was still impressive thanks to its juicy meat, crunchy skin, and zingy grilled onions. The ropa vieja ($10.25) was less impressive, but the Cubano sandwich ($7.95) does the trick as a carry-out or eat-in item.

it’s light and delicate. It’s stirred in a mixing glass on the bar cart with Ford’s Gin, Tozai Sake, and Hakutsuru Plum Wine. Why You Should Be Drinking It: Taking artistic license that makes it virtually unrecognizable as a Negroni, this colorless version lacks the

Crown Bakery 5409 Georgia Ave. NW This Trinidadian restaurant has a small bakery and carry-out shop downstairs and a recently refurbished dining room upstairs where they offer an all-youcan-eat buffet on Sundays for $25. Dishes (mostly hits) include red snapper with slivers of green pepper, jerk chicken, sweet stewed chicken, pureed callaloo, a codfish appetizer, currant rolls, sweet bread, brown rice and pigeon peas, plantains, mac and cheese, and rum punch. Top it all with fruity sauces in flavors like mango and tamarind. Get ready for an open-air rooftop lounge this spring. original’s classic ruby hue and bittersweet taste. Instead, it reveals an appealingly distinctive profile that works before, during, or after dinner. The gin’s juniper and the plum wine’s dark fruit notes meld with Salers’ dry woodiness, while sake lends a lift not found in versions with gin alone. Sip the Easternleaning libation with ultra-fresh American red snapper ceviche with leche de tigre and earthy Okinawa sweet potatoes. —Kelly Magyarics

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Les Ballets trockadero de Monte Carlo tory dobrin, Artistic director

“Parody and virtuosic technique... in glittering tandem.” -The New York Times

Photo by Sascha Vaughan

Sy Smith

Capathia Jenkins

Montego Glover

Sophisticated Ladies: 100 Years of Ella & Company March 24 & 25 | Concert Hall STEVEN REINEKE, CONDUCTOR

March 21 & 22 | Opera House with the Kennedy Center Opera House Orchestra

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

22 march 10, 2017 washingtoncitypaper.com

For Ella Fitzgerald’s 100th, acclaimed singers Sy Smith, Capathia Jenkins, and Montego Glover come together to celebrate the legendary music of the First Lady of Song, plus favorites made famous by Sarah Vaughan, Billie Holiday, and Dinah Washington.

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CPArts

D.C.’s go-go scene gets a shoutout in the new VH1 series The Breaks. washingtoncitypaper.com/arts. Two of those fans were Northern Virginia residents Mike King Jr. and his son Mike E. King. Pro wrestling was a family tradition: Big Mike had watched with his father and grandfather, going to wrestling shows at the Baltimore Arena and the Capital Centre in Landover. He started taking Little Mike to indie wrestling shows when his son was 6 years old (earlier if you count the one that he attended at the Capital Centre in utero). Because indie wrestling didn’t really exist in Northern Virginia—the closest shows were in Richmond or the Baltimore area—they would spend nearly every weekend driving up and down the East Coast and as far west as Indiana for their wrestling fix. “Some kids play soccer or baseball on a traveling team,” says Big Mike. “We liked to do wrestling.”

Chet Sterling lunges at Logan Easton Laroux at a recent match.

In less than two years, NOVA Pro has become the D.C. area’s preeminent indie pro wrestling organization. By Chris Kelly It’s FrIday nIght in the middle of February, and the Annandale Volunteer Fire Department is electric. There’s the scent of fried food and the sound of butt rock in the air. A couple hundred people are seated around a deep blue wrestling ring, surrounded by wrestlers hawking merchandise off card tables. Promptly at 8 p.m., the rowdy crowd is treated to three hours of everything from a half-ton tag team to a pair of female Hot Topic devotees. The crowd eats it up, chanting, cheering, booing, and throwing streamers overhead. This is pro wrestling, in all its carnivalesque grandeur. This is NOVA Pro Wrestling. Independent pro wrestling (known collectively as the “indies”) is the scrappy, low-budget cousin of World Wrestling En-

tertainment, the billion-dollar company that made everyone from Hulk Hogan to The Rock to John Cena into stars. Until the rise of WWE in the mid-1980s, a collection of territorial promotions that ran shows out of arenas, civic centers, and armories across the country controlled pro wrestling. Eventually, WWE became the only game in town. The monopolization of pro wrestling led to a renaissance in the independent wrestling world, the spiritual successor to the territorial era, albeit on a smaller scale: the arenas replaced with VFW halls, the TV deals basically nonexistent. These promotions would become home to a new generation of wrestlers and wrestling fans who loved pro wrestling—not WWE’s homogenized brand of “sports entertainment.”

Dave Layne

Mat Men

In early 2015, after thousands of miles on the road, the Kings “buckled down” to figure out what it would take to start a “homegrown” wrestling promotion in Northern Virginia. Big Mike wasn’t daunted by the paperwork the task entailed—he’s an office administrator by day—and they got to work, booking the first NOVA Pro show in September 2015 at the Jewish Community Center of Northern Virginia. Little Mike had a vision for NOVA Pro Wrestling that combined all the things he loved about indie wrestling around the country. He wanted the classic pro wrestling storytelling of Southern promotions and the buzz-generating “dream matches” that fill the cards in Northeastern promotions. Every NOVA Pro event—the February show was their tenth—has built on that vision. Helping to execute that vision is Brad Stutts, a veteran of the North Carolina pro wrestling scene. “Wrestling is like a sideshow or a circus,” he explains. “If you don’t like the lion tamers, maybe you’ll like the jugglers, and if you don’t like the jugglers, maybe you’ll like the fire dancers.” In that spirit, NOVA Pro has certainly tried to deliver something for everyone. They’ve brought in high-flyers and hosses; local upstarts and nationally-known veterans; men and women. In the first year, storylines explored a put-upon wrestler’s battle with his money-loving manager; a tag team bromance that toyed with pro wrestling’s dueling homoeroticism and homophobia; and a blood feud between two men vying to be the face of the franchise. The latter pitted North Virginia natives Sonjay Dutt and Logan Easton LaRoux against each other. Dutt, a 17-year veteran was the hero, or “babyface,” while LaRoux was the villain, or “heel.” Each successive meeting raised the stakes, a Jenga tower of no-holds-barred and tag team matches that culminated in a steel cage match (at the JCC, optics be damned) last September. It was the highlight of NOVA Pro’s first year and the essence of the promotion: wrestlers at the washingtoncitypaper.com march 10, 2017 23

CPArts top of their game, working in their backyards. The 34-year-old Dutt—“The Original Playa from the Himalaya”—was born in D.C. and has spent almost all of his life in Northern Virginia. His parents emigrated from India in 1979, and the spectacle of pro wrestling was one of the first things his father saw on TV. “As far back as I can remember, pro wrestling was always on in the house,” he says. “I fell in love with it right off the bat.” Turned off by the rigid structure of high school baseball, he started wrestling with his friends, gaining his first bit of notoriety at 16 when he appeared on The Best of Backyard Wrestling VHS tapes. He started training properly two years later and signed with Total Nonstop Action Wrestling (a distant second-place promotion to the WWE) at 21 years old. Since then, Dutt has wrestled hundreds of matches around the world, including many in the indies that the Kings patronized, and their connection goes way back: One of Dutt’s first matches was at the very first indie show Little Mike attended. Dutt had been friends with the Kings for years when they reached out about starting a local promotion, and it wasn’t a hard sell. “There’s something appealing about growing something locally,” Dutt says. He offered to help however he could. That meant anchoring NOVA Pro shows with LaRoux, a 27-year-old who calls Fairfax County home. Like Dutt, LaRoux has been wrestling since his teens, driving the miles and putting in the work (often at “real shitholes”) that it takes to break into the wrestling business. It really started

to click a few years ago as he developed the Logan Easton LaRoux character, the self-described “Champion of the One Percent,” who is billed as coming from “a gated community located within a gated community that is surrounded by yet another gated community in Great Falls.” At first, LaRoux was a little hesitant about NOVA Pro. “I didn’t know what to expect,” he admits, “because the reality of Virginia independent wrestling can be fat guys in tshirts doing scoop slams.” Thankfully, NOVA Pro isn’t like other Virginia indies, and LaRoux embraced the opportunity to work with Dutt. “I think he’s by far the most underrated wrestler working today,” LaRoux says about Dutt, who he calls “the godfather of NOVA Pro.” Dutt is proud of the yearlong feud as well, saying, “it has created a star in Logan.” But if a star is born in Northern Virginia, is it bright enough to be seen in the pro wrestling world at-large? Years ago, the answer would probably have been no: Guys like Dutt and LaRoux—who are billed generously at 5’8” and 5’11”, respectively—were rarely regarded as WWE prospects. ThaT has sTarTed to change. In the 2000s, the WWE started poaching some of the indie stars that the Kings had followed around the country. Since then, the indies have been a pipeline of talent for the WWE, and in recent years, the hiring of wrestlers who didn’t fit the typical mold— men and women not traditionally tall, taut, or telegenic enough— increased to a fever pitch. Dutt is at peace with the fact that—despite the successes of

his 17-year career and the changing landscape—he had never received a tryout with the WWE. “Life is just about timing,” he says. “But anything can happen.” And he’s right: he recently spent a few weeks at the WWE’s Orlando Performance Center, helping to train recruits and produce events. It’s unclear if that will be the extent of his work with the WWE. All he can do is keep performing. “Other than the bumps and bruises, I feel like a million bucks,” he says. His full-time schedule still includes dates with NOVA Pro, ones that present him a unique opportunity: the chance to have his children see him work. The first match his six-year-old daughter saw was a no-holds-barred match with LaRoux that included some steel chair shots. “I told her ‘daddy is out there with friends, we’re having fun, don’t worry,’ and that’s all I needed to say,” Dutt explains. “She was fine—she loved it.” The then-five-year-old was a natural, getting in LaRoux’s face and cheering for her father. She was also at the match in February … as was Dutt’s 12-week-old son. “My daughter really wanted to come and my son is too young to be with a sitter yet, so my mom brought him,” Dutt says. “He did amazing. I’m surprised that nothing really freaked him out!” Time will tell if his son enjoys watching wrestling as much as his sister, but Dutt has an idea how that might turn out: when the time is right, “he might want to get in and fight, too.” CP NOVA Pro Wrestling Presents “Great Expectations” takes place on Friday at the Annandale Volunteer Fire Department. 7128 Columbia Pike, Annandale, Va. 7:30 p.m. $10-$25.

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Some Kind of monSterS Kong: Skull Island

Poet-inChief Neruda

Directed by Pablo Larrain Is every pIece of art about Donald Trump? It sure feels that way these days. That’s what happens when a cataclysmic event invades your consciousness—you see it everywhere. Remember all those movies about grief at the end of 2016, like Arrival, Manchester by the Sea, and Jackie? They were all about Democrats dealing with the results of the election. And so is Neruda, a biopic of the late Chilean Communist Pablo Neruda. At least, it starts that way. “You were so thirsty for power that you let yourself be fooled by a three-penny populist,” says a colleague to Neruda (Luis Gnecco) in an early scene. Guess where your mind goes. In post-war Chile, Neruda, a sitting senator and poet laureate of sorts, backed the wrong presidential candidate, and now his comrades are being rounded up and sent to work camps presided over by a “blue-eyed fox” named Augusto Pinochet. Synapses start firing in the brain, connecting their time to ours. Soon, though, Neruda slips comfortably into genre, and your anxieties loosen. After a warrant is issued for his arrest, Neruda must choose between prison and life as a fugitive. Neruda decides to flee, which sets in motion a cat-andmouse game between the poet-politician and Oscar Peluchonneau, a detective Gael Garcia Bernal plays with quiet intelligence. Neruda isn’t a polemic, and it’s never quite clear how invested the poet is in the cause. A rock star poet with a paunch and a receding hairline, Neruda is more hedonist than Communist. He likes to write, screw, smoke, and drink, but he loves nothing more than his own legend. So when he chooses to live underground, among his vast network of starstruck supporters, he seems driven more by his own

legend than loyalty to his people. In one scene, he complains that his accommodations are too secretive. “You want them to find you?” his girlfriend asks. “No, but I’d like them to feel closer,” he responds coyly. It’s complicated material, but a natural fit for esteemed Chilean director Pablo Larrain, who has shown a keen eye for how politics intersect with storytelling and mythmaking. His 2012 feature No depicted how American advertising techniques were used to beat Pinochet in his 1988 re-election campaign. Last year, he directed Jackie, which showed Jackie Kennedy create the legend of the Kennedy administration as Camelot in the days after her husband’s assassination. In Neruda, Larrain relies on both formal tricks and narrative focus to explore the intersection of celebrity, politics, and story. With Neruda on the run, many scenes take place in cars, and Larrain uses rear projection—that fake-looking screen behind a prop car—to draw attention to the artifice of the film. Thematically, Larrain increasingly focuses on the shared space between the inspector and his fugitive, who seem to grow closer in mind as the chase goes on. Depicting the thin line between actors on either side of the law is a well-worn convention, but Larrain views it through a poetic lens, inverting their relationship until it resembles something like affection. The inspector at one point refers to Neruda as a “public menace and an unforgettable lover.” In the final third, Neruda evolves into a straightforward chase story, with the policeman relentlessly following the politician into the snowy wilderness, but even this is not so simple. Capturing him seems physically impossible, like trying to grasp a poem in your hands. Through all this, Larrain never lets the viewer feel confused. He evokes the comfort of good fiction in every shot and every scene, even as his characters struggle to find the truth amid propaganda and lies. If only reality were directed so competently. —Noah Gittell Neruda opens Friday at Bethesda Row.

Directed by Jordan Vogt-Roberts Kong: sKull Island is admirable in its desire to get right into the good stuff. The screenplay introduces characters with two lines of dialogue, sometimes less, and the threadbare exposition functions as a break from one jaw-dropping set piece after another. This is the rousing special effects extravaganza that Jurassic World should have been: director Jordan Vogt-Roberts barely has any pretense of a story and instead lets the creatures—who are frightening, awesome, and vivid—bellow and shriek for themselves. There is some resonance here, since Kong: Skull Island serves as a metaphor for misguided American exceptionalism surrounding the Vietnam War. It is 1973, and the war has just ended. John Goodman plays Randa, a scientist who implores a senator to fund his expedition to Skull Island, a land mass in the South Pacific that’s never been surveyed by civilization. The Senator agrees, so Goodman also requests a helicopter escort. Colonel Packard (Samuel L. Jackson) quickly agrees to the assignment, eager to find meaning in the wake of a conflict that had none. The photojournalist Weaver (Brie Larson) catches wind of the voyage and talks her way on board. Randa also hires Conrad (Tom Hiddleston), an English tracker who is ex-Special Forces. The expedition goes to hell seconds after they arrive: The giant gorilla Kong attacks the convoy of helicopters, so the disjointed mix of soldiers, scientists, and civilians must reckon with the island’s deadly, primordial monsters. The name “Conrad” is one of many overt allusions to Apocalypse Now, a film whose mix of horror and spectacle helped define the era. Jordan Vogt-Roberts also includes many recognizable rock songs from the era, focusing primarily on Creedence Clearwater Revival, seemingly out of affection more than obligation. Like Apocalypse Now, Kong: Skull Island has a lengthy riverboat cruise where danger could jump out of seemingly anywhere. Vogt-Roberts draws on this iconography as a means to create dread: The silences help make the frequent attacks all the more intense. More importantly, he does not shy away from spec-

tacle, and the film veers from small scale moments to scenes that are enormous, even intimidating. There is a throwaway gag where one soldier watches Kong nurse his wounds, only to fight a giant octopus, and yet another where Kong’s orange eyes glimmer around explosions that are just as tall as he is. This is a film that is silly and almost stupid, but never boring. Vogt-Roberts assembles an impressive cast. In addition to the aforementioned stars, about a half dozen recognizable character actors add credibility to the premise (Toby Kebbell pulls double duty playing a soldier and providing motion-capture for Kong). The irony of the cast is that the script gives them little to do beyond look terrified: Many of them die in perfunctory ways, and Hiddleston gets top-billing despite a handful of lines. The real heavies are Jackson, whose character veers from anger toward madness, and John C. Reilly, who pops up as Marlow, the island’s longtime guest. Marlow is an American fighter pilot who has been marooned on Skull Island since World War II. The script mines that idea for comic relief, and feigned depth, and luckily Reilly has no problem playing both light and more serious moments. Kong: Skull Island gleefully introduces one monster after another, so there is a deeper purpose in casting stars for what amounts to an expensive B-movie. The film is about how the creatures are the real attraction, both in terms of special effects and their overall indifference to every character’s agenda. Kong is not a villain, more like a misunderstood hero, and his macro-scale fights with ghoulish, gigantic lizard monsters are a highlight. The creepier moments, like the introduction of a giant spider or a gigantic walking stick insect, add an ephemeral sense of wonder. They are a nice break from overabundant albeit well-shot action sequences, which are punctuated by useless gunfire and sudden brutality. Like 2014’s Godzilla, Kong: Skull Island is a “post-human blockbuster.” The term was coined by critic David Ehrlich, and it suggests that humanity is merely a speck on a larger canvas of forces that will govern our planet long after we go extinct. Vogt-Roberts makes humans feel puny, even pointless, since the monsters have an innate sense of global conservation. It is an intriguing idea, one that’s all the more effective since it means humanity and civilization are secondary to, once again, letting the monsters fight. —Alan Zilberman Kong: Skull Island opens Friday in theaters everywhere.

washingtoncitypaper.com march 10, 2017 25

50th Anniversary Season

BRAD MEHLDAU

Three Pieces After Bach

Thu, Mar 16, 8pm Sixth & I

Inspired pairing of classical and jazz from renowned piano master Special thanks: Abramson Family Foundation; Phil West and Barbara Yellen

NUFONIA MUST FALL

Composed and performed by DJ Kid Koala with the Afiara Quartet

Sat, Mar 18, 8pm GW Lisner Auditorium

A magical tale of “droid meets girl”! Turntables and string quartet plus puppetry, live video, and more! “Minuscule gestures….translate into big-screen drama [and] genuine romance.” —New York Times Special thanks: Mid Atlantic Arts Foundation; The National Endowment for the Arts; The Embassy of Canada and The Quebec Government Office

Avital Meets Avital

AVI AVITAL & OMER AVITAL Sat, Mar 25, 8pm Sixth & I

Jazz meets the Middle East! Special thanks: Abramson Family Foundation 50th Anniversary Season Sponsors: Dr. Gary Mather and Ms. Christina Co Mather

WashingtonPerformingArts.org • (202) 785-9727 26 march 10, 2017 washingtoncitypaper.com

GalleriesSketcheS

Living StorieS

the beauty of the photos lies in the moments caught. It is not a novel idea, but it does force us to stop and thoughtfully consume. Tim Davis’ “I Am Still Waiting,” “Why You Waiting,” “When I Grow Up,” and “Go-Go” are mixed media collages that dig into the psyche. Chocolate Cities: The The faces in the paintings have no features, and History, Legacy, & if the whole face isn’t colored in, the eyes are Sustainability of African blocked out by a strip of black. Davis’ seamless combination of paint and cut-out paper with American Urban Enclaves very specific objects adds to the complexity of At the Prince George’s African American the stories being told. Museum and Cultural Center Michael Booker’s “Chocolate City Park II,” To Sept. 26 an interactive piece, sits quietly on a shelf. It Cultural pride and vibrant communities is made up of an old radio and a frame sitting gave rise to the coinage of Chocolate City in D.C. on delicate fabric. There are headphones that in the ’70s. In the face of a constantly gentrify- hang beneath the shelf, in which a powerful ing area, many have been forced to move out of voice recites a speech: “We aren’t going to tolthe communities they built, but the soul of what erate any violence…” it continues on a loop. Chocolate City stood for can never be plowed The speech coming from the headphones over. In its seventh year, the Prince George’s transforms the physical parts of the work; it is African American Museum and Cultural Cen- no longer just a silent shelf of objects but rathter presents Chocolate Cities: The History, Lega- er a vehicle for change. Sheila Crider’s “Walk in the Park: Apartcy, & Sustainability of African American Urban Enclaves, which focuses specifically on D.C. and ment Living” is fun and colorful, reminisPrince George’s County. It is an art exhibit, cu- cent of children’s artwork. Seven paintings rated by Martina Dodd, that highlights the ar- form a neighborhood of apartment dwellers anchored by a polyester tistic exploration of histosculpture of two towry and social justice and ers, coming together to features artists Tim Datell the story of a comvis, Lloyd Foster, Lionel munity. Frazier White III, Sheila Crider continues the Crider, Michael Booker, apartment theme in and Larry Cook. “The Black Army,” an The museum is a encased sculpture of 18 modest space that housstructures aligned like es a rich experience. It soldiers—in all black. lives along the stretch Quite a juxtaposition of Rhode Island Avewith her previous colornue that changes from ful, playful view. The tiD.C. to Maryland in a tan “Why You Waiting” by Tim Davis (2009) tle plays a large role in building that you would how we view the sculpture, suggesting that miss if you weren’t looking for it. Look for it. In the era of fitting experiences into a square the sculptures may not be buildings at all, but for the perfect photo opportunity to share on a community changed. Meanwhile, Lionel Frazier White III tugs on social media, Chocolate Cities makes you want to do the opposite. The work selected can, for our heartstrings with “Porch Girl,” a video of the most part, fit along a wall or in a frame. It still photographs of his mother. Lionel’s mothdoesn’t make you want to pull out your phone er starts as a young girl sitting on a D.C. stoop and take a selfie—not because it isn’t worthy, and is later shown graduating as an adult. Each photo becomes a moving story as the people but because it demands your full attention. Larry Cook’s “Thomas” is a photograph of a in the photos transform into dark shapes. It is man and a child. They are not smiling or posing a simple xerox machine blackout process that for a photo; they exist as they are. Cook’s work tells a powerful story. We see not only the good is in the same stream of consciousness as mil- memories of lives lived, but also become bylions of photos we scan each day on the internet. standers as those same lives are taken. It is a But the difference is “Thomas” allows you to ob- powerful video that brings the entire exhibit serve the life of a real person in a space that chal- together. In a rapidly changing D.C., Chocolate Cities lenges you to think about someone other than yourself. Could Thomas be your cousin, brother, is a rich journey that is thoughtfully curated by lover? Or, perhaps, he is your neighbor that you Dodd. It’s an exhibition that connects D.C.’s past with its present; and in that, it demands to be exignore? Whichever the case, he exists. Lloyd Foster’s untitled photographs of men perienced by present humans. —Laura Irene playing a game of chess are more direct. The black-and-white photographs are not a mys- 4519 Rhode Island Ave. Free. (301) 403-1382. tery, but they do portray a quiet wisdom: pgaamcc.org. The men are older and contemplative, and

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4:53 PM washingtoncitypaper.com march3/2/17 10, 2017 27

SHIFT your expectations. SHIFT your senses. SHIFT your spirit.

MusicDiscography

No Gods, No Masters Godless Prophets & The Migrant Flora

March 27–April 1, 2017 Atlanta Symphony Orchestra & Chorus Boulder Philharmonic

with Frequent Flyers Aerial Dance

North Carolina Symphony The Knights

with San Francisco Girls Chorus

Concerts only $25! Plus many FREE events: pop-up shows, musical hikes, and more! Learn more at SHIFTfestival.org. PRESENTED BY

Generous support of the SHIFT Festival is provided through a matching grant from The Andrew W. Mellon Foundation, by Dr. Gary Mather and Ms. Christina Co Mather, and by Michael F. and Noémi K. Neidorff and The Centene Charitable Foundation. SHIFT is funded in part by the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts. Additional support is provided by Abramson Family Foundation, Betsy and Robert Feinberg, Morton and Norma Lee Funger, and Daniel R. Lewis. SHIFT is presented in association with JFKC: A Centennial Celebration of John F. Kennedy Support for JFKC: A Centennial Celebration of John F. Kennedyis provided by Ambassador Elizabeth Frawley Bagley, Chevron, The Blanche and Irving Laurie Foundation, and Target.

28 march 10, 2017 washingtoncitypaper.com

Darkest Hour Southern Lord When it comes to celebrating this city’s alternative music past, metal plays second string—if that. A Washington City Paper feature on D.C.’s doom metal history took an extensive look at local players who’ve wielded great influence over the slow-moving course of the genre’s evolution, but never received the accolades bestowed upon go-go and hardcore heroes. Not much has changed since then, even with the critical success of the 2011 gutwrenching documentary about the tumultuous life of Pentagram frontman Bobby Liebling, Last Days Here. For every ode to D.C.’s doom forefathers there’s a couple dozen hardcore fans eager to film their “unique” spin on the history of harDCore. And that’s just doom, to say nothing of the city’s metal practitioners who’d arrive generations later—like metalcore mavens Darkest Hour. Formed in 1995, Darkest Hour occupy an interesting space in D.C. music history. The first proper label to release their music was Art Monk Construction, which is better-known known for spindly post-hardcore than the kind of pummeling percussive assaults Darkest Hour dabbled in since their earliest days. (The connection isn’t as unusual as it might appear: Poke around the scans of their 1996 demo on Discogs and you can see Darkest Hour shouting-out Art Monk band Frodus alongside local metalcore precedents Damnation A.D.) Darkest Hour would go on to sign with Victory Records during the controversial punk label’s halcyon days in the early 2000s. By that time they solidified their presence as a part

of the New Wave of American Heavy Metal, a scattered collection of groups that expressed as much of a predilection for melody as they did hardcore’s corrosive aggression and extreme metal’s industrial-strength force. Darkest Hour never achieved the commercial success of, say, Avenged Sevenfold, but they’ve had their moments. They’ve released not just one, but two songs in support of the Washington Capitals—2008’s thrashy “Let’s Go Caps” and last year’s heavy footed “Rock the Red (Washington Capitals Fight Song).” Twenty-two years in and Darkest Hour are still holding it together as a the workingman’s NWOAHM band. When metal site Invisible Oranges ran a “definitive ranking” of NWOAHM albums last year, editor Joseph Schafer astutely pointed out that only a few bands managed to crossover, most dissolved, and, somehow, Darkest Hour have kept a career going by the skin of their teeth. Last year founding guitarist Mike Schleibaum launched an IndieGoGo campaign to raise funds for the group’s ninth album. Darkest Hour raised more than $70,000 for Godless Prophets & the Migrant Flora, which comes out this week through vaunted underground metal label Southern Lord. The sound of chaos swirls throughout Godless Prophets, but Darkest Hour perform with a robotic precision. Travis Orbin’s percussive landslides and Schleibaum’s blustery guitar solos—passages fueled with frisson, which dip and dive like a fire hose set on maximum power and let loose—find each other and stir up a thick wall of sound that shows the group’s composure, even as Darkest Hour make a convincing case that everything could fall apart at a moment’s notice. Tense and complex, the songs on Godless Prophets feel right for this moment. The tracks are anxious and suffocating enough that you could imagine co-founding vocalist John Henry tearing out his throat in order to heal the pain he projects through guttural howls. Yet there are moments of brightness that flicker throughout Godless Prophets. There’s the chords that hum during a calm moment on “None of This is the Truth,” and the cascading melodic euphoria that closes “The Last of the Monuments.” Henry may bellow about nihilism and violence on “This is the Truth,” but Schleibaum’s glistening guitars during the tune’s end suggest a sense of hope, too. Darkest Hour have weathered the highs and lows of a lengthy career and seen peers go down in flames, but they still manage to find something to look forward to—and impart that in their music. —Leor Galil Listen to “Godless Prophets & The Migrant Flora” at washingtoncitypaper.com/arts.

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Ex Machina (Canada)

1720 I Street NW, 9th Floor Washington, D.C. 20006

Needles and Opium

Written and directed by Robert Lepage March 16–18

To register for an Orientation Session or learn more information call us (855)268-1935 or visit site www.americaworks.com/tickettowork

Teatro El Público (Cuba)

ANN HAMILTON & EMILY PILLOTON HOW CAN MAKERS CHANGE THE WORLD? WED, MARCH 29, 2017 7–8:30 PM

Antigonón, un contingente épico Directed by Carlos Díaz March 21 & 22

World premiere, Sabab Theatre (Kuwait)

Petrol Station

Written and directed by Sulayman Al Bassam March 24–26

Followed by Catalyst, a cocktail hour with a topic and a twist

Plus a collaboration with Sundance Institute

Ann Hamilton, an internationally renowned visual artist and self-described maker, joins Emily Pilloton, designer, builder, and educator, to talk about the poetic and practical aspects of making things. Booths featuring items by local makers open before and after Fresh Talk. Purchase tickets at nmwa.org/ events/ann-hamilton-emily-pilloton

theater by Palestinians World premiere

TAHA March 15 & 16 US premiere

Where Can I Find Someone Like You, Ali? March 23 & 24

E M I LY P I L L O T O N : P H O T O C O U R T E S Y L E I G H B U R E A U

A N N H A M I LT O N : P H O T O B Y M I C H A E L M E R C I L

Creative Tensions: HOME March 25

Needles and Opium, photo by Tristram Kenton

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International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

washingtoncitypaper.com march 10, 2017 29

Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED!

alt-J w/ Saint Motel ..................................................................................... JULY 27

Fleet Foxes

w/ Animal

THIS WEEK’S SHOWS

Los Campesinos! w/ Crying & Infinity Crush ............................................... Th 9 ALL GOOD PRESENTS

Railroad Earth w/ Cris Jacobs ........................................................ F 10 & Sa 11 Sunn O))) w/ BIG|BRAVE ................................................................................ Su 12

deadmau5 ......................................................................................................... APRIL 8 L M3 ROCK FESTIVAL FEATURING META FEST

Ratt feat. Pearcy, De Martini, Croucier • Kix • Loverboy and more! .APRIL 28 & 29

M3 SOUTHERN ROCK CLASSIC FEATURING RN

MARCH

w/ Con Brio ..................................F 17 Galactic featuring Corey Glover w/ The Hip Abduction .................Sa 18 Tennis w/ Rolling Blackouts Coastal Fever..............................Su 19 Foxygen w/ Gabriella Cohen .....W 22

The Zombies: Odessey and Oracle

RO ! FEST

Pigeons Playing Ping Pong w/ ELM - Electric Love Machine ....F 7 The Fighter and the Kid Live

Early Show! 6pm Doors ....................Sa 25 ALL GOOD PRESENTS

Twiddle w/ Aqueous

Late Show! 10pm Doors ...................Sa 25

Trentemøller w/ TOM And His Computer .........Su 26 Allah-Las w/ The Babe Rainbow (OZ) ..........M 27 King Gizzard & The Lizard Wizard w/ ORB & Stonefield ......W 29 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Portugal. The Man w/ HDBeenDope ............................Su 2

I.M.P. & GOLDENVOICE PRESENT AN EVENING WITH

Sigur Rós ........................................................................................................... MAY 25

The Chainsmokers w/ Kiiara, Lost Frequencies, featuring Emily Warren .. MAY 26 Jack Johnson w/ Lake Street Dive..................................................................JUNE 11 Dave Matthews & Tim Reynolds ....................................................JUNE 18 John Legend w/ Gallant ..................................................................................JUNE 20 Steve Miller Band w/ Peter Frampton ........................................JUNE 23 Luke Bryan w/ Brett Eldredge & Lauren Alaina ..........................................JUNE 25 Jason Isbell and the 400 Unit w/ The Mountain Goats ................JUNE 30 Dispatch w/ Guster ............................................................................................. JULY 7 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex ........ JULY 30

Late Show! 10pm Doors ....................Sa 8

Son Volt w/ Anders Parker ......Tu 11 Baroness w/ Trans Am ............W 12 The Motet w/ Reed Mathis & Electric Beethoven .....................F 14 Biffy Clyro w/ O’Brother .........Sa 15 Betty Who w/ Vérité ................Su 16 Oddisee & Good Compny w/ Olivier St. Louis .....................Th 20 Drive-By Truckers w/ Hiss Golden

AN EVENING WITH

Santana ......................................................................................................... AUGUST 15

Sturgill Simpson .............................................................................. SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave ............................ SEPTEMBER 16

Messenger ................ F 4/21 & Sa 4/22

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

ALL GOOD PRESENTS

Hurray For The Riff Raff w/ Ron Gallo ..............................Su 23 The Pretty Reckless w/ Them Evils ..............................W 26 Balkan Beat Box ...................Th 27

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Bon Iver ................................................................................................................ MAY 24

Mr. Carmack

JAMBASE AND ALL GOOD PRESENT

Rising Appalachia

Kings of Leon • Weezer • Jimmy Eat World •

Fitz and the Tantrums • Catfish and the Bottlemen ........................... MAY 14

STEEZ PROMO PRESENTS

ALL GOOD PRESENTS

SOHN w/ William Doyle & Nylo ...F 24

2 and 3-day Tickets On Sale now.

This is a seated show. Early Show! 6pm Doors ......................Sa 8

DC BRAU, COUNTRY MALT & WILD GOOSE PRESENT

Lynyrd Skynyrd • Charlie Daniels Band and more! ................... APRIL 30

The xx w/ Sampha ................................................................................................... MAY 6 Ryan Adams w/ Jenny Lewis ........................................................................ MAY 12

Ronna and Beverly Live!.......W 5 ALL GOOD PRESENTS

50th Anniversary .....................Th 23

APRIL

HE SOUT CK

APRIL (cont)

Hippie Sabotage w/ Kur & Seba Yuri .....................W 15 Katatonia w/ Caspian & Uncured ................Th 16 Galactic featuring Cyril Neville

Collective ... SAT JULY 29

On Sale Friday, March 10 at 10am

EagleBank Arena • Fairfax, VA

BASTILLE w/ Mondo Cozmo........................................................................... MARCH 28 Ticketmaster • impconcerts.com

930.com

1215 U Street NW Washington, D.C. JUST ANNOUNCED! FRANK/GOLDENVOICE PRESENT

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CAGE THE E L EP H A N T :

Live and Unpeeled, The Acoustic Tour ............................................... SAT APRIL 22 On Sale Friday, March 10 at 10am

Echostage • Washington, D.C.

TYCHO .............................................................................................................................MAY 7 Empire of the Sun ..................................................................................................MAY 11 2135 Queens Chapel Rd. NE • Ticketmaster

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Jose James feat. Nate Smith w/ Corey King ...... Sa MAR 18 Sofi Tukker w/ LP Giobbi ...................... F 24 POWERS & Bridgit Mendler w/ Nick Leng ......................................... Sa 25

Patrick Watson w/ Trevor Sensor ...... M 27 Lambchop w/ Sloppy Heads .......... Sa APR 1 Kyle w/ Cousin Stizz ............................... Tu 4 Crystal Garden

TWO EVENINGS WITH

The Magnetic Fields:

50 Song Memoir............................... MARCH 18 (Songs 1-25) & MARCH 19 (Songs 26-50)

Lisa Lampanelli ............................................................................................... APRIL 8 Welcome To Night Vale w/ Erin McKeown ................................................ APRIL 13 Aimee Mann w/ Jonathan Coulton ................................................................... APRIL 20 Rhiannon Giddens w/ Amythyst Kiah ................................................................ MAY 9 Dwight Yoakam ................................................................................................. MAY 11 AN EVENING WITH

Old Crow Medicine Show Performing Blonde on Blonde ............................ MAY 22

(Boyd Tinsley of Dave Matthews Band) ...F 7

• thelincolndc.com • U Street (Green/Yellow) stop across the street!

• Buy advance tickets at the 9:30 Club box office • 930.com

impconcerts.com Tickets for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office. 9:30 CLUB BOX OFFICE HOURS are 12-7PM Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

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

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2 - 6pm

Music rock

9:30 Club 815 V St. NW. (202) 265-0930. Railroad Earth. 7 p.m. $28. 930.com. The hamilTon 600 14th St. NW. (202) 787-1000. Paul Thorn. 8 p.m. $24.75–$49.75. thehamiltondc.com. RoCk & Roll hoTel 1353 H St. NE. (202) 388-7625. MAE, The Constellations. 8 p.m. $20–$25. rockandrollhoteldc.com.

Vocal

baRns aT Wolf TRap 1635 Trap Road, Vienna. (703) 255-1900. Ari Hest. 8 p.m. $25–$30. wolftrap.org. kennedy CenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Songwriters: The Next Generation. 6 p.m. Free. kennedy-center.org.

dJ Nights

eChosTage 2135 Queens Chapel Road NE. (202) 503-2330. Tiësto. 9 p.m. $50. echostage.com.

classical

kennedy CenTeR ConCeRT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Weilerstein plays Shostakovich, Schubert’s Ninth Symphony. 8 p.m. $15–$89. kennedy-center.org.

opera

kennedy CenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Champion. 7:30 p.m. $45–$300. kennedy-center.org.

go-go

beThesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. E.U. 8 p.m. $20. bethesdabluesjazz.com.

hip-hop

songbyRd musiC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Bond St. District, Blacksage. 8 p.m. $12–$14. songbyrddc.com.

Folk

gypsy sally’s 3401 K St. NW. (202) 333-7700. Scott Thorn. 8 p.m. Free. Tongue In Cheek. 10:30 p.m. Free. gypsysallys.com.

couNtry

amp by sTRaThmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Bumper Jacksons. 8 p.m. $22–$30. ampbystrathmore.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Gerald Albright. 8 p.m.; 10 p.m. $65–$70. bluesalley.com.

mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. The Kevin Cordt Quartet. 8 p.m. Free. mrhenrysdc.com.

located next door to 9:30 club

CITY LIGHTS: Friday

Friday

kennedy CenTeR TeRRaCe galleRy 2700 F St. NW. (202) 467-4600. Elena and Samora Pinderhughes. 7 p.m.; 9 p.m. $20. kennedy-center.org.

2047 9th Street NW

Film 40

TWins Jazz 1344 U St. NW. (202) 234-0072. Alison Crockett. 9 p.m.; 11 p.m. $27. twinsjazz.com.

FuNk & r&B

hoWaRd TheaTRe 620 T St. NW. (202) 803-2899. Vanessa Williams. 7:30 p.m.; 10 p.m. $60–$95. thehowardtheatre.com.

BoNd st. district

After a chance meeting a few years ago, rapper Emmanuel “DDm” Williams and producer Paul Hutson decided to make music together as Bond St. District, taking their name from the Fells Point street where Hutson’s home studio was located. It’s a very Baltimore name for a very Baltimore act, and on their debut album, A Church On Vulcan, they preach a very Baltimore gospel. Cross-pollinating a wide range of hip-hop, classic soul, electronica, and club music, DDm tells politically charged tales of the city’s past, present, and future in lush, true-to-life detail. As he raps on “Technicolor,” “dope boys and police lights, the canvas on which I draw.” But Baltimore’s story is also a national and international one, and on “Terror Era” the duo looks outside of the city and examines discrepancies in media coverage of global terrorism. There’s certainly nostalgia on A Church On Vulcan—for the Baltimore of old and for an era when rappers were explicitly political—but Bond St. District knows that you can’t go backward, and they only move forward. Bond St. District performs with Blacksage at 8 p.m. at Songbyrd Music House and Record Cafe, 2477 18th St. NW. $12–$14. (202) 450-2917. songbyrddc.com. —Chris Kelly

saturday

dJ Nights

9:30 Club 815 V St. NW. (202) 265-0930. Railroad Earth. 8 p.m. $28. 930.com.

classical

rock

flash 645 Florida Ave. NW. (202) 827-8791. Thomas Melchior. 8 p.m. $8–$12. flashdc.com.

baRns aT Wolf TRap 1635 Trap Road, Vienna. (703) 255-1900. A Bandhouse Gigs Tribute To Elvis Costello. 8 p.m. $25–$29. wolftrap.org.

kennedy CenTeR ConCeRT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Weilerstein plays Shostakovich/Schubert’s Ninth Symphony. 8 p.m. $15–$89. kennedy-center.org.

blaCk CaT baCksTage 1811 14th St. NW. (202) 6674490. Priests (Record Release). 8 p.m. $16. blackcatdc.com.

kennedy CenTeR millennium sTage 2700 F St. NW. (202) 467-4600. NSO Prelude. 6 p.m. Free. kennedy-center.org.

The hamilTon 600 14th St. NW. (202) 787-1000. Howie Day. 8 p.m. $18.75–$39.75. thehamiltondc.com. hoWaRd TheaTRe 620 T St. NW. (202) 803-2899. Southern Soul Assembly feat. JJ Grey, Luther Dickinson & More. 9 p.m. $45–$75. thehowardtheatre.com. RoCk & Roll hoTel 1353 H St. NE. (202) 388-7625. Strand of Oaks, TWIN LIMB. 8 p.m. $15. rockandrollhoteldc.com.

opera

kennedy CenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Dead Man Walking. 7 p.m. $45–$300. kennedy-center.org.

World

aTlas peRfoRming aRTs CenTeR 1333 H St. NE. (202) 399-7993. Orquesta el Macabeo, Miramar. 8 p.m. $20–$32. atlasarts.org.

washingtoncitypaper.com march 10, 2017 31

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Gerald Albright. 8 p.m.; 10 p.m. $65–$70. bluesalley.com. kennedy CenTeR TeRRaCe galleRy 2700 F St. NW. (202) 467-4600. Christie Dashiell. 7 p.m.; 9 p.m. $30–$39. kennedy-center.org. mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Maija Rejman. 8 p.m. Free. mrhenrysdc.com. TWins Jazz 1344 U St. NW. (202) 234-0072. Alison Crockett. 9 p.m.; 11 p.m. $27. twinsjazz.com.

FuNk & r&B

beThesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Be’la Dona. 8 p.m. $20. bethesdabluesjazz.com.

eChosTage 2135 Queens Chapel Road NE. (202) 503-2330. Migos. 9 p.m. $48.80. echostage.com.

World

bossa bisTRo 2463 18th St NW. 202-667-0088. Encantada, Julie Mack. 6 p.m. $10. bossadc.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Gerald Albright. 8 p.m.; 10 p.m. $65–$70. bluesalley.com. TWins Jazz 1344 U St. NW. (202) 234-0072. Kevin Sun Trio. 8 p.m.; 10 p.m. $22. twinsjazz.com.

FuNk & r&B

fillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Robert Randolph & The Family Band. 8 p.m. $25. fillmoresilverspring.com.

suNday

hoWaRd TheaTRe 620 T St. NW. (202) 803-2899. Mousey Thompson’s James Brown Experience. 8 p.m. $25–$45. thehowardtheatre.com.

9:30 Club 815 V St. NW. (202) 265-0930. Sunn O))). 7 p.m. $35. 930.com.

MoNday

rock

blaCk CaT baCksTage 1811 14th St. NW. (202) 6674490. Sam Patch, Sean Croft. 7:30 p.m. $12. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Cameron Avery. 9 p.m. $15. dcnine.com.

opera

kennedy CenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Champion. 2 p.m. $45–$300. kennedy-center.org.

go-go

hoWaRd TheaTRe 620 T St. NW. (202) 803-2899. Go-Go Brunch feat. Be’la Dona. 1:30 p.m. $20–$40. thehowardtheatre.com.

Scythian

hip-hop

rock

biRChmeRe 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Colin Hay. 7:30 p.m. $45. birchmere.com. songbyRd musiC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Jacuzzi Boys, Duskwhales. 8:30 p.m. $12–$14. songbyrddc.com. veRizon CenTeR 601 F St. NW. (202) 628-3200. Green Day, Against Me!. 8 p.m. $35–$75. verizoncenter.com.

Vocal

kennedy CenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Washington Performing Arts Youth Program. 6 p.m. Free. kennedy-center.org.

CITY LIGHTS: saturday A PART OF Big Sam’s Funky Nation

MILLENNIUM STAGE 20TH ANNIVERSARY

Scythian and Big Sam’s Funky Nation Sunday, March 19 at 6 p.m. We celebrate our landmark birthday with two stellar bands. Scythian (6–7 p.m.) plays roots music from Celtic, Eastern European, and Appalachian traditions with thunderous energy, while Big Sam’s Funky Nation (7–8 p.m.) is a group of world-class musicians who are a driving force of urban funk.

Come early! First 1,000 fans get a free T-shirt! Special MS20 happy hour from 5–6 p.m. All beer and wine ½ off at the Grand Foyer Bars. The Millennium Stage is brought to you by

The Millennium Stage was created and underwritten by James A. Johnson and Maxine Isaacs to make the performing arts accessible to everyone in fulfillment of the Kennedy Center's mission to its community and the nation. Additional funding for the Millennium Stage is provided by Bernstein Family Foundation, The Isadore and Bertha Gudelsky Family Foundation, Inc., The Meredith Foundation, The Morris and Gwendolyn Cafritz Foundation, Dr. Deborah Rose and Dr. Jan A.J. Stolwijk, U.S. Department of Education, and the Millennium Stage Endowment Fund.

The Millennium Stage Endowment Fund was made possible by James A. Johnson and Maxine Isaacs, Fannie Mae Foundation, the Kimsey Endowment, Gilbert† and Jaylee† Mead, Mortgage Bankers Association of America and other anonymous gifts to secure the future of the Millennium Stage. Education and related artistic programs are also made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts. Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Ambassador Elizabeth Frawley Bagley, Chevron, The Blanche and Irving Laurie Foundation, and Target.

32 march 10, 2017 washingtoncitypaper.com

orQuesta el MacaBeo

Orquesta El Macabeo is not your typical old-school salsa group. Named after a fried fritter made from mashed bananas and meat, this 11-member ensemble, formed in Puerto Rico in 2008, includes a number of punk and ska musicians. It started out performing around the island but by the time it released its first album, Salsa Macabra, in 2010, its members had played shows all around the world. The group’s latest effort, La Maldición del Timbal (The Curse of the Kettledrum), is its most mature, offering some clave-beat dance music that’s so catchy you wouldn’t be surprised to hear it on a pop radio station. Only Spanish speakers will fully grasp the group’s lyrical tales of personal, romantic, and socio-political struggles, but the ensemble’s energetic sonics, generated by a quick-fingered keyboardist, brassy horns, and timbale percussion, can get audiences moving regardless of what languages they understand. Orquesta el Macabeo performs with Miramar at 8 p.m. at Atlas Performing Arts Center, 1333 H St. NE. $20–$32. (202) 399-7993. atlasarts.org. —Steve Kiviat

washingtoncitypaper.com march 10, 2017 33

CITY LIGHTS: suNday

RIGHTING A WRONG: JAPANESE AMERICANS AND WORLD WAR II

The government’s targeting of specific ethnic groups is reflected in the National Museum of American History’s eerily timely new exhibition, Righting a Wrong: Japanese Americans and World War II. President Franklin D. Roosevelt signed Executive Order 9066 just weeks after Japan bombed Pearl Harbor and the United States entered the war in Europe and the Pacific. Under the order, military officers were authorized to move neighborhood by neighborhood to remove people of Japanese descent. American citizens of Japanese ancestry and Japanese nationals living on the West Coast and in southern Arizona were ordered to register and then to report, within a week, to temporary detention centers. By the end of 1942, about 120,000 people had been sent to one of 10 incarceration camps in remote inland locations, surrounded by barbed wire, searchlights, and guard towers. Seventy-five years later, you can see the baseball glove used by Kelly Matsumura at the Gila River camp in Arizona and the pink dress crocheted for Lois Sakahara by her mother in the Heart Mountain camp in Wyoming. Perhaps the most stirring artifact on view is a Dorothea Lange photograph of the Masuda family’s I AM AN AMERICAN sign displayed outside their Oakland, Calif., grocery store—taken before they, too, were rounded up. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Feb. 19, 2018, at the National Museum of American History, 14th Street and Constitution Avenue NW. Free. (202) 633-1000. americanhistory.si.edu. —Diana Michele Yap musiC CenTeR aT sTRaThmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. The Ten Tenors. 8 p.m. $30–$85. strathmore.org.

tuesday rock

RoCk & Roll hoTel 1353 H St. NE. (202) 388-7625. Alina Baraz. 8 p.m. Sold out. rockandrollhoteldc.com.

Vocal

kennedy CenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Duke Ellington School of the Arts Vocal Music Department. 6 p.m. Free. kennedy-center.org.

World

amp by sTRaThmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Carlos Núñez. 8 p.m. $30–$40. ampbystrathmore.com.

CELEBRATION 2017 THURSDAY, APRIL 6 VIP 6 P.M. GA 7 P.M. CARNEGIE LIBRARY AT MT. VERNON SQUARE

TICKETS ON SALE NOW! washingtoncitypaper.com/events

biRChmeRe 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Ladysmith Black Mambazo. 7:30 p.m. $49.50. birchmere.com.

Folk

daR ConsTiTuTion hall 1776 D St. NW. (202) 6284780. Regina Spektor. 8 p.m. $40–$70. dar.org.

WedNesday rock

blaCk CaT 1811 14th St. NW. (202) 667-4490. Secondhand Serenade. 7:30 p.m. $20. blackcatdc.com.

dJ Nights

soundCheCk 1420 K St. NW. (202) 789-5429. Mayhem. 10 p.m. $12–$15. soundcheckdc.com.

opera

kennedy CenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Champion. 7 p.m. $45–$300. kennedy-center.org.

34 march 10, 2017 washingtoncitypaper.com

World

bossa bisTRo 2463 18th St NW. 202-667-0088. Amadou Kouyate and Nathanial Braddock. 9 p.m. Free. bossadc.com. musiC CenTeR aT sTRaThmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. KODO. 8 p.m. $35–$75. strathmore.org.

Folk

sixTh & i hisToRiC synagogue 600 I St. NW. (202) 408-3100. Devendra Banhart and The Grogs. 8 p.m. $29.50–$33.50. sixthandi.org.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Nicholas Payton. 8 p.m.; 10 p.m. $40–$45. bluesalley.com. kennedy CenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Mala Waldron. 6 p.m. Free. kennedy-center.org.

electroNic

9:30 Club 815 V St. NW. (202) 265-0930. Hippie Sabotage. 7 p.m. $25. 930.com. u sTReeT musiC hall 1115 U St. NW. (202) 588-1889. WRLD & smle. 7 p.m. $10–$12. A Tribe Called Red. 10:30 p.m. $15–$20. ustreetmusichall.com.

FuNk & r&B

beThesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Band Of Roses & Madz Johnson. 8 p.m. $35. bethesdabluesjazz.com.

thursday rock

9:30 Club 815 V St. NW. (202) 265-0930. Katatonia. 7 p.m. $25. 930.com. dC9 1940 9th St. NW. (202) 483-5000. Oathbreaker, King Woman, Jaye Jayle. 8 p.m. $15. dcnine.com. u sTReeT musiC hall 1115 U St. NW. (202) 588-1889. Jens Lekman. 7 p.m. $25. ustreetmusichall.com.

washingtoncitypaper.com march 10, 2017 35

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

CITY LIGHTS: MoNday

JUNE SCHWARCZ: INVENTION AND VARIATION

600 beers from around the world

Downstairs: good food, great beer: all day every day

MARCH

*all shows 21+ MARCH 9TH

CHOCOLATE CITY COMEDY DOORS AT 6PM, SHOW AT 7PM MARCH 10TH

VENT! DC’S ONLY INTERACTIVE COMEDY HAPPY HOUR

PRESENTED BY LAST RESORT COMEDY DOORS AT 6:30PM MARCH 11TH

REST STOP REVIEW BURLESQUE

F S SU W F

DOORS AT 8PM, SHOW AT 9PM MARCH 12TH

STARR STRUCK COMEDY DOORS AT 7PM, SHOW AT 8PM MARCH 13TH

DISTRICT TRIVIA AT 7:30PM COMIC BOOKS AND COCKTAILS

SU W TH F

SPONSORED BY PHANTOM COMICS 7PM MARCH 14TH

CAPITAL LAUGHS FREE COMEDY SHOW SHOW AT 8:30PM

MARCH 15TH

SMASHED:A NERDY AND DIRTY COMEDY SHOW

DOORS AT 7PM, SHOW AT 8PM

DISTRICT TRIVIA AT 7:30PM MARCH 16TH

SPECIFIC IGNORANCE:

A COMEDY PANEL GAMESHOW DOORS AT 7PM, SHOW AT 8PM MARCH 17TH

DC WEIRDO SHOW

DOORS AT 8PM, SHOW AT 9PM MARCH 18TH

T &W

JUST ANNOUNCED SU 4/2 RAT PACK TOGETHER

AGAIN - TONY SANDS PRODUCTION

THE MANIC PIXIE NIGHTMARES

DOORS AT 8PM, SHOW AT 9PM

7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

MARCH 19TH

AN UNACCOMPANIED MINOR:A ONE MAN PLAY DOORS AT 6PM SHOW AT 7PM

1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

EU (EXPERIENCE UNLIMITED) 11 BE’LA DONA 12 A DRAG SALUTE TO DIVAS DREAM GIRLS TWISTED (3/8PM) 15 BAND OF ROSES & MADZ JOHNSON 17 ST. PATRICK’S DAY W/ O’MALLEY’S MARCH 19 WE ARE ONE TRIBUTE X-PERIENCE BAND 22 VALERIE SIMPSON 23 CLARENCE CARTER 24 NEWMYER FLYER PRESENTS – DREAM DISCS; “LAYLA” & OTHER ASSORTED ERIC CLAPTON 25 JOE CLAIR & FRIENDS COMEDY SHOW (7/10PM) 26 DC STREET CORNER HARMONY – THE CLOVERS, THE SPANIELS, & THE JEWELS 3/28 ANGIE STONE 3/29 RESCHEDULED 10

www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

36 march 10, 2017 washingtoncitypaper.com

The Renwick Gallery is no longer home to D.C.’s most Instagrammable art exhibition—that honor has been passed along to the Yayoi Kusama: Infinity Mirrors show at the Hirshhorn. Even though the enormous installations from last year’s Wonder have been cleared out for the most part, the tucked-away museum on Pennsylvania Avenue NW still has plenty of treasures to explore in a low-key setting. Its latest show celebrates the work of June Schwarcz, who, in addition to creating colorful canvasses and wall-mounted panels, creates the kinds of bowls and vessels that are too pretty to dump food, flowers, or coins in, but too awkward to display. Since her work doesn’t really belong on a coffee table, the best place to see it and Schwarcz’s masterful enamel technique is in the safe confines of a museum, where guards can hopefully prevent you from breaking anything. As you marvel over the artist’s use of color and shape, you just might forget the treachery taking place across the street. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Aug. 27, at the Renwick Gallery, 17th Street and Pennsylvania Avenue NW. Free. (202) 633-7970. renwick.americanart.si.edu. —Caroline Jones

dJ Nights

flash 645 Florida Ave. NW. (202) 827-8791. Hernan Cattaneo. 8 p.m. $10–$15. flashdc.com.

classical

sixTh & i hisToRiC synagogue 600 I St. NW. (202) 408-3100. Brad Mehldau: Three Pieces After Bach. 8 p.m. $47. sixthandi.org.

Folk

The hamilTon 600 14th St. NW. (202) 787-1000. Young Dubliners. 7:30 p.m. $19.75–$29.75. thehamiltondc.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Nicholas Payton. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

electroNic

u sTReeT musiC hall 1115 U St. NW. (202) 588-1889. Badass Presents: Minnesota. 10:30 p.m. $15. ustreetmusichall.com.

Galleries

aRlingTon aRTs CenTeR 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter. org. Ongoing: “Curators Spotlight.” Kayleigh BryantGreenwell, Betsy Johnson, Katy Scarlett, and Ann Tarantino create their own unique shows within this group exhibition that promotes the work of emerging curators and artists. Jan. 21 to March 26. Ongoing: “Working the Ground.” Painter and AAC resident artist Pam Rogers draws inspiration from the natural world for the works in this exhibition that also incorporate elements of magical realism. Roger also presents sculptural installations made from locally gathered plant matter. Jan. 26 to March 26. The aThenaeum 201 Prince St. , Alexandria. (703) 548-0035. nvfaa.org. Ongoing: “The Hand Print Workshop: Twenty Years of Partnership in Print.” Prints from acclaimed artists William Christenberry and Renee Stout, as well as pieces by artists who formerly lived in the Soviet Union, are displayed in this show that pays tribute to Dennis O’Neil’s Hand Print Workshop. Feb. 23 to April 2.

bRenTWood aRTs exChange 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks.com. Closing: “Drawn Out, Drawn Over: Mapping the Territory of Experience.” Eighteen artists, many of whom also work in academia, present their approach to drawing and representing space in this group exhibition. Jan. 16 to March 11. Closing: “Matt Paskiet.” The glass artist presents a series of colorful vases and vessels in the art center’s front window display space. Jan. 16 to March 11. Civilian aRT pRoJeCTs 4718 14th St. NW. (202) 6073804. civilianartprojects.com. Opening: “Glass Giant.” Color field painter Jason Gubbiotti presents a series of brightly colored canvases that explore shape and balance in this exhibition of new work, his second at Civilian. March 11 to April 15. dC aRTs CenTeR 2438 18th St. NW. (202) 462-7833. dcartscenter.org. Ongoing: “Process & Practice.” Artists Héctor Cataño, Eric Celarier, Alexis Gomez, Sarah Jamison, Ashley Ja’nae, Zofie Lang, Kelly Posey, Katie Pumphrey, Renee Regan, and Julie Wills, the latest cohort participating in DCAC’s Sparkplug collective, present their work in this group exhibition. Each piece explores the physical and psychological processes the artists use, forcing viewers to think more deeply. Feb. 12 to March 19. Ongoing: “Mysteries.” This exhibition in DCAC’s nano gallery features small acrylic paintings by artist Nihal Kececi Thadani. Dec. 16 to March 19. flashpoinT galleRy 916 G St. NW. (202) 315-1305. culturaldc.org. Closing: “Selfie: Me, Myself, and Us.” Artists Michael Booker, Delesslin “Roo” George-Warren, Megan Maher, Jerome Skiscim, Brendan L. Smith, Casey Snyder, Jerry Truong, and Fabiola Alvarez Yurcisin, past members of DC Arts Center’s Sparkplug Collective, take back the selfie and present a series of self portraits in the forms of painting, sculpture, photography, and site-specific performance. Feb. 11 to March 11. galleRy nepTune and bRoWn 1530 14th St. NW. (202) 986-1200. neptunefineart.com. Ongoing: “Prologue 1996–2016.” See portraits and paintings created by American University professor Tim Doud over the course of two decades. March 4 to April 1. goeThe-insTiTuT WashingTon 1990 K St. NW, Suite 03. (202) 847-4700. goethe.de/washington. Opening: “Games & Politics.” Learn about the art behind video games in this interactive exhibition that looks at the motivation of creators and the ways players interact with them. March 15 to March 29. hemphill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. Ongoing: “Downing, Mehring, Reed.”

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

1811 14TH ST NW

www.blackcatdc.com

For entire schedule go to Birchmere.com Find us on Facebook/Twitter! Tix @ Ticketmaster.com 800-745-3000

Mar 11

@blackcatdc

THU 9

MARCH SHOWS MAL BLUM & THE BLUMS

FRI 10 FRI 10

EQUINOX

LIVE MUSIC & BURLESQUE

FRESH 2 DEATH

90S HIP HOP, R&B, POP PARTY

SAT 11 DOUBLE RECORD RELEASE

PRIESTS

COUP SAUVAGE & THE SNIPS SAT 11

CHURCH NIGHT (21+)

SUN 12

SAM PATCH

WED 15

SECONDHAND

THU 16

FOSTER CARROTS

FRI 17

SAT 18

SERENADE DANCE YOURSELF CLEAN PEOPLE’S BLUES OF RICHMOND

WED 22 THE

REGRETTES

FRI 24

MINUS THE BEAR

SAT 25

THE JAY-Z & BEYONCE DANCE PARTY

PRIESTS

SAT MARCH 11TH

An Evening with

ANDERSON LAURIE with special guest Rubin Kodheli

LADYSMITH BLACK MAMBAZO 16 VANESSA CARLTON TRISTEN 17 CHRIS KNIGHT & WILL HOGE Matt TOM RUSH Nakoa 18 20&21 CHRIS BOTTI Seth 23 KASEY CHAMBERS Walker N 24 RAHSAAN PATTERSON Y THE SUBDUDES 25 26 THE RIGHTEOUS BROTHERS Bill Medley & Bucky Heard

JAMES McMURTRY & TIFT MERRITT Heart 29 ANN WILSON POCO 30 31 LARRY GRAHAM

& Graham Central Station

Apr 1

In the

Jacob SMITH Powell COREY All Standing, Doors 6pm

FOURPLAY AMY GRANT 5 6 MARCUS MILLER DON McLEAN 7 KEIKO MATSUI 8 9 RIDERS IN THE SKY A Salute to Roy Rogers! 2

SECONDHAND SERENADE

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

FRI., MAR. 10 ~ 9:30PM TIX: $20-$25

FRI, MAR 10

ARI HEST

CHRISSI POLAND

ao oshioka

STANLEY CLARKE BAND

11 DALE WATSON & RAY BENSON present

WED MARCH 15

CORY MORROW

13 14

DALE & RAY STOKLEY Mint (from Condition) FISH SAMANTHA Davis & Fabrizio Poggi w/Guy

MARC SCIBILIA w/Corey Harper & Brad Ray

21&22

THE JAYHAWKS

Johnny Irion

SUN, MAR 19

JOHN EATON

HOORAY FOR HOLLYWOOD A CELEBRATION OF THE GREAT MOVIE SONGS AND THEMES

THE SECOND CITY

3.9 3.10 3.14 3.16 3.17 3.18 3.21 3.23 3.24

WE’RE ALL IN THIS ROOM TOGETHER

WED, MAR 22 – SUN, MAR 26

tenTHING

CHAMBER MUSIC AT THE BARNS

FRI, MAR 24

JORDAN SMITH

3.25 3.28 3.30

TUE, MAR 28

NOAM PIKELNY WED, MAR 29

GLEN PHILLIPS OF TOAD THE WET SPROCKET

H CALE TYSON CORY MORROW QUILES & CLIUD / TOM RHODES DAN BAIRD & HOMEMADE SIN / ERIC AMBEL SCOTT KURT & MEMPHIS 59 THE WOODSHEDDERS CASH’D OUT PEEWEE MOORE JONNY GRAVE & THE TOMBSTONES THE CURRYS /CERNY BROS. SARAH POTENZA THE 19TH STREET BAND

AMBER RUBARTH THU, MAR 30

FALU’S BOLLYWOOD ORCHESTRA FRI, MAR 31

THE BAD PLUS SAT, APR 1

OVER THE RHINE FRI, APR 7

CÉCILE McLORIN SALVANT AND AARON DIEHL SAT, APR 8

THE GAY MEN’S CHORUS OF WASHINGTON, DC PRESENTS:

GOD SAVE THE QUEENS SAT, APR 15 2 SHOWS!

JOHN McCUTCHEON

4.1 4.3 4.4 4.7 4.8 4.9 4.13 4.20 4.27 5.5 5.12 5.16 5.18

WESTERN CENTURIES JON DEE GRAHAM / AMY COOK HOOTEN HALLERS MARK EITZEL / HOWE GELB CAROLYN WONDERLAND SELWYN BIRCHWOOD DALLAS MOORE BAND K PHILLIPS DANNY BARNES / JENI LYN BLOODSHOT BILL THE WHISTLES & THE BELLS TIM EASTON LEGENDARY SHACK SHAKERS / JESSE DAYTON 5.25 SHANNON MCNALLY 6.2 BILLY JOE SHAVER 6.27 FLAT DUO JETS

HILL COUNTRY BARBECUE MARKET

THU, APR 20

AND MANY MORE!

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

WOLFTRAP.ORG/BARNS 1 6 3 5 T R A P R D , V I E N N A , VA 2 2 1 8 2

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

washingtoncitypaper.com march 10, 2017 37

LIVE

CITY LIGHTS: tuesday

UPCOMING PERFORMANCES

PAUL THORN

W/ ANDREW DUHON AND ALICE DRINKS THE KOOL AID

FRIDAY MARCH

HOWIE

DAY

W/ KATIE ROSE

SATURDAY MARCH

THURS, MARCH 16

THE YOUNG DUBLINERS W/ JOHN BYRNE BAND FRI, MARCH 17

SOULE MONDE FEAT. RUSS LAWTON

& RAY PACZKOWSKI OF TREY ANASTASIO BAND SAT, MARCH 18

A GREAT BIG WORLD

“AN EVENING WITH IAN & CHAD” W/ ALLIE MOSS

SUN, MARCH 19

AN EVENING WITH

RHONDA VINCENT AND THE RAGE THURS, MARCH 23

LAITH AL-SAADI

THURS, MARCH 23

LIVE NATION & THE HAMILTON PRESENT

YACHT ROCK REVUE

(AT THE FILLMORE SILVER SPRING) FRI, MARCH 24

RED BARAAT FESTIVAL OF COLORS

NIGHT I

W/ GANAVYA AND SHILPA RAY SAT, MARCH 25

RED BARAAT FESTIVAL OF COLORS

NIGHT II

W/ DJ AYES COLD AND THE KOMINAS TUES, MARCH 28

CHUCK PROPHET & THE MISSION EXPRESS AND THE BOTTLE ROCKETS THURS, MARCH 30

AN EVENING WITH

BRASS-A-HOLICS FRI, MARCH 31

THE HAMILTON LIVE AND WPA PRESENT

THE KNIGHTS & CHRISTINA COURTIN W/ HOLLY BOWLING:

A PART OF THE 2017 SHIFT FESTIVAL OF AMERICAN ORCHESTRAS

THEHAMILTONDC.COM 38 march 10, 2017 washingtoncitypaper.com

aliNa Baraz

SoundCloud is no stranger to criticism, but it’s been an undeniable force—providing a global platform for eager, hard-working artists and fostering the type of creativity necessary to make a lasting impression in a saturated market. Alina Baraz made the most of her internet connection, creating a more avant-garde take on R&B—an effort that has led to millions of plays on SoundCloud, a sold out tour throughout the U.S., and a unique sound only she can provide. The Cleveland-based singer and songwriter met Danish producer Galimatias through SoundCloud and together they crafted 2015’s Urban Flora EP, an avant-garde soundtrack to a sultry love affair. Baraz seductively coos and serenades listeners while riding the gentle waves of Galimatias’ delicate, blissed-out beats, narrating the full spectrum of passion, from the intoxication of love to the attraction of vulnerability to the devastation of deceit. With beautiful, longing sighs and dreamy ballads, Baraz has given a voice to the lovers, the heartbroken, and the hopeless romantics all over the world. Alina Baraz performs with Iamnobodi at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. Sold out. (202) 388-7625. rockandrollhoteldc.com. —Casey Embert Founding Washington Color School painters Thomas Downing, Paul Reed, and Howard Mehring are celebrated in this exhibition that looks at their bold use of color and geometry and explains how their work differed from the rest of the members of the group. Feb. 4 to April 1.

makers.com. Ongoing: “Eclectic.” Photographer Alex Keto presents a series of images he photographs and later augments in this exhibition. March 1 to March 25.

honfleuR galleRy 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Ongoing: “Pathfinders.” Local artist Michael Platt presents a series of digitally altered images that feature female forms floating above cities. Feb. 10 to April 1.

Theater

moRTon fine aRT 1781 Florida Ave. NW. (202) 6282787. mortonfineart.com. Closing: “Everyone Loves the Sunshine.” South Carolina-based artist Charles Williams presents a series of paintings and drawings influenced by racial history. Feb. 24 to March 15. TRansfoRmeR galleRy 1404 P St. NW. (202) 483-1102. transformerdc.org. Closing: “Luminiferous Aether.” Chandi Kelley and Marissa Long present this series of photographic works in this show that explores a long-dispelled phenomenon about the way light traveled through empty space. Kelley’s work aims to capture a sense of magic in her images, while Long looks at the idea of portals and other magical transportation points. Feb. 4 to March 11. vivid soluTions galleRy 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Ongoing: “Reclamation.” Ric Cunningham presents his first solo show, a series of soft female forms painted on old, uneven boards. The work encourages visitors to embrace second chances as well as the sorrow that comes from revisiting old memories. Feb. 10 to April 9. WashingTon pRinTmakeRs galleRy 1641 Wisconsin Ave. NW. (202) 669-1497. washingtonprint-

CoolaTully Irish arts organization Solas Nua presents the American premiere of Fiona Doyle’s drama about Irish history. As a town tries to succeed once more on the hurling field, its residents must decide whether to stay or move on. Source Theatre. 1835 14th St. NW. To March 26. $38. (202) 204-7800. sourcedc.org. dRy land Ruby Rae Spiegel’s new drama focuses on abortion and how friendships can help women survive tough situations. Taking place in a high school locker room, this production is directed by Amber McGinnis and performed in Repertory with What Every Girl Should Know. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org. The gin game Roz White and Doug Brown star in the Pulitzer Prize-winning drama that takes place over a game of gin rummy. As the action rises, their interactions become more intense and more details about their relationship are revealed. MetroStage. 1201 N. Royal St., Alexandria. To March 12. $55–$60. (703) 548-9044. metrostage.org.

CITY LIGHTS: WedNesday

Nicholas paytoN

Nicholas Payton is not the first or last in the long, proud lineage of horn players ringing the cry for social justice from New Orleans’ Congo Square, but he is among the most prolific. The Crescent City-born and -raised trumpeter and friend of the D.C. jazz scene is known for writing provocative, arousing treatises on race and music. He says even more about those things when he speaks through his horn. As a composer and bandleader, he works more like a remix artist, exploring and contextualizing black music as a continuous, unified legacy. His latest recording project, Afro-Caribbean Mixtape, celebrates African music as it developed across the Americas over the last 400 years. DJ scratching blends seamlessly with mambo grooves, funk, and sumptuous straight-ahead jazz to create a uniquely American sound. Payton’s own trumpet tone sounds in the center of it all, drifting comfortably between mid-’50s Miles Davis bop and the expansive embrace of Dizzy Gillespie. A Payton concert is an in-depth marathon of a history class, if your professor could play keyboard and trumpet solos at the same time. Don’t be afraid to get schooled. Nicholas Payton performs at 8 p.m. and 10 p.m. Wednesday and Thursday at Blues Alley, 1073 Wisconsin Ave. NW. $25–$30. (202) 337-4141. bluesalley.com. —Jackson Sinnenberg The gospel aT Colonus Jennifer L. Nelson directs this musical that reconfigures Sophocles’ story about Oedipus’ final days and sets it in a black Pentecostal church. A finalist for the Pulitzer Prize for Drama, this production features searing gospel songs like “How Shall I See You Through My Tears?” and “Lift Him Up.” Gunston Arts Center. 2700 S. Lang St., Arlington. To March 26. $30–$35. (703) 228-1850. arlingtonarts.org. The hoW and The Why By the writer of hit TV shows In Treatment and The Affair, this exhilarating and keenly perceptive play about science, family, and survival of the fittest grapples with the choices faced by women of every generation. Emotion and evolution collide on the eve of a prestigious conference when an up-and-coming evolutionary biologist, whose theories might just change the way we regard sex itself, wrestles for the truth with an established leader in the field. Theater J. 1529 16th St. NW. To March 12. $17–$47. (202) 777-3210. theaterj.org. inTelligenCe Taking inspiration from true events, this drama about a covert operative and her diplomat husband combines political thrills with D.C. drama. As the protagonist searches for nuclear weapons in Iraq, her cover is compromised and she must navigate a media storm on her own. Arena Stage. 1101 6th St. SW. To April 2. $40–$90. (202) 488-3300. arenastage.org. king ChaRles iii David Muse directs Mike Bartlett’s fictitious imagining of the reign of Queen Elizabeth II’s successor as his famous relatives look on. This modern history is told in Shakespearean blank verse and stars Robert Joy and Jeanne Paulsen. Sidney Harman Hall. 610 F St. NW. To March 12. $42–$118. (202) 5471122. shakespearetheatre.org. midWesTeRn goThiC Royce Vavrek and Josh Schmidt present this new musical about a woman who wants more than anything to escape her dull surroundings. As she fantasizes about her goals, her thoughts take a perverse turn, resulting in a shocking resolution. Signature Theatre. 4200 Campbell Ave., Arlington. To April 30. $40–$94. (703) 820-9771. sigtheatre.org. mnemoniC Colin Hovde directs a revised version of this drama that explores the nature of memory and the ways in which people around the world are connected in unexpected ways. Theater Alliance’s production incorporates topics from the 21st century to highlight the timelessness of the play’s themes. Ana-

costia Playhouse. 2020 Shannon Place SE. To April 9. $30–$40. (202) 290-2328. anacostiaplayhouse.com. mRs. milleR does heR Thing Based on the true story of Elva Miller, James Lapine’s new comedy follows the hapless title character who can’t sing but nevertheless becomes a New York City sensation. Debra Monk stars as Mrs. Miller and puts her spin on pop songs like “Downtown,” “Monday Monday,” and “A Hard Day’s Night.” Signature Theatre. 4200 Campbell Ave., Arlington. To March 26. $40–$85. (703) 8209771. sigtheatre.org. needles and opium Robert Lepage and his Ex Machina performance company revive their 1991 production that imagines a 1949 Atlantic Ocean crossing, when Jean Cocteau visited the United States and Miles Davis went to Paris. Incorporating visual effects, acrobatics, and music, this immersive experience stars Oliver Normand and Wellesley Robertson III. Kennedy Center Eisenhower Theater. 2700 F St. NW. To March 18. $29–$69. (202) 467-4600. kennedy-center.org. no sisTeRs While Chekhov’s Three Sisters plays in one theater, Aaron Posner directs his new adaptation of the Russian comedy that follows the rest of the characters while the title characters opine their fates. This world-premiere work is presented as part of Studio R&D, the theater’s new works initiative. Studio Theatre. 1501 14th St. NW. To April 23. $20–$55. (202) 332-3300. studiotheatre.org.

T H E U N I T E D S TAT E S A I R F O R C E B A N D rachel m. schlesinger concert hall northern virginia community college alexandria, virginia

FREE CONCERT! thursday, march 23|peter erskine award-winning drummer

paRade The tragic, true story of a Jewish man who is wrongly accused of murder and lynched in the early 20th century is the centerpiece of this musical from popular composer Jason Robert Brown. At Keegan, directors Susan Marie Rhea and Christina A. Coakley lead a cast featuring Michael Innocenti, Eleanor J. Todd, and Cassie Cope. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To April 8. $45–$55. (202) 265-3767. keegantheatre.com. peTeR and The sTaRCaTCheR Learn about the events that led up to the story of Peter Pan in this prequel that finds an unnamed orphan boy fighting to outwit a charming and villainous pirate. This Tony Award-winning play, inspired by a Dave Barry and Ridley Pearson novel, comes to life at Constellation Theatre under the direction of Kathryn Chase Bryer. Constellation Theatre at Source. 1835 14th St. NW. To March 12. $20–$45. (202) 204-7741. constellationtheatre.org.

for FREE tickets, please visit: www.usafband.eventbrite.com ~SAVE THE DATE!~ The final Jazz Heritage Series concert of the season is April 20th.

www.usafband.af.mil washingtoncitypaper.com march 10, 2017 39

CITY LIGHTS: thursday

youNg duBliNers

LIVE AT THE FILLMORE 8656 COLESVILLE ROAD | SILVER SPRING, MD 20910

DOORS OPEN AT 7 PM • EARLY BIRD TICKETS END 3/14 TICKETS: EARLY BIRD $39.50 • DAY OF $50 VIP/MEET & GREET/DINNER BALCONY SEATING: STARTS AT $150

RESERVE TICKETS: https://www.universe.com/salifkeitafillmore

If the only Celtic rock you’re familiar with is The Dropkick Murphys’ “I'm Shipping Up to Boston,” you’re missing out on the majority of my middle school discography. I first caught Young Dubliners at an annual Irish folk festival, where they quickly became a favorite act of mine because they were not an old woman in a tent playing a harp. I wasn’t alone—the energy and high spirits at their live shows has all but the most crotchety old cranks dancing and screaming along by concert’s end. Lead singer Keith Roberts frequently insists on stage and in interviews that the band is more than merely Celtic rock, and it’s certainly true that Young Dubliners rock significantly harder than the average fiddle band. That said, these guys lean heavily on the Irish folk, including raucous covers of classics like “I’ll Tell Me Ma” and drum solos on the bodhran. Still, there’s hardly a better time to catch them live than on the eve of St. Patrick’s Day. Young Dubliners perform with The John Byrne Band at 7:30 p.m. at The Hamilton, 600 14th St. NW. $19.75–$29.75. (202) 787-1000. thehamiltondc.com. —Stephanie Rudig RagTime This stirring musical, written by Lynn Ahrens and Stephen Flaherty and inspired by E.L. Doctorow novel, tells the story of three different New York families at the turn of the 20th century. Featuring memorable songs like “Your Daddy’s Eyes,” “Wheels of a Dream,” and “Make Them Hear You,” this production stars Tracy Lynn Olivera, Nova Y. Payton, and Jonathan Atkinson. Ford’s Theatre. 511 10th St. NW. To May 20. $18–$71. (202) 347-4833. fords.org. The seleCT Elevator Repair Service, the theater company behind previous stage adaptations of novels like The Great Gatsby and The Sound and the Fury, turns its attention to Ernest Hemingway’s The Sun Also Rises. The narrator tells a story of love amidst the Lost Generation as the action travels from Paris to Barcelona to Pamplona. Lansburgh Theatre. 450 7th St. NW. To April 2. $44–$118. (202) 547-1122. shakespearetheatre.org.

Sunday, March 12th Pa ra d e Day

Doors open @ 9AM Brunch Served until 2PM Live music with Danny Burns & Aine O’Doherty @ 2PM

Monday, March 13th

Pad dy ’s Day Pu b Qu i z @ 8P M

Great prizes, DC BRAU and Jameson Specials

Friday, March 17th S t. Pat ri ck ’s Day

Door Open at 8AM /Cover starts at 2PM Brunch served until 11 AM Ice Wagon Flu @ 2PM Lloyd Dobbler Effect @8:30PM

40 march 10, 2017 washingtoncitypaper.com

Taha Palestinian performance artist Amer Hlehel tells the story of acclaimed poet Taha Muhammad Ali, whose work dug into the experiences of refugees, in this one-man show. The Kennedy Center presents the world premiere of the English language version of this show. Kennedy Center Terrace Gallery. 2700 F St. NW. To March 16. $15. (202) 467-4600. kennedy-center.org. The Taming of The shReW Synetic brings back its popular wordless production of Shakespeare’s classic comedy about the division of the sexes and unrequited love. Associate Artistic Director Irina Tsikurishvili stars in this Hollywood-set production. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To March 19. $20–$60. (866) 811-4111. synetictheater.org. ThRee sisTeRs The title characters in this Chekhov comedy fight against the restrictions of their small town and lament their missed opportunities as they deal with annoying relatives and unworthy mates. Jackson Gay directs this production, presented in collaboration with New Neighborhood. Studio Theatre. 1501 14th St. NW. To April 23. $20–$85. (202) 3323300. studiotheatre.org. WhaT eveRy giRl should knoW Set in a New York reformatory in the 1910s, this drama follows four teenage girls as they negotiate the events and traumas that landed them in such a dire spot. Jenna Duncan directs the D.C. premiere of Monica Byrne’s drama about the strength of human spirit and the power of imagination. Performed in repertory with Dry Land. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org.

Film

befoRe i fall A young woman relives the final day of her life over the course of a week in this dark drama adapted from Lauren Oliver’s 2010 novel. Starring Zoey Deutch, Halston Sage, and Cynthy Wu. (See washingtoncitypaper.com for venue information) kong: skull island When a team of explorers visits a remote Pacific Island, they have no idea they’re about to encounter a variety of monsters, including Kong, in this thrilling action flick from director Jordan Vogt-Roberts. Starring Tom Hiddleston, Samuel L. Jackson, and Brie Larson. (See washingtoncitypaper. com for venue information) land of mine Young German soldiers are sent to remove landmines in Denmark in the aftermath of World War II, risking life and limb to do so, in this Danish-German historical drama. Nominated for Best Foreign Language Film at this year’s Academy Awards, it is written and directed by Martin Zandvliet. (See washingtoncitypaper.com for venue information) leap! An orphan who dreams of becoming a famous dancer gets mistaken for someone else and subsequently studies at Paris’ Grand Opera House in this animated film from directors Eric Summer and Éric Warin. Featuring the voices of Elle Fanning, Carly Rae Jepsen, and Dane DeHaan. (See washingtoncitypaper.com for venue information) logan Hugh Jackman returns to the role of Logan in this latest entry in the X-Men anthology. This time, he’s hiding on the Mexican border caring for Professor X when a young mutant disrupts his orderly life seeking protection. (See washingtoncitypaper.com for venue information) The shaCk A grief-stricken man receives an invitation to meet God in this inspirational film from director Stuart Hazeldine. Starring Sam Worthington, Octavia Spencer, and Tim McGraw. (See washingtoncitypaper.com for venue information) Table 19 Anna Kendrick plays a maid of honor who gets dumped by the bride and the best man but decides to attend the wedding anyway in this comedy from screenwriters Jay and Mark Duplass. Co-starring Lisa Kudrow and Craig Robinson. (See washingtoncitypaper.com for venue information)

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ington, Dist. Columbia 20002 Job Description Position Summary: Producer will be responsible for all aspects involved in producing a successful daily talk show on Sirius XM Patriot including studio/technical operations, promotion, production, guest booking, and research.

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D.C. BILINGUAL PUBLIC CHARTER SCHOOLNOTICE: FOR REQUEST FOR PROPOSAL D.C. Bilingual Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for vendors to provide the following services:

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Legals D.C. BILINGUAL PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT Recruiting and Training Teacher Residents D.C. Bilingual Public Charter School intends to enter into a sole source contract with Urban Teaching Center for contracted curricular support for approximately $50,000 for the upcoming school year. * UTC has long and proven history of training novice teachers to be effective in urban education including DC public schools using their unique evidence based approach to teacher preparation. * A partnership with the Urban Teaching Center will position D.C. Bilingual Public Charter School to achieve a full return on investment associated with the program model, through a four year commitment to teaching. * UTC trained teachers possess deeper knowledge of and experience with our students various demographics compared to other novices, that enables them to be better equipped and prepared for their first year of lead teaching. For further information regarding this notice contact jberyer@dcbilingual.org no later than 5:00 pm March 20, 2017

Please send an email to bids@ dcbilingual.org to receive a full RFP offering more detail on scope of work and bidder requirements. Proposals shall be received no later than 5:00pm, Friday, March 24, 2017. Prospective Firms shall submit one electronic submission via e-mail to the following address: Bid Administrator bids@dcbilingual.org Please include the bid category for which you are submitting as the subject line in your e-mail (e.g. IT Support Services). Respondents should specify in their proposal whether the services they are proposing are only for a single year or will include a renewal option. DC BILINGUAL PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT Affiliate Cooperation Agreement The DC Bilingual Public Charter School intends to enter into a sole source contract with DC International School to establish and support high quality educational choice schools that provide students with knowledge, skills and character needed to succeed in top-quality public school, colleges and the competitive world beyond. * DC Bilingual constitutes the sole source to promote a culture that maximizes student achievement and foster the development of responsible, self-directed life-long learners in a safe and enriching environment. * Approximately $30,000 annually is required to be a “Member School” in this network. * For further information regarding this notice contact jberyer@ dcbilingual.org no later than 5:00 pm March 20, 2017.

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42 March 10, 2017 washingtoncitypaper.com

Out with the

Capitol Hill Three Apartments One B/R, W/D, A/C, Metro, $1750, 1 Year Preferred. 313 C St. SE Near Rayburn Bldg monaghaneric@hotmail.com

Condos for Rent Adams Morgan/Petworth First Month ‘s Rent free. 1BR with den condo, fully renovated, secure building, granite kitchen, new appliances, W/D, DW, CAC. Metro 1 block away, Safway across the st, assigned parking, $1770/mo. Ready now. NO PETS. If properly maintained rent will not increase (ask for details). 941 Randolph St. NW. Mr Gaffney, 202-829-3925 or 301-775-5701.

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Art, Media & Graphic Design Sirius XM Radio Inc. Producer, Patriot 1500 Eckington Place NE, Washington, Dist. Columbia 20002 Job Description Position Summary: Producer will be responsible for all aspects involved in producing a successful daily talk show on Sirius XM Patriot including studio/technical operations, promotion, production, guest booking, and research.

Duties and Responsibilities: •Collaborate with host, and senior members of the programming team to generate interesting show topics and guests that will create lively dialogue that engages the interests of the audience. •Book studio and telephone interviews, conduct pre-interviews with guests and prepare pre materials for host. Art,provide Mediahost & •Follow format and with feedback.Graphic Design •Oversee the social media presence for the show. •Plan segments, topics and develop editorial calendar for the show. •Promote the show, the channel and the company positively on and off the air to maximize the growth of subscribers and listeners. •Contribute specials and event coverage in addition to regular daily show, and participate in breaking news coverage. •Meet with the VP of the channel on a weekly basis to review and establish on-going goals for the channel. Minimum Qualifi cations: •Bachelor’s degree or equivalent experience. Previous production experience within radio and/or live studio environment preferred. Requirements and General Skills: •Excellent communicator. •Must have strong guest booking skills, including strong relationships with publicists. •Strong experience in current events and politics. •An understanding of what the Patriot brand means. •Skillful at working with talent, artists and high profile individuals. •Excellent time management skills, with the ability to prioritize and multi-task, and work under shifting deadlines in a fast-paced environment. •Must have legal right to work in the U.S. •Must be willing to work morning-show hours. Technical Skills: •Solid production skills with a strong working knowledge of audio equipment necessary for on-air and production execution. Equal Opportunity/Affirmative Action Employer - Minorities/ Females/Protected Veterans/ Disabled. The requirements and duties described above may be modifi ed or waived by the Company in its sole discretion without notice.

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Duties and Responsibilities: •Collaborate with host, and senior members of the programming team to generate interesting show http://www.washingtonciPlease apply here: topics and guests that will create typaper.com/ ht tps://recruiting.adp. lively dialogue that engages the com/srccar/public/ RTI. interests of the audience. home?c=1147611&d=External•Book studio and telephone inCareerSite&rb=DIRECTEMPLOYterviews, conduct pre-interviews ERS&r=5000181598806 with guests and prepare pre materials for host. •Follow format and provide host with feedback. •Oversee the social media presence for the show. •Plan segments, topics and develop editorial calendar for the show. •Promote the show, the channel and the company positively on and off the air to maximize the growth of subscribers and listeners. •Contribute specials and event coverage in addition to regular daily show, and participate in breaking news coverage. •Meet with the VP of the channel on a weekly basis to review and establish on-going goals for the channel. Minimum Qualifi cations: •Bachelor’s degree or equivalent experience. Previous production experience within radio and/or live studio environment preferred. Requirements and General Skills: •Excellent communicator. •Must have strong guest booking skills, including strong relation-http://www.washingtoncitypaper.com/ ships with publicists. •Strong experience in current events and politics. •An understanding of what the Patriot brand means. •Skillful at working with talent, artists and high profile individuals. •Excellent time management skills, with the ability to prioritize and multi-task, and work under shifting deadlines in a fast-paced

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Career Instruction/ Training/Schools AIRLINE CAREERS begin here – Get started by training as FAA certified Aviation Technician. Financial aid for qualified students. Job placement assistance. Call Aviation Institute of Maintenance 800-725-1563

Computer/Technical Computer/IT: The Association of American Medical Colleges seeks f/t Software Engineer in Washington DC to translate biz objectives into reqs, analyze app perf & eval sys capacity. Req’s Bach’s or frgn equiv in Comp Sci, Info Sys, or rel tech fld fllwd by 5 yrs progressively resp professional Software Engg exp OR Master’s or frgn equiv & 3 yrs Software Engg exp. References req’d. Email resume to: irecruitment@aamc.org.

Driver/Delivery/Courier LOCAL DRIVERS WANTED! Be your own boss. Flexible hours. Unlimited earning potential. Must be 21 with valid U.S. driver’s license, insurance & reliable vehicle. 866-329-2672

Miscellaneous Flyer Distributors Needed Monday-Friday and weekends. We drop you off to distribute the fl yers. NW, Bethesda, Silver Spring, Wheaton. $9/hr. 301237-8932

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Restaurant/Hospitality/ Hotel Restaurant: Creative Consolidation LLC d/b/a Masseria seeks f/t Cook in Washington, DC to prepare both savory & sweet/dessert food items for Italian restaurant as directed. Req’s two years of cooking exp & exp w/HACCP ROP cryovacing. Up to 10% travl req’d. Submit resume by mail to Susan Wegner at 1340 4th St NE, Washington, DC 20002 & ref 16-1187. Refs req’d.

Sales/Marketing The Direct Sales Representative is responsible for acquiring new customers for a top telecommunications company in the region. RCN provides a competitive base salary, uncapped commissions; total compensation up to $75K, paid training, excellent benefi t packages including 401k, generous paid time off plans, mileage reimbursement and a company issued cell phone. Principal Responsibilities: 1. Execute sales strategy 2. Prospect, qualify and generate sales within assigned territory 3. Identify needs and sell appropriate product line to meet those needs 4. Respond to requests from customers for information 5. Meet prospective customers and establish relationship 6. Distribute marketing materials and participate in special sales events 7. Increase sales in respective territories 8. Prepare sales information for customers 9. Engage in technical discussions with potential customers through demonstrations and presentations 10. Remain knowledgeable and up-to-date on changes and developments within product/ service line 11. Keeps sales management informed of all activity, including timely preparation of required/ requested reports. Requirements Education: High School Diploma or equivalent (required)

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Years of Relevant Experience: 1+

Core Competencies: 1. Basic Computer Skills (preferred). Particularly Microsoft Offi ce Suite (Word, Excel, Powerpoint, Outlook) 2. Sales or marketing background in the telecommunications industry a plus. 3. Ability to work in a fast paced challenging environment. 4. Excellent communications, relationship building, organizahttp://www.washingttional, presentation and influence oncitypaper.com/ skills are essential. 5. Strong executive presence and account/project management skills preferred. 6. Valid Driving license and proof of insurance 7. Reliable Personal Transportation Functional Requirements: Lifting, carrying, walking long distances in all types of weather, standing for long periods of time, traveling the entire RCN footprint as needed, use of both hands, use of fingers, near vision, far vision, hearing (aid permitted), ability to make notes/write.

We are proud to be an EEO/AA employer M/F/D/V. We maintain a drug-free workplace and perform pre-employment substance abuse testing.

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Sales/Marketing Core Competencies: 1. Basic Computer Skills (preferred). Particularly Microsoft Offi ce Suite (Word, Excel, Powerpoint, Outlook) 2. Sales or marketing background in the telecommunications industry a plus. 3. Ability to work in a fast paced challenging environment. 4. Excellent communications, relationship building, organizational, presentation and influence skills are essential. 5. Strong executive presence and account/project management skills preferred. 6. Valid Driving license and proof of insurance 7. Reliable Personal Transportation Functional Requirements: Lifting, carrying, walking long distances in all types of weather, standing for long periods of time, traveling the entire RCN footprint as needed, use of both hands, use of fingers, near vision, far vision, hearing (aid permitted), ability to make notes/write.

We are proud to be an EEO/AA employer M/F/D/V. We maintain a drug-free workplace and perform pre-employment substance abuse testing.

Cleaning Professional cleaning of apartments, townhouses. Residential and Commercial cleaning. We also do hauling. Entire Metro area. 301-237-8932.

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Music Marketing & Management Bass player looking for band. Talented bass player available in Manassas/DC area. Genres include, but not limited to: metal, rock, jazz, alternative. Videos available. Contact Jason at 646 797-9306 or email jasonsulliva@ gmail.com

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