Washington City Paper (April 20, 2018)

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Reflections on

ST. THOMAS EPISCOPAL CHURCH AND CHURCHYARD PARK IN DUPONT CIRCLE While not a member of St. Thomas Episcopal Church, I spent more time there, I suspect, than many a parishioner. I often spoke from its pulpit, which was generously accessible to the public, if one was involved in community action activities. While I was not very devotional, the atmospherics of St. Thomas Parish were so inspiring, I felt a little bit like a preacher without benefit of a collar. I dearly loved the church, and attended services there occasionally, especially when they involved the installation of a new rector, or memorial rites for deceased members of the parish and the community, many of whom I knew personally.

St. Thomas was the nexus for a host of community action organizations, like the Dupont Circle ANC, the Dupont Circle Citizens Association (DCCA), the Dupont Circle House Tour, Alcoholics Anonymous, and many others. The St. Thomas outreach to these and other organizations was generous and wholehearted.

That was the glory of St. Thomas Church – a welcoming greeting to all, whether proponents or issues were religious or secular. Its longtime rector, Father Henry Bruel, was a piece of work. I admired him greatly. Although we had many differences, our relationship was entirely egalitarian. He did not like me – and I did not like him. He thought I was entirely too “wrathful.” And why not, since I am entirely “McGrathful.” On the other hand, I thought he could be quite “grating” towards those he disagreed with, especially me. By unanimous consent, however, he was a very gutsy guy, who fearlessly spoke out, especially for public morality and human equality.

Being something of a“wise ass,”I playfully described him as“Father Broil”- - adding“play now and ‘Broil’ later.” Our most notable difference involved a key neighborhood issue involving the nearby Brookings Institution and the D.C. Zoning Commission. Brookings filed a Zoning application to repeal high density residential Zoning on the 1700 block of P Street, NW and build an office building on that site. That was a highly controversial move, to say the least, involving many critical aspects of historic preservation. Bruel favored the application, in good faith, as did many in his congregation. Many others, however, including yours truly, also in good faith, did not. Once the issue was joined, I helped form a neighborhood opposition group – “The Citizens’ Coalition Against the Proposed Brookings Office Building” – and was named its chairman. Opposition to the Brookings plan expanded rapidly, and soon became a key citywide zoning and land use test case. It became so high profile, in fact, that it launched the career of Ward 2 Councilmember Jack Evans, then chairman of the Dupont Circle ANC, who strongly opposed the Brookings plan, and subsequently became the longest serving member on the D.C. Council.

The Coalition won a landmark and very rare zoning victory when the DC Zoning Commission ruled against the Brookings proposal. What made the victory especially noteworthy was the fact that then, like now, the D.C. Zoning Commission was resolutely pro-development. It was a place where powerful, wealthy organizations like Brookings, represented by high-powered, high-priced zoning lawyers, generally held sway.

Neighborhood opposition groups, often poorly organized and with little financial and legal resources, waged an uphill battle, and generally lost.

BY JIM MCGRATH (202) 387-1893 • jpmcg@gmail.com

2 april 20, 2018 washingtoncitypaper.com

Complicating the matter further was the fact that Brookings was widely and justly recognized as a distinguished, progressive think tank, politically in tune with most of the members of our coalition, Father Bruel and many members of St. Thomas Church. It should also be noted that Brookings was also a very powerful organization, hell-bent on achieving what it wanted in terms of expansion, and having the means to get it. At the outset, moreover, the D.C. Zoning Commission was very much inclined to go its way, except that our Coalition’s intense lobbying, aided by the Harrison Institute of Public Law and its gifted director, Robert Stumberg, gave us a fighting chance in a prolonged epic neighborhood battle. The Coalition’s argument prevailed, and resulted in a widely celebrated neighborhood win.

I was pretty young then, and it was a real ego trip to receive a standing ovation in that cavernous upper church chamber, after delivering a speech against the Brookings proposal, to say nothing of my reception after the Coalition won. If anything fed my egomania, which needed no nourishment, that was it. Father Bruel often chided me about it, and he was right. Egomania, if not a cardinal sin, ought to be. It is not deadly, however, unless twinned with that insidious companion vice - megalomania. Then it becomes pathological, a prime example of which is Donald Trump. His takeover of the majestic, historic Old Post Office Building downtown, converting it into another “Taj Mahal” Trump Hotel was an epic blow against historic preservation and simply confirmed his reputation as a “human wrecking ball.” That, regrettably, is only one of his many public and private debaucheries which he has perfected into a fine art. As a developer, Trump is such a Philistine with respect to historic preservation, he would cheerfully bulldoze Dupont Circle Park and put a casino in the middle of it.

The loss of St. Thomas Church to arson was a terrible blow to the whole community.

Father Bruel, however, to his great credit and inspiration, “resurrected” the church into a beautiful community garden and park, even as the ornate, soulful St. Thomas Church Hall, adjacent to the park, adequately served its congregation. Bruel’s decision bequeathed a fitting memorial to the destroyed magnificent English Gothic St. Thomas Church, in the form of beautiful, open neighborhood space. The majestic remains of the St. Thomas church altar served as the Park’s dramatic centerpiece. Surrounded by trees and gardens it was truly an “Elysium Field” in an urban setting. For forty years, it also served as the perfect site for both veneration and repose. His decision also freed up funding for the church’s many outstanding community outreach activities.

Now, alas, St. Thomas Churchyard Park is gone, another victim of the relentless development and re-development craze besetting this city. The memory of old St. Thomas Church, and the wonderful Edenic space next to it, given to a grateful neighborhood, remains in the hearts of many church members, along with friends, and neighbors of St. Thomas Parish. The Park is now a memory. However, to the countless recipients of the church’s outreach programs, its record of service to this city is an enduring monument. * Another key win on the St. Thomas Church matter took on April 12, 2018, when the DC Court of Appeals, responding to an appeal brought by the Dupont Circle Citizens’ Association (DCCA), spearheaded by its president, Robin Deiner, et. al., blocked the ongoing St. Thomas development. The Court revoked the variance used by developers to proceed with the project. Regrettably, considerable excavation and construction has already been underway. Stay tuned for more on this striking development.

St Thomas Church and Churchyard Park - In Memoriam Listen to the Silence It once stood tall, a proud and secure beacon of faith, A place that was hallowed, a place that was loved.

But, mortal as mortar, its spires tumbled down, As blindness and time both wrecked their slaughter.

Still, this ancient Saint needed no new coat of paint!

Listen to the silence of an abandoned choir loft, Where sound was once supreme, where soaring Voice and spirit achieved a golden mean.

Listen to the silence of a celebrated pulpit, Its eloquence is muted, the quiet of a dream!

Listen to the silence of stone whose beauty sang; Silence rings out where voices erstwhile rang.

A great memorial is gone; "The song is over, but the melody lingers on"!

Jim McGrath

washingtoncitypaper.com april 20, 2018 3

Thanks again to everyone who voted in this year’s Best of D.C. reader’s poll. Due to a data export issue involving the system we used for voting this year, the names of winners in several categories were not included in last week’s print edition. Below are the rest of the results. The full list of winners in all categories can be found on washingtoncitypaper.com.

Goods & Services Best Bookstore

Politics and Prose Bookstore

5015 Connecticut Ave. NW, politicsprose.com

Best sPa

Best threadinG

UNWIND wellness Center

Dupont Threading

1990 18th St NW, unwindwellness.com 2nd Place: Azure Dream Day Spa 3rd Place: Cabana Day Spa Best sPeCialty Food store

2nd Place: Kramerbooks & Afterwards Café 3rd Place: Capitol Hill Books

Glen’s Garden Market

Best Cell Phone Provider 3rd Place: AT&T

Best storaGe ComPany

Best ContraCtor 3rd Place: Wilcox Elextric Best danCe Class 3rd Place: Freestyle Dance Fitness Best Food delivery serviCe

Uber Eats ubereats.com

2nd Place: Healthy Fresh Meals 3rd Place: Caviar Best Garden store 3rd Place: Little Leaf Best hardware store 3rd Place: Logan Hardware

2nd Place: Hana Japanese Market 3rd Place: MOM’s

Bookstore Movers 5200 46th Ave, Hyattsville, bookstoremovers.com

2nd Place: JK Moving Services 3rd Place: Town & Country Movers, Inc. Best tattoo Parlor

Fattys Tattoos & Piercings

Multiple locations, fattystattoos.com 2nd Place: Laughing Hyena Tattoos 3rd Place: Tattoo Paradise

Calabash Teahouse & Cafe 1847 7th St NW, calabashdc.com

Best indoor CyClinG studio 3rd Place: Soul Cycle Best Pet shoP 3rd Place: Patrick’s Pet Care

Best theraPeutiC massaGe

Best sourCe For CannaBis aCCessories

Takoma Wellness Center

2nd Place: Shobha 3rd Place: Silky Smooth Best vet

Atlas Vet

1326 H St NE, atlasvetdc.com 2nd Place: CityPaws Animal Hospital 3rd Place (Tie):Friendship Veterinary Hospital 3rd Place (Tie): District Vet 3rd Place (Tie): Union Vet Best vintaGe ClothinG store (tie)

Unwind Wellness Center Adams Morgan 1990 18th St NW, unwindwellness.com 2nd Place: Freed Bodyworks 3rd Place (Tie): Wat Massage 3rd Place (Tie): Azure Dream Day Spa

6925 Blair Rd NW, takomawellness.com 2nd Place (Tie): Capitol Hemp 2nd Place (Tie): FunkyPiece Smoke Shop & Glass Gallery

4 april 20, 2018 washingtoncitypaper.com

Best arts and Culture nonProFit 2nd Place: Smithsonian Associates 3rd Place: Sixth & I Best outdoor venue

Wolf Trap

1551 Trap Rd, Vienna, wolftrap.org 2nd Place: Merriweather Post Pavillion 3rd Place: The Yards Park

People & Places Best B.i.d./main street 3rd Place: NoMa BID

PollySue’s

Best Graduate ProGram 3rd Place: SAIS

Vintage & Charmed Classic Clothing

Best nonProFit 3rd Place: DC Scores

6929 Laurel Ave, Takoma Park, pollysuesvintage.tumblr.com/

1231 Good Hope Rd SE, vintageandcharmed.com 2nd Place: Meeps

Best wireless Provider Best tea shoP

2nd Place: Teaism 3rd Place: Pearl Fine Teas

Best real estate GrouP GreenLine Real Estate

1314 18th St NW #3, dupontthreading.com

Arts & Entertainment

Verizon Wireless verizonwireless.com 2nd Place: AT&T 3rd Place: T-Mobile Best yoGa instruCtor

Alexandria Hall

bohemianspiritheroyoga.com 2nd Place: Jesse Cassady 3rd Place: Faith Hunter

Food & Drink Best Bakery 3rd Place: Sticky Fingers Best Bar with Games 3rd Place: Penn Social Best Beer Festival 3rd Place: Kingman Island Bluegrass & Folk Festival Best distillery 2nd Place: Republic Restoratives 3rd Place: Green Hat Best loCal Brewery 3rd Place: Blue Jacket Best sandwiCh 3rd Place: Yang Market Best wine Bar 3rd Place: Barcelona Best veGan/veGetarian restaurant 3rd Place: Busboys & Poets

INSIDE on tHe CoVer: LIgHtS, CaMera, reaCtIon!

16 The cinematic offerings of Filmfest DC 2018, reviewed

DIStrICt LIne 7 near and far: Councilmembers and community activists demand to see MPD’s stop-and-frisk data.

8 housing complex: Residents fight the construction of the Ward 5 homeless shelter.

10 loose lips: The top-heavy budget of DC Public Schools 12 indie in d.c.

14 gear prudence

FooD 21 arl night long: Community policing efforts come to Clarendon’s bars and restaurants.

23 wintry Mix: Shaved ice has arrived in D.C. fine dining establishments.

23 hangover helper: Tavern at Rare’s Eggs in Purgatory 23 top of the hour: Old Ebbitt Grill’s discounted oysters

artS 25 black in the saddle: Dom Flemons sings the songs of AfricanAmericans on the western frontier.

28 curtain calls: Klimek on Signature Theatre’s John and Woolly Mammoth’s Underground Railroad Game and Jones on Arena Stage’s Two Trains Running 30 short subjects: Gittell on The Endless 31 speed reads: Tosiello on Rebecca Kauffman’s The Gunners 32 crescendo in blue

CIty LISt 35 43 43 43 44

Music Books Dance Theater Film

DIVerSIonS 45 Savage Love 46 Classifieds 47 Crossword

Darrow MontgoMery 1500 Block of Pennsylvania ave. nW, aPril 16

EDITORIAL

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

ADvERTIsIng AnD OpERATIOns

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

LELAnD InvEsTmEnT cORp. owner: mArk d. ein

local advertising: (202) 650-6937 fax: (202) 650-6970, Ads@wAshingtoncitypAper.com find a staff directory With contact information at WashingtoncityPaPer.com vol. 38, no. 16 april 20–26, 2018 wAshington city pAper is published eVery week And is locAted At 734 15th st. nw, suite 400, wAshington, d.c. 20005. cAlendAr submissions Are welcomed; they must be receiVed 10 dAys before publicAtion. u.s. subscriptions Are AVAilAble for $250 per yeAr. issue will ArriVe seVerAl dAys After publicAtion. bAck issues of the pAst fiVe weeks Are AVAilAble At the office for $1 ($5 for older issues). bAck issues Are AVAilAble by mAil for $5. mAke checks pAyAble to wAshington city pAper or cAll for more options. © 2018 All rights reserVed. no pArt of this publicAtion mAy be reproduced without the written permission of the editor.

washingtoncitypaper.com april 20, 2018 5

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6 april 20, 2018 washingtoncitypaper.com

DistrictLine NEAR and Far

Darrow Montgomery

Two years after the Council unanimously passed the NEAR Act, MPD still hasn’t implemented an essential data collection component.

By Matt Cohen A set of D.C. activists see a direct tie between two events in 2016: The D.C. Council passed the The Neighborhood Engagement Achieves Results Amendment Act in March; and in September, 31-year-old Terrence Sterling was shot and killed by Metropolitan Police Department officer Brian Trainer. One would think these events would have come in reverse order, but they didn’t.

Outside of an administrative hearing for Trainer last week, Bailey Cox, an organizer with Stop Police Terror Project DC, is protesting alongside nearly a dozen other activists as people begin to trickle in for the start of the hearing.

“These are not isolated events, and to say that these are just some poisonous apples is a disservice,” she says. “We want to uproot the entire tree and say, ‘There are alternative measures to this and our communities deserve better and they deserve public safety and public measures that aren’t just police officers, which dips into the hyper policing and the police violence that disproportionately targets black communities.”

The alternative measures Cox refers to are within the NEAR Act, a comprehensive law dealing with crime in D.C. that operates on three key provisions. One is a public health approach to violence prevention and intervention which established two new government agencies—the Office of Neighborhood Safety and Engagement and the Office of Violence Prevention and Health Equity—along with a Community Crime Prevention Team that serves residents who show signs of mental illness and substance use. The second provision is about community policing practices, and requires regular public opinion surveys as well as training for MPD officers on preventing bias-related policing.

But it’s the final provision of the NEAR Act that’s currently causing strife: data collection.

More than two years after it became law—one that the D.C. Council proudly and unanimously passed and, after a year of budget drama, fully funded in 2017—certain elements of the NEAR Act aren’t being followed, and both activists and some Councilmembers are pissed.

At the crosshairs: a key provision in the data collection element that requires all MPD offi-

cers to record detailed information about all stops-and-frisks—when an officer stops a pedestrian or motorist and searches them.

In February of 2017, the ACLU of DC filed a Freedom of Information Act request for all the data collected “pursuant to the NEAR Act’s Stop & Frisk Data provision since the implementation of the Act,” but MPD denied the request, explaining that the collection of that data hadn’t been implemented yet. A year later, WUSA9 filed a similar FOIA that revealed that the MPD was still not collecting stop-and-frisk data.

On the heels of that revelation, ACLU-DC, along with Stop Police Terror Project DC and Black Lives Matter DC, sent a letter to Mayor Muriel Bowser threatening a lawsuit for the stop-and-frisk data, or—if the data hasn’t been collected—a detailed plan and timetable for doing so.

In the most recent budget oversight hearings, Ward 6 Councilmember Charles Allen, who chairs the Committee on the Judiciary and Public Safety, grilled Deputy Mayor for Public Safety and Justice Kevin Donahue as to why the MPD hasn’t been collecting the data. The previous year’s fiscal budget allotted $150,000 specifically for the MPD to collect stop-and-frisk data pursuant to the NEAR Act law. But after questioning from Allen, Donahue explained that, though some data had been collected, MPD didn’t have the necessary tools to collect all the required data.

“Some data we already collect, exactly as listed,” Donahue said in the hearing. “Some data we collect, but not consistently, or have to clean. And sometimes we don’t collect the data at all, and so that would involve a fundamental change to either an IT system, a police protocol, in order to get it.”

Donahue added that though the MPD is required to collect stop-and-frisk and use of force data under the NEAR Act, “the law does not require reporting” on such data collection.

“We’re doing it because it’s in the spirit of the law. There’s not actually a reporting element here,” he said. He explained that because MPD isn’t required by law to report their data collected on stops-and-frisks; it’s not a “mission critical” requirement of the NEAR Act. Monica Hopkins, the executive director of the ACLU of D.C., sees it differently. “I think, quite frankly, it’s really frustrating because I don’t think that there is anything more mission critical than understanding how your police force is policing in the District,” she tells City Paper. “What do you have to hide? … Because accountability and transparency are the fundamental tenets of police-community relations.”

In his questioning of Donahue during the March 29 budget oversight hearing, Allen

laid out the issue more bluntly: “I believe we passed a law to say ‘We need X, Y, and Z.’ And I can respect and hear if you say, ‘We collect X, but we don’t do Y and Z. And here’s the way we need to change.’ Or, ‘We need support to change an IT system,’ or ‘We need to add in an applicability clause to give us the time to make the change to the system to collect it that way.

But I’m not hearing that right now.”

Ward 5 Councilmember Kenyan McDuffie, who was the lead author on the NEAR Act when he was chair of the Committee on the Judiciary and Public Safety, echoes Allen’s frustration. “The police data collection provisions of the NEAR Act ... was something that we looked at from other jurisdictions,” he says.

“We modeled it off of some of the work that … the former Obama administration did in police data collection, and we wanted to include it because we knew from evidence, and experience in other places, that it helped to foster better police-community relations.”

Neither Donahue nor MPD responded to City Paper’s requests for comment, but at the March 29 oversight hearing D.C. Police Chief Peter Newsham apologized, agreeing with Allen that his department’s failure to collect the data is “not acceptable.”

Hopkins says that the Mayor’s office had 15 days to respond to their demand letter, or ask for an extension, before the ACLU would move to take legal action against the MPD. At the time of publication, the ACLU of D.C. says that it hasn’t received a response, and plans to move forward this week.

“Essentially what is happening here is, you can’t have the Council, or any state legislature, pass a law requiring government agencies to do something, and then the government agency essentially saying ‘Sorry we don’t feel like it.’ They have to comply with the law,” Hopkins says.

“And so, unfortunately, if the mayor is not going to do what she is supposed to do, because it says the mayor shall compel MPD to do this,” Hopkins says. “If she won’t do it and MPD won’t do it, then we are compelled, on behalf of our over 20,000 members and our partners who have been asking for this data, to take them to court and have a court compel them.”

For the activists who work with Stop Police Terror Project DC and Black Lives Matter DC, advocating for the NEAR Act and its full implementation has been a long process, but one worthy of a continued fight.

“It just seems like they don’t want to do it, and they try to get away without doing it,” says Greg Montross, the policy director of Stop Police Terror Project DC. “And if it weren’t for the advocacy and Council hearings, they wouldn’t.”

CP

washingtoncitypaper.com april 20, 2018 7

DistrictLinE

Five-Alarmed

An afternoon in the backyard of Ward 5 residents appealing the new homeless shelter set to open in their neighborhood

Darrow Montgomery

Site for the new Ward 5 homeless shelter

By Morgan Baskin On the first real day of spring, David Forrest considers his backyard.

It’s just over 80 degrees, and white butterflies the size of poker chips are flapping across the brush. The sound of drilling, coming from a new condominium building that looms over his yard, sporadically punctuates his speech as he pours servings of green tea.

“I’ve had to essentially surround myself with this wall, which did not used to be here,” he says, gesturing to the staggered wooden fence lining the perimeter of his backyard. “Folks are just—they seem to feel that they can come in and take stuff if it’s not locked down.”

The longtime Brookland resident is concerned about his “changing” neighborhood, a charming, breezy thread of gated singlefamily homes adjacent to the 1700 block of Rhode Island Ave. NE. He is concerned about the “gang tags,” the graffiti, the handful of recent shootings.

housing complex

His neighbor, 75-year-old Tom Kirlin—the author of a series of recent Washington Post opinions criticizing District leaders for pursuing the development of a homeless shelter in his neighborhood—echoes the sentiment.

He talks of the construction workers tied to an affordable housing project nearby who fall asleep on his porch, who have “accosted” him for free meals at the 7-Eleven on 20th and Rhode Island Ave. NE. It is a specific kind of development that bothers Kirlin. He rattles off a list of buildings on Rhode Island, effectively the area’s main street: a probation office on 9th Street NE; the Virginia Williams Family Resource Center and homeless intake facility; a family court; new affordable senior housing; Brookland Manor; a community resource center for homeless veterans. He says they’re proof that the city has continued to “redline its poverty within this sector of Ward 5.” He’s fighting, as he wrote in the Post, for “the soul of Brookland.”

(These buildings serve residents at a variety of income levels, and while many do assist homeless residents, a significant chunk of them are housing affordable to those making less than 50 percent of the area median income. Kirlin

8 april 20, 2018 washingtoncitypaper.com

himself owns three affordable group houses in Brookland, including one he calls a former “crack house” that he has renovated.)

A few doors down from Forrest’s backyard is the most recent source of his consternation: a vacant brick building that once housed the Metropolitan Police Department’s Youth Services Division, but was decommissioned about three years ago. The site at 1700 Rhode Island Ave. NE is the city’s Ward 5 pick for a 46-unit homeless shelter, one of seven new sites across the District that will replace the D.C. General shelter when it closes later this year. Barring complications, the city plans to open the Ward 5 site in the summer of 2019.

It’s now the subject of a contentious zoning battle—one that has played out on neighborhood Facebook pages, in the Wilson Building, and in advisory neighborhood commission meetings, and seems to underscore some residents’ frustrations with the city’s strategy for housing the homeless as luxury developments continue to bloom across D.C. Along with a cohort of nine other petitioners who live close to the building and call themselves Citizens for Responsible Options (CFRO), Forrest and Kirlin filed an appeal with

D.C.’s Court of Appeals in late March, challenging the Board of Zoning Adjustment’s decision to grant the city a series of permits that will allow it to operate 1700 Rhode Island Ave. NE as a homeless shelter. They are protesting the speed with which the city pursued that site, the specifications of the site, and the location of the site.

They filed the appeal just over one month before D.C. General says it will stop accepting new families into the shelter, and weeks before demolition of certain parts of the campus is set to begin. (“Any further delays are likely to jeopardize closure of D.C. General,” Ward 5 Councilmember Kenyan McDuffie says. “Am I concerned about the timeframe? Absolutely.”)

1700 Rhode Island Ave. NE wasn’t Mayor Muriel Bowser’s initial choice for the site.

In 2016, her administration selected an abandoned warehouse on 25th Place NE to serve as Ward 5’s shelter, but the building—an intimidating brick mammoth behind barbed-wire fences, adjacent to a strip club and waste management facility but not near a single grocery store or bus line—was hardly ideal.

In short order, after a wave of backlash and

decisive testimony from local leaders, the city floated the option of moving Ward 5’s shelter to Rhode Island Ave. NE, and the mayor assembled an “advisory team” of D.C. employees, residents, and advocates for the homeless to walk through the transition.

On February 23 of this year, the Board of Zoning Adjustment finally granted the Department of General Services its necessary permits to begin construction. To accommodate the shelter’s families, the city will build an additional three floors to the structure, adding about 28 feet to the building. (Forrest laments the prospect of losing his winter sunlight to the shadow of the shelter.)

Opponents call it “a total erosion of the democratic process in D.C.” Among the complainants is Forrest’s wife Dina Mukhamedzhanova, who launched a GoFundMe campaign to pay for the lawsuit, posting the link in her neighborhood’s Facebook page last week. A Council staffer notes that the “clap-back was so fast and one-sided that [she] couldn’t keep up with deleting comments before she had to delete the whole thread.” In a comment within the since-deleted thread, Amber Harding, a lawyer at the Washington Legal Clinic for the Homeless, called the effort “quite a toxic combo of privilege and chutzpah.”

“I came from Russia, from Soviet Union, from land where there is no law. I know what it is to live in lawless environment,” Mukhamedzhanova tells me from Forrest’s backyard, growing so frustrated she stands up to gesture. “It’s just sneaky! I’m very emotional but I’m very sincere. It starts with little—you suppress people, you suppress democracy, and it gets bigger, bigger.”

The drama is not exclusive to this site. A separate challenge to Ward 3’s shelter, filed in 2017, has threatened to destabilize that project. The same lawyer, David Brown, represents both wards in their zoning appeals.

On February 5, advisory neighborhood commissioner Angela Bradbery, 3C, sent an email to her list communicating her ANC’s concerns about the Ward 3 shelter. It included this colorful indictment of its construction from a Ward 3 resident who Bradbery says lives behind the shelter located on Idaho Ave. NW: “[My] storage room door flew open. The blinds started shaking. The floor rumbled. It was like that scene in Jurassic Park where the little girl’s bowl of Jell-O jiggled as the T-Rex was approaching the building.”

CFRO contends that the city waited until the eleventh hour to notify residents of the site selection, preventing people from participating in a robust conversation about the particulars of the city’s plan. Henri Makembe, cochair of Ward 5’s advisory team and an ANC 5B commissioner, concedes that while “there were certainly mistakes made at the beginning in terms of involving the neighborhood,” residents “had enough time to draft letters [to D.C. officials]—which suggests that there was enough time” to oppose the plan.

Kirlin has several qualms with the site. He says that the planned playground is too small for children to properly enjoy it; that a since-

resolved 1999 city report indicates that a storage tank underneath the Rhode Island Ave. site once leaked petroleum; that there aren’t nearly enough parking spaces.

But these complaints mounted into broader criticisms about what the selection of that site would represent for D.C. “I’ve talked to business people along here who are saying, ‘We’re having trouble surviving.’ A transient, impoverished population is not going to make use of your new D.C. flooring company up here, you know,” Kirlin says.

“You’re not going to have them looking at a lot of the amenities, necessities, whatever you want to call them. You’re going to have, instead, what I’ve heard from one of the pharmacists at Rite Aid: That is, ‘We have in the evenings, we sometimes have to drive people out of the aisles for stealing bags of potato chips off the back wall.’”

District officials have called out the criticism as classist. “People are not bombs, and they are not weapons, and they are not there to damage anybody around them. They are simply individuals who have experienced something that has caused them to be without,” DHS Director Laura Zeilinger testified during an eight-hour hearing over the Department of General Services’ zoning applications. Makembe notes that the only time residents interrogate the intentions of new neighbors is when they’re not moving into luxury apartments.

And McDuffie points to the scores of retail establishments, coffee houses, restaurants, shops, the “millions budgeted for streetscaping” as evidence to the contrary. “I don’t subscribe to their opinion that there’s a concentration of poverty,” he emphasizes. (McDuffie’s communications director and fellow Ward 5 resident, Nolan Treadway, is more direct: “Kirlin makes [that stretch] sound like Skid Row, when if you were to walk by it looks like luxury apartments.”)

I ask Kirlin and Forrest what they make of the knowledge that their appeal could displace dozens of families, if not delay the closure of D.C. General altogether. Are residents right to be frustrated by their efforts?

Kirlin gives a resounding “no.” He asks me to do some math: The city’s eight replacement sites will offer 311 units; D.C. General serves 280 families. He tells me to subtract those 31 extra units from the 46 the city wants to build at 1700 Rhode Island Ave. “So you’re now talking about 15 units,” he says. “We’re depriving the city of 15 units they claim it needs. Fifteen units are easily accommodated in other facilities they have, including the ones they now use. So they’re not even—that is an invalid argument. Because first they’re saying, ‘We need 270 to 280,’ then they said, ‘But we’re going to build 311,’ then they say, ‘Any opposition is not acceptable because you’ll leave a whole bunch of people homeless.’ Well, no, we’re not.”

“They paint us and Ward 3 as a bunch of NIMBYs,” Kirlin says. “We’re not. Ward 5 is incredibly generous. … But we are the stubborn cousins. Yes, we can sue. And we’ll continue to.”

CP

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washingtoncitypaper.com april 20, 2018 9

DistrictLinE

Principal Balance

DC Public Schools’ central office budget appears bloated and opaque.

By Andrew Giambrone For residents worried about the District’s public schools receiving the right amount of funding to support more than 48,000 students, something just doesn’t add up.

Year after year, parents, teachers, and advocates ask city officials for greater investments in services that directly benefit students, like technology upgrades and school staff positions.

But as many of these community members have noted during recent public meetings, they are forced to grapple with staffing cuts and hard financial choices even though the overall budget for DC Public Schools continues to grow.

The residents say they are frustrated by a lack of transparency around budgeting from the DCPS central office, which oversees the school system and manages the money.

They are mystified when the system’s leaders tell them verbally and in budget documents that their schools will receive more funding than in the past, but then must cut positions later.

“We’re having to fight just to maintain the staff and things that we have in our budget right now,” said Grace Hu, a former teacher whose daughter attends Amidon-Bowen Elementary School in Southwest, during a March hearing of the D.C. Council’s education committee. “We need more boots on the ground ...

We are dealing with an adult-to-student ratio of one to 25 in some classes.”

At the same hearing, Ward 6 Councilmember Charles Allen, who sits on the committee, said he had heard about fiscal shortfalls throughout his ward. “If we’re putting this money and resources into our schools and yet many schools are telling me that they are having to eliminate positions, social workers, STEM teachers, the folks that we need … then we’re not funding this the right way.”

This year’s discussions are happening against the backdrop of a school system disrupted by a string of scandals, including inflated graduation and attendance rates, the forced resignations of DCPS Chancellor Antwan Wilson and Deputy Mayor for Education Jennifer Niles, and residency fraud.

Now, residents are examining the failures of mayoral control and school reform.

The central office is also coming under scrutiny through the current budget process for the

Longtime education advocate Mary Levy

Darrow Montgomery

loose lips

fiscal year that starts in October. In Mayor Muriel Bowser’s proposed budget for fiscal year 2019, DCPS would receive about $993 million and 8,850 full-time positions, 6 percent increases over the system’s fiscal year 2018 budget. The Council could still make changes.

Its education committee, chaired by AtLarge Councilmember David Grosso, is set to hear testimony from DCPS about Bowser’s plan on April 19. Over the next month and a half, councilmembers will mark-up all $14.5 billion of the budget before approving a final version. Grosso has urged DCPS to provide “honest answers” about administrative investments.

“It’s like we have this weird formula at DCPS right now,” Grosso said during the March hearing. “It’s a combination of deception, arrogance, and incompetence. And that’s a really bad formula.”

He sent a list of 25 detailed questions to Interim DCPS Chancellor Amanda Alexander in advance of the April 19 hearing, in-

10 april 20, 2018 washingtoncitypaper.com

cluding ones about central office funding. In its response, the school system says it plans to serve 50,243 students next fiscal year. 83.7 percent of all its funds would be spent “directly in schools,” while 12.7 percent would go toward school support, and 3.6 percent toward central administration.

In terms of employees, DCPS says only 1 percent of its entire staff, or 134 full-time equivalents, are focused on “central administration” in the current fiscal year. That is an uptick from 126 in fiscal year 2017, yet down from 161 and 173 in fiscal years 2015 and 2016. “Employees on school budgets,” like teachers, educational aides, and custodians, make up 87 percent of all DCPS staff, or 8,210 full-timers.

But between these two categories, things get a little squishy. This is where critics of the school system’s accounting practices, like veteran education analyst Mary Levy, say DCPS obscures how many central office employees it actually has. A lawyer and parent of DCPS alumni, Levy has been “counting bureau-

crats,” as she calls it, since 1980 and formerly consulted for D.C.’s state education office.

DCPS says it has 791 full-time employees who “support school operations, such as staff who work on college and career readiness, curriculum and instruction, and student placement.” By independently reviewing DCPS’ budget over time, though, Levy has found that administrators categorize staff in ways that make it difficult to tell whether staff directly serve students.

“Anytime you’re talking about central office, it’s very important to establish definitions, because everybody has a different idea of what that means,” she explains. “[DCPS] only counts top-level administrators, the very highly paid people and the business services like procurement. That’s not what most people are thinking about when they want to know how large the central office is.”

In its budget proposal for fiscal year 2019, DCPS defines “central offices” as those that “provide fund management, oversight, and

centralized administration for the school district.” It defines “school support” as “consist[ing] of programs, services, and staff providing support to schools.” Bafflingly, expenses with the same labels are funded under different designations on budget tables.

For Levy, inspecting DCPS’ books and filing public-records requests for employee lists has become a ritual. She says the process used to take her a long time before improvements in data software, but now she can do it much more quickly. When tallying the number of DCPS employees who provide direct services to students, she filters out certain ones who provide “instructional support,” like professional development for staff.

Levy includes employees who are funded out of central office accounts but spend a lot of time with students, like speech therapists and athletic trainers, in those tallies. As compared with DCPS’ numbers, her findings are striking. In her analysis, there are 831 full-timers who work in DCPS’ central office, including 45 “chiefs and deputy chiefs,” 103 “directors,” and 113 “managers.”

While Levy acknowledges that these types of positions are necessary, she describes their

“general administration,” or $2,170 per student, based on an enrollment of 46,155.

“I was astounded,” she says. “They were spending 10 times—10 times!—the national average” of $218 per student. This was in stark contrast both to surrounding school districts like Fairfax and Montgomery counties, and similarly sized school districts like Oakland, California, and Tucson, Arizona.

Most of DCPS’ peer districts reported spending less than 1 percent of their total expenditures on administrative costs.

Levy says it is possible that other jurisdictions low-balled their expenses, “but misclassifying is unfortunately more typical of DCPS than other districts.” She and other engaged residents point out that DCPS has restructured its central office in recent years, which has led people attempting to study its budget to speak in metaphors: “whack-a-mole,” “catand-mouse,” “shell game.”

“They’re hiding the ball,” said Abigail Paulsen, a parent of three DCPS students and president of the parent-teacher organization at Hardy Middle School in Georgetown, during the Council’s hearing in March. “Where is it? … It’s not clear where these other offices that

“It’s like we have this weird formula at DCPS right now. It’s a combination of deception, arrogance, and incompetence.

And that’s a really bad formula.”

—At-Large Councilmember David Grosso scale as “enormous” and expensive. “It’s not just that it could be going toward some needs that are not being met now, it could be going toward just keeping things where they are,” she says of the funding that props up DCPS’ administration.

Her research has also found that the number of central office employees has grown significantly since fiscal year 1981, when there were 516. That year, DCPS enrollment was 95,000, about twice what it is now. In fiscal year 2007, around the time the mayor’s office took over the public education system from D.C.’s school board, 626 staffers worked in the central office, by Levy’s count.

In DCPS’ telling, the headquarters is smaller than it was a few years ago and Mayor Bowser has prioritized direct school investments. “DCPS has consistently worked to drive as much funding to the school level,” the system states in the responses it provided to the Council’s education committee.

Nationally, DCPS appears to be an outlier for its outsized spending on administration. By pulling data from the U.S. Department of Education and the Census Bureau, Levy saw that in 2015 (the most recent year for which complete statistics have been published) DCPS spent 11 percent of its total expenditures on

have been zeroed out [in DCPS’ budget] have gone.” She said this wasn’t “transparent.”

Frustrations with public school funding stretch across the District. Markus Batchelor, the Ward 8 representative on the State Board of Education, says communities have less power in school budgeting discussions than before the mayor’s office took control.

“The folks making the decisions are in one building,” he notes. “We have to decentralize DCPS, but that’s also a cultural shift.”

Scott Goldstein, a teacher at Ward 4’s Roosevelt High School who is on paternity leave and founded EmpowerEd DC—an organization focused on building teacher leadership—echoes the need for a “culture shift” so DCPS is more “transparent and inclusive.” He was a member of Roosevelt’s Local School Advisory Team, a group of community members that advise the principals of their schools, and says helping with the school budget was messy.

“Two days before the LSATs were supposed to finalize [individual school budgets], we got two different budgets from [the] central office and nobody could tell us which was the right one,” he recalls. “The principal could not tell us. We had 48 hours to do that and weren’t even sure what document to weigh in on.” CP

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Darrow Montgomery

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Becky Borlan is a local public artist. One of her latest works, “Tailspin,” is a piece of suspended sculpture created for Marie Reed Elementary school. You can find her at beckyborlan.com and on Instagram @cakesqueezeparty.

Becky, how would you describe your job?

What do you do?

I am an artist. My primary focus is on creating public sculpture both indoors and outdoors.

But I also work in a lot of different mediums as well.

Why public art?

I realized as I was doing undergrad that I wasn’t really comfortable in the typical art world mold, which is usually working with a gallery and being represented. I saw public art as a way to work around that, break free of that. Public art also combines a bunch of other disciplines that I’m interested in like architecture, urbanism, and community development.

How would you define public art, then?

For me public art is about accessibility. It’s creating an artwork where a lot of people can see it. It’s not rarified. I feel like galleries can be kind of intimidating spaces sometimes, so I like the idea of public art existing in the world where people can encounter it unexpectedly and have an experience that is just outside of their norm.

12 april 20, 2018 washingtoncitypaper.com

Why do you think D.C. in particular needs public art?

Yeah (laughing), we are a town of just like so much steeped history—and I mean, it’s great—I do love it. But I think that’s all static.

You know, these monuments. I think you need to keep evolving and keep seeing new things in the cityscape, both indoors and outdoors.

Let’s talk about your kite piece, “Tailspin.”

It was inspired by the annual Kite Festival.

How did that particular piece come about?

I kind of go where the opportunities are. I’m actually excited to share this resource with other artists. So, basically, DC Department of General Services puts out calls for artwork for different municipal buildings. In particular they look for D.C. artists. They do murals, they do mosaics, they do sculptures. It runs the gamut. What’s happening right now is that all the schools in D.C. are being renovated and they’re putting art in each school that they renovate. So there’s a lot of opportunities right now. It’s a really, really exciting time.

You used to live in D.C. and now you live in Baltimore. Why did you move to Baltimore?

We were paying the majority of our money to rent. It just seemed like, if I was going to try and do art full time, that we needed to pay less rent. I really liked our neighborhood and I really liked

where we lived. My husband still works in D.C. and my husband could walk to work. But, at the same time, how much we were paying was untenable. We were already sacrificing a lot just to live where we lived and we were just like, “We can’t really keep this up. It’s not sustainable.”

Can you tell me about the new piece that you are working on?

I presented the proposal. It’s another commission for an elementary school. It’s a DGS project for Murch Elementary. The working title right now is “Color Cascade,” but I usually change the title.

There is a lot of front-end work that goes into creating a proposal and then not knowing necessarily if it is going to be realized. That’s, unfortunately, the way it is with public art in a lot of ways. It’s always valuable for me to go through that process. The funny thing is that I had a totally different, well, alright, it wasn’t totally different, but I had a different model that I made, a different piece. I just didn’t think it was strong enough. Three days before my presentation I made this other piece. You can have one idea, but then if that turns out to be a dead end, then you find another path. Just, basically, by necessity.

Note: Two days after this interview Borlan was awarded the commision for “Color Cascade” at Murch Elementary.

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Job #: 45684 Size: 7.083" x 9" Branch: DC

Color(s): 2C Bleed: .None Misc: 2018 DC ROP - Localized Papers

Gear Prudence Gear Prudence: My parents are coming to visit me this summer. Last time they were here, they saw everybody riding around on Capital Bikeshare and remarked that it looked like a lot of fun. Last time I talked to my mom, she mentioned biking again.

My parents live in a classic suburban cul-de-sac and the most they ever bike is two blocks around the neighborhood on basically empty streets. As much as I want to support biking, I know how bad drivers are here and I’m pretty scared about the idea of my septuagenarian parents out there in traffic. Am I overreacting?

—Obviously Leery. Dread Seeing Mom On Bike In Loathsome Experience

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4/10/18 4:09 PM

Dear OLDSMOBILE: Maybe. Expressing concern about your parents’ safety while biking demonstrates that you are a good person.

Mom and Dad should cut this out of the paper and stick it on the fridge! But it’s possible that your worry is unwarranted because the details of where your parents plan to bike matter a whole lot. Do they plan on taking on New York Ave. NW at rush hour, or is their vision to dawdle down the path from the Lincoln Memorial to the Washington Monument? Bomb down Connecticut Ave., or slowly pedal their way along the C&O Canal? There are far too many streets in D.C. that encumber bicyclists with serious risks, and these need to be addressed before GP would ever suggest that your parents could and should bike carelessly wherever they want in the city. But if the scope of their plans is more limited, perhaps you can downgrade your worry level.

—GP Gear Prudence: At night, suppose there’s a rider coming the other way and you can see that he has a front light on his bike, but it’s not on. Do you say something? Or do you assume that his light is out of batteries and there’s a good reason that it’s not on?

—Words Help, Yes? Or Feed Futility?

Dear WHYOFF: You would think that a bicyclist would know if his light was on or off, but sometimes people forget (or don’t realize), so of course you should say something. “Excuse me, but I’ve happened to notice that you front light is not currently set to function—is this an oversight or a mishap, mayhaps related to a lack of battery power?” is a bit of a mouthful, so saying something like, “Heads up, light’s not on!” will probably do the trick. At that point, assuming that the rider hasn’t tuned you out entirely, or there’s not some underlying issue that’s stopped the light from working, he’ll probably press the button to turn it on. There’s a small chance he’d claim a light is unnecessary, but if it it’s dark, probably not. Shout something. The rider will be informed and then do something about it or not. Erring on the side of helpful is pretty costless.

—GP

CELEBRATION 2018

Washington City Paper’s 10th annual Best of D.C. Celebration was held at The Organization of American States on Thursday, April 12th. We celebrated and toasted the winners of City Paper’s Best of D.C. Readers Choice poll, featuring over 200 voting categories. Our guests had the opportunity to sample tastes, cocktails, and so much more from local restaurants, bars, breweries, distilleries, the list goes on. Thank you to all the attendees for coming out and having a great time! Congratulations to all of the 2018 winners and we’ll see you next year!

Thanks to our sponsors and participants

washingtoncitypaper.com april 20, 2018 15

In whIch cIty PaPer PrevIews the 32nd annual FIlmFest dc InternatIonal FIlm FestIval It is often said that art imitates life. But considering how much of our current reality resembles a smoldering garbage fire, it’s a good thing the films playing at this year’s Filmfest DC don’t much reflect life. Instead, Filmfest DC presents 80 films from 45 countries that are touching, thoughtful, funny, and sometimes heartbreaking escapes from reality. Now in its 32nd year, this year’s Filmfest has some familiar themes—the Trust No One collection of thrillers and Justice Matters showcase of social justice-oriented films are longtime staples of the festival—but offers some fresh films for those seeking an escape in the theater. Check out the films featured in the Global Rhythms showcase to get your music doc fix (How They Got Over: Gospel Quartets and The Road to Rock and Roll and Mama Africa: Miriam Makeba are standouts, though most of the City Paper staff are quite stoked for the Grace Jones documentary, Grace Jones: Bloodlight and Bami), while Cine Latino highlights some of the best Latin American films you probably haven’t heard of. Like every year of Filmfest DC, there is something for everyone, whether that be a Turkish crowdpleaser (Sour Apples), Zeitgeist issue doc (The Cleaners) or, uh, a paranoid experimental sci-fi acid trip (Spectres of the Spectrum). Also, Jurassic Park, which is screening for free, because why not.

—Matt Cohen

Mama Africa: Miriam Makeba Directed by Mika Kaurismäki South Africa, Germany, Finland Finnish director Mika Kaurismäki’s 2011 documentary Mama Africa: Miriam Makeba is a conventional, workmanlike film but proves its worth through inspiring footage—from the 1950s up to 2008—of the titular powerful South African singer and activist. Kaurismäki tries to convey Makeba’s life in a largely straightforward manner through interviews and an assortment of concert footage, black-and-white photos, news coverage, and an excerpt from Makeba’s appearance in the 1960 film Come Back, Africa. The movie only includes a bit of her childhood before it jumps to her singing career and early international appearances, followed by her South African ban because she spoke out against apartheid. In the U.S., Makeba’s rise to fame came after Harry Belafonte saw her perform in London.

He helped set her up with New York City jazz club gigs and TV show appearances. Makeba’s unique mix of traditional South African melodies and jazz tech-

niques, coupled with her regal onstage presence, demonstrate how she quickly became an international star and pan-African role model. Exiled for 31 years until Nelson Mandela took steps to bring her home, the film shows how Makeba’s life in the U.S.—and later Guinea, Belgium, and back in South Africa—includes some triumph despite oppressive racism and tragedy. Through interviews with her grandchildren, bandmates, ex-husband Hugh Masekela, and others, the film paints a portrait of the compassionate woman who always had food available for starving students, the musician harassed by the FBI due to her marriage to the militant Stokely Carmichael, and the mother with a close relationship with her musically inclined daughter, who tragically died young. Offstage, Makeba spoke out against apartheid at the United Nations. While onstage she prominently noted, “I don’t sing about politics; I sing the truth.”

—Steve Kiviat Mon., April 23, 8 p.m., Landmark E Street Cinema; Sat., April 28, 8:15 p.m., Landmark E Street Cinema.

16 april 20, 2018 washingtoncitypaper.com

Mama Africa: Miriam Makeba

The Foreigner’s Home

Sour Apples

Louvre. That exhibition, The Foreigner’s Home, is the subject of this documentary that combines footage Morrison’s son Ford shot in Paris more than a decade ago, clips and photos of individuals who Morrison considers to be foreigners, and a 2016 interview filmmakers recorded between Morrison and writer Edwidge Danticat.

Morrison explores the concept of the foreigner by pointing out ways in which individuals can be considered foreign, even if their families have lived in the same place for generations. In the aftermath of Hurricane Katrina, she points out that it was not just the race but the class of residents of New Orleans’ Lower Ninth Ward that caused them to be considered outsiders and therefore ignored by the U.S. government. Civil rights activists and refugees face similar struggles as they fight to claim their space in their homelands.

Morrison’s breakdown of these concepts is fascinating—her cultural criticism is crafted with the characteristic eloquence of her novels. Animated sequences, which break up the narration, distract from her message and feel slightly repetitive. The author is able to sustain her audience’s interest without any cinematic quirks. —Caroline Jones Thurs., April 26, 6 p.m., Landmark E Street Cinema; Sat., April 28, 7 p.m., Landmark E Street Cinema.

The Foreigner’s Home Directed by Rian Brown and Geoff Pingree USA Ask a group of people to define the concept of “home” and you are likely to get

a variety of responses. It can be a simple location or a complex set of emotions that tap into the ideas of belonging and acceptance. Author and Nobel laureate Toni Morrison touches on the idea of home in many of her novels, and in a 2006 exhibition she curated at the

FilmfestDC has long specialized in the international crowd-pleaser, and this family epic set during a tumultuous era in Turkey is just that kind of politically aware yet ultimately safe movie. Writer/ director Yilmaz Erdogan (who starred in the great Once Upon a Time in Anatolia and directed the biopic The Butterfly’s Dream) stars as the mayor of a rural village and the father of three beautiful daughters, each of whom is courted by a hopeful suitor. Sour Apples starts off as a broad 1970s comedy that depicts villagers as country bumpkins who don’t even know how to use shampoo.

But as the characters bump into history—namely, the Turkish coup of 1980—and grow up, the more somber tone makes better use of the strong ensemble cast. The mayor’s attempt to tame the sour apple trees in his orchard is too on-the-nose as metaphors go.

Still, by the time the movie reaches the 1990s, it succeeds thanks to a simple yet potent dramatic device: the passage of time.

—Pat Padua Sun., April 22, 3:30 p.m., Landmark E Street Cinema; Fri., April 27, 6 p.m., Landmark E Street Cinema.

Ya-che Yang directed this Taiwanese crime drama about Madame Tang (Kara Wai), who lords over three generations of businesswomen caught in the middle of a hopelessly complicated and violent land-grab. Wai, who starred in the 1981 Shaw Brothers classic My Young Auntie, won Taiwan’s equivalent of an Oscar for her performance as the ruthless matriarch, and continues her late-career resurgence with the kind of role that would have been perfect for Joan Crawford in another time and another place. The Bold, the Corrupt, and the Beautiful is wildly inventive but too densely plotted for its vivid central performances to really take hold. Still, the movie features intermittent commentary from a kind of Greek chorus in the form of an elderly female musician, decked in fabulous finery, who sings traditional songs about the family’s misfortune.

Richly hued costumes and strange magical interludes contribute to a spectacle that will look great on the big screen, but this convoluted tale of corruption is, in the end, a lush, violent story about inflated real estate values.

—Pat Padua Sat., April 21, 4:30 p.m., Landmark E Street Cinema; Sat., April 28, 6:15 p.m., Landmark E Street Cinema.

Sour Apples Directed by Yilmaz Erdogan Turkey The Bold, the Corrupt, and the Beautiful

The Bold, the Corrupt, and the Beautiful Directed by Ya-che Yang Taiwan

The Cleaners Directed by Hans Block and Moritz Riesewieck Germany, Brazil The relevance of any tech-oriented documentary can be woefully shortterm, given how fast things change these days, but The Cleaners retains its bite four months into the festival circuit. The film premiered at Sundance in January, well before the series of events that landed Facebook’s Mark Zuckerberg on Capitol Hill for grillings about how his social media company handles its business. Consider The Cleaners a small but evergreen part of the broader backstory, as it exposes a content-curation mill in Manila where young Filipinos make thousands of split-second decisions about questionable photos and videos each day. Young directors Hans Block and Moritz Riesewieck give the film a noirish vibe, as the professional digital censors describe the brutal simplicity of their jobs: Delete. Ignore. Delete. Ignore. It’s not clear which social media giant they ultimately work for, but their immediate employer is a contractor—an arrangement that allows

washingtoncitypaper.com april 20, 2018 17

a major corporation some deniability about its effects on anything from political discord to outright genocide.

In the end, it doesn’t matter whether the cleaners in the film are clicking away for Facebook, YouTube, Twitter, or whatever, because the lingering impression is that none of Silicon Valley’s giants will ever get things completely right.

—Joe Warminsky Wed., April 25, 8:30 p.m., Landmark E Street Cinema; Fri., April 27, 8:30 p.m., Landmark E Street Cinema.

How They Got Over: Gospel Quartets and The Road to Rock and Roll Directed by Robert Clem USA Avid readers of Eddie Dean’s music writing for City Paper and other publications will immediately grasp what’s going on in How They Got Over, because the story arc of the mid-20th-century African-American gospel quartets in the film is similar to the path of the contemporaneous hillbilly artists whose stories Dean has preserved. Groups like The Highway Q.C.’s, The Dixie Hummingbirds, and The Soul Stirrers took a high-energy, often guitar-based sound that rose in the Deep South in the ’30s and ’40s and made it a national phenomenon, eventually giving early rock ’n’ roll some of its juice and initiating the secular careers of singers like Sam Cooke and Lou Rawls. As documentaries go, How They Got Over isn’t particularly cinematic, but it draws upon rich archives of 1950s television appearances by many of the groups, and director Robert Clem smartly lets the harmonies linger. For every bland pronouncement by one of the experts in the film, there are at least a couple of minutes of transcendent music. The music itself is still kicking these days—most notably via the Blind Boys of Alabama, who figure prominently in the film—but it’s been at least five decades since it was America’s definitive gospel sound.

Clem managed to do interviews with several legends of the circuit before they died in recent years, and their accounts of racism and the rough economics of road life are deeply resonant.

—Joe Warminsky Sun., April 22, 5:30 p.m., Landmark E Street Cinema; Mon., April 23, 6 p.m., Landmark E Street Cinema.

The Third Murder Directed by Hirokazu Kore-eda Japan Hirokazu Kore-eda is arguably the best Japanese filmmaker working today. He is known for thoughtful, plaintive dra-

The Cleaners

How They Got Over: Gospel Quartets and The Road to Rock and Roll

Tunu: The Gift

mas about life in modern Japan. His recent film, After the Storm, received a theatrical release in the United States, and made many year-end lists. His follow-up is The Third Murder, and while it toured the major film festival circuit last year, it still has not received U.S. distribution. It is fascinating, even thrilling, and yet the lack of domestic interest is hardly a shock.

The Third Murder is a dialogueheavy drama about a murder trial. Kōji Yakusho plays Misumi, a construction worker who admits to killing his boss.

The trial is meant to decide his punishment—the defense wants life in prison, while the prosecutors prefer the death penalty—but Misumi’s changing story calls the basis of the case into question. Kore-eda recreates the same events from multiple viewpoints, recalling Kurosawa’s Rashômon, except here his aim is to undermine faults within Japan’s legal system. This film suggests the truth is fundamentally

18 april 20, 2018 washingtoncitypaper.com

unknowable, and legal principles have not evolved in hundreds of years to reconcile that problem.

This film is teeming with dialogue, and it unfolds at a languid pace for a thriller.

The characters are reserved, with Kore-eda slowly revealing details about their interior lives, but there is undeniable power in watching hardened, cynical lawyers change their minds.

—Alan Zilberman Fri., April 20, 8:30 p.m., AMC Mazza Gallerie; Sun., April 22, 8:15 p.m., Landmark E Street Cinema.

Tunu: The Gift Directed by Jordan Riber Tanzania A classic Dickensian story is typically about a young person who leaves the countryside and learns the harsh realities of the city. Tunu: The Gift, a drama from Tanzania with dialogue in Swahili,

The Third Murder is about a young person who leaves the city for the harsh realities of the country. It is an interesting reversal, and one that suggests hopeful possibilities for the country’s future, yet the film dwells too much on maudlin pedagogy.

Mashoto is about 20, and he’s hustling on the streets in an unspecified city. His uncle calls, telling him his mother has died, so he returns home.

He receives a small inheritance and some land, but it does not take long for him to lose it. The small village is teeming with gangsters and corrupt police officers, so the film follows Mashoto as he comes of age, saves

quitoes trapped in amber, and creates an entire theme park filled with living, breathing dinosaurs. Naturally, things go straight to hell when a paleontologist, a paleobotanist, a wisecracking mathematician who specializes in chaos theory, and a lawyer are brought to the park to sign off on it and the dinosaurs break loose. Anyway, some stuff happens, life finds a way, and the movie ends. It’s a shame no one saw this movie upon its release; it would’ve made for an interesting, if not lucrative, franchise.

—Matt Cohen Sat., April 21, 12:30 p.m., AMC Mazza Gallerie.

Spectres of the Spectrum Directed by Craig Baldwin USA

Spectres of the Spectrum the day, and falls in love.

Director Jordan Riber includes gorgeous jungle imagery, but too often scenes tilt toward maximum poignancy. The cumulative effect is like an after-school special, with Mashoto internalizing one lesson after another.

That feeling is only exacerbated by the cloying music, which tells you exactly what you’re supposed to feel at any given moment. Then there is the ponderous voice over, like something out of a Terrence Malick movie, that sounds like it should mean something and amounts to little more than New Age gobbledygook. By the

time Mashoto develops some courage and carves a respectable existence for himself, the film will have already loosened its grip.

—Alan Zilberman Fri., April 20, 8 p.m., Landmark E Street Cinema; Tues., April 24, 6:30 p.m., Landmark E Street Cinema.

Jurassic Park Directed by Steven Spielberg USA Twenty-five years ago, a little-seen film about dinosaurs resurrected in the modern age, directed by an un-

known talent named Steven Spielberg, had its world premiere at Cleveland Park’s illustrious Uptown Theater.

If you managed to miss Jurassic Park when it stomped into theaters in 1993—and no one would blame you, hardly anyone saw or heard about it— good news: Filmfest DC is hosting a free anniversary screening.

Shot on a shoestring budget with a cast of unknown actors, Jurassic Park tells the story of an ambitious capitalist parading as an environmentalist whose team of scientists figures out how to breed dinosaurs through dino DNA found in prehistoric mos-

Last week, legendary radio personality Art Bell died. Not everyone knew Art Bell by name, but his influence seeped into so many corners of the cultural Zeitgeist that most are probably familiar with his radio show Coast to Coast AM—or at least the idea of it.

The heavily syndicated late-night radio show, which ran from the late ’80s until Bell’s retirement in 2007, featured Bell espousing wild conspiracy theories about the paranormal—alien abductions, ghost stories, etc.—and taking calls from people who allegedly had similar encounters. It’s unfortunate that the most obvious and well-known influence on Bell’s show is probably Alex Jones, who uses his show to spread dangerous and false right-wing propaganda. But the fact is, in the realm of science fiction, Bell has had a huge influence on classic TV shows like The X-Files and Twin Peaks.

Spectres of the Spectrum feels like a kind of filmic collage ripped straight from the radio waves of Coast to Coast AM. Originally released in 2007, Craig Baldwin’s paranoid acid trip of a film combines 16mm footage with vintage found footage—old TV broadcasts, 1950s education and training videos, and various other cinematic ephemera—to tell the story of a telepathic scientist father and daughter who must save the world by traveling through an electromagnetic wormhole to find a secret message hidden in the airwaves of a 1957 broadcast. Baldwin tells this story through excessive voiceover that very much feels like an episode of Coast to Coast AM, but with a trippy, kinetic visual accompaniment.

It’s an altogether amusing—albeit exhausting—cinematic experience.

—Matt Cohen Sun., April 22, 4 p.m., National Gallery of Art.

washingtoncitypaper.com april 20, 2018 19

20 april 20, 2018 washingtoncitypaper.com

Laura Hayes

DCFEED

Vegetarian taco restaurant Chaia is expanding to 615 I St. NW this fall and will add breakfast tacos on the weekend. Try a taco trio in Georgetown to get a taste of what’s to come.

Arl Night Long

Stephanie Rudig

Sirens wail in Clarendon as targeted police efforts focus on the neighborhood’s bars and restaurants.

By Laura Hayes When you’ve operated a restaurant in the same neighborhood for more than three decades like the owners of Nam Viet in Clarendon, it’s impossible not to notice changes, be they gradual or drastic.

Located just off Clarendon Central Park, from 10 p.m. to 1 a.m. on weekends patrons can only access the Vietnamese restaurant by foot, according to co-owner Richard Nguyen. The police shut down Hudson Street to cars on Friday and Saturday nights due to alcohol-related safety concerns.

Young & hungrY

“After 10 p.m., it’s the clientele I don’t want anyway,” he says. “They’re hitting up the bar scene and are trying to sober up. They may be a hindrance to the staff and my property.”

The increase in tipsy foot traffic correlates with an influx of bars and restaurants including Don Tito, Pamplona, Bar Bao, Wilson Hardware, and The G.O.A.T. They all opened in 2015 or later and can morph into club-like establishments after the last dinner patrons pay their bills. They joined Spider Kelly’s, Clarendon Ballroom, O’Sullivan’s Irish Pub, Bracket Room, and other mainstays to create a party hub that draws young crowds from D.C., Arlington, and further flung parts of Northern Virginia.

If you sit on the Nam Viet patio long enough, you’re bound to hear sirens headed toward Don Tito, according to Nguyen.

“There are some nights when I go outside and there’s an ambulance parked on the corner of Hudson and Wilson,” he says. “On St. Patrick’s Day alone, I saw six or seven ambulances fly by.”

Nguyen isn’t imagining things. According to data City Paper obtained through a Freedom of Information Act request, Arlington police, fire, and EMS responded to 177 calls to Don Tito in 2017. That’s practically one every other day. The police alone responded to 146 calls, 57 percent of which fell into the categories of assault, disorderly conduct, drunk

in public, fights, exposure, and disputes.

More specifically, there were nine fights, in addition to five calls for assaults, 26 for disorderly conduct, and 33 for public drunkenness.

Calls do not necessarily mean a crime was committed nor that an arrest was made. It simply means the police were called in to help.

Compare Don Tito’s statistics with Clarendon Ballroom, which only had 64 combined calls in 2017. Spider Kelly’s, in the same calendar year, had 136 combined calls. There, 35 percent of police calls were for similar alcohol-related issues, but 44 percent of them were parking-related. Only 2 percent of calls at Don Tito were for parking problems.

The only address with a higher number of calls than Don Tito was 3100 Wilson Blvd. The fact that there were 189 combined police, fire, and EMS calls there can be attributed to the fact that four restaurants share the address: Pamplona, Bar Bao, Mister Days, and Bronx Pizza.

Don Tito co-owner Scott Parker says business is good at his bar.

“We’re lucky to be on the block we’re on,” he says. “It’s the epicenter of all of the bar hopping. We’re seeing people from D.C., but far and away the majority of the crowd is the locals and kids from rural parts of Virginia. If you’re a young person in your twenties, going to Clarendon is a no-brainer.”

He says all his staff members have completed training through the the commonwealth’s Department of Alcoholic Beverage Control. “They learn how to properly serve alcohol and cut people off if they’ve had too much to drink,” Parker explains.

He says the high number of police calls is a direct result of the Arlington police department’s stance that business owners should get them involved immediately when an issue arises. “A lot of bars don’t do that,” Parker says. “Don Tito does. To an outsider looking in, it’s going to look like we’re having more problems than we’re having.”

Arlington’s restaurant liaison officer, Dimitrios “Jim” Mastoras, confirms police are encouraging a higher level of intervention.

The master police officer has been in the role for two years and says he works to improve best practices and standards for restaurants that hold ABC licenses.

His goal is to reduce alcohol-related harm

washingtoncitypaper.com april 20, 2018 21

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through relationships with the community, businesses, and the government. “Business owners allow us to intervene and come into the restaurant and take care of issues before they get big,” Mastoras says. “We also provide a high level of training.”

Clarendon has a dedicated nightlife detail staffed by officers in an overtime capacity that operates Fridays and Saturdays from 9 p.m. to 3 a.m. So far it’s the only such detail in the county, but the strategies and measures of success used in Clarendon over the past two years will be applied to up-and-coming nightlife destinations like Ballston and Crystal City.

“Years before the liaison unit was created, there was no guidance,” Mastoras says.

“The ABC is stressed for resources and can’t be down here on a daily basis the way we can.

My phone rings off the hook everyday all day and all night … Everyone has my number.”

The creation of the unit also means that officers covering other parts of Arlington won’t be pulled away to handle the high volume of calls in Clarendon. Mastoras says between 5,500 and 6,500 people come through on Friday and Saturday nights in the summer. With those numbers in an entertainment district, there’s bound to be regular police activity.

Mastoras has had to convince owners that a high number of police calls isn’t a blemish on a restaurant’s reputation. “They were worried about how it reflected on the business, but the inordinate number of contacts isn’t negative,” he says. “It’s hard to measure community policing, and this is community policing 101.” Despite the increase in calls for service, the department is seeing arrest numbers drop each year.

Pamplona and Bar Bao co-owner Mike Bramson has found that the police are helpful. “Our staff is trained to identify when situations are escalating and know that there is an open line of communication between them and the special unit to ensure the safety of the guests and the restaurant staff,” he says. “The expectations have been set on both sides and it’s nice knowing we can call them at anytime for help.”

Having a dedicated nightlife detail and a police policy that urges owners to call the cops early and often could be why Don Tito sees so much police activity. The same team owns ATown Bar & Grill in Ballston where there is no such detail. Police were called to A-Town 66 times in 2017, compared to Don Tito’s 146 calls. Only 30 percent of calls were for disputes, disorderly conduct, fights, assaults, and other alcohol-related issues. The majority had to do with loud music, parking, or a panic alarm going off at nearby residences.

Arlington police are also involved in pre-

ventative measures, including “Conversations with a Cop” happy hours where officers dressed in plain clothes interview patrons in a casual setting about bar security and the area’s heightened police presence.

“Police are part of the fabric now,” Mastoras says. “People walk up to us and ask to take photos. They want a high five, they get a high five.

They want a selfie, they get a selfie … We don’t have to all be robots out there. We’ve been accepted in the Clarendon neighborhood.”

The police also step up their outreach and preventative measures before and during major drinking days such as St. Patrick’s Day and Cinco de Mayo. The department has a partnership with the Washington Regional Alcohol Program to offer free rides home via ride-sharing services. The fire department and Virginia Hospital Center partner with the police to put on CPR classes.

The Arlington Police Department also rewards the restaurants who identify and confiscate the most fake IDs in Clarendon. Mastoras says restaurants turned in 1,600 over the past two years, though the seizures almost never lead to arrests. “We can get more done through voluntary action rather than coming in with the hammer,” he says. “There were only five or six [related] arrests over that two year period.”

Locals like Bill Ryan hear the sirens and note a palpable change in the area. The 37year-old started the blog Clarendon Nights in 2008, one year after he moved to the neighborhood. He has referred to the area near Don Tito’s where there is a high concentration of bars as “the gauntlet.”

“You have so many drunk people,” he says.

“People very quickly drink a lot before last call and walk out into the street. I’ve seen it walking late at night. Especially after 2 a.m.

It doesn’t feel safe.”

Some of his favorite places to hang out include The Board Room, Ambar, BABA, and Ms. Peacock’s Champagne Lounge. “I know I’ll be called a bro, but I really like The G.O.A.T.,” he adds. “I thought I wouldn’t like it, but during the weekdays they have a great happy hour and the food is really good.”

Still, Ryan says he’s disappointed that some of Clarendon’s original character is slipping away.

“We’ve been losing the ‘keep Clarendon weird’ places and more mainstream places are coming in,” he says. One of his favorite spots, the bar and music venue, IOTA Club & Cafe, closed in September 2017. “Most places are going toward DJs or mainstream music to attract that clientele.”

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

DCFEED

what we ate this week: “Mike Honcho” with an anaheim chile stuffed with smoked brisket, Chihuahua cheese, rajas, nacho cheese, and poblano ranch, $8, Taco Bamba. Satisfaction level: 5 out of 5.

Grazer

Wintry Mix

Kaliwa 751 Wharf St. SW

Laura Hayes

One of renowned pastry chef Pichet Ong’s desserts at Spoken English is a spiffy version of a Japanese shaved ice dessert known as kakigōri. It contains tapioca pudding flavored with Calpico (a Japanese soft drink with a yogurt-like taste), red beans cooked in Okinawa sugar, and cherry blossom granita. Ong tops off the layered dessert with strawberry “crumbs” and black lime powder that’s tangy and aromatic like umeboshi (Japanese pickled plum). The $14 dessert can easily feed two and is labeled as “Black” on the dessert menu.

4221 John Marr Drive, Annandale

Laura Hayes

The LINE DC Hotel, 1770 Euclid St. NW

SnoCream Company at the Block

After gorging oneself on Korean barbecue in Annandale, swing by The Block for a SnoCream Taiwanese shaved ice dessert. The Asian food hall is a permanent home for Arturo Mei’s business, which also serves giant boba teas. SnoCream stands out from the pack because patrons can fully customize their bowl of bliss by selecting which flavor of fluffy ice they would like as a base (go with Thai iced tea or pandan), plus the toppings ranging from bursting tapioca pearls, jellies, and plump lychees to various childhood cereals and Japanese Pocky sticks for crunch. A regular costs $6, a large, $7.

What It Is: “Eggs in Purgatory” is a baked-egg dish, cooked in the style of a casserole. Chef Marc Hennessy prepares it by boiling three eggs in a red chile sauce before serving it with a baguette and butter.

The Dish: Eggs in Purgatory Where To Get It: Tavern at Rare’s breakfast menu, 1595 I St. NW; raredc.com

How It Tastes: The eggs are baked perfectly. The outer crust is golden brown and topped with red chilies and shaved watercress. Inside, you’ll find more stewed chilies and eggs that have an almost souffle-like quality.

Where: Old Ebbitt Grill, 675 15th St. NW; (202) 347-4800; ebbitt.com Hours: Daily from 3 p.m. to 6 p.m. and 11 p.m. to close Food specials: 50 percent off all oysters.

Purple Patch 3155 Mount Pleasant St. NW Mount Pleasant Filipino restaurant Purple Patch also serves fun-to-say halo-halo, which translates to mix-mix and is not unlike a sundae. Try it in their upstairs dining room for $9. Their take on the textural playground is elaborate and includes coconut gel, red beans, jackfruit, white beans, sugar palm, ube, shaved ice, sweetened condensed milk, leche flan, ube ice cream, and toasted coconut.

HangoverHelper Price: $14

Top of the Hour

Cathal Armstrong

Several Asian countries have a take on a sweet treat that melds shaved ice with a potpourri of brightly colored, multi-textural ingredients like mochi, red bean, pudding, sweetened condensed milk, jellies, and sliced fruit. They one-up other desserts by providing a sense of wonderment and adventure—something like seeing color for the first time, but with your taste buds. Avoid getting bored by your last course at the following four restaurants.

This newcomer at The Wharf serves Thai, Korean, and Filipino cuisines. So far customers seem to be gravitating toward the Filipino dishes, and that trend should continue when it comes to dessert. Kaliwa serves a take on halo-halo ($9) featuring evaporated milk ice, bananas, pandan jelly, red beans, and ube ice cream. Two colors really pop—bright green from the sweet, grassy-tasting pandan jelly and deep purple from the ube ice cream.

Darrow Montgomery

By Laura Hayes

Spoken English

what we’ll eat next week: Charcoal grilled lamb sausage with cucumber, mint, puffed sorghum, and roasted pepper aioli, $22, Hazel. Excitement level: 4 out of 5.

Why It Helps: Instead of stumbling into your office with a massive migraine, slide on over to The Tavern at Rare for a hangover recovery session. It’s one of the few sit-down restaurants that serves breakfast daily in downtown D.C. It also comes as no surprise that a dish named “eggs in purgatory” is the perfect deliverance after a night of heavy drinking. The eggs provide protein, the chilies put some spicy pep in your step, and the side of bread gives you all the carbs you need to get through the day.

—Tim Ebner

Pros: The best happy hour is a happy hour that offers you what you would’ve ordered anyway, but cheaper. That’s why Old Ebbitt Grill is the best. I don’t have to pretend to be content with skimpy, pea-sized sliders or bland crudités. I get a platter of joy: a dozen sweet Kusshi oysters if I’m not feeling adventurous, or a mix of Duxbury Selects and Harpswell Flats if I am. It’s a reasonable $17.99 for a dozen, rather than a pricey $32.99 during peak hours.

Old Ebbitt also famously has four bars, so if one (or two) are busy, you still have options. My pick is Grant’s, a semi-secluded gem on the opposite side of Old Ebbitt’s atrium, for a bracing gin martini.

Finally, I am a staunch supporter of extra late-night food options. A midnight order of six oysters will do me just fine, especially after a movie at nearby E Street Cinema.

Cons: It’s certainly not D.C.’s cheapest happy hour. There aren’t tons of drink specials, and you can expect to pay the same, if not substantially more, than you would for a standard dinner elsewhere. The place tends to fill up pretty fast after 5:00 p.m., so seating during the first daily round of oyster hours might prove tough if you’re looking for a table.

—Morgan Baskin

washingtoncitypaper.com april 20, 2018 23

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Black in the Saddle

On his new album, Silver Spring singer/songwriter Dom Flemons investigates a little known piece of African-American culture.

By Sriram Gopal When the Carolina Chocolate Drops formed in 2005, most people didn’t really associate old-time string band music with African-American culture. But over the better part of the last decade, the group introduced audiences around the world to that aspect of American roots music.

By 2013, Dom Flemons, one of Carolina Chocolate Drops’ founding members, had accomplished all that he wanted with the group and decided to part ways. He was at a creative crossroads.

“If you’ve got a band and a group name, then people can cling to that. If you’re just an individual, that’s a little trickier,” Flemons recalls. “For me, I had to figure out how I could create an idea that was going to be bigger than just myself as an individual.”

The concept Flemons arrived at was that of “The American Songster.” Songster, as Flemons describes it, is a term that predates genre labels like “blues” and “country,” which are often used as categories within American roots music. The word refers to performers who played music of different varieties that eventually developed into the forms that exist today.

After leaving Carolina Chocolate Drops, Flemons released a solo album, 2014’s Prospect Hill, and duo albums on which he collaborated with Piedmont blues guitarist Boo Hanks and English folk musician Martin Simpson.

But Flemons’ latest recording, Black Cowboys, released late last month, takes his musical acumen and historical pursuits to a new level, exploring the experiences of African-Americans on the western frontier.

“I tried to make it ‘Black Cowboy 101,’” Flemons says, only somewhat jokingly.

music

Darrow Montgomery

Black cowBoys shines a light on a component of African-American history that is neither taught in schools nor part of the imagery associated with America’s western expansion. Flemons became interested in the subject around 2009. He came across a copy of The Negro Cowboys, a 1983 book

by Philip Durham and Everett L. Jones, while visiting family in his native Arizona. He also started listening to the album Black Texicans: Balladeers & Songsters around the same time, which is a collection of field recordings by famed American ethnomusicologists John and Alan Lomax.

Flemons’ research into black cowboy culture gave him insights into many of the major social developments that took place during the 19th and early 20th centuries. Once he had a basic understanding of the role black cowboys played, he started looking into the black townships that existed out west, the

history of religious movements in the region, and the legal and social divisions that existed up to, and after, the Civil War. Cumulatively, the research he conducted for the album establishes a narrative that runs contrary to the popular image of cowboys, generally, and frontier African-Americans, in particular.

Popular images of the latter are limited to Cleavon Little’s character in Blazing Saddles and a few other examples, most of them less than positive.

Flemons’ work also shows that the idea of the United States being home to a multi-ethnic and multi-faceted culture has faced resistance since its inception.

As Flemons puts it, “This album is a great introduction, so for anybody who’s never heard of this stuff, they can hear it, they can read about it, and they can say, ‘OK, this is what this is about.’”

The songs and history that Flemons discovered mirrored his own family’s history. His second great-grandfather was a slave and his grandfather took the family out west, eventually settling in Flagstaff, Arizona. Flemons himself was born and raised in the Phoenix area with an African-American father and a Latina mother.

He started playing guitar in junior high school and was drawn to music from the folk revival of the 1950s and ’60s.

After earning a degree in English, he stopped playing music and got into the slam poetry scene, performing at two national poetry slams.

Flemons returned to music after becoming interested in the music of the ’20s and ’30s. He left Arizona and settled in North Carolina after attending the first Black Banjo Gathering in 2005. Among the musicians he encountered at this event were Joe Thompson, an elder of the African-American string band tradition, as well as Rhiannon Giddens and the other artists that would go on to form the Carolina Chocolate Drops.

In 2015, Flemons approached Smithsonian Folkways Recordings after developing the concept behind Black Cowboys. The record company traces its roots to 1948, when founder Moses Asch had the initial goal of making an encyclopedia of sounds. His focus later shifted to creating an anthology of sounds that would be relevant to people in the United States across generations.

The label became quite popular—home to folk music’s “holy washingtoncitypaper.com april 20, 2018 25

CPArts trinity”— Woody Guthrie, Lead Belly, and Pete Seeger— along with Ella Jenkins, the label’s best-selling artist. The Smithsonian Institution acquired the original Folkways collection in 1987, after Asch’s passing, and thus Smithsonian Folkways was born.

“We’ve sort of become the national museum of sound,” says Huib Schippers, Director and Curator of Smithsonian Folkways. “We’ve got over 50,000 tracks available.”

Schippers, who came to Smithsonian Folkways in 2016 after creating and directing a pioneering music research center at Griffith University in Brisbane, Australia, has a history of working with organizations that are trying to navigate periods of change. For Folkways, the main challenges are the collapse of the traditional recording industry and restoring the label to the relevance it had 50 or 60 years ago.

While he hopes that signing younger artists like Flemons will help address the second problem, the economic challenge is more pressing. One way to address it is by working with other entities that have their own funding streams.

Folkways is working on collections for the Latino and Asian Pacific American centers at the Smithsonian, but its most visible collaborator is the National Museum of African American History And Culture.

Flemons, who performed at the NMAAHC’s opening ceremonies in 2016, is releasing his album as part of the African American Legacy Series that was created in 2007, long before the NMAAHC had a physical space. The collection includes reissues and compilations drawn from the Folkways catalog,

unreleased archival material, and new recordings by contemporary artists. Releases include readings of Frederick Douglass’ oratory and several projects that are still in the pipeline, the most ambitious of which is the Smithsonian Anthology of Hip-Hop And Rap, a broad compilation that should be available for purchase by the end of the year.

For Dwan Reece, Curator of Music and Performing Arts at the NMAAHC, Black Cowboys fits in perfectly with her goal of identifying and filling in gaps within the museum’s collection.

In particular, she is interested in how region and place have shaped various musical traditions.

“It gets back to what the museum is all about: telling the story of African-Americans from a variety of perspectives,” Reece says. “The museum is not just a building of exhibits; it’s an active, breathing entity.”

In addition to creating music for the Smithsonian, Flemons is going to curate an internship at the National Museum of American History for young folk musicians and folk scholars. All of this work led him to relocate to Silver Spring, where he and his wife recently celebrated the birth of their first child.

Both smithsonian FolkWays and the NMAAHC gave Flemons a wide berth when it came to developing Black Cowboys. He compiled 40 songs and he narrowed the list with help from people at the National Cowboy Poetry Gathering, a music and poetry festival that is in its 35th year. The 18 tracks were recorded over two sessions in 2016 and Flemons wrote the detailed liner notes with his wife and chose

the album’s imagery.

He had several goals in mind in choosing the material. First, Flemons wanted to select songs that are associated with black cowboys, and so he included “Home on the Range” and “Goodbye Old Paint.” He chose Gail Gardner’s “Tyin’ Knots in the Devil’s Tail” and “Little Joe the Wrangler” as examples of classic cowboy repertoire. “Steel Pony Blues” is a song Flemons wrote to describe how many African-American cowboys used their knowledge of the region to climb the social ladder by becoming Pullman porters on western rail lines.

Other original songs include “He’s a Lone Ranger,” which tells the story of Bass Reeves, an escaped slave who became the first African-American Deputy U.S. Marshal west of the Mississippi and is thought to be the factual basis for The Lone Ranger character. “Black Woman” opens the album and looks at the frontier through an African-American woman’s eyes.

Flemons will be taking deep dives into each of the tracks on the album on his American Songster Radio podcast, which he puts out with WUNC, a public radio station in North Carolina.

He hopes that all of this work generates a conversation that extends beyond the music itself.

“I’ve never tried to be a political act in [and] of itself,” he says, “but I try to at least present history and music that get people thinking about ‘what does all that mean?’”

CP Dom Flemons performs April 24th at The Hamilton, 600 14th St. NW. Sold out. (202) 769-0122. live.thehamiltondc.com.

5BEST PICTURE SPIRIT AWARD NOMINATIONS INCLUDING

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Brightest Young Things

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TheaTerCurtain Calls who’s pushing 40 and sweeping up popcorn for a living. But she’s never drawn anyone who’s as unpleasant to be trapped in a room with as Jenny and Elias (Anna Moon and Jonathan Feuer), the late-twenties or early-thirties couple whose excruciating slow-motion breakup after three years together gives John what meek emotional propulsion is has. You feel bad for both of them, and worse for the next person from whom either of them will extract an irreplaceable six to 36 months. He’s a drummer; she writes questions for a game show. Even their jobs are annoying.

To invest in these characters we must at least buy that they wanted to fuck each other at one time in their lives. I never believed that for one of the show’s 12,600 seconds. And after all that time invested—ours, not theirs— their story ends less with a climax than with a deflating punchline.

The fault isn’t all Baker’s. Moon has only

John

Long John, SiLver John

By Annie Baker Directed by Joe Calarco At Signature Theatre to April 29 If the world ever runs out of ellipses, we’ll likely have Annie Baker, the 37-year-old Pulitzer Prize winner and MacArthur Fellow, to thank. John, an obtuse and enervating emotional mystery set in the knicknack-knackered living room of a bed and breakfast outside Gettysburg, Pennsylvania, is the fifth of her plays to be staged locally. (Sixth, if we count her translation of Uncle Vanya.) This production, like her previous play The Flick, comes to the region in a brilliantly designed staging by Joe Calarco for Signature Theatre. And it gives you ample, nay generous, nay obsequious opportunity to notice, nay observe, nay apprehend just what a bravura feat of design it is. The leaders of John’s scenic, sonic, and lighting teams— Paige Hathaway, Kenny Neal, and Andrew Cissna, respectively—should take a bow.

Baker’s languid, silence-filled character studies are meant to challenge our throttled attention spans, and to remind us that the words we speak are notoriously unreliable vessels for what we mean. Because she once held a job in reality TV, it’s tempting to read her patient, humane plays as an attempt to right the cosmic scales for having been a collaborator in the 21st century’s cruelest and grossest art form. The first production of her Pulitzer-winning The Flick five years ago sparked a minor revolt among audiences, enough of whom complained about the play’s length and glacial pacing to prompt a letter from the artistic director of New York’s Playwrights Horizons

defending his decision to produce it.

Philistines, you sniff. These are the mouthbreathers and Tomatometer-readers who look at a Pollock or a Rothko and say “My kid could paint that,” surely.

But without resorting to the stopped-clock metaphor—not something we need worry about in John, as Nancy Robinette’s daffy innkeeper, Mertis, interrupts her other pulse-quickening household chores to wind her grandfather clock not once, but several times—I must acknowledge that even philistines are sometimes right. I’ve seen all of Baker’s plays save for last year’s The Antipodes, and John is the first time I’ve come away feeling the playwright has demanded more time than her material warrants.

At 210 minutes (including two intermissions), John adds a quarter-hour to The Flick’s already plus-sized footprint, and is approximately a quarter as rewarding. The Flick had laughs and revelations. It felt true to life. John is all bizarre confessions and blind alleys.

Baker has planted clues-or-are-they as to John’s animating idea everywhere. There’s a more than casual suggestion that this cozy, doll-filled bed and breakfast which, oh, by the way, was once a Civil War hospital with severed limbs piled up outside, is haunted. Mertis claims to have an ill husband living with her, though we never see any evidence the guy exists. Her blind friend Genevieve (Ilona Dulaski) visits sometimes, sitting alone for hours in the darkness of Mertis’ living room, empathizing with the dolls. (“To be a piece of plastic or glass and to be shaped into a human form and trapped!

With one expression on your face! Frozen!”)

But all Baker’s quizzical allusions feel in this case like a writer gone knock-kneed under the weight of her fame.

Baker has always lavished her attention on characters who are stunted somehow: the adult acting students of Circle Mirror Transformation; the stoned, underachieving dumpster divers of The Aliens; the guy in The Flick

28 april 20, 2018 washingtoncitypaper.com

Mississippis between her lines. (Stage directions for Baker’s The Aliens, which Studio Theatre staged in 2012, specify that a “pause” is at least three seconds, while a “silence” should be between five and 10. Maybe Baker shows don’t need directors so much as referees.) It’s telling that Feuer is much stronger performing with Robinette, who can encode a half-dozen emotions within the word “oh,” and with Dulaski, who’s having more fun than anybody, than in his scenes opposite Moon.

But like I said: The design work is sublime.

The illusion of a midwinter sunset splashing through the windows into Mertis’ crowded parlor, or of a car approaching outside in the middle, are all utterly convincing. The way the voices of the actors bounce around the house when they’re speaking offstage (while remaining fully audible) gives us the intimacy of eavesdropping. The uncanny likeness of lived experience arrives like an epiphany

Underground Railroad Game

a single stage credit listed in John’s program (for the Hollywood Fringe Festival), but one needn’t check their resumes to see that her three castmates are all substantially more experienced and at ease with Baker’s geologic rhythms. You can practically see her counting

in Baker’s better plays, which are among the best of the 21st century. It’s not me, John. It’s you.

—Chris Klimek 4200 Campbell Ave., Arlington. $40–$94.

(703) 820-9771. sigtheatre.org.

Station agentS Underground Railroad Game

By Jennifer Kidwell and Scott R. Sheppard with Lightning Rod Special Directed by Taibi Magar At Woolly Mammoth Theatre Company to April 29 UndergroUnd railroad game, a dazzlingly original and intelligent touring production written by the two actors who perform it, Jennifer Kidwell and Scott R. Sheppard, is set at Hannover Middle School near Gettysburg—and that’s where its commonality with John ends. It runs a svelte, allkiller no-filler 75 minutes, and it sends you out onto 7th Street NW inspired by the way

ago; it opened off-Broadway in September 2016. The title and premise come from a well-meaning but misguided teaching exercise Sheppard was subjected to as a fifth grader: His nearly all-white class was divided into groups of Union soldiers tasked with escorting slaves (represented by dolls) to freedom and Confederate soldiers, assigned to recapture them. His recollection of this bizarre lesson, along with a more recent experience he and Kidwell had listening to the discomfort with which a white guide struggled to talk about slavery on an Underground Railroadthemed historical tour, became the grist for this magnificent theatrical collage, which changes form as often as it changes scene.

Unusually for two-hander shows built to work in any environment, the show manages memorable stage pictures, as when Sheppard slips beneath Kidwell’s dress, which then becomes a pup tent.

Kidwell and Sheppard play the two teachers who’ve convened an assembly to announce the game. We’re their students. But in other scenes we’re privy to their off-theclock romance, which ranges from a sweet and disarming first date to a sex game that goes predictably, revealingly off the rails.

The historical power dynamic of white male lust for black women is one of the stickier taboos Kidwell and Sheppard gleefully drag into the light here. A more benign one is the relative scarcity of male nudity. I distinctly heard a woman somewhere in the house say “Oh, no” when Sheppard peeled his boxers off. But that’s far from the bravest thing he and Kidwell do. Let’s not discourage them.

—Chris Klimek 641 D St. NW. $20–$84. (202) 393-3939. woollymammoth.net.

the a train Two Trains Running

By August Wilson Directed by Juliette Carrillo At Arena Stage to May 6

theater can bypass the inefficiency and imprecision of dumb-dumb everyday speech.

Especially when it comes to the way liberals talk about race.

Underground Railroad Game first appeared in Philadelphia’s Fringe Festival three years

the dramas In August Wilson’s Pittsburgh Cycle, though set in specific decades throughout the 20th century, are not history plays, at least not in the Shakespearean sense. They are not weighed down with the recounting of specific events and focus instead on intimate moments in the lives of the characters. Wilson assumes that audiences know something about the AfricanAmerican experience and news of the era, always putting emotional breakthroughs ahead of drawn-out explanations.

Two Trains Running

This method of storytelling gives Wilson’s plays a timeless quality. Director Juliette Carrillo understands this intrinsically, which is why her Arena Stage production of Wilson’s Two Trains Running, a play about urban renewal set in 1969 and first performed in 1990, feels eerily relevant in 2018.

We meet the characters at a restaurant in Pittsburgh’s Hill District, the kind of place where you come for a cup of coffee and a bowl of beans and stick around for conversations about what is happening in the neighborhood and the world. Its proprietor, Memphis Lee, is facing off against the city, which wants to take his building through eminent domain and pay him less than he thinks the building is worth. His customers spend their days playing the numbers and consult with prophets and fortune tellers to solve their problems. They struggle to get by as they deal with unemployment, the problems facing returning citizens, and emotional trauma, and though they disagree about how the world should work and which civil rights leaders have the right ideas, it is clear that having their gatherings at the restaurant sustain them. The question of what will happen to them when the city demolishes the building and others like it hovers over the proceedings like a low fog.

Wilson, a Pittsburgh native, chronicles his city’s changes in his work, but the urban renewal issues that play out in Two Trains Running were not limited to the Steel City. In the late 1950s, huge swaths of Southwest D.C. were razed to make room for a highway and new apartment buildings mere blocks from where Arena Stage currently sits. In this setting, with this knowledge, Wilson’s words resonate deeply.

The nuanced performances of the cast give the play even more emotional heft. As

Memphis, Eugene Lee balances the man’s stubbornness and his drive to get what he is owed. That stubborn streak isolates him from his customers at times—he does not want to gamble or listen to them debate whether a recently deceased religious leader was truly a prophet—but Lee, with his measured vocal cadence and penetrating stare, makes sure that the audience understands why Memphis would feel this way. Nicole Lewis’ portrayal of Risa, the restaurant’s lone waitress who struggles to find some meaning in her life, feels familiar. Her battles with her own unhappiness and her relationships with the customers are as relatable to contemporary audiences as they would have been 50 years ago.

In Arena’s round Fichandler Stage, the audience gets drawn into the characters’ conversations. Scenic designer Misha Kachman has created a hyper-realistic set, down to the broken jukebox that Risa just wants to dance to. The restaurant looks worn out, as though it already knows its fate, but the lighting still makes the space feel warm. This impromptu community center will prevail, even if the physical location changes.

When Viola Davis accepted her Academy Award for Fences, the film adaptation of another Wilson play, she praised the playwright who “exhumed and exalted ordinary people.” What makes Wilson’s characters so memorable is their ordinariness. They are regular people doing regular jobs and figuring out how to get by. As we watch their lives play out over the course of three hours, in a neighborhood not unlike the one brought to life on stage, we learn from them and wind up the better for it.

—Caroline Jones 1101 6th St. SW. $56–$111. (202) 554-9066. arenastage.org.

washingtoncitypaper.com april 20, 2018 29

FilmShort SubjectS

EndlEss BummEr A CUT, A SHAVE, A SCHEME, A PRANK… ALL IN A DAY’S WORK!

The Endless

Photo by Cory Weaver

Directed by Aaron Moorhead and Justin Benson The endless opens with a Lovecraft quote teasing us for our “fear of the unknown.” It’s a clever prelude for a bumbling, overly ambitious sci-fi film that keeps its viewers in the dark for so long, leaving many of its questions unanswered and its leads critically opaque. If, at any point, you find yourself nit-picking its bizarre plot twists or character choices, don’t worry—that’s just your fear of the unknown talking. By the end, you’ll wish the whole film had remained unknown.

The intriguing set-up deserves better follow-through. Justin and Aaron (Justin Benson and Aaron Moorhead, who also directed) are twenty-something brothers who escaped from a “UFO death cult” a decade

The camp seems to be home to an endless amount of bizarre phenomena. Some of it can be explained away, like the community game called only “the challenge” in which each resident tugs at a rope that seems to emanate from the sky; Justin takes pleasure in debunking their bullshit, snickering that the rope is actually held by a big strong guy on a ladder. But what about the woman who is staying at the camp, but not a full-fledged member, while looking for her missing husband? What about the lake monster? Or the hut where a gaunt, miserable man seems caught in a time loop, killing himself every five seconds?

Credit where credit’s due: There are some creative ideas in The Endless and images that have haunted my imagination far longer than I expected them to. But they are overshadowed by the more amateurish elements, namely the screenplay, which touches on some deep themes—brotherhood and the downsides of free will—but becomes so enamored of its intellect that it loses its emotional drive. Similarly, the dialogue is pain-

The Barber of Seville

April 28–May 19 | Opera House Music by Gioachino Rossini Libretto by Cesare Sterbini In Italian with Projected English Titles WNO Production

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by Jacqueline Badger Mars.

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WNO’s Presenting Sponsor

Generous support for WNO Italian Opera is provided

by Daniel and Gayle D’Aniello.

earlier. After struggling to find purpose in the real world, Aaron convinces Justin to go back to the commune, known as Camp Arcadia, for the day to catch up with their old friends and remember what it was like to feel part of something.

There are some wrinkles. Aaron, the younger brother, doesn’t remember any of the more troubling details—like, say, the ritual castration that all men at the commune are said to endure—and is partially convinced they would be better off there. Justin just wants to support his brother. The film strikes a grounded tone during these early scenes. When the brothers arrive at the Camp only to find a creepy smiling dude at the front gate, Justin mutters, “Nothing cult-y about that.”

But the human element gets cast aside as the film leans hard into its supernatural gimmickry and dorm-room philosophy.

fully stilted. “We never anticipate the ways we’ll isolate ourselves from the ones we care about,” says one character to a guy he literally just met. Literally nobody speaks this way, although I’m sure it looked great on the page.

Making things worse is the acting, particularly that of Benson and Moorhead. In the early scenes, their characters are justifiably light on personality—spending your formative years in a cult might do that to a person—but when the paranormal phenomena start occurring, their understated reactions reveal nothing, and all we are left with is a pair of boring white dudes camping out in Southern California. It’s not really endless.

It only feels that way.

—Noah Gittell The Endless opens Friday at the Angelika PopUp at Union Market.

booksSpeedreadS

Reunion LuRe

Kennedy Center debut

Andersson Dance

The Gunners

By Rebecca Kauffman Counterpoint Press

in collaboration with Kennedy Center debut

Scottish Ensemble Artistic Director, Jonathan Morton

like a prayer that was too sad and too deeply felt to be spoken aloud.”

Later Alice, who collects earthworms for live bait, describes her hobby to Mikey: “You need a fair bit of soil so they don’t kill themselves gettin’ all wrapped up in each other.

They’d do that, you know, all that meat and muscle. Clamping together till they squeeze the life right out of each other.” The death of a beloved pet and a slaughterhouse scene which somehow works brilliantly lend a universality to Kauffman’s characters who text, check Facebook, and answer Craigslist ads.

Through their words Alice comes across as grating, Mikey seems frequently pathetic, and Sam is often sanctimonious, yet Kauffman wields a firm grasp on her characters, ensuring the reader loves them as she does without passing any direct judgment. The contrast between Mikey, resigned to his fate and scared of his own shadow, and Alice, who grabs life by the horns (among other things), fills quiet scenes with compelling tension. The third-person limited voice emphasizes misunderstandings compounded over years of separation, and the resolution strikes a heartrending note on the seasons of life without undermining any of the novel’s heavier themes.

True, the Gunners aren’t a particularly happy lot: They tend to forgive rather than forget, they smart in disappointment when faced with each other’s compromises, and each feels complicit in Sally’s inscrutable suicide.

But their friendship outweighs happiness or lack thereof, making their every interaction poignant and memorable. Kauffman’s precision in tackling the nature of love and fatality constitutes a major accomplishment for a young writer, and The Gunners packs a serious emotional punch in its pragmatic brevity.

—Pete Tosiello Kauffman reads April 28 at 1 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free.

Goldberg Variations— ternary patterns for insomnia (Andersson /Bach, Sitkovetsky)

Johann Sebastian Bach’s sparkling masterpiece comes to stunning life through a whirlwind of movement and sound in this entrancing collaboration.

Photo by Hugh Carswell

Shenandoah Valley writer Rebecca Kauffman’s second novel, The Gunners, transports the reader to contemporary suburban Buffalo, New York, an Upstate of the Mind peopled by down-on-their-luck young adults.

But if it seems like a cautiously strategic placement for an evocation of Trump-era whites whose working-class interests don’t overlap with Confederate sympathy, this notion soon dissolves in Kauffman’s Great Lakes snowscapes, appropriately barren country for a reunion of childhood friends on the occasion of a suicide within their ranks.

A long-separated sextet reduced to five, the Gunners, so named for an abandoned house they adopted as a neighborhood hangout, reconvene for a funeral in Lackawanna a decade after their high school graduation. The narrative centers on Mikey, a solitary townie suffering from early-onset macular degeneration, and Alice, a bisexual divorcee whose domineering personality dictated the friends’ coalescence. Rounding out the roster are Lynn, a disfigured addict in recovery; Sam, whose sudden embrace of religion confounds his mates; Jimmy, a charismatic, successful businessman hampered by deeply buried secrets; and the late Sally, whose mysterious estrangement from the group propels the novel’s exposition.

Kauffman strikes immediate, crowd-pleasing gold with a flashback-laden plot that’s equal parts Stand By Me and The Big Chill. Her characters—male and female, straight and LGBTQ alike—are rendered with compassion and delicacy enlivened by the group setting. In coming-of-age scenes conjuring the romance and sadness of latchkey childhood, her spare, objective language never assumes a clinical tone.

With its ensemble cast and weighty, sentimental subject matter, The Gunners is a feat in economy. Character backgrounds are executed in a matter of sentences rather than chapters; narrative intrigue is succinct and enduring. With no small degree of difficulty, the drama itself is unspooled largely via dialogue. Circled around a warm fireplace in a lakeside cabin, the Gunners adopt the quick repartee of assembled comrades, but their discursive conversation reveals personal intricacies, boundaries, and antipathies dulled by the group dynamic.

The book’s consideration of mortality is underscored by redolent naturalist passages. After a harrowing phone call, Mikey opens his front door and stirs a flock of grackles in a nearby tree, leaving “a holy, yearning silence,

Artistic Director, Örjan Andersson

April 26–28 | Eisenhower Theater TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

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CrescendoInBlue “Arresting and distinctive… a riveting ride” —The Times (London)

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In Praise of Dan Roberts My February review of Bohemiana Vol. 1, the proper debut recording by the Bohemian Caverns Jazz Orchestra, developed into a review of the the Dan Roberts Show. Then again, so did the album. As I pointed out at the time, the pianist’s name was in the full title (Bohemiana: The Compositions and Arrangements of Dan Roberts, Vol. 1)—the only element of the BCJO’s collective career that calls out a specific member.

If anything, his role now seems to have been downplayed that first time out. Bohemiana Vol. 2, which drops this month in celebration of the 17-piece band’s eighth anniversary, is even more of a writer’s record than its prequel. One of the new disc’s eight tracks has no soloists at all. Another is a setting for vocalist Lena Seikaly; two more are solo features, but those, too, are at least as much about what Roberts puts around them.

None of this is a complaint: My God, let him fly. Roberts first came to my attention with the dazzlingly smart harmonies of his chart for Aimee Mann’s “Amateur,” which he did for Seikaly on her 2011 album Lovely Changes—and on which he added a gorgeous, sly, twinkling solo with cleverly placed neardissonances. I was late to the game: Roberts had by that time already made two records of his own.

Yoshimisongs in 2006, with Roberts’ U.S. Army Blues bandmate Larry Ferguson on drums and Baltimore’s Jeff Reed on bass, is a “reimagining” of The Flaming Lips’ 2002 rock album Yoshimi Battles the Pink Robots.

Through a combination of re-composing and re-arranging, Roberts makes Yoshimi borderline-unrecognizable (hence the name changes). Who could hear the swinging thrust of “Taking Lots of Vitamins” and find it workable to sing “Yoshimi, they don’t believe me/ But you won’t let those robots eat me?”

If Yoshimisongs was overt in its marriage of indie(ish) rock with post-bop jazz, 2009’s Can’t Not was hot fusion. Retaining Ferguson, it also adds guitarist John Lee and tenor saxophonist Matt Rippetoe in an eccentric mix of Stereolab-like motorik vamps, swirling electro-textures, and furious improvisation. Tunes like “One of Our Pastimes” and “Was Is Will Be” are insanely tuneful, play with glitch and rhythmic sleight-of-hand, but above all work with the concept of timbre as material to be arranged. The stuck-in-a-rut melody of “One of Our Pastimes” is less relevant than its voicing of Fender Rhodes in unison with tenor, or Lee’s switch between acoustic rhythm and distorted wah-wah electric guitar.

Since then, however, Roberts’s highest profile has been as pianist, arranger, and Master Sergeant in the U.S. Army Blues jazz band and Army pop ensemble Downrange (in case you wondered just how far he goes with this whole jazz-rock interchange), or in the BCJO. Undoubtedly his intention was not to steal the latter’s albums—and yet, and yet. Trumpeter/co-leader Joe Herrera’s solo on Vol. 2’s opening “Ave Maria” is an impeccably phrased, rhythmically ingenious jewel; it’s also 30 seconds of a 5:40 performance that’s more about the jubilant call-and-responses between reeds and brasses, as well as their elaborate internal latticework. “Link’s,” too, is a dual exercise, the altos of Marty Nau and Jason Hammers in harmony and in the lead.

When they solo, it’s over luxurious trombone backgrounds. “Two Bass Hit,” on the other hand, places the improvisers (tenorist Billy Wolfe, trombonist Steve Shaw, drummer Kevin McDonald) front and center, treating John Lewis’ melody with an energetic staccato that hurries it along to the solos, then elongates at the close only to cushion McDonald’s workout.

Of course the soloists and featured players live up to their spotlights. Seikaly, who fills out “Under a Blanket of Blue,” can’t help but be great. For “Lady Sings the Blues,” Roberts brings the vulnerability with his languorous brass backgrounds and longing sax fills; guitarist Josh Walker brings the blues, palpably and unmistakably (yet with considerable subtlety, via notes that bend just enough to be blue). Baritone saxophonist/co-leader Brad Linde turns his feature on “I’ll Never Stop Loving You” into an extended soliloquy, more tender and exquisite than Linde’s love of the Tristano school might suggest.

It’s the Christmas carol “Bring A Torch, Jeanette, Isabella,” though, that achieves perfection on both fronts. Roberts imbues ensemble statements and section dialogues with chords and a jingling-sleigh-bells cymbal gait, then puts the magic final touch in himself with an undulating piano line. That’s before Griffith Kazmierczak rejoins with a pungent, beautiful trumpet solo that leaps like a ballerina, in the process finding more pathos in the song than perhaps even Roberts had imagined.

Steal the album though he may, the BCJO is not his band; Roberts is more Sammy Nestico to Herrera and Linde’s joint Count Basie— and all indications are that he’s happy to be so. Still, the Bohemiana duology is a solid reminder that when you attend the band’s monthly residence at Milkboy ArtHouse, and hear Linde in his soft North Carolina accent say “This is an arrangement by Dan Roberts,” you’re in for something special.

—Michael J. West

The Anthem Washington, DC October 25 2018 nickcave.com

washingtoncitypaper.com april 20, 2018 33

34 april 20, 2018 washingtoncitypaper.com

CITYLIST

GURF MORLIX PRESENTS: A BLAZE FOLEY EXPERIENCE

Music 35 Books 43 Dance 43 Theater 43 Film 44

Music

TUESDAY, 5/15 $18/$20

CITY LIGHTS: FRIDAY

FRIDAY DJ NIgHTS

Union Stage 740 Water St. SW. (877) 987-6487. DJ Psycho Les. 11:30 p.m. $13–$20. unionstage.com.

ELECTRONIC

9:30 ClUb 815 V St. NW. (202) 265-0930. Lotus. 8 p.m. $25. 930.com. eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Gramatik. 9 p.m. $30-$35. echostage.com.

H

H

ten tigerS ParloUr 3813 Georgia Ave. NW. (202) 506-2080. Massimiliano Pagliara & Rebolledo. 10 p.m. $15–$20. tentigersdc.com.

THU, 4/19 RAY BONNEVILLE $17/$20

FuNK & R&B

FRI, 4/20 WOOD & WIRE $12/$15

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Average White Band. 7:30 p.m. $55. birchmere.com.

SAT, 4/21 DELTA SPUR SUN, 4/22 JASON EADY $13/$18

HIP-HOP

eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Gramatik. 9 p.m. $30–$35. echostage. com.

TUE, 4/24 MELIA WHITE, MARY BATIATTA SIOBHAN O’BRIEN

JAzz

THU, 4/26 ROCK-A-SONICS

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. McCoy Tyner Quartet. 8 p.m.; 10 p.m. $70–$80. bluesalley.com.

FRI, 4/27 SKRIBE TRIO SAT, 4/28 RANDY THOMPSON

VOCAL

SUN, 4/29 PATRICK SWEANY BAND W/ CALEB STINE $14/$18

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

VoicePlay. 8 p.m. $29.75–$49.75. thehamiltondc.com.

WORLD

Dar ConStitUtion hall 1776 D St. NW. (202) 6284780. Pritam. 8 p.m. $39–$159. dar.org.

THU, 5/3

CHRIS LUQUETTE BAND (OF FRANKS SULLIVAN & DIRTY KITCHEN)

SATuRDAY

FRI, 5/4

JUMPIN JUPITER + THE DELARCOS

Union Stage 740 Water St. SW. (877) 987-6487. The Nighthawks. 7 p.m. $20. unionstage.com.

SUN, 5/6

ANDREW LEAHEY + THE HOMESTEAD

TUE, 5/8

CHISTY HAYS

BLuES

DJ NIgHTS

Union Stage 740 Water St. SW. (877) 987-6487. DJ Life and DJ Cuzzin B. 10 p.m. $10–$20. unionstage. com.

WED, 5/9 ADAM CAROLL $10/$12

ELECTRONIC

9:30 ClUb 815 V St. NW. (202) 265-0930. Lotus. 8 p.m. $25. 930.com. eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Slushii. 9 p.m. $25–$30. echostage.com.

U Street mUSiC hall 1115 U St. NW. (202) 588-1889.

Baths. 10 p.m. $18. ustreetmusichall.com.

FuNK & R&B

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Average White Band. 7:30 p.m. $55. birchmere.com.

JAzz

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Ravi Coltrane Quartet. 8 p.m.; 10 p.m. $35–$40. bluesalley.com.

ROCK

the anthem 901 Wharf St. SW. (202) 888-0020. The Decemberists. 8 p.m. $45–$199. theanthemdc.com.

State theatre 220 N. Washington St., Falls Church.

(703) 237-0300. Buckethead. 9 p.m. $25–$28. thestatetheatre.com.

SPLIT THIS ROCK POETRY FESTIVAL

THU, 5/10 CHRISTIAN LOPEZ W/ PIERCE EDENS $12/$15 FRI, 5/11 HUMAN COUNTRY JUKEBOX

If you’re looking for some clarity in the chaos, turn to the poets. About 700 of them are in D.C. for the Split This Rock Poetry Festival: Poems of Provocation & Witness 2018, and they aim to use words to cut through the slop of the day and arrive at truth, exposing the cores of injustices and writing the songs of resistance. This biennial poetry festival takes over the weekend, this Friday allowing phenomenal poets—poet-activists, to be specific—Elizabeth Acevedo (pictured), Sherwin Bitsui, Kwame Dawes, and Solmaz Sharif to speak their works. Then on Saturday it continues with a reading and book signing from Ilya Kaminsky, Sonia Sanchez, and Paul Tran. Split This Rock is more than a festival. It’s a call for poets to spur social change, so it follows that among the many engaging events are a panel titled “Kevlar Hearts: Poetic Strategies for Engaging Police Violence,” a workshop called “Swamps + Sweetgums: Poetics of Marronage,” and a program described as “Robots Speak Back!: Asian American Speculative Poetry Reading.” The festival runs April 19 to April 21 at various venues. Prices vary. (202) 787-5210. splitthisrock.org.

—Alexa Mills

SAT, 5/12 THE 19TH STREET SAT, 5/12 DOUG STRAHAN + THE GOOD NEIGHBORS TUE, 5/15 GURF MORLIX’S PRESENTS A BLAZE FOLEY EXPERIENCE

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

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

washingtoncitypaper.com april 20, 2018 35

CITY LIGHTS: SATuRDAY

SUMMER

TICKETS ON SALE NOW!

FITZ AND THE TANTRUMS X AMBASSADORS

HALSEY

JESSIE REYEZ

MIKKY EKKO

HOPELESS FOUNTAIN KINGDOM

JUN 7

JUL 15

QUEEN LATIFAH COMMON

GAVIN DEGRAW PHILLIP PHILLIPS

JUL 20

LIVE FROM HERE

WITH CHRIS THILE FORMERLY A PRAIRIE HOME COMPANION MAY 26

JOHN PRINE MARGO PRICE JUN 1

JAKE OWEN

WITH CHRIS JANSON JUN 3

MOTOWN THE MUSICAL JUN 26-28

JASON ISBELL AND THE 400 UNIT

EARTH OPTIMISM DAY

Good ol’ Mother Earth is in rough shape these days. Hurricanes here, schizoid weather patterns there, polar ice melting like room-temperature butter. While President Trump might think that global warming is “an expensive hoax,” the grim reality, according to all reputable scientists, is that unchecked anthropogenic climate change will soon wreak such havoc on the planet as to make us yearn for the era of 90-degree April days. But don’t reach for the cyanide bottle just yet—or, at least, not before going to Earth Optimism Day at the National Zoo. From 10 a.m. to 2 p.m., the zoo will host a variety of family-friendly exhibits and presentations meant to celebrate Earth Day in the most positive way possible. At 11 a.m., NPR’s Mindy Thomas will host an “optimistic” discussion with zookeepers and Smithsonian scientists. Throughout the day, experts stationed around the zoo will present on their work with habitats such as coral reefs and the South American rainforests, recount some recent conservation victories, and do their best to convince us that all is not lost in the battle to save the planet and its inhabitants. Here’s hoping they’re correct! The event begins at 10 a.m. at the National Zoo, 3001 Connecticut Ave. NW. Free.

(202) 633-4888. nationalzoo.si.edu.

—Justin Peters

AUG 31

HANSON STRING THEORY

NATIONAL SYMPHONY ORCHESTRA AUG 4

TROMBONE SHORTY, GALACTIC, PRESERVATION HALL, AND MORE! AUG 17

THE REVIVALISTS ZZ WARD AUG 19

ALANIS MORISSETTE SEP 6

HISS GOLDEN MESSENGER JUL 24

SuNDAY

ROCK

KenneDy Center millenniUm Stage 2700 F St. NW. (202) 467-4600. Annelies. 6 p.m. Free. kennedy-center.org.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brian Culbertson Colors of Love Tour 2018. 7:30 p.m. $55. birchmere.com.

FOLK

WORLD

CLASSICAL

9:30 ClUb 815 V St. NW. (202) 265-0930. The Weepies. 7 p.m. $35. 930.com.

JAzz

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kenny Lattimore. 7:30 p.m. $45. birchmere.com. blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Ravi Coltrane Quartet. 8 p.m.; 10 p.m. $35–$40. bluesalley.com.

KenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. Washington Performing Arts presents Chris Botti. 7 p.m. $45–$110. kennedy-center. org.

ROCK

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

Alan Doyle. 7:30 p.m. $25–$45. thehamiltondc.com.

MONDAY HIP-HOP

U Street mUSiC hall 1115 U St. NW. (202) 588-1889.

Yung Gravy. 8 p.m. $20. ustreetmusichall.com.

Union Stage 740 Water St. SW. (877) 987-6487. Roy Wood$. 8 p.m. $22–$125. unionstage.com.

36 april 20, 2018 washingtoncitypaper.com

9:30 ClUb 815 V St. NW. (202) 265-0930. Stars. 7 p.m. $26. 930.com.

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Joao Fenix. 8 p.m.; 10 p.m. $22. bluesalley.com.

KenneDy Center millenniUm Stage 2700 F St. NW. (202) 467-4600. Las Áñez. 6 p.m. Free. kennedy-center.org.

TuESDAY COuNTRY

Union Stage 740 Water St. SW. (877) 987-6487. Lindi Ortega Trio. 7:30 p.m. $20. unionstage.com.

ROCK

9:30 ClUb 815 V St. NW. (202) 265-0930. Steven Wilson. 7 p.m. $40. 930.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brian Culbertson Colors of Love Tour 2018. 7:30 p.m. $55. birchmere.com.

WORLD

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rose Moraes. 8 p.m.; 10 p.m. $22. bluesalley. com.

KenneDy Center millenniUm Stage 2700 F St. NW. (202) 467-4600. Sidi Touré. 6 p.m. Free. kennedy-center.org.

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

The National

w/ Cat Power & Phoebe Bridgers .. FRI SEPTEMBER 28

On Sale Thursday, April 19 at 10am

!

FEST M3 ROCK FESTIVAL 2018 METAL

THIS WEEK’S SHOWS

ALL GOOD PRESENTS

Lotus (F 4/20 - w/ Staycation) ..................................................... F APR 20 & Sa 21 The Weepies Hideaway 10 Year Anniv. Tour w/ Curtis Eller’s American Circus ................................................................... Su 22

Stars w/ Dan Mangan ...................................................................................... M 23 The Cadillac Three w/ Sam Grow .............................................................. W 25 APRIL

MAY (cont.)

Unknown Mortal Orchestra w/ Makeness ................................F 27 Echosmith w/ The Score & Jena Rose ..........Su 29 Kate Nash w/ Miya Folick .........M 30

Japanese Breakfast w/ LVL Up & Radiator Hospital ....W 30

MAY

Dirty Projectors Early Show! 6pm Doors .......................F 1 Real Friends?: Beyoncé, Jay-Z, Kanye West,

Sango w/ Kaelin Ellis Early Show! 6pm Doors .....................Tu 1 U STREET MUSIC HALL PRESENTS

Carpenter Brut w/ Gost Late Show! 10pm Doors ....................Tu 1 ALL GOOD PRESENTS

TAUK w/ Of Tomorrow & Deaf Scene ......F 4 Ani DiFranco w/ Gracie and Rachel ..................Sa 5 Bahamas w/ Soul Brother Stef ..Su 6 Panda Bear w/ Geologist ...........M 7 Marian Hill w/ Michl ..................W 9 Wye Oak w/ Palm .......................F 11 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

ALL GOOD PRESENTS

Trampled By Turtles w/ Hiss Golden Messenger .........Su 13 Jukebox the Ghost w/ The Greeting Committee .......Th 17 Andrew W.K. w/ Moluba ........Su 20 Tune-Yards w/ My Brightest Diamond ............M 21 ALL GOOD PRESENTS

Rising Appalachia .................F 25 Lissie w/ Van William ...............Sa 26

U STREET MUSIC HALL PRESENTS

Flight Facilities ....................Tu 31 JUNE

Rihanna, and Drake Dance Night with DJ Dredd and Video Mix

by O’s Cool Late Show! 10pm Doors ..F 1

The Glitch Mob w/ Elohim .......Sa 2 Hop Along w/ Bat Fangs & Bad Moves ...........Tu 5 Francis and the Lights ..........W 6 Parquet Courts w/ Goat Girl ...Th 7 White Ford Bronco:

RO

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Chromeo w/ Pomo ...................Tu 12 Ben Harper & Charlie Musselwhite ...........W 13 WPGC BIRTHDAY BASH FEATURING

E.U. with Sugar Bear ..........Th 14 American Aquarium w/ Cory Branan Early Show! 6pm Doors .....................F 15

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Yung Gravy Twin Shadow w/ Yuno ......................... F 27 Jeremy Loops w/ Ethan Tucker ......... Sa 28 w/ BBNO$ • Global Dan • Kamiyada 18+ to enter. ....................................M APR 23 Geographer w/ So Much Light .... Th MAY 10

Marshall Tucker Band • Blackberry Smoke and more! ..... MAY 6

Dierks Bentley w/ Brothers Osborne & LANCO ................................................. MAY 18 Jason Aldean w/ Luke Combs & Lauren A laina ................................................. MAY 24 CAPITAL JAZZ FEST FEATURING

Earth, Wind & Fire • Smokey Robinson • Anita Baker and more! ..JUNE 1-3

Florida Georgia Line .................................................................................... JUNE 7 Robert Plant & The Sensational Space Shifters w/ Sheryl Crow & Seth Lakeman ..................................................................... JUNE 12 Luke Bryan w/ Jon Pardi & Morgan Wallen ................................................. JUNE 14 Ray LaMontagne w/ Neko Case................................................................ JUNE 20 Paramore w/ Foster the People & Soccer Mommy .................................... JUNE 23 Sugarland w/ Brandy Clark & Clare Bowen ......................................................... JULY 14 Dispatch w/ Nahko and Medicine for the People & Raye Zaragoza ............. JULY 21 David Byrne w/ Benjamin Clementine ................................................................ JULY 28 VANS WARPED TOUR PRESENTED BY JOURNEYS FEAT.

3OH!3 • August Burns Red • Less Than Jake and more! ......................... JULY 29

Lady Antebellum & Darius Rucker w/ Russell Dickerson..........AUGUST 2 CDE PRESENTS SUMMER SPIRIT FESTIVAL FEATURING

Erykah Badu • Anderson .Paak & The Free Nationals • Nas • The Roots and more!..................................................................... AUGUST 4 & 5

Jason Mraz w/ Brett Dennen .....................................................................AUGUST 10 AUG 11 SOLD OUT!

Phish .................................................................................................................AUGUST 12 CAKE & Ben Folds w/ Tall Heights ........................................................AUGUST 18 Kenny Chesney w/ Old Dominion ............................................................AUGUST 22 • For full lineups and more info, visit merriweathermusic.com • 930.com

Pimlico Race Course • Baltimore, MD

MIXTAPE Pride Party

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

HERN

SOUT !

CK FEST

DC’s All-90s Band .......................F 8 w/ DJs Matt Bailer • Keenan Orr • Tezrah ................Sa 9

Queensryche • Kix • Tom Keifer • Ace Frehley and more! .. MAY 4 & 5

M3 SOUTHERN ROCK CLASSIC FEATURING

PREAKNESS BUDWEISER INFIELDFEST FEATURING

Post Malone • 21 Savage • Odesza • Frank Walker and more! . SAT MAY 19 Preakness.com

Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED!

MADISON HOUSE PRESENTS

KAMASI WASHINGTON

................................. SAT NOVEMBER 10

On Sale Friday, April 20 at 10am

Calexico w/ Ryley Walker ............APR 27 Gomez: Bring It On 20th Anniversary Tour ....JUNE 9 Robyn Hitchcock Eels ..............................................JUNE 11 and His L.A. Squires w/ Tristen .......................................APR 28 Yann Tiersen ..........................JUNE 17 New date! All 12/5 tickets will be honored.

Radiotopia Live ....................... MAY 9 Animal Collective Jessie Ware Performing Sung Tongs w/ Albin Lee Meldau ..........................MAY 11 w/ Laraaji ..................................... JULY 21 The Kills w/ Dream Wife .............MAY 14 AN EVENING WITH The Tallest Man On Earth . NOV 9 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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

9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR!

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

930.com washingtoncitypaper.com april 20, 2018 37

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

1350 OKIE ST NE, WASHINGTON D.C.

CITYWINERY.COM/WASHINGTONDC

UPCOMING SHOWS! 4/26

RAMI KLEINSTEIN

4/29-30 SUZANNE VEGA 5/2

BILLY SQUIER & G.E. SMITH

5/4

BOB SCHNEIDER (FULL BAND)

5/5

PATTY SMYTH & SCANDAL

5/8

GRAHAM PARKER

(WITH JAMES MADDOCK)

5/10

JUICY SCOOP PODCAST WITH HEATHER MCDONALD LIVE RECORDING

5/11

HEATHER MCDONALD STAND-UP

5/12

SANDRA BERNHARD'S “SANDEMONIUM"

5/16

LAITH AL-SAADI

5/18-19 COWBOY MOUTH

(WITH FRED LEBLANC ACOUSTIC)

5/28

ROGER CREAGER

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

Tix @ Ticketmaster.com 800-745-3000

Apr 20

KENNY LATTIMORE 27 NAJEE 28 JANIS IAN 29 HERB ALPERT & LANI HALL May Carsie 3 MADELEINE PEYROUX Blanton 4&5 THE WHISPERS 6 MARCUS MILLER 10 UNDER THE STREETLAMP 22

11 2nd Annual Desperados/Wax Museum Reunion! feat.

6/2

THE THE BAND BAND

6 /7-14

DC JAZZ FESTIVAL

6/8

THE PATRICIA BARBER TRIO

6/10

THE BAD PLUS

6/12

BAYLOR PROJECT

12

6/13

HOMAGE TO A MASTER: KETER BETTS FEATURING BEN WILLIAMS AND SPECIAL GUESTS

13

6/15

GEOFF TATE’S 30TH ANNIVERSARY OF OPERATION: MINDCRIME

6/16

PIERS FACCINI IN THE WINE GARDEN

6/16-18 JOAN ARMATRADING 6 /19

RED WANTING BLUE

6/20-21 JOAN ARMATRADING

6/23

GREG LASWELL

6/23

BILLY PRICE

6/29

AJ GHENT

6/30

MASTERS OF THE TELECASTER FEATURING JIM WEIDER , G.E. SMITH & TOM PRINCIPATO - TRIBUTE TO ROY BUCHANAN

7/8

AZTEC TWO-STEP

7/14

ANTHONY DAVID

7/17

SYLEENA JOHNSON

7/20

PAULA COLE

7/21

RAY WYLIE HUBBARD

7/25

THE QUEBE SISTERS

7/27-28 ERIC ROBERSON 8/4

HAYES CARLL SOLO

8/18

HOWIE DAY

8/22

SHOOTER JENNINGS ALBUM RELEASE SHOW

9/25

JUMP, LITTLE CHILDREN

11/27

AN EVENING WITH HOT TUNA ACOUSTIC

NRBQ, NORTHSTAR BAND with Ratso & Johnny Castle,

CHARLOTTESVILLE ALL-STARS with Mark Wenner

GARY TAYLOR RENAISSANCE “A Symphonic Journey”

BoDEANS 18&19 KINDRED THE FAMILY SOUL 20 KIEFER SUTHERLAND 23 RAUL MALO 24 MARC COHN 25 RAHSAAN PATTERSON 26 WALTER BEASLEY 27 10,000 MANIACS 17

Lily JUSTIN TOWNES EARLE Hiatt Jamie 30 THE TAJ MAHAL Trio McLean 31 BIG BAD VOODOO DADDY June 1 HERE COME THE MUMMIES 2 JASON D. WILLIAMS & THE NIGHTHAWKS 4&11 RY COODER & His Band

29

7

VINOFILE

CITY LIGHTS: SuNDAY

In the

!

AMADOU & MARIAM 8 KELLY WILLIS & CHRIS KNIGHT 9 CHARLES ROSS’

KINg DRuMMER

In this colorful 1967 musical, prolific Taiwanese actor Yun Ling plays a drummer who grew up playing rhythms on rusty oil barrels. His career gets a boost when he’s picked to replace the hotshot percussionist in a popular band, but those sequined tuxedos he wears can’t protect him from a rival who would just as soon beat him like a tom-tom. King Drummer is director Umetsugu Inoue’s remake of his own 1957 film, The Stormy Man, reportedly adapting his Japanese style to suit the dynamic pop aesthetic of Hong Kong’s legendary Shaw Brothers. As part of the Freer Gallery of Art’s homage to Inoue, “Japan’s Music Man,” it screens this violent melodrama set in a world of swinging ’60s nightclubs where drum solos can make or break a band. The film screens at 2 p.m. at the Freer Gallery of Art, Jefferson Drive and 12th Street SW. Free. (202) 633-1000. freersackler.si.edu.

—Pat Padua

WEDNESDAY COuNTRY

9:30 ClUb 815 V St. NW. (202) 265-0930. The Cadillac Three. 7 p.m. $20. 930.com. the hamilton 600 14th St. NW. (202) 787-1000.

Hayley Orrantia. 7:30 p.m. $15–$20. thehamiltondc.com.

38 april 20, 2018 washingtoncitypaper.com

ELECTRONIC U Street mUSiC hall 1115 U St. NW. (202) 588-1889.

MitiS. 9 p.m. $10–$18. ustreetmusichall.com.

HIP-HOP Union Stage 740 Water St. SW. (877) 987-6487. Roy Wood$. 8 p.m. $22–$125. unionstage.com.

washingtoncitypaper.com april 20, 2018 39

CITY LIGHTS: MONDAY AN EVENING WITH

STEEP

CANYON

APRIL

RANGERS

F 20

AN EVENING WITH

S 21

THURSDAY

APR 19

VOICEPLAY FRIDAY APR

LUTHER’S BIRTHDAY CELEBRATION FREDDY COLE W/ BETHESDA BLUES &

20

JAZZ YOUTH ORCHESTRA

SUN, APR 22

FUNDRAISER

ALAN DOYLE W/ FORTUNATE ONES TUE, APR 24

SU 22 FREDDY COLE 2PM

JUSTICEAID

SU 22 KIM JORDAN’S “TRIBUTE

A BENEFIT FOR CIVIL RIGHTS CORPS AND ESSIE JUSTICE GROUP

FEAT. CECILE McLORIN SALVANT, PAULA COLE & DOM FLEMONS,

TO GIL SCOTT HERON” A

WED, APR 25

MUSICAL EXPOSÉ

MARSHALL CRENSHAW, AND KANDACE SPRINGS

HAYLEY ORRANTIA

W/ BRENNLEY BROWN

W 25 GREG COOPER’S TRIBUTE

THURS, APR 26

ROBERTO FONSECA

TO SOUL LEGENDS WITH

SAT, APR 28

MOUSEY THOMPSON

DWEEZIL ZAPPA THE CHOICE CUTS TOUR FRI, MAY 4

AN EVENING WITH

WHITE FORD BRONCO

TH 26 MIKE PHILLIPS F 27

FT. LIN ROUNDTREE

SAT, MAY 5

THE CALIFORNIA HONEYDROPS W/ CHARLIE HUNTER

CONYA DOSS

SU 29 MELBA MOORE

SUN, MAY 6

GOGO PENGUIN

JUST ANNOUNCED

WED, MAY 9

ROBBEN FORD

THU, MAY 3

AND SRL

FRI, MAY 11

THE BUMPER JACKSONS

JODY WATLEY

W/ ELENA & LOS FULANOS

SUN, MAY 6

MILLIE JACKSON

SAT, MAY 12

SAT, MAY 12

STOKELY OF MINT

NEWMYER FLYER PRESENTS

THE BEST OF JANIS JOPLIN & JIMI HENDRIX SUN, MAY 13

CONDITION THU, MAY 17 EDDIE LEVERT

10am, 12:30pm, 3pm

MOTHER’S DAY GOSPEL BRUNCH FEATURING

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

THE HOWARD UNIVERSITY GOSPEL CHOIR

(240) 330-4500 www. BethesdaBluesJazz.com

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

THEHAMILTONDC.COM 40 april 20, 2018 washingtoncitypaper.com

ROY WOOD$

“People waste their energy by speaking,” said Roy Wood$ in a recent interview with Clash Magazine. “They don’t know how to listen. But when it comes to music, they shut the fuck up.” Such is the premise of Wood$’ debut album, Say Less, released in late 2017 under Drake’s OVO Sound label. Wood$ hails from Brampton, Ontario, and proudly embraces his Guyanese heritage to add an Afro-Caribbean perspective to a sometimes sleepy R&B landscape. Say Less presents far less of the moody, sultry introspection heard on his previous EPs. Instead, it’s full of feel good riddims, making it way easier to dance a lot more and say a lot less. But the real beauty of his artistry is the harmonious way he can create a breezy, relaxed vibe in any setting—whether that be in the bedroom or in the club. Roy Wood$ performs at 8 p.m. at Union Stage, 740 Water St. SW. $22– $125. (877) 987-6487. unionstage.com.

—Casey Embert

JAzz

CLASSICAL

ROCK

FuNK & R&B

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Darden Purcell & Mason Jazz. 8 p.m.; 10 p.m. $22. bluesalley.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brian Culbertson Colors of Love Tour 2018. 7:30 p.m. $55. birchmere.com.

WORLD

manSion at Strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Chao Tian. 7:30 p.m. $17. strathmore.org.

KenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. Los Angeles Philharmonic. 8 p.m. $50–$250. kennedy-center.org.

KenneDy Center terraCe theater 2700 F St. NW. (202) 467-4600. Meshell Ndegeocello. 7 p.m.; 9 p.m. $55. kennedy-center.org.

HIP-HOP

Fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Todrick Hall American.

7:30 p.m. $25. fillmoresilverspring.com.

THuRSDAY

ROCK

Union Stage 740 Water St. SW. (877) 987-6487.

Southern Avenue. 8 p.m. $15–$25. unionstage.com.

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

George Ezra. 8 p.m. $35. thelincolndc.com.

BLuES

9:30 ClUb 815 V St. NW. (202) 265-0930. Andrew McMahon & Friends. 6:30 p.m. $40.50. 930.com.

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SAM KASS

Want to bring a little piece of the Obama-era White House to your kitchen? Unfortunately, Sam Kass, the handsome former chef and senior nutrition policy advisor to the Obamas, will not be coming to your home to cook for you. Only in your dreams. But you can make a bit of that dream a reality with his new cookbook Eat a Little Better: Great Flavor, Good Health, Better World. He’ll be discussing the book in a conversation with Washington Post food editor Joe Yonan. No doubt it’ll be a wide-ranging chat about his time as chef to the Obamas, his co-creation of the impressive White House vegetable garden, and his take on nutrition in our culture. Kass hopes to bring some of his expertise and knowledge to home cooks, too, helping them to prepare nutritious meals that don’t skimp on flavor or take an entire presidential term to execute. There will be a signing and a Q&A, so don’t forget to ask him for gardening tips, his take on dieting fads, and what dish Beyoncé liked best when she dined with the Obamas. Sam Kass speaks at 7 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $17–$45. (202) 408-3100. sixthandi.org.

—Diana Metzger

42 april 20, 2018 washingtoncitypaper.com

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

Hawthorne Heights. 8 p.m. $20. rockandrollhoteldc. com.

SongbyrD mUSiC hoUSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Land of Talk. 8 p.m. $18. songbyrddc.com.

WORLD

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

Books

anDrea Pitzer The author of One Long Night: A Global History of Concentration Camps talks about the detainees who strove to survive and found ways to defy their Nazi captors. Arlington Central Library.

1015 N. Quincy St., Arlington. April 22. 3 p.m. Free.

(703) 228-5990.

Cam SimPSon Simpson, a Bloomberg correspondent, chats with CNN’s Jeff Zeleny about The Girl From Kathmandu, his book about the shocking story of the massacre of a group of Nepalese men working for the U.S. as defense contractors. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. April 23. 6:30 p.m. Free. (202) 387-1400. ngozi oKonjo-iweala Nigeria’s first female finance minister talks about her book, Fighting Corruption Is Dangerous: The Story Behind the Headlines, a personal account of her own fight against the corruption that drains her country of resources and deprives the poor of crucial services. As she and her family became targets after running an anti-corrup-

tion campaign—her mother kidnapped by her enemies—she refused to stop or resign. Now, despite the risks, she tells her story. Politics & Prose at The Wharf.

70 District Square SW. April 24. 7 p.m. Free. (202) 4883867.

Sam KaSS This former chef to the Obamas and senior nutrition policy advisor in the Obama administration discusses Eat a Little Better: Great Flavor, Good Health, Better World, his new book that outlines how to improve your diet and support the environment. Sixth & I Historic Synagogue. 600 I St. NW. April 24. 7 p.m. $17–$45. (202) 408-3100.

Dance

1 mile raDiUS ProjeCt Through dance, film, and projections, Orange Grove Dance investigates the uniquely traversed spaces of the community within a one-mile radius of Joe’s Movement Emporium in Mount Rainier, magnifying the intimate nooks of seemingly familiar areas. Joe’s Movement Emporium.

3309 Bunker Hill Road, Mount Rainier. April 20. 7 p.m. $5–$25. (301) 699-1819. joesmovement.org. abaDa CaPoeira This show traverses the rich history of Brazilian culture through movement and music inspired by the Amazon rainforest from Abada Capoeira D.C. The organization is marking its 10th anniversary of sharing Afro-Brazilian arts. Jack Guidone Theater. 5207 Wisconsin Ave. NW. April 22. 7 p.m. $13–$20. (202) 520-3692. joyofmotion.org. borDer Northern Virginia dance company Jane Franklin Dance presents a performance that examines psychological and physical barriers through

visual art and movement. Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. April 21. 7:30 p.m. $20–$30. (703) 228-1850. arlingtonarts.org. ternary PatternS For inSomnia Stockholmbased dance company Andersson Dance and Glasgow-based string orchestra Scottish Ensemble join onstage in a series of collaborative performances in a whirlwind of movement and sound. Kennedy Center Eisenhower Theater. 2700 F St. NW. April 26. 8 p.m. $29–$89. (202) 467-4600. kennedy-center.org.

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the CaUCaSian ChalK CirCle From playwright Bertolt Brechtin and with an English translation by Alistair Beaton, The Caucasian Chalk Circle presents the story of a young servant girl named Grusha who is caught in a social revolution. Soon, she must risk everything to save an abandoned baby. Constellation Theatre at Source. 1835 14th St. NW. To May 13. $25–$55. (202) 204-7741. constellationtheatre.org. the CrUCible This Eleanor Holdridge-directed adaptation of Arthur Miller’s classic play about the Salem witch trials features Chris Genebach from Carousel starring as John Proctor. Coming to the Olney stage for the first time, this tale focusing on an unseeable evil tearing a colonist town apart aims to speak truth to power much like the 1953 original did. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To May 20. $49–$74. (301) 924-3400. olneytheatre.org.

Don jUan Taffety Punk presents Stephen Wadsworth’s translation and adaptation of the uncensored

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The Last Swiss Holocaust Survivors, a Hillyer Art Space traveling photography exhibition developed by Switzerland’s federal government, is as revealing about the country’s own actions as it is about the survivors pictured. The exhibition acknowledges that Switzerland, a neutral country in World War II, was not especially welcoming to Jewish refugees. Some were accepted long enough to regain their health, then told to move on; other Jewish Holocaust survivors ended up in Switzerland only years later, after fleeing communist crackdowns in Hungary and Czechoslovakia. Some are among the survivors pictured in massive, black-and-white close-ups that are impossible to look away from. Every wrinkle is a defiant statement: I’m still here. Also on view at Hillyer is REVEALED, a juried exhibition of self-portraiture in the age of the selfie, including notable works by Fithi Abraham, Mandy Cooper, Muriel Hasbun, and Mike Callaghan. And finally, not to be missed for locals is Truer Than True, a lighthearted romp through D.C. attorney Tom Olson’s gently absurdist flipbooks, shared for the first time since 1979. The exhibitions are on view to April 29 at Hillyer Art Space, 9 Hillyer Court NW. Free. (202) 338-0325. athillyer.org.

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script of Molière’s Don Juan, a Spanish legend layered with the conventions of French drama and filtered through a contemporary American lens. At the heart is Don Juan, a passionate free-thinker out of sync with contemporaries who submit to king and church. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To April 21. $15. (202) 261-6612. taffetypunk.com.

far-reaching fashion. Woolly Mammoth Theatre. 641

en el tiemPo De laS mariPoSaS (in the time oF the bUtterFlieS) Based on the novel by Julia Álvarez, playwright Caridad Svich adapts this account of the Mirabal sisters in the Dominican Republic. Using the code name “butterflies,” they lead the resistance against the dictatorial regime of General Rafael Trujillo—until their brutal murder. Presented in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To May 13. $25–$95. (202) 234-7174. galatheatre.org.

ett’s absurdist exploration of time in this play about

Fly by night This dark comedy rock-fable comes from playwrights Will Connolly, Michael Mitnick, and Kim Rosenstock. At the heart of it is a melancholy sandwich maker whose mundane existence becomes entwined with entrancing two sisters.

1st Stage. 1524 Spring Hill Road, McLean. To May 6. $15–$33. (703) 854-1856. 1ststagetysons.org. girlFrienD Todd Almond and Matthew Sweet’s vibrant coming-of-age musical duet makes its D.C. premiere. In 1993 small-town Nebraska, collegebound jock Mike and aimless Will find themselves drawn to each other. What follows is a rush of firsttime love, full of excitement, confusion and passion.

Signature Theatre. 4200 Campbell Ave., Arlington. To June 10. $40–$84. (703) 820-9771. sigtheatre.org.

D St. NW. To April 29. $20–$69. (202) 393-3939. woollymammoth.net. waiting For goDot Director Garry Hynes brings a fresh and funny take on playwright Samuel Becktwo characters waiting for the arrival of someone who never shows up. In Waiting for Godot, life is both vaudeville and tragedy, philosophy and confusion. Lansburgh Theatre. 450 7th St. NW. To May 20. $44–$118. (202) 547-1122. shakespearetheatre.org. the winter’S tale Aaron Posner directs this classic William Shakespeare play about jealousy, prophecy, and redemption in Sicilia and Bohemia. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To April 22. $35–$79. (202) 544-7077. folger.edu. the wiz This Tony-winning musical, famed for its soul-pop reimagining of the classic novel and movieThe Wizard of Oz, comes to Ford’s Theatre. Ford’s Theatre. 511 10th St. NW. To May 12. $27–$71. (202) 347-4833. fords.org.

john When a young Brooklyn couple Elias and Jenny escape on a getaway to a cozy bed-and-breakfast in Gettysburg, Pennsylvania, a ghost seems to haunt their troubled relationship. This hyperreal transfixing work from playwright Annie Baker makes its D.C. debut. Signature Theatre. 4200 Campbell Ave., Arlington. To April 29. $40–$80. (703) 820-9771. sigtheatre.org.

Film

roz anD ray Directed by Adam Immerwahr and written by Karen Hartman, Roz and Ray is a powerful, urgent, and gripping medical drama about a doctor at the onset of the 1980s AIDS crisis. The story centers on Dr. Roz Kagan, who offers a new miracle drug to save Ray Leon’s hemophiliac twins. Things aren’t always as they appear to be, though, and being on the cutting edge of medicine can lead to moral ambiguity and tough choices. Theater J. 1529 16th St. NW. To April 29. $24–$69. (202) 777-3210. theaterj.org.

and Sheila Vand. (See washingtoncitypaper.com for

Shear maDneSS A famed concert pianist who lives above the Shear Madness unisex hair salon dies in a scissor-stabbing murder. Set in modern day Georgetown, this interactive comedy whodunit lets its audience solve the crime. Kennedy Center Theater Lab. 2700 F St. NW. To June 10. $54. 202-467-4600. kennedy-center.org. titUS anDroniCUS Synetic Theater’s visionary founding artistic director Paata Tsikurishvili produces the 13th addition of the “Wordless Shakespeare” series, showcasing this revenge-driven tragedy about fiery passion, energy, and vengeance. Synetic Theater at Crystal City. 1800 South Bell St. , Arlington.

To May 27. $15–$35. (866) 811-4111. synetictheater.org. tranSlationS In Translations, languages and histories collide, kindling romance and inciting violence.

In 1833 Ireland, change comes to rural County Donegal when British army engineers arrive to map the country, draw new borders, and translate Irish-language place names into the King’s English. Studio Theatre. 1501 14th St. NW. To April 22. $20–$85. (202) 332-3300. studiotheatre.org. trUe weSt Two estranged brothers, well-educated Austin and con man Lee, reunite in their mother’s California kitchen. There, Austin is working on his screenplay. What follows is an explosive, darkly funny American tale of sibling rivalry, Hollywood producers, and stolen toasters. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To May 13. $15–$40. (443) 518-1500. repstage.org. two trainS rUnning August Wilson’s masterpiece about everyday lives makes its way to Arena Stage. At the heart of the story is Memphis Lee’s diner in Pittsburgh’s Hill District, confronted with a changing world during the Civil Rights Movement in 1969.

Arena Stage. 1101 6th St. SW. To April 29. $56–$91.

(202) 488-3300. arenastage.org.

UnDergroUnD railroaD game Two teachers get shockingly down and dirty with a lesson about race, sex, and power at Hanover Middle School in this unflinching Ars Nova production of the fourth wallbreaking play. Going round after round on the mat of America’s history, the teachers bare it all, in R-rated,

CITY LIGHTS: THuRSDAY

aarDvarK A therapist’s patient has increasingly violent hallucinations as she begins a romance with his brother. Starring Zachary Quinto, Jenny Slate, venue information) i Feel Pretty Amy Schumer stars as an insecure woman who gains confidence and the belief that she is the most beautiful woman in the world after falling and hitting her head. Co-starring Michelle Williams and Emily Ratajkowski. (See washingtoncitypaper. com for venue information) lean on Pete Charlie Plummer is a teenager who befriends a fading racehorse after getting a summer job with a horse trainer. Co-starring Travis Fimmel and Chloe Sevigny. (See washingtoncitypaper.com for venue information) ramPage A genetic experiment gone wrong transforms a gentle ape into a raging creature, leaving a scientist to try to find an antidote. Starring Dwayne Johnson, Jeffrey Dean Morgan, and Malin Akerman.

(See washingtoncitypaper.com for venue information) the riDer A young cowboy searches for new meaning after an injury leaves him unable to compete on the rodeo circuit. Starring Brady Jandreau, Tim Jandreau, and Lilly Jandreau. (See washingtoncitypaper. com for venue information) SUPer trooPerS 2 The Super Troopers must establish a Highway Patrol station in an area afflicted with border disputes. Starring Lynda Carter, Emmanuelle Chriqui, and Rob Lowe. (See washingtoncitypaper.com for venue information) trUth or Dare A friend group’s game of truth or dare becomes fatal when players begin to receive punishments for lying or refusing a dare. Starring Lucy Hale, Tyler Posey, and Violett Beane. (See washingtoncitypaper.com for venue information) yoU were never really here Joaquin Phoenix stars as a a veteran who attempts to find missing children for a living. Co-starring Judith Roberts and Ekaterina Samsonov. (See washingtoncitypaper.com for venue information)

44 april 20, 2018 washingtoncitypaper.com

LAND OF TALK

In the late aughts, Land of Talk had a buzzband moment. Its debut album Some Are Lakes (produced by Justin Vernon of Bon Iver) saw the band pair delicate vocals and angular guitar work for a propulsive take on the “Omaha Sound” championed by their record label, Saddle Creek.

But soon, the band took the title of its follow-up, Cloak and Cipher, to heart, spending the better part of the decade on hiatus. Between parental illness, vocal polyps, lineup changes, and hard drive crashes, it seemed that the universe was conspiring against frontwoman Elizabeth Powell.

But last year, she rediscovered the flame that fueled Some Are Lakes and returned with Life After Youth, a bittersweet and gentle album about finding love and one’s self. This time, it sounds like Land of Talk will be sticking around. Land of Talk perform at 8 p.m. at Songbyrd Music House, 2477 18th St. NW. $18. (202) 450-2917. songbyrddc.com.

—Chris Kelly

SAVAGELOVE Background: I, a 21-year-old male, enjoy receptive fisting. I’ve also had constipation problems all my life. Question: I saw my doctor recently, and he tried to link my enjoyment of anal sex to my constipation. (Granted, I didn’t tell him EVERYTHING I do down there.) My understanding was that there was no causal relationship, assuming no serious injuries occur. Is there something I don’t know? Was my doctor just trying to be helpful?

— Fearing Inner Sanctum Tarnished

“There are many myths about anal sex, but this is the first time I’ve heard this one,” says Dr. Peter Shalit, a physician in Seattle and a member of the Gay and Lesbian Medical Association.

It’s also the first time I’ve heard anyone associate fisting with constipation—typically when fisting is mentioned in the same sentence as constipation, FIST, it’s as a cure. But it’s a myth that fisting cures constipation, of course, along with anal sex being inherently dangerous.

“Fisting is a safe activity, provided that both the top and bottom are sober at the time,” says Dr. Shalit. “It does not cause damage or constipation or any other type of bowel problem.

The same applies to other anal sexual activities including anal receptive intercourse (getting fucked) and use of toys (dildos, vibrators, etc.) for anal stimulation—again assuming this is voluntary on the part of the bottom and that both partners are not under the influence of mind-altering drugs during sexual activity.” (For safety’s sake, of course, buttfuckers should use condoms and gay and bi men should get on PrEP.) While many people engage in anal play while under the influence of drugs or alcohol, and most emerge unscathed, uninfected, and un-constipated, FIST, getting fucked up before fisting is not a butt sex best practice.

A fucked-up top can quickly become an outof-control top, and a fucked-up bottom can be numb to feelings of discomfort that mean “slow down,” “stop and add more lube,” or “stop altogether.”

Despite the fact that millions of people safely engage in anal play, many people believe that anal play does irreparable harm to the anus—or the soul—and that sadly includes many doctors.

“There is a misconception that these activities can cause damage by stretching or tearing the tissue, when actually the anus is very elastic and much of the ‘permission to enter’ actually involves intentional relaxation of the muscles by the bottom” and not force applied by the top, Dr. Shalit affirmed. (The top applies gentle pressure, the bottom breathes, relaxes, and opens up.)

“If a person suffers from constipation, that should be addressed as its own problem and

not blamed on any type of anal sexual activity,” says Dr. Shalit. “In addition: For obvious reasons, it’s not fun to bottom if you’re constipated, so it would be good to have this problem evaluated and treated by a nonjudgmental health-care provider who understands that anal penetration—by fist, penis, or dildo—does not cause constipation.”

Finally, FIST, your doctor was misinformed, which is not helpful. If you don’t feel comfortable telling your doctor EVERYTHING you’re doing “down there,” you can find a new doctor—one you can breathe, relax, and open up to (in a different way)—under “find a provider” at GLMA.org.

—Dan Savage

You could go with a grand, romantic, and slightly demented gesture, LICK: clean the toilet and then stick your head in it to make a point about cleanliness making all the difference.

I’m a 35-year old straight male, engaged to my girlfriend of eight years. While we have a good sex life, she often won’t let me finger or lick her.

When she does, she enjoys it and easily climaxes while receiving oral sex. But her higher brain functions get in the way, as she has internalized our culture’s body shaming. She has likened me “sticking my nose down there” to “sticking my head in the toilet.” Whenever I sexy-talk about licking her, she reacts with a mood killing “eww.” But she says she would enjoy it if she could let me. I can’t make heads or tails of it! When we have sex, she cuts foreplay short and gets straight to penetration. Since her pussy is not yet fully aroused and wet, we use lube and I climax long before she does. She feels pleasure and moans, but she really does not value her own orgasm. But I do, and I miss seeing her climax! I wish I could help her overcome her body issues—but when I “use my words,” she feels pressured and can’t relax. I am at a loss. Please help!

—Loves Inhibited Carnal Killjoy You could go with a grand, romantic, and slightly demented gesture, LICK: Clean the toilet and then stick your head in it to make a

point about cleanliness making all the difference—and since the vagina is a self-cleaning organ and your girlfriend showers (so her labia, clit, taint, and butt are clean), you should be able to stick your nose down there.

Or you could use your words—but don’t use them when you’re about to have sex, LICK. Do it at a neutral time (a time when you can’t have sex), so she doesn’t feel like you’re attempting to initiate by raising the subject. First, ask her if she enjoyed oral when she allowed you to go down on her. (Remember, the fact that she climaxed isn’t proof that she enjoyed it. Her orgasm is a physiological response; her pleasure is a combo of psychological responses and physiological responses.) If oral is pleasurable for her when she can allow you to go down on her, figure out what was different about those times. Had she just stepped out of the shower?

Was she a little tipsy or high? Did you go down there without asking, which didn’t give her higher brain functions/inhibitions a chance to kick in? (Please note: Not asking isn’t an option for new partners or new moves.)

If you can figure out what worked and why— freshly showered, mildly buzzed, no questions asked—you won’t have to stick your head in the toilet to prove a point.

—DS

My boyfriend and I just got back from Berlin, and we had a great time—until the last night.

There was a dark room in the basement of this gay bar, and my boyfriend wanted to check it out and I did not. We are monogamous for now— I’m open to opening things up down the road— and I didn’t see the point of going down there. I told him that drunk in a gay bar at 3 a.m. wasn’t the right time to open up our relationship, and he angrily insisted he wasn’t trying to do that.

But if we’re monogamous and want to stay monogamous, why go into a dark room at all?

—Dude Into Monogamy If it was your boyfriend’s intent to reopen negotiations about monogamy while horny men circled you in a dark room, DIM, that wouldn’t be OK. But it is possible for monogamous couples to enter sexually charged environments like dark rooms, sex parties, or swingers clubs and emerge with their monogamous commitments intact. It’s advisable even—or at least I’ve advised monogamous couples who want to keep things hot to visit those kinds of spaces. Go in for the erotic charge, soak it up, and plow that energy into each other. So next time, go down there. You might have to bat a few hands away, but once the other guys realize you two aren’t there for anyone else, they’ll turn their attentions to others who are.

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

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DOMESTIC Proposals FOR-PROFIT are CORdue no later 4:00 PORATION WITHthan THE DISTRICT PM on Monday, April OF COLUMBIA CORPORATIONS DIVISION 30, 2018. For the full request, email rfp@ Akingsmanacademy.org.

CLAIM AGAINST TRAVISA OUTSOURCING, MUST No phone callsINC. please.

INCLUDE THE NAME OF THE DISSOLVED CORPORATION, DC SCHOLARS INCLUDE THE NAMEPUBLIC OF THE CHARTER SCHOOL CLAIMANT, INCLUDE A SUMMANOTICE INTENT TO RY OF THE OF FACTS SUPPORTING ENTER A SOLE THE CLAIM, AND BESOURCE MAILED TO 1600 INTERNATIONAL CONTRACT Interim DRIVE, SUITE 600, MCLEAN, VA 22102 Head of School DC Scholars Public CharALL CLAIMS WILL BE BARRED ter School intends to UNLESS A aPROCEEDING enter into sole sourceTO ENFORCE THE CLAIM IS COMcontract with Nicole MENCED WITH IN 3 YEARS OF Bryan for contracted PUBLICATION OF THIS NOTICE school leadership IN ACCORDANCE WITH and SECTION management princi-OF 29-312.07 OF THEofDISTRICT pals for approximately COLUMBIA ORGANIZATIONS ACT. $175,000 in school year 2018-19.

In addition Two Rivers PCS is soliciting to management of manproposals to provide project DC Scholars agement servicesElemenfor a small contary and Middle struction project.

For aSchool copy of the RFP, please email procurement@ principals, Nicole Bryan tworiverspcs.org.

Deadline for will oversee schoolsubmissions is December 6, 2017. wide culture strategies, academic curriculum and vertical alignment between Elementary and Middle School instruction and culture.

The decision to sole source is due to the fact that DC Scholars Public Charter School previously partnered with Nicole Bryan for school leadership development services in school year 2017-18 through its

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

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46 april 20, 2018 washingtoncitypaper.com

charter management Legals organization DC Scholars Community Schools.

DC SCHOLARS PCS REQUEST For more details, please FOR PROPOSALS – Moducontact Emily Stone via lar Contractor Services - DC estone@dcscholars.org.

Scholars Public Charter School

solicits proposals for a modular MAYA ANGELOU PUBcontractor to provide professional LIC CHARTER SCHOOL management and construction services toOF construct a modular NOTICE INTENT TO building house four classrooms ENTERtoSOLE SOURCE and one faculty offi ce suite. The CONTRACTS Request for Proposals with Edgenuity, Inc. (RFP) specifi cations can be obtained on and after Monday, November 27, Mayafrom Angelou Public 2017 Emily Stone via comCharter School intends munityschools@dcscholars.org. to sole source a digital All questions should be sent in education solution with writing by e-mail.

No phone calls regarding this Inc. RFP in willthe be acEdgenuity, cepted. Bidsofmust be received by amount $47,000.

5:00 PM on Thursday, December Currently Edgenuity, 14, 2017 at DC Public Inc serves asScholars a primary Charter School, ATTN: Sharonda resource to teachers Mann, 5601 E. Capitol St. SE, for daily classroom Washington, DC 20019. Any bids instruction has as outnot addressingand all areas shown bespecifi effective lined in thetoRFP cations will with our students.

This not be considered. sole source contract is necessary as Edgenuity, Apartments for Rent Inc. is the single source vendor in the United States for Edgenuity, Inc.’s Virtual Curriculum Solutions.

City Arts + Prep PCS solicits proposals for the following: · Information TechnolMust see! Spacious semi-furogy Services Proposals nishedrequests 1 BR/1 for BA basement and the full apt, Deanwood, $1200.

Sep. enRFP should be emailed trance, W/W carpet, W/D, kitchto bids@cityartspcs.org en, fireplace near Blue Line/X9/ no later than 5:00 P.M., V2/V4. Shawnn 240-343-7173.

Tuesday, May 1, 2018.

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NOTICE OF INTENT TO ENTER SOLETwo furHoliday SpecialSOURCE CONTRACTS: nished rooms for short or long Vision Services. term rental ($900 andKIPP $800 per DC intends to enter month) with access to into W/D, WiFi, Den. Utilia soleKitchen, sourceand contract ties included.

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202-744-9811 for info. or visit decision to sole source www.TheCurryEstate.com is due to the fact that Columbia Lighthouse is the exclusive provider of assessments and instructional services for students with visual impairments in the DC

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