Washington City Paper (March 18, 2016)

CITYPAPER Washington

Free Volume 36, no. 12 WashingtonCityPaPer.Com marCh 18–24, 2016

tenants forced out of decaying building 7

bar crawls face strict rules 21

Last of the Bohemian

Legendary U Street jazz club Bohemian Caverns will close at the end of March. 14

By Michael J. West Photographs by Darrow Montgomery

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2 march 18, 2016 washingtoncitypaper.com

INSIDE

14 the last of the bohemian

The venue leaves behind nearly a century’s worth of jazz legacy. by michael j. west photographs by darrow montgomery

4 Chatter DistriCt line 7

10 11 12 13

Bleak House: Tenants with nowhere else to go forced out of condemned building Unobstructed View Gear Prudence Savage Love Buy D.C.

D.C. feeD

21 Young & Hungry: Bar crawls face new regulations.

23 Food Grazer: It’s tiki time.

19 Brew in Town: 3 Stars Bless Your Heart Barrel-Aged Dark Lager

arts

27 How Bazaar: The Sackler’s latest exhibition is a pale imitation of a historic Afghanistan marketplace.

29 Arts Desk: Pyramids! Jello!

What should the National Building Museum’s next exhibit be?

29 One Track Mind: Warm Sun’s “On a Western Coast” 30 Film: Olszewski on Remember and Creative Control 32 Short Subjects: Gittell on Eye in the Sky 33 Curtain Calls: Klimek on The Flick

34 Speed Reads: Umile on The Caped Crusade: Batman and the Rise of Nerd Culture

City list

37 City Lights: Janel Leppin steps out as a solo artist with Mellow Diamond.

37 Music 43 Theater 45 Film

46 ClassifieDs Diversion 47 Crossword

“ ” It turned out to be a clusterfuck.

—Page 21

washingtoncitypaper.com march 18, 2016 3

CHATTER Damn, Daniel

In which readers hate the Prince, City Paper, the media, and themselves (probably)

Darrow MontgoMery

Picking the best reactions to Will Sommer’s cover story on Dan Silverman and his mega-popular local site PoPville (“All the News That’s Fit to Prince,” March 11) was as hard as selecting the best Prince of Petworth posts from its 10-year history. The comments were filled with praise for Silverman (“I Love Dan....remember when he first started he and I used to chat all the time!!! Congrats Dan!!”) as well as hate for, well, everyone, including the Prince: “That fool had a post once from a woman dropped her shoe on the way home,” Briget B wrote. “The picture was a SHOE. Commenters gave her sympathy for Losing. Her. Shoe.” Jim Ed kicked things off with more than enough criticism to go around: “I think Silverman is easy for people to hate because his opinions often come off as feckless and milquetoast, like he’s afraid of pissing off either of his main readerships of wide eyed newcomers AND the people who hate read PoP to reinforce their hip gritty authenticity of remembering 14th St when it was still blighted and not a condo cannyon… That said, I wish this article had explored a little more into why Silverman’s blog is so popular in the wake of nearly all traditional media abandoning local coverage.” This includes the Washington Post’s local coverage (“a fucking embarrassment”) and an unfilled staff writer position here (“City Paper still hasn’t replaced Aaron Wiener for Housing Complex and relies mainly on gimmicky weekly theme issues”). NorthEazy piled on: “You can tell the media establishment in Washington hates him because of his viewership. This guy gets more hits then local news stations, for far less investment,” wrote. “It is like the establishment’s anger with Trump. As if somehow Dan doesn’t have a right to exist because he didn’t go to the right journalism school or pay his dues working for the Shitty Paper before clawing his way to the New York Slimes or Washington Compost. GTFO. I like the City Paper, but this article really shows how petty some people in the news industry, even the alt weekly industry apparently, can get at an outsider raking up more Internet hits than you.” As for Silverman, he responded to the piece in his own special way—with a URL for a post on a photo of a potty-training seat found outside: popville.com/2016/03/will—Sarah Anne Hughes sommer-head-explodes.

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

5500 BLOCK OF 9TH STREET NW, MARCH 11

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. 12 MARCH 18–24, 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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“The Merger is Important to the District.”

With the Merger

Without the Merger

$78 million in customer benefits, including: $14 million in rate credits; $50 per residential customer $25.6 million to offset future distribution rate increases $5.2 million for workforce development in the District $400,000 to forgive residential bills more than two years old

GONE GONE GONE GONE

Additional benefits: Area nonprofits guaranteed $19 million over next 10 years Higher requirements resulting in fewer and shorter power outages Requirement to expand wind and solar energy for the District Hire more than 100 union workers in the District Enhanced supplier-diversity programs Headquarters of several key Exelon functions move to the District Enhanced storm restoration and recovery

GONE GONE GONE GONE GONE GONE GONE

The merger is too valuable for the District to lose.

Tony Williams

CEO, Federal City Council

Jim Dinegar

CEO, Greater Washington Board of Trade

We Support the Pepco Holdings-Exelon Merger For more information or to show your support, visit PHITomorrow.com.

Paid for by Exelon Corporation.

6 march 18, 2016 washingtoncitypaper.com

DISTRICTLINE Loose Lips

Tomorrow’s History Today: This was the week that Metro shut down for a day in order to inspect 600 jumper cables.

Tenants removed from uninhabitable building face limited services, homelessness

Bleak House

Photographs by Darrow Montgomery

By Will Sommer The end finally came Friday for the tenants of the apartment building at 5509 9th St. NW. After a year spent without hot water and more time than that fending off neighboring drug users and criminals, the tenants’ last stand in the building ended with questions about where the District would take their belongings and where they could board their dogs.

“Do you know where the warmest bridge in D.C. is so I can stay in it?” asked Arthur Williams, a tenant of the building for 13 years.

Then the Department of Consumer and Regulatory Affairs inspector who ordered the building closed led police officers on one last walk-through, pushing open apartment doors to prove his point.

The smell of urine rose from a stairwell.

One apartment didn’t have any doors, making it one of many in the building that doubled as a brothel or flophouse for transients.

At another apartment, the busted door fell down entirely, exposing a living room kneedeep in trash.

“Jesus!” said one officer. “Oh gosh, come on!”

The inspector came away vindicated. He had to close the building.

Outside, residents argued with Johanna Shreve, the head of the District’s Office of the Tenant Advocate, about whether the building was still habitable.

“It’s my understanding that there’s dog feces in the property,” Shreve said.

“It’s human,” cut in tenant Ashley Coleman.

“OK, so it’s human,” Shreve conceded.

5509 9th is uninhabitable—a fact made clear by DCRA’s order and to the eyes (and noses) of anyone who walks through it. But it’s a sign of how hard the District’s housing market has become for low-income residents that so few of the building’s tenants were happy to leave the decaying apartments.

Quality of life in the building went from bad to abysmal in 2009, according to tenants,

washingtoncitypaper.com march 18, 2016 7

DISTRICTLINE

when landlord Louis Taylor died. When Taylor’s wife, Inell Taylor, died last year, the property transferred to her estate.

Eventually, it will be handled by 14 potential heirs, who want to sell the $1.7 million property, according to estate attorney Gerald Belton.

That translates to more than a dozen people with a stake in a future sale, but not in the future of the building or its tenants. With the building’s ownership situation unclear, tenants say they stopped paying rent or utilities after attempts to pay their rent were met with suspect receipts.

Belton counters that the tenants didn’t have to shirk their rent obligations, suggesting that the payments could become an issue for tenants’ rights in a potential sale.

Belton compares the complaining tenants to a man who kills his parents, then asks a judge for mercy because he’s an orphan.

“We also are respectful of the rights of legitimate tenants,” Belton says. “‘Legitimate’ being the operative word.”

With absent management and little rent money coming in, the building deteriorated quickly. Resident Luis Cruz laid out the problems, from the lack of hot water to the building’s busted front door.

The building started attracting break-ins from outsiders interested in the abandoned units, ranging from teens fighting with their families to drug users and sex workers. Ten-

8 march 18, 2016 washingtoncitypaper.com

ants blocked the front door, only to discover an intruder broke a window to sneak in and open the door. The squatters became so comfortable that tenants say they moved in mattresses and punched holes in the walls. “‘We already got holes,’” building tenant Coleman recalls telling the trespassers. “‘Why you putting more holes?’”

Early last week, Metropolitan Police Department officers chased a suspect into the building, only to discover its pitiful state. After the call from police, DCRA ordered the building closed. A legal attempt by housing advocates looking to stop the closure was filed in the wrong court. To compensate for their eviction, the District offered tenants just two weeks in a hotel while they look for replacement housing.

“Who can find housing in two weeks in this town, even if you make $100,000?” says building neighbor Willi Delaney.

Last Friday, the District brought movers to take the tenants’ belongings to a Maryland storage facility; other workers boarded up the windows. But it’s not clear how much longer social services will last for the former tenants in a city already overwhelmed with homelessness.

One tenant wryly noted during the closing that Mayor Muriel Bowser plans to open a new homeless shelter less than 10 minutes away, on 5th Street NW. OTA didn’t provide figures on how many of the ousted residents have found permanent housing. In a statement, Ward 4 Councilmember Brandon Todd, whose ward includes the property, says he’s working to get housing for the ousted tenants.

Now in his hotel room in Silver Spring, Cruz says he’s hopeful that DCRA’s order will force the estate to repair the property and let the tenants back in. It’s not clear whether it will happen in time for Cruz and his dwindling days at the hotel, which he’s hoping will be extended.

Right now, it’s his best hope. Cruz hasn’t found housing yet, and he has about a week left.

CP

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

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By Matt Terl

The Pigskins released a model of their potential new stadium last week, just ahead of a 60 Minutes feature on the “starchitect” who designed it, Bjarke Ingels. (“Starchitect” is, obviously, a portmanteau of “star” and “architect,” which is a useful lifehack for the type of person who simply does not have the time to pronounce that “ar” syllable twice.)

Based on the model, the stadium will be something halfway between a translucent circus tent and a prototype building designed to make people write columns about how idiotic it is. And it is idiotic, for multiple reasons.

The most ridiculous feature, by a fairly wide margin, is the moat that surrounds the stadium. Depending on which account you read, it’s either for surfers or for kayakers; either way, it is pointless at best and dangerously irresponsible at worst.

[The stadium design] is idiotic, for multiple reasons.

Not only does the moat provide an exciting new way for people to seriously injure or kill themselves after drinking an entire bottle of Crown Royal through an inverted traffic cone, it also presents a seemingly hazardous security chokepoint, trapping people on an “island” around the stadium with only six narrow bridges to allow safe crossing. Even in a non-crisis situation, what you really want when thousands of fans leave an event simultaneously is as many bottlenecks as possible, right?

The starchitect’s idea behind the moat and the climbing wall is to provide some utility to the stadium in the non-football months—“To make the stadium a more lively destination throughout the year,” is how Ingels put it on 60 Minutes—and I guess “weird fake beach” is as good an approach as any.

But while it’s tough to tell from a few still images of a translucent scale model, I wonder if as much attention has been paid to making the stadium a good destination for a football game.

For example, the model recalls the wave silhouette of RFK, but it misses an element that more directly contributed to RFK’s leg-

endarily raucous environment. Where RFK’s upper deck overhung the lower bowl and the partial roof reflected the crowd noise toward the field, the open seating bowl in the model appears to rake back sharply from the turf, distancing the top deck spectators from the action and recreating one of FedEx Field’s most annoying flaws.

The Landover stadium has a bad reputation, primarily because it’s a too-big, character-free lump stuck out in a suburb near multiple failing malls, not readily accessible by public transportation. And that reputation is well-deserved. But the place is not without its charming seats.

Not on the upper deck, nor on the club level, at least not that I’ve encountered. But there are pockets of seats that create the atmosphere you want in a stadium. I’m thinking particularly of seats I sat in once, a decade ago, in the corner of the endzone in the lower bowl, under a short overhang, surrounded by a metal mesh safety rail that rattled and clattered as fans pounded on it. It was easily my best in-person FedEx experience, but it’s probably a bad sign that I look at a glowing white futureplex and think that what it really needs is more bits of rattling old metal.

It’s not just Ingels and the Washington NFL team, though. Everyone seems unsure of what makes a good NFL stadium these days, probably because the game is vastly superior when watched from the comfort of your own home. From that perspective, tailoring a stadium for tailgaters makes a lot of sense—the camaraderie of tailgating is just about the only bonus to the live experience.

In exchange for that, you give up consistent instant replays, protection from the elements, the reasonable assurance that you won’t have someone else leaping up in front of you or spilling their beer down your back, access to reliable wireless Internet for checking your fantasy scores, the ability to flip to other games during breaks, and the opportunity to watch the other games of the day in their entirety. Also, you mark up the cost of your food and drinks by about 600 percent and lose a few hours of your life sitting in traffic.

These, along with location, are the issues that a new stadium really needs to address.

Becoming an appealing destination for offseason kayakers or surfers is great, but not if getting to the game, watching the game, and CP leaving the game is still a goat rodeo.

Follow Matt Terl on Twitter @matt_terl.

Gear Prudence: Tourist season is coming up, and it kicks off in a major way with the cherry blossoms.

I went to see the blossoms by car last year and it was a total traffic nightmare! This year I’m thinking about biking, but I’m a pretty trepidatious cyclist and wonder if it’s maybe not a great idea given all the crowds. Even still, I think think the trees are pretty and want to see them. Any tips for getting around by bike? —Biking Likely Overall Superior Scoping Out Method Dear BLOSSOM: Here’s the thing: If you are going to be anywhere near the cherry blossoms anytime near peak bloom—whether by bike, car, on foot, pogo stick, bus, whatever— it’s likely going to be crowded. You know that already, but it’s really important that you fully grok the implications. Scads of people, many of whom don’t know their way around, are overcome by the distracting allure of trees and crammed within a finite space. This sets up a situation in which mobility will be severely curtailed, and coping with this will require both patience and wits.

Getting to the blossoms by bike is a great idea. Car traffic truly is a disaster and riding a bicycle allows you to bypass most (but not all) of it. If you ride on the street, be mindful of distracted and frustrated drivers. Be especially wary of tour buses. There are many of them, they take up a lot of space, and their drivers have serious blindspots. If you ride on the paths, make way for pedestrians and be courteous. It will be slow going. Deal. Literally zero people will have any sympathy for your inability to go fast. This is not the time for that and you should modulate expectations accordingly.

While a bicycle is a great way to get down to the Tidal Basin, it’s not the best tool for getting around it. Those are narrows paths, so lock up the bike and perambulate if you must take a closer look. Do not lock your bike to a tree. If you do, you are worse than Saruman and should be dealt with accordingly. If you’re a Capital Bikeshare member, this might prove a much better option than riding your own bike.

This will be especially true at the times when the D.C. Department of Transportation sets up a corral to ensure that all arriving bikes can be successfully docked and accommodated.

(Check @bikeshare for details.)

Overall, GP’s advice is this: Keep moving.

If you must go, go early on a weekday morning when there are fewer visitors. Marvel at the fact that trees, once again, did their tree thing. Natural beauty is fleeting and so should your visit be. Don’t stop, even to take a picture. Repost the one you took last year. No one will be able tell the difference anyway. —GP Gear Prudence is Brian McEntee, who tweets at @sharrowsDC. Got a questions about bicycling? Email gearprudence@washcp.com.

Offer valid only for new residential RCN customers or customers that have not had RCN’s service within the last 60 days. Offer expires 4/15/2016. All sales subject to credit check, applicable surcharges, equipment taxes, franchise fees and government imposed charges and fees. ¹$29.99 package includes Digital TV and 25 Mbps High Speed Internet plus SHOWTIME, THE MOVIE CHANNEL and STARZ. Digital TV refers to Basic Digital TV package only. $29.99 per month offer is a promotional rate effective upon installation for a term of twelve months. Thereafter, price increases to $39.99 months 13-24 and $49.99 months 25-36. Modem, wireless router and standard definition converter box equipment not included; additional fees apply. ² $49.99 package includes Digital TV and 155 Mbps High Speed Internet plus SHOWTIME, THE MOVIE CHANNEL and STARZ. Digital TV refers to Basic Digital TV package only. $49.99 per month offer is a promotional rate effective upon installation for a term of twelve months.

Thereafter, price increases to $59.99 months 13-24 and $69.99 months 25-36. Modem, wireless router and high definition converter box equipment not included; additional fees apply. ³$79.99 package includes Signature Digital TV, 155 Mbps High Speed Internet plus SHOWTIME, THE MOVIE CHANNEL and STARZ. $79.99 per month offer is a promotional rate effective upon installation for a term of twelve months. Thereafter, price increases to $94.99 months 13-24 and $109.99 months 25-36. Modem and high definition converter box equipment not included; additional fees apply. Number of channels may vary based upon package selection. Advertised Internet download speeds are average speeds, but may vary and are not guaranteed. Television package including SHOWTIME, THE MOVIE CHANNEL and STARZ is a promotional offer and is valid for 12 months from installation date; thereafter, price increases to $7.95 in months 13-24; $12.95 in months 25-36, regular rates apply thereafter. RCN2GO is only available to residential customers. Internet access is required to use RCN2GO. RCN2GO access is based upon your RCN Digital TV service subscription level. See our online disclosures at rcn.com for information about the service offered in your area. Next day installation window subject to availability. Charges may apply for additional services. Other restrictions may apply. Not all services available in all areas. A trademark of Ziff Davis, LLC. Used under license. Reprinted from pcmag.com with permission. © 2016 Ziff Davis, LLC. All Rights Reserved. STARZ and related marks are trademarks of Starz® Entertainment, LLC. No substitutions. SHOWTIME, THE MOVIE CHANNEL and related marks are trademarks of Showtime Networks Inc., a CBS Company. No substitutions. All names, logos, images and service marks are property of their respective owners. Visit rcn.com for additional terms and conditions. For information about network performance characteristics, please see rcn.com. ©2016 Starpower Communications, LLC. All rights reserved.

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SAVAGELOVE I’m a 27-year-old, feminist, conventionally attractive, straightish, GGG woman. Over time, my tastes have changed, and now I find myself more of a kinkster. A few years ago, my desire for kinkier sex and my willingness to take a chance came together in a mutually beneficial, exciting D/s relationship. I’ll be honest: I wasn’t as smart as I could have been. I met this guy on Tinder, and after verifying his identity, I told some friends where I’d be and I met up with him. He was great for a while, but a big move took me away from the area and I grew tired of his conventional gender ideals.

I assumed I would find another partner in the future as functionally great as him but maybe a better conversationalist. Fast-forward to today. I’ve dabbled with pain and submission play with a few boyfriends with no great success. (A subsequent partner who didn’t respect my safe word, in fact, assaulted me.) I’m now greatly discouraged in my search. The cycle always goes like this: I get horny and want kink, I go looking for it online, and I am then buried in a landslide of creepiness, typos, and aggression. There are just so many men out there who hate women. These men are more interested in condescending to me and bossing me around than they are in power exchange. It was recommended to me to join the local center for sex positivity in Seattle, but that costs money. I want to engage in kink to relieve stress, not to cut into my already tight budget. Are my only options perseverance or an extra grand lying around? —Perseverance Or Withdrawal, Eternal Regrets I definitely think you should keep hacking your way through the creeps, typos, and aggros, POWER, and, more importantly, your pussy thinks so too—excuse me, that’s crude.

Perhaps I should say: Your erotic imagination and your libido think so too. But you may find the search for kinky play partners a little less frustrating if you devote a few hours a week to it—set a regular schedule: two hours a night, twice a week—instead of waiting until horniness and desperation drive you back online. If you search for kinky guys only when

you just gotta have it, POWER, your inability to find it immediately is gonna be that much more frustrating.

And you might wanna get out there and find a kinky guy now, POWER, while you still can.

“Uh-oh, kinksters: Sex cops could be coming for you next,” Elizabeth Nolan Brown writes at Reason.com. “According to a new federal court decision, Americans have no constitutional right to engage in consensual BDSM because ‘sexual activity that involves binding and gagging or the use of physical force such as spanking or choking poses certain inherent risks to personal safety.’ Thus officials could constitutionally ban or regulate such activity in the interest of ‘the protection of vulnerable persons,’ the court held.”

It is like a swear jar, but I will put money in it when I am too chickenshit or conflict-avoidant to have a hard conversation.

In 2003, the US Supreme Court ruled that Americans have a constitutional right to get their asses fucked, and one day soon we could be asking the Supreme Court whether Americans have a constitutional right to get their asses spanked.

Finally, POWER, I’m a huge fan of Seattle’s Center for Sex Positive Culture (thecspc. org). And I’m an even bigger fan of people getting out there, meeting up IRL, and making face-to-face connections with like-minded kinksters. I’m such a big fan that I’m going to pick up the expense of your first year’s membership at the Center for Sex Positive Culture.

While there are additional charges for most events at the center, POWER, there are also

tons of volunteer opportunities—and there’s no better way to get to know the local kinksters than to pitch in and help out. I’ll e-mail you directly about your shiny new membership.

And speaking of safe words…

—Dan Savage You messed up in your response to THINK, the man whose wife wanted to engage in consensual role-play rape scenes despite having been sexually assaulted by a previous partner who didn’t stop “when she said ‘no.’” THINK said he worried “the same thing could happen” to him. Due to some ambiguous wording, you thought he doubted his wife’s account and was worried the “same thing” he was worried about was “being falsely accused of rape.” I think he was actually worried about accidentally making his wife relive that trauma in a non-sexy way. Although it was poorly worded, I don’t think his intentions were motivated by the fear of being falsely accused. His worries were based in the ambiguity of when does consensual rape play cross the line in this very delicate scenario. The other thing you forgot, the most important thing you forgot, the thing that should never be forgotten when talking about rough-sex role-play, consensual rape scenes, power exchange, bondage, or SM: a SAFE WORD! —Simple And Frequently Effective Word Omitted Recently, Dan! THINK’s wife told him she was raped by an ex who refused to stop when she said no, SAFEWORD, and here’s how THINK described his concerns: “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.” [Emphasis added.] Awkwardly worded, yes, but THINK’s meaning seems clear: He didn’t want to go for it, like that other guy may have, and be accused of raping his wife if she came to regret it later. That doesn’t seem ambiguous to me.

But you’re right to ding me for failing to

advise Mr. and Mrs. THINK to agree on a safe word. And I didn’t just leave “get a safe word” out of my response, SAFEWORD. It was worse than that: I deleted “get a safe word” from my response. There were two very similar paragraphs in the original draft of my response to THINK, both on the mechanics of making it happen, and I had to delete one paragraph for space. In an unbelievably stupid move, I deleted the one with “get a safe word” in it. I should’ve caught that, I didn’t, and I’m grateful to SAFEWORD and everyone else who did.

And remember, kids: We have a new universal kink/BDSM/power-exchange safe —Dan word: scalia.

I am the only liberal in my family. I love them, but there is no talking to them on the issues. I have come up with the idea of a Planned Parenthood jar. It is like a swear jar, but I will put money in it when I am too chickenshit or conflict-avoidant to have a hard conversation. Every time one of my family members puts up a stupid, ill-informed article on Facebook and I don’t say anything, I will put money in the jar. Any time they tell me why Hillary Clinton is the devil, I will put money in the jar. It will assuage my guilt and make those moments easier because I can smugly think: “Keep talking, the only one you are helping is Planned Parenthood.” Is this a cop-out or a narrowly tailored, appropriate penance? —Fearful And Milquetoast, I’m Leaning Yellow Can’t something be a cop-out and a creative, appropriate penance? But whether it’s one or the other or both, FAMILY, I’m strongly in favor of anything that benefits Planned Parenthood. For those who don’t want to go through the motions of filling a jar with money before making a donation, just go to plannedparent—Dan hood.org and click Donate.

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

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rosy one. “Man, we’re over here struggling,” he told Moran of the Caverns, which he and his partners had purchased in 2006. “Business has been really struggling for a while now. I hope it doesn’t come to it, but it’s a possibility: We might not have a path out of what we’re in right now.” “[Brown] dropped that knowledge on me, and I wasn’t prepared to hear it just then,” Moran recalls. “In fact, I’m still not prepared to hear it. It’s too tragic a loss to the D.C. jazz scene.”

By December, Brown had quietly concluded that Bohemian Caverns, the subterranean jazz club that survived several owners and different names over 90 years, was not going to survive. When the current five-year lease on the building at 11th and U streets NW expires on March 31, the legendary venue—which has hosted everyone from Duke Ellington to Miles

both a professional relationship and a personal friendship; I have spent hundreds of hours at Bohemian Caverns in the past nine years.

Audiences and artists alike love the downstairs room: Its craggy faux-rock walls, sponge-painted brown and black, create a dark, shadowy atmosphere while also evoking the sepia tones of a vintage photograph.

Wizened, gargoyle-like sculpted faces peer from the support pillars that frame the bandstand. It’s far from cavernous: The room seats 100, and its close-packed candlelit tables and wall benches project intimacy—and access.

There’s a feeling that one could easily mingle with the band on the floor, or chat them up at the bar on the far end, and indeed that’s not an uncommon occurrence.

As for programming, Brown would need three jazz clubs to satisfy the requests he receives from artists to play the Caverns. “The

artist-in-residence program. “Brown saw artists playing as many gigs as possible with as many bands as possible just to get by,” wrote Laura Brienza in her 2015 book Discovering Vintage Washington, D.C. “The artist-inresidence program would give them a steady gig for a month, playing with the same people and allowing them to get ready to go into the studio to record or develop their sound.”

The residencies evolved, however, to include elders (like saxophonist Fred Foss) or established artists with new projects (saxophonist Brad Linde, pianist Allyn Johnson).

Brown was generous in giving the plum Friday and Saturday night bookings to local musicians, too. As likely to appear as Pelt or Peterson would be Johnson; tenor saxophonist Tedd Baker; or singers Heidi Martin or Akua Allrich.

Admission is usually around $15 to $20

Davis to Tia Fuller—will expire along with it.

The operation, officially known as Mahogany, LLC, includes not only the basementlevel Caverns but the ground-floor, Southern-style restaurant Tap & Parlour and the nightclub Liv on the top two floors. Collectively, they are in the red, and all three will close at the end of the month. “A profit margin for a restaurant is something like six, seven percent,” Brown says. “We’ve been down 20, 30 percent for two years.”

In addition, Mahogany, LLC’s relationship with its landlord—Al Afshar, who was also the Caverns’ previous proprietor—has deteriorated past hostility into virtual nonexistence. Afshar says he is not interested in exercising another lease option with Brown and Brown’s partners, Jamal Starr and Brown’s brother, Sashi; nor are they. And because Bohemian Caverns is a legacy business, at a legacy address, simply moving elsewhere is a non-starter.

“We were at the mercy of our ability to be there,” Brown says. “It’s the end of a period in our lease where we can just walk away, and we’ve made a business decision to do that.”

eclecticism over there [can be found] nowhere else,” says Caverns regular Sara Donnelly, an arts promoter and consultant. Young touring artists such as guitarist Matthew Stevens or trumpeters Jeremy Pelt and Christian Scott were regulars, as were mid-career talents like drummer Ralph Peterson and saxophonist Tim Warfield. And elder legends like bassist Ron Carter, or saxophonists Pharoah Sanders and Benny Golson—who can easily book much bigger rooms, with substantial guarantees—accepted door gigs just for the sake of playing Bohemian Caverns.

But Brown has always had a soft spot for the up-and-comers, especially those on the cutting edge. “I try to present the artists and music that will be the next big thing; artists that the Howard Theatre might book now, we used to book because no one else in D.C. was calling them,” he told me in 2012. “The general public is usually behind the curve by quite a ways. We’re trying to change that in our little corner of the world.”

And then there’s the D.C. scene. Local musicians love to play the Caverns—not least the 17 members of its resident big band, the Bohemian Caverns Jazz Orchestra. The orchestra has held court every Monday night since April 2010 and drawn a sizable weekly audience.

If BCJO owns Monday nights, Tuesdays, until recently, had monthly tenants via the

(though it can go much higher for stars like Carter or Golson), and there’s never a food or drink minimum. “We felt strongly that the [live jazz] audience needed to be expanded,” Brown explains. “So a minimum was something we didn’t want to do. We felt like it was a bar keeping people out of that experience.

“We wanted to be a space where anyone could walk in and feel comfortable,” he adds.

“As a young African American and specifically male, there are experiences where you walk into a place and you don’t feel comfortable: Everybody’s looking at you, or some-

Last of the Bohemian Legendary U Street jazz club Bohemian Caverns will close at the end of March.

By Michael J. West Photographs by Darrow Montgomery

One lunchtime last September, pianist and composer Jason Moran sat down at the Watergate’s Campono restaurant with Omrao Brown, co-owner and managing partner of Bohemian Caverns. Both then 40 years old, they’d been friendly since Moran and his Bandwagon trio had played Brown’s U Street NW venue five years before. Moran was soon after appointed the Kennedy Center’s artistic director for jazz, making the two men not just associates but comrades in arms on the D.C. music scene. Regular confabs became essential.

But Brown’s report that afternoon wasn’t a

It’s a sad ending for a venue that has, under Brown’s ownership, acquired a reputation as one of the best jazz clubs in America over the last 10 years. I first met Brown while covering the DC Jazz Festival in 2007. We have

14 march 18, 2016 washingtoncitypaper.com

n washingtoncitypaper.com march 18, 2016 15

body says you’re at the wrong bar…

We... wanted it to be a place where everybody could walk in and be treated the same.”

“I really feel like Bohemian Caverns became the fulcrum of the D.C. jazz community,” says regular Donnelly. “It was just an organic gathering place for so many different types of people.”

The Caverns’ history is a major selling point. The building at 2001 11th St. NW was constructed in 1922 by Industrial Savings Bank founder John W. Lewis; its original ground-floor tenant was Dr. George Davis’ drugstore. In 1926, the Night Club Bohemia opened in the windowless basement, accessed by an odd corner door leading to a stairway. It doesn’t take a historian to figure out that the place was a speakeasy.

Dan Garrett purchased the building in 1931 and hired architect William Edward St. Cyr Barrington to remodel it.

Barrington designed its mock-cave interior, complete with plaster stalactites and “rock” formations in the walls (at the time, all painted white). It opened on Dec. 31, 1931 as Club Crystal Caverns: “Rendezvous of the Socially Elite,” boasts a calling card from the era.

It quickly gained popularity thanks to its floor shows, house band, and headliners. The latter included the cream of the crop: Louis Armstrong, Billie Holiday, Pearl Bailey, and hometown hero Duke Ellington. Pianist Earl Hines and his orchestra had a 1933 hit record, “Cavernism,” that was a tribute to the club.

Several new owners came in over the following decades, including a brief spell by Blanche Calloway (singer and sister of Cab) in the mid ’40s. The new sounds of bebop came to the Caverns during those years as well; biographer Peter Pullman recalls a night on which pianist Bud Powell came in, shoved the onstage pianist out of the way, and took over.

After changing hands a few more times, Tony Taylor and Angelo Alvino purchased the club in 1959 and re-christened it Bohemian Caverns. It quickly became the place in the District for modern jazz. Miles Davis, John Coltrane, Thelonious Monk, and Ella Fitzgerald all had successful runs. Pianist Ramsey Lewis recorded two live albums there; the second, 1965’s The In Crowd, spawned a massive hit on both the pop and R&B charts with its title track. Another pianist, Les McCann, recorded there in 1967.

Locally, the JFK Quintet—a venturesome ensemble led by saxophonist Andrew White— held down a weekly Monday night residency for almost three years in the early ’60s.

Taylor and Alvino maintained U Street’s jazz legacy until the times finally caught up to them in April 1968, when riots following Martin Luther King Jr.’s assassination swallowed the city. The street-level building, like most of the neighborhood, was ravaged by fire and looting. Bohemian Caverns limped

“We close for six weeks...with no story as to when we’ll come back— in an area that has that much competition, it kills you.”

—OMraO BrOWn, cO-OWner, Managing Partner, BOheMian caverns on for a few more months, but U Street was no longer a destination—particularly among the club’s (majority white) clientele. It closed in September 1968. (Taylor, who later founded jazz nonprofit Lettum Play, died in 1981; Alvino died in 2007.)

The basement flirted with a couple more failed businesses, beginning in 1969 with a pub called Frank’s Cave, while the building above remained abandoned. It was purchased in the 1980s by Eddie Adair, who operated it as a budget motel (and billed the basement as a nightclub, the Underground Café); notoriously, it was actually a front for Adair’s heroin ring, which the FBI broke up in 1986.

From almost the moment he bought Bohemian Caverns and leased its historic space, Brown faced challenges. The contractor working on the new restaurant, Mahogany, disappeared, delaying its opening by a month. Then the liquor license transfer got

16 march 18, 2016 washingtoncitypaper.com

caught up in red tape, slowing the club’s reopening as well.

Once business finally got up and running in July 2006, Mahogany began breaking even fairly quickly. “It was a white tablecloth concept, which on U Street at the time was a little bit ahead of its time,” Brown notes. “That being said, though, it did OK.” At least until the economic downturn in late 2007, when thinning tips sent staffers to pick up shifts in other restaurants and bars.

Still, Brown was able to turn some of the difficulties to his advantage. When he couldn’t fill the tables on the far side of the club’s stage, he put couches in and turned it into a lounge area instead. (The tables eventually returned as attendance picked up.) He instituted a Friday night happy hour and let patrons stay and watch the night’s first set for free.

By 2008, business and bookings began picking up.

The size of the building allowed Mahoga-

ny, LLC to run not two businesses but three—Liv Nightclub, occupying the second and third floors, opened along with Mahogany and the Caverns. Featuring live hip-hop and neo-soul performances and DJ sets, it became successful in its own right—a popular destination during Howard Homecoming, and renowned for its annual Stevie Wonder tribute “WonderFull,” at which Wonder himself made a surprise appearance in 2013.

The restaurant struggled a bit more.

It went through three incarnations: Mahogany became Hominy in 2009, then Tap & Parlour in 2011. But the last was finally a success.

The good news just kept coming for the Caverns, with wildly successful performances by the likes of keyboardist Robert Glasper and vocalist Jose James (both of whom would soon graduate to larger venues like the Warner and Howard theaters) mixing with special appearances by Carter and Golson. It became an important partner venue for the DC Jazz Festival, bringing in performances like last year’s duet between vocalist Gretchen Parlato and guitarist Lionel Loueke. “That wouldn’t have happened anywhere else,” says DCJF Artistic Director Willard Jenkins. “He did bring people onto the festival lineup that have a lot of resonance and that people wanted to see.”

Brown occasionally received complaints about racial bias in his bookings. Some suggested that he only booked black artists; conversely, others were offended that he’d created a resident big band with no musicians of color. Neither charge, he says, is valid. “I don’t think there’s anything to it. I just don’t pay attention to race at all, when booking… I don’t think there’s been any apologies that need to be made.”

In 2011, the Jazz Journalists Association gave Brown a Jazz Hero award; in 2012 and 2014, Bohemian Caverns placed fourth and third, respectively, in the Best Venue category of JazzTimes magazine’s expanded Critics Poll—the only venue outside of New York to chart.

But the news wasn’t all good. In December 2012, a woman told police she had been sexually assaulted at Tap & Parlour during an after-hours party held illegally by an employee.

The Metropolitan Police Department shut all three businesses down for nearly a week until Brown fired the employee and updated security on the premises.

In January of 2015, the woman filed a negligence lawsuit against Mahogany, LLC, seeking $1 million in damages. According to the lawsuit, the plaintiff alleges that the company failed to “implement adequate security policies, security measures, and security procedures,” including allowing the employee throw a party after hours. The case is pending.

In October 2013, a driver crashed a car through the kitchen wall in back of the restaurant. This forced a six-week closure of the building and all three businesses while they

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Crucially, there was one person who never appreciated what Brown had done with Bohemian Caverns: Al Afshar, who’d sold him the business and still owns the building.

In 1998, Afshar, an Iranian-born businessman who owned Georgetown’s Saloun, saw a “For Sale” sign at 11th and U. (After Adair’s arrest, the Justice Department had seized the building and sold it at auction to an investor, who was now looking to liquidate.)

The ground-floor damage was so extensive— Adair hadn’t bothered to renovate it—that the realtor wouldn’t even go inside, but Afshar saw potential and bought the building for $427,000. He soon heard from then-Ward 1 Councilmember Frank Smith, a devotee of African-American history.

“After the congratulations and all that, he said, ‘Do you know what this building was?

This was one of the most historic places in D.C.,’” Afshar recalls. He did some research, found some old photos, and agreed with Smith’s suggestion to restore the club to its former glory.

“Afshar has succeeded splendidly,” wrote the Washington Post’s Marc Fisher in 2000.

“You walk downstairs into a cave, with stalagmites and stalactites, and waterfalls in the walls. Even the john is a cave.”

Afshar maintained a restaurant on the first floor, the music in the basement; both operated together under the name Bohemian Caverns. There were some jazz performances at the reconstituted venue—notably singing legend Shirley Horn, living her final years in D.C.—and some blues, but the book-

Darrow Montgomery/File

waited for repairs and inspection. “We could get no communication about when we could expect to open,” Brown recalls. “So literally every Sunday night I would sit down and cancel the following week’s events.”

This, says Brown, was the tipping point.

When the Caverns reopened that December, the jazz community rallied to it with a twonight, open-jam-session fundraiser—but it never fully recovered. The increasing congestion of U Street clubs and restaurants was another factor. “We were a community, people knew we were there, and we had regulars,” he says. “We close inexplicably for six weeks— maybe not inexplicably, but with no story as to when we’ll come back—in an area that has that much competition, it kills you. So business has been down since.”

The Caverns wasn’t hurt by gentrification, per se—Brown and company had actually counted on it when they opened for business, as had Afshar before them. “[But] we’re not the type of space where you just walk past, decide to pay $25 to walk into the door and figure out whether you like the band that’s playing downstairs,” says Brown. “And it’s very hard to find parking there; the city has taken away half the parking and made it residential only, until late.” Add the built-in difficulties of running a restaurant or club, let alone both, and of presenting jazz anywhere (outside of New York, where it’s a tourist attraction), and the speed bumps that Brown faced became a mountain.

ing quickly became dominated by R&B and smooth jazz. Ticket prices were often steep, and the club had a dress code: At least one customer, who’d purchased a ticket but arrived in jeans, was made to enter through the kitchen.

In 2005, after surgery on his neck and back, Afshar felt unable to continue operating the club. Serendipitously, the year before, Brown and his partners had come to town with a business plan for a restaurant and jazz club (to be run as separate spaces). At one location—the Prince Hall Masonic Temple at 10th and U, in the space that now houses CVS—they got as far as architectural designs before things fell through.

But just down the street there was an already-built club and restaurant, one with a historic name and legacy—the identity was already there, waiting for them to run with it. In 2006, Brown and his partners officially took it over.

“The mentality that I had for the Caverns—and they promised that they were going to follow the same thing—was that the place would get respect,” says Afshar. “The Caverns would be preserved as a historic place. That has not happened.”

Afshar also says Mahogany, LLC hasn’t paid the rent and owes more than $100,000; he sued the group in February, and the parties are set to appear in court in April.

Even if they paid the full amount tomorrow, he adds, he wouldn’t extend Mahogany, LLC’s lease past March because of his unhappiness with their stewardship. Afshar personally invested $1.2 million in the restoration— all of his cash, plus loans. Although Afshar sold the business (Brown says the sale involved all intellectual property including the name), it is inextricable from the real estate he owns,

18 march 18, 2016 washingtoncitypaper.com

and he remains possessive of both.

In particular, Afshar says that the crowds at Bohemian Caverns have gotten out of hand under Brown and his partners—not just in terms of size, but respectability. “At my grand opening, I did not let anyone in without a jacket,” he stresses. But the new owners’ populist approach has, Afshar feels, bred a disreputable clientele—one that had already encroached on his Caverns and helped sour him on the business.

“A certain age, certain kind of people, they are looking for trouble,” he says.

He found Brown unreceptive to his complaints, and sued in 2013 to break the lease; he lost.

Brown won’t comment on any of Afshar’s allegations. “We’ve got outstanding legal issues with our landlord in both directions,” he says. “We prefer to let it play out in court.”

It’s Leap Day, a Monday—BCJO night.

Already it’s clear that some managerial details have gone by the wayside. Two of the piano’s keys are dead. The performance wasn’t advertised on the Caverns’ website, and there is an audience of 11 huddling in the sepia panorama at showtime; it will grow to 17 by the end of the first set. There is no baritone sax player tonight, meaning the band is down to 16.

“You always come on the worst nights!” trombonist Shannon Gunn tells me as we pass each other on the stairs.

But the band pulls out a fantastic performance anyway. They’re focusing tonight on the music Thad Jones wrote for the big band he co-led with Mel Lewis. (It’s now known as the Vanguard Jazz Orchestra, or VJO, celebrating its 50th anniversary in residence at New York’s

Village Vanguard.) “Pull out everything you have, Thad-wise,” trumpeter/co-leader Joe Herrera, who’s conducting, tells the band.

They do. Even with blown-out keys, pianist Wade Beach is the evening’s MVP, playing solo after sterling solo on “From One to Another,” “In a Pinch,” and “Kids Are Pretty People.” Alto saxophonists Jason Hammers and Brad Linde duel heartily on “Broadway”—it’s close, but Linde has the edge tonight. Everyone in turn solos on the closer, “Little Pixie Tune,” and the audience loves it.

Except for me, it’s likely that nobody here knows what will happen in a month’s time.

Nobody at all knows what it will mean for the BCJO. Linde (the band’s other co-leader) takes the opportunity to announce that they’ve booked two VJO members to join them during the DC Jazz Festival in June. That performance may never happen.

“It’s devastating,” says Moran. “But it puts a real charge on those of us who present music in D.C. to pick up the slack, or to start brainstorming as to the next thing—the thing that’s gonna take its place. There’s a lot of energy that Bohemian Caverns generates. What happens to all that energy? Who picks up that steam?”

That’s the big question. Moran, whose Kennedy Center tenure has been marked by adventurous programming, is the obvious choice. (He says he will be having “a long talk with my people there.”) But he has limitations, such as his need to fill the season’s calendar well in advance.

Yet the scene will endure and perhaps rally. It’s lost nerve centers before: One Step Down, in Foggy Bottom, closed in 2000, and the Caverns’ U Street neighbor (and predecessor as the hip jazz spot) Café Nema shut down in 2011. HR-57 moved briefly to H street NE and then closed. The jazz community survived them all. And there are still jazz venues, or venues that will book jazz, nearby.

Twins, a few blocks down U Street, is going strong, and once booked some of the artists upon whom Bohemian Caverns later built its reputation. JoJo, a little further on U, seems intent on becoming the new Café Nema. Two others, H Street’s Atlas Performing Arts Center and Bethesda Blues & Jazz, have substantially decreased their jazz bookings—but they’re about to have more opportunities.

And over in Brookland, trumpeter Deandrey Howard has just opened the Jazz and Cultural Society, whose whole mission is to provide a home base for local jazz musicians. Ditto the much-beloved jazz program at Southwest’s Westminster Presbyterian Church.

Brown, too, has no intention to quit the D.C. jazz scene entirely. “There are some possibilities in the future to continue to do this,” he says—adding quickly, “We don’t know that that’s the case immediately.”

“Someone will come along and pick up the pieces, and I’m not convinced that Omrao himself is done,” says DCJF’s Jenkins. “When I learned about this, I told Omrao, ‘Listen, let me know your next move, wherever it may be, because I’ll be fully supportive wherever I can.

Because I know that this isn’t your last move in CP this direction.’ So we’ll see.”

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The Washington Union Station Expansion Project would expand and modernize Washington Union Station. The project includes reconstructing and realigning tracks, developing new concourse facilities, maintaining multi-modal transportation services, and improving and expanding infrastructure and other supporting facilities while preserving the historically significant station building. FRA is preparing an Environmental Impact Statement in accordance with the National Environmental Policy Act and the project is also being coordinated concurrently through Section 106 of the National Historic Preservation Act consultation process.

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DCFEED

Goodbye, Marjorie.

The Ripple chef got kicked of Top Chef in last week’s finale. Hear what she has to say about her brush with reality TV fame at washingtoncitypaper.com/go/topchef.

YOUNG & HUNGRY

The Harder They Crawl After a disastrous Halloween, D.C. bar crawls face new regulations.

Trash poured out of cans and into the streets. Piles of vomit, plastic cups, napkins, pizza boxes, and takeout containers speckled the sidewalks.

A Halloween bar crawl prophetically named Nightmare on M Street had taken place the night before. Crowds had flooded the bars south of Dupont Circle, waiting in lines for drink specials. Two other bar crawls also took place in the neighborhood the same night.

Mark Lee, executive director of the D.C. Nightlife Hospitality Association, says the number of revelers likely reached around 10,000, and the area was so crowded that people were walking in the streets.

“It turned out to be a clusterfuck,” he says.

The morning after was just as disastrous: Crews from the Golden Triangle Business Improvement District, a nonprofit that helps organize events and upkeep efforts in the area, was stuck with most of the cleanup. They had initially scheduled leaf removal plus bike rack and lamp post painting before the cold of November rolled in, but instead found themselves picking up Solo cups and pizza crusts.

It took two days for the crews to clean up the mess. BID Executive Director Leona Agouridis says her board sent the Alcoholic Beverage Regulation Administration a complaint letter right away.

“We are a nonprofit. We were not created to clean trash,” Agouridis says.

The night became a catalyst for emergency rules by the Alcoholic Beverage Control Board that led to the rejection of several major bar crawls proposed this year. The liquor board called the event “the perfect storm” of chaos: Halloween was a Saturday, the weather was particularly balmy for a late October evening, and there were three crawls happening in the same area.

In December, the ABC board held a hear-

Photographs by Darrow Montgomery

By Allison Kowalski

The DC Leprecrawl took place last Saturday under new regulations. ing to review the events of the night. Among its findings: Vendors oversold their approved ticket max and crowds got so wild that officers on horseback had to be called in to break them up.

So, on Jan. 13, the board issued temporary regulations for bar crawl applications.

Now, if an event hosts more than 200 people, organizers have to pay a $500 annual fee to get a pub crawl license and hire their own third-party security and trash cleanup crew.

They also can’t host bar crawls on holidays.

That means, for example, a St. Patrick’s Day pub crawl can’t actually take place on St. Patrick’s Day. The emergency rules will expire on May 13 unless the liquor board and D.C. Council approve permanent changes. At a public hearing in early March, the board heard testimony from event promoters, restaurant owners, the D.C. Fire and EMS Department, Metropolitan Police Department, and the Department

of Public Works.

Those who spoke on behalf of the District expressed concern at the scale of the Halloween events, citing violence, theft, destruction of property, and debris. Plus, the large crowds made it nearly impossible for emergency vehicles to get through the area, a fire department captain said.

“In my 31 years of law enforcement experience, I’ve never seen anything comparable to the aftermath of a pub crawl,” MPD Second District Commander Melvin Gresham said at the hearing.

Arlington County also tightened its pub crawl rules in 2014. Instead of Halloween, it was a St. Patrick’s Day crawl and the resulting 25 arrests that inspired change. Later, during another crawl, a man stripped down naked and drunkenly attempted to make his getaway from police via car, but wound up hitting a bunch of parked vehicles instead.

The issue there, says Arlington Board Chair Libby Garvey, was that off-duty police had to be called in for overtime, and taxpayers wound up footing the bill instead of promoters. To address this, the county created a new “special events” permit for crawls exceeding 500 people that would require them to be licensed by the county and cover the costs of security and cleanup.

“We’re not going to have taxpayers funding their business,” Garvey says.

To her knowledge, none of the regular crawls have been turned down under the new regulations. But D.C. promoters haven’t been as lucky: At least four events, two scheduled for Valentine’s Day and two for St. Patrick’s Day, have been rejected since the new rules were enacted in January.

The main reason cited in all four cases was the lack of comprehensive security plans that matched the scale of the intended crowds.

In the case of the All You Need is Love bar crawl, the board argued that the applicant’s security plan—just a little longer than one

washingtoncitypaper.com march 18, 2016 21

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Under new regulations, bar crawls cannot take place on actual holidays. paragraph—was “woefully insufficient for a possible crowd of 7,500 people.”

The organizers who submitted the four rejected applications—Charity Events, Project D.C. Events, and Lindy Promotions—did not respond to request for comment.

Jonathan Gabel, CEO of Joonbug Promotions, said at the hearing his company hosts 400 bar crawls across 40 cities every year. In some cities, there is no permit required, while others make him go to meetings and obtain permits.

Gabel said he prefers the cities that have some outline for an application, since that means he knows the most effective way to plan. As for the new D.C. regulations, though, he took issue with the ban on hosting bar crawls on the actual holiday, since he considered it an integral draw for events.

“You can’t do a New Year’s Eve bar crawl before or after New Year’s Eve, because New Year’s Eve is all about the countdown,” he said. “That’s what New Year’s Eve is.”

The crawls also allow bars to draw in extra revenue and, in some cases, stay open, Gabel argued. “I have had owners tell me, ‘Oh, you saved my month,’” he said.

Chain BlackFinn Ameripub’s D.C. location is one bar that benefits from pub crawls.

Regional manager Steve Ryan says he had been preparing for a boon of 300 to 400 people as part of the Shamrock pub crawl that was initially planned to take place on March 12. But the liquor board rejected the crawl’s application. Instead, he expected a regular Saturday crowd of 50 to 60 people. And rather than the nearly dozen servers Ryan intended to bring in, he scheduled just three.

“It’s definitely going to impact a lot of business if this continues,” Ryan says.

Meanwhile, D.C. Nightlife Hospitality Association’s Lee sees the 200-person limit (before the $500 fee) being considered by the liquor board as prohibitive to smaller community events. He’d prefer that events under 500 people not have to be approved before the board.

These smaller events, he argues, would have their profits eaten up having to pay the $500 fee, hire contractors for security and cleanup, and potentially pay for legal aid to go before the board.

“Bar crawls are different sizes and types, and that’s something we hope the board will CP keep in mind,” Lee says.

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

DCFEED

what we ate last week:

Brunchie burger, $11, Duke’s Grocery. Satisfaction level: 5 out of 5

what we’ll eat next week:

Lamb barbacoa tacos, $15 for two, Espita Mezcaleria. Excitement level: 4 out of 5

Grazer

brew in town

A tiki drink without an over-the-top garnish is as naked as a swimmer without his trunks. At new U Street NW tiki bar Archipelago, the bartender-owners dress up cocktails with all manner of fruit animals and party straws, drawing inspiration from trips to Michaels craft store, pastry techniques, and The Decorative Art of Japanese Food Carving. While some drinks always come with specific garnishes, most will be decorated to the bartenders’ fancy. That means you’re more likely to find something elaborate on a slow Tuesday than a busy Saturday. Take a look at some of the whimsical garnishes from the Archipelago team.

—Jessica Sidman

3 Stars Bless Your Heart Barrel-Aged Dark Lager Where in Town: 3 Stars Brewery, 6400 Chillum Place NW Price: $5/14 oz.

Lime and orange peel ship, coquito nuts (fully edible mini-coconuts), and dehydrated pineapple flower

Aloha orange peel

Black plastic oil canister for the Oil Can Boyd with olive oil-infused blackstrap rum and falernum

Lime frog with a cherry tongue

“Bananapus,” aka banana octopus

Lime island with a cinnamon and mint palm tree and powdered sugar snow

Rustic Retrofit Since opening in 2012, 3 Stars Brewing Company has provided D.C. with a slew of suds (some in tallboy cans), a homebrew shop, and most recently, a new tasting room. Inside the production brewery, the rough-hewn “urban farmhouse” now encases 3 Stars’ pre-existing tasting area. Appointed with an underlit bourbon barrel-supported bar, barrel-stave chandeliers, and a large handcrafted wooden sign made from old-growth Ohio sassafras, the 1,100-square-foot space has plenty of sitting and standing room from which to sample 3 Stars’ 10 taps. Retractable garage doors open to the rest of the brewery and additional picnic table seating. There are also new bathrooms and a somewhat out-of-place deer hunting video game, perhaps an attempt to add (virtually) to the country aesthetic.

Not Your Father’s Lager On my last visit, another seemingly out-ofplace thing was a beer called Bless Your Heart.

I know co-founders Dave Coleman and Mike McGarvey are not keen on lagers, so I was surprised to see one on the menu. It seems lead brewer Nathan Rice is to thank for this Kentucky Common, a popular pre-Prohibition style indigenous to Louisville and brewed with corn and a dash of dark malt. Not content to leave it at that, 3 Stars aged some in Woodford Reserve bourbon barrels, and the final offering is a half-and-half blend with the original beer. The result is a tasty bourbon beer without the high alcohol content (4.5 percent). Its toast, sweet malt, and wood tannin aromas are followed by vanilla and brown sugar flavors and a lovely, dry finish. Highly drinkable, Bless Your Heart is a perfect between-seasons beer to help ease into spring.

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washingtoncitypaper.com march 18, 2016 23

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Galleries

How Bazaar

The Sackler International Gallery’s latest exhibition is a pale imitation of a historic Afghanistan marketplace.

By Jeffry Cudlin Visitors to “Turquoise Mountain: Artists Transforming Afghanistan” may wonder if they’ve accidentally wandered into some sort of trade show. The exhibition’s press materials promise a transformation of the Sackler’s International Gallery into an immersive environment: a recreation of a bustling marketplace in the historic Murad Khani district of Kabul. Instead, viewers will discover a tidy, conventional piece of non-art exhibition design, punctuated by photo portraits of beaming artisans, oversized text panels describing empowerment through art, and a video of Afghan children flying kites on rooftops. The results make for a handsome PR campaign, but bear little resemblance to an actual museum-level art exhibition.

That’s too bad, since co-curators Thomas Wide, director of exhibitions for the Turquoise Mountain Trust, and Julian Raby, director of the Freer-Sackler, have a compelling story to tell, and have brought some unusual objects to D.C. to tell it.

The exhibition title refers to the Turquoise Mountain Foundation, a British NGO based in Kabul and founded by politician and former diplomat Rory Stewart. Stewart is perhaps best known for an outlandish feat: In 2002, in the wake of the U.S. invasion, the pale, bookish Scot decided to travel unarmed and on foot across Afghanistan. “It would be a pity to be killed, of course,” he told a Los Angeles Times reporter at the start of his 32-day, 600-mile journey.

Along the way, Stewart encountered the Minaret of Jam— the last remnant of the Turquoise Mountain, capital of Afghanistan’s Ghurid dynasty in the 12th century. By the time he arrived, looters had dug massive trenches around the site and carted off truckloads of antiquities. Horrified, Stewart resolved to fight the destruction of the country’s cultural heritage.

Since 2006, the Turquoise Mountain Foundation has worked to restore Kabul’s crumbling mud and wood buildings by clearing seven-foot-deep mountains of trash from city streets and saving historic architecture from bulldozers.

It has also spurred a revival of traditional arts in Afghanistan, including calligraphy, woodworking, and jewelry-making—all of which declined or nearly disappeared under the Taliban’s strict imposition of Sharia law in the 1990s.

Over the years, Turquoise Mountain’s Institute for Afghan Arts and Architecture has trained nearly 500 students. Graduates of the institute have created their own thriving business-

“Turquoise Mountain” is a fine introduction to a world of Afghan crafts, but it feels more like a PR campaign than an art exhibition. es; to date, they’ve sold roughly $3.5 million worth of Afghan crafts on the international market.

To their credit, the exhibition organizers have tried to put these graduates in the spotlight. Through next January, 17 Afghan artists will travel to the U.S. and be present in the gallery, leading workshops and participating in panel discussions.

Many of them, like calligrapher Sughra Hussainy and jeweler Saeeda Etebari, are women; their current livelihoods would be impossible under Taliban rule.

But the show provides an incomplete picture of presentday life in Kabul. While the wall texts highlight childhood hardships—Hussainy was orphaned; Etebari contracted cerebral meningitis in a refugee camp and lost her hearing—little

is mentioned regarding current political realities, or the U.S. role in shaping them.

It turns out that many of the objects on view were created under fire. Take, for example, the gold and emerald jewelry collection presented here, produced for British designer Pippa Small by the workshop of Javid Noori. The New York Times reported how Noori’s workshop was destroyed by a suicide bomb in 2009, looted in 2014, and forced to relocate on at least four occasions by threats of violence. Noori does employ women to do this work, but many are unable to leave their homes. None of this is mentioned in the extensive story panels—only the excitement of his jewelers at the opportunity to work with real precious stones. washingtoncitypaper.com march 18, 2016 27

CPARTS Continued

The show also offers very little historical or cultural context for the objects themselves. Two 30-foot-long colonnades—carved from several tons of Himalayan cedar, and assembled without nails—divide the space, and are ostensibly the main works on view. But they ultimately serve as window dressing for the video projections, photos, and text panels that dominate the gallery.

At one end of the show, a specially commissioned carpet is displayed on a large, low slab.

Called “The Afghan History Carpet,” the piece was designed by Erbil Tezcan to reflect on the entire history of Afghan carpet design. “I researched the subject by looking at antique carpets,” the designer tells us in the interpretive label text, “and by gathering together samples and pieces that I could use for inspiration.”

Apparently the rug incorporates elements from 23 different designs. Viewers hoping to learn more—say, by comparing this new rug to specific examples of older Afghan carpets, or images of them, or by seeing some kind of timeline for the development of such rugs—are out of luck. No such supplementary materials are offered.

Some of the objects on view look like simple props of no

ty years old,” leans against the adjoining wall, presumably to give a window into the creative process.

It looks almost as if someone left it there by accident during the show’s installation.

It’s no fun to fault this show, since the Turquoise Mountain Foundation does admirable work. Vinyl signage on the show’s back wall tallies up the humanitarian aid efforts the foundation pursues alongside its cultural mission: providing primary education, health clinics, and sanitation in Murad Khani. This all sounds worthy of original attention. file: Adobe Yet this terse, bulleted infographic itself underscores the exhibition’s main problem. With “Turquoise Mountain: Artists Transforming Afghanistan,” the Sackler has inflated an informational brochure into a giant life-sized diorama. The results are too sterile and sparse to function as the recreation of an Afghan bazaar, and too informal and informationfree to count as a proper art exhibition. “Turquoise Mountain” may reflect good intentions, but the Afghan men and women it CP features deserve a better platform for their work.

Gorgeous work is often stymied by brochurelike infographics.

Washington City Paper Wed, Mar. 16, 2016 1/12 H (4.666” x 1.603”) Non-SAU Landmark Theatres/EB particular value: A group of Turquoise Mountain instructor Abdul Matin Malekzadeh’s ceramic bowls, some unfired or unfinished, others fully decorated and glazed, have been unceremoniously spread across the floor in front of a video projection, and attached in clusters to the lower half of the wall beside it.

Interested in learning more about these ceramics? A sieve for creating clay, which the brief label text describes as “over twen-

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Fresh Food Market Tuesdays -Sundays Arts & Crafts ~ Weekends easternmarket-dc.org Tu-Fr 7-7 | Sa 7-6 | Su 9-5 28 march 18, 2016 washingtoncitypaper.com

CPARTS Arts Desk

Our jazz critic analyzes the Kennedy Center’s 2016-17 jazz season.

washingtoncitypaper.com/go/kennedycenterjazz

One trAck MinD

Brick Bait

Warm Sun

Last week, the National Building Muse-

um announced its summer exhibit: “ICE-

“On a Western Coast”

BERGS,” in which the interior of the museum will be transformed into an underwater “glacial ice field” with the installation of structures—some as tall as 56 feet—and

Standout Track: “On a Western Coast,” a wiry, wistful, cosmic country-rock anthem a few degrees to the left of the Bakersfield sound. Keyboardist Jason Hutto, a veteran of The Aquarium and a member of Soccer Team, steps forward to take lead vocals, reflecting on a road trip that marked a turning point in his own life. The song makes up half of a single that Warm Sun—which also includes Basla Andolsun and Devin Ocampo, both of Beauty Pill, and Renata Burger—released amid January’s heavy snowfall.

blue paneling. It follows the success of last summer’s “THE BEACH,” in which the interior of the museum was filled with plastic balls that may or may not have given you pink eye. Below are suggestions for future installations, in which the interior of the museum is transformed into, well, you get the idea.

—Matt Cohen

PYRAMIDS This summer: icebergs. Next summer: pyramids?

If the museum knows what’s good for them, they’ll tap into millennial nostalgia and recreate the famed obstacle course from Nickelodeon’s Legends of the Hidden Temple.

EVERYTHING IS LEGO! Millenials can use oversized LEGO bricks and Lincoln Logs to build their favorite structures, like standing desks and tiny houses.

QCKSND What’s better than “THE BEACH”? How about a quicksand pit that visitors can “lose themselves” in.

J-E-L-L-O P-O-O-L It’s alive!

???

Photo by AgnosticPreachersKid/Flickr Creative Commons; Illustrations by Lauren Heneghan

HIDDEN TEMPLE, FOUND

Musical Motivation: When Hutto joined Warm Sun about two years ago, he brought his Roland synthesizer. It didn’t click with Warm Sun’s “classic-rock setup,” Hutto says—the synth was cold, while Ocampo’s guitar style has a distinctly warm feel. So he sold some gear and bought a compact Hammond organ.

The sound is “full church organ,” he says.

“It kind of reminds me of the cool Saturday Night Live band. You know, the classic setups you’d see on that show. They didn’t need to have a synthesizer. They’d go classic.”

California Screamin’: “On a Western Coast” is “very much the story of how I ended up in this town,” Hutto says. At the end of a trip he took after college, he ended up passing on a cousin’s offer to stay out west, something he regretted as his family drove home to Arkansas.

“I let my fears keep me from committing to a life-changing event,” he says. When an offer to move to D.C. popped up, he seized it. That’s the point in the narrative where “On a Western Coast” blossoms into its clanging, shimmery climax, with Hutto yelping, “The world in a rock ’n’ roll show, I had to scream about it/ Hey! We want you. We like you.” It’s a “song about inclusion,” Hutto says. “For me it was D.C. punk rock... that helped me be the person I am today.”

—Jonathan L. Fischer Listen to “On a Western Coast” at washingtoncitypaper.com/go/warmsun.

washingtoncitypaper.com march 18, 2016 29

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Film

Beyond Recall

Two films deal with the manipulation of memory, whether it’s due to illness or our own piggishness.

Remember Directed by Atom Egoyan

Remember

Creative Control Directed by Benjamin Dickinson

By Tricia Olszewski If someone murdered your family, would you truly carry your desire for vengeance to your grave? How old and how addled would you have to be before your hatred ebbs and, if not exactly peace, apathy takes its place?

In Atom Egoyan’s Remember, there’s no best way to serve revenge, so long as it is indeed served. The film opens in a New York nursing home, where 90-year-old Zev (Christopher Plummer) wakes up every morning calling for Ruth, his recently deceased wife. Zev, with shaky hands and an even shakier memory, has dementia, yet his friend Max (Martin Landau) tasks him with a mission after the final day of sitting shiva for Ruth.

Max plans every detail and writes it all down for Zev to reference: They are Auschwitz survivors, and the SS officer responsible for killing their families has emigrated from Germany under the name Rudy Kurlander. He has never been prosecuted. And Zev had promised himself, his wife, and Max that after Ruth died, he would hunt down Kurlander and murder him.

There are four Rudy Kurlanders in North America; three in the U.S. and one in Canada. So Zev takes Max’s cash, detailed itinerary, and fervid support and hits the road, referring often to Max’s letter when confused and being greeted by the drivers and at the hotels his friend has arranged for him.

Remember, by freshman scripter Benjamin August, is Holocaust-themed but doesn’t guilt you into liking it. The story thrills instead of weeps, with you fearful for Zev every uncertain step of the way.

Though Zev is self-effacing and polite—not to mention in mourning—he’s apparently as determined as Max is, mustering confidence whenever he’s unsure, particularly when he has to buy a gun or, later, aim it with a wobble. He checks in with Max, and vice versa, and trusts his instructions.

There are quibbles to be had along Zev’s journey, including an unrealistic situation at a Midwestern thrift store and the baffling casting of a Rudy Kurlander who’s

30 march 18, 2016 washingtoncitypaper.com

two decades too young for the part, necessitating obvious makeup. Otherwise, the film’s a treat: Plummer, and to a lesser extent Landau, are terrific, giving sharp performances that defy their mid-80s ages.

(Plummer is particularly astonishing when you consider his youthful, freshly uncloseted character in 2011’s Beginners, for which he won an Oscar.) You may notice Breaking Bad’s Dean Norris credited before Landau; that’s because his turn as an anti-Semite is so extraordinarily vile, his is one of the most memorable scenes of a continuously shocking story.

The end is also a jolt, though a bit of bite is taken out by exposition that is mishandled and arguably unnecessary. Among Egoyan’s filmography, Remember is one of his finest— it makes 2010’s Chloe seem an exercise in juvenility that renders the performances of two beautiful women less enticing than those of two elderly men.

Memory is also an uncertain thing in Creative Control, the second feature from director, co-writer, and smug star Benjamin Dickinson. Dickinson plays David, the head of a marketing team who has just won the campaign for a pair of augmented-reality glasses. As a perk, David gets a pair.

And he immediately uses them to, uh, get another pair.

You see, David has a crush on his friend’s girlfriend, Sophie (Alexia Rasmussen), even though he lives with his own longtime girlfriend, Juliette (Nora Zehetner). With the glasses, he can scan Sophie’s face—and happens to run into her as soon as he leaves his office with them—match it to the body shape of his choice, and call up a faux fuck whenever he has a shit-faced moment to himself. And because he’s apparently sexstarved from a justifiably unhappy Juliette, he has a lot of such moments.

David is an ass, which makes the entire film hard to care about. He pops unidentified pills and gets falling-down drunk, acts like a child toward Juliette (guys: boobgrabbing is not the best come-on), and generally seems to think he’s superior to everybody. That includes his best friend, Wim (Dan Gill, who looks like he should be in Eastbound & Down instead of a drama), a fashion photographer who regularly beds his models. So we’ve got two winners here.

David’s virtual affair is the crux of the movie, which is filmed in black and white with the exception of digitized Sophie. And it’s a boring one. Or, rather, robotic: Sophie’s avatar is stiff and unquestionably computerized, which makes David’s eventual obsession, confusion, and stronger feelings toward the real Sophie baffling. The two are also purportedly best friends, and Sophie is obviously sleeping down, so it seems natural when she acts interested in David and then questionable when she’s suddenly angry about his attention. Juliette, too, is a bit of a whiner, and easily written off in both David’s life and in the film overall.

At least until the end, that is—literally, the very last scene—which turns out to be the most compelling part of the movie. It involves an intense conversation between David and Juliette that results in a radical decision. That decision, though, appears to be reneged on after a short phone call. David takes the call on his sky-high balcony; Juliette is on the other side of the door and can’t hear him. It takes only a look to convey what’s going to happen, then the credits roll. It’s a legitimately stylish close to a strainingly trendy film, suggesting that Dickinson may indeed have some talent CP if he could only get over himself.

Remember opens Friday at Cinema Arts Theatre. Creative Control opens Friday at Landmark’s E Street Cinema.

New CD out same day!

ANOUSHKA SHANKAR Land of Gold

Fri, Apr 1, 8pm GW Lisner Auditorium Made possible by Daimler

Co-presented by

The Outwin 2016 American Portraiture Today Through January 8, 2017

TICKETS:

Lisner.gwu.edu • (202) 994-6800 WashingtonPerformingArts.org • (202) 785-9727

Tabla master returns!

ZAKIR HUSSAIN & MASTERS OF PERCUSSION Sun, Apr 17, 1pm Kennedy Center Concert Hall

DC return of one of the signature jazz piano trios of our era!

BRAD MEHLDAU TRIO

Wed, Apr 20, 8pm Sixth & I Historic Synagogue

See contemporary art from the winners of The Outwin Boochever Portrait Competition.

Made possible by the Billy Rose Foundation, the Abramson Family Foundation, and BB&T Wealth.

TICKETS:

WashingtonPerformingArts.org (202) 785-9727

8th and F St. NW • Washington, DC 20001 • npg.si.edu

Sedrick, Sed, Daddy, Sedrick Huckaby, 2014. Beverly and George Palmer; courtesy of Valley House Gallery & Sculpture Garden, Dallas, Texas © Sedrick Huckaby

washingtoncitypaper.com march 18, 2016 31

FilmShort SubjectS THE CATHOLIC UNIVERSITY OF AMERICA Benjamin T. Rome School of Music

THURSDAY MAR 17TH

VILLAIN & SAINT PATRICK’S DAY! W/40 THIEVES AND PHIL & CHRIS OF LLOYD DOBLER EFFECT IRISH ROCK AND FOLK. DANCE PARTY!

FRIDAY MAR 18TH

BIG TOW

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

SATURDAY MAR 19TH

PATTY REESE BAND BLUES ROCK COVERS AND ORIGINALS

SPRING OPERA DOUBLE BILL

La Serva Padrona/ Gianni Schicchi It’s SO Hard to Get Good Help!

MARCH 17–20, 2016 HARTKE THEATRE

SUNDAY MAR 20TH

BATTLE OF THE BANDS: HIGHER NUMBERS, LONELY OCEAN, THROWING WRENCHES & DATA RECOVERY PROJECT

Tickets available at

MONDAY MAR 21ST

music.cua.edu.

GRATEFUL MONDAYS HOSTED BY THE ROCK CREEK BAND GRATEFUL DEAD TRIBUTE BAND

TUESDAY MAR 22ND

4TH JAZZ FUSION OPEN JAM HOSTED BY PULP FUSION

Please call 202-319-5414 or email cua-music@cua.edu to request disability accommodations.

OPEN JAZZ JAM

WEDNESDAY MAR 23RD

ROOTS OF CREATION JAM ROCK SUPERSTARS THURSDAY MAR 24TH

FUTURE GENERATIONS W/ DAVISON DUO ROCK AND FOLK & TWO BLUE

FRIDAY MAR 25TH

HYPNOTIC WILLIE ROOTS ROCK, AMERICANA, SOUL, BLUES SATURDAY MAR 26TH

THEVARIOUS RHYTHM BANDITS COVERS, ROCK AND ROLL CONCERTS@VILLAINANDSAINT.COM · TICKETFLY.COM

7141 WISCONSIN AVE, BETHESDA MD 20814 · 240-800-4700

W W W. V I L L A I N A N D S A I N T. C O M

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Game of Drones Eye in the Sky Directed by Gavin Hood Eye in the Sky is not the first movie about drone warfare, but it might be the best. In recent years, Hollywood has shoehorned drones into nearly every blockbuster action flick—from the Robocop remake to Star Trek to Captain America: The Winter Soldier—as a shortcut to political relevance. What those films exploit, Eye in the Sky thoroughly examines. Gavin Hood’s film is a sharply observed political thriller that should inspire moral reckoning among partisans on both sides of this contentious issue.

It opens mundanely, with each character introduced at the start of their work day. British Col. Katherine Powell (Helen Mirren) grabs a cup of coffee and receives instructions to monitor a house in Kenya where high-level terrorists may be staying. She oversees an American drone operator (Aaron Paul), working from a room on an Air Force base in Las Vegas (the same location featured in 2015’s dreadful Good Kill). His drone can’t see inside the house, so he defers to Kenyan agent Jama (Barkhad Abdi), who uses micro-technology—drones disguised as a hummingbird and a horsefly—and discovers that the terrorists inside the house are planning an attack.

The decision to turn this surveillance mission into a strike falls on a team of British government bureaucrats led by Lt. Col. Frank Benson (Alan Rickman).

Throughout the film, Hood cuts quickly between these players, building momentum to a thrilling pace. With the characters frequently communicating via video conference, they all seem to be in the same room, and Eye in the Sky even takes on the intimate qualities of an Information Age chamber

play. The routine strike becomes complicated by the presence of a civilian girl within the casualty circle. As military and political figures weigh the cost of one civilian life against the untold deaths prevented by killing the terrorists, the filmmakers zero in on the void of leadership, with no one willing to risk the legal and political ramifications should things go wrong. The onus of responsibility gets passed round and round, with the machinations reaching a comic pitch that entertains, while shedding light on the realities of warfare in the modern era.

Rickman plays no small role in the film’s success. It’s the late actor’s last dance, and he has found an ideal partner in Hood, who employs Rickman’s gift for subtlety and British droll for maximum impact. His tossedoff delivery of an “Oh, for God’s sake” or “Well, this changes things” is a pin that expertly punctures the tension that periodically fills the room as his team faces one challenge after another; it turns what could be a tense political drama into the sharpest satire this side of Dr. Strangelove.

It’s so riveting that it’s easy to miss what an impossible achievement Eye in the Sky really is. Guy Hibbert’s screenplay is a masterclass in empathy, offering a wide variety of thoughtful, well-reasoned perspectives on this complex political issue. Most impressively, Hibbert doesn’t judge or favor any one position, instead giving both sides equal value and time.

Sure, a partisan could watch it and find plenty of evidence to support their position and disregard the rest. But the open-minded among us are sure to learn something new and have our views challenged. In these politically divisive times, that’s a small miracle.

—Noah Gittell Eye in the Sky opens Friday at Landmark’s E Street Cinema, Bethesda Row, and Angelika Film Center & Cafe at Mosaic.

TheaTerCurtain Calls

Handout photo by Margot Schulman

Don’t let its daunting runtime deter you.

PoPcorn Psychology The Flick

By Annie Baker Directed by Joe Calarco At Signature Theatre to April 24 “I’m not performing,” insists Sam, a 35year-old movie theater usher who lives with his parents.

But how can he be sure? Belonging to a notuncommon genus of cinephile, Sam (played by a hunched-over Evan Casey, with Kevin Baconesque sharp features scrubbed down and credible Western Mass. accent turned up) has spent more time absorbing mediated emotion alone in the dark than he has experiencing the scary real thing.

His declaration arrives late in Annie Baker’s The Flick, a Pulitzer-winning comic drama that unfolds at the 34-year-old playwright’s usual unhurried clip. As staged by Joe Calarco in Signature Theatre’s cozy Ark space, it commanded my rapt attention for every one of its 195 minutes. I am bound by duty to report not everyone in the audience on press night shared my fervor—certainly not the lady who whispered loudly enough to be heard two rows away, “I feel like I’m in prison!”—and bound by taste to report that that lady is as wrong as she is rude.

It’s a known fact that some audiences find Baker’s unglamorous characters and their occasional silences oppressive. For all his misanthropy, Sam might be the most well-adjusted of The Flick’s central trio. The others are Avery, a newly hired college kid just barely sociable enough to get through the day, and Rose, a projectionist (one big rung up on the ladder from usher, though it’s a pretty short ladder) whose brash confidence masks her own intimacy issues.

They all work at (and skim “dinner money” from) The Flick, a single-screen movie house in Worcester, and the last to project films from 35mm celluloid. Its multiplex competitors have all gone digital: cheap, reliable, and soulless, or so purists like Avery insist. Registering his indignation over the fact that The Flick, too, may soon

surrender to the Pixel Putsch is about the only cause that can compel the fragile Avery (Thaddeus McCants, giant glasses sliding down his nose because he’s not supposed to be handsome, either) to speak with conviction. Well, other than to argue there hasn’t been a truly great American movie since Pulp Fiction, of course. Sam lodges the same objections to this pronouncement that any dude movie lover with a measure of vanity about his refined tastes would: What about the Coen brothers? What about the not-brothers Anderson, Wes and Paul Thomas? But Sam also wants Avery to get off his high horse and admit he enjoyed Avatar.

These arguments feel as authentic as the ballbusting music debates in High Fidelity did. Like the arrested record-store clerks in that novel and movie, Avery and Sam are both a lot quieter and less articulate when they’re discussing their families and their feelings. Laura C. Harris’ Rose is literally above their popcorn-sweeping discussions, occasionally descending from the projection booth to hang out with them. Chewing on Twizzlers while reading from an astrology book she found in the trash, she mostly ignores Sam but evinces an infatuation with new-guy Avery.

As ever with Baker, the stakes are small but feel huge. No, not huge. Life-sized.

Like The Flick’s 2013 premiere in New York and its concurrent production at Chicago’s Steppenwolf Theatre, Calarco’s version situates the audience behind the invisible movie screen, staring back at the rows of squeaky flipup seats where Sam and Avery sweep up popcorn. (The set is by James Kronzer.) The only downside to this physical plant is that because the rake of our seats in the Ark isn’t quite steep enough, your view of the actors will be slightly obscured at one point or another unless you’re very tall or seated in the front row. That’s a more legitimate grievance than the fact that this Sam doesn’t seem 15 years older than this Avery, or that all of the actors in this talented cast are too good-looking for their parts. This isn’t the movies, after all. It’s what the people who clean up your trash talk about once the movie has ended.

— Chris Klimek 4200 Campbell Ave., Arlington. $40–$94. (703) 820-9771. sigtheatre.org.

Washington’s Greatest Contemporary

A CAPPELLA CONTEST!

MY BRIGHTEST DIAMOND

8PM • Saturday March 26 at the Lincoln Theater, 1215 U St. NW

COMPETING FOR OVER $2000 IN PRIZES

Redline • The District The Overtones • All Natural Sharp Attitude • Catch 22 With performances by The Alexandria Harmonizers and the 2015 Aca-Challenge winners VOX POP!

Tickets starting at $25

CHRIS CONZ & LUCA SESTAK {Boogie woogie beats}

Fri, March 18 at AMP

Free, reservations required

Tickets available @ http://tinyurl.com/acachallenge2016tickets

Sat, March 19 at Glenstone

MY BRIGHTEST DIAMOND {Dreamy indie pop}

Sat, March 19

MID-ATLANTIC BLUEGRASS BAND CONTEST

WITH CHRIS JONES AND THE NIGHT DRIVERS Sun, March 20 Sponsored by DC Bluegrass Union

Loston Harris

{Jazz Piano, American Songbook}

Sat, March 26

THE FELICE BROTHERS with {Folk Aubrie Sellers rock family} Fri, April 1

AN EVENING WITH

MOLLY RINGWALD Fri, April 8

Full Schedule Online 11810 Grand Park Ave, N. Bethesda, MD Red Line–White Flint Metro

www.AMPbyStrathmore.com washingtoncitypaper.com march 18, 2016 33

KRAMERBOOKS

UPCOMING EVENTS

w h a t d o e s i t m e a n to b e a

Citizen i n c o n t e m por a r y a m e r i c a ?

The Dark WriTe

A Public Program of the N At i o N A l C o m m u N i C At i o N A s s o C i At i o N

The Caped Crusade: Batman and the Rise of Nerd Culture

By Glen Weldon Simon and Schuster, pp. 336

Come join this interactive conversation about what it means to be a citizen of the United States in the 21st Century. This frank and stimulating discussion will be led by a panel of distinguished teachers and scholars who have thought long and hard about the meaning and power of American “citizenship.”

March 2 2 , 2 016 6 :00 pm –7: 3 0 pm

Mon. 3/21 at 6:30pm La Superba Ilja Leonard Pfeijffer

BusBoys & Poets 14th & V streets, NW Washington, Dc

There is no cost to at tend, but space is limited. RSVP to Jacqueline Reilly at jreilly@natcom.org or 202.534.1117.

Tues. 3/22 at 6:30pm Constance Feminore Woolson Anne Boyd Rioux & The Magician’s Lie Greer McCallister

w w w . n a t c o m . o r g

Wed. 3/23 at 6:30pm Eruption Steve Olson Tues. 3/29 at 6:30pm The Caped Crusade Glen Weldon

BEST OF 2016 OUT APRIL 7

Wed. 3/30at 6:30pm When God Isn’t Green Jay Wexler Wed. 4/6 at 6:30pm Burning Down the House Jane Mendelsohn Mon. 4/11 at 6:30pm Country of Red Azaleas Dominica Radulescu

BooksSpeed ReadS

Reserve Now! Call the advertising department to book your Best of D.C. ad today: 202-650-6927 washingtoncitypaper.com

1517 CONNECTICUT AVE. NW 202.387.1400 // KRAMERS.COM 34 march 18, 2016 washingtoncitypaper.com

As primitive as it might look today, Batman’s 1939 newsstand debut was an auspicious one. It laid the groundwork for a bond between readers and a sullen crime-fighter that would weather more than seven decades of gothic peaks and mortifying, cash-grabbing lows. “The Bat-Man,” donning a hyphen along with ashy grey tights and long, lean ears back in Detective Comics #27, was caped and mysterious, a little more than a knockoff of pulp hero “The Shadow.” In the years that followed, comic story arcs like Knightfall and Batman: Year One starred a moody Dark Knight who steered clear of the sunbaked moral high ground patrolled

by Superman, instead prowling a city governed by crooks and obsessing over avenging his parents’ alleyway murder.

He’s hurting, claims no superpowers, and in spite of his inordinate wealth, he’s somehow a relatable superhero.

“The Batman school preferred a vulnerable hero to an invulnerable one, preferred a hero who was able to take punishment and triumph in the end to a hero who took comparatively little punishment, just dished it out,” wrote Jules Feiffer in 1965’s The Great Comic Book Heroes.

In The Caped Crusade: Batman and the Rise of Nerd Culture, NPR critic Glen Weldon examines DC Comics’ most relatable property as well as the mainstream’s wresting of him from the death grip of “nerds.”

Weldon—a self-proclaimed nerd of the highest order, whose Superman: The Unauthorized Biography also found him mulling the prized comics of yesteryear—argues that there is no one Batman but an “elastic concept” that has enjoyed commercial success across a variety of mediums.

“No single image defines Batman, because any single image is too small to contain the various layered and at times contradictory meanings we’ve installed in him,” Weldon writes. “Since his first appearance, we have projected onto the character our own fears, our preoccupations, our moral imperatives, and have seen in him what we wish to.”

Batman forced superheroes out of “a perpetual age of adolescence,” offers Weldon, and after eons of fraternizing via fanzines, comic letter columns, in comics shops, and later online, nerds’ niche interests are now mainstream. The Caped Crusade’s subject no longer belongs solely to an outsiders’ club— he “acted as the catalyst for billions of ‘normals’ to embrace the culture they had once

dismissed or rejected.”

Incisive criticism of specific comic runs and graphic novels in Weldon’s smart, pugnacious book offers an inside-baseball chronology of Batman, but will surely bore the normals. Analysis of adjacent components fares much better: There were jingoistic, “deeply weird” 1940s movie serials; a silly Adam West–led TV show; and of course, astronomically high-grossing films.

Behold the assessment of what a behemoth “$10 million marketing budget” yielded for Tim Burton’s Batman (partners included Taco Bell and JC Penney). Or that Warner Bros. received “over fifty thousand petitions and letters of complaint” from Bat-fans who’d heard rumors that Burton would take cues from the 1960s show. Such nuggets have gossipy appeal, but non-nerds should take heed that there’d be no Burton, Schumacher, or mumbling Bane were it not for Bob Kane and Bill Finger.

Before teenaged New Jersey artist Jerry Robinson introduced a character he called “The Joker,” or psychiatrist Frederic Wertham led a fraudulent, comics industry-crippling witch hunt and suggested Batman and Robin “might make a kid worry that he was (gay),” writer Finger overhauled the crude sketch that scored Kane a work-for-hire contract with (a pre-DC) National Comics.

Finger “introduced the iconographic elements now universally associated with the concept ‘Batman’ […], effectively transformed Kane’s Winged Underwear-Man into a Dark Knight,” writes Weldon. Finger scripted Batman’s origin and more, but in lockstep with comics’ tradition of immoral business practices, Kane snagged sole authorship credit for decades. Recognition for co-creator Finger came only after his death.

This is ancient history in the towering shadow of Christopher Nolan’s trilogy and Lego Batman: The Videogame, but in The Caped Crusade, it’s a singular swerving and knotty ride that’s probably not unlike The Dark Knight Coaster at Six Flags.

“It’s no longer just nerds like me who love Batman and things like him,” writes Weldon. “Over the past few decades, ‘geeking out’ has become the new normal, the default mode in which many millions of us engage the world around us. When we love a thing, —Dominic Umile we love it deeply.”

washingtoncitypaper.com march 18, 2016 35

36 march 18, 2016 washingtoncitypaper.com

INER 60S-INSPIRED D Serving

EVERYTHING from BURGERS to BOOZY SHAKES

HAPPY HOUR:

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

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SHOT!

SABBATH SUNDAY NIGHTS

CITYLIST Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Galactic, The Bright Light Social Hour. 8 p.m. $30. 930.com.

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

Marc Delgado. 8 p.m. Free. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Brent & Co. 10:30 p.m. Free. thehamiltondc.com. linColn TheaTre 1215 U St. NW. (202) 888-0050.

Indigo Girls, Toshi Reagon. 8 p.m. (Sold out). thelincolndc.com. roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

J. Roddy Walston & The Business, Sleepwalkers.

9 p.m. (Sold out) rockandrollhoteldc.com.

Funk & R&B The hamilTon 600 14th St. NW. (202) 787-1000.

Chopteeth AfroFunk Big Band. 8:30 p.m. $15–$20. thehamiltondc.com. howard TheaTre 620 T St. NW. (202) 803-2899.

Keith Sweat. 7:30 p.m. $45–$115. thehowardtheatre.com.

Jazz amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Chris Conz & Luca Sestak. 8 p.m. (Sold out) ampbystrathmore.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter White. 8 p.m. (Sold out) & 10 p.m. $47. bluesalley.com. monTpelier arTs CenTer 9652 Muirkirk Road, Laurel. (301) 377-7800. Akua Allrich. 8 p.m. $25. arts.pgparks.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Anthony Compton. 8 p.m. Free. mrhenrysdc.com.

countRy barns aT wolf Trap 1635 Trap Road, Vienna.

(703) 255-1900. The SteelDrivers. 8 p.m. $27–$30. wolftrap.org.

$5 Drafts & Beer Specials

hill CounTry live 410 7th St. NW. (202) 5562050. Cory Morrow. 9:30 p.m. $20–$25. hillcountrywdc.com.

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

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Music

Punk/Metal/Hardcore Classics

10:30 pm - Close

Music . . . . . . . . . . . . . . . . . . . . . . . . .37 Theater . . . . . . . . . . . . . . . . . . . . . . 4 3 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .45

CITY LIGHTS: FRIDAY

THE NORTH COUNTRY

Since releasing its excellent album There Is Nothing To Fear last year, The North Country has refined and reworked its folk/indie/country sound through several lineup changes, but the end product, frontman Andrew Grossman’s vibrant songwriting, hasn’t changed. At every show, he charges ecstatically into each chord, singing songs that channel an existentially barren yet strangely hopeful approach to living and working as an artist in today’s D.C. The music shifts, often dramatically, from grand and epochal to soft and tender—an outcome driven more by melodic passion than strict calculation. Philadelphia-based band My Son Bison approaches folk music from an earlier era, using an upright bass and choppy rhythms that hang out in the front of its songs, with pickings from a 12-string guitar and echoing harmonies. D.C.’s own “Prince of Darkness” Sean Barna opens the show with his aching songs about drugs and death, presented with an eagerness and affection that’s sorely missing in the local music scene. The North Country performs with My Son Bison and Sean Barna at 10 p.m. at Comet Ping Pong, 5037 Connecticut Ave. NW. $12. (202) 364—Quinn Myers 0404. cometpingpong.com.

opeRa

seltown: A Hollywood Cabaret. 8 p.m. $48. atlasarts.org.

CaTholiC universiTy of ameriCa 620 Michigan Ave. NE. (202) 319-5000. La Serva Padrona and Gianni Schicchi. 7:30 p.m. $5–$40. music.cua.edu.

dJ nigHts

WoRld

classical

hylTon performinG arTs CenTer 10960 George Mason Circle, Manassas. (703) 993-7759. Danú.

8 p.m. $30–$50. hyltoncenter.org.

kennedy CenTer ConCerT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Osmo Vänskä, conductor; Nikolai Lugansky, piano.

8 p.m. $15–$89. kennedy-center.org.

Hip-Hop fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Hoodie Allen, Superduperkyle, GNASH. 8 p.m. (Sold out). fillmoresilverspring.com.

caBaRet aTlas performinG arTs CenTer 1333 H St. NE. (202) 399-7993. Congressional Chorus presents Tin-

blaCk CaT 1811 14th St. NW. (202) 667-4490. New Order Dance Party with DJs Missguided, Killa K, and Steve EP. 9:30 p.m. $10. blackcatdc.com.

saturday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Galactic, The Bright Light Social Hour. 8 p.m. $30. 930.com. amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. My Brightest Diamond. 8 p.m. $25–$35. ampbystrathmore.com.

washingtoncitypaper.com march 18, 2016 37

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. America, Larry Burnett Band featuring Don Chapman. 7:30 p.m. (Sold out) birchmere.com. blaCk CaT 1811 14th St. NW. (202) 667-4490. Tortoise, Mind Over Mirrors. 9 p.m. $15. blackcatdc.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Jeffrey Pepper Rodgers. 8 p.m. Free. gypsysallys.com. howard TheaTre 620 T St. NW. (202) 803-2899.

Pete Yorn. 8 p.m. $35. thehowardtheatre.com. sonGbyrd musiC house and reCord Cafe 2477 18th St. NW. (202) 450-2917. Puff Pieces, Jack On Fire, Nice Breeze. 7:30 p.m. $10–$12. songbyrddc.com.

Funk & R&B Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Covered with Jam, Tumble Down Shack. 9 p.m. $12–$14. gypsysallys.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter White. 8 p.m. (Sold out) & 10 p.m. $47. bluesalley.com. mansion aT sTraThmore 10701 Rockville Pike, Rockville. (301) 581-5100. Saturday Family Jazz Sessions. 11 a.m. $10. strathmore.org. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Renee Tannenbaum with Dial 251. 8 p.m.

Free. mrhenrysdc.com.

Blues ioTa Club & Café 2832 Wilson Blvd., Arlington.

(703) 522-8340. Bobby Thompson and Friends featuring Ron Holloway, Bryan Elijah Smith. 9 p.m. $12. iotaclubandcafe.com.

countRy The hamilTon 600 14th St. NW. (202) 787-1000.

Frank Solivan & Dirty Kitchen, John Cowan, Rob Ickes & Trey Hemsley. 8:30 p.m. $18–$25. thehamiltondc.com.

WoRld monTGomery ColleGe CulTural arTs CenTer 7995 Georgia Ave., Silver Spring. (240) 567-1300.

Martin Hayes and Dennis Cahill. 8 p.m. $15–$35. cms.montgomerycollege.edu.

opeRa CaTholiC universiTy of ameriCa 620 Michigan Ave. NE. (202) 319-5000. La Serva Padrona and Gianni Schicchi. 7:30 p.m. $5–$40. cua.edu.

classical kennedy CenTer ConCerT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Osmo Vänskä, conductor; Nikolai Lugansky, piano.

8 p.m. $15–$89. kennedy-center.org.

caBaRet aTlas performinG arTs CenTer 1333 H St. NE. (202) 399-7993. Congressional Chorus presents

CITY LIGHTS: SATURDAY

GALACTIC

Live shows by New Orleans–based jam band Galactic aren’t so much concerts as they are a mini NOLA experience. The quintet’s lineup doesn’t include a regular vocalist, so members often outsource that responsibility to big-name talents like Macy Gray and Mavis Staples. Despite making music for more than two decades, Galactic’s energy hasn’t decreased on its latest release, 2015’s Into the Deep. The typical assumptions about jam bands don’t necessarily apply to this ensemble, however: It features a saxophonist and organist and, depending on the track, can vary in sound from funk to rock to R&B. Galactic has kicked it with The Roots and The Allman Brothers Band, preferring to back a lyricist because of its members’ aversion to writing lyrics. Galactic projects a brassy party vibe, elevating whoever is around it with its pep and table-dancing swing sound that dares you to stand still. Galactic performs with The Bright Light Social Hour at 8 p.m. at 9:30 Club, —Allison Kowalski 815 V St. NW. $30. (202) 265-0930. 930.com.

City Paper 03-17-16.indd 1 38Washington march 18, 2016 washingtoncitypaper.com

3/1/16 1:13 PM

washingtoncitypaper.com march 18, 2016 39

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

1811 14 ST NW TH

www.blackcatdc.com @blackcatdc

MARCH / APRIL SHOWS THU 17 KARAOKE BONANZA A RADIO CPR BENEFIT

FRI 18 FRI 18 SAT 19 SAT 19 WED 23 THU 24

NEW ORDER DANCE PARTY BUMP & GRIMES II

WALKING DEAD BURLESQUE (21+)

TORTOISE

RIGHT ROUND

80S ALT POP DANCE PARTY

MAL BLUM

DREAMERS / ARKELLS

FRI 25 NEW BELGIUMS PRESENTS

SAT 26 TUE 29

THE CITRADELIC EXPERIENCE GAY // BASH!!

DANCE PARTY / DRAG NIGHT

JUNIOR BOYS JESSY LANZA

WED 30 CHAD THU 31 FRI 1 SAT 2

VALLEY

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

Tix @ Ticketmaster.com 800-745-3000

Mar 17

DWELE 22 BIG BAD VOODOO DADDY EMILY WEST 24 As seen on “America’s Got Talent!”

CLEVE FRANCIS MUSIQ SOULCHILD

26 29

GOAPELE Apr Karen 1 BOB SCHNEIDER (Solo) Jonas 30

TOM RUSH 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 2

An Evening with

BLACKBIRD BLACKBIRD

14

ALL FOOLS NIGHT

15&16

DANCE YOURSELF CLEAN

17 ONE MAN

DMA’S

MUSIC / SIDESHOW / COMEDY

THE CHURCH DARK KNIGHT

A Batman Parody

JAKE SHIMABUKURO

TOWER OF POWER 21 KARLA BONOFF & JIMMY WEBB MARC COHN 22 LLOYD COLE 23 19

TORTOISE SAT MAR 19

GUITAR ARMY feat.

24

ROBBEN FORD, LEE ROY PARNELL, JOE ROBINSON ANDY McKEE 25

TUE MAR 29 JUNIOR BOYS

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

26&27

An Acoustic Evening with

JOHN HIATT THE AVETT presents BROTHERS with special guest

BRETT DENNEN

Sunday, May 15, 7:30pm

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

40 march 18, 2016 washingtoncitypaper.com

FALLING OUT OF TIME Like many authors, Israeli novelist David Grossman feels a compulsion to write. When his son was killed in the 2006 Israel-Lebanon conflict, Grossman crafted Falling Out of Time, a lyrical novel about a character simply called Walking Man, who is so grief-stricken by the loss of his child that he begins to walk widening circles around his town, moving constantly to keep the ache of loss from consuming him entirely. He leaves his wife at home during these journeys but over time forms a collection of new friends and fellow walkers, all of whom share the same type of grief.

Beginning this week at Theater J, Derek Goldman, artistic director of Georgetown University’s Davis Performing Arts Center, presents his staged adaptation of Grossman’s novel. While the lyrical prose of the novel has certainly evolved, the visual presentation of the story stirs emotions in an entirely different way. The grief presented feels genuine, even in this fictional world. The play runs March 17 to April 17 at Theater J, 1529 16th St. NW. $15–$67. (202) —Caroline Jones 777-3210. theaterj.org.

Tinseltown: A Hollywood Cabaret. 8 p.m. (Sold out) atlasarts.org.

Vocal kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. The Cantare Choir of the Greater Richmond Children’s Choir. 6 p.m. Free. kennedy-center.org. linColn TheaTre 1215 U St. NW. (202) 888-0050.

Gay Men’s Chorus of Washington. 3 p.m. & 8 p.m. $25–$63. thelincolndc.com.

gospel warner TheaTre 513 13th St. NW. (202) 7834000. Kirk Franklin. 7:30 p.m. $33–$53. warnertheatredc.com.

Charles Ross’

18

CITY LIGHTS: SUNDAY

sunday Rock

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. America, Larry Burnett Band featuring Don Chapman. 7:30 p.m. (Sold out) birchmere.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Jackopierce, Natalie York. 7:30 p.m. $22.25–$28.25. thehamiltondc.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter White. 8 p.m. & 10 p.m. $37.75–$43. bluesalley.com.

countRy amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Mid-Atlantic Bluegrass Band Contest with Chris Jones and the Night Drivers. 3 p.m. $18–$25. ampbystrathmore.com. barns aT wolf Trap 1635 Trap Road, Vienna.

(703) 255-1900. The Oak Ridge Boys. 2 p.m. & 7 p.m. $55. wolftrap.org.

GeorGe mason universiTy CenTer for The arTs 4373 Mason Pond Drive, Fairfax. (888) 9452468. Celtic Nights, Spirit of Freedom. 4 p.m. $29–$48. cfa.gmu.edu. howard TheaTre 620 T St. NW. (202) 803-2899.

Mosh Ben Ari. 8 p.m. $39.50–$115. thehowardtheatre.com.

opeRa CaTholiC universiTy of ameriCa 620 Michigan Ave. NE. (202) 319-5000. La Serva Padrona and Gianni Schicchi. 2 p.m. $5–$40. music.cua.edu.

classical kennedy CenTer ConCerT hall 2700 F St. NW. (202) 467-4600. Sir James Galway, flute. 4 p.m. $30–$100. kennedy-center.org. naTional Gallery of arT 4th Street and Constitution Avenue NW. (202) 737-4215. US Army Chorus and Brass Quintet. 3:30 p.m. Free. nga.gov. phillips ColleCTion 1600 21st St. NW. (202) 387-2151. Sandbox Percussion and Amphion String Quartet. 4 p.m. (Sold out) phillipscollection.org.

caBaRet aTlas performinG arTs CenTer 1333 H St. NE. (202) 399-7993. Congressional Chorus presents Tinseltown: A Hollywood Cabaret. 4 p.m. $48. atlasarts.org.

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

Gay Men’s Chorus of Washington. 3 p.m. $25–$63. thelincolndc.com.

Monday Rock

WoRld

9:30 Club 815 V St. NW. (202) 265-0930. Lake Street Dive, The Suffers. 7 p.m. (Sold out) 930.com.

bossa bisTro 2463 18th St NW. (202) 667-0088.

Vibe Collective. 9:30 p.m. Free. bossadc.com.

dC9 1940 9th St. NW. (202) 483-5000. Mangchi, Kid Koala. 9 p.m. $12. dcnine.com.

washingtoncitypaper.com march 18, 2016 41

Hip-Hop

Funk & R&B

u sTreeT musiC hall 1115 U St. NW. (202) 5881889. Hippie Sabotage, Alex Wiley, Kembe X. 7 p.m.

(Sold out) ustreetmusichall.com.

bossa bisTro 2463 18th St NW. (202) 667-0088.

Sweater Weather. 9:30 p.m. $5. bossadc.com.

tuesday

GOOD TO GO

Brunch Sundays from 10am - 3pm

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 TH MAR 24 Funky Funky Thursday w/The Good Thing FR MAR 25 The Fuss & Go Mod Go SA MAR 26 Justin Trawick & The Common Good TU MAR 29 We Are The Nine. Singer Songwriter Series WE MAR 30 Wilbur’s Redemption TH MAR 31 Funky Funky Thursday w/Bulldog Alley Alley Cats FR APR 1 Jumpin’ Jupiter, DJ Sam Snow spinning 12-close SA APR 2 Lauralea & Tripp Fabulous

Rock

TASTY SATURDAYS

Offer Tasty Samples in our Butcher Shop & Market

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

Folk birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Shovels & Rope. 7:30 p.m. (Sold out). $35. birchmere.com.

9:30 Club 815 V St. NW. (202) 265-0930. Lake Street Dive, The Suffers. 7 p.m. $29.50. 930.com.

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

Rising Appalachia, Soul Inscribed. 8 p.m. $15–$18. gypsysallys.com.

verizon CenTer 601 F St. NW. (202) 628-3200.

Rihanna, Travis Scott. 7:30 p.m. $35–$160. verizoncenter.com.

kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Alastair Moock and Colleen Clark. 6 p.m. Free. kennedy-center.org.

Jazz

WoRld

beThesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Bill Laurance featuring Michael League and Robert Sput. 8 p.m. $25. bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Big Bad Voodoo Daddy. 7:30 p.m. $39.50. birchmere.com.

countRy The hamilTon 600 14th St. NW. (202) 787-1000.

Bill Payne and Jim Lauderdale. 7:30 p.m. $17–$25.50. thehamiltondc.com.

classical

Gw lisner audiTorium 730 21st St. NW. (202) 994-6800. Johnny Clegg. 8 p.m. $35–$45. lisner.gwu.edu. mansion aT sTraThmore 10701 Rockville Pike, Rockville. (301) 581-5100. Cassandra Allen, vocalist.

7:30 p.m. $17. strathmore.org.

Hip-Hop 9:30 Club 815 V St. NW. (202) 265-0930. Pusha T, Lil Bibby, G Herbo. 7 p.m. $35–$99. 930.com.

thursday Rock

kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Duke Ellington School of the Arts. 6 p.m. Free. kennedy-center.org.

9:30 Club 815 V St. NW. (202) 265-0930. G. Love & Special Sauce, Ripe, The Bones of J.R. Jones. 7 p.m. $30. 930.com.

Wednesday

blaCk CaT baCksTaGe 1811 14th St. NW. (202) 667-4490. Dreamers, Arkells, Karma Killers.

7:30 p.m. $12. blackcatdc.com.

Rock

dC9 1940 9th St. NW. (202) 483-5000. Field Music, The Effects. 9 p.m. $12–$14. dcnine.com.

howard TheaTre 620 T St. NW. (202) 803-2899.

Silverstein, Being as an Ocean, Emarosa, Coldrain, Rarity. 6:40 p.m. $19–$23. thehowardtheatre.com.

hill CounTry live 410 7th St. NW. (202) 5562050. Aaron Lee Tasjan. 8:30 p.m. Free. hillcountrywdc.com.

CITY LIGHTS: MONDAY

SYMBOLIC CITIES In Dave Eggers’ novel A Hologram for the King, he tells the story of a businessman who’s sent to Saudi Arabia’s King Abdullah Economic City to sell the nation an expensive piece of software. Passages about the business transactions sound dull, but Eggers’ descriptions of the city that rises up in the middle of the desert are particularly vivid, especially when juxtaposed against the nation’s harsh laws governing women. Saudi photographer Ahmed Mater also chronicles the sudden modernization of his nation with his camera. “Symbolic Cities,” the first American exhibition dedicated solely to his work, comments on the radical societal and industrial changes occurring nationwide. From the massive roads leading in and out of Mecca to the shining five-star hotels of Riyadh, Mater’s photos capture his extensive knowledge of the ever-evolving country. Each image sparkles like it’s brand new, a shocking result for a civilization that’s more than a thousand years old. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Sept. 18, at the Arthur M. Sackler Gallery, 1050 Inde—Caroline Jones pendence Ave. SW. Free. (202) 633-4880. asia.si.edu.

42 march 18, 2016 washingtoncitypaper.com

CITY LIGHTS: TUESDAY

LAUGHING MAN The Anacostia Arts Center’s Eclectic Tuesday series brings free performances from magicians, burlesque dancers, musicians, and poets to the Southeast neighborhood each week throughout the spring. This week’s featured act is local experimental punk/soul/jazz outfit Laughing Man. It’s been nearly two years since the group released its stunning Be Black Baby EP—named one of Washington City Paper’s best local records in 2014—and a year since it debuted a music video for “Body Cop,” a chilling commentary on police violence. Still, Laughing Man’s music remains as relevant as ever. The emotions its members encounter are complex and deep—anxiety, loneliness, defiance—and the band captures them all in unparalleled compositions. Scattered free jazz improvisation projects the paranoia over lonely experimental drones until Laughing Man hammers on the guitars.

A raw punk energy builds each song into a larger statement while soul and R&B grooves provide something familiar for the audience to rally around. Laughing Man has a singular sounds that’s instantly recognizable, as if it bubbled out of the Anacostia on a muggy summer night. Laughing Man performs at 7 p.m. at Anacostia Arts Center, 1231 Good Hope —Justin Weber Road SE. Free. (202) 631-6291. anacostiaartscenter.org.

MARCH

SAT MARCH 19TH

PETE YORN

TH 17 ST. PATRICK’S DAY:

MOSH BEN ARI

F

MARTIN O MALLEY’S MARCH7 PIECE IRISH BAND

SUN MARCH 20TH

PRODUCED BY MORGANE BEN AMI

18 ERIC FELTEN - TRIBUTE TO MEL TORME

S 19 AVON LUCAS SU 20 VOCAL WORKSHOP

WED MARCH 23RD

SILVERSTEIN

SHOWCASE - 12:30PM SU 20 EDDIE JONES & THE YOUNG BUCKS - 8PM SU 22 BILL LAURENCE W/ ROBERT SPUT & MICHAEL LEAGUE

2016 USA TOUR WITH SPECIAL GUEST

BEING AS AN OCEAN

EMAROSA • COLDRAIN • RARITY

SAT MARCH 26TH

RISK PODCAST SUN MARCH 27TH

EASTER SUNDAY BRUNCH SPECIAL

COMING UP

FT. HARLEM GOSPEL CHOIR

WEDNESDAY MARCH 23

MON MARCH 28TH

DELTA DEEP

LALAH HATHAWAY

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

ioTa Club & Café 2832 Wilson Blvd., Arlington.

(703) 522-8340. R. Ring featuring Kelley Deal, Olivia Mancini, Flesh Wounds. 8:30 p.m. $12. iotaclubandcafe.com.

WoRld

kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Chaz Langley and Albert Behar. 6 p.m. Free. kennedy-center.org.

Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Enter The Haggis. 7:30 p.m. $20–$30. jamminjava.com.

verizon CenTer 601 F St. NW. (202) 628-3200. The Who, Tal Wilkenfeld. 7:30 p.m. $49.50–$149.50. verizoncenter.com.

Funk & R&B beThesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Lalah Hathaway. 7 p.m. & 10 p.m. $65–$100. bethesdabluesjazz.com.

Jazz amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Anat Cohen Quartet. 8:30 p.m. $40–$50. ampbystrathmore.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks. 8 p.m. & 10 p.m. $30–$35. bluesalley.com.

countRy mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Roof Beams. 8 p.m. Free. mrhenrysdc.com.

Folk Gypsy sally’s 3401 K St. NW. (202) 333-7700. Rising Appalachia, Kuf Knotz. 8 p.m. $15–$18. gypsysallys.com.

bossa bisTro 2463 18th St NW. (202) 667-0088.

Zedicus, Abyssinia Roots. 9:30 p.m. $5. bossadc.com.

classical GeorGe mason universiTy CenTer for The arTs 4373 Mason Pond Drive, Fairfax. (888) 9452468. Symphonic Band and Percussion Ensemble Concert. 8 p.m. $5–$12. cfa.gmu.edu. mansion aT sTraThmore 10701 Rockville Pike, Rockville. (301) 581-5100. Ward-Kong Duo: Alicia Ward, cello; Kimberly Kong, piano. 7:30 p.m. $30. strathmore.org.

theater

110 in The shade A young woman aches for a life outside her small town. 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 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.

APRIL

THU MARCH 31ST

S

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

T

FRI APRIL 1ST WHITE FORD BRONCO

F

DC'S ALL 90'S BAND

SAT APRIL 2ND

2 KING SOUL & TEXAS

CHAINSAW HORNS 5 GREG ADAMS & EAST BAY SOUL 8 BOBBY BROOKS WILSON - SON OF JACKIE WILSON

JAZZ AT THE HOWARD:

HIROMI

S F

THE TRIO PROJECT

FT. SIMON PHILLIPS & ANTHONY JACKSON

SUN APRIL 3RD

9 SYLEENA JOHNSON 22 CAMEO

M AY

A TRIBUTE TO MOTOWN

TUE APRIL 5TH

M S

COMEDY AT THE HOWARD:

THE DUNCAN TRUSSELL STAND UP COMEDY BUS TOUR PRESENTED BY SQUARESPACE

2 SNARKY PUPPY 8 MOTHER’S DAY -

RAT PACK BRUNCH AND EVENING SHOWS

TH 26 ERIC BENET F 27 ERIC BENET

FRI APRIL 8TH & SAT APRIL 9TH 2 NIGHTS OF

MS. LISA FISCHER & GRAND BATON

SUN APRIL 10TH

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com

JAZZ BRUNCH FT.

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

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

washingtoncitypaper.com march 18, 2016 43

Lansburgh Theatre. 450 7th St. NW. To April 10. $25–$123. (202) 547-1122. shakespearetheatre.org. afTer The war An Israeli pianist returns to his home country to perform with the Israeli Philharmonic and attempts to reconnect with the family he became estranged from following the 2006 war in Lebanon in this drama by Motti Lerner, author of The Admission. Atlas Performing Arts Center. 1333 H St. NE. To April 17. $15–$60. (202) 399-7993. atlasarts.org.

CORY MORROW

SATURDAY, 3/18 • 9:30PM • TIX $20-$25

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. annie This classic musical about a young orphan who finds a wealth of opportunity when she’s taken in by the rich Daddy Warbucks is presented in a brand new production. National Theatre. 1321 Pennsylvania Ave. NW. To March 20. $48–$228.

(202) 628-6161. nationaltheatre.org.

H

H

Thu 3.17 Fri 3.18 Sat 3.19 Wed 3.22 Thu 3.23 Sat 3.25

Tue 3.29 Thu 3.31

UNDERHILL ROSE / THE HOWLIN’ BROTHERS CORY MORROW CHRISTOPHER PAUL STELLING ROCK ‘N TWANG LIVE BAND KARAOKE AARON LEE TASJAN HUMAN COUNTRY JUKEBOX / THE 4ONTHEFLOOR SCOTT KURT HOLLERTOWN

H

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, with his wife, 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.

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 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. 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. middleTown Will Eno’s play, set in a small American town, follows the relationship between a longtime town resident and a new arrival as their journey takes them through birth, death, and outer space. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To April 3. $15–$25. (888) 945-2468. cfa.gmu.edu. 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

H

Sat 4.2 Thu 4.7 Sat 4.9 Tue 4.12 Sat 4.16 Thu 4.21 Sat 4.23 Sat 4.30 Tue 5.3 Tue 5.10 Fri 6.10 Sun 6.19 Fri 7.15 Sat 7.16

THE CURRY’S (ALBUM RELEASE SHOW) THE SADDIES AARON BURDETT THE LOWEST PAIR (ALBUM RELEASE SHOW) THE TRONGONE BAND CASH’D OUT QUAKER CITY NIGHTHAWKS FOLK SOUL REVIVAL DASH RIP ROCK GURF MORLIX BILLY JOE SHAVER JASON EADY RAY WYLIE HUBBARD RAY WYLIE HUBBARD

HILL COUNTRY BARBECUE MARKET

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

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro 44 march 18, 2016 washingtoncitypaper.com

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–$60. (202) 3323300. studiotheatre.org.

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.

CITY LIGHTS: WEDNESDAY

MAL BLUM

Depression sucks. At its worst, it can be completely debilitating, sucking up your motivation to talk to anyone or do anything. You often worry you’ll never come out of it. But sometimes, the darkest times inspire the greatest art. Of course, it’s not always easy to see that when you’re at your lowest. Such is the case with New York singer-songwriter Mal Blum, whose latest album, 2015’s You Look a Lot Like Me, was written when they were suffering from a crushing year-long depression. What came out of it, however, was a fresh perspective of one’s own self, masterfully told through 10 fuzzed-out, sometimes delicate songs that unravel like therapeutic confessions. It’s not all gloom and despair, though: On “Cool Party,” Blum likens the feeling of coming out of a depression and having a crush on someone to being at a really fun party that you’re unsure you’re ready to be at. “Cool party, it’s like the best party, like I wish I had something to wear,” they sing forlornly. Anyone who’s ever dealt with depression knows that things don’t get better in a day. It’s the small things—like forcing yourself to go to a party—that helps you make the great leaps toward feeling normal again. Mal Blum performs with Hothead and Bad Moves at 7:30 p.m. at the Black Cat Backstage, 1811 14th St. NW. $12. (202) —Matt Cohen 667-4490. blackcatdc.com.

CITY LIGHTS: THURSDAY

MELLOW DIAMOND Janel Leppin is one of the hardest-working musicians in D.C. Though primarily known as half of the experimental duo Janel and Anthony, with her partner Anthony Pirog, Leppin’s stunning talents have made her one of the most sought-after musicians in town by artists far and wide (she frequently tours with singer-songwriter Marissa Nadler). She’s led her own bands before—like her jazz quintet Ensemble Volcanic Ash—but Mellow Diamond is the first project that’s entirely her own. On its gorgeous, dense debut record, which comes out this week on Leppin’s own Wedderburn Records, Leppin emerges as a solo artist in every sense of the term: She played every instrument. That’s not unusual for a solo artist, but damn impressive when you listen to Mellow Diamond and discover the various instrumentation—layers of guitars, cello, organ, harpsichord, vocal melodies, and much more—Leppin used to create such ethereal sounds. Though Leppin is something of a musical chameleon—fluent in jazz, surf, experimental, and classical—Mellow Diamond takes cues from the avant-pop of Björk and Portishead, with self-described influence from “Ai Wei Wei’s art, Sufi poetry, the hardcore D.C. punk, and noise-music scenes that reared her.” Mellow Diamond performs with Pree and Roz and the Rice Cakes at 7:30 p.m. at Songbyrd Music House and Record Cafe, 2477 18th St. NW. $9.99–$12. (202) —Matt Cohen 450-2917. songbyrddc.com.

family. Studio Theatre. 1501 14th St. NW. To April 24. $20–$91. (202) 332-3300. studiotheatre.org. 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.

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. forumtheatre.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. 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.

FilM

10 Cloverfield lane A young woman is captured and held underground by a man who says a chemical attack is destroying the world outside in this follow-up to the 2008 film Cloverfield. (See washingtoncitypaper.com for venue information) In this third film in the Divergent n alleGianT series, Tris and Four must leave Chicago, the only place they’ve ever known, in order to save humanity. Based on the novel by Veronica Roth, the film stars Shailene Woodley, Jeff Daniels, and Theo James. (See washingtoncitypaper.com for venue information)

“FUNNY, BEGUILING AND AFFECTING. SALLY FIELD GIVES PERHAPS THE YEAR’S FIRST OSCAR®-WORTHY LEAD ACTRESS PERFORMANCE.”

kniGhT of Cups A tortured screenwriter reflects on his relationships with family members and acquaintances in this dark offering from Terrence Malick, inspired in part by The Pilgrim’s Progress and Acts of Thomas. Starring Christian Bale, Natalie Portman, and Cate Blanchett. (See washingtoncitypaper.com for venue information) The liTTle prinCe Antoine de Saint-Exupéry’s n novel about a young royal and the world he explores is transformed into an animated feature by director Mark Osborne. Featuring the voices of Jeff Bridges, Marion Cotillard, and Paul Rudd. (See washingtoncitypaper.com for venue information)

The younG messiah This new film, adapted from Anne Rice’s novel Christ the Lord: Out of Egypt, chronicles young Jesus’ life as he returns to Nazareth from Egypt. Starring Adam Greaves-Neal, Sean Bean, and Jonathan Bailey. (See washingtoncitypaper.com for venue information)

Film clips by Caroline Jones.

DUBLINERS with the

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WASHINGTON, DC Landmark’s E Street Cinema (202) 783-9494 ANNAPOLIS Bow Tie Harbour 9 (410) 224-1145 ARLINGTON AMC Loews Shirlington 7 amctheatres.com

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Martin Landau and Christopher n remember Plummer star in this thriller about Holocaust survivors who plot to kill the blockfuhrer who murdered their families at Auschwitz. (See washingtoncitypaper.com for venue information)

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The bronze A foul-mouthed gymnast aims to maintain her local celebrity status after another athlete threatens it in this dark comedy from director Bryan Buckley. Melissa Rauch, who co-wrote the film, stars. (See washingtoncitypaper.com for venue information) i am bialik A man discovers that his grandfather was the illegitimate son of Israel’s national poet Hayim Nahman Bialik and tries to draw attention to this fact in Aviv Talmor’s mockumentary.

Avalon Theatre. 5612 Connecticut Ave. NW. (202) 966-6000. theavalon.org.

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McLean Fairfax FAIRFAX AMC TYSONS CORNER 16 CORNER 14 + XTREME amctheatres.com (703) 378-6550 Silver Spring Fredericksburg REGAL FREDERICKSBURG 15 REGAL MAJESTIC STADIUM 20 (844) 462-7342 #4012 (844) 462-7342 Sterling REGAL Gaithersburg AMC COUNTRYSIDE STADIUM 20 LOEWS RIO CINEMAS 18 (844) 462-7342 #394 amctheatres.com Woodbridge Hanover AMC POTOMAC MILLS 18 CINEMARK EGYPTIAN 24 amctheatres.com (443) 755-8990

VIEW THE TRAILER AT WWW.THEBRONZEMOVIE.COM washingtoncitypaper.com march 18, 2016 45

WASHINGTON CITY PAPER FRIDAY 03/18

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Moving?

Adult..............................................46

Contents:

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Auto/Wheels/Boat .....................47 Buy, Sell, Trade, Marketplace.................................47 Community...................................47 Employment.................................46 Health/Mind, FIND YOUR OUTLET. RELAX, UNWIND, Body & Spirit ...............................47 REPEAT CLASSIFIEDS Housing/Rentals.........................46 BODY Legals NoticesHEALTH/MIND, ............................46 & SPIRIT Music/Music Row ......................47 http://www.washingtonciPets................................................47 typaper.com/ Real Estate...................................46 Services........................................47

LET. RELAX, AT CLASSIFIEDS BODYDiversions &InkSPIRIT Well Crossword....................47

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Washington Latin Public Charter School is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/ or CACFP supper meals to children enrolled at the school for the 2016-2017 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifi cations outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on March 18, 2016 from Martita Fleming, Director of Operations at 202-223-1111 x 114 http://www.washingtoncior mfl eming@latinpcs.org

typaper.com/

Proposals will be accepted at 5200 2nd Street, NW, Washington, DC 20011 on April 21, 2016 no later than 3:00 pm.

Allhttp://www.washingtbids not addressing all areas asoncitypaper.com/ outlined in the IFB will not be considered.

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PUBLIC NOTICE NOTICE OF INTENT TO ENTER SOLE SOURCE CONTRACT Case Management Software Platform and Services Maya Angelou Public Charter School intends to enter into a sole source contract with Social Solutions Global for their Efforts to Outcomes software. The case management software is for its two charter school campuses and the cost of this contract is $26,400.

The decision to sole source is due to the fact that this vendor offers a robust outcome and case management system that has been customized to our schools over the last 6 years.

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DC Bilingual Public Charter School intends to enter into sole source contracts with Urban Teacher Center for staff members to be placed within the school.

These teachers are serving as effective classrooms teachers specifi cally equipped to improve student educational outcomes.

DC Bilingual Public Charter School constitutes the sole source for Urban Teacher Center is intended for teaching services will lead to student achievement.

For further information regarding this notice contact bids@dcbilingual.org no later than 5:00 pm Friday, March 25, 2016

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This stunning one bedroom/one bathroom, first floor unit is conveniently located in a prime commuter location. Large windows provide plenty of natural light, and tall ceilings make this open floor plan feel even more spacious. The kitchen has stainless steel appliances and stunning countertops. h t t p s : // w w w.y o u t u b e . c o m / watch?v=Gwzz2p_jqCg

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School

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Excel Academy Public Charter http://www.washingtoncitypaper.com/ Schools intends to enter into sole source contracts with Teach for Office/Commercial America for Corps members to be For Sale placed within the school. These teachers are committed to closing Offices For Rent, DC Petworth & the achievement gap by serving Cheverly, MD (parking in MD) for as effective classrooms teachers church services, recording studio specifi cally equipped to enhance /rehearsal space, etc. Wide range student achievement. of uses. $600-$1600 rent. Call Excel Public Charter School con202-355-2068 or 301-772-3341. stitutes the sole source for Teach for America is intended for teachApartments for Rent ing services will lead to student achievement.

For further information regarding http://www.washingtonthis notice contact bids@excitypaper.com/ celpcs.org no later than 4:00 pm Monday, March 28, 2016

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DC Bilingual Public Charter School is soliciting for procurement of wired and wireless network infrastructure including cabling and equipment and for general operation consulting services. More details about this announcement can be found by contacting bids@dcbilingual.org.

Proposals for the network must be submitted no later than 8:00 am on Monday, April 18, 2016. Proposals for the consultant position must be submitted no later than 5pm March 25, 2016.

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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 http://www.washingtlines, Cat Friendly. $2500/Month + oncitypaper.com/ Utilities. Credit and Income checked.

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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

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Fully furnished room for rent in Brentwood, MD. Blocks outside of NE DC, easy access to West Hyattsville metro (green line), bus to Rhode Island metro (red line), and University of Maryland.

Utilities included for $675/month WiFi ready Call Linda 240-893-2929 or email lindajeune10@gmail. com 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

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Rooms for Rent Fully furnished room for rent in Brentwood, MD. Blocks outside of NE DC, easy access to West Hyattsville metro (green line), bus to Rhode Island metro (red line), and University of Maryland.

Utilities included for $675/month WiFi ready Call Linda 240-829-2929 or email lindajeune10@gmail.com 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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Computer/Technical ETL Developer/ Data Integration Specialist, Specialist w/ CARFAX, Inc. (Centreville, VA) Design ETL processes & devlp source to target data mappings.

Participate in meetings w/ key sys owners to understand current data/sys environ & assess data quality. All candidates subject to full background check. BS in Info Technology, Comp Sci or related field & 5Yrs progressive post Bach’s exp req’d which must incl. devlmnt in Agile environ; utilization of Informatica Suite of Products, Oracle, Greenplum, Shell scripting, Unix, Data Virtualization, dimensional modeling exp, MySQL, SQL server, Autosys, SQL, PL/SQL, ER Studio & Control-M. Resumes to: Recruiting Director, CARFAX 5860 Trinity Pkwy, Ste. 600, Centreville, VA 20120

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FINDeMMett YOUR BY BrenDan QuiGleY Out with the old, In with the 1 2 Post 3 4 new your listing with 14 Washington 17 City Paper Classifieds 20 21 http://www.washingtoncitypaper.com/ 23

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Across 1 Designer Vera 5 Temper tantrums 9 Gets wedding day cold feet 14 Instrument roughly 65 cm. long 15 Typee sequel 16 Fancy mushroom 17 “___ we forget” 18 Mama’s Special Garden Sauce maker 19 Mobil’s merger partner 20 Smashing success 23 Zazzle purchases 24 Covers with Charmin 25 Bus transfer loc.

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34 35 Project Director SIFPO2, 27 Ready to go Sexual Reproductive Health and TB (Population Services Interna28 Like the Tin Man 37 38 tional, Washington, DC): Oversee when we meet theOut design and the implementation with old, 40 41 him in The of In multi-country, comprehensive with the new family planning and reproductive Wizard of Oz Post your listing projects under the Support Out29with the old, In health 43 44 Diluted Washington forwith International Family Planning http://www.washingtoncitypaper.com/ with the new Post Organizations (SIFPO2) City Paper program 30 Glazed over, 47 in partnership with USAID, USAID Classifieds your listing as eyes with partners and other global and http://www.washingtlocal partners; provide technical Washington City 31 Room for storage 49 50 51 52 oncitypaper.com/ assistance and capacity building Moving? Find A Paper Classifieds 32 “Governor to in-country programs aimed 56 57 Helping Hand Today at increasing access to FP and http://www.washingtoncityMoonbeam” reproductive health services and paper.com/ 34 Ready to snap improving sustainability; under59 60 take country -level assessments, 37 Affluenza teen advocacy and program measures Couch 62 63 that increase the financial sustainability of USAID investments 38 Sun deck? in FP/ SRH; responsible for So44 Without thinking cial Marketing program delivery; implementing Total Market Ap40 Someone you Down 46 Crossword puzzle proaches; and introducing new might be writing for 1 Moon howler FP/ SRH products and services in http://www.washingtonOutmistaken with the for USAID Priority FP/ RH countries; some (not me) 2 ___ Tesfaye (singer citypaper.com/ and supervise, support and train 41 comic old,Stand-up In with the 47 Started who goes by staff in program grants and planLange ning efforts. Requires MS in Pubnew Post your The Weeknd) 48 Help around lic Health, Health & Social Behav42 Prefix with with the house 3 Prying listing ior, Health Policy & Management, “while” 49 Shot from Public Health Nutrition + 2 years 4 “Check your Washington of experience in the same position 43 Drinking sound downtown work!”

City Paper or a family planning managerial 44 NBA star 50 Iris holder position and in the alternative a BS 5 Space out, say http://www.washingtoncitypaper.com/ Classifieds in Public Health, Health & Social nicknamed “The 51 Freshwater fish 6 Computers with http://www.washingtonBehavior, Health Policy & ManBlack Mamba” citypaper.com/ Fusion Drives 52 Artist Paul agement, Public Health Nutrition 45 Former Ottoman + 5 years of experience in the 7 Deli order 53 Meat with eggs same position or family planning title managerial position. Must have 8 Don Cornelius’s 54 “Yes! Me!” 46 Zazzle purchase extensive experience with USAID/ TV show 55 Casper Smart’s GF SRH programming and grants, 47 “I’m not 9 Blows raspberries technical assistance, and manproviding, you aging and implementing a family 10 ‘80s band planning program in Sub Sahara drunks!” whose name Africa and South Asia. Travel to 48 Retooled vehicle developing countries is required is a phonetic (20%). Please send resume/ CV to that crushes cars spelling of a recruitment2016@psi.org.

53 Muslim’s phrase meaning Associate Producer, The Agenheadcover “too much” http://www.washingtoncitypaper.com/ da with Ari Rabin-Havt at Siri56 Proof word usXM Radio: Associate Producer for The Agenda with Ari Rabin57 Clock face shape Havt, a national daily political LAST WEEK: FREEGAN’S MENU 58 Go off the script talk show focused FIND YOURon progressive politics and Beltway intrigue.

A D S A F L C I O A L D O 59 Prim and proper OUTLET. Position requiresRELAX, call-screening, 60 “___ you saying S T E R N A N A Y A R A T guest booking, writing for on-air UNWIND, REPEAT talent among other daily responsomething?”

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D U A N E H E R E S reins fall com/jobs/11431/associate-proT O S S E D S A L A D ducer%2c-the-agenda-with-arirabin-havt/job D O N U T S U R L Y Update your skills for a better S O R C S A L E A T M I job! Continuing Education at Community College at UDC has S O U R C R E A M A W A L K more than a thousand certifi ed A T T E A R N W N B A online & affordable classes in nearly every fi eld. Education on S H O O F L Y P I E F O O D your own. http://cc.udc.edu/continuing_education A M E C H E O S X I N R E http://www.washingtoncitypaper.com / P A S T A S T A T T E A R 9

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City Paper Classifieds

with Washington City Paper Classifieds

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Miscellaneous Producer, Sports Programming at SiriusXM Radio: Under direct supervision, this position is responsible for the daily show preparation of an assigned sports talk show or shows. The producer will meet with the executive producers on a regular basis and will report to the program directors.

This person will also meet with his/her assigned host(s) each day to discuss topics and plan segments for the show. Apply at : https://careers-siriusxm. icims.com/jobs/11104/producer%2c-sports-programming/job

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NEED A CAR, TRUCK of SUV? Over 1,000 vehicles in stock from 2011-2016!

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ATTENTION VETERANS seeking benefi ts; anyone http://www.washingtwho owes back taxes; indioncitypaper.com/ viduals recently arrested; and individuals with other legal problems. Contact Attorney Effi e Forde - 202-508-1483 for an appointment. Offi ce located at FARRAGUT NORTH METRO.

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Moving & Hauling

Green Movers. Local and out of state, residential and commercial.

Bulk Trash Removal. 240-8822663. Movers for hire. Pick up and delivery service available. www. green-movers.net

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Announcements

Trump supports Redskins name. Despite the offense and insults the name gives, Trump thinks we should keep it. In a recent poll 58% of DC residents support a name change. http:// www.washingtoncitypaper.com/ b lo g s /c i t y d e s k / 2 0 16 / 0 1/ 2 8 / most-d-c-voters-want-tobuild-a-football-stadium-at-rfk/ http://www washingthttp://espn.go.com/nfl/story/_ / oncitypaper.com/ id / 13 8 14 6 9 8 /d o n a ld - t r u m p says-nfl-washington-redskinschange-name

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District of Columbia International School is soliciting for procurement of wired and wireless network infrastructure and fiber internet services. More details about this announcement can be found in the RFP posted at http://dcinternationalschool.org/ request-for-proposals/. Proposals must be submitted no later than 8:00 am on Monday, April 11, 2016.

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