Washington City Paper (March 11, 2016)

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INSIDE

10 pop psychology

2015

Fresh Food Market Tuesdays -Sundays Arts & Crafts ~ Weekends easternmarket-dc.org Tu-Fr 7-7 | Sa 7-6 | Su 9-5

Meet Dan Silverman, aka the Prince of Petworth

by Will sommer photographs by darroW montgomery

4 chatter District line 6 7 8 9

Unobstructed View Gear Prudence Savage Love Buy D.C.

D.c. FeeD

17 Young & Hungry: D.C.’s first mezcal-focused restaurant opens.

19 Food Grazer: The rising cost of pre-fixe meals 19 Underserved: The Twisted Horn’s Diablito 19 The ’Wiching Hour: Pineapple and Pearls’s egg hash sandwich

arts

23 Equal Access: A push for genderneutral bathrooms at D.C. venues 25 Arts Desk: Works by women at city hall 25 One Track Mind: CrushnPain’s “What Ur Doing” 26 Curtain Calls: Klimek on The Lion and Paarlberg on They Don’t Pay? We Won’t Pay! 27 Sketches: Capps on “Between Millions of Years” and “Homesteading” 28 Short Subjects: Olszewski on Knight of Cups and Embrace of the Serpents 29 Speed Reads: Ottenberg on Northwoods

city list

31 City Lights: Mount Moriah’s gothic, poetic folk comes to Rock & Roll Hotel.

31 Music 35 Theater 37 Film

38 classiFieDs Diversion

Get your order right.

LEARN FRENCH Alliance Française de Washington

39 Crossword

“

You can’t do 10 posts of a dog peeing on a bicYcle, because then it would be boring. —page 10

”

BOISSO

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francedc.org

N O S S I PO

washingtoncitypaper.com march 11, 2016 3

CHATTER Memento Moratorium

In which readers hold a grudge for a very, very long time

Darrow MontgoMery

It’s hard to drum up buzz—yes, pun very much

intended—about the end of restaurant liquor license moratoriums in D.C. neighborhoods, especially Georgetown, the subject of Jessica Sidman’s column last week (“Lifting the Lid,” March 4). But reader Michael feels very strongly that “People like Birch and Starrels should be public flogged or tarred and feathered.” Note: Tom Birch is a Georgetown resident and commissioner on Advisory Neighborhood Commission 2E who was among the group to push for the liquor license moratorium in 1989, but who now admits the moratoriums are outdated. Bill Starrels is vice-chair of the same ANC and observes to Sidman that other neighborhoods have seen good results lifting their moratoriums. So why the ire, Michael? “These assholes killed a vibrant nightlife that was Georgetown. And that slow death began in 1989. Just rattle off any of a number of bars, taverns, nightclubs and restaurants. Third Edition, Chadwick’s, gambit hamlet, Pall Mell, Garret’s, Nathan’s, Anastasia, Au pied du Cuchon, etc. Can you imagine people in Greenwich village complaining like these insensitive jerks? These old retired farts killed the goose that laid the golden eggs with zero accountability and all while pretending to maintain historic character.” Out of curiosity: What sort of “accountability” would you suggest? Jail time? A public shaming?

Mandatory St. Patrick’s Day pub crawl participation?

“What about declaring Georgetown an historic nightlife district?” Ah, so now you want to punish the whole city for the misdeeds of a few in the late ’80s.

—Emily Q. Hazzard Department of Corrections: The published version of “Lifting the Lid” incorrectly stated that the liquor board held a hearing about the Glover Park moratorium last week. The hearing is actually on March 30.

Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

METROPOLITAN BRANCH TRAIL, MARCH 7 PuBLISHER EMERITuS: Amy AustIn INTERIM PuBLISHER: ErIc norwood EDITOR: stEVE cAVEndIsH MANAgINg EDITORS: EmIly q. HAzzArd, sArAH AnnE HugHEs ARTS EDITOR: mAtt coHEn fOOD EDITOR: jEssIcA sIdmAn POLITICS EDITOR: wIll sommEr CITy LIgHTS EDITOR: cArolInE jonEs STAff wRITER: AndrEw gIAmbronE STAff PHOTOgRAPHER: dArrow montgomEry INTERACTIvE NEwS DEvELOPER: zAcH rAusnItz CREATIvE DIRECTOR: jAndos rotHstEIn ART DIRECTOR: lAurEn HEnEgHAn CONTRIBuTINg wRITERS: jEffrEy AndErson, jonEttA rosE bArrAs, morgAn bAskIn, ErIcA brucE, sopHIA busHong, krIston cApps, rIlEy crogHAn, jEffry cudlIn, ErIn dEVInE, mAtt dunn, tIm EbnEr, noAH gIttEll, ElEnA goukAssIAn, trEy grAHAm, lAurA HAyEs, louIs jAcobson, AmrItA kHAlId, stEVE kIVIAt, cHrIs klImEk, joHn krIzEl, jEromE lAngston, cHrIstInE mAcdonAld, nEVIn mArtEll mAEVE mcdErmott, trAVIs mItcHEll, mArcus j. moorE, justIn moyEr, trIcIA olszEwskI, EVE ottEnbErg, mIkE pAArlbErg, sofIA rEsnIck, rEbEccA j. rItzEl, bEtH sHook, jordAn-mArIE smItH, mAtt tErl, tAmmy tuck, nAtAlIE VIllAcortA, kAArIn VEmbAr, jonEllE wAlkEr, EmIly wAlz, joE wArmInsky, mIcHAEl j. wEst, brAndon wu INTERNS: AllIson kowAlskI, quInn myErs DIRECTOR Of AuDIENCE DEvELOPMENT: sArA dIck SALES MANAgER: mElAnIE bAbb SENIOR ACCOuNT ExECuTIvES: joE HIcklIng, ArlEnE kAmInsky, AlIcIA mErrItt, ArIs wIllIAms ACCOuNT ExECuTIvES: stu kElly, cHrIsty sIttEr, cHAd VAlE SALES OPERATIONS MANAgER: HEAtHEr mcAndrEws DIRECTOR Of MARkETINg AND EvENTS: cHloE fEdynA BuSINESS DEvELOPMENT ASSOCIATE: EdgArd IzAguIrrE OPERATIONS DIRECTOR: jEff boswEll SENIOR SALES OPERATION AND PRODuCTION COORDINATOR: jAnE mArtInAcHE SOuTHCOMM: CHIEf ExECuTIvE OffICER: cHrIs fErrEll CHIEf fINANCIAL OffICER: Ed tEArmAn CHIEf OPERATINg OffICER: blAIr joHnson ExECuTIvE vICE PRESIDENT: mArk bArtEl LOCAL ADvERTISINg: (202) 332-2100 fAx: (202) 618-3959, Ads@wAsHIngtoncItypApEr.com vOL. 36, NO. 11 MARCH 11–17, 2016 wAsHIngton cIty pApEr Is publIsHEd EVEry wEEk And Is locAtEd At 1400 EyE st. nw, suItE 900, 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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By Matt Terl Peyton Manning’s retirement might have been the least surprising NFL news since the last time Johnny Manziel was spotted at a nightclub. He led his team to a Super Bowl win (in the most generous possible definition of “led”) after a season spent barely able to move, let alone play professional football. The question of his retirement had become less “if” and more “when.”

Nevertheless, when the news broke on Twitter early Sunday morning, everyone was very scrupulous in crediting ESPN Insider Chris Mortensen with the scoop. Mortensen is battling throat cancer and is currently taking a break from his ESPN work to receive treatment. Between that battle and Mort’s status as a generally good guy in the industry, many of his peers and competitors moved past “scrupulous” and all the way to “patronizing.”

But what is the actual value of “breaking” this sort of news? Not genuine behind-thescenes drama or never-quite-happened backstory, but getting to be the one who tweets a newsbite 30 minutes or so before the team’s official account does, or before the player breaks it on Instagram?

body else’s end, out of the source’s or my control, was paralyzing.”

This, to me, is more about the latter kind of break—actual guarded info that reporters are nobly setting free, which is the closest sports beat reporters get to feeling like All the President’s Men or Spotlight. But it does hint at the basic thrill that underlies even a tweet about a signing that’s going to be announced in five minutes.

“The advantage to breaking a story is very simple,” Russell says. “It’s self-gratification.

It’s a pat on the back. It’s making sure that the audience knows—whatever your audience is— that you are a person that is on the inside.”

Therein lies the key: By being even slightly ahead, a reporter gets to say to their viewers/ listeners/readers, “See? I am privy to things you are not. This is why you follow/watch/ read me.”

It shows, Russell says (channeling that guy from The Great Gatsby), that “you are a person that has connections, and those connections are trusting you and willing to help you out.”

All of this is about what I expected, although it was refreshing to hear it laid out so plainly. What was less expected was the idea that the stories I was less impressed by,

By being even slightly ahead, a reporter gets to say to their viewers/listeners/readers, “See? I am privy to things you are not. This is why you follow/watch/read me.”

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I’m pretty aware of how managed it all can be—I’ve been on the other side of the button, told to hold back some specific bit of info until after some friendly source gets to run with it, and I’ve also felt the keen difference when someone breaks news that people in the organization didn’t want released or sometimes didn’t even know.

Chris Russell, currently a host and Pigskins insider on 106.7 the Fan and formerly an insider for ESPN 980, has spent an enormous amount of time trying to break news in this market. I asked him to explain why this is such a source of joy for people in his industry.

“I hated having to try and break news,” says Russell, who no longer views newsbreaking as a crucial part of his current position. “Because while it was a rush and while I loved the euphoria of breaking news and getting credit for it—and I won’t lie about that—the fear of it being wrong or of it being right and then being changed on some-

the ones just ahead of the official announcement, Russell liked those.

“I always wanted the quick press release or the quick confirmation, because I just wanted to be right,” he says. “I just wanted to know that I was right.”

Robert Griffin III was finally released on Monday. In a week, maybe less, some people will look back at this as a sad conclusion to a battered and disappointing stint in D.C. To others, it might feel like the removal of a cast that had long since become sweaty and putrid.

To people outside of this area, it’s somewhere between another excuse to laugh at the Pigskins and a tantalizing opportunity to maybe improve their teams.

Almost no one will think of it as a story that ESPN’s Dianna Russini was first with on Twitter, but in some small way, that’s all it reCP ally was.

Follow Matt Terl on Twitter @matt_terl.

Adopt a friend today!

FACTS ABOUT ANNIE

Gear Prudence: I was riding up by Harpers Ferry along the C&O when I saw a really nice (and really expensive) bike jacket by the side of the trail.

I looked around and didn’t see anyone nearby. I picked up the jacket and waited a minute, but no one came back for it. It fits great and I really like it. Do finders-keepers rules apply? Or do I need to try to get this jacket back to its original owner? —Former Owner Unapparent, Needs Discovery Dear FOUND: Yes and yes. Finders keepers rules the day, but you also should, for karmic purposes, make at least a cursory attempt to reunite this piece of gear with its previous possessor. There is no Johnny Rapha-seed who dots countryside trails with bike jackets, hoping that cycling culture blooms in his wake. Either it fell out of a bag or someone took it off and took off again without it, but its loss was definitely accidental, and accordingly, you have some obligation to attempt to rectify this. Use the Internet.

Tweet about it or post on some appropriate Facebook page. Then when no one responds (because what are the odds?), it’s yours. Oh, also check the inside for a name. Maybe some cy—GP clist’s parent was really conscientious.

Gear Prudence: I’m an avid bicyclist and a new parent. Most of my (childless) friends are really into biking too, and while my time on the bike has been seriously curtailed, I’ve been able to keep track of their doings by following their rides on Instagram. At first, it was great to live vicariously through them. But now, every time I see a new picture, I feel pangs of envy and maybe even a little resentment that I don’t have the time to go riding with them anymore. Any advice?

—Bravely Admitting Bicycling Yearning Dear BABY: You’ve had a majorly upheaving life event (congratulations!), so it seems more than reasonable that it will take some time to adjust to this new arrangement. GP isn’t a parent, but he does understand FOMO, especially the kind that arises from carefully curated and filtered-as-all-get-out depictions of glorious bicycle rides. Bicycling is great, but these pictures are fake. Or if not fake, highly stylized versions of reality that leave out all the bad stuff. You don’t have to stop following them, though if it’s truly making you miserable you might want to, at least for a little.

Perspective is important. And if you’re an avid bicyclist, certainly you’ll incorporate cycling into your child’s life and maybe even quite soon. Then you can win Instagram with pictures of a your cute kid on an awesome bike ride, simultaneously demonstrating your pa—GP rental prowess and biking bonafides.

Gear Prudence is Brian McEntee, who tweets at @sharrowsDC. Got a questions about bicycling? Email gearprudence@washcp.com.

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SAVAGELOVE I’m your average straight 42-year-old white guy. Married for a little less than a year (second marriage for both). We have an active sex life and are both GGG. My wife wants to be forcibly fucked—held down and raped. Normally I’d be all over this because I do love me some rough sex. My issue: She told me she was traumatically raped by a man she was dating prior to me. All I know is that it involved a hotel room and him not stopping when she said “no.” So for now, I play along, but I know I’m not taking things as far as she’d like. I’m over here wondering if her previous trauma was a result of her encouraging forceful sex and regretting it later, and I worry the same thing could happen to me. Or is she trying to relive the experience? Should I fear her motivation and the potential consequences? Am I overthinking things? —Tremulous Husband Is Needing Knowledge

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When it comes to rough sex—particularly when it involves role-playing forced-sex scenarios—overthinking is preferable to underthinking. But before we think through your specific issues, THINK, a few points of clarification.

A woman who’s into rough sex, even forced-sex/rape-role-play scenarios, can still have been raped by a partner—and a rape can occur during what was supposed to be a consensual forced-sex/rape-role-play scene. If your wife withdrew her consent and her former partner continued, it was rape.

Also, THINK, lots of women fantasize about “rape,” which I’m putting in quotes here because these fantasies typically involve a woman being “taken” by someone she’s attracted to, and lots and lots and lots of women are victims of rape. Obviously there’s going to be overlap between these two groups. Your wife’s forced-sex fantasies could have nothing to do with her rape—it could be a coincidence—or your wife may be one of those people (not all of them women) who have eroticized a past sexual trauma (not always rape), and playing with a partner she trusts provides her with feelings of control and catharsis, empowerment and pleasure.

But what about you, THINK? You worry “the same thing could happen to me.” By that you don’t mean, “I could be raped!” You mean, “I could be falsely accused of rape.” That’s a pretty big and disrespectful leap. What you’re saying is, “I think my wife is lying when she says this other man raped her—and I don’t want her to do the same to me.” I’m not sure what to do with that. I mean, I don’t think your wife is lying, THINK, and I don’t know or love your wife.

You presumably know and love your wife, and yet you’re worried she may be setting you up for a false rape accusation. That’s some dark shit—that’s some Gone Girl shit, that’s the

8 march 11, 2016 washingtoncitypaper.com

plot of some horrible Kathleen Turner/Michael Douglas shit movie from the 1980s.

If you’re really concerned about protecting your own butt, THINK, then have a nice long conversation with your wife about her fantasies over e-mail. I’ve given that advice to people negotiating edgy and/or forced-sex scenes with strangers or near-strangers. It feels odd to give that advice to someone negotiating a fantasy role-play scenario with his spouse.

But here we are.

Don’t tell your wife you wanna chat over e-mail because you’re worried about needing an alibi. I would suggest that you believe your wife, first off, and that you have this conversation over e-mail—two anonymous accounts created just for this purpose—because it will allow you both to be more thoughtful and less inhibited (sometimes these things are hard to discuss face to face). Tell her you don’t want to accidentally traumatize or trigger her, first and foremost, but you also don’t want to wind up traumatizing yourself. You would feel like a monster if you hurt her while attempting to fulfill her fantasies.

Finally, THINK, this isn’t something your wife will wanna do just once. So take baby steps: Increase the intensity gradually, from scene to scene, check in afterward, Google “sexual aftercare” and read the piece on Curve that pops up (it’s a lesbian website, but the lessons/advice/insight are generally applicable), and keep having long conversations— via e-mail or face to face—about what’s working for her and what isn’t.

—Dan Savage Good luck.

I had given up on relationships after a failed marriage and another partner trying to kill me (no joke). Then, after five years single, abstinent, and lonely, I met a man who frustrated me, turned me on, and was understanding about my trust issues. I’m excited about a future with him—except for two things. First, he says he loves me but he’s not sure yet if he wants to spend the rest of his life with me—he’s not sure if I’m “The One.” He also has needs I’m not able to fulfill. It may not seem like a big deal to most people, but swallowing is out for me, as I was orally raped when I was a teenager. I’ve worked my way up to enjoying giving head, but come in my mouth makes me cry. And I can’t give head after anal. He says these are the things that make him come the hardest. I’ve asked him if my inability to provide these things are a “deal breaker” for him and he says no, but when we get into bed, he talks about me doing them the entire time we’re having sex. I’ve asked him to stop, and he says he will, but it doesn’t stop. He will also have sex only in the positions he likes, and if I ask for something different, he’ll just stop having sex with me, leaving me frustrated. If letting him go so he can find the right person to ful-

fill his needs makes him happier, then I feel it’s the right thing to do, as much as it would hurt.

—Failing At Intimacy/Love You need to let this guy go for your own happiness and sanity.

I know you were alone for a long time— alone and lonely—and you know who else knows that? Your shitty boyfriend, FAIL, and he’s leveraging your desire to be with someone against your right to sexual autonomy and your need for emotional safety. You have an absolute right to set your own limits, to rules things in and out, and to slap “not open for discussion” labels on some things. Ruling two things out—swallowing and ATM—particularly for the reasons you cite, is perfectly reasonable. If he can’t accept that, if he’s going to hammer away at those two things endlessly, that should be a “deal breaker” for you.

When it comes to rough sex... overthinking is preferable to underthinking.

You see his inability to determine if you’re “the one” as a separate issue, FAIL, but it’s of a piece. He’s refusing to make you the one—“the one” is an act of will, not an act of God—in hopes that you will submit to his sexual demands. I have a hunch that swallowing and ATM aren’t really the things that make him come the hardest. If it was anal and cunnilingus you couldn’t do, FAIL, then those would be his favorite things. Because the issue here isn’t whether he’s “sure” you’re the one or the sex acts that make him come the hardest. This is about him controlling and degrading you.

—Dan DTMFA. Please ignore KISSES and write as much as you want! I read your column because I like what you —Dan Should Go On At Length write!

I’ve obviously reverted to form already, DSGOAL, but thanks for your support! —Dan Send your Savage Love questions to mail@savagelove.net.

BUYD.C.

Waiting on Spring

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I Said Hip Hop Your little one will love this sweet bunny basket.

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Vintage scarf, $25. Via Gypset. 2311 Calvert St. NW. (202) 803-2874. washingtoncitypaper.com march 11, 2016 9

10 march 11, 2016 washingtoncitypaper.com

All the News That’s Fit to

prince Dan Silverman and PoPville have transcended blogging, and they have the haters to prove it.

By Will Sommer Photographs by Darrow Montgomery

Dan Silverman crouches down and pushes his face up to the mail slot. In the middle of the afternoon, on Barracks Row’s busy strip, the District’s most prominent local blogger looks like a burglar casing his next target.

Silverman, better known as the Prince of Petworth, wants a scoop. Much of his blog is made up of mildly interesting pictures—an endless stream of odd lawn statues, unusually designed doors, and the cars he dubs “sweet city rides.” But that’s not what he’s looking for in this mail slot. A break here will juice his blog’s traffic and infuriate his rivals.

A peek into new restaurant Pineapple and Pearls—the follow-up to Barracks Row sensation Rose’s Luxury—is just the sort of news Silverman thirsts for. But the restaurant’s windows are still papered over, and

Silverman knows he won’t get this exclusive handed to him by a publicist.

Hence the mail slot snooping.

“You always dream for a rip in the paper,” he says.

Silverman will spend much of this Sunday in January with his hands cupped around his eyes, peering into restaurant windows. Some of the tidbits he gleans today will feed his blog, PoPville, a feverishly updated flow of District news and not-news that he’s developed from a Petworth neighborhood blog into a citywide phenomenon.

Much of the site’s material comes from Silverman’s weekly walks through the District. Along the way, the wiry 41-year-old scampers across streets for better photographs, risking the occasional twisted ankle and near-misses with drivers.

Silverman’s up-close method of report-

ing turns awkward on Florida Avenue NW, where he clambers down to the basement level of a house that he’s pretty sure will soon be a bar. A baffled man on the ground floor opens a door and peers down at Silverman. Instead of calling the police, though, he offers him a tiny scoop: The bar will open in March.

“Don’t you fucking say anything,” Silverman tells me. “That’s mine.”

The 12-mile meandering course, from Van Ness to Navy Yard, is punishing—my legs will ache for days. But doing these weekly walks for nearly a decade has turned Silverman into the District’s most cheerfully profane tour guide.

We pass an ugly new condo. “Now this thing,” Silverman asks me. “What the fuck?”

We can’t find a coffee shop he wants to photograph, and Silverman refuses to look

washingtoncitypaper.com march 11, 2016 11

He SAId IT

Combing through thousands of PoPville posts, one thing is clear—one of the reasons we can’t stop reading is because Silverman will frequently post something provocative. Or ridiculous. Or outrageous. Here are 20 of our favorite lines from the Prince (sans context).

“Holy cow, you could eat off of this alley.”

“Petworth may be ‘raggedy’ but it is real.”

“A hawk. Insane.”

“Do bourgeois hipsters love Petworth?”

“Do people stare at you and smell badly?”

“Some people like to bust my chops, and often I need my chops busted.”

NexT PAge »

up the address on either of our phones.

“Where the fuck is it?” he says.

We walk by a creepy statue in Mount Pleasant that initially just earns a passing “weird” from Silverman. But then he pauses, jogs back, and pulls up his camera: “What the fuck is that?”

As PoPville’s 10th anniversary approaches in November, Silverman’s site draws a couple of million pageviews a month, along with what’s apparently a sizable annual salary for him. But that success hasn’t stopped him from becoming one of the most District’s most reviled media personalities. If anything, the popularity makes it worse.

Among journalists—whose reactions to Silverman can range from professional distaste to sour grapes—his name has become a punchline.

In the past year, Silverman has been blasted by everyone from blog commenters to a punk band and a sitting D.C. councilmember. The list of his alleged misdeeds is long: His bigoted readers, dopey tipsters, and his own reluctance to hew to basic journalistic standards are chief among the complaints.

Last year, Silverman was the target of both a song and a sticker campaign.

Officially, he doesn’t mind the critics. He loves talking about them. Why not? Silverman makes a living on his walks, and many of his foes won’t even put their real names to their gripes.

As Silverman presses on, this time towards a new beer garden, he says that he’ll never quit this job.

“You better enjoy what you’re doing, otherwise you’re a lunatic,” Silverman says.

“And I’m not saying I’m not a lunatic.”

It’s a Thursday a few weeks after the 12-mile walk, and the Prince of Petworth is running low on ideas.

Filling the blog on a Monday or Tuesday can just take a few hours, thanks to all of the doorknobs and murals Silverman photographed over the weekend. Towards the end of the week, though, he scrambles to put distance between himself and his self-imposed deadlines, which call for roughly two posts every hour during the day.

From a coffeehouse table in Adams Morgan, Silverman tries to get a hold on his world. He’s scrolling through the many tips he’ll receive today—a complaint about D.C.’s tax office that will make a good afternoon discussion post, then an ominous picture of rust on the Memorial Bridge. Silverman grins—he’ll tag this one “quality of life.”

The owner of a new restaurant emails to ask Silverman for a plug. Normally, he’d be happy to do it, but there’s something wrong.

Instead of emailing Silverman details about his business, the restaurateur has only sent Silverman a link to a Washington Post article about it.

“Well, send me the fucking information,” Silverman says. “Don’t send me the Washington Post story.”

Early in today’s lineup, Silverman plans

12 march 11, 2016 washingtoncitypaper.com

to run a rumor about a Cuban restaurant closing from a tipster whose last story for him turned out to be wrong. On the other hand, the tipster’s previous 11 tips before that were good.

This time, the tip will prove to be accurate. Silverman moves immediately to the next potential post: a press release about the Metro system.

“This is somewhere I’m just going to click,” Silverman says, cutting the air with his hand and making a rip! noise to illustrate his hungry cursor. “Click the whole thing.”

Given how many of Silverman’s posts amount to pasted press releases, running PoPville looks like the easiest job in journalism. But Silverman says it involves a level of curation that his detractors don’t consider.

“You’ve got to decide which press releases, which hook to go with the press release,” Silverman says. Plus, he points out, he also has to choose a picture.

The question of what makes a story a PoPville story can be hard to grasp. After examining tens of thousands of Silverman’s posts, I can tell you this: For every dozen tame and predictable posts, there’s a weird one. Silverman will post press releases or pictures of doors, and then he’ll write a story about a possum escorted out of a liquor store; or an “Afternoon Animal Fix” post that replaces the usual dogs and cats with a raccoon.

Silverman’s weird posts sometimes turn so meta, they can seem like a cry for help.

In one, he listed 23 bars and restaurants with no discernable common thread between them. For one of his many blog posts about a scam—grifters apparently plague PoPville’s readership—Silverman illustrated the picture with a green sprout emerging from an onion. The scam had nothing to do with onions.

The off-kilter quality of Silverman’s blogging has proven nearly impossible to replicate. When Silverman handed the site over to a guest blogger during his honeymoon, he lost 40 percent of his readers. These days, he’s sure he knows what PoPville needs.

“The muscle is very much in shape,” Silverman says of his editorial vision.

Silverman claims that the most successful posts are the ones he least expects to take off.

He imagines, for example, that a picture of a dog urinating on a bike outside might do incredible traffic. He gestures through the coffee shop window at 18th Street NW at where just such a dog might lift its leg on just such a bike. But there’s a catch.

“You can’t do 10 posts of a dog peeing on a bicycle, because then it would be boring,” he says.

And yet, the posts that actually take off are often what you’d expect from Silverman’s yuppie audience. February’s top stories included items on Michelle Obama going to a spin cycle class and a complaint about rude valets.

Much of Silverman’s traffic comes from crime stories, which means that the District’s recent murder spike left him with no

shortage of material. In Silverman’s experience, stories about crimes that are unusual, either in their details or in their location, draw the most traffic. That’s especially true if the crime takes place during the day.

“It’s just horrifying, and it gets really viral,” Silverman says.

In February, PoPville registered roughly 500,000 unique visitors and two million pageviews, according to traffic monitoring website Clicky. That’s typical for PoPville’s monthly figures, Silverman says, and it puts his one-man operation on par with the traffic earned by some local TV station websites.

The average PoPville reader last month spent more than four minutes on the site per visit. That’s a healthy measurement of reader engagement for a blog where many of the stories are only one or two sentences long.

All that time doesn’t come cheap, though: Silverman says he spends $1,500 a month on hosting alone.

All those eyes mean money for him, whether it’s in display ads or the related real estate search attached to the site. Even after splitting his revenue with the Brooklynbased company that handles his ad sales, Silverman says he’s been able to equal the salary he earned at the homeland security consultant job he left in 2009 when he took PoPville full-time. That suggests that Silverman makes at least somewhere in the high five-figures, according to Glassdoor. com figures for Silverman’s former company, BAE Systems.

Now the errant restaurateur emails back. He’s sorry, his last email was in bad taste, and he’ll give Silverman the information he wants.

Another post for the Prince.

At a community meeting last October, Ward 1 Councilmember Brianne Nadeau turned critical. This time, Nadeau wasn’t going after a rival politician or a wayward government agency; her target was the Prince of Petworth. Fed up with constituents telling her about the crime fears that she saw driven by Silverman, Nadeau told them to read rival blog Borderstan instead.

“The trouble with PoPville is that he’s not reporting,” Nadeau said. “He’s simply posting things that come along.”

A tipster soon sent the Prince a recording of the meeting. This, Silverman thought, is awesome. He published the recording on PoPville and declared it “the best endorsement.”

Silverman never intended to be a “crackerjack crime reporter,” he wrote, he just wanted to provide a “platform” for his readers. Hey, sometimes he even had the pictures of bullet holes to prove that there had been a shooting. If Nadeau had a problem with that, Silverman says, that was on her.

“You’re ridiculous, you’re antiquated,” Silverman says now about the councilmember. “This is 2016.”

Despite his insistence that he doesn’t want the responsibility that traditionally

comes with being a reporter, Silverman has already eclipsed the District’s “crackerjack crime reporters”—or at least the ones who haven’t been laid off—as the primary source of news for a subset of young professionals new to the District. As it turns out, this is also the population that probably knows the least about the city.

Silverman’s self-made rules of journalism can be summed up in one word: “scuttlebutt.” He picked up the naval slang at one of his defense-industry jobs. On PoPville, scuttlebutt is news—often related to a restaurant or bar—that Silverman has received a tip about, but hasn’t necessarily bothered to check.

Even the greenest reporters know to call people to get their side before writing a story about them. Silverman’s scuttlebutt standards, on the other hand, aren’t as rigorous. The accuracy rate for scuttlebutt varies. These days, Silverman pegs it at about 80 percent.

At the very least, his commitment to scuttlebutt results in exciting stories. In 2008, Silverman relayed a tip that police were investigating a 30-member crew of the Los Angeles–based Bloods gang who had been spotted flashing gang signs and wearing colors in Adams Morgan.

The establishment of a Bloods set in the District’s traditional nightlife center was big news—until the story bombed. Police told Silverman that they were only investigating a handful of visiting gang affiliates. Silverman deleted the post, replacing it with a statement saying he didn’t mean to spread a rumor—but that he also wouldn’t sit on information from a good source.

Silverman responded to the Bloods debacle by appointing an ombudsman for the site: himself.

Silverman suspects that his passion for scuttlebutt has inspired pranksters. Once, he got an email claiming that Cleveland Park’s historic Uptown Theater was going to close.

The tipster, Silverman suspects, was actually just trying to embarrass him with bogus scuttlebutt.

“Am I a fucking idiot?” Silverman says.

“That I’ll check.”

But he doesn’t always check. A PoPville scoop that popular Korean barbeque restaurant Honey Pig planned to open on H Street NE, for example, was quashed when another reporter made a single phone call to the restaurant’s other location. If Silverman had made a call himself before writing the post, he could have saved his site the mistake. On the other hand, he would have had one fewer post for the day.

Plus, Silverman just doesn’t like using the phone.

“I had a regular job,” Silverman says.

While Silverman sometimes emails businesses before featuring their scuttlebutt, he says he’s often loathe to get in touch with restaurants or their publicists. If they know he’s on to a story, he worries, they’ll rush the scoop to another outlet instead. Pressed by other reporters on Twitter about why

he ran a tip instead of making a phone call, Silverman defended himself: “It’s 2016 man c’mon!”

Missy Frederick, the editor of the D.C. branch of national food site Eater, treats Silverman’s scuttlebutt like she would any tip in her inbox: They’re clues, but they need to be verified elsewhere. Still, Frederick thinks that District restaurant reporters could acknowledge more how many stories they get from Silverman, whose traditional reporting experience is limited to a stint as a reporter in the Washington office of Japanese newspaper Asahi Shimbun.

“I’m glad he’s around,” Frederick writes in an email. But she’ll verify what he writes, just to be sure.

We’re getting closer to the afternoon, when Silverman likes to run a question or story from a reader that will get his commenters talking. Some days, the question is downright insipid—a question from the sort of person longtime PoPville commenter “Monkeyrotica” describes as “some clueless idiot bastard who can’t even dress himself.”

Silverman imagines the kind of post that would set off his readers. “‘Hey, I saw this guy lying in a pile of puke, what would you do?’” he says. “Well, fucking call the police.”

He isn’t far off. Even though these questions make up a small percentage of the posts on the site in a day (and Silverman posts up to 25 times on a prolific day), they stand a good chance of becoming some of Silverman’s most infamous—and amusing—work.

Silverman isn’t above running questions that are easily resolved or even entirely wrong in their premise. Last year, PoPville played host to a reader fuming that a pizzeria wouldn’t make him slices of chicken bacon ranch-style pizza. After bickering with the employees, he stormed out, with no pizza to show for his efforts.

“I think I won that round,” the reader wrote.

Another tipster suggested that a silhouette of the District on a bus ad was offensive because it didn’t include the predominantly black Wards 7 and 8. In fact, though, the map clearly did include all of the city’s eight wards. “Is this offensive?” asked Silverman’s headline.

Silverman explains the kind of day that can make him post something like the erroneous bus ad complaint, which will inevitably inspire snarky tweets about the site reaching “peak PoPville.”

“I don’t really have a lot of material,” Silverman says. “OK, have fun, have at it.”

PoPville’s usual array of questions took a dark turn last August, when a reader wrote in to ask what happened to a woman she had seen sprawled out on the pavement in Shaw. After calling 911, the writer said, she just kept walking instead of stopping to help the potentially injured woman. One tweet summed up the tone of the online response: “What. The Fuck.”

The post prompted Washingtonian to declare PoPville “D.C.’s Urban Confessional Booth,” a label that Silverman admits has some truth to it. But he still thinks the emailer was a good person. She did call the police, after all.

“All these people who were like, ‘You fucking piece of shit,’ or whatever,” Silverman says. “I mean, calm down.”

Commenter Monkeyrotica suspects that Silverman runs dumb questions deliberately, to both rile up his readers and make them feel better about their own lives.

“Sometimes, that’s what the readership wants,” the commenter writes in an email.

“The opportunity to rant in a controlled environment about the usual fears, desires, and misery.”

One night in April 2007, Silverman headed to a Petworth bar. The blog wasn’t even a year old, and he needed to find more neighborhood residents to profile. He approached a man and woman, asking if they’d heard of the Prince of Petworth.

“You are the one who carries a gun in his pocket,” the woman said.

The blog had gotten Silverman into trouble again, and not for the last time. His attempts to photograph graffiti and potentially stolen flea market electronics would earn him threats on the street (and, in the case of the graffiti incident, later inspire a play).

This time, the problem was a post from months earlier.

After a rash of crime in Petworth, Silverman had told his readers that he carried “a little bit of protection and I don’t mean the Trojan kind.” The unnamed weapon, he wrote in a baffling blog post, inspired a police officer in the Metro system to ask him if he was an off-duty cop. When Silverman said he wasn’t, the officer told him that he could be arrested for carrying the weapon. Instead, he told Silverman to cover it with his shirt.

The implication was that the neighborhood’s new blogging booster was packing heat.

Silverman clarifies now that he only meant that he carried a stickball bat in his pocket, which, honestly, is somehow even stranger.

After the confusion at the bar, Silverman explained himself to Petworth in—what else?—a blog post. The headline: “I’m really not that bad.”

This was definitely not “the beautiful life,” the vague concept Silverman set out to chronicle when he launched Prince of Petworth six months earlier. At the time, the Long Island native was already three years into living in the neighborhood and had been a District resident for nearly 10.

Just what makes up “the beautiful life” for Silverman, like so much that he does, isn’t quite clear. It seems to be mainly good things coming out of strange situations. After a bird pooped on Silverman’s head, for example, he thanked the women who brushed it out for contributing to the beautiful life.

Prince of Petworth used to be much more personal, cataloging Silverman’s oddball interactions on the street and how

“i am worried about the proliferation of man breasts in professional sports.”

“i couldn’t believe it but i found someone who is as passionate about doors as i am”

“i promise my sources are not figments of my imagination.”

“This blog is not meant to be comedy. it is meant to be a window upon my soul. Thus the doors.”

“if Petworth is the love of my life, Columbia Heights is my mistress.”

“it is a very sad situation for which i blame ronald reagan.”

“i would way rather have a nice independent book store in Columbia Heights/Petworth than have one voting Congressional representative.”

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washingtoncitypaper.com march 11, 2016 13

many gunshots he heard that night. But he soon started developing what are now recognizable PoPville trademarks, like “Good Deal or Not?”, the regular series of real estate posts that gamifies one of the District’s hottest topics.

Silverman also started cataloging doors and porches early in the blog’s run. It wasn’t

a set of steps in front of a house, but “a good stoop for stoopin’.” A pair of deck chairs could rank as the “best spot for a morning cup of coffee or mojito.” Not everyone was impressed—an early reader wrote to tell Silverman he only followed the blog to see how ugly the picks could get.

These days, Silverman doesn’t come off

14 march 11, 2016 washingtoncitypaper.com

like a dope. But his wide-eyed enthusiasm for Petworth could read as comically naive in the early years of the blog, like he was a tourist who got lost on his way to a The Wire– themed bus tour.

Among Silverman’s early posts are complaints that his neighbors are spending their money buying expensive cars, his hope that

urine-filled bottles scattered around the neighborhood were really full of beer, and a blog post called “Am I A Racist?” Silverman was confused by an iron grate door with a protective metal circle around the lock—a ubiquitous sight in many District neighborhoods—that prevents the deadbolt from being opened from the outside. “What

the Helen of Troy is this?” Silverman asked his readers.

Soon, he says, neighborhood drug dealers knew how to direct Silverman’s friends to “the crazy white boy’s” house. When he saw a man he suspected was a pimp, he compared the experience to “seeing a celebrity in a weird way.”

“Holy cow, that is a pimp,” Silverman marvelled.

For former local blogger Dave Stroup, Silverman’s writing can be a caricature of a clueless white gentrifier.

“He’s like a walking example of what people criticize often,” Stroup says. “We’re going to point out all these things that are obvious to people who have been here for a while, but may seem like a novelty.”

As a white man in a predominantly black neighborhood, Silverman stood out. This is where the blog name gets awkward.

“It took a lot of gall for a white guy to move into Petworth and anoint himself its royalty,” writes “Walter,” an anonymous blogger who once catalogued and ranked his favorite ways to mock Silverman on the humor site Stuck in D.C. As a white man blogging in Petworth, Silverman became an expert on the expanding, ill-defined areas of the District that white newcomers collectively considered safe enough to be worth the cheap rent. By 2008, Silverman refused to take any more questions on which neighborhoods were safe enough.

Silverman loves telling stories about Petworth bonhomie—an elderly black man warning him that new white residents were going to push both him and Silverman out, for example, or someone telling him to put “glide in your stride.” But the complications behind Silverman’s role in the neighborhood became more explicit in a heated 2012 panel on gentrification.

“It’s not your Petworth, Dan,” a black woman in the audience told Silverman. “It’s mine.”

“It’s really our Petworth,” Silverman said.

Silverman doesn’t have to worry about his place in Petworth anymore. He changed his blog’s name to PoPville in 2012, a precursor to the move he made himself last year. In July 2015, Silverman and his wife bought a house in Van Ness after their 4th Street NW home was zoned out of a desirable elementary school.

Silverman’s new house was made possible with help from the real estate changes he chronicled on his blog. After buying his Petworth home in 2003 for $206,900, he was able to sell it 12 years later for $700,000.

Silverman’s move west of Rock Creek Park, to the traditionally white side of the old border between white and black D.C., wasn’t missed by his critics. What should his new title should be: Viscount of Van Ness?

The Tsar of Tenleytown?

“That he ultimately moved to Van Ness for a better school district is just icing,” Wal-

ter jokes.

For his critics, Silverman’s move again highlighted PoPville’s focus on the District’s whiter neighborhoods. Searching “Southeast” on PoPville will bring up lots about Asian Chipotle-concept Shophouse— and not a lot about actual neighborhoods in Southeast D.C. Notably, Silverman had never been to Anacostia until 2009, three years after he started blogging.

In fairness to Silverman, the city’s poorest wards are comparatively lacking in the kind of posts that he relies on: new restaurants and stores to blog about. In 2015, an Urban Institute study found that Wards 7 and 8 lagged behind in the District’s decade-long boom in restaurants and stores.

Conversely, Wards 2, 5, and 6—all of which have neighborhoods heavily covered by Silverman—were at the center of the increase.

Eugene Puryear, a Ward 8 resident active in the Black Lives Matter movement, says PoPville’s comments feature some ugly sentiments about black residents. It’s often a place, Puryear says, for people who want to push out low-income people and swap them for richer ones.

Still, Puryear concedes that it would be hard for Silverman to cover the entire District while still keeping his focus on a handful of neighborhoods. Instead, he hopes the blog will inspire other people to cover Wards 7 and 8.

Silverman acknowledges that he’s criticized for focusing too much on gentrifying areas. Like any passionately hated person, he enjoys the contradictions among his detractors: Some readers say his “Props to the Cops” feature makes him a mouthpiece for the police department; others say he’s a front for Black Lives Matter.

“You can hate me for many, many reasons,” Silverman says.

In 2012, the District was introduced to Silverman’s satirical foil: the Titan of Trinidad.

The anonymous writer of Titan of Trinidad—or “ToTville”—reimagined Silverman as a bumbling naif. Instead of highlighting porches, the Titan of Trinidad touted the “broken window latch of the day,” inadvertently pointing robbers towards easy scores at the same time. After being confused by residents of Trinidad wearing court-ordered ankle monitors, he asked why they were wearing cell phones on their legs.

When Silverman botched the reporting on the H Street Korean barbeque restaurant, his doppelganger declared him “the Sultan of Scuttlebutt.” Silverman concedes that the now-defunct blog’s mirror image of him could be funny.

“Like, I know what ‘funny’ is,” Silverman says. “I’m not an idiot.”

Not all of Silverman’s critics are so playful. In 2015, members of local punk band Jack on Fire printed black and white stickers with Silverman’s face. The caption: “The

Duke of Douche.” Band member Jason Mogavero put the stickers in yuppie meccas like Shaw beer garden Dacha, where he knew PoPville readers would see them.

Like many of Silverman’s critics, Mogavero blames Silverman for a heavy-handed but selective approach to moderating comments. In Mogavero’s telling, Silverman is quick to delete comments critical of his blog or development. On the other hand, comments calling people “animals” manage to stay up. For his part, Silverman claims that he only reads between five to 10 percent of the comments on his site.

Feeling bad about the stickers, some of Silverman’s readers bought him gift cards.

Soon, they were delighting over the picture of him on the sticker. One wrote in a comment thread that they had no idea Silverman was so good looking.

Mogavero’s response: “What a bunch of weirdos.”

He followed up the stickers with a song about Silverman, “Gotta Get That Silver, Man.” The song positions Silverman as a front for the development interests that would rather see the District blanketed in high-priced condos. One lyric twists Silverman’s slogan against him: “Welcome to the beautiful life/but only if you can pay the price.”

Like a rapper or Donald Trump, the Prince claims to embrace the haters. Sure, Silverman would prefer the song was about, say, his baseball hat collection, but he’d rather Mogavero make the stickers and songs than not. For Silverman, Mogavero’s needling is proof that PoPville is still relevant.

But even a prince has his limits.

“If I met this person face-to-face, there’s no doubt I would want to punch him,” Silverman says.

On our walk, Silverman told me he never thought about quitting PoPville. Weeks later, though, he’s reconsidered. Now he says he sometimes thinks about wrapping up PoPville.

“There are certainly moments of frustration,” Silverman says.

But then he remembers that his job is “the dream.” Someone out there gets something out of each of his posts, Silverman says. And while that may be a stretch for something like the “chicken bacon ranch” post, it’s not for others. As Silverman filled up his blog in Adams Morgan, commenters in his first post of the day were cheering each other up over failed relationships and dismal jobs.

For those commenters, and many of Silverman’s hundreds of thousands of readers each month, PoPville isn’t hard to understand at all. It’s them—along with the millions of pageviews and dollars that flow from them—that helps Silverman deal with the critics.

Silverman has one reaction to the ongoing tweets and blog posts about him.

“You’re doing a post that I’m an idiot?”

CP Silverman says. “Who’s the idiot?”

“my legs are not very flattering in shorts.”

“No one ever breaks out in applause when planes land anymore. remember? right?”

“on a scale of 1-10 how passive aggressive is this post?”

“Sometimes when you type things you realize that they are not actually all that interesting.”

“i am one alert mother fucking panther when i walk home now.”

“i’m not a super tough guy i’m pretty sure i can beat the shit out of a 12 year old kid”

“Anyone else noticing an uptick in outdoor Sexual escapades?”

washingtoncitypaper.com march 11, 2016 15

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Holy Smoke

Mezcal—a bartender fave—takes the limelight at Shaw’s Espita Mezcaleria.

Espita Mezcaleria owner Josh Phillips saves a small shelf to the side on the backbar for his 10 bottles of tequila. But an overwhelming amount of real estate at the justopened Oaxacan restaurant in Shaw is devoted to mezcals— around 85 of them.

The ratio flips that of most restaurants serious about Mexican agave spirits. Tequila and mezcal are almost always uttered in the same breath with tequila getting top billing. But mezcal has become a bartender darling in recent years and is growing in popularity around the country. While places like Oyamel, El Centro D.F., and El Chucho already have formidable mezcal collections, Espita Mezcaleria is the first bar in D.C. devoted first and foremost to the spirit.

That said, Phillips isn’t necessarily interested in amassing the city’s largest collection. He says there are around 40 bottles his distributors carry that he turned down. Rather, Phillips wants the best, with an emphasis on the most artisanal offerings.

“I know the word artisanal gets a bit of a backlash,” Phillips says. “My theory on that is that if there’s a donkey involved in the process, you can call it artisanal.”

But before we get ahead of ourselves, what exactly is the difference between tequila and mezcal? Technically, tequila is a style of mezcal, which according to traditional definition is an umbrella term for agave spirits produced in Mexico. Like Champagne, which can can only be made in the Champagne region of France, tequila can only be made in the Mexican state of Jalisco and other smaller, select areas of the country.

There are also differences in how the two spirits are produced. While mezcal can be made with a wide variety of agave plants, by law, tequila must be made from blue agave. And while some types of agave plants can take 20 to 40 years to fully mature, blue agave only takes five to eight years. Blue agave also has high sugar content, which means it yields more distillate.

Phillips’ shorthand history lesson on tequila: “Wealthy landowners had giant fields of this incredibly fast growing, high sugar plant, and they made the denomination of origin [a geographic area from which a product originates exclusively—again, think Champagne] only that plant, so everybody that was growing everything else had to basically burn their fields because they couldn’t call it tequila,” he

Photographs by Darrow Montgomery

By Jessica Sidman

Espita Mezcaleria owner Josh Phillips is a master mezcalier.

washingtoncitypaper.com march 11, 2016 17

DCFEED(cont.) says. “They were also, again, really wealthy dudes so they had really wealthy European friends, and they were like, ‘Let’s [bring] in these fancy European stills and these fancy ovens.’”

Tequila is usually made from agave roasted in a masonry oven or an autoclave, which is basically a pressure cooker. This process means the tequila can be produced in a matter of days. It takes anywhere from two weeks to a month, however, to produce a single batch of traditional mezcal. The agave hearts are cooked underground in a pit heated by a bonfire—where the spirit gets its smoky character—and then fermented in wooden open-air vats.

While smokiness is a hallmark of mezcal, Phillips says the cheaper mezcals tend to be the smokiest. “Good pastrami, the smoke penetrates the meat, whereas shitty pastrami it’s a surface flavor,” Phillips says. “It’s the same thing with mezcal.” A lot of the mezcals intended for cocktails tend to be smokier, Phillips says, but others can be delicate and floral, and he plans to use those in cocktails as well. Like wine, agave can taste different in different years. Espita Mezcaleria will offer several flights of mezcal, including one highlighting the spirit from a single producer bottled in different years.

Mezcals today aren’t mass-produced in the same way many tequila brands are, says Oyamel Beverage Manager Jasmine Chae.

“The bigger names in mezcal, their distilleries—or palenques, as they call them— they’re still really tiny,” she says.

Chae, Phillips, and Phillips’ wife and partner Kelly Phillips are among the few dozen master mezcaliers in the world. The certification took Phillips about a year and a half to complete but is nowhere as time-consuming or intense as becoming a master sommelier.

The process involves learning about the spirit’s history, styles, how it pairs in cocktails, and more. It culminates in a trip to Oaxaca, Mexico, where most mezcal comes from, to actually harvest agave and make mezcal.

Phillips says he had to walk through a field of agave and identify the species of plants and whether they were mature.

Phillips was first introduced to mezcal seven years ago by Colin Shearn of Philadelphia cocktail bar Franklin Mortgage & Investment Company. The two often swapped weird and rare bottles of liquor.

“When the first bottle of Del Maguey came, he smuggled it from New York,” Phillips says. “He wasn’t selling because he wasn’t legally allowed to.”

“He poured me a glass, and it was that kind of that ‘holy fuck’ moment. It was like, ‘This is better than what I’m drinking,’” Phillips says. “I immediately went online

Bartender Megan Barnes makes mezcal cocktails. and scoured the country to find whatever mezcal I could find.” At the time, though, there wasn’t much variety available.

El Chucho General Manager Kevin Zieber has likewise quickly become a fanatic.

He says he didn’t know much about mezcal

18 march 11, 2016 washingtoncitypaper.com

when he first started working at El Chucho.

Now? “It’s a big part of my life,” he says.

“Mezcal is like tequila’s cooler, older brother,” Zieber says. “People who are into mezcal feel like they’re into something that other people don’t know about.”

Mezcal has made its way onto many of the city’s top cocktail bar menus, regardless of whether they specialize in Mexican cuisine.

Meanwhile, El Chucho has almost doubled its collection of mezcals since it opened in 2012 to around 60 unique bottles today (plus 80 or so tequilas). At Oyamel, Chae remembers the bar stocked around eight bottles from two different brands when she joined the team in 2008. Today, the library consists of more than 65 mezcals (and 150 tequilas).

A rise in demand has led to increased imports of mezcal. “The sheer number of brands available in the United States is now significantly more than it was eight years ago,” Chae says. “We actually now have the luxury of being a little more selective.”

José Andrés’ restaurants have been ahead of the curve. A couple years ago, ThinkFoodGroup partnered with mezcal producer Del Maguey to create a mezcal made with Spanish ibérico ham. And from March 21 to April 3, Oyamel will host its ninth annual Tequila & Mezcal Festival with menu specials and tasting events featuring producers from Mexico. “José is kind of a pioneer,” Chae says. “He was doing the Tequila & Mezcal Festival at Oyamel before mezcal was really a thing yet.”

Despite the growth of the mezcal market, the spirit still isn’t as readily available as tequila, especially given that producers are often so small and make limited quantities.

And because of how it’s produced, mezcal tends to be pricier than many tequilas.

“We’re doing our damndest to make it affordable here,” Phillips says. Prices at Espita Mezcaleria start at $6 an ounce.

El Chucho’s Zieber says he’s bracing for a possible spike in pricing because the demand has exploded while the production takes so long. (Just look at what happened with bourbon.) “I’ve heard rumblings from reps and people who import the spirit,” he says. “I hope that people don’t lose interest if it becomes more expensive, because it’s really a small price to pay when you think of how many hands touch a single bottle and a single plant and all the time.”

Chae and Zieber add that tequila still outsells mezcal, but both agree the underdog is gaining steam. Phillips, at least, is betting his livelihood on it.

“Our hope, serious hope, is that by exposing people to this, you’ll be able to go to the corner store and get something cool,” Phillips says. “It will never be like, ‘I always go and get Bacardi’... But I’m hoping it gets to a point where people start to trust producers CP to make cool stuff.”

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

DCFEED

what we ate last week:

Saffron paccheri pasta with duck leg ragu, $17, The Red Hen. Satisfaction level: 4 out of 5

what we’ll eat next week:

Monster pretzel with beer cheese and mustards, $13, Dacha Beer Garden. Excitement level: 3.5 out of 5

Grazer

Price check

When Pineapple and Pearls, the hotly anticipated sister restaurant to Rose’s Luxury, debuts in April, it will charge $250 per person for its tasting menu. Before you freak out, consider that the price includes drink pairings, tax, and tip. Yes, you could potentially fly to California for that amount (if you catch the right fare), but it turns out it’s not nearly as expensive as other tasting menus around town. Here’s what you’ll pay per person for prix fixe meals, including alcoholic drink pairings, tax, and a 20 percent tip, at six other upscale eateries.

Restaurant Eve —Quinn Myers and Jessica Sidman Tasting menu: Fiola Marcel’s Komi

Iron Gate

Tasting menu: $150 Drink pairing: $75 Total: $225 Total with tax and tip:

Tasting menu: $65 to $95 Drink pairing: $50 to $65 Total: $115 to $160 Total with tax and tip:

$297

Tasting menu: $95 to $155 Drink pairing: $55 to $75 Total: $150 to $230 Total with tax and tip:

$198 to $304

Tasting menu: $80 to $130 Drink pairing: $95 to $125 Total: $175 to $255 Total with tax and tip:

Minibar Tasting menu: $275 Drink pairing: $95 to $195 Total: $370 to $470 Total with tax and tip:

$488 to $620

$105 to $165 Drink pairing: $75 to $140 Total: $180 to $305 Total with tax and tip:

The Sandwich: Egg hash and salsa verde Where: Pineapple and Pearls, 715 8th St. SE

$238 to $403

Cost: $7.50 Stuffings: Egg hash with potato, red onion, peppers, salsa verde, curtido (a fermented cabbage slaw used in Latin American cuisine)

$231 to $337

Bread: Masa bread Pros: While many shops limit egg breakfast sandwich sales to mornings, the Pineapple and Pearls team has created a tangy, filling option that’s available at lunchtime, too. The egg hash feels more like a solid tortilla española than a jiggly omelette. Curtido, a condiment frequently served with pupusas, adds some refreshing acidity and a needed crunch to the soft egg and bread combination.

$152 to $211

Underserved The best cocktail you’re not ordering

What: Diablito with tequila, gin, pear, wasabi, and pickled jalapeños Where: The Twisted Horn, 819 Upshur St. NW Price: $12 What You Should Be Drinking The first step in crafting this little devil of a drink is securing fresh wasabi from Hana Japanese Market on U Street NW. Bar Manager Burke Podany steeps the whole root in a blend of gin and tequila. The finished

product—which also contains pear syrup enhanced with cardamom, grapefruit bitters, and a three-pepper tincture—isn’t Wicked Witch of the West green because the natural wasabi isn’t dyed. Despite the fiery components, the Diablito brings only gentle heat.

“It’s meant to be early spring spice,” says Podany. “This is a transitionally seasonal cocktail, which is the most pretentious thing I’ve said all week, but it is.” The Bartlett pear syrup reaches back to winter, while everything else about the drink is fresh and earthy for spring.

Why You Should Be Drinking It There are two pairings of ingre-

THE’WICHINGHOUR

dients that seem to go together like oil and water: gin with tequila and pear with wasabi. If your mind can hurdle these misalliances, your palate will be rewarded. The drink started with tequila as the single lead spirit, but Podany felt something was missing, so he added gin.

The result is a luscious sip full of juniper notes. Neither the pear nor the wasabi is overpowering enough to cause an unwelcome collision of flavors. For those who want the drink to be spicier, Podany recommends plunking one or both slices of the pickled jalapeño that adorn the drink straight to the bottom and muddling it a bit.

—Laura Hayes

Cons: The wet salsa and slaw saturate the bread, which is modeled after a brioche and similarly light and airy. If you aren’t able to eat the sandwich right away, the pillowy bread dampens and loses its toasted stiffness.

Sloppiness level (1 to 5): 2.5. Although the softened bread can make the sandwich hard to handle at times, the layered ingredients remain intact due to an excellent packing job. Because the cafe only has a few seats, all offerings are tightly wrapped and designed to be eaten on the go.

Overall score: (1 to 5): 4.5. Don’t wait to eat this sandwich—not only because faster consumption gives the bread less time to become soggy, but because the bold flavor combinations taste so damn good. The sour and spicy vegetables with creamy eggs make for a sandwich that’s craveable long after breakfast is over.

—Caroline Jones

washingtoncitypaper.com march 11, 2016 19

20 march 11, 2016 washingtoncitypaper.com

washingtoncitypaper.com march 11, 2016 21

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22 march 11, 2016 washingtoncitypaper.com

Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123.

CPARTS Equal Access

The Kennedy Center named Q-Tip its first-ever artistic director of hip-hop culture. washingtoncitypaper.com/go/qtipkennedycenter

City Paper illustration

Some bands—and their fans—are pushing for genderneutral bathrooms at D.C.’s music venues.

fluence how venues approach gender and restrooms.

On Feb. 19, the band shared a screenshot of a section of its tour rider titled “Restroom Policy” on its Facebook and Twitter pages. A rider is part of a band’s contract that stipulates services a venue must provide on the night of a show, usually dealing with a specific food allergy or aversion (Van Halen’s ban on brown M&Ms in its green rooms is part of rock music lore) or sound requirement, and now, bathrooms.

According to its rider, PWR BTTM requires every venue it plays to make the restrooms gender neutral for the night of the concert, or to provide an equal alternative. If a venue can’t comply, PWR BTTM reserves the right to alert fans before the show on social media, as gender-neutral bathrooms are something its ardent followers have come to expect at its shows.

As word spreads about the policy online and at shows, the band has taken a pragmatic yet firm approach to the issue. “I can’t control everywhere, but we do have this contract, this rider that we send to venues before we play there,” Bruce says.

“There are lots of things that venues do to accommodate bands when they’re coming to play there, and what if one of them was doing this?”

With this rider request, PWR BTTM hopes to promote comfort for musicians and fans who don’t identify as a certain gender, while addressing the risks that both crowded and secluded bathrooms at venues can pose. In D.C., the band’s outspoken stance is resonating with the local music community.

“I feel that gender fluidity is celebrated in our music scene,” says Johnny Fantastic, a gender-neutral musician who plays frequently in the D.C. area with the electronic noise-pop band Stronger Sex, as well as various other projects. “If people knew how awkward the decision of choosing [a] bathroom is for me, they would agree to any scenario that would eradicate that awkwardness for me,” Fantastic says. “I present myself as female very often, and I dislike the choice that I have to make.”

Felix Donate-Perez, a transgender singer-songwriter from Arlington who performs under the name Foster Carrots, agrees. When playing shows at venues with only men’s and women’s bathrooms, he says he has to think

By Quinn Myers Using the bathroom at a concert can be a pain. Go at the wrong time and you’ll encounter lines out the door, a shortage of toilet paper, or maybe even someone doing something questionable in the next stall. Meanwhile, you’re missing out on the band you came to see, your friends, and your PBR tallboy. But for musicians and their fans who are transgender, or don’t identify along the gender binary, those few annoying minutes at the back of the venue are often trumped by painfully uncomfortable decisions and, increasingly, harassment.

It’s those situations that have inspired New York pop-punk duo PWR BTTM to shake things up a little bit.

Known for performing in drag and drenched in glitter, Brooklyn-based PWR BTTM write catchy songs about queer politics, sexuality, and falling in love at Dairy Queen, injecting its music with a morbid and outrageous sense of humor. Since releasing its debut album, Ugly Cherries, last September, band members Liv Bruce and Ben Hopkins have received critical accolades across the board—most recently last week, when NPR premiered the music video for its song “West Texas.” Earlier this month, the band left for a full U.S. tour opening for indie-pop band Ra Ra Riot, including a stop this past Sunday at 9:30 Club.

Now, with media attention and a big tour, PWR BTTM is using its unmistakable charisma and candor to try to in-

washingtoncitypaper.com march 11, 2016 23

CPARTS Continued

about his options ahead of time. “Restrooms are supposed to be a space that people don’t put a lot of thought into, but when a venue has them set up as gendered spaces (without an additional gender-neutral option) it causes anxiety, stress, and potentially risks the safety of trans folks,” Donate-Perez says. “At almost every show I’m forced to pick between two doors, neither of which guarantee I won’t face harassment.”

D.C. law requires that any single-stall restroom in a public business must be gender neutral. Bathrooms with multiple stalls or urinals (which are more prevalent at D.C.-area venues), however, are a different story. So while PWR BTTM and local musicians champion their merits, it’s questionable whether gender-neutral bathrooms are a feasible option in D.C.’s major clubs and performance spaces.

“Every night everyone is permitted to use whichever restroom they prefer,” says Audrey Fix Schaefer, a 9:30 Club spokesperson. “We have Barbie and Ken dolls on the doors—not ladies and men’s room signs.” But while 9:30 Club security isn’t going to stop anyone from going into the men’s or women’s room, the signs present an explicitly gendered idea of who is supposed to go where. And during PWR BTTM’s show on Sunday, even if the bathrooms

were technically gender neutral, there was no change in the signs, which featured the male and female dolls and an “M” and a “W” over each one.

At Black Cat—which, like 9:30 Club, doesn’t have any single-stall facilities in the concert room—owner and founder Dante Ferrando says they’ve had several events with gender-neutral bathrooms.

When there are events they expect will be attended by predominantly one gender over the other, Ferrando says, “then the upstairs bathrooms would be gender neutral. Not because of a transgender issue, that’s just a service issue.”

While he’s never seen a rider request quite like PWR BTTM’s, Ferrando says that Black Cat would be able and willing to comply with a similar contract if it came their way. “If a band did request that, we would be able to accommodate that in the [upstairs] concert room.” For Ferrando, concerns begin and end with security—is someone doing drugs in the bathroom? having sex?—and he says he doesn’t “consider

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24 march 11, 2016 washingtoncitypaper.com

the way somebody looks to be a security issue for us.”

As PWR BTTM continues to tour and advocate for gender-neutral restrooms, its members hope that the model will be picked up by other bands and expected by fans. “It’s our responsibility to cater to the needs of people who come and enjoy our work who have the same values we do,” Hopkins says.

“We’re not trying to change the world. We’re just sort of trying to deal with our specific lens of performance.”

While it may be more convenient, a laissez faire approach toward the specified gender of bathrooms—as seen across the D.C. area— falls short of acknowledging the tough situations gendered signs can cause for non-binary and transgender patrons.

And for PWR BTTM, Donate-Perez, Fantastic, and others, the time for performance spaces to acknowledge the benefits of gender neutral bathrooms is long overdue. “If we’re going to find a place to start infiltrating on behalf of neutralizing our bathrooms, music venues seem like the best place to do it,” Fantastic says. “It’s sort of one of those things that, even if you CP disagree with it, just suck it up.”

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Hidden

Compartments Devilishly Clever Clues

Trapped With No Way Out!

A 60 Minute Frantic Search for Freedom

Dupont Circle WASHINGTON DC 1730 Connecticut Ave., NW Basement Level (202) 930-1843

CPARTS Arts Desk

Washington Ballet

names Julie Kent as its new artistic director. washingtoncitypaper.com/go/juliekent

One trAck MinD

3 4

CrushnPain

2

“What Ur Doing”

5

HigHligHt Her

1

6

The John A. Wilson Building primarily serves as the District’s city hall, where the D.C. Council holds its

hearings and its members have offices. But it’s also a gallery that’s home to dozens of works by artists with a connection to D.C., including many who are also women. To mark Women’s History Month, we asked the D.C. Commission on the Arts and Humanities to highlight a selection of pieces by female artists on display. —Sarah Anne Hughes

Who: Renée Stout What: “Peter’s Numbers” (2004) 1 Where: First floor east Stout moved to D.C. in 1985, “as she began to explore the roots of her African American heritage in her work.” She writes, “‘Peter’s Numbers’ deals with another recurring theme in my work: the disparity between the haves and the have-nots. In this case it was an experience I had in Jamaica, but it could be just about anywhere in the world, including right here in Northwest Washington, D.C.”

Who: Maggie Michael What: “Phantom” (2005) 3 Where: First floor east “‘Phantom’ is a painting that combines a number of series I’ve worked on over the years. It is part clone, landscape, atmosphere, and drawing,” writes Michael, whose name will be familiar to anyone who frequents contemporary art museums in D.C. “It can be read as an image of an alternate world, which is both suspended in matter and in a mind’s reading.”

Who: Alexandra Huttinger What: “Corn Ditties: Portraits of Survival” (2002-2003) 2 Where: Second floor west “Through my prints I examine how social conditions and constructs—such as gender, race, ethnicity, and inequality—determine the physical, mental, and social well-being of individuals and communities,” writes Huttinger, who was born and raised in D.C

Who: Janis Goodman What: “Tracks, Low Tide” (2006) 4 Where: First floor east Goodman, a professor of fine art at GW’s Corcoran School of Art and Design, writes, “The work is a response to natural forces and phenomenon, things outside our control and things we can access.”

Who: Aziza Claudia Gibson-Hunter What: “Ain’t I a Woman?” (2005) 5 Where: Second floor east “My intention of this piece is to pay homage to the tenacity of Black women to continuously push against the presupposed boundaries of Black womanhood while striving to define themselves for themselves,” writes Gibson-Hunter, who cofounded Black Artists of D.C. Who: Alma Thomas What: “Untitled (Rainbow)” (1970) 6 Where: Second floor east One of the crown jewels of the City Hall Art Collection is this piece by Thomas, who was associated with the Washington Color School. Her Dupont Circle home is on the National Register of Historic Places, and her image is included in Zachary Oxman’s Shaw mural “Symphony in DC Major.”

Standout Track: The second track on CrushnPain’s upcoming All Mountains EP, “What Ur Doing,” begins with a shuffling drum-and-bass beat before it’s slowly coated in shifting layers of synths. According to multi-instrumentalist Austin Gallas, the track contains the essence of what makes a CrushnPain song: “rich vocal harmonies, complex arrangements created with both electronic and non-electronic hardware, as well as a certain open-ended writing style.”

Musical Motivation: While a breakup might have provided a certain degree of impetus for “What Ur Doing,” Gallas points out that it’s “more of a meta-reflection on love than a reaction to any specific circumstance… It’s about the paranoid and self-destructive mindset that can happen when emotions accumulate beyond the body’s ability to contain them.” This idea is reflected in the lyrics, which describe an abstracted battle between body and mind.

CrushnCollaborations: Gallas isn’t alone on the track, with Ben Schurr and Erik Sleight, of fellow Blight Records bands Br’er and Stronger Sex, accompanying with various instrumentation. While Schurr initially became involved in a producing capacity––Gallas and Sleight were the original two members of the band––it eventually became clear that bringing him into the band was the way to go. “The nature of how we work is so collaborative that him being in the band just made sense from a writing/recording standpoint,” says Sleight.

—Keith Mathias Listen to “What Ur Doing” at washingtoncitypaper.com/go/whaturdoing.

washingtoncitypaper.com march 11, 2016 25

TheaTerCurtain Calls

Twenty years ago, Richard Scheuer Jr. died from a brain hemorrhage at the age of 48. His obituary in the May 12, 1996 New York Times identified him as “a general partner in a Manhattan arbitrage firm who supported education and the arts as a trustee of his family’s charitable foundation.” But his first love, according to his eldest son Benjamin—who’d turned 14 just before his father’s passing—was playing music. The two were not on speaking terms when Richard died, and Benjamin’s lingering guilt over that sad fact has carried him a long way. The Lion, Benjamin’s solo musical about his attempts to whup grief and deadlier diseases, opened at Manhattan Theatre Club in 2014. After winning a Drama Desk Award for Outstanding Solo Performance and enjoying a successful run in London, it’s now ensconced at Arena Stage’s intimate Kogod Cradle, part of a two-year tour.

It’s easy to see why the show has been so popular. Scheuer is a dextrous guitar player (he uses between six and eight of them, most in different tunings, during the show) and an earnest singer. More importantly, he’s an ingratiating, outsized personality, his smile beaming out from between his artfully distressed thicket of sandy hair and his pre-loosened tie. His songs, often liberated from rigid rhyming schemes, are more upbeat than confessional acoustic balladry often is; they tend to be pointed and short, even while permitting lyrics like “You explain what baby acorn squash is / Wearing leopard-print galoshes.”

The show is short, too: A brisk 70 minutes.

The dozen-plus numbers are stitched together by banter as terse as a police report, sketching out the conflict between tweener Benjamin and his mercurial dad, his alienation as a young adult from his mom and younger brothers, and the arc of a romance in his 20s.

Curiously, these micro-monologues feel like they’ve been workshopped and pruned more fastidiously than the songs have been.

They also elide details that might complicate his portrayal of himself as an indefatigable underdog, like the fact that the unnamed English boarding school his mother sent him to was Eton College, where royals and future prime ministers are groomed, or that at some point during his years back in the States as a not-especially-struggling rock and roller he graduated from Harvard University, as his father had done. Benjamin can hardly be blamed for the privileged circumstances of his birth, any more than he can for the bodily misfortune that befalls him later. He’s free to tell his own story as selectively as he likes, as

Handout photo by Matthew Murphy

The Lion Written and performed by Benjamin Scheuer Directed by Sean Daniels At Arena Stage to April 10

Benjamin Scheuer is a natural at winning over audiences, but he omitted personal details that might color your perception of his performance. we all are, and as we all do. Material comfort does not ease emotional isolation. If you feel alone, then you are.

It would be nice if the show acknowledged the material part of it, though, especially once his estranged family moves from England to the U.S. to support him through a terrible trial — the kind that spares no one, but that you’d rather face with resources than without.

The ordeal he describes in this show has now been documented in an album, The Bridge; an art book, Between Two Spaces; and a stage show that will spawn a second album.

In the show, he mentions a long convalescent vacation that helped him get his groove back.

That’s nice. The person I know best who got sick young had to move in with her parents, and then return to work before she was ready because she couldn’t afford to lose her job.

Again, it would be unfair—that word again—to downplay Scheuer’s talent and charisma on account of the advantages he doesn’t mention. Being rich didn’t save his old man from dying young, it didn’t prevent him from getting sick, and it didn’t make repairing his familial relationships any easier. Money doesn’t make “Cookie-Tin Banjo”— the conciliatory show opener about the toy instrument his father made for him when he was child—any less moving, or the musical’s title song, about learning to draw comfort from your family, any less reassuring.

Does it sound like I’ve convinced myself? I nearly have. The Lion is a marvelous show that seemed disingenuous to me only in hindsight.

Maybe there’s a lesson in that, too.

—Chris Klimek 1101 6th St. SW. $45–$70. (202) 488-3300. arenastage.org.

26 march 11, 2016 washingtoncitypaper.com

Handout photos by Valentin Radev

Why you Lion?

They Don’t Pay is a production of Ambassador Theater, a small, young company that specializes in work by international playwrights and does what it can with the resources it has. Set design is basic—an apartment interior with a wobbly wardrobe that doesn’t always cooperate with the actors—except for one impressive addition, a Rivera-like mural handpainted on a curtain by Cold War–era agitprop mixed with a lowbrow comedy Julia Tasheva. The cast routine probably won’t get your blood pumping. takes on multiple roles both on and off-stage: Hanna Bondarewska, starring as Antonia, is also the company’s founder, artistic director, and the show’s producer. None of the acting is particularly convincing, but I’d like to see any actor juggle clichés like “hook, line, They Don’t Pay? and sinker,” “greased lightning,” “read him We Won’t Pay! the riot act,” or “running dogs of the rulBy Dario Fo ing class” and sound natural. (It probably Directed by Joe Martin and Danny Rovin sounds better in Italian.) One cast memAt Mead Theatre Lab at Flashpoint to ber who comes up with a novel way to tackle March 26 the relentless anachronisms is Peter Orvetti, Italy in the 1970s was, by all accounts, taking on four roles, and channeling a 1970s a wild place. The “Years of Lead” were Dan Aykroyd for all four of them. marked by strikes and occupying demonGiven that Fo has a talent for making strations by factory workers; bombings, kid- Brecht look understated, it’s hard to imagnappings, and assassinations by leftist and ine who the target audience is for this kind of neo-fascist militants; and the Italian state’s stuff. It takes a certain degree of both mil“strategy of tension”—false flag operations itancy and fluency in lefty lingo to not find justifying crackdowns on political activists. his dialogue totally alien, and a degree exIn the midst of this social turmoil, radical tra to find it funny. I don’t quite have it, and playwright Dario Fo must have said, “What this is coming from a critic who gets tearythose oppressed masses need is some Marx- eyed for Reds and really does sing along to ist… comedic theater.”

“The Internationale.” A large part of the His 1974 play They Don’t Pay? We Won’t problem is that Martin’s superficial transpoPay! is classic Cold War–era agitprop, with sition of Fo’s cultural references only makes all the subtlety and humor that conjures. Suf- them seem more foreign and dated. In Fo’s fice to say, it doesn’t really translate to pres- play, Antonia’s husband Giovanni is a goodent-day U.S., and that’s not just a matter of hearted but dumb union man whose reverlanguage. Chalk it up to false consciousness ence for the law prevents him from taking diif you wish, but you don’t really encounter rect action: Occupy the factory! Shut down Americans referring to themselves collec- the Amtrak! his wife implores. In the U.S. tively as “the workers” in everyday conver- today, unions mostly don’t exist, there are sation or spontaneously bursting into a cho- hardly any factories left to occupy, and the rus of “The Internationale.” Director Joe only people shutting down Amtrak are ConMartin sprinkles in a few references to Fer- gressional Republicans. guson and Occupy Wall Street, but they don’t At a basic level, the production can be takmake Fo’s dialogue—really more a series of en as a tribute to Fo. Now 90, Fo is an Italpreachy monologues—any less stilted. ian cultural icon, a Nobel Laureate and, at Yet none of the proselytizing is particu- least according to one person (his biogralarly crucial to the comedy, which fails on its pher), the most performed contemporary own merits. They Don’t Pay is a simple tale playwright in the world, chiefly for his betof two women who shoplift some groceries ter-known play Accidental Death of an Anarand then hide them on their bodies by pre- chist. It says something about Italy today that tending to be pregnant, at once outwitting it would embrace a playwright so iconoclasa highly credulous cop and their idiot hus- tic as Fo. But as tributes go, perhaps the No—Mike Paarlberg bands. What results is a low-level caper from bel was enough.

America’s Dumbest Criminals stretched into a 916 G St. NW. $10–$40. aticc.org. two-hour play.

Missing the Marx

GalleriesSketcheS “Between Millions of Years” by Nara Park (2016)

choreography by STEPHEN MILLS music by PHILIP GLASS

March 23–April 3 The Kennedy Center Eisenhower Theater

“Nara Park: Between Millions of Years” and “Dane Winkler: Homesteading” At Hamiltonian Gallery to March 26 The rhythm of Dane Winkler’s “Homesteading” is dense and immediate. His show at Hamiltonian Gallery, a trio of post-industrial sculptures, throbs with references to Richard Serra, Ernesto Neto, Félix GonzálezTorres, Mark di Suvero, Bruce Nauman, and other heavyweight sculptors. In fact, his triforce sequence is so packed with quotations, there’s little room for Dane Winkler.

“Afterbirth,” one of the three pieces, is a mound of earth and manure, or at least a sculpture that is supposed to look like one.

(Stucco, cement, and other materials listed as media suggest that it’s more structure than pile.) The piece carefully recalls other art-mounds, from González-Torres’s familiar candy mountains to Michelangelo Pistoletto’s “Venus of the Rags,” a heap of laundry attended to by a plaster statue. Except Winkler’s piece subverts the form, because it’s made of shit. That’s the idea, anyway.

“Gibbous” features an oil drum over which a pulley has been suspended by a tripodal rig; the barrel is filled with lard. If this make-shift derrick were operational, that pulley would be cycling goop from the drum along a chain. In “Bounty,” a burlap sack filled with sheep’s wool hangs in the air, suspended by another pulley anchored by a cast-concrete block. It’s a convincing deception, an avoirdupois ton in which so much rock is balanced by so much wool.

There’s a hefty hum to Winkler’s installation, which shares the gallery space with a lighter solo show by Nara Park. Winkler’s works each contribute some motion to the overall room-feel; as a complete environ-

ment, “Homesteading” accomplishes more than its constituent parts—perhaps the same way that Charles Ray’s enigmatic sculptures always work better together than they do apart. Taken individually, though, Winkler’s works are each too indebted to his forebears.

Park’s exhibit, “Between Millions of Years,” is also a trio. (Or possibly a quartet, although “Fragment I” and “Fragment II,” two textured wall plates made of wood, read like a diptych.) The centerpiece of her show is the title work, “Between Millions of Years,” an installation comprising hundreds of transparent packing boxes stacked up as the orderly walls of a crystal cave.

Using fugitive materials such as plastic cake boxes is a move right out of Tara Donovan’s playbook. (See Donovan’s termite mounds of index cards on view at the Renwick Gallery.) But Park’s sensibility is more in keeping with a different Renwick artist, Maya Lin. Park’s installations don’t overpower, and they work at both the scale of the room (“Between Millions of Years”) or at the size of a painting (“Passage”).

In fact, the one relies on the other. If it weren’t for those smaller pieces, it might look as though Park’s larger piece aspired to be something even bigger, like a Donovan, a work that Park could only create with the same access to materials and studio assistants.

Instead, the restrained, brick-like, paintingshaped works confirm that she is working on an intimate scale, even with larger works.

Across all three pieces, Park is focusing on pattern and working with a regular beat.

Rhythm and tempo: On those points, both artists’ shows succeed. As a rule, Hamiltonian pairs its artist fellows without necessarily curating them together. The shows can be seen independently, one on one. Park and Winkler happen to accompany one another well: her brittle staccato percussion plus his —Kriston Capps low-brass harmony.

1353 U St. NW, Suite 101. Free. hamiltoniangallery.com.

Jonathan Jordan by media4artists Theo Kossenas

kennedy-center.org | 202.467.4600 washingtonballet.org The Pulitzer Prize-winning comedy

March 1 – April 17

Signature Theatre

|

Free Parking

|

Photo of Evan Casey, Laura C. Harris and Thaddeus McCants by Christopher Mueller.

Rhythm and twos

16 Nearby Restaurants

SigTheatre.org 703 820 9771 washingtoncitypaper.com march 11, 2016 27

FilmShort SubjectS Twirl, please!

Embrace of the Serpent

Knight of Cups Directed by Terrence Malick To film lovers and Terrence Malick fans— circles that overlap but are hardly mutually inclusive—the evolution was evident. In Malick’s 2012 The Tree of Life, there were twirling and whispers and beaches and some (usually tense) dialogue. In 2013’s To the Wonder, there were twirling and whispers and beaches, but the “script” was composed entirely of thoughts and discrete lines that the characters were told to act out silently.

In Knight of Cups, Malick’s seventh outing, there are twirling and whispers and beaches, but no dialogue—the characters mumble about one another instead of talk to each other. The actors were given character descriptions and mildly suggested lines; star Christian Bale didn’t even get the latter. No one in the cast was told what the movie was about.

Bale reportedly said that he had no idea what would happen to his character on any given day and tried to sneak peeks at the other actors’ meager pages in search of a clue. There was also no distinction between professional actors and other people Malick would use to “torpedo”—i.e. drop in on—a scene.

Malick’s typical direction? “Walk around and see what happens.”

What resulted was an experiment gone mostly wrong. The summary purports that the story is about Rick (Bale), a successful screenwriter trying to find love and himself in L.A. and Las Vegas. He’s having an existential crisis that money and women can’t seem to alleviate. And seeking such contentment involves Rick... walking around and seeing what happens.

Bale is a terrific actor, and his moping and escapades are much more diverting than staring at Ben Affleck’s moody jaw in To the Wonder. And he could almost get away with wringing some pathos and sympathy out of Rick if the guy were allowed to, you know, speak. Or if most of the scenes weren’t bursting with other characters and debauchery, which gets so distracting you forget what the film is allegedly about. Which I imagine you should, especially if the cast didn’t know themselves.

The whispered voiceovers, however, are constant, and there are a few that might gutpunch viewers who might be going through a similar crisis. “See the palm trees?” Rick intones during a shot of sunny Los Angeles.

“They tell you anything is possible. You could start over.” Beat. “You don’t.” Bale even has a scene in which his eyes are bloodshot and he looks like he’s cried, which I frankly find impressive under Malick’s conditions. But then those bits of wisdom get ludicrous. “Blind.

Deaf. Gasping,” Rick murmurs while seeming to discuss his father, who doesn’t appear to be any of those things. “The only way out

Knight of Cups is in,” a stripper (Teresa Palmer) says, telepathically, to Rick. What now?

What elevates Knight of Cups, which refers to a tarot card, above Malick’s previous two outings is the sparkle of L.A. and Las Vegas to those who can afford to live large.

This film’s beaches are only occasionally gray; mostly there’s sun and skyscrapers and those devilish palm trees. Vegas, meanwhile, is this film’s City of Light, whether it’s the neon of a gentlemen’s club or the overboard illuminations and international fakery of the strip’s hotels. Rick also appears to have about 10 apartments, all well-appointed.

But cinematography (here by recent Oscar winner Emmanuel Lubezki) can’t compensate for the film’s many flaws. Perhaps only Christopher Guest can pull off an entirely improvised movie. And perhaps Malick should return to scripts, full-volume voiceovers, and more linear storytelling if he doesn’t want to Woody Allen himself and push away fans for good.

—Tricia Olszewski Knight of Cups opens Friday at Landmark’s E Street Cinema.

28 march 11, 2016 washingtoncitypaper.com

pan for gold Embrace of the Serpent Directed by Ciro Guerra Don’t let Embrace of the Serpent’s title and story about searching for a hallucinogenic plant lead you to think that it’s best viewed while riding the snake. There are, admittedly, a few minutes toward the end that turn a bit Yellow Submarine; these swirly moments are in color, whereas the rest of the film is in black and white. And although there’s a lot of talk of mysticism—practically the whole script, actually—trippiness is kept to a minimum.

Unless you count audience confusion. Embrace of the Serpent is Colombia’s failed bid to nab a Best Foreign Language Film Oscar (and also the country’s first nomination), and though its vision is ambitious, its execution may leave some viewers in its shamanic dust.

Director and co-writer Circo Guerra based the story on the journals of a German ethnologist (Theodor Koch-Grunberg, played by Borgman’s Jan Bijvoet) and an American eth-

nobotanist (Richard Evans Schultes, played by Brionne Davis), who both seek the help of a native Amazonian healer to find a fictional flower with therapeutic properties (and if it’s fun, all the better). But they take their respective journeys with Karamakate (Nilbio Torres and Antonio Bolivar) 40 years apart.

Karamakate thinks he is the last of his people when a sick Theo comes washing up on his shore with an indigenous guide (Yaunekü Migue).

Theo, however, assures him that this is not the case and promises to lead Karamakate to his family if he’ll save his life. When Evan arrives decades later, he has a copy of Theo’s journal and is seeking the plant (which is made into tea) because it’s purported to help its imbibers dream, which Evan has never done. But Evan is a bit of a dick, offering Karamakate “a lot of money” if he’ll guide him—then the asshole shows him two bucks.

This all may sound relatively straightforward, but by the time things are wrapped up, there are messages about colonization (heavy), the Catholic Church (weird), and humans’ attachment to things, which prevents forward movement in life (irritating). Karamakate repeatedly claims that “the white” is not to be trusted, a belief that’s reinforced when Theo produces a gun. (“All your knowledge only leads to violence, death.”)

Nevertheless, Theo and Evan manage to persuade a wary Karamakate to help them, and both also spit out a couple of Bible verses to get onto the grounds of the “Messiah,” a church they discover while paddling down the lake. Here, native boys (later men) protect their leader, who whip them and treat them like slaves. But the best scene is during Evan’s leg, when the party gets going and the Messiah encourages everyone to “Eat the body of our Lord!” Whether the Messiah survives his own command is unknown.

Embrace of the Serpent is ultimately too mysterious to win many fans. The ways of Karamakate and other natives are indeterminate; the dialogue may alternatively deepen/rankle the explorer’s relationship with Karamakate, which shows the tension between the races but little besides that gist.

Even the black-and-white footage of its characters, including, in no small part, nature itself, seems slightly blurred—it’s no Ida. The film might be considered the first true example of how it was an honor just to be nominated.

—Tricia Olszewski

Embrace of the Serpent opens Friday at Landmark’s E Street Cinema.

BooksSpeed ReadS Blood and no Guts Northwoods

By Bill Schweigart Random House, pp. 259 The key to horror fiction is repulsive gore,which local author Bill Schweigart’s new novel, Northwoods, wades right into.

From corpses flayed to the bone in the forest to a police officer who gets eaten in bed, this tale tosses every gruesome horror trick imaginable at the reader.

One character observes of his attackers, “Some were naked, their faces, necks and chests streaked with gore, shocks of red on the vast plain of ice.”

The grisly details start early on and never let up. Neither does the action.

Set in Minnesota, Northwoods is the sequel to The Beast of Barcroft, another horror saga that features a monster stalking the residents of Arlington,

While there’s not much room for nuance or thematic development, there is action and one shocking slaughter after another. a hero who just kicked antidepressants, a queer heroine, and a host of minor characters served up as monster chow. Like Northwoods, it’s the stuff of unadulterated horror fiction. Unlike its predecessor, The Beast of Barcroft focuses on only one monster. The sequel sets its sights much higher.

It succeeds, but not completely. For a while, Schweigart puts the Ojibwe, a Native American tribe, in focus, suggesting that the plot might cover not just tribal lore but tribal customs. But the novel barely skims the surface of Native American beliefs, and doesn’t link them to the deadly creatures that have slouched out of the woods.

Instead, Schweigart puts most of the attention on U.S. Customs and Border Protection agent Davis Holland, who’s tasked with

investigating some Canadian border crossings that quickly turn bloody. Ben McKelvie, hero of The Beast of Barcroft, shows up, and events spiral out of control. It seems the border town has been invaded by monsters of the kind straight out of the TV series Supernatural. The similarities go beyond gruesomeness and splatters of blood: There’s also lots of weaponry (the hero is a federal agent, so he has access to the latest, most terrifying armament) and plenty of casualties. It’s best not to grow too attached to minor characters, because before you know it, they’ve had their entrails eaten by ghouls. While there’s not much room for nuance or thematic development, there is action and one shocking slaughter after another.

Like The Beast of Barcroft, Northwoods doesn’t reveal where these supernatural horrors come from. It’s not enough to have one character quote Oliver Wendell Holmes saying that “Once the mind has been stretched by a new idea, it will never again return to its original size.” That explains how the heroes come to believe they’re battling the forces of evil but not how those forces got here.

Schweigart still has time to answer this question, as this series will clearly continue.

Fans of McElvie and Lindsay Clark will likely have the opportunity to see them again.

The new guy, Holland, is an even more interesting character, as is his partner, Alex Standingcould. And like Supernatural, this monster series could run for a long time.

—Eve Ottenberg washingtoncitypaper.com march 11, 2016 29

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

Tesla • Vince Neil • Kix and more! ...................... APRIL 29 & 30

feat.

Jason Aldean w/ Thomas Rhett • A Thousand Horses • Dee Jay Silver ............ MAY 7

THIS WEEK’S SHOWS

I.M.P. & AEG LIVE PRESENT

ALL GOOD PRESENTS

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

Railroad Earth (F 11 - w/ OJR • Sa 12 - w/ Hackensaw Boys) .......... F 11 & Sa 12 Brian Fallon and The Crowes w/ Austin Plaine .......................................... Tu 15 GoldLink w/ Esta & Chris McClenney....................................................................... W 16 MARCH

Cowboy Mouth w/ Dingleberry Dynasty ......................................................... Th 17 Galactic w/ The Bright Light Social Hour ............................................... F 18 & Sa 19 G. Love and Special Sauce w/ Ripe & The Bones of J.R. Jones ................. Th 24 Savages .............................................................................................................Su 27 Dubioza Kolektiv............................................................................................ Th 31 APRIL THE BLUEGRASS SITUATION AND ALL GOOD PRESENT

The Infamous Stringdusters feat. Nicki Bluhm (F 1 - w/ Della Mae • Sa 2 - w/ Paper Bird) ..................................................F 1 & Sa 2 Ben Harper and the Innocent Criminals w/ Christopher Paul Stelling .. M 4 Jonathan Richman featuring Tommy Larkins Early Show! 6pm Doors ....Th 7 U STREET MUSIC HALL PRESENTS

Baauer Late Show! 10pm Doors .......................................................................Th 7 Ace Frehley w/ Charm City Devils .......................................................................F 8 Drew Holcomb and The Neighbors w/ Jill Andrews ................................ Sa 9 Magic Man & The Griswolds w/ Panama Wedding ....................................Su 10 Napalm Death & Melvins w/ Melt Banana ................................................. Tu 12 The Joy Formidable w/ Everything Everything .............................................W 13 Lissie w/ Skrizzly Adams ................................................................................... Th 14 Thao and the Get Down Stay Down w/ Saintseneca & Little Scream ....... F 15 The Feelies ...................................................................................................... Sa 16 The Dandy Warhols ......................................................................................Su 17 Esperanza Spalding ..................................................................................... Tu 19 Tokyo Police Club w/ From Indian Lakes Early Show! 6pm Doors .............. Th 21 STEEZ PROMO PRESENTS

Dirtyphonics & Funtcase w/ Habstrakt Late Show! 10pm Doors ............. Th 21 Murder By Death w/ Kevin Devine and The Goddamn Band ............................F 22 ALL GOOD PRESENTS

Tribal Seeds w/ Anuhea & E.N Young ............................................................ Sa 23 Puddles Pity Party This is a seated show. .................................................... M 25 Poliça w/ MOTHXR ............................................................................................. Tu 26 Bob Mould w/ Ted Leo (solo) ............................................................................W 27

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

SWEETLIFE FESTIVAL FEATURING

The 1975 / Halsey / Flume / Grimes / PARTYNEXTDOOR and more! ....... MAY 14 Kenny Chesney w/ Old Dominion ................................................................ MAY 19 Twenty One Pilots .....................................................................................JUNE 10 Ellie Goulding ........................................................................................................ JUNE 13 Tame Impala w/ M83 ......................................................................................... JUNE 16 Chris Stapleton & Jason Isbell w/ Frank Turner and the Sleeping Souls ..................................................... JUNE 18 The Cure w/ The Twilight Sad.................................................................................. JUNE 22 Modest Mouse / Brand New ................................................................... JULY 12 Brandi Carlile & Old Crow Medicine Show w/ Dawes ..... JULY 23 Miranda Lambert w/ Kip Moore & Brothers Osborne ............................AUGUST 25 • For full lineups and more info, visit merriweathermusic.com • 930.com

Echostage • Washington, D.C. I.M.P. & STEEZ PROMO PRESENT

Big Gigantic w/ Mija • Louis the Child • MELVV • DELTAnine ....................... APRIL 8 X Ambassadors w/ Robert DeLong & Sara Hartman ..................................... MAY 12 Bloc Party w/ The Vaccines .................................................................................... MAY 19 2135 Queens Chapel Rd. NE • Ticketmaster

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1215 U Street NW Washington, D.C.

Yamato - The Drummers of Japan ........................................................... MARCH 16 Citizen Cope (An Intimate Solo / Acoustic Performance) ....................................APRIL 1 Joe Satriani ............................................................................................................APRIL 2 Jewel (solo acoustic) w/ JD and The Straight Shot .............................................APRIL 7 AEG LIVE PRESENTS

Welcome to Night Vale w/ Danny Schmidt & Carrie Elkin ....................... APRIL 18 & 19 JUSTICEAID PRESENTS

ALL GOOD PRESENTS

Ozomatli plus Big Tony & Trouble Funk .................................................... MAY 15 Sam Beam and Jesca Hoop w/ Marlon Williams .............................................. MAY 21

Early Show! 5:30pm Doors. This is a seated show. ...............................................F 29

Plastic Cup Boyz.................................................................................................. MAY 29 John Carpenter: Live Retrospective

Elephant Revival .......................................................................................... Th 28 The Residents present Shadowland U STREET MUSIC HALL PRESENTS

Miami Horror

93.9 WKYS AND MAJIC 102.3 PRESENT

Performing themes from his classic films and new compositions ............................. JULY 12 T ADDED!

All 1/24 Miami Horror tickets will be honored. Late Show! 10pm Doors .............. Th 28 Maggie Rose & The Morrison Brothers Band Early Show! 6pm Doors . Sa 30 STEEZ PROMO PRESENTS

Slander w/ Boombox Cartel Late Show! 10pm Doors..................................... Sa 30

JUL 23 SOLD OUT! SECOND NIGH

Bryan Ferry w/ LP ................................................................................................. JULY 25 case/lang/veirs (neko case/k.d. lang/laura veirs) w/ Andy Shauf ............... JULY 27 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

MAY

M. Ward w/ NAF ..................................................................................................Su 1 Parachute w/ Jon McLaughlin ............................................................................W 4

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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9:30 CLUB PRESENTS AT U STREET MUSIC HALL 9:30 CLUB & SIRIUS XM PRESENT ALT NATION ADVANCED PLACEMENT TOUR FEAT.

POP ETC • Banners •

Wiki & Antwon w/ NAPPYNAPPA ....... Tu 22 9:30 CLUB & ALL GOOD PRESENT

The Moth and The Flame ......F MAR 11 Stick Figure w/ Fortunate Youth & Raging Fyah .... Sa 26 Eli Paperboy Reed w/ Jeremy and The Harlequins • Gin Wigmore ...................................... Su 27 DJ Robert Fearless • DJ Baby Alcatraz . Sa 12

HÆLOS ................................................. M 28 Hippie Sabotage w/ Alex Wiley & Kembe X ..................... M 21 Skizzy Mars w/ P-Lo ............................ W 30 • Buy advance tickets at the 9:30 Club box office

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

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

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SABBATH SUNDAY NIGHTS

CITYLIST Friday Rock

Comet Ping Pong 5037 Connecticut Ave. NW. (202) 364-0404. The Snails, Eze Jackson, Other Colors, 83 Cutlass. 10 p.m. $12. cometpingpong.com.

DC9 1940 9th St. NW. (202) 483-5000. Nap Eyes, Cian Nugent. 7 p.m. $10. dcnine.com.

Fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Saosin featuring Anthony Green, Limbs, Young and Heartless. 9 p.m. $25. fillmoresilverspring.com. gyPSy Sally’S 3401 K St. NW. (202) 333-7700.

Ben Cosgrove, Max Garcia Conover. 8 p.m. Free. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000.

Major and the Monbacks, The Congress. 8:30 p.m. $12.25–$17.25. thehamiltondc.com. iota Club & CaFé 2832 Wilson Blvd., Arlington.

(703) 522-8340. Clones of Clones, Wyland, The NRIs. 9 p.m. $10. iotaclubandcafe.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Mount Moriah, Skylar Gudasz. 9 p.m. $12–$14. rockandrollhoteldc.com. u Street muSiC hall 1115 U St. NW. (202) 5881889. Banners, The Moth and the Flame, POP ETC. 7 p.m. $15. ustreetmusichall.com. villain & Saint 7141 Wisconsin Ave., Bethesda.

(240) 800-4700. Jackie and the Treehorns, Honey Pot Canoe. 9 p.m. $7–$10. villainandsaint.com.

Funk & R&B betheSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Kenny Lattimore. 8 p.m. $55–$65. bethesdabluesjazz.com.

ElEctRonic eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Excision, Figure, Bear Grillz. 9 p.m. $60. echostage.com.

CITY LIGHTS: FRIDAY

MOUNT MORIAH The gothic, poetic rock of Mount Moriah captures the complicated relationship Southerners have with their history. On its self-titled debut, the North Carolina band reckons with what it’s like to worship in a church that’s not made for you. The follow-up, Miracle Temple, was its unceremonious exile. How to Dance, the group’s latest effort, reflects on a path to a brighter future. Its songs are tight and crisp, with a lightness that Mount Moriah hasn’t yet shown. The record sleeve dedicates How to Dance to “anyone who has ever felt the cold shadows of oppression or discrimination; to the misfits, the outcasts, the loners, the misunderstood, the underdogs” and continues on to activists, artists, and animals.

Lead singer Heather McEntire, who used her Dolly Parton-meets-rock ’n’ roll vocals to help us understand her pain so well, now uses her power to unite all those who might feel out of place. Opening act Skylar Gudasz has been a local favorite in North Carolina and is poised to break out with her masterful debut record, Oleander. From contemplative folk to road trip rock, the playful confidence she showcases is infectious. Mount Moriah performs with Skylar Gudasz at 9 p.m. at Rock & Roll Hotel, 1353 H St. NE. $12–$14. (202) —Justin Weber 388-7625. rockandrollhoteldc.com.

Punk/Metal/Hardcore Classics

BluEs

$5 Drafts & Beer Specials

u Street muSiC hall 1115 U St. NW. (202) 5881889. DJ Dan, Slynk, Malphunktion, Space Apes.

10:30 p.m. $10. ustreetmusichall.com.

blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. Corey Harris. 8 p.m. & 10 p.m. $25–$30. bluesalley.com.

Jazz

countRy

amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Tribute to Charlie Byrd with Chuck Redd and friends. 8 p.m. $35–$45. ampbystrathmore.com.

9:30 Club 815 V St. NW. (202) 265-0930. Railroad Earth, OJR. 7 p.m. $25. 930.com.

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

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Music

SongbyrD muSiC houSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Mystery Skulls, French Horn Rebellion, Deidre and the Dark. 8:30 p.m. $10–$12. songbyrddc.com.

10:30 pm - Close

Music . . . . . . . . . . . . . . . . . . . . . . . . .31 Theater . . . . . . . . . . . . . . . . . . . . . . 3 5 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .37

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Betty Carter’s Jazz Ahead. 6 p.m. Free. kennedy-center.org. mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. The Kevin Cordt Quartet. 8 p.m. Free. mrhenrysdc.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kathy Mattea. 7:30 p.m. $35. birchmere.com.

Folk gyPSy Sally’S 3401 K St. NW. (202) 333-7700.

Crooks and Crows. 10:30 p.m. Free. gypsysallys.com.

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

The 19th Street Band. 10:30 p.m. Free. thehamiltondc.com. montPelier artS Center 9652 Muirkirk Road, Laurel. (301) 377-7800. The Sweater Set. 8 p.m. $25. arts.pgparks.com.

classical barnS at WolF traP 1635 Trap Road, Vienna.

(703) 255-1900. Ariel Quartet. 7:30 p.m. $35. wolftrap.org. kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Christoph Eschenbach, conductor; Jean-Yves Thibaudet, piano. 11:30 a.m. $15–$89. kennedy-center.org.

washingtoncitypaper.com march 11, 2016 31

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

1811 14 ST NW TH

www.blackcatdc.com @blackcatdc

SPRING SHOWS

THU 10 FRI 11

MASS GOTHIC SUNFLOWER BEAN

BLUR V OASIS V PULP V SUEDE

A BRITPOP DANCE PARTY

FRI 11 SAT 12 SAT 12

CHURCH NIGHT (21+)

MIXTAPE

HTC / CAT JACK

THE MAX LEVINE ENSEMBLE WED 16 WILD ADRIATIC SUN 13

THU 17 FRI 18 FRI 18 SAT 19 TUE 29 FRI 1 SAT 2

KARAOKE BONANZA A RADIO CPR BENEFIT

NEW ORDER DANCE PARTY

BUMP & GRIMES II

WALKING DEAD BURLESQUE (21+)

TORTOISE

JUNIOR BOYS

ALL FOOLS NIGHT

MUSIC / SIDESHOW / COMEDY

DANCE YOURSELF CLEAN

TORTOISE SAT MAR 19

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

Tix @ Ticketmaster.com 800-745-3000

Mar 10

LEO KOTTKE

13

Jerry Douglas Presents

EARLS OF LEICESTER

LIZZ WRIGHT

14

Bass Player Extraordinaire!

15

TAL WILKENFELD DWELE

17 18

Maia Sharp

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

Chapman Larry Burnett AMERICA &Don 22 BIG BAD VOODOO DADDY EMILY WEST 24 As seen on “America’s Got Talent!”

20

CLEVE FRANCIS 29 MUSIQ SOULCHILD GOAPELE 30 Apr Karen 1 BOB SCHNEIDER (Solo) Jonas TOM RUSH 2 RIDERS IN THE SKY 3 6&7 RY COODER, SHARON WHITE, RICKY SKAGGS DON McLEAN 8 KEIKO MATSUI 9 10 BRANFORD MARSALIS ROBIN TROWER 12 The Record 13 JJ GREY & MOFRO Company

library oF CongreSS thomaS JeFFerSon builDing 101 Independence Ave. SE. (202) 7075000. Talea Ensemble. 8 p.m. Free. loc.gov.

Sixth & i hiStoriC Synagogue 600 I St. NW. (202) 408-3100. Greg Dulli, Derrick Brown. 8 p.m. (Sold out) sixthandi.org.

martin luther king Jr. memorial library 901 G St. NW. (202) 727-0321. Rogue Collective. 12 p.m.

Free. dclibrary.org/mlk.

Funk & R&B

DJ nights blaCk Cat 1811 14th St. NW. (202) 667-4490. Britpop Battle of the Bands with DJs Matt Walter and Craig Boarman. 9:30 p.m. $10. blackcatdc.com. boSSa biStro 2463 18th St NW. (202) 667-0088.

Friday Night Vibrations with DJ Aisha Karimah. 10 p.m. $5. bossadc.com.

saturday Rock

blaCk Cat baCkStage 1811 14th St. NW. (202) 667-4490. HTC, Cat Jack. 9 p.m. $10. blackcatdc.com. gyPSy Sally’S 3401 K St. NW. (202) 333-7700. The Tin Man. 8 p.m. Free. gypsysallys.com. hoWarD theatre 620 T St. NW. (202) 803-2899.

Edwin McCain. 7:30 p.m. $25–$60. thehowardtheatre.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

White Ford Bronco. 8 p.m. (sold out) & 11:30 p.m. $22.50–$25. rockandrollhoteldc.com.

u Street muSiC hall 1115 U St. NW. (202) 5881889. Eli Paperboy Reed, Jeremy and the Harlequins, DJ Robert Fearless, DJ Baby Alcatraz. 7 p.m. $15. ustreetmusichall.com.

ElEctRonic eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Dimitri Vegas, Like Mike, Wolfpack, Dubvision. 9 p.m. $50. echostage.com. u Street muSiC hall 1115 U St. NW. (202) 5881889. Marco Bailey, Rroxymore, Dawit Eklund.

10:30 p.m. $10. ustreetmusichall.com.

Jazz amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Tribute to Charlie Byrd with Chuck Redd and friends. 8 p.m. $35–$45. ampbystrathmore.com. mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Kim Scudera with Batida Diferente. 8 p.m.

Free. mrhenrysdc.com.

26

An Evening with

14

THE CHURCH

15&16

Charles Ross’

17 ONE MAN

DARK KNIGHT

A Batman Parody

18

JAKE SHIMABUKURO BIG GIRL’S DON’T CRY

TUE MAR 29 JUNIOR BOYS

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM 32 march 11, 2016 washingtoncitypaper.com

WALK LIKE A RAG DOLL MAN WHO LOVES YOU

TAKE MY EYES OFF OF YOU A TRUE CAN’T AMERICAN

POP ICON WORKING MY WAY BACK TO YOU

LET’S MY EYES HANG ON ADORED YOU

BYE, BYE, SHERRY BABY DECEMBER 1963 OH WHAT A NIGHT GREASE

(BABY GOODBYE)

Oct. 27 & 28, 8pm On Sale Fri. Mar 4 at 10 am!

Ticketmaster.com/800-745-3000.

CITY LIGHTS: SATURDAY

THE REVELERS

The Revelers, a joyful band out of Lafayette, La., play a lot of swamp pop—timeless Fats Domino-inflected rock ’n’ roll music but with Cajun and zydeco influences. Featuring former members of The Red Stick Ramblers and The Pine Leaf Boys, who’ve appeared on TV with Anthony Bourdain and on David Simon’s Treme, this young Southern combo sings in French and English and uses an accordion and fiddle in addition to guitar, bass, and drums. Not a mere johnny-come-lately Americana outfit, all band members are proficient songwriters with deep roots in their region’s musical culture. Its roadhouse sound includes plenty of uptempo rockers punctuated with honking saxophone blasts, but it balances that with country, blues, and swing-jazz accented slow dance numbers. The ensemble’s cover of Jerry LaCroix’s “The Lonely Room” demonstrates its adeptness for reviving old-school tearjerkers without sounding overly retro. The best moments in its catalogue come from mid-tempo pop-rock numbers like “If You Ain’t Got Love.” Its buoyant, tuneful bounce comes from its sugar-sweet hook, gorgeous guitar and accordion rhythms, and simple lyrical phrasing. The Revelers perform at 8:30 p.m. at Glen Echo Park, 7300 MacArthur Blvd., —Steve Kiviat Glen Echo. $20. (301) 634-2222. glenechopark.org.

TH MAR 10 The Mercy Alliance FR MAR 11 Dynamo w/The Watt Brothers SA MAR 12 Radio Mosaic (Featuring members of New Potato Caboose & Wood-N-Steel) MO MAR 14 Harry Jay Smith and The Bling TU MAR 15 Trivia Tuesday!

WE MAR 16 Beechers Fault (Duo Acoustic) TH MAR 17 Saint Pat’s Day w/Jonathan Sloane Trio FR MAR 18 The Next Step Band SA MAR 19 Kidsrock! Brunch & Concert w/Rocknoceros Tickets On Sale Now!!!

SA MAR 19 Definition Of One & Mary-El TU MAR 22 Trivia Tuesday!

WE MAR 22 No Better Off TASTY DJ JEYONE SATURDAYS SPINNING TH MAR 24 Funky Funky Thursday w/The Good Thing Every Thursday Offer Tasty Samples in our FR MAR 25 The Fuss & Go Mod Go from 11pm-Close Butcher Shop & Market SA MAR 26 Justin Trawick & The Common Good

925 North Garfield St. | Arlington, VA | 703-841-5889 | sehkraftbrewing.com

CITY LIGHTS: SUNDAY

METRIC Now on its sixth studio album and well into its second decade of performing, Canadian rock band Metric’s sound has wandered into dancey electronic territory, even though its members have never given up their deep affection for their synth roots. The group’s compositions can often sound as if Courtney Love threw up on a Depeche Mode song, blending that brassy girl angst with dizzying electronic waves. Despite its increasingly pop-like sound, the band enters the future dragging its heels, with lead singer Emily Haines lamenting the fact she has to use email to connect with other artists. “We know our band is preiPhones, man,” Haines said in a Time interview last year. “We’re pre-everything.” Still, her sharp self-awareness keeps her from getting too mawkish with her lyrics and lends her infectious songs plenty of energy. At this point, Metric is basically the musical equivalent of a Buzzfeed listicle. You read it in shame but devour it for all its colorful familiarity. Metric performs with Joywave at 8 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $31.

—Allison Kowalski (301) 960-9999. fillmoresilverspring.com.

BluEs

DJ nights

blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. Corey Harris. 8 p.m. & 10 p.m. $25–$30. bluesalley.com.

blaCk Cat 1811 14th St. NW. (202) 667-4490. Mixtape with DJs Shea Van Horn and Matt Bailer. 9:30 p.m. $10. blackcatdc.com.

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

Johnny and the Headhunters. 10:30 p.m. Free. thehamiltondc.com.

countRy 9:30 Club 815 V St. NW. (202) 265-0930. Railroad Earth, Hackensaw Boys. 7 p.m. $25. 930.com. hill Country live 410 7th St. NW. (202) 5562050. William Clark Green. 9:30 p.m. $10. hillcountrywdc.com.

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

Celebrity Birthday Bash featuring Junkyard Band. 11 p.m. $25–$60. thehowardtheatre.com.

classical kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Christoph Eschenbach, conductor; Jean-Yves Thibaudet, piano. 8 p.m. $15–$89. kennedy-center.org.

Vocal linColn theatre 1215 U St. NW. (202) 888-0050.

Gay Men’s Chorus of Washington. 8 p.m. $25–$63. thelincolndc.com.

sunday Rock

blaCk Cat baCkStage 1811 14th St. NW. (202) 667-4490. Max Levine Ensemble, Worriers, Thin Lips. 7:30 p.m. $12. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Le Butcherettes, The Dead Ships, Eureka the Butcher. 8:30 p.m. $14. dcnine.com.

Fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Metric, Joywave. 8 p.m. $31. fillmoresilverspring.com.

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

Adriatique, Kevin Melito, Mark Thompson. 8 p.m. $10–$15. flashdc.com.

washingtoncitypaper.com march 11, 2016 33

BluEs

classical

blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. Corey Harris. 8 p.m. & 10 p.m. $25–$30. bluesalley.com.

kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. Montreal Symphony with Kent Nagano, conductor; Daniil Trifonov, piano. 7 p.m. $50–$120. kennedy-center.org.

countRy MARCH THURSDAY MARCH 10 + FRIDAY MARCH 11

KENNY LATTIMORE

M 14 NOLATET - TRANSCENDING

NEW ORLEANS JAZZ- FREE SHOW

W 16MARCUS ANDERSON

& EARL CARTER TH 17 ST. PATTY’S DAY

WITH O MALLEY’S MARCH: A 7-PIECE IRISH BAND

F

18 ERIC FELTEN MEETS

THE DEK-TETTE SU 20 EDDIE JONES & THE YOUNG BUCKS COMING UP WEDNESDAY MARCH 23

LALAH HATHAWAY

S

26 JOE CLAIR

COMEDY SHOW APRIL

S T S F

2 KING SOUL & TEXAS

CHAINSAW HORNS 5 GREG ADAMS & EAST BAY SOUL 9 SYLEENA JOHNSON 22 CAMEO M AY

M

2 SNARKY PUPPY

T

26 ERIC BENET

F

27 ERIC BENET

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends 34 march 11, 2016 washingtoncitypaper.com

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Earls of Leicester. 7:30 p.m. $39.50. birchmere.com.

classical atlaS PerForming artS Center 1333 H St. NE. (202) 399-7993. Capital City Symphony: Haunted Topography, Heavenly Life. 5 p.m. $15–$25. atlasarts.org.

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Azariah Tan. 6 p.m. Free. kennedy-center.org.

tuesday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Brian Fallon & The Crowes, Austin Plaine. 7 p.m. $25.

930.com.

boSSa biStro 2463 18th St NW. (202) 667-0088.

Rogue Collective, Domingues and Kane. 9 p.m. Free. bossadc.com.

gyPSy Sally’S 3401 K St. NW. (202) 333-7700.

Royal Southern Brotherhood, Sweet Leda. 8 p.m. $18–$22. gypsysallys.com.

montPelier artS Center 9652 Muirkirk Road, Laurel. (301) 377-7800. Ward-Kong Duo: Alicia Ward, cello, Kimberly Kong, piano. 3 p.m. Free. arts.pgparks.com.

caBaREt

national gallery oF art 4th Street and Constitution Avenue NW. (202) 737-4215. Fry Street Quartet. 3:30 p.m. Free. nga.gov. national PreSbyterian ChurCh 4101 Nebraska Ave. NW. (202) 429-2121. Washington Bach Consort: “Little Organ Book, Part 2.” 3 p.m. $10–$69. bachconsort.org.

Monday Rock DC9 1940 9th St. NW. (202) 483-5000. D∆WN, Dais.

9 p.m. $20–$25. dcnine.com.

Jazz betheSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Nolatet. 8 p.m. Free. bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lizz Wright with Maia Sharp. 7:30 p.m. $39.50. birchmere.com.

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Kander and Ebb Musical Revue. 6 p.m. Free. kennedy-center.org.

Wednesday Rock

blaCk Cat baCkStage 1811 14th St. NW. (202) 667-4490. Wild Adriatic, Animal Years. 7:30 p.m. $12. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Have Mercy, A Will Away. 8 p.m. $13–$15. dcnine.com. gyPSy Sally’S 3401 K St. NW. (202) 333-7700.

Miss Tess and the Talkbacks, The Bumper Jacksons. 8 p.m. $12–$15. gypsysallys.com. roCk & roll hotel 1353 H St. NE. (202) 3887625. Foxing, O’Brother, Tancred, ADJY. 7:30 p.m. $13–$15. rockandrollhoteldc.com.

Funk & R&B Fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Tinashe, Ryan Hemsworth. 8 p.m. $25–$100. fillmoresilverspring.com.

CITY LIGHTS: MONDAY

BEAUTIFUL THING

Part soap opera, part love story, Jonathan Harvey’s Beautiful Thing is the kind of classic coming-of-age tale that resonates with audiences decades after it was first published and performed. The play follows the emerging relationship between Jamie and Ste, two young men living in Southeast London in the early ’90s and finding different ways to deal with their emerging sexuality. First introduced as neighbors, their relationship turns intimate when Ste’s brother kicks him out of the house and he spends the night recovering with Jamie. Throw in the stigma the men encounter from their family members, their own questions about what they mean to each other, and some drug-addled hangers on, and you’ve got the makings of a great melodrama. Rainbow Theatre Project presents a reading directed by Jeanette Buck, who will heighten the play’s humanity while emphasizing its humor. The reading begins at 7:30 p.m. at Source, 1835 14th St. NW. $15. (202) 315-1305. rainbowtheatreproject.org. —Caroline Jones

CITY LIGHTS: TUESDAY

ENVIRONMENTAL FILM FESTIVAL

On bad days, when you feel at odds with the world, the only thing that helps restore order is watching adorable animal videos. This might explain the popularity of the National Zoo’s Panda Cam but it’s also present in the Environmental Film Festival’s programming this year. Beginning tonight, the annual celebration of the natural world features films about, among other things, a dog who protects penguins from invasive foxes, Asiatic lion cubs, and the life of Atlantic puffins. The diverse lineup isn’t limited to fuzzy creature features, however; urban planning nerds can learn about the development of Reston, Va., and food snobs can discover how environmental changes affect the creation of products like collard greens and sake. Even local changemakers are profiled in City of Trees, a feature-length look at a stimulus-funded job training program that hired unemployed citizens to plant trees and improve parks east of the Anacostia River. Consider how your life intersects with the environment at any number of these screenings, many of which show for free. The festival runs March 15 to March 26 at various venues around D.C. Free–$30.

—Caroline Jones (202) 342-2564. dceff.org.

Jazz betheSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Marcus Anderson & Earl Carter. 8 p.m. $30. bethesdabluesjazz.com.

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

John Mayall. 8 p.m. $22.50–$32. thehamiltondc.com.

WoRlD linColn theatre 1215 U St. NW. (202) 888-0050.

Yamato: The Drummers of Japan. 8 p.m. $35. thelincolndc.com. manSion at Strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Artist in Residence Workshop: The Afro-Latin Connection The Intercultural Musical Relationship with Cassandra Allen.

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

hip-hop 9:30 Club 815 V St. NW. (202) 265-0930. GoldLink, ESTA, Chris McClenney. 7 p.m. $25. 930.com. boSSa biStro 2463 18th St NW. (202) 667-0088.

BYOB Tour with Boog Brown, YU, Yamin Semali, J Scienide, Melaphyre Etheoryall. 8 p.m. $10. bossadc.com.

caBaREt kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Frenchie Davis. 6 p.m. Free. kennedy-center.org.

thursday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Cowboy Mouth, Dingleberry Dynasty. 7 p.m. $25. 930.com. gyPSy Sally’S 3401 K St. NW. (202) 333-7700. Jimkata, Swift Technique, Heartracer. 8 p.m. $10–$12. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000.

Young Dubliners, The Danny Burns Band. 7:30 p.m. $30–$40. thehamiltondc.com.

roCk & roll hotel 1353 H St. NE. (202) 388-7625.

J. Roddy Walston & The Business. 8 p.m. (Sold out) rockandrollhoteldc.com.

Funk & R&B

SAT MARCH 12TH

EDWIN MCCAIN SUN MARCH 13TH JAZZ BRUNCH FT. MARCUS JOHNSON TUE MARCH 15TH

TANK

THU MARCH 17TH & FRI MARCH 18TH 2 NIGHTS OF

KEITH SWEAT SAT MARCH 19TH

PETE YORN SUN MARCH 20TH

MOSH BEN ARI

PRODUCED BY MORGANE BEN AMI

WED MARCH 23RD

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. DWELE. 7:30 p.m. $45. birchmere.com.

SILVERSTEIN

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

Keith Sweat. 7:30 p.m. $49.50–$92.50. thehowardtheatre.com.

EMAROSA • COLDRAIN • RARITY

Jazz

RISK PODCAST

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Sinne Eeg. 6 p.m. Free. kennedy-center.org.

WoRlD barnS at WolF traP 1635 Trap Road, Vienna.

(703) 255-1900. Alan Kelly Gang. 8 p.m. $25–$27. wolftrap.org.

hip-hop Fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Yung Lean. 8 p.m. $22. fillmoresilverspring.com.

classical kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Osmo Vänskä, conductor; Nikolai Lugansky, piano. 7 p.m. $15–$89. kennedy-center.org.

caBaREt atlaS PerForming artS Center 1333 H St. NE. (202) 399-7993. Congressional Chorus presents Tinseltown: A Hollywood Cabaret. 8 p.m. $48. atlasarts.org.

theater

110 in the ShaDe A young woman aches for a life outside her small town and when she meets a handsome stranger who promises her opportunity and the ability to ease the region’s drought, her dreams appear within reach in this lively romantic musical by Harvey Schmidt, Tom Jones, and N. Richard

2016 USA TOUR WITH SPECIAL GUEST

BEING AS AN OCEAN

SAT MARCH 26TH

SUN MARCH 27TH

EASTER SUNDAY BRUNCH SPECIAL FT. HARLEM GOSPEL CHOIR

MON MARCH 28TH

DELTA DEEP

FT. PHIL COLLEN OF DEF LEPPARD & ROBERT DELEO OF STONE TEMPLE PILOTS

WED MARCH 30TH

LIVING COLOUR HOSTED BY LANCE REYNOLDS OF WPFW'S HOUSE OF SOUL

THU MARCH 31ST

THE SAME HEART PREMIERE & WORLD MUSIC DANCE PARTY A NIGHT OF FILM, MUSIC & ACTIVISM FOR THE WORLD’S CHILDREN

FRI APRIL 1ST

WHITE FORD BRONCO DC'S ALL 90'S BAND

SAT APRIL 2ND

JAZZ AT THE HOWARD:

HIROMI THE TRIO PROJECT FT. SIMON PHILLIPS & ANTHONY JACKSON

BUY TICKETS AT THE BOX OFFICE OR ONLINE AT THEHOWARDTHEATRE.COM 202-803-2899

washingtoncitypaper.com march 11, 2016 35

Nash. Ford’s Theatre. 511 10th St. NW. To May 14. $28–$69. (202) 347-4833. fords.org.

1984 George Orwell’s classic dystopian novel about an all-seeing government is turned into a dramatic stage play in this new multimedia production by Robert Icke and Duncan Macmillan, originally created by the British theater collective Headlong.

Lansburgh Theatre. 450 7th St. NW. To April 10. $25–$123. (202) 547-1122. shakespearetheatre.org.

Fri & Sat, Mar. 11 & 12 at Midnight!

Buy Advance Tickets Online

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

ameriCan iDiot Keegan Theatre presents this musical about disaffected youth coming of age in the early 21st century set to the music of Green Day. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To April 9. $45–$55. (202) 265-3767. keegantheatre.com. beautiFul thing Two London neighbors go from friends to lovers, much to the frustration of their loved ones, in this warm comedy from playwright Jonathan Harvey. Jeanette Buck directs this reading about the abiding power of first love. Source Theatre. 1835 14th St. NW. To March 14. $15. (202) 315-1305. culturaldc.org.

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

Spooky Action’s production features a variety of local actors, including Joe Duquette and Paul Reisman. Spooky Action Theater. 1810 16th St. NW. To March 13. $25–$35. (202) 248-0301. spookyaction.org.

LIVE

UPCOMING PERFORMANCES

the

THURSDAY MAR 10TH

RONDO RIGS

FRIDAY MAR 11TH

WALKER’S RUN

and

THE TROPHY HUSBANDS ACOUSTIC DUO - COVERS JACKIE & THE TREEHORNS W/HONEY POT CANOE ALTERNATIVE ROCK

THURSDAY MAR

SATURDAY MAR 12TH

MONDAY MAR 14TH

3RDHOSTED TUESDAYS LIVE JAM

BY STEALING LIBERTY

DEAD & JAM BAND OPEN JAM FOR MUSICIANS

WEDNESDAY MAR 16TH

TRIVIA NIGHT

HOSTED BY TRIVIA KINGS FREE TRIVIA

WEDNESDAY MAR 16TH

FRIDAY MAR

BIG TOW COVERS OF JOHN HIATT, BO DEANS, CROWDED HOUSE, STEELY DAN, WILCO, AND STEVE EARLE

11

AN EVENING WITH

JOHN MAYALL YOUNG DUBLINERS

FRIDAY MAR 18TH

10

WED, MAR 16

THURSDAY MAR 17TH

EFFECT IRISH ROCK AND FOLK. DANCE PARTY!

a miDSummer night’S Dream Favorite local actors, including Holly Twyford and Erin Weaver, appear in Aaron Posner’s new staging of Shakespeare’s magical comedy about changed lovers, fairies, and donkeys. Folger Elizabethan Theatre.

201 E. Capitol St. SE. To March 13. $35–$75. (202) 544-7077. folger.edu.

THE JUDY CHOPS AND BUD’S COLLECTIVE

THURS, MAR 17

VILLAIN & SAINT PATRICK’S DAY! W/40 THIEVES AND PHIL & CHRIS OF LLOYD DOBLER

marJorie Prime A woman reinvents her past with some help from a hologram of her late husband in this experimental comedy by Jordan Harrison.

Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To April 10. $22–$65. (301) 924-3400. olneytheatre.org.

SAT, MAR 12

OPEN MIC NIGHT

HOSTED BY PHIL KOMINSKI OPEN TO EVERYONE. SHOW US YOUR TALENT!

the lion Benjamin Scheuer tells his life story with the help of six guitars in this original one-man show that incorporates original rock songs and personal pain. Arena Stage. 1101 6th St. SW. To April 10. $45–$70. (202) 488-3300. arenastage.org.

and the CONGRESS

BATTLE OF THE BANDS: MARS RODEO, THE NEW ROCKWELLS, AREA 301 & SWAMP DONKEY

TUESDAY MAR 15TH

For ColoreD girlS Who have ConSiDereD SuiCiDe/When the rainboW iS enuF Ntozake Shange’s classic work about the struggles and triumphs of seven African-American women blends 20 poems with music and movement. Performed in repertory with Word Becomes Flesh. Anacostia Playhouse. 2020 Shannon Place SE. To March 26. $25–$35. (202) 290-2328. anacostiaplayhouse.com.

THE MONBACKS

SUNDAY MAR 13TH

GRATEFUL DEAD TRIBUTE BAND

Falling out oF time Author David Grossman reflects on losing his son in the 2006 Israel-Lebanon conflict in this moving story about a man who

the FliCk Three minimum-wage workers do their best to keep a Massachusetts movie theater running and along the way, form tenuous connections with one another, in this Pulitzer Prize-winning play by Annie Baker. Signature Theatre. 4200 Campbell Ave., Arlington. To April 17. $40–$94. (703) 8209771. sigtheatre.org.

MAJOR &

BEGGARS TOMB

GRATEFUL DEAD TRIBUTE BAND

GRATEFUL MONDAYS HOSTED BY THE ROCK CREEK BAND W/ MARC DELGADO

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

1501 14th St. NW. To March 20. $20–$55. (202) 3323300. studiotheatre.org.

embarks on a journey that will impact his life forever. The stage version is adapted and directed

by Derek Goldman, artistic director of the Davis Performing Arts Center at Georgetown University.

Theater J. 1529 16th St. NW. To April 17. $15–$67.

(202) 777-3210. theaterj.org.

CELEBRATE ST. PATRICKS DAY WITH W/ THE DANNY BURNS BAND FRI, MAR 18

CHOPTEETH AFROFUNK BIG BAND

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W W W. V I L L A I N A N D S A I N T. C O M 36 march 11, 2016 washingtoncitypaper.com

THEHAMILTONDC.COM

CITY LIGHTS: WEDNESDAY

TINASHE

Los Angeles-based R&B singer Tinashe’s breathy whisper of a voice began reaching a large audience with her catchy and sultry single “2 On” from her 2014 debut album Aquarius. Cooing over insistent synth sounds and skittering drum beats, her ode to getting drunk and high crossed over from Billboard’s R&B chart to the top 25 on the Hot 100 pop chart. Sometimes compared to Janet Jackson, Tinashe’s pop-soul vocals on Aquarius’ “All Hands on Deck” display some of her idol’s gifts in the lyrics about inner strength.

In the video, she evokes some of Jackson’s choreography as well. Since then, Tinashe has been busy recording and releasing mixtapes, touring with Nicki Minaj, creating a new version of Tom Tom Club’s “Genius of Love” for a Target commercial, and developing her upcoming album, Joyride. On her latest single, “Party Favors,” she warbles “they don’t go as hard as I do.” Find out if that’s true on the 16th. Tinashe performs with Ryan Hemsworth at 8 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $31. (301) 960—Steve Kiviat 9999. fillmoresilverspring.com.

MY NEIGHBOR TOTORO THE TALE OF THE PRINCESS KAGUYA and SPIRITED AWAY

CITY LIGHTS: THURSDAY

from the creators of

1984

AN ANIMATION MIRACLE!”

“

The theater seems like a perfect place to take a break from the constant political bickering that fills airwaves and Twitter feeds and just relax. Shakespeare Theatre Company’s latest offering, however, hits close to home in an election year when candidates threaten to deport people by the thousands and block Muslims from entering the country. At the Lansburgh Theatre, the local troupe has partnered with British theater ensemble Headlong to present Headlong’s stage version of George Orwell’s 1984. The tale of an all-knowing government that monitors the actions of its numbered citizens is haunting enough on the page, but when presented in front of an audience, with flashing lights and loud noises, the narrative becomes even more chilling. The play even carries a warning that the content is only suitable for mature audiences. Whether you read the book once in a high school English class or return to it regularly, its message and this stirring retelling have never been more relevant. The play runs March 9 to April 10 at the Lansburgh Theatre, 450 —Caroline Jones 7th St. NW. $25–$123. (202) 547-1122. shakespearetheatre.org.

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moment Tony-nominated director Ethan McSweeny makes his Studio debut with this family drama set in Ireland. When a young man returns home to visit his estranged movement, he starts a series of conflicts within his suburban town and within his family. Studio Theatre. 1501 14th St. NW. To April 24. $20–$91. (202) 332-3300. studiotheatre.org.

WorD beComeS FleSh A father reads a series of letters to his unborn child, conveying his love and fear, in this emotional work by Marc Bamuthi Joseph, which combines music, spoken word, and visual images. Anacostia Playhouse. 2020 Shannon Place SE. To March 26. $25–$35. (202) 290-2328. anacostiaplayhouse.com.

othello Acclaimed director Ron Daniels leads this classic tale of jealousy and scheming about the Moorish general whose imagination leads him to turn against those who care about him while the duplicitous Iago benefits. Sidney Harman Hall. 610 F St. NW. To March 27. $20–$118. (202) 547-1122. shakespearetheatre.org.

FilM

the PilloWman An author living in a totalitarian state is investigated when a series of horrific crimes align with events in his stories in Martin McDonagh’s play. Yury Urnov directs Forum’s production featuring Maboud Ebrahimzadeh, James Konicek, and Bradley Foster Smith. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 2. $30–$35. (301) 588-8279. forum-theatre.org. roaD ShoW Signature presents its 26th Sondheim musical, this time taking on the story of two brothers who spend their days traveling around the world, from Alaska to India to Boca Raton. Gary Griffin directs this production, which he originally created at the Chicago Shakespeare Theater. Signature Theatre. 4200 Campbell Ave., Arlington. To March 13. $40–$101. (703) 820-9771. sigtheatre.org. romeo anD Juliet Synetic Theater brings back its popular silent production of the classic tale of young love and tragic loss seven years after it debuted.

Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To March 27. $20–$60. (866) 811-4111. synetictheater.org.

lonDon haS Fallen In this sequel to Olympus Has Fallen, Secret Service agent Mike Banning must stop a plot to assassinate all world leaders present at the funeral of the British prime minister. Starring Gerard Butler, Morgan Freeman, and Aaron Eckhart. (See washingtoncitypaper.com for venue information) the other SiDe oF the Door After losing her son in a tragic accident, a mother learns about an ancient ritual that will allow her to visit him one final time. In doing so, she also accidentally disrupts the balance between life and death. Jeremy Sisto and Sarah Wayne Callies star in this thriller from director Johannes Roberts. (See washingtoncitypaper.com for venue information) WhiSkey tango Foxtrot Tina Fey stars as a journalist covering conflicts in Afghanistan and Pakistan in this dark comedy based on Kim Barker’s book The Taliban Shuffle: Strange Days in Afghanistan and Pakistan. Co-starring Margot Robbie and Martin Freeman. (See washingtoncitypaper.com for venue information) zootoPia In the latest animated comedy from Disney, a conniving fox and a rookie cop rabbit join together to solve a series of crimes. Featuring the voices of Jason Bateman, Idris Elba, and Ginnifer Goodwin. (See washingtoncitypaper.com for venue information)

Film clips by Caroline Jones.

LANDMARK THEATRES E STREET CINEMA E STREET & 11TH STREET NW (202) 783-9494 WASHINGTON

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

washingtoncitypaper.com march 11, 2016 37

Contents:

Adult..............................................38 Auto/Wheels/Boat .....................39 Buy, Sell, Trade, Marketplace.................................39 Community...................................39 Employment.................................38 Health/Mind, Body & Spirit ...............................39 Housing/Rentals .........................38 Legals Notices ............................38 Music/Music Row ......................39 Real Estate...................................38 Services........................................39

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Legals Temp Services Cesar Chavez Public Charter Schools in Washington, DC invites interested and qualifi ed vendors/contractors to submit proposals to provide: Temporary Employment Services for all of the schools’ campuses and its central offi ce. Staffing agencies have been a resource to provide class coverage when teachers or members of our support team are absent. We are required to provide continuous educational services to scholars regardless of inconsistencies with staff, and our relationship with staffing agencies allow us to conduct as usual. The full text of the proposal is available upon request by sending an email to chavezbids@ chavezschools.org.

Proposals are due to the school no later than 3:00pm on March 24, 2016 and can also be sent to the e-mail address above.

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Legals Consumable & Janitorial Supplies Cesar Chavez Public Charter Schools in Washington, DC invites interested and qualifi ed vendors/contractors to submit proposals to provide: Consumable and Janitorial Supplies for all of the schools’ campuses and its central offi ce. Consumable and Janitorial Supplies are needed for our janitorial crew to provide a clean and safe environment for our scholars, teachers, and staff during classes and for after school events. The full text of the proposal is available upon request by sending an email to chavezbids@chavezschools.org.

Proposals are due to the school no later than 3:00pm on March 24, 2016 and can also be sent to the e-mail address above.

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Legal Services Cesar Chavez Public Charter Schools in Washington, DC invites interested and qualifi ed vendors/contractors to submit proposals to provide: Legal Services for all of the schools’ campuses and its central offi ce.

Legal Services are needed for three distinct legal categories; a.) Immigration Law, b.) Labor & Employment Law, and c.) Special Education Law as it pertains to the District of Columbia and Federal Statues. The full text of the proposal is available upon request by sending an email to chavezbids@ chavezschools.org.

Proposals are due to the school no later than 3:00pm on March 24, 2016 and can also be sent to the e-mail address above.

Payroll & HRIS Cesar Chavez Public Charter Schools in Washington, DC invites interested and qualifi ed vendors/contractors to submit proposals to provide: Payroll and Human Resources Information Systems (HRIS) for all of the schools’ campuses and its central offi ce. Payroll & HRIS can either be a.) One completely integrated Payroll & HRIS system or b.) a HRIS system that has near seamless integration with a major payroll system. The full text of the proposal is available upon request by sending an email to chavezbids@chavezschools.org.

Proposals are due to the school no later than 3:00pm on March 24, 2016 and can also be sent to the e-mail address above.

Security Services Cesar Chavez Public Charter Schools in Washington, DC invites interested and qualifi ed vendors/contractors to submit proposals to provide: Security Services for all of the schools’ campuses and its central offi ce.

Security agencies have been a resource to provide safety for our scholars, teachers, and staff during classes and for after school events. The full text of the proposal is available upon request by sending an email to chavezbids@chavezschools.org.

Proposals are due to the school no later than 3:00pm on March 24, 2016 and can also be sent to the e-mail address above.

DC Public Charter School Board (DC PCSB) gives notice of its intent to hold a public hearing on all new school applications received by the 3/7/2016 deadline on 4/19/2016. PCSB will hold a vote on 5/16/2016. Questions, contact 202-328-2660 or applications@ dcpcsb.org.

Office/Commercial For Sale Offices For Rent, DC Petworth & Cheverly, MD (parking in MD) for church services, recording studio /rehearsal space, etc. Wide range of uses. $600-$1600 rent. Call 202-355-2068 or 301-772-3341.

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Rooms for Rent Logan Circle 1013 P St. NW Large English Basement Apt. Private Entrance, 1 BR and Den/1 BA. Large Living Room with working Fireplace, Central H/AC, New Appliances, W/D, Dishwasher, Remodeled Bathroom, Tile and Wood Floors, Close to Metro/Bus lines, Cat Friendly. $2500/Month + Utilities. Credit and Income checked.

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634 Rock Creek Church rd. Call Jameela Charles 301-254-9471 Home Source RE 301-464-0044 Jameelacharles@mris.com Between 14th and 16th St NW DC fully furnished effi ciency with new kitchen and bath, stainless steel appliances, minutes walk to Rock Creek Park and old Walter Reed Hospital, convenient for public transportation. Driveway parking, wood floor, AC, W/D on premises, starting immediately $1045/mo. (301)602-6096.

Between 14th and 16th St NW DC 2BR/2BA stainless steel appliances, minutes walk to Rock Creek Park and old Walter Reed Hostpital, convenient for public transportation. Driveway parking, wood floor, AC, W/D, starting immediately, $1425/mo. (301)6026096.

Adams Morgan, Two Bedroom one bath apt. Renovated, central AC, Washer/Dryer, DW, Microwave. Backyard. 975 SF, $1975 per month, plus utilities. Text or call 202-255-7898

Capitol Hill - Furnished bedroom with private bath in home with all amenities. Share common rooms with professional female and 2 well-behaved cats. Access to 2 subway stops. Excellent situation for interns or those on temporary assignment. $995/mo. includes utils. Avail. immediately. 202547-8095 Rooms for rent in Maryland.

Shared bath. Private entrance.

W/D. $700-$750/mo. including utilities, security deposit required. Two Blocks from Cheverly Metro. 202-355-2068, 301-7723341.

NE DC rooms for rent. $650/mo. utils plus cable included. $400 security deposit required Close to Metro and parking available. Use of kitchen, very clean. Seeking Professional. Call 301/437-6613.

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Miscellaneous Update your skills for a better job! Continuing Education at Community College at UDC has more than a thousand certifi ed online & affordable classes in nearly every fi eld. Education on your own. http://cc.udc.edu/continuing_education

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

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Defend abortion rights. Washington Area Clinic Defense Task Force (WACDTF) needs volunteer clinic escorts Saturday mornings, weekdays. Trainings, other info:202-681-6577, http://www. wacdtf.org, info@wacdtf.org.

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Looking for a Financial Consultant Meet Jay. who’s into For the past 15 years, Jay has been proud to be a part of the D.C. community. Jay is equally proud of his years with Schwab, where he has learned that values like straight talk and accountability have a place in accountability? 21 wealth management. And he knows that trust anchors any good relationship. If you find this modern approach to wealth management compelling, stop by the Schwab Bethesda branch or give Jay a call.

Jay Reilly, CFP® VP, Sr. Financial Consultant Bethesda 301-941-9801

Wealth Management at Charles Schwab PLANNING | PORTFOLIO MANAGEMENT | INCOME STRATEGIES | BANKING

For a full list of branches in the DC area, visit Schwab.com/DC Brokerage Products: Not FDIC Insured • No Bank Guarantee • May Lose Value

There are eligibility requirements to work with a dedicated Financial Consultant.

Branch located at: 1650 Tysons Blvd., Suite #150, Tysons Corner, VA 22102 Wealth management refers to products and services available through the operating subsidiaries of The Charles Schwab Corporation of which there are important differences including, but not limited to, the type of advice and assistance provided, fees charged, and the rights and obligations of the parties. It is important to understand the differences when determining which products and/or services to select. The Charles Schwab Corporation provides a full range of securities, brokerage, banking, money management and financial advisory services through its operating subsidiaries. Its broker-dealer subsidiary, Charles Schwab & Co., Inc. (member SIPC), offers investment services and products, including Schwab brokerage accounts. Its banking subsidiary, Charles Schwab Bank (member FDIC and an Equal Housing Lender), provides deposit and lending services and products. ©2016 The Charles Schwab Corporation. All rights reserved. (0715-4593) ADP87105-00

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