Washington City Paper (April 22, 2016)

CITYPAPER Se e

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Washington

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15 must-try sandwiches, D.C.’s biggest bread nerd, and more 14 PhotograPhs by Charles steCk

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INSIDE

14 the sandwich issue Fifteen sandwiches you’ve gotta try, unconventional vegetarian and vegan options, and more PhotograPhs by charles steck

4 chatter district Line 7

9 10 11 12 13

Ward 8, Round 2: Trayon White doesn’t have LaRuby May’s fundraising prowess, but the Ward 8 candidate is rich in friends.

Gear Prudence Unobstructed View Buy D.C. Savage Love Straight Dope

arts

27 It’s Complicated: Klimek on All the Way and The Mystery of Love & Sex 29 Arts Desk: Another edition of Rank & Groove 29 One Track Mind: Heroes Are Gang Leaders’ “Hurt Cult” 30 Curtain Calls: Krizel on Proof and Paarlberg on Chronicle of a Death Foretold 32 Galleries: Capps on “Kevin MacDonald: The Tension of a Suspended Moment” 33 Sketches: Devine on “She Who Tells a Story: Women Photographers from Iran and the Arab World”

34 Short Subjects: Gittell on Nina and Olszewski on Louder Than Bombs

2015

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37 City Lights: Lil Buck and Ron “Prime Tyme” Myles bring jookin’ to the Kennedy Center.

37 Music 43 Theater 45 Film

46 cLassifieds diversion 47 Crossword

on the cover

Straw Stick & Brick Delicatessen’s Muffuletta

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Marion Barry’s shoes is Big… Can you step in ‘eM? —page 7

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CHATTER Shades of Gray?

In which readers see an issue in black and white

Darrow MontGoMery

Will the ghost of federal investigation past continue to haunt ex-Mayor Vince Gray as he attempts to win the Ward 7 D.C. Council seat? That mouthful of a question was addressed by Will Sommer in last week’s Loose Lips column (“Past Tense,” April 15). As Sommer reported, several Gray associates indicted in connection to a shadow campaign that helped get Gray elected (without his knowledge, he’s said again and again) are expected to be sentenced in the coming months. This includes Uncle Earl himself, Jeffrey Thompson, who will be sentenced four days before Gray takes on Yvette Alexander in the June primary. noodlez commented to Sommer aka “Willy Earl,” “‘What I’m doing now is just trying to move on,’ Gray told the audience. WILLY EARL MAYBE IF YOU WERE LISTENING AND PAYING ATTENTION INSTEAD OF BRAIN FARTING & PLOTTING YOU WOULD MOVE ON TOO. one city!” Many other commenters also came to Gray’s defense in the comments. scot Taylor wrote, “So sick if this witch hunt.....

The powers that be are trying to block Grey from making DC great...so sad because the Mayor and Yvette Alexander are behind this..let it go!” James Watson replied, “So agree. Madam Don’t Know & Madam Do Little surely must be up to their antics. The shade is that both of them will have their clocks cleaned out next go round.” Al Hajj Mahdi Leroy J. Thorpe piled on: “The Post need to get over Mayor Gray and target anthor black man to smear his reputation.” As with most Internet comment fights, Typical DC BS took things in a different, nastier direction: “Yeah, the morons in Ward 7 just need to be fed the usual DC Dumocrat warm milk and continue on their ignorant ways to put the scumbag back in office.” Brett M responded with a Northwest diss: “No need to insult all Ward 7 residents. At least they haven’t voted for the same corrupt part-time politician for 20 years like Ward 2 has done with Evans.” Noodlez, as always, got the last word: “BAM! TYP JUST GOT SERVED.” —Sarah Anne Hughes Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

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Loose Lips

Ward 8, Round Two

By Will Sommer

A year from now, Trayon White could be the most powerful politician in Ward 8. Last weekend, though, he struggled to move a few blocks—people kept stopping to hug him.

LL was supposed to join White for a quick walk from his Congress Heights headquarters to a community event, then a door-knocking session across the ward. But cars keep pulling over to honk at him, and White keeps finding old basketball teammates, kids he’s mentored, or a particularly violent corner.

As yet another person asks White for help, multiple White campaign workers describe it as their job to keep the talkative candidate moving. But then White sees another friend, this time on the other side of Martin Luther King Jr. Avenue SE. “I know,” White tells one exasperated campaign volunteer as he jogs away. “But I gotta see Al.” In nearly three hours, White, LL, and his irritated campaign volunteers will walk only five blocks. Barbershop owner Kevin Davis isn’t the only person to tell his kid to pose with White.

“He’s gonna be the next mayor,” Davis says to his son, pulling his boy out of the shop to pose with the dreadlocked candidate for a picture.

White isn’t running for mayor. He hasn’t even won a seat on the D.C. Council. He nearly did last year, though, when he lost the special election to replace the late Marion Barry by only 78 votes to LaRuby May. In June, White will take another shot at incumbent May in the Democratic primary. If he wins, he won’t just fill Barry’s old seat—he’ll take away one of Muriel Bowser’s most reliable votes on the Council.

The passion some in Ward 8 feel for White isn’t new. On election night last year, White and May shared the ballot with 11 other candidates. When the race between White and May ended up too close to call, the other candidates closed their campaigns or issued noncommittal statements about their plans for the 2016 race.

Blocks away at Anacostia’s Big Chair Coffee, White’s supporters spilled onto the street with their candidate and demanded a recount. The final figures from the D.C. Board of Elections favored May, but just barely.

“People feel like the Trayon White team was cheated, so they have to do something,” White says.

White’s supporters compare his new race to Ward 8’s special election in 1995, when Eydie Whittington, a candidate backed by the then-mayor Barry, won by a single vote,

Darrow Montgomery

LaRuby May has money and the mayor’s backing, but Trayon White’s Ward 8 campaign has something that may prove key: relationships.

Trayon White

only to lose in the 1996 regular primary to her previous opponent. This year, no candidates from 2015 besides May and White are running again. (White rival-turned-supporter Stuart Anderson tells LL the campaign will deal with “every snake that sticks his head up.”)

There’s something else different for

White this year, too: money. As of the most recent campaign finance deadline in March, White had raised nearly $12,000. That’s nearly as much as his roughly $16,000 haul for the entire campaign last year. This time, White’s total includes a maximum donation of $500 from patron and well-connected D.C. Attorney General Karl Racine. But

washingtoncitypaper.com april 22, 2016 7

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DL it’s still woefully small compared with the more than $183,000 raised that May reported in March.

White’s headquarters in Congress Heights is located just a few storefronts down from May’s campaign office.

“Good,” White says when he walks by May’s office with his canvassers. “Apply some pressure.”

Despite the resources aligned against him, the Congress Heights residents who approached White had big ambitions for their candidate, who lives in Washington Highlands. One ice cream shop worker tells White she came into her business to find a May sign in the window, took it down—and then warned her employees they’d be looking for new jobs if she found a May sign there again.

One woman in the Congress Heights park where White launched his campaign two months ago asks him to oust May, whose

“People feel like the Trayon White team was cheated, so they have to do something,” White says. turkey giveaway, she complained, required elderly residents to use the Internet.

“When Marion Barry was here, we didn’t have to get on no computer,” she says.

In torn jeans and a white undershirt, Congress Heights park visitor Frank Addison peppers White with questions.

“Marion Barry’s shoes is big,” Addison says. “Can you step in ‘em?”

Of course, Barry’s legacy soured with crack, sex, and graft. Walking around Congress Heights, White heard from several Ballou High School students who were irritated by the proposal to rename the school after Barry. But White enjoys the closeness with Barry (the former mayor’s kidney donor Kim Dickens is working on his campaign) but without the downside. He’s Marion Barry without the “but.”

White isn’t obviously charismatic. He’s soft spoken, with an ability to know the history of everyone he sees on the street. Still, he has a theory.

“One thing about Ward 8,” White says.

“Ward 8 people real. And real recognize CP real.”

Got a tip for LL? Send suggestions to lips@ washingtoncitypaper.com. Or call (202) 6506925.

Gear Prudence: My best friend and I like to ride together. The only problem is that he wants to do the same exact route every single time. Even worse, it’s the Mount Vernon Trail, which, this time of year, is so annoying since it’s crowded with other bicyclists, runners, walkers, and kids. I’ve asked him to try something new, but he flat out refuses. He says the trail is his favorite and he doesn’t really feel the need to bike anywhere else. What should I do? —Stubborn Acquaintance Mitigates Enjoyment Dear SAME: Before GP addresses this socalled friendship, it’s important to validate your feelings about the Mount Vernon Trail— it is really crowded! And those crowds do turn off a lot of cyclists, who seek other places to ride this time of year. If it’s a stressful time for you, GP understands your reticence to suck it up in the name of friendship.

That said, what kind of friend is this? Your buddy sounds like a total stick in the spokes.

Sure it’s his favorite place to ride, but to be so uncompromising is totally unbecoming. One way to deal is to just bail on this guy, but if you want to keep riding with him, probe a little deeper about why he likes the route so much.

Maybe if you can identify an analogous experience and show him that new doesn’t have to be that different, he’d be more willing to try.

—GP Gear Prudence: My boyfriend and I are breaking up. It’s mutual and there aren’t that many hurt feelings. However, for the past year, we’ve been doing a monthly group ride with the same group of friends, and now that we’re not a couple, I’m not really sure what happens. Both of us love to ride, and we have both become close to these people. I don’t want to stop going (because they’re my friends), but I also don’t want it to be awkward if we both go. Help!

—Since Partner Left, I’m Torn Dear SPLIT: Custody arrangements can definitely be messy, especially when the thing you’re trying to sort out is a mutually enjoyed activity with some mutual friends. Alternating with him on a monthly basis would seem to be solomonic, but it’s also a solution that cuts your riding-with-friends time in half.

That’s not really fair to you. GP thinks that you should keep going. Just show up and ride with your friends. If he comes, that’s fine, and if things are as mutual as you suggested, then awkwardness need not prevail. Barring this, there is another way: Ask your friends to start riding every two weeks! It’s twice as many miles for them, but you’ll be so rich in group rides, you and your ex will have no trouble —GP splitting them.

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

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By Matt Terl Urban Alliance empowers under-resourced youth to aspire, work, andyouth succeed 202-459-4308 empowers under-resourced to aspire, work, and succeed It’s easy to write off Chief Zee as Urban Alliance to aspire, work, and succeed through paid internships, formal formal problematic. Zema Williams has been serving throughempowers paid internships, under-resourced youth through paid internships, formal training, and mentoring. as the unofficial mascot for the local football Urban Alliance training, and mentoring. to aspire, work, and succeed team since 1978, wearing a burgundy and gold training, and mentoring. www.theurbanalliance.org empowers under-resourced through paid internships,youth formal www.theurbanalliance.org faux-“Indian” headdress and waving a toy and mentoring. aspire, work, and succeed totraining,

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in Hollywood Indian cosplay may be just a bit too on-the-nose to serve as de facto face of the franchise. But this story isn’t about people not writing off the Chief—it’s about people not writing off Zema Williams the man.

Let me get some full disclosure stuff out of the way: first, Chief Zee. Somewhere in my mother’s boxes of stuff, there are pictures of me as a wide-eyed young football fan with Chief Zee at RFK stadium. Somewhere in my own boxes of stuff, there are pictures of me as a bleary-eyed teenage football fan with Chief Zee. Somewhere in the archives of the Internet, there are a bunch of words that I’ve written about Chief Zee. The fans who helped Williams out this time were led by local super fans Christie and Chris Lopez and “Tailgate Ted,” who prefers not to give his last name to keep his professional life and fan life separate. I know all of them as well. I’ve eaten Tailgate Ted’s food. I’ve written about the Lopezes multiple times. They were welcoming to me when I worked for the team, and even sent a custom onesie for my son when he was born.

That’s relevant not just as full disclosure, but because it underlines something about their nature, as football fans and as people.

Williams was behind on his rent. He lives off a Social Security check that’s deposited on the second Wednesday of the month, a timeline that doesn’t sync up with the payment date for his rent, and he was in the hole, under threat of imminent eviction.

He reached out to the Lopezes—they, along with Tailgate Ted, help him out with appearances and other needs even outside of football season—and they, in turn, reached out to the Internet via GoFundMe. They were looking for $2,000, enough to get him out of immediate jeopardy and to get a month ahead on the rent, to prevent the problem from recurring. They raised it in less than 24 hours, and contributions have continued to trickle in in three days since, with more than $5,000 contributed by more than 155 people.

Scrolling through the list of contributors on the GoFundMe, the donors are a mix of anonymous folks, local football fans, and even ex-players. There are recent players (Phillip Daniels is there by name, and cornerback Leigh Torrance) and at least one from the glory days of the 1980s. Darryl Grant is probably best remembered for the late touchdown against the Cowboys in the 1983 NFC Championship game—that’s what put the defensive lineman on the cover of that week’s Sports Illustrated—but he has remained a fan of the team and kicked in on the GoFundMe because, he said, “It was the right thing to do” for an “icon and a part of team history.”

As soon as the GoFundMe hit the minimum to ensure that the rent would be covered, Tailgate Ted got a cashier’s check to pay the rent and stave off eviction. They’ve since paid another month in advance, as planned.

The extra will go into an account co-managed

by Tailgate Ted and Christie Lopez to cover future emergencies and similar needs.

There’s plenty to gripe at here—to emphasize the appalling optics of Williams’ alter ego, or to point out that lots of people face situations like this and don’t receive this support, or to ask why the team doesn’t take care of Williams. On that last question, Tailgate Ted says that the team, which provides Williams with tickets and parking for games, didn’t know about the rent issue, and he and Lopez didn’t feel there was time to wait for them to get into gear ahead of the eviction.

(Team owner Daniel Snyder also bought Williams the scooter he uses to get around.)

Ted also adds, bluntly, “It’s not their responsibility.” Which is absolutely true. On the other hand, it also wasn’t the responsibility of fans, or ex-players, or, really, anyone else. But they chose to get this done, because Williams is a guy who brought them joy.

Which, to me, is the point of the whole story: Even if you hate the local NFL team, or the mascot, or even football altogether, sometimes sports really does do all the uniting and community building it’s supposed to.

In a week where Philadelphia fans humiliated themselves during a nationally televised hockey game—jeering a seemingly concussed Caps player and throwing souvenir wristbands onto the ice and being berated by their own PA announcer—it’s worth noting when local fans do something genuinely kind. CP

Follow Matt Terl on Twitter @matt_terl.

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I’ve been aware of my emetophilia since a very young age and have always kept it private. No need to tell me about the health risks, I’m aware, and I’ve only ever indulged this kink through videos online. The actual substance doesn’t turn me on—I have no desire to be puked on. For me, the fantasy involves being with someone as they begin to feel sick, and then taking care of them as they puke. It has something to do with the buildup and release. Who knows? I’m married, and I told my husband about my kink exactly once, a few years ago. He wasn’t judgmental, but he never brought it up again. We have a great sex life otherwise, and I’ve always assumed I’d have satisfying, normal sex with my husband and masturbate to this kink in private. But recently, on a whim, I posted a message on a kink site. A few weeks later, a guy reached out to say the description exactly mirrored his own kink.

We’ve been texting for a few weeks. He makes me feel like less of a freak, it’s been super hot, and we’ve talked about meeting up and role-playing for each other. It makes me go crazy just to think about this. In light of the health risks— and the fact that I’m married—this would be a one-time thing. Do I have to tell my husband? I don’t want to have sex with this person; I just want to live out my fantasy for one night, which doesn’t necessarily involve getting naked. But obviously we will both get off, so there’s a definite sexual element. My husband and I have had threesomes, so he’s not a “strictly monogamous” guy, but it is new for me to strike out on my own. But more than that, I’m mortified at the thought of him knowing about the kind of night I’m having, asking me about it later, etc. I would just rather him not know. But is that cheating?

—A Lady Emetophile Meets Her Match The answer to your last question—is that cheating?—is obvious. If that wasn’t cheating, ALEMHM, or if you thought your husband wouldn’t regard it as cheating, you would be asking him for permission to meet up with your vomit buddy. So let’s just run with the assumption that getting together with your VB would constitute infidelity, if the low-grade, nonpenetrative, not-for-everyone kind.

So do you have to tell your husband? You could tell your husband—and lots of people will insist you must tell your husband—but I’m sitting here, in this Starbucks on Lex and 78th, wondering if your husband would rather not be told.

You shared your kink with your husband once, and he never brought it up again. We can reasonably assume that your husband isn’t interested in discussing, much less indulging, this very particular sexual interest of yours. Another reasonable assumption: Your kink may not be something your

12 april 22, 2016 washingtoncitypaper.com

husband wants to think about. The awareness of your kink, to use Emily “Dear Prudence Emeritus” Yoffe’s phrase, could be a libido killer for him. If your husband worked at stuffing your disclosure down the memory hole, because it interferes with his ability to connect with you sexually, asking permission to spend an evening with your VB could come as an unwelcome reminder.

So you could make—as I’ve just made— an argument for sparing your husband the reminder, and sparing yourself the discomfort, by not telling and/or asking him, and then discreetly meeting up with your VB just this once. (The counterargument is also easily made: He never brought it up again because he picked up on your shame, he didn’t want to distress you, etc.) But if you decide to meet your VB, ALEMHM, weigh the risks (what happens if you get caught?) against the rewards (scratching this off your kidney dish list!), meet up with your VB in public first, and let someone know where you are and who you’re —Dan Savage with on the big night.

Go get a ring (for him) and ask him to marry you (for fuck’s sake).

I find myself in the most boring of straight white girl pickles: My boyfriend is dragging his feet on proposing. I’m 29, and he’s 31. We’ve been dating for three years. Things are great. We talk about our future a lot—buying a house, vacations, blah blah blah. Lack of proposal aside, we’re solid.

But I would hate to waste another year in this city for this guy when I could have been working toward tenure somewhere else. (I’m in academia.) I’ve tried bringing this up to him several times with no concrete results.

—Really Into Not Going Solo Propose to him, RINGS. Don’t informally propose a formal proposal—don’t ask him to ask you to marry him—but go get a ring (for him) and ask him to marry you (for fuck’s sake). You have the power to pop the question and call it at the same time. Good luck, —Dan I hope he says yes.

I met a man two and a half years ago on Tinder. Our relationship was built on lies from the start. I lied to him about having a child so I could put a wedge between us. I came clean after we slept together a few times—the most mind-blowing sex I’ve ever had—because I was afraid he might want to meet my madeup child. I caught feelings. But Tinder man is married and lives in France. I see him only three times a year. Fast-forward to now. He pursues other people. Women throw themselves at him. We were at the mall, and he picked up a girl while I was getting my hair done. He’s not my boyfriend. He hurts me. I am terrified of losing him. Here comes the tricky part: My doctor found a tumor on my lymph nodes. I go in for tests on Friday. I’m ready to pick out my coffin at this point. I contacted my lover’s exwife and asked why they divorced, and she said because he cheated all the time. I know what he’s capable of. I don’t want to change him. I love him. I go insane when we don’t talk. He told me he doesn’t respect me any more than he respects his current wife. I’m so scared.

—Help Me Please Um… you won’t find the help you need wedged between escort ads at the back of a weekly newspaper, HMP, or on a website underneath pop-up ads for vaporizers. You need a therapist, someone who can help you work through legitimate-but-possibly-premature fears for your health (let’s wait for those test results to come back before we pick out your coffin, okay?) and your emotional dependence on a man who isn’t your boyfriend, isn’t your husband, isn’t around much, and has told you he doesn’t respect you. He’s not the kind of guy who’s going to come through for you during a health crisis—that guy couldn’t come through for you during a haircut.

Don’t get me wrong: I sleep with men, I understand the sexual appeal of a man who treats you like shit, I’m a huge Peggy Lee fan. But you can’t depend on a guy like that at a time like this. If it turns out you’re seriously ill, HMP, you need to lean on family and friends, join a support group, buy one of those vaporizers, and concentrate on getting healthy. And take comfort: If/when your health is restored, there are plenty of shitty, selfish, sadistic guys on the planet who’ll treat you badly, cheat on you flagrantly, and—not coincidentally—get you off spectacularly.

I’m sorry you may be ill, HMP, and I’m sorry you’re scared. Best wishes for a speedy physical, emotional, and sexual recovery. —Dan Send your Savage Love questions to mail@savagelove.net.

THESTRAIGHTDOPE One thing’s for sure: The latter half of the 19th century wasn’t such a hot time to be an American bison. The animals’ numbers, in the tens of millions when Europeans arrived on the continent, plunged to fewer than 400 before the end of the 1800s, with the worst of it coming between 1870 and 1883. There were, as you suggest, a number of reasons the bison took such a bad turn. A new tanning technology made the processing of hides more efficient; more extensive rail lines made transporting them easier; a burgeoning market thus inspired more buffalo hunters.

And then there’s the claim you’ve heard, Buffaloed: that the U.S. government—finding its westward expansion policies unwelcome to the people who, you know, already lived out there—made it a policy to slaughter the bison, not necessarily to starve the Native people to death, but to pressure them onto reservations. Certainly there was recent precedent for such a tactic: Beginning in 1863, Colonel Kit Carson brought to near extinction the breed of sheep called the churro as part of an overall campaign to destroy the Navajos’ livelihood in the southwest and thus pacify them. As regards the eradication of the bison, however, and its role in the Plains Wars in the 1860s through 1880s, things were a little less explicit.

A persuasive case comes in a 1994 paper

by David D. Smits in Western History Quarterly. Smits reminds us, first, just who happened to be prosecuting the campaign against the Plains Indians: generals William Tecumseh Sherman and Philip Sheridan, who’d enjoyed great success in laying waste to the Confederacy during the Civil War. They’d learned from that experience, Smits argues, that it’s not enough to fight the enemy on the battlefield: You’ve got to destroy his resources, as Sherman famously did on his March to the Sea. It’s true that Smits is working with thin official documentation—a notarized letter from President Ulysses S. Grant sure would help a historian out in this situation, but no one’s yet dug such a thing up. There’s plenty of other evidence to go around, though: • The simple fact is that, for whatever ultimate reason, the army killed a hell of a lot of bison, as shooting practice or as part of army-sponsored civilian hunts. And it was easier than fighting Native people on their own turf. Sometimes military commanders equated the two; Smits quotes Colonel George Custer alerting his men to “a chance for a great victory over that bunch of red-

Slug Signorino

Did the U.S. government intentionally starve the American Indians to death by slaughtering the bison? Is there official documentation to support this claim? I’ve read a variety of accounts about the slaughter of the American bison—food, sport, shits and giggles. —Feeling Buffaloed in Texas

skins the other side of the hill.” Custer was referring to bison.

• In 1869, the Army Navy Journal reported that Sherman had floated what Smits calls a “trial balloon”: He’d “remarked, in conversation . . . that the quickest way to compel the Indians to settle down to civilized life was to send ten regiments of soldiers to the plains, with orders to shoot buffaloes until they became too scarce to support the redskins.” In Smits’s view, this proposal was accepted tacitly if not publicly.

• In an 1868 letter to Sherman, Sheridan wrote, “The best way for the government is to now make [resisting Plains warriors] poor by the destruction of their stock, and then settle them on the lands allotted to them”; Smits takes “stock” to include bison as well as horses.

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• The growing hide market brought hunters to buffalo grounds in Texas that had been set aside for Native people; seeking admission anyway, the hunters approached a local military commander, Colonel Dodge, who at the least didn’t discourage them.

All told, Smits believes (as do other historians) the dots connect sufficiently to reveal a government policy, however unspoken—he notes Sheridan’s “tendency, when dealing with contentious or potentially embarrassing matters, to issue oral rather than written commands.”

Smits’s article occasioned a rebuttal from another academic, one William A. Dobak, whose arguments frankly strike me as weak. (Taking issue with Smits’s use of private journals as sources, Dobak reminds us that “memoirists are not under oath”—as if historians should rely on sworn testimony and nothing less.) Still, they illuminate the void at the center of this question, where some paper evidence would, ideally, be.

So was there an “official” policy? I’m not convinced it particularly matters. We know the army enthusiastically slaughtered bison; we know it encouraged others to do so; we know that the men directing the campaign viewed this as an important front in the Indian wars. Official or no, the actions were deliberate, and the outcome devastating for any people or animals not lucky enough to be affiliated with the U.S. Army. Sheridan and Sherman really couldn’t —Cecil Adams have hoped for any better.

Have something you need to get straight? Take it up with Cecil at straightdope.com. washingtoncitypaper.com april 22, 2016 13

15

Sandwiches You’ve Gotta Try Stachowski’s Market’s Hot Pastrami

1425 28th St. NW, (202) 5063125, stachowskimarket.com Price: $14.99 Very few sandwiches contain meat flavorful enough to be the only thing between two slices of bread. But the pastrami from Georgetown’s Stachowski’s Market is no ordinary deli meat. Fork tender and coated in a black crust of pepper, the thickly sliced pastrami is piled five inches high on pumpernickel toast slathered in yellow mustard.

That’s it. Creating the pastrami requires a lot of care: Wet cured for a week, smoked for 11 hours, and sliced to order, the sandwich you’re served feels heavy with both meat and importance. The most critical thing required to consume this enormous offering, however, is someone to share it with. Weighing in at over a pound, this sandwich takes a village —Caroline Jones to consume.

Maketto’s Cambodian Num Pang

Maketto’s Cambodian Num Pang 1351 H St. NE, (202) 8389972, maketto1351.com Price: $9 Sandwich lovers have long hailed the glories of Vietnam’s banh mi. Now it’s time for Cambodia’s sister sando, the num pang, to get some much-deserved attention. It all starts with a tubular baguette made in house by baker Erica Skolnik of Frenchie’s.

Crunchy on the outside, the golden casing contains a soft core that’s scooped out to make way for fillings that contrast beautifully. Grilled pork and a swipe of pâté find balance in fresh jalapeños, basil, cilantro, and matchsticks of pickled carrots and radish.

Each satisfying bite layers together an acidic pop, tiny jolts of spiciness, and meaty rich—Nevin Martell ness.

Sure, anyone can make a sandwich. But the best require so much more than some meat, cheese, and veggies slapped together. Some D.C. chefs agonize over the texture and density of their bread, spend months curing their own meats, and get far more creative than mustard and mayo with their condiments. In City Paper’s first Sandwich Issue, we’re exploring all the elements of the —Jessica Sidman area’s must-try sandwiches. You’ll want to leave that brown bag at home.

14 april 22, 2016 washingtoncitypaper.com

PhotograPhS BY CharleS SteCk

The Italian Store’s Prosciutto and Mozzarella Sub

puree, a slathering of goat cheese, thick slabs of roasted sweet potato, tangy peppers agrodolce, and seasoned crispy kale chips. Naming this harmonious combination of ingredients something so basic as Veggie #1 is like reducing the White House to Building #1. Then again, it’s easy to see why this sandwich deserves —Jessica Sidman first place.

Chase the Submarine’s Pork + Pickles

5837 Washington Blvd., Arlington, (571) 341-1080, italianstore.com Price: $8.99 for small, $9.99 for large Beeline for the sandwich station and take a number as soon as you walk into the new Italian Store location, which opened nearly a year ago in Arlington’s Westover neighborhood. It’s twice as big as the 36-year-old original in Arlington’s Lyon Village and busy nearly all day long. Come well before noon on the weekends to get housemade mozzarella for your prosciutto sub. The salty cheese is made fresh Thursday through Sunday, but they often run out early. I order mine on a soft roll with shredded lettuce, sweet peppers, and sticky Honeycup Mustard. “Hope it tastes as good as it looks,” my smiling sandwich maker says as he hands it over, tightly wrapped in white butcher’s paper.

—Jessica Strelitz It does.

Chase the Submarine’s Pork + Pickles 132 Church St. NW, Vienna, Va., (703) 865-7829, chasethesubmarine.com Price: $10 If you invited someone who has pressed Cuban sandwiches all her life to a Hawaiian luau, chances are she’d create a stack like Chase the Submarine’s Pork + Pickles sandwich. “We take a whole shoulder and braise it in a shit-ton

Bub and Pop’s Bolognese Parmesan 1815 M St. NW, (202) 4571111, bubandpops.com Price: $8 for half, $15 for whole A basic error in sandwich making is the careless layering of ingredients. If a sandwich has sauce, it shouldn’t only be in the middle. If it has tomatoes, they should probably make it into each bite. On the other hand, of pineapple juice and spices like cinnamon and allspice,” says chef Tim Ma. The pork gets three soaks in the juice, including when it’s heated in a pan to order. Ma’s team spreads a thin layer of Dijon mustard on a sesame bun from Lyon Bakery before topping it with pickled apples, dill pickles, lychees, Gruyere cheese, and bacon. The finished product hits a panini press for a warm, juicy finish that ne—Laura Hayes cessitates lots of napkins.

A Baked Joint’s Veggie #1 440 K St. NW, (202) 4086985, abakedjoint.com Price: $10 In a good sandwich, the bread doesn’t distract from the stuffings. In a great one, it

adds to them. Such is the case with Veggie #1 at A Baked Joint, Baked & Wired’s sister restaurant, which bakes all of its breads in-house. The sandwich starts with a warm square of focaccia that’s spongy on the inside with just the right amount of crunch in the crust. If it isn’t fresh from the oven, it sure tastes like it. Layered in between are a swipe of smoked eggplant

a consistent sandwich can turn monotonous if every bite is the same. Bub and Pop’s has an answer for this dilemma: the Bolognese Parmesan. The main component is a tomato-based ragout that includes large pieces of three distinct meats. One moment, you’re biting into smoky pork belly. A few bites later, you’ve got a mouthful of spicy Italian sausage. Then, suddenly, your sandwich becomes a meatball sub. The arugula

The Italian Store’s Prosciutto and Mozzarella Sub washingtoncitypaper.com april 22, 2016 15

h c i w SandlativeS Super

Most Elusive Sandwich: The G-Man at Mangialardo & Sons In 2011, City Paper called the g-Man Italian sub “D.C.’s quintessential sandwich.” But it’s hard to come by. Mangialardo & Sons is only open on weekdays from 7:30 a.m. to 3 p.m. If you work daytime hours and your workplace isn’t near the Potomac avenue Metro station, good luck ever trying one.

Most Justifiable Gimmick: Old

Bay Fried Chicken at Astro Doughnuts & Fried Chicken Fried chicken served on a doughnut is gimmicky enough. adding old Bay seasoning to foods that wouldn’t normally have it—a doughnut, for example—is even more so. But while this concept may seem like a stunt, it also happens to be a great sandwich, and the fact that it’s a savory doughnut makes it reasonable to eat for lunch.

Sloppiest Joe: Torta Ahogada at El Chucho With a name that literally translates to “drowned sandwich” and comes with a set of disposable plastic gloves, you know you’re in for a mess. a spicy arbol sauce is poured over the top and drips all over the pork and black bean filled sandwich—and your face.

Bring extra wet wipes to aid in the cleanup.

Duke’s Grocery’s El Trasero

and shaved pecorino Romano give the sandwich some extra range, and melted provolone holds it all together. —Zach Rausnitz

Duke’s Grocery’s El Trasero 1513 17th St. NW, (202) 7335623, dukesgrocery.com Price: $12

Most Convenient Sandwich:

Banh Mi from Guerilla Vending Say you’re sampling beers at atlas Brew Works’ tasting room or grabbing a drink at the Pug. Suddenly you decide you need a sandwich—now. You don’t want to give up your spot or close your tab. So what do you do? Simply walk over to the vending machine, which is stocked with a variety of banh mi-style sandwiches (even vegetarian ones) from Dirty South Deli. Pay your six dollars, retrieve your snack, and immediately return to your beer.

Ritziest Grilled Cheese: Rich e Rich at Ripple If you’re able to make it to the limited grilled cheese hours at ripple’s bar (5 p.m. to 6:30 p.m. daily and varying late-night periods), you’ll be rewarded with this ultra indulgent combination of chèvre, mushroom duxelle, prosciutto, and truffle butter. the salty and creamy combination will leave you feeling like a fat cat, especially when you pair it with a cocktail or wine. Singularly focused grilled cheese spots like Melt Shop and gCDC offer more expensive options packed with lobster or figs, but when it comes to the full experience, ripple can’t be beat.

—Caroline Jones and Zach Rausnitz

Republic’s Trancapecho

Duke’s Grocery doesn’t do small. Nearly every sandwich on the menu is supersized and bursting at its seams. El Trasero is not only big enough for two meals, it’s big on flavor.

Juicy, spicy pork butt dominates the space between the ciabatta buns. Many meatheavy sandwiches make the mistake of going too light on the counterbalancing acidic component, whether it’s pickles or slaw.

Here, celery-fennel slaw, shredded thinner than the Iran-Contra documents, is heaped on in almost equal measure. Aleppo pepper, garlic aioli, and arugula are all the accessories the sandwich needs. The name El Trasero means “the butt.” Who doesn’t like a big —Jessica Sidman butt?

Republic’s Trancapecho 6939 Laurel Ave., Takoma Park, (301) 270-3000, republictakoma.com Price: $14 Whether you’re looking to have a noholds-barred meal, are seeking relief from

16 april 22, 2016 washingtoncitypaper.com

a hangover, or are stoned out of your noggin (bonus points if you hit all three!), this is the sandwich for you. At its center, you’ll find a crispy deep-fried chicken breast, which gets crowned with avocado slices, fried potato hash, and a sunny-side-up egg that pops when you take the first bite.

The yellow yolk mingles with the smoked pepper aioli and pickled beet relish, which valiantly tries to cut through all the richness—and occasionally succeeds for a moment. Warning: You will be less productive after eating this, so plan on spending some time on your couch with a good book after—Nevin Martell wards.

Straw Stick & Brick Delicatessen’s Muffuletta 5111 Georgia Ave. NW, (202) 726-0102, ssbdeli.com Price: $12 Anyone with thumbs can stack cold cuts and cheese on a sliced roll and call it a sandwich.

What makes this spin on the New Orleans classic stand out are its fancified toppings and heaps of housemade meat. An olive salad matches the saltiness of the deli’s soppressata, capicola, and mortadella but also offsets it with a slightly sour tang. Slices of

Illustrations by Lauren Heneghan

Pickle, You’re fancy

Pineapple and Pearls’ Egg Hash

Don’t sit down to crush a sandwich at Bub and Pop’s without probing chef Jonathan taub about his seasonal pickles ($3 to $5 for four ounces). the exotic brines are a sign that taub is a culinary school grad who worked at adour and art and Soul before he started slinging Italian hoagies and cheesesteaks. Some recent pickles include watermelon with dragon fruit, radish, and jalapeño; pickled green strawberries and green almonds; pickled chanterelle mushrooms with peaches and fennel; and cucamelon. taub scores much of his exotic produce from the Chef’s garden—a highend, ohio-based grower of microgreens, specialty vegetables, and edible flowers targeting top chefs.

—Laura Hayes

Garden Variety

Despite what some carnivores might think, a vegetarian sandwich isn’t limited to just grilled cheese. In fact, there’s a way to incorporate just about any vegetable—deliciously—into a sandwich. thanks to the proliferation of produce-centric restaurants, D.C. has no shortage of less conventional vegetarian and vegan sandwich options.

Straw Stick & Brick Delicatessen’s Muffuletta

pickled red onion and a healthy slather of mustard cut through the rich and fatty contents. The result is a meaty sandwich that packs a lot of bite with very little mess, making it a perfect sandwich to get delivered via Caviar or picked up for a picnic.

—Caroline Jones

BeeTS A. Litteri’s Classic Italian Sub 517 Morse St. NE, (202) 5440183, alitteri.com Price: $4.95 for six-inch, $6.50 for nine-inch $9.95 for 12-inch

Pineapple and Pearls’ Egg Hash 715 8th St. SE, pineappleandpearls.com Price: $7.50 Egg sandwiches are typically runny, cheesy hangover grub. Leave it to Rose’s Luxury’s new sister restaurant to turn it into something refined and suitable for consumption at all hours of the day. The sandwich starts with an egg hash packed with peppers, potatoes, and onion. Spicy salsa verde and sour curtido, a fermented Central American slaw, lend some brightness. Even the bread gets a fancy update: It’s made with masa and developed like a brioche dough, giving it both a deeper flavor and a soft, tearable texture.

Served to-go in gold-colored foil and a goldspeckled white box, it’s the classiest sandwich in town under $10. —Caroline Jones

A. Litteri has probably been described to you as “that Italian deli near Union Market,” but it far predates that bourgeoisie paradise. The shop opened downtown in 1926 and moved to an industrial area near Near Northeast in 1932. For the next seven decades, it held “local secret” status. But as more development has moved into that area—and with it, more people—A. Litteri has become something different: a place with time-earned cred. To get a taste of that old-world flavor, try the deli’s Classic Italian Sub, which features super-fresh capico-

You might think of beets as just fodder for salad and borscht, but at Penn Quarter’s red apron Butcher and José andrés’ Beefsteak, the veggie is prominently featured. red apron’s roasted Beet sandwich uses white beets as its main ingredient, and spicy harissa yogurt, feta cheese, and sauteed beet greens give it a Mediterranean flair. In Beefsteak’s Beetsteak Sandwich, juicy, red marinated beets are garnished with pickled red onions, sprouts, chipotle mayo, olive oil, and sea salt. Complete with olive oil brioche bun, it’s just as good as any steak sandwich you may come across.

Cauliflower Cauliflower might seem like a boring sandwich stuffer, but not so at Mike Isabella’s g and Woodward takeout Food. g’s roasted Cauliflower sandwich is spiced up with romesco sauce, pickled vegetables, shishito peppers, and paprika. Woodward takeout Food’s Caulafel combines cauliflower and falafel, along with a sloppy Mediterranean concoction of

—Matt Cohen hummus, chickpeas, kale, cucumber, harissa, yogurt, and cilantro.

eGGPlanT You can’t go wrong with eggplant parmesan (unless, of course, it isn’t fully cooked, which is a chewy bummer). two restaurants in particular take the Italian dish to the next level in sandwich form. the eggplant Parmesan sub at a. litteri is simple— breaded and fried eggplant generously coated in marinara sauce and mozzarella cheese—but its just-tangy-enough sauce is utterly perfect. the eggplant Parmesan at Bub and Pop’s is a gloriously sloppy mess with marinara, aged provolone, arugula, caramelized onions, pesto, and pecorino romano stuffed in. Spoiler alert: You’ll need a lot of napkins. eggplant also features prominently in another delicious sandwich at the downtown sandwich shop—the Bulgarian Feta, which contains an intimidating number of veggies including eggplant caponata, oven-roasted tomatoes, caramelized onions, caramelized mushrooms, grilled zucchini, and grilled fennel. again, you’ll need a lot of napkins. washingtoncitypaper.com april 22, 2016 17

like Bullfrog Bagels’ breakfast sandwiches. I usually stick with an egg and cheddar cheese combo, but for something more substantial, the addition of corned beef on a everything bagel can’t be beat. The corned beef is tender—which is key, because these bagels are properly chewy—and the bread’s garlic and onion rounds out the salty flavor. This bagel is a complete meal on its own, for just seven —Sarah Anne Hughes bucks.

Red Apron’s Porkstrami

G’s Roasted Cauliflower 2201 14th St. NW, (202) 2345015, gbymikeisabella.com Price: $9 It’s got the heft of a meatball sub with all the juicy, greasy drippings. But the star of this sandwich is... cauliflower. The oft-maligned

spread the love

Multiple locations; redapronbutchery.com Price: $10 In Pennsylvania Dutch country, from which I hail, it’s tradition to eat pork and sauerkraut on New Year’s Day. It’s consumed to bring good luck, but also because it’s so damn delicious. Red Apron Butcher’s Porkstrami sandwich tastes like that meal went to New York, picked up some tips from a local deli, then jumped into a perfectly firm whitebread roll to bring you a few minutes of joy.

The sandwich has two main components— pastrami-style pork and bacon-braised sauerkraut—and is dressed in mustard aioli and meat jus. It’s salty and rich with bursts of mouth-awakening mustard that cut through the fat. Despite its heaviness, I still had room to try my companion’s sandwich as well.

Good luck, indeed. —Sarah Anne Hughes

mayo adds the cooling saltiness a sandwich this spicy requires. No one ingredient overpowers any other. The hefty sandwich measures close to a foot in length, but be advised it’s best not to save some for later. It becomes a mushy mess if you don’t eat it right away.

—Caroline Jones

Bullfrog Bagels’ Egg, Cheese, and Corned Beef on Everything

1341 H St. NE, (202) 4942609, bullfrogbagels.com Price: $7 On a recent Saturday morning, I returned home with a sandwich from Bullfrog Bagels. Barely able to contain my excitement to eat the sandwich but bound by my duties to be a good apartment dweller, I left it in my

Picnic Tandoori Garlic Yogurt Cheese Spread

This spread from a Bethesda-based company combines refreshing yogurt with Indian flavors, including some heat in the finish.

Ideal sandwich pairing: Roast beef or mixed into chicken salad picnicspreads.com

‘Chups Mango Ketchup

This sweet, tangy condiment bares little resemblance to anything Heinz.

Ideal sandwich pairing: Grilled cheese chupsitup.com

Sweet Farm Curry Cultured Mustard

Made with curry sauerkraut brine, this mustard is much more bitter and abrasive than an average version.

Ideal sandwich pairing: Sausage or grilled eggplant thesweetfarm.com

No Mercy! Hot Sauce

This West African-style scorcher will make your eyes water, but behind the heat is tasty blend or tomato, garlic, ginger, onion, and other spices.

Ideal sandwich pairing: Breakfast sandwich or sausage ohmercyhotsauce.com

Sundevich’s Kingston

Gordy’s Pickle Jar Cherry Pepper Spread

1314 9th St. NW, (202) 3191086, sundevich.com Price: $10 This Jamaican-inspired sandwich is tropical enough to make you forget you’re eating it in a Shaw alley and not on a sunny beach.

The shredded jerk chicken is slightly sour and smoky, but a sweet pineapple salsa cuts the flavor. Greens and peppery slaw lend a dose of earthiness, while a swipe of garlic

A good condiment can be the sandwich goggles that turn a two into 10.

But Duke’s Mayo and French’s mustard don’t need to be your only pantry staples. A number of local producers are stepping up their condiment game. Many of these spreads and sauces are available at retailers like Whole Foods, Union Kitchen Grocery, or Glen’s Garden Market, but check each product’s website for exact locations.

—Jessica Sidman

Plenty of pepper flavors pair with a pleasant amount of heat in this not-too-pickley spread.

Ideal sandwich pairing: Italian sub or any cold cuts gordyspicklejar.com

purse as I went to the basement to put some clothes into the communal dryer. When I returned, my foster dog had consumed the entire thing. I laid on the floor and cried. That’s a very long way of saying that I really, really

18 april 22, 2016 washingtoncitypaper.com

Cava Harissa

This Greek-inspired stewed tomato and crushed red pepper condiment is highly addictive on sandwiches.

Ideal sandwich pairing: Falafel or roasted cauliflower cavagrill.com/products

Photographs by Darrow Montgomery

la, Genoa salami, mortadella, prosciuttini, provolone, lettuce, tomato, onion, hot peppers, and Italian dressing. I chose the sixinch soft roll, which perfectly contained a tangy assortment of meats and cheeses dressed with just the right amount of Italian dressing. Even my day-old leftovers still had crunch. And really, what’s more satisfying than a hearty $5 sub that stretches across —Sarah Anne Hughes two meals?

Red Apron Butcher’s Porkstrami

vegetable is roasted until it’s charred but still has a slight crunch. The sandwich is slathered with a zippy romesco sauce and sprinkled with arugula. Shishito peppers, which add a bit of bitterness and occasional punch of heat, are an unexpected but welcome party guest. And if cauliflower still has you picturing something dainty and unfilling, think again. Just half of this sandwich can easily —Jessica Sidman make a full meal.

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A Cut Above

Most people turn to the local grocery store for deli meat, but it’s not always the freshest or best quality, particularly if you’re trying to build the perfect sandwich. A few D.C. deli counters are simply a cut above the rest when it comes to sliced meat. To up your sandwich game, try the housemade specialties from one —Tim Ebner of these shops instead.

lone, arugula, and roasted chipotle mayonnaise. It’s $12 at happy hour (Tuesday through Saturday from 5 to 7:30 p.m. and all day Sunday).

red apron Butcher

Multiple locations, redapronbutchery.com During one of his early days selling cured meats at a farmers market, butcher Nate Anda was left with extra pork sirloin and pastrami brine. Not wanting either to go to waste, he combined the two to make porkstrami. Today, it’s a staple of Red Apron’s deli counter. First, the pork is seasoned with black pepper and coriander, then it’s brined for 14 days. The deli then smokes the meat for eight hours and slices it thin. If you call ahead, Anda says, Red Apron will pre-package porkstrami by the pound, or you can try it on their sandwich with sauerkraut and mustard for $10.

5111 georgia ave. NW, (202) 726-0102, ssbdeli.com This deli is obsessed with curing—from bresaola to coppa to hot soppresata. The salami masters age meats for at least six months and sometimes longer than eight.

The pigs here come from local farms, and butchers use only premium cuts of meat.

“We get whole hogs, and we don’t use the trim. We only use the good stuff, which is also leaner,” says co-owner Carolina Story.

“You’ll notice that our salami meat is firm and less rubbery than the commercial stuff, and the flavors are much more intense.”

urban Butcher

8226 georgia ave., Silver Spring, (301) 585-5800, urbanbutcher.com Each of Urban Butcher’s deli meats, which include roast beef, pastrami, and turkey,

Multiple locations, wagshals.com If there’s one sandwich meat that Wagshal’s is known for, it’s the smoked brisket. “It’s not so spicy like pastrami, and it’s not plain like corned beef,” Wagshal’s owner William Fuchs says of the meat, which takes inspiration from Montreal delis like Lester’s and Schwartz’s. It’s so popular that Wagshal’s now distributes the smoked brisket to retailers across the country. The product launched in January, and Fuchs’s son manages distribution. Each package of smoked brisket contains four ounces of meat, wrapped individually in pouches. Simply place each pouch in boiling water for 20 minutes and serve it on rye with a swipe of mustard. “It’s just like how we serve it here,” Fuchs says.

Lauren Heneghan

Straw Stick & Brick Delicatessen

wagshal’s

use animals from Mid-Atlantic farms, and the meats are cooked or smoked inhouse. One of the more popular options is the roasted turkey, which is sweetened with molasses and pecan. Urban Butcher serves it on a sandwich topped with provo-

tinker taylor Sandwich Guy

How Taylor Gourmet develops new hoagies

The back kitchen at Taylor Gourmet on Pennsylvania Avenue NW is in the middle of being reorganized on a mid-March afternoon.

But amidst the mayhem, co-founder and head hoagie handicrafter Casey Patten has found a clean table for his materials. A tray is filled with sandwich components: a tangle of sprouts, sliced tomatoes, half an avocado, rounds of red onions, fresh roasted turkey, black bean puree, and tomato vinaigrette. He’s building a new hoagie that will eventually be named “Ridge” for the spring menu, which debuted in early April at Taylor Gourmet’s 10 area locations.

Four times a year, Patten creates up to half a dozen seasonal hoagies: one each containing chicken cutlet, pork, turkey, a vegetable, and chicken salad. (Sometimes there’s a beef option, too.) Each sandwich might go through up to a dozen iterations before a final recipe is set. Another 20 ideas never make it out of the test kitchen. A recent pork sandwich with black bean puree and tomatillo salsa was deemed to be “wet on wet on wet,” for example, and didn’t make the cut.

All the hoagies include several key components. “It has to have a spread that goes on the bread and adheres to the protein,” explains Patten. “There has to be protein or vegetable, a sauce of some sort that typically has to

Darrow Montgomery

By Nevin Martell

punch the spread back, crunch of some sort, and then the accouterments that go with it.”

Inspiration for new creations happens anytime, anywhere. “A lot of the time we start with, ‘What have we eaten recently? What’s fucking cool?’” says Patten, who scrawls thoughts into a notebook, saves menus from his travels, and is constantly typing ideas into his iPhone while he’s dining out.

Then he heads back into his makeshift lab for a month of development, which he sandwiches between “lease negotiations, kitchen layouts, and all the other things we have to do here to be successful,” he says.

20 april 22, 2016 washingtoncitypaper.com

After a hoagie is finalized, Patten rounds up staffers for a tasting session. Often, they will make suggestions about how to make the hoagie sturdier or quicker to assemble. Then it’s a matter of scaling up the recipes so the components can be mass-prepared from scratch daily at each location and training the staff. “When we had two stores, doing something new was easy,” Patten says. “I used to be shoulder-toshoulder with everyone all day. Now it’s teach, train, coach, coach, coach, and retrain to get the pieces down.”

Though his creations sometimes have haute or trendy overtones—the winter menu fea-

tured a riff on a Vietnamese banh mi with fried Brussels sprouts and a spicy bang bang sauce, while the cheesesteak got a gourmet boost from white truffle oil and brie—many of them are simpler fare. This includes the turkey sandwich he’s put together today, which tastes appropriately light and fresh for the spring season, and mildly Mexican thanks to the cilantro and jalapeños in the black bean puree.

At the end of the day, Patten has a modest vision for Taylor Gourmet. “We don’t want to be looked at as these culinary visionaries of sandwiches,” he says. “We just want to CP make kick–ass hoagies.”

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Code Bread

Lyon Bakery owner Alan Hakimi goes to great lengths for the perfect bread.

If it wasn’t for Lyon Bakery’s hoagie roll, Bub and Pop’s may not even exist.

Chef Jonathan Taub and his mom Arlene Wagner initially didn’t know what they were going to do with their Dupont Circle lease.

They were deciding between a sandwich shop and another restaurant concept (which the chef doesn’t want to divulge).

But then Taub approached Lyon Bakery owner Alan Hakimi about hoagie rolls.

“When he brought me that roll, it immediately came to reality that I could open a sandwich shop in D.C. because I’ve got fresh bread,” Taub says. “I don’t have to try to get it from Amoroso’s [in Philadelphia].”

The rolls you’ll find on the menu today ultimately took months to perfect. Hakimi knew that if he could please a true Philadelphian like Taub, the roll would be a hit with others as well. So to research the ideal bread, Hakimi went to Philadelphia and visited sub shops, mom-and-pop spots, and bakeries. “Where didn’t I go?” he says. The baker claims that when he tastes a piece of bread, he can immediately break down its flavors and ingredients in his mind: “I’m not joking, like the Matrix, I see it.”

Hakimi and Taub went back and forth several times about the dimensions, flavor, and density. “Every week, he would bring me a new batch,” Taub says. “Finally, he brought me a bag, and I was like, ‘Dude, this fucking bread is amazing.’” The rolls— crusty on the outside, soft on the inside— brought Taub back to his days at Lee’s Hoagie House and Slack’s Hoagie Shack.

While not every client requires quite this level of custom treatment, Lyon Bakery supplies bread to more than 600 local restaurants, hotels, catering companies, and even British Airways and Lufthansa for their first class passengers. If you’ve ever had a sandwich at Tryst, Jetties, or Duke’s Grocery, you’ve tried their products.

About a year ago, Lyon Bakery relocated from Southwest D.C. to an 85,000-squarefoot warehouse in Hyattsville. The commercial mixers they use are each capable of holding more than 500 pounds of dough at a time. The large ovens look like homes in a trailer park. And up to 70,000 pounds of custom-milled flour is stored in silos two stories tall.

Despite the size of the 150-employee operation, Hakimi touts his bread as artisanal. Unlike other mass-production facto-

ries where the dough may never touch human hands, Lyon Bakery portions its dough into small batches that bakers fold by hand to develop its strength.

Conveyor belt machines specifically made for artisan breads mimic the way a baker would cut and shape the dough and let it rest on cloth. Rather than rushing dough into a proofing oven to rise (as some commercial bakeries do), Lyon Bakery lets some doughs first rest on wood trays in a refrigerated retarder that helps develop the bread’s flavor.

While fancy equipment helps do the work, “the methodology here is the old methodology,” Hakimi says. “Whether I mix 50 pounds or I mix 500 pounds, my method hasn’t changed. I’m still baking in a small batch form and allowing it to rest for three, four, as many hours as it needs.”

Beyond the process, part of the appeal for chefs like Taub is that Lyon Bakery uses only natural ingredients, no preservatives or artificial additives. “My bread molds,” Hakimi says as a point of pride.

22 april 22, 2016 washingtoncitypaper.com

Photographs by Darrow Montgomery

By Jessica Sidman

Hakimi started baking as a one-man operation in 1995, when he opened a small retail shop on Wisconsin Avenue NW. “I ended up selling it because I lost everything I had,” he says.

In 2000, he and two friends started Lyon Bakery with Taberna del Alabardero as their first account. The bakery had a single oven

and mixer at the time, and Hakimi recalls working 16-hour days and steaming up the windows of his car with seats full of bread deliveries.

Over the years, he’s grown the company and familiarized himself with French, American, Italian, and German baking disciplines. Lyon Bakery currently offers more than 250 different products—from cheddar-jalapeño rolls to sourdough baguettes— so chances are there’s already a recipe that will meet a restaurant’s demands.

But like he did for Bub and Pop’s, Hakimi also took a particular interest in customizing bread for Slipstream in Logan Circle.

Owners Ryan Fleming and Miranda Mirabella were looking for the perfect loaf for their San Francisco-inspired artisanal toast and met with a bunch of bakers before deciding on Lyon. Fleming had a long list of criteria: The bread had to be dense and substantial enough to be a meal on its own. He wanted a pullman loaf shape. And he didn’t want a totally neutral, bland flavor, but it also had to work with multiple toppings.

The bakery went through three to four iterations with different fermentation times and flavor adjustments before they got to the right product. Fleming describes the final result as a close relative to a pain au levain. “[Hakimi] just called us and said, ‘I’ve got it. Come down,’” Fleming recalls. When they arrived at the bakery, Hakimi showed them the raw dough and walked them through the whole process. “He sat there and just stared at the oven for whatever it was, 45 minutes, watching it and being like, ‘Alright, look, now it’s starting to turn a little bit more brown,’” Fleming says. “Seeing his excitement was so great.”

Back at the factory, Hakimi spreads out a range of breads for examination, including a slightly smaller version of the Bub and Pop’s hoagie roll.

“Feel that softness,” he says. Almost like memory foam, the bread bounces back when you press on it. “Break it and smell it,” he says cutting a roll in two and then pressing it to his nose and inhaling it as if it were a fine wine. “It has a nice smell to it.”

Hakimi notes that if you leave the bread out, it becomes crunchy on the outside. Because we don’t have two to four hours to test that out, he jogs the loaf across the factory to the oven. After two minutes, he jogs it back.

“The whole experience changes. You’re going to end up with a product that’s ultra light and crispy,” he says.

Hakimi says if that crunch is even a little bit off, Taub will call him. “He’s very particular, but I love that because that pushes me, and I never shy away from it.”

But if anyone’s a fanatic about bread, Taub says it’s Hakimi.

“He’s so into bread,” the chef says. “You want to talk about a hardcore bread nerd?

CP That’s him.”

washingtoncitypaper.com april 22, 2016 23

2016

CelebRatION

24 april 22, 2016 washingtoncitypaper.com

We had a blast!

Washington City Paper’s fourth annual Best of D.C. Celebration was held at The D.C. Armory on Wednesday, April 6. The event announced the winners of City Paper’s Best of D.C.’s Reader poll. Winners and attendees in over 200 categories celebrated with tastes from over 50 local restaurants, mixologists & breweries, lawn games provided by United Social Sports, and a live performance from both the winner

and runner up of “Best local original band” Aztec Sun & Batala. During the event attendees voted for the best cocktail and dish of the night.

“Best New Bar” Winner, The Pub & The People validated their title by winning best cocktail and best dish came, for the 2nd year in a row, from Tico. Congratulations to all of the 2016 winners and everyone who came out to celebrate with us.

Thanks to our Sponsors

washingtoncitypaper.com april 22, 2016 25

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CPARTS

Deaf moviegoers form group to organize open captioning screenings at area theaters. washingtoncitypaper.com/go/dcdeafmoviegoers.

TheaTer

It’s Complicated

Complex relationships are at the center of Robert Schenkkan’s All the Way and Bathsheba Doran’s The Mystery of Love & Sex. All the Way

By Robert Schenkkan Directed by Kyle Donnelly At Arena Stage to May 8 The Mystery of Love & Sex

By Bathsheba Doran Directed by Stella Powell-Jones At Signature Theatre to May 8

All the Way sounds like a title of an early-’80s sex comedy, but its provenance is older than that: It was the campaign slogan with which President Lyndon B. Johnson sought in 1964 to be elected to the office he’d inherited after Lee Harvey Oswald’s lucky shot in Dallas the year before. The first of Robert Schenkkan’s two dense history plays about the wily Texas Democrat focuses on his fight to honor slain President John F. Kennedy’s promise to pass the Civil Rights Act—and win the presidency after alienating much of his own party though that commitment. Like Steven Spielberg’s film Lincoln (scripted by playwright Tony Kushner and released the same year All the Way was first performed), it wades through the sordid dealings and queasy choices that proved necessary to force the country forward on race.

Next month’s HBO version of All the Way will see Bryan Cranston reprise the starring role that won him a Tony Award two years ago. But Kyle Donnelly’s breathless, unsyncopated production for Arena Stage has Jack Willis, who originated the part within its initial Oregon Shakespeare Festival production.

Droll, tetchy, and exhausted, Willis’ LBJ—one that looks and sounds less like the genuine article than Cranston’s, though that doesn’t matter—is the best reason to show up. At the end of the long evening, you’ll be glad the dirty job of outfoxing the likes of Gov. George Wallace of Alabama (Cameron Folmar) and Sen. Richard Russell Jr. of Georgia (Lawrence Redmond) didn’t fall to a nicer guy.

It’s a shame that the complexity Schenkkan and Willis bring to their LBJ (who is heard in the show’s first moment to utter the N-word, though he doesn’t use it nearly as often as the real LBJ did) isn’t replicated in the show’s other giant: Bowman Wright’s Martin Luther King Jr. Wright played a more richly imagined version of King at Arena three years ago in Katori Hall’s The Mountaintop. This time around, he evokes the civil

Handout photo by Stan Barou

By Chris Klimek

Arena’s production of All the Way too often feels like an all-night cram session before the final exam. rights leader’s integrity and courage but not King’s more seductive qualities.

That’s surprising, given how much time the show spends on King’s attempts to persuade his more militant allies in the movement (JaBen Early’s Stokley Carmichael, Desmond Bing’s Bob Moses) not to give up on Johnson, as well as on his infidelities. King gave malignant FBI Director J. Edgar Hoover (Richmond Hoxie), whose obsessive surveillance of him was hardly for the oft-threatened reverend’s protection, plenty of ammo. While LBJ orders Hoover to knock it off, he still listens to Hoover’s audio of King’s motel-room trysts for kicks. Whether that beat has a basis in history or not, it’s kind of an illuminating detail All the Way could use a little more of.

With dozens of characters barreling through 11-and-a-half tense months of U.S. history in truck-sized bolts of exposition, the show doesn’t leave much room for anyone other than

LBJ to evince an inner life. Those tightest with him come the closest: As Walter Jenkins, the president’s right hand, John Scherer renders a heartbreaking performance, and Susan Rome stirs admiration and pity as Lady Bird Johnson. Still, Donnelly’s florid pacing too often feels like an all-night cram session before the final exam. Scene changes are marked with no music and only minimal lighting adjustments; the action merely concludes in one part of the in-the-round Fichandler Stage and starts right up in another. Here and there, the juxtaposition achieves a thrilling effect, as when Willis’ LBJ watches Folmar’s Wallace deliver a speech on TV that we can see Folmar performing in the corner. A ring of period-appropriate television sets suspended above the stage give us the closed-circuit, black-and-white broadcast.

Even with 17 actors, double- and triple-casting is abundant enough that wigs and bald-caps are often laughable; presumably there just isn’t time during these backstage quick-changwashingtoncitypaper.com april 22, 2016 27

Continued

es to make them more convincing. While the sweep and speed of things can be intoxicating, I wished Donnelly would’ve calmed the pace, or Schenkkan would’ve chosen to survey fewer characters over a smaller plot of time. The play’s most compelling section comes in Act Two, when we reach the 1964 Democratic Convention in Atlantic City. The Mississippi Freedom Party picketed outside the building, demanding that their delegates be seated in place of the all-white Mississippi Democratic Party’s delegation. All of Johnson and King’s impossible choices—including the former’s fears of being perceived to take orders from the latter—are captured in those four days.

The show’s forbidding nature registers as both a flaw and a strength, somehow. Audiences not conversant, via memory or education, in the national affairs of half a century ago are likely to find themselves reeling. Nowhere is this best demonstrated than when Defense Secretary Robert McNamara (David Bishins) comes into the Oval Office with a sketchy report of a Navy destroyer being fired on by North Vietnamese torpedo boats in the Gulf of Tonkin. A few older audience members gasped—an acknowledgement, perhaps, that this episode would be used to justify a war that led to the deaths of more than 7,200 African Americans in one decade along with tens of thousands of other Americans and Vietnamese.

And if you don’t know, now you know, Mr. President.

Handout photo by Margot Schulman

CPARTS

British playwright Bathsheba Doran’s The Mystery of Love & Sex is a sort of thought experiment: If there were a community in America where the chirpy white daughter of a lapsed Southern Baptist and a secular Jew could grow up being best friends with the shy black son of an Evangelical Christian, what would their relationship look like as they crossed the sea of early adulthood together? The The Mystery of Love & Sex unlikelihood of their pairing gives Doran’s warm and unpredictable 2015 comic drama a nagging lack of specificity, one it eventually manages to shake—mostly—thanks to the brio of the four central performances in Stella Powell-Jones’ production for Signature Theatre. Signature’s 275-seat Max space feels like a big room for a play this intimate, with the audience surrounding the cast on three sides.

Shayna Blass plays Charlotte, a girl who seems to verbalize her every sexual impulse to her virginal best pal Jonny.

In the show’s first scene, the pair are in college and seemingly cohabitating as Charlotte’s parents (Jeff Still and Emily Townley, both empathetic and funny) arrive for dinner.

They want to know, as parents will, if Charlotte and Jonny are a couple now, and Charlotte is impatient to iron that out, too. Propositioning her oldest friend, she asks him, “Doesn’t it feel inevitable to you?” In fact, the bond she and Jonny (Xavier Scott Evans, channeling Jonny’s anxiety so fully it hurts to look at him) seems more sibling-like than

platonic or sexual; the way their rapport shifts as each party tries to pin down their sexual identity, and the relationship between Charlotte’s mother and father comes more sharply into focus, becomes the substance of the evening.

Weirdly, Doran has given only her male characters professions: Howard, Charlotte’s father, is the author of a popular series of crime novels, while Jonny publishes a memoir and becomes an academic. In the absence of a father, both Howard the man and Howard’s fiction turn out to have a profound and unforeseen influence on Jonny. To say more would be to deprive you of the show’s richest pleasure: discovering the way the joy and the obligation of family will assert itself, even when you CP wish that it would not.

1101 6th St. SW. $55–$110. (202) 488-3300. arenastage.org.

4200 Campbell Ave., Arlington. $40–$89.(703) 820-9771. signature-theatre.org.

Dance at its most glam-o-rock-ous!

Daniel Roberge by Dean Alexander

BOWIE & QUEEN May 4–15 The Kennedy Center Eisenhower Theater

kennedy-center.org | 202.467.4600 washingtonballet.org 28 april 22, 2016 washingtoncitypaper.com

CPARTS arTs desk

Following its owner’s death, The Chateau nightclub closes. washingtoncitypaper.com/go/chateaucloses

One Track Mind

Standout Track: “Hurt Cult,” the latest track from avant-futurist jazz and poetry group Heroes Are Gang Leaders, transcends genre. Is it Improvisational trap-jazz? Is it “Bitches Brew meets Yung Thug?” as bassist Luke Stewart calls it? Yes, it’s both of those things, but the eightminute track is also much more than that.

Musical Motivation: The group—composed of musicians and poets based across the country, with Stewart and drummer Warren “Trae” Crudup residing in D.C.—formed shortly after the death of poet Amiri Baraka in 2014 as a “chance for a group of musicians and poets to come together to celebrate [his] spirit through music and poetry,” Stewart says. Baraka’s work has guided the direction of the group’s first two albums, The Avant-Age Garde I Ams of the Gal Luxury and Highest Engines Near/Near Higher Engineers, but “Hurt Cult” is more of an experiment in fusing genres. “I definitely had this concept in my head for a long time,” says Stewart, who composed the bass riff that drives the tune. “It’s been a long time now where all these people in jazz have been talking about [fusing] jazz and hip-hop.”

At Damaged City Fest, NIMBYs with noise complaints try to ruin everything.

“Untitled,” by Robert Irwin (1963–65)

An “Arts Park” is opening in Brookland.

Truth Will Set You Free: Controversy struck Heroes Are Gang Leaders earlier this year when one of its former members, Larkin Grimm, accused band co-leader and D.C. native Thomas Sayers Ellis of sexual harassment. Quickly, the rest of the band came to Ellis’ defense, including vocalist Margaret Morris, who issued a public statement refuting Grimm’s claims. But the accusation took a toll on the band, and the song is a meditation on the incident. “We’re all feeling a lot of pain—it’s a statement on where we are today,” Stewart says. “We’re examining each other’s truths and trying to figure out how to define a personal and individual truth within —Matt Cohen ourselves.”

Listen to “Hurt Cult” at washingtoncitypaper.com/go/hurtcult.

Joe’s Record Paradise turns to crowdfunding to help save store.

Tarica June’s love letter to a gentrifying D.C., “But Anyway,” goes viral.

The fight to save Union Arts— and the future of D.C.’s arts communities—rages on.

Dance Institute of Washington founder Fabian Barnes unexpectedly dies at 56.

Local jazz musicians are asking for the D.C. Council’s help in making D.C. a jazz mecca again.

Darrow Montgomery

“Hurt Cult”

The Hirshhorn Museum and Sculpture Garden’s latest exhibition, “Robert Irwin: All the Rules Will Change,” is the museum’s best in a decade.

Farrah Skeiky

Heroes Are Gang Leaders

PJ Harvey releases a new album with a lot of observations on her time in D.C.

washingtoncitypaper.com april 22, 2016 29

TheaTerCurtain Calls

Proof Written by David Auburn Directed by Alex Levy At 1st Stage to May 8

of scribbled-in notebooks, promising ideas, and dead ends. Robbie Hayes’ outstanding lighting design illuminates this world further, colorfully reflecting the characters’ moods in every scene and during every transition.

The performances, while inconsistent, occasionally reach these same heights. The actors play off each other well and easily attune themselves to Auburn’s devilish sense of humor. (Hal, urging Catherine to come see his band: “I never sing, I swear to God.”) Clark’s Catherine is appealingly sullen, betraying both disengagement and anger at once. But she often fails to fully animate the character’s complex emotional state, particularly in the second act. Ludwig generally succeeds in evoking Hal’s geeky possessiveness of Robert’s legacy, and Osborn briskly and believably glosses over the introspection required of someone who’s allowed her younger sister to take care of her ailing father alone for years.

In theater, it’s essential for an audience to be able to relate to the characters in the play, even when the play is about math. The mathematicians in David Auburn’s Pulitzer Prize-winning drama Proof, however, describe math in a way that scarcely resembles your high school algebra class. It’s beautiful, ecstatic, capable of being fully grasped only by a few geniuses who must teeter on the edge of madness—and occasionally topple in—to do so. The play is set entirely on the back porch of a professor’s rickety old house near the UniThe strengths of 1st versity of Chicago, where phrases like Stage’s production of “nonlinear operator theory” and “elProof are manifold. liptic curves” are tossed around as if intoned by awestruck saints, overcome by the mysteries of the divine.

1st Stage’s production, enchantingly directed by Alex Levy, invites us to feel at home in this world, in which the math is infinitely less complicated than actual human relationships.

One of the mathematicians in question is Robert (Ray Ficca). After a stunning series of mathematical breakthroughs by age 23, he teeters on the aforementioned edge for a while before, finally, toppling in.

Another is his 25-year-old daughter, Catherine (Katrina Clark), emotionally numb after years of taking care of him. The dialogue between father and daughter in the play’s memorable opening scene reveals that Robert has recently died, establishing the idea that he The best performance in the bunch comes and Catherine might share more than an ap- from Ficca, who exudes genuine warmth in titude for math. his three scenes. When the depths of his afAs the play progresses, Catherine sees her fliction are revealed late in the second act, it’s insular world begin to crumble, thanks to Hal as emotionally devastating a moment as I can (Sam Ludwig), a former student of Robert’s recall seeing in a play. That moment is also who’s investigating his papers with unclear in- a testament to Levy’s direction: He masters tentions, and Claire (Liz Osborn), her estranged the ebbs and flows of Auburn’s script, never sister who’s just arrived from New York. After pushing the drama too hard (aside from the Catherine and Hal bond over their shared loss almost comically heavy-handed way that the and spend the night together, she entrusts him first act is brought to a close). with a secret that threatens to shatter that world The program notes that, within two years permanently: It’s a notebook containing the tit- of its initial production, Proof had become ular proof, a remarkable math breakthrough “the most widely produced play in the United which Catherine claims as her own, but whose States.” It’s easy to see why. Auburn’s script authorship Hal questions. offers a multitude of opportunities for actors The production’s strengths are manifold. to explore the sort of deep questions about Most noticeable among them is the set, imagi- family and trust (and math!) that leave aunatively designed by Kathryn Kawecki, which diences enthralled long after the curtain has surrounds the actors with an impressive back- fallen. 1st Stage’s production serves up severdrop of strewn-about papers, giving us vis- al moments that rise to meet the high level of ceral access to Catherine and Robert’s world the source material, and in those moments, we 30 april 22, 2016 washingtoncitypaper.com

come to understand just how awe-inspiring a —John Krizel truly elegant proof can be.

1524 Spring Hill Road, Tysons. $15–$30.

1ststagetysons.org. (703) 854-1856.

Small Town STRiFe Chronicle of a Death Foretold

By Gabriel García Márquez Adapted by Jorge Alí Triana Directed by José Zayas At GALA Hispanic Theatre to May 8 Before García Márquez was Gabo, the larger-than-life literary figure—whose exploits included going spearfishing with Fidel Castro, providing legal counsel to the Sandini-

This version, by Jorge Alí Triana, stays true to the book, notably its jumping around in time, a potentially confusing feature handled adeptly by director José Zayas. Though written like a police procedural, Chronicle makes for a pretty bad murder mystery, since the crime is laid out in the title alone and the perpetrators are revealed not long into the story.

Rather, Gabo was more concerned with the notion of collective guilt and what makes an entire village turn a blind eye to something so horrific as an honor killing. Zayas makes this indictment all the more searing on stage, with a cast of folksy but not particularly lovable villagers, ominous lighting, and a skeletal set of rough hewn wood structures (a church, a store, a cockfighting ring, all seemingly picked apart by vultures).

GALA’s talented actors play well to what one would think of as stock characters, were Chronicle not based on a true story: the poor, devout mother; the headstrong daughter who resists an arranged marriage; the mysterious noble who shows up in town and starts throwing money around. For a Spanish-language play (with English surtitles) set in Colombia, only one of the cast has an identifiably Colombian (in her case, paisa) accent, Inés Domínguez del Corral, reflective of the international casting from such varied countries as Mexico, Panama, Spain, Chile, and Peru. As Angela, she puts on an impressive performance of a character who is taken advantage of and yet pretty unsympathetic: She is forced into marriage with the mysterious noble, then cast aside when her new husband finds she is not a virgin.

However when her family demands to know the man who took her honor, she names an innocent, Santiago Nasar, which starts the whole ball rolling toward his murder.

That this murder wasn’t inevitable but entirely preventable is Chronicle’s most stinging critique. Nasar, played as a woeful naif by Nicolás Carrá, blithely wanders around what all of his neighbors know, but nobody warns him that it will be the last day of his life. Even his killers, Angela’s honor-bound brothers (Edwin Bernal and José González) don’t really want to do it, and nervously call out their murderous intentions to anyone who will listen in hopes someone will ferry him to safety while still saving face. And after Nasar is dying with his guts out, no one will take responsibility: not the family, not the priest, not the mayor, all of whom were in on it. Chronicle is a sneer at small town small minds, a story that only someone who grew up there and left could make. But given the avoidable nature of the crime, it’s a sneer that feels justified. —Mike Paarlberg Handout photo byTeresa Castracane

The RighT FoRmula

stas, and getting punched in the face by Mario Vargas Llosa—he was a humble beat reporter.

It was then that he honed the skills that served him best as a novelist, observing the peculiarities of small town life. In particular, it was life in the isolated villages of Colombia’s Caribbean coast where he grew up, reported, and eventually memorialized in his fiction as surreal, backwards, and a little bit crazy.

1981’s Chronicle of a Death Foretold was one of his later works, breaking a 10-year self-imposed exile from writing in protest of Latin America’s turn to military rule. By this time, his wondrous portrayal of the fictional village Macondo in One Hundred Years of Solitude seemed to have transformed into something more bitter. Chronicle’s village is nothing magical, just a backwater of nasty people pathologically obsessed with status and honor. Chronicle is more narrowly focused and dialogue heavy, making for a much better stage adaptation than his sprawling first novel would.

3333 14th St. NW. $20-$42. (202) 234-7174. galatheatre.org

IS THE GLASS HALF FULL? IS THE GLASS HALF EMPTY? HOW ABOUT HALF OFF! REALDEAL.WASHINGTONCITYPAPER.COM

TUESDAY, MAY 3

8 P.M. • CONCERT HALL

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG (202) 467-4600 Tickets also available at the Box Office.

washingtoncitypaper.com april 22, 2016 31

Galleries

Past and Present Tense A career retrospective of late local artist Kevin MacDonald poses a question it doesn’t answer.

“Kevin MacDonald: The Tension of a Suspended Moment” At the American University Museum at the Katzen Arts Center through May 29

By Kriston Capps

overtly inoffensive, neither expansive nor immersive. There’s nothing conceptual or tricky about them.

That’s not to say that MacDonald’s works lack sophistication. His compositions are sharp. “Barnett Newman’s Collage” (1978), for example, captures a domestic scene that sort-of resembles one of Newman’s Abstract-Expressionist paintings: a visual pun.

composition never really did. A few paintings, including “Seascape” (1986) and “Window on the World I” (1987), saw MacDonald experiment with extending the landscape onto the actual frame, but that’s about as far as he ever got with formalist escapes. Throughout his career, MacDonald expressed an indebtedness to Charles Sheeler, the great Modernist painter of the urban landscape. (So have

In the years since Kevin MacDonald’s death in 2006, a number of lifelong D.C.–area artists have found new purchase in contemporary galleries and museums. The Hirshhorn Museum and Sculpture Garden put on an acclaimed retrospective of Anne Truitt’s colorful columns in 2009. Museums across the country are dusting off their Sam Gilliam drape paintings. And the Washington Color School, it seems, is back in session.

MacDonald doesn’t quite fit in with any of these artists. His drawings of houses, strip malls, cafés, interiors, and landscapes depart wildly—or rather, modestly—from the post-war abstraction for which the District is best known. His shy pastels and bashful devotion to Cubism, years after the fact, seem quaint by comparison. Even his favorite medium, colored pencil, is a demure throwback.

That makes MacDonald an ideal subject for a second look, and the American University Museum at the Katzen Arts Center has given him one with a career retrospective. “The Tension of a Suspended Moment” brings together dozens of the late artist’s paintings and drawings: from his stately studies from the late 1970s and ’80s to his bolder—and often weirder—flights of fancy from the ’90s and early ’00s. “The Tension of a Suspended Moment” poses, but never quite resolves, a central ques- “Suburban Apotheosis” by Kevin MacDonald (2000) tion about MacDonald’s work: Is it conservative or subversive? Or both, or neither?

“Booth” (1976) and “8th Grade Dance” many others.) MacDonald took the core logTwo drawings from 1976, “Untitled (1975) are clean, precise interior composi- ic of Sheeler’s paintings, his forthright geom(Beige Vase Lamp)” and “Untitled (Green tions. Early in his career, MacDonald tapped etry and three-dimensional perspective, and Vase Lamp),” are representative of his ear- into the same pastel palette and sensibility extended it to the suburbs. ly graphic works. They are softly shaded col- that Michael Graves, the Postmodernist archiAlong the way, MacDonald made some ored-pencil drawings of ornamental lamps, tect, brought to his classically informed archi- wrong turns. His brushstroke in the 1990s flattened like Egyptian hieroglyphs by way tectural drawings. While the resemblance is came to take on the style of Robert Delauof Dorothy Draper. MacDonald’s studies are, bound to be coincidental, it’s relevant: Graves nay, the French Cubist (or “Orphist”) paintby narrative temperament, plain and pedes- was invested in a reactionary project against er. Reaching backward so far was not just an trian, kin to the kind of art that might hang high-Modernist adventurism. So too, maybe, unfashionable choice, it was anti-fashionable. in a budget-friendly hotel room. That’s no was MacDonald.

Works such as “Restaurant Booth, W. VA.” knock: MacDonald’s drawings are rendered While his mark-making style changed a (1990) and “Last Deli in D.C.” (1991) look with great skill. But they’re subtle stuff, lot over the years, MacDonald’s approach to like imitations. “Dinner at Herb’s” (1991)— 32 april 22, 2016 washingtoncitypaper.com

no doubt named for Herb White, a restaurateur and collector who was once described to me as the “Paul Mellon of Adams Morgan”— is a painting of a Cubist-styled dinner party.

“Dinner at Herb’s” might have been important to MacDonald (it’s the largest piece in the show), but it’s not a compelling point in an argument for MacDonald’s work.

The show is very nearly bookended by the two best works on view. One is “Rooftops” (1982), a barely there drawing of a cluster of single-family homes. It’s possible this is a representative drawing of a real scene from the D.C. suburbs, but it hardly matters: It’s a collection of objects that works exactly like a still-life.

This could be a tribute to Morandi.

At the other end of MacDonald’s career is “Mysteries of Silver Spring, Girls Portion (Irving’s)” (2003), a much bolder precisionist painting (à la Sheeler) with a more intense palette. Strip-mall shop signs contrast with the fairly soaring towers of the Silver Spring skyline in a way that’s both funny and earnest—the way that Ed Ruscha’s text paintings are serious but never serious.

There is an argument to be found in “The Tension of a Suspended Moment,” although it’s not easy to find the through point. Just like any American University Museum exhibit, MacDonald’s retrospective sags under its own weight: There are just too many works. They are crammed too tightly into this notoriously tricky EYP Architecture– designed building. Hanging on one curving wall that runs about 25 feet are 12 different pieces. It’s a wall meant for maybe three.

A tighter show have might teased out MacDonald’s John Cheever–like fascination with the morality play of the suburbs or the silent Edward Hopper terror threading together so many paintings of isolated barns and empty booths. “The Tension of a Suspended Moment” makes the case for MacDonald as a contrary D.C. artist, but it may take another edit to give his work the context it deserves. CP 4400 Massachusetts Ave. NW. Free. (202) 8851300. american.edu/cas/museum.

Teller evoluTion “She Who Tells a Story: Women Photographers from Iran and the Arab World” At the National Museum of Women in the Arts to July 31 Fantastical images of Muslim women once ignited the exotic fantasies of the Western world, wrought from tales like that of legendary Queen Scheherazade. To escape death at the hands of her husband, Scheherazade would weave a new cliffhanger each night until dawn, keeping him enthralled enough to delay her murder—a fate suffered by 1,000 wives before her.

Scheherazade as a symbolic heroine, especially in Persian culture, casts a long shadow over “She Who Tells a Story: Women Photographers from Iran and the Arab World,” now at the National Museum of Women in the Arts. The exhibition is essentially a survey of a trend that emerged in the early 1990s in which Muslim women artists co-opted Muslim women’s images in photographs to subvert prevailing stereotypes and confront restrictive social conditions. The storytellers themselves, 12 photographers from Iran and Arab countries, are the proverbial Scheherazades of their time, presenting performative reclamations of the female body not seen this powerfully since second-wave feminist art.

That reference to what can be recognized as feminist art—performance, the body, divesting representation of its power—is present in the work of hybrid-identity artists like Shirin Neshat. Her work is considered the genesis of art-world interest in the examination of Muslim female identity through photography.

Later artists, including Moroccan-born Lalla Essaydi, have adapted Neshat’s signature veil-appropriation and the use of calligraphy.

But Essaydi’s newest work, elaborately staged polyptychs that replace the ornate tile and textile backdrops of her “harem” settings with patterns of gold bullets, also allude to Islamophobia as the new Orientalism.

It’s not uncommon for artists based in the U.S. to address space and identity, but similar strategies are present in the photographs of Shadi Ghadirian, who has never worked outside of Iran. Her “Qajar” series, named in reference to the ruling dynasty under whose leadership colonization became a threat, features studio portraits of women in various forms of hijab.

But in a humorous and rebellious twist, the women appear nonchalant as they look straight at the viewer, holding a can of Pepsi or reading a banned Iranian newspaper—a staged image generated for colonial tourists eager to collect postcards of exotic Persian women. Ghadirian’s work consistently reveals the artifice of those early Orientalist images, even if a contemporary critique of the U.S. or Iran is left ambiguous.

More overt critiques are present in the work of a promising new Iranian photographer, Newsha Tavakolian, who addresses the prohibition against women performing in public or recording vocals. Bust-length portraits of women singing before illuminated, sequined curtains recall an era of television before the Islamic state. Tavakolian animates the images in silent videos as a logical progression, and her investigation is completed with staged album covers for make-believe female performers. It’s an issue Neshat famously gave focus to in her video Turbulent, which won the Golden Lion at the Venice Biennale in 1998. Jordanian Tanya Habjouqa’s “Women of Gaza” series is perhaps more defiant,

GW LISNER PRESENTS

GalleriesSketcheS

SUNDAY

APRIL

Buika

24 8 pm

Visit lisner.gwu.edu or call 202.994.6800 for more information or to purchase tickets. /GWLISNER

@GWLISNER

LISN_1516_4

“Untitled #5” by Gohar Dashti (2008) showing women in pleasurable activities like a picnic or a boat ride, daring to enjoy life under politically oppressive circumstances.

With intense color, Rania Matar’s environmental portraits of young Lebanese women are the most profound in the exhibition. Her prints are large, and she takes photographs from angles that produce spaces that appear more cavernous than they actually are, rendering newly independent young women in their first homes. These women are in that heartbreaking stage of awkward youth, poised and excited to assert an identity not yet formed, unaware of what lies ahead. The struggle to maintain that identity, even as it reveals itself, against the limiting standards of beauty and sociopolitical realities is a struggle that knows no cultural bound. The murderous king eventually does fall in love with Scheherazade—for her creativity, her inventiveness, and her mind. Maybe we shouldn’t dismiss medieval fictions or the power of a —Erin Devine good story.

1250 New York Ave. NW. $8-$10. (202) 7835000. nmwa.org. washingtoncitypaper.com april 22, 2016 33

FilmShort SubjectS Don’t Let Me Be MisunDerstooD Nina Directed by Cynthia Mort Nina arrives, much like its legendary subject, with baggage. Its casting has been the subject of controversy since 2012, when it was first announced that Zoe Saldana would be playing the eponymous musician and civil rights activist. Casting a Latina (although Saldana claims Haitian roots) as the dark-toned Simone drew complaints of minstrelism and whitewashing, with some of the criticism coming directly Nina from the Simone estate.

It would be hard for any movie to succeed under such circumstances.

The good news is that, nearly as soon as Nina begins, the casting controversy slips away. The bad news is it’s because the film fails on so many other levels.

Frustratingly, Nina’s most crucial misstep may be in its boldest stroke.

While musical biopics typically trace the rise, fall, and rebirth of their subjects, writer/director Cynthia Mort begins in 1997, with Simone pulling a gun on the president of her record label in a failed effort to collect decades of back royalties. She is involuntarily committed to a psychiatric hospital, where she meets Clifton Henderson—a sweet, handsome nurse (David Oyelowo), who, when she gets out, becomes her personal assistant, companion, full-time bartender, and romantic interest, as well as the champion of her inevitable comeback.

From here, the needle skips all over the record of her life. If this is a greatest hits album, Nina picks the leastaccessible songs and then puts them all in the wrong order. In the present, Simone is deeply unsympathetic. She ends a performance halfway into her first song because the audience is talking too much and calls Clifton a “faggot” when he refuses to acquiesce to her advances. Indie filmmaking is not averse to unlikeable protagonists, but Mort errs by never giving context to her instability. If your protagonist is going to be an asshole, you have to tell us why. Instead, the film relies on an assumed understanding of the inequality and racism she suffered as a child and an adult.

Does being a victim of racism describe the totality of Nina Simone? I doubt it, but the film would have us believe it.

All of which is a roundabout way of pointing out that Nina doesn’t have much of a story. Say what you will about the clichés of the musical biopic, but at least they follow a proven formula. There is drama in the rise, fall, and rebirth of a musical legend, as well as

commercial satisfaction. Nina robs Simone’s story of drama by failing to dramatize her fall or find catharsis in the rebirth.

And so the casting, which got the only publicity Nina deserves, become irrelevant. Saldana deftly mimics the idiosyncrasies of Simone’s speech, but she never captures her anguish. Maybe no actress could, but casting a 37-year-old to play Simone, in her 60s for much of the film, adds to the degree of difficulty (see Leonardo DiCaprio in J. Edgar for an even better example). Oyelowo seems to be keeping a low profile in the film, which is just as well as he may hope that people will forget he is there. On the other hand, Mike Epps does a terrific Richard Pryor in a short

is an acclaimed photojournalist who repeatedly and voluntarily travels to the Middle East to work. She leaves behind two sons and her husband, to whom she’s forever promising to slow down. But Isabelle’s experience whenever she comes home mimics that of many soldiers’: She’s restless, knowing that there are still life-and-death situations overseas that need to be communicated to the rest of the world. And she has difficulty adjusting from a war zone to stateside suburbia: “You feel like you’re in the way,” she says in voiceover. “Like you’re in the wrong place.”

And when she does slow down, after having survived her incredibly risky beat, Isa-

onscreen stint, but these scenes are tainted by the realization that they have no purpose other than to show off his impression and, more to the point, Pryor’s comedic energy. In two scenes, Nina captures Pryor better than it does Simone in 90 minutes, and that should be a pretty big controversy in its own right.

—Noah Gittell

belle is killed in a car accident less than a mile from her home.

The film begins two years after Isabelle’s (Isabelle Huppert) death. An art gallery is hosting a retrospective of her work and consults her husband, Gene (Gabriel Byrne), about taking a look at any of her unpublished photos. Their eldest son, Jonah (Jesse Eisenberg), leaves his wife and newborn for a few days to help sort through her darkroom. Teenager Conrad (Devin Druid), meanwhile, plays video games, sulks, and shuts out his father whenever he tries to talk to his son.

And that’s a problem because, in addition to things already being prickly between the three of them, Isabelle’s New York Times colleague (David Strathairn) is writing a biographical piece about her show that will include a significant fact that Conrad doesn’t yet know.

Nina opens at Hoffman Center 22 and Magic Johnson Capital Center 12.

CoLLateraL DaMage Louder Than Bombs Directed by Joachim Trier In Louder Than Bombs, writer-director Joachim Trier tells a story of irony. Isabelle

34 april 22, 2016 washingtoncitypaper.com

Trier (Oslo, August 31st) and co-scripter Eskil Vogt occasionally tell the story unconventionally. There are flashbacks, of course, as well as surrealistic moments in which Isabelle appears in the present. But the filmmakers also play with voiceover, having Gene, for example, relate some events in the third person as if he’s reading his memoir, or Isabelle narrating in first person as if she’s reading her journal. Even a very minor character gives a bit of narration. But besides these instances, the film is voiceover-free, with musical cues also predominantly absent in favor of silence that ratchets up the tension.

And in one case, a scene that we first see from Gene’s perspective is later replayed from Conrad’s. It gives us insight into what each character knows about the other that could otherwise be expressed only through dialogue. It’s an intriguing tack, but Trier doesn’t stop at that: As Conrad sits in a class one day, we actually get inside his head, witnessing his aching, obsessive replays of every detail of his mother’s accident as he imagines it happened.

Conrad is clearly the most walled-off of the family, but Jonah is a close second. He’s more communicative but not necessarily nicer to his dad than Conrad is, turning down his offers to talk or get something to eat in favor of immediately diving into his mother’s stuff, solo. Jonah’s attitude is not necessarily all-business; he’s protective of her work, not wanting the gallery to discover Isabelle’s unseen photos before the family does. Along with strained fatherson relationships, the script weaves in the theme of strained marriages, with Gene having had rough patches with Isabelle and Jonah experiencing dissatisfaction now.

Louder Than Bombs may be a bit theatrical in its telling, but its ever-present, if largely low-lying, gut punch rarely feels unrealistic, thanks to minimal dialogue in favor of quietly fraught scenes as well as the cast’s strong performances, with the four main characters projecting the walking wounded to various degrees. If a quibble is to be named, it’s a plot contrivance involving Gene and his new lover that doesn’t seem organic but a cheap trick to steer the story in a certain direction. Up until that point, Gene comes off as too smart to do something so stupid. Yet considering this is a portrayal of an imperfect and struggling family, perhaps the misstep does belong wholly to the character and not to the —Tricia Olszewski script itself.

Louder Than Bombs opens Friday at the Angelika Pop-Up and Avalon Theatre.

COLLEGE PERFORMING ARTS SERIES $10 BURGER & BEER MON-FRI 4 P M -7 P M

TRIVIA EVERY M O N D AY & W E D N E S D AY

$3 PBR & NATTY BOH ALL DAY EVERY DAY

APRIL

CASH’D OUT THURSDAY, 4/21 • 9PM TIX $10-$15

600 beers from around the world

SPRING DANCE CONCERT April 29-30, 2016, 8 p.m.

May 1, 2016, 2 p.m.

Tickets are $10 Regular, $8 Seniors & $5 Students w/ ID

ROBERT E. PARILLA PERFORMING ARTS CENTER

Montgomery College • 51 Mannakee St., Rockville, MD 20850 www.montgomerycollege.edu/pac Box Office: 240-567-5301

WASHINGTON CITY PAPER College Perfomring Arts Series SPRING DANCE CONCERT

Downstairs: good food, great beer: $3 PBR & Natty Boh’s all day every day

APRIL 21ST

UNDERGROUND COMEDY SHOW STARTS AT 8PM APRIL 22ND

H

H

CASH’D OUT SCOTT KURT & MEMPHIS 59 Sat 4.23 QUAKER CITY NIGHTHAWKS Tue 4.26 JON DEE GRAHAM Thu 4.28 TERI JOYCE & THE TAGALONGS Sat 4.30 FOLK SOUL REVIVAL Fri 4.22

H

Montgomery College • 51 Mannakee St., Rockville, MD 20850 www.montgomerycollege.edu/pac Box Office: 240-567-5301

STARR STRUCK COMEDY

DOORS AT 7 PM SHOW AT 8PM

Thu 4.21

S

24 BRUNCH WITH VUYO

SOTASHE & LYLE LINK

W/ THE CHRIS GRASSO TRIO

S

24 TERRY REID

& COSMIC AMERICAN DERELICTS

W 27 THE ROCK-A-SONICS TH 28 CHANTÉ MOORE & F 29 SA 30 THE SOUL CRACKERS M AY

APRIL 23RD

HOT NIGHT BURLESQUE

DOORS AT 8PM SHOW AT 9PM

S 1 STEVE TYRELL M 2 AN EVENING WITH

SNARKY PUPPY

APRIL 24TH

RAINBOW PROJECT DOORS AT 5PM SHOW AT 6PM

H

DASH RIP ROCK Thu 5.5 HIGH PLAINS JAMBOREE Please run in the April 21st and 28th editions Tue 5.10 SCOTT KURT DUO Fri 5.13 WOODSHEDDERS Sat 5.14 TONY FURTADO Call Angie Lockhart with any questions. & GURF MORLIX Fri 5.20 ALEX VANS & Angie Lockhart THE HIDE AWAY Publicist Sun 5.29 POSSESSED BY Robert E. Parilla Performing Arts Center PAUL JAMES April 20-22, 2016, 8 p.m.

Montgomery College Thu 6.2 IAN MOORE & April 23, 2016, 2 p.m. & 8 p.m.

51 Mannakee Street LOSSY COILS AprilMD 24, 2016, Rockville, 20850 2 p.m.

Fri 6.10 BILLY JOE SHAVER The Conference of the Birds reflects the phone 240-567-7538 Sun 6.19 JASON EADY symbolism of the birds’ journey in Fri 7.15 RAY WYLIE HUBBARD fax 240-567-7542 exploring the deep spiritual questions of life, which mirrors an Sat 7.16 RAY WYLIE HUBBARD

ROBERT E. PARILLA PERFORMING ARTS CENTER

PLUS GOIN’ GOIN’ GONE

*all shows 21+

Tue 5.3

individual’s search for God. Tickets are $10 Regular, $8 Seniors & $5 Students w/ ID

F 22 CAMEO [2 SHOWS] SA 23 DAVY KNOWLES

HILL COUNTRY BARBECUE MARKET

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

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

APRIL 25TH

DISTRICT TRIVIA STARTS AT 730PM APRIL 26TH

LAST RESORT COMEDY

DOORS AT 8PM SHOW AT 830PM APRIL 27TH

DISTRICT TRIVIA

[2 SHOWS]

W 4 NRBQ VS. LOS F

6

S

8

TH TH S S

12 19 21 22

F

27

STARTS AT 730PM APRIL 28TH

UNDERGROUND COMEDY

DOORS AT 8PM STARTS AT 830PM APRIL 29TH

BARE NAKED COMEDY

DOORS AT 7PM SHOW AT 8PM APRIL 30TH

GLIT-O-RAMA

DOORS AT 8PM SHOW AT 9PM 1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

STRAITJACKETS NEWMYER FLYER PRESENTS GRIN AGAIN! MOTHER’S DAY BRUNCH W/ THE RAT PACK SOS BAND DEANNA BOGART THE VI-KINGS BAND ON THE RUN STARRING DENNY LAINE OF WINGS AN EVENING WITH

ERIC BENET JUNE

F

3 RONNIE LAWS

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

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends washingtoncitypaper.com april 22, 2016 35

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

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

feat.

THIS WEEK’S SHOWS

Tokyo Police Club w/ From Indian Lakes Early Show! 6pm Doors ............. Th 21 STEEZ PROMO PRESENTS

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

Tribal Seeds w/ Fear Nuttin’ Band & E.N Young ............................................... Sa 23 Puddles Pity Party This is a seated show.......................................................... M 25 Poliça w/ MOTHXR ........................................................................................................ Tu 26 Bob Mould w/ Ted Leo (solo) ..................................................................................... W 27 APRIL ALL GOOD PRESENTS

Elephant Revival w/ Chadwick Stokes ......................................................... Th 28 The Residents present Shadowland Early Show! 5:15pm Doors. ...............F 29 U STREET MUSIC HALL PRESENTS

Miami Horror w/ Beacon • Foreign Air • Will Eastman

All 1/24 Miami Horror tickets honored. Late Show! 10pm Doors ..............................F 29 Maggie Rose & The Morrison Brothers Band Early Show! 6pm Doors . Sa 30 STEEZ PROMO PRESENTS

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

M. Ward w/ NAF ..................................................................................................Su 1 Parachute w/ Jon McLaughlin ............................................................................W 4 The Brian Jonestown Massacre ................................................................Th 5 Super Furry Animals .......................................................................................F 6 LITTLE STEVEN’S UNDERGROUND GARAGE AND SIRIUS XM PRESENT

The Sonics w/ The Woggles • Barrence Whitfield and The Savages •

Jake Starr and The Delicious Fullness ................................................................. Sa 7

Old 97’s & Heartless Bastards w/ BJ Barham (of American Aquarium) ....... M 9 Parquet Courts w/ B Boys Early Show! 6pm Doors ...................................... Th 12 Titus Andronicus w/ La Sera Late Show! 10pm Doors ................................. Th 12 Penguin Prison w/ ASTR & Savior Adore .........................................................F 13 The Kills w/ L.A. Witch Early Show! 7pm Doors ............................................... Sa 14 Mixtape: Alternative Dance Party

with DJs Matt Bailer and Shea Van Horn Late Show! 11pm Doors ........... Sa 14

Yeasayer w/ Young Magic .................................................................................. M 16 Say Anything w/ mewithoutYou • Teen Suicide • Museum Mouth .................. Tu 17 White Ford Bronco .........................................................................................F 20 JMSN w/ Tiffany Gouché .....................................................................................W 25 Caravan Palace .............................................................................................. Th 26 Hot In Herre: 2000s Dance Party ................................................................. Sa 28 RJD2 ...................................................................................................................Su 29 Christine and the Queens........................................................................... Tu 31

Jason Aldean w/ Thomas Rhett • A Thousand Horses • Dee Jay Silver .................. MAY 7 I.M.P. & AEG LIVE PRESENT

Pentatonix w/ Us the Duo & AJ ............................................................................ MAY 12 SWEETLIFE FESTIVAL FEATURING

The 1975 / Halsey / Blondie / Flume / Grimes and more! ................................... MAY 14 Cage The Elephant w/ Portugal. The Man & Broncho .................................. MAY 15

GV/FRANK PROD. PRESENT

Kenny Chesney w/ Old Dominion ....................................................................... MAY 19 CAPITAL JAZZ FEST FEAT

New Edition • En Vogue • Toni Braxton and more! ............................................. JUNE 3-5

Ellie Goulding w/ Matt and Kim ......................................................................... JUNE 13 Tame Impala w/ M83 ................................................................................................. JUNE 16 Chris Stapleton & Jason Isbell w/ Frank Turner and the Sleeping Souls . JUNE 18 DC101 KERFUFFLE FEATURING

blink-182 • Silversun Pickups • Cold War Kids • Violent Femmes and more! .............................................................................JUNE 26 ALL GOOD PRESENTS MERRYLAND MUSIC FEST FEATURING

The String Cheese Incident • Ben Harper & The Innocent Criminals and more! . JULY 9 & 10

Modest Mouse / Brand New ................................................................................ JULY 12 VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

Falling In Reverse • Issues • Four Year Strong and more! .................................... JULY 16

Brandi Carlile & Old Crow Medicine Show w/ Dawes ......................... JULY 23 SUMMER SPIRIT FESTIVAL FEATURING

Jill Scott • Erykah Badu • The Roots and more! ..........................AUGUST 6 & 7

Shinedown w/ Halestorm • Black Stone Cherry • Whiskey Myers ....................AUGUST 10

Train w/ Andy Grammer ...............................................................................................AUGUST 20 Miranda Lambert w/ Kip Moore & Brothers Osborne .....................................AUGUST 25 The Lumineers w/ BØRNS & Rayland Baxter ..................................... SAT SEPTEMBER 10 • For full lineups and more info, visit merriweathermusic.com • 930.com

Echostage • Washington, D.C.

X Ambassadors w/ Robert DeLong & Sara Hartman ............................................. MAY 12 Bloc Party w/ The Vaccines & Oscar ............................................................................ MAY 19 2135 Queens Chapel Rd. NE • Ticketmaster

Pimlico Race Course • Baltimore, MD BUDWEISER INFIELDFEST AT THE PREAKNESS FEATURING

The Chainsmokers • Fetty Wap • All Time Low and more! .............................. MAY 21

JUNE

Nada Surf w/ Big Thief & Bird Of Youth ..............................................................W 1 Charles Bradley and His Extraordinaires .............................................Th 2 U STREET MUSIC HALL PRESENTS

Kaytranada w/ Lou Phelps .................................................................................F 3

JUST ANNOUNCED!

1215 U Street NW Washington, D.C.

Loretta Lynn ...................................................................SAT NOVEMBER 19 On Sale Friday, November 22 at 10am

STORY DISTRICT & CAPITAL PRIDE PRESENT

Out/Spoken: Queer, Questioning, Bold, & Proud

True stories through an LGBT lens Early Show! 6pm Doors ......................... Sa 4 Who’s Bad: The World’s #1 Michael Jackson Tribute Band Late Show! 10pm Doors........................................................................................ Sa 4 Years & Years ...................................................................................................Su 5

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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

JUSTICEAID CONCERT BENEFIT FOR THE CFSY AND NJDC

Ozomatli plus Big Tony & Trouble Funk .................................................... MAY 15 Sam Beam and Jesca Hoop w/ Marlon Williams .............................................. MAY 21 Plastic Cup Boyz ................................................................................................... MAY 29 The Jayhawks .......................................................................................................JUNE 18 John Carpenter: Live Retrospective Performing themes from his classic films and new compositions ............................. JULY 12 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

Bryan Ferry w/ LP ................................................................................................. JULY 25 Gad Elmaleh ................................................................................................ SEPTEMBER 1 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

Father w/ Lord Narf & Lui Diamonds .. Th 28 The Wild Feathers w/ The Shelters & Wanted Man...... Su MAY 1 Fat White Family / Dilly Dally Freddie Gibbs w/ NAPPYNAPPA ...........W 4 w/ Laughing Man ................................. Sa 30 Del the Funky Homosapien ............... Th 5 • Buy advance tickets at the 9:30 Club box office

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

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

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

Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. www.buzzbakery.com

36 april 22, 2016 washingtoncitypaper.com

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

930.com

INER 60S-INSPIRED D Serving

EVERYTHING from BURGERS to BOOZY SHAKES

HAPPY HOUR:

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

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

10:30 pm - Close $5 Drafts & Rail Specials

CITYLIST Music

CITY LIGHTS: FRIDAY

Rock

“DEMO: PLACE”

Friday 9:30 Club 815 V St. NW. (202) 265-0930. Murder By Death, Kevin Devine & The Goddamn Band. 8 p.m. $20. 930.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Marc Cohn. 7:30 p.m. $45. birchmere.com. blaCk Cat 1811 14th St. NW. (202) 667-4490.

Robin Hitchcock, Eugene Mirman. 9 p.m. $22. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. *repeat repeat, Lighting Fires, Grey Gardens. 6:30 p.m. $10–$12. dcnine.com.

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

Brian Dolzani. 8 p.m. Free. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000.

Donna The Buffalo, City of the Sun. 8:30 p.m. $20–$25. thehamiltondc.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Wylder, Justin Trawick, Annie Stokes. 9 p.m. $12. rockandrollhoteldc.com.

Funk & R&B bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Cameo. 7 p.m. & 10 p.m. $55–$125. bethesdabluesjazz.com.

ElEctRonic u street musiC hall 1115 U St. NW. (202) 5881889. Steffi, Martyn, DJ Lisa Frank. 10 p.m. $10. ustreetmusichall.com.

Jazz atlas performinG arts Center 1333 H St. NE. (202) 399-7993. Joanna Wallfisch/Dan Tepfer Duo. 8 p.m. $28. atlasarts.org. barns at Wolf trap 1635 Trap Road, Vienna.

(703) 255-1900. Hypnotic Brass Ensemble. 8 p.m. $20–$25. wolftrap.org. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Aaron L. Myers II. 8 p.m. Free. mrhenrysdc.com.

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

The Moonshine Society. 10:30 p.m. Free. thehamiltondc.com.

Folk Gypsy sally’s 3401 K St. NW. (202) 333-7700. Love Canon, By & By. 9 p.m. $15–$20. gypsysallys.com.

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

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

SearCh LISTIngS aT waShIngTonCITYpaper.Com

The title of the Kennedy Center’s weekend presentation “DEMO: Place with Damian Woetzel” highlights its director, a former New York City Ballet principal and artistic director of the Vail International Dance Festival, but the names that really belong on top are the stars of this program, jookin’ dancers Lil Buck and Ron “Prime Tyme” Myles.

Buck and Myles will present their version of the Memphis-based hip-hop variation to an international mix of music performed

by Indian percussionist Sandeep Das, vocalists, and other collaborators on Galician bagpipes, cello, and traditional wind instruments. Buck’s ability to sinuously glide across a floor and to stretch and contort his legs first garnered attention after Woetzel, who had seen Buck perform previously, paired him with cellist Yo-Yo Ma; a Spike Jonze-filmed video of the two went viral. First picking up moves from dancers on the street and practicing in his living room, Buck further developed his style through work with Memphis hip-hop choreographer Terran Gary and the New Ballet Ensemble. Myles brought his flowing arm and leg movements from Memphis to Los Angeles and appeared in the 2011 remake of Footloose. Each participant uses their heritage to loosely define the theme of “place” and satisfy both dance and eclectic music enthusiasts. The performance begins at 7 p.m. Friday and Saturday at the Kennedy Center Terrace —Steve Kiviat Theater, 2700 F St. NW. $49. (202) 467-4600. kennedy-center.org.

DanCe plaCe 3225 8th St. NE. (202) 269-1600.

Lakou Mizik. 8 p.m. $15–$30. danceplace.org.

Dar Constitution hall 1776 D St. NW. (202) 628-4780. Tori Kelly. 8 p.m. $30.50. dar.org.

fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Fonseca. 8 p.m. (Sold out) fillmoresilverspring.com.

DC9 1940 9th St. NW. (202) 483-5000. True Widow, Slimy Member, Polyon. 8 p.m. $12–$14. dcnine.com.

dJ nights marx Café 3203 Mt. Pleasant St. NW. (202) 5187600. Sound Clash: Classic Reggae and Dance Hall.

10 p.m. Free. marxcafemtp.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

STILL ILL with DJ Mathias: Indie Dance, Dirty South Rap, Brit Pop, Disco, Latin Freestyle, UK Bass. 9:30 p.m. Free. rockandrollhoteldc.com.

saturday

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

The Intrinsics. 8 p.m. $5. rockandrollhoteldc.com.

Funk & R&B 9:30 Club 815 V St. NW. (202) 265-0930. Tribal Seeds, Fear Nuttin’ Band, E.N Young. 7 p.m. $20.

930.com.

ElEctRonic u street musiC hall 1115 U St. NW. (202) 5881889. Gent & Jawns, The Banditz. 10:30 p.m. $15. ustreetmusichall.com.

Rock

barns at Wolf trap 1635 Trap Road, Vienna.

(703) 255-1900. The Nields. 7:30 p.m. $22. wolftrap. org.

WoRld

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lloyd Cole. 7:30 p.m. $25. birchmere.com.

ClariCe smith performinG arts Center Stadium Drive and Route 193, College Park. (301) 405-2787. UMD Gamelan Ensemble. 8 p.m. Free. theclarice.umd.edu.

blaCk Cat 1811 14th St. NW. (202) 667-4490. Into It. Over It., The World is a Beautiful Place & I am No Longer Afraid to Die, The Sidekicks, Pinegrove. 7 p.m. $15–$17. blackcatdc.com.

Jazz atlas performinG arts Center 1333 H St. NE. (202) 399-7993. Tizer Trio. 8 p.m. $28. atlasarts.org.

ClariCe smith performinG arts Center Stadium Drive and Route 193, College Park. (301) 4052787. A Night of Jazz with Jonathan Butler, Marcus Johnson, and Chelsey Green & The Green Project.

6:30 p.m. $58–$68. theclarice.umd.edu. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Akua Allrich. 8 p.m. Free. mrhenrysdc.com.

washingtoncitypaper.com april 22, 2016 37

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CITY LIGHTS: SATURDAY

TRIBUTE TO MANU CHAO

The multilingual music of France-born Spanish vocalist Manu Chao, from its brassy interludes to its delicate lyricism, has such a broad appeal that pretty much anyone can find something to enjoy about it. In my experience, this includes Deadheads, Argentine expats, and classic rock-loving yuppies.

That being said, expect a diverse crowd at Tropicalia’s tribute to Chao—he won’t appear but a band will interpret classics from his days as a member of Mano Negra and his current work as a solo artist. Because his songs are so unique (on any given album, he’ll jump from quiet flamenco ballads to heavier ska and reggae tracks or even a musical tribute to soccer player Diego Maradona), they’re perfect for a diverse evening like this one. If you want to show off your footwork, hope the band strikes up “La Rumba de Barcelona.” As the night winds down and you need some courage to approach the cute person across the room, the song you’ll want to hear is “Me Gustas Tu.” The show begins at 9 p.m. at Tropicalia, 2001 14th St. NW. $15–$20. (202) 629-4535. tropicaliadc.com.

—Caroline Jones

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

The 19th Street Band. 10:30 p.m. Free. thehamiltondc.com.

WoRld clarice smiTh performinG arTs cenTer Stadium Drive and Route 193, College Park. (301) 4052787. Tanya Tagaq In Concert with Nanook of the North. 8 p.m. $10–$25. theclarice.umd.edu.

Hip-Hop u sTreeT music hall 1115 U St. NW. (202) 5881889. 2016 DMC Washington Regional DJ Battle. 5 p.m. $10–$15. ustreetmusichall.com.

opeRa music cenTer aT sTraThmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. I Am Anne Hutchinson/ I Am Harvey Milk 8 p.m. $39–$149. strathmore.org.

ClassiCal naTional museum of american hisTory 14th Street and Constitution Avenue NW. (202) 6331000. Masterworks of Four Centuries 2015-2016 Saturday Concert Series with Kenneth Slowik, director. 7:30 p.m. $22–$28. americanhistory.si.edu.

dJ nigHts Dc9 1940 9th St. NW. (202) 483-5000. Liberation Dance Party with DJs Bill Spieler and Shannon Stewart. 11 p.m. $2–$5. dcnine.com. marx café 3203 Mt. Pleasant St. NW. (202) 5187600. Nueva Rock: Modern Latin Rock with DJ Leo. 10 p.m. Free. marxcafemtp.com. rocK & roll hoTel 1353 H St. NE. (202) 388-7625.

THE HOTEL LOBBY with DJ slugworth & ChoppyOppy: old school hip-hop and new school brass. 9:30 p.m. Free. rockandrollhoteldc.com.

Sunday RoCk

9:30 cluB 815 V St. NW. (202) 265-0930. Houndmouth, Lucy Dacus. 7 p.m. (Sold out) 930.com.

Barns aT Wolf Trap 1635 Trap Road, Vienna.

(703) 255-1900. Rita Wilson, Alexander Peters. 7:30 p.m. $35–$40. wolftrap.org.

38 april 22, 2016 washingtoncitypaper.com

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Guitar Army featuring Robben Ford, Lee Roy Parnell, and Joe Robinson. 7:30 p.m. $29.50. birchmere.com.

Dc9 1940 9th St. NW. (202) 483-5000. Night Moves, YUM. 9 p.m. $10–$12. dcnine.com.

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

Ryan Montbleau Band, Mary-el Band. 8 p.m. $15. gypsysallys.com.

Warner TheaTre 513 13th St. NW. (202) 7834000. Generation Axe featuring Vai, Wylde, Malmsteen, Bettencourt, and Abasi. 8 p.m. $43–$83. warnertheatredc.com.

Funk & R&B KenneDy cenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Funk Parade Preview. 6 p.m.

Free. kennedy-center.org.

Jazz aTlas performinG arTs cenTer 1333 H St. NE. (202) 399-7993. Brad Linde: The Lonely Poet Project.

7 p.m. $28. atlasarts.org.

GeorGe mason universiTy cenTer for The arTs 4373 Mason Pond Drive, Fairfax. (888) 945-2468.

Mason Jazz Vocal Night. 7 p.m. Free. cfa.gmu.edu.

The hamilTon 600 14th St. NW. (202) 7871000. GoGo Penguin, Anthony Pirog. 7:30 p.m. $15–$20.50. thehamiltondc.com.

CountRy rocK & roll hoTel 1353 H St. NE. (202) 388-7625.

Reverend Peyton’s Big Damn Band, Swamp Candy. 8 p.m. $15–$17. rockandrollhoteldc.com.

WoRld GW lisner auDiTorium 730 21st St. NW. (202) 994-6800. Buika. 8 p.m. $30–$50. lisner.gwu.edu.

opeRa music cenTer aT sTraThmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. I Am Anne Hutchinson/ I Am Harvey Milk. 4 p.m. $39–$149. strathmore.org.

ClassiCal clarice smiTh performinG arTs cenTer Stadium Drive and Route 193, College Park. (301) 4052787. Spectral Quartet with Claire Chase on flute. 3 p.m. $10–$25. theclarice.umd.edu.

washingtoncitypaper.com april 22, 2016 39

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

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40 april 22, 2016 washingtoncitypaper.com

davis PerforMinG arts Center at GeorGetown University 3700 O St. NW. (202) 687-3838.

Winners of the GU Concerto Competition with the GU Orchestra. 5 p.m. $5. performingarts.georgetown.edu.

Jazz

Kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Family Concert: Lights! Canvas! Music!. 2 p.m. & 4 p.m. $15–$18. kennedy-center.org.

Kennedy Center MillenniUM staGe 2700 F St. NW. (202) 467-4600. Sammy Miller and the Congregation. 6 p.m. Free. kennedy-center.org.

Kennedy Center terraCe theater 2700 F St. NW. (202) 467-4600. Antoine Tamestit, viola. 7 p.m. $40. kennedy-center.org. national Gallery of art 4th Street and Constitution Avenue NW. (202) 737-4215. Inscape. 3:30 p.m. Free. nga.gov. national MUseUM of aMeriCan history 14th Street and Constitution Avenue NW. (202) 6331000. Masterworks of Four Centuries 2015-2016 Sunday Concert Series with Kenneth Slowik, director. 7:30 p.m. $22–$28. smithsonianassociates.org. national PresByterian ChUrCh 4101 Nebraska Ave. NW. (202) 429-2121. Washington Bach Consort: “Simply Magnificat”. 3 p.m. $10–$69. bachconsort.org.

PhilliPs ColleCtion 1600 21st St. NW. (202) 3872151. Lawrence Power, violin and Simon CrawfordPhillips, piano. 4 p.m. $15–$30. phillipscollection. org.

GeorGe Mason University Center for the arts 4373 Mason Pond Drive, Fairfax. (888) 945-2468.

Jazz Workshop Concert. 8 p.m. Free. cfa.gmu.edu.

Folk BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Andy McKee. 7:30 p.m. $25. birchmere.com.

ClassiCal CatholiC University of aMeriCa 620 Michigan Ave. NE. (202) 319-5000. CUA Wind Ensemble. 7:30 p.m. Free. cua.edu.

ClariCe sMith PerforMinG arts Center Stadium Drive and Route 193, College Park. (301) 4052787. Spektral Quartet Composer Reading. 7:30 p.m. Free. theclarice.umd.edu.

VoCal 9:30 ClUB 815 V St. NW. (202) 265-0930. Puddles Pity Party. 7 p.m. $30. 930.com.

VoCal

Tuesday

hylton PerforMinG arts Center 10960 George Mason Circle, Manassas. (703) 993-7759. Music Celebrations International: Four Freedoms Choral Festival. 2 p.m. Free. hyltoncenter.org.

9:30 ClUB 815 V St. NW. (202) 265-0930. POLIÇA, MOTHXR. 7 p.m. $20. 930.com.

Monday RoCk

BlaCK Cat BaCKstaGe 1811 14th St. NW. (202) 667-4490. Scanners, Mirror Motives. 7:30 p.m. $10. blackcatdc.com.

RoCk

BirChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. John Hiatt, Rick Brantley. 7:30 p.m. $55. birchmere.com.

BlaCK Cat BaCKstaGe 1811 14th St. NW. (202) 667-4490. Parker Millsap, Caroline Rose. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Mothers, Palm, Brother M. 8:30 p.m. $12. dcnine.com.

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

Father John Misty, Tess & Dave. 8 p.m. (Sold out) $40. thelincolndc.com.

JaMMin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Creed Bratton. 8 p.m. $20–$30. jamminjava.com.

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

Mother Falcon, Near Northeast, Stranger in the Alps.

8 p.m. $15. rockandrollhoteldc.com.

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

Father John Misty, Tess & Dave. 8 p.m. $40. thelincolndc.com.

CITY LIGHTS: SUNDAY

“STORIES OF MIGRATION” Media outlets love to report tales of immigrants seeking safety in a new part of the world. Some are heartwarming (Canadian Prime Minister Justin Trudeau welcoming Syrian refugees at an airport), some are devastating (a TED Radio Hour about a woman who survived four days at sea after her boat capsized), but each one forces audiences to consider how serious these journeys are. A new exhibition at the George Washington University Museum asks artists and viewers to consider these voyages in different mediums. Inspired by locations around the world, the invited artists and participants in the juried show use traditional and experimental art forms to tell these stories. Quilter Sandra Lauterbach uses fabric and thread to create her “Wailing Wall of Krakow,” a collage of photos and passports of Polish immigrants. Nebo Lavrencik crafts delicate feet out of paper to represent the experience of Somalian refugees in “Mogadishu” (pictured). By placing these impactful works in the proper historical context, visitors learn about these significant events while evaluating their artistic merit. The exhibition is on view Mondays, Wednesdays, Thursdays, and Fridays 11:30 a.m. to 6:30 p.m., Saturdays 10 a.m. to 5 p.m., and Sundays 1 p.m. to 5 p.m., to Sept. 4, at the George Washington University Museum, 701 21st St. NW. $8 suggested donation. (202) 994-5200. museum.gwu.edu.

—Caroline Jones

washingtoncitypaper.com april 22, 2016 41

Fri & Sat, Apr. 22 & 23 at Midnight!

Buy Advance Tickets Online

tickets.landmarktheatres.com

Dine Out

25%–110% of your bill will be donated to Food & Friends.

Thursday, April 28th www.foodandfriends.org/dol

Dining Out

SCANNERS AND MIRROR MOTIVES

for

THURSDAY, APR 21ST

40 DOLLAR FINE

ROCK, ALT. COUNTRY, 60’S ROCK ‘N’ SOUL, BLUES

TONIGHT! THU, APR 21

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cITY LIGHTS: MONDAY

FRIDAY, APR 22ND

SOOKEY JUMP

NAWLIN’S BLUESIANA AND WHOLE LOT MORE

SATURDAY, APR 23RD

ZYDECO JED

ROOTS, ROCK AND GRATEFUL DELTA

To outsiders, the story of the D.C. punk scene most likely ends when Fugazi announced its indefinite hiatus in 2002. At least, that’s what one would gather based on the scores of documentaries that make it seem like punk in the District is defined by Dischord Records. This could not be further from the truth. The fact is, the MacKaye and Rollinsera of harDCore inspired a new generation of young punks to forge their own scene; bands like The Max Levine Ensemble, Magrudergrind, Coke Bust, Ilsa, Sick Fix, and The A.K.s became staples through both Positive Force shows at St. Stephen’s and in grungy basement spaces, just as the generation before them did. But for the first time, D.C.’s DIY punk scene of the mid-’00s onward gets the same reverential treatment as the ’80s and ’90s scene through a new book, This Was My Night & This Was a Lot of Other Nights, which compiles show reviews, interviews, articles, and stunning concert photography from shows between 2005 and 2013. It’s a rich and dense book that proves today’s scene is as strong—if not stronger—than it ever was. At the book’s official release party on Monday, newish locals Scanners and Mirror Motives—both made up of longtime scene veterans featured in the book—will perform. This book might be the first document of the cultural importance of D.C.’s current DIY punk scene, but it surely won’t be the last. Scanners and Mirror Motives perform at 7:30 p.m. at the Black Cat Backstage, —Matt Cohen 1811 14th St. NW. $10. (202) 667-4490. blackcatdc.com.

SUNDAY, APR 24TH

GYPSY SOUL REVIVAL MONDAY, APR 25TH

Rock & Roll Hotel 1353 H St. NE. (202) 388-7625.

American Authors, Ryan Star. 8 p.m. $20. rockandrollhoteldc.com.

MONDAY, APR 25TH

Funk & R&B

JAM BAND, GROOVE, FUNK, ROCK

FREE TRIVIA NIGHT! 7PM TO 8:30PM FRI, APR 22

HYPNOTIC BRASS ENSEMBLE GENERAL ADMISSION

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4TH TUESDAYS JAZZ / FUSION OPEN JAM HOSTED BY PULP FUSION ATTENTION ALL JAZZ MUSICIANS: COME OUT AND JAM!

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OPEN MIC NIGHT HOSTED BY PHIL KOMINSKI SHOW US YOUR TALENTS!

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JONATHAN SLOANE TRIO BLUES ROCK COVERS AND ORIGINALS

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W W W. V I L L A I N A N D S A I N T. C O M 42 april 22, 2016 washingtoncitypaper.com

FillmoRe SilveR SpRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Teyana Taylor. 8 p.m. $22. fillmoresilverspring.com.

HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Floetry. 8 p.m. $59.50–$95. thehowardtheatre.com.

Jazz daviS peRFoRming aRtS centeR at geoRgetown UniveRSity 3700 O St. NW. (202) 687-3838.

Georgetown University Jazz Ensemble. 8 p.m. $5. performingarts.georgetown.edu.

WoRld tHe Hamilton 600 14th St. NW. (202) 787-1000.

We Banjo 3, Charm City Junction. 7:30 p.m. $12–$17. thehamiltondc.com.

ClassiCal claRice SmitH peRFoRming aRtS centeR Stadium Drive and Route 193, College Park. (301) 4052787. Rorem, Ravel, and Ragtime featuring violinist Irina Muresanu and pianist Rita Sloan. 8 p.m. Free. theclarice.umd.edu. geoRge maSon UniveRSity centeR FoR tHe aRtS 4373 Mason Pond Drive, Fairfax. (888) 9452468. Wind Symphony & Symphonic Band Concert.

8 p.m. $5–$12. cfa.gmu.edu. national mUSeUm oF natURal HiStoRy 10th Street and Constitution Avenue NW. (202) 6331000. The Shanghai Quartet with guest artist Wu Man, pipa. 7:30 p.m. $15. mnh.si.edu.

Wednesday RoCk

9:30 clUb 815 V St. NW. (202) 265-0930. Bob Mould, Ted Leo. 7 p.m. $25. 930.com. biRcHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. John Hiatt, Rick Brantley. 7:30 p.m. $55. birchmere.com.

opeRa

dc9 1940 9th St. NW. (202) 483-5000. Suuns, John Congleton. 9 p.m. $12. dcnine.com.

kennedy centeR millenniUm Stage 2700 F St. NW. (202) 467-4600. WNO Preview: The Ring. 6 p.m. Free. kennedy-center.org.

tHe Hamilton 600 14th St. NW. (202) 787-1000.

David Wax Museum, Darlingside, Haroula Rose. 7:30 p.m. $14.75–$22.25. thehamiltondc.com.

Funk & r&B

Jazz

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

Floetry. 8 p.m. $59.50–$95. thehowardtheatre.com.

Birchmere 3701 Mount Vernon Ave., Alexandria.

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

Jazz

Country

Kennedy center millennium stage 2700 F St. NW. (202) 467-4600. 4SAXESS. 6 p.m. Free. kennedy-center.org.

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Truck Farmers. 8 p.m. Free. mrhenrysdc.com.

mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Jan Knutson. 7:30 p.m. $17. strathmore.org. music center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. SFJAZZ Collective: The Music of Michael Jackson & Original Compositions. 8 p.m. $20–$75. strathmore.org.

Folk gypsy sally’s 3401 K St. NW. (202) 333-7700. Wild Ponies, E.P. Jackson. 8 p.m. $10. gypsysallys.com.

World

Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Pierre Bensusan. 7 p.m. $22. jamminjava. com.

ClassiCal s. dillon ripley center 1100 Jefferson Dr. SW. (202) 633-3030. John Eaton’s Salute to Great American Songwriters: 4-Session Daytime Course. 10:15 a.m. $80–$120. si.edu/ripley.

Thursday roCk

Folk Barns at Wolf trap 1635 Trap Road, Vienna. (703) 255-1900. Tom Paxton. 8 p.m. $24–$28. wolftrap.org.

World clarice smith performing arts center Stadium Drive and Route 193, College Park. (301) 405-2787. Fatoumata Diawara. 8 p.m. $10–$25. theclarice.umd.edu. music center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Ana Moura.

8 p.m. $28–$68. strathmore.org.

Hip-Hop u street music hall 1115 U St. NW. (202) 5881889. Father, Lord Narf, Lui Diamonds. 8 p.m. $20. ustreetmusichall.com.

opera clarice smith performing arts center Stadium Drive and Route 193, College Park. (301) 4052787. Maryland Opera Studio: Opera Scene Study.

7:30 p.m. Free. theclarice.umd.edu.

Kennedy center millennium stage 2700 F St. NW. (202) 467-4600. WNO Preview: The Ring. 6 p.m. Free. kennedy-center.org.

9:30 cluB 815 V St. NW. (202) 265-0930. Elephant Revival, Chadwick Stokes. 7 p.m. $17. 930.com.

ClassiCal

BlacK cat BacKstage 1811 14th St. NW. (202) 667-4490. Hemlines, Shellshag, Teenage Halloween, Foster Carrots. 7:30 p.m. $10. blackcatdc.com.

Kennedy center concert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: James Gaffigan, conductor; Storm Large, vocal. 7 p.m. $15–$89. kennedy-center.org.

dc9 1940 9th St. NW. (202) 483-5000. The National Parks, The Brevet, Radio Birds. 8:30 p.m. $8. dcnine. com. rocK & roll hotel 1353 H St. NE. (202) 388-7625.

The Helio Sequence, Honduras. 8 p.m. $15. rockandrollhoteldc.com.

national museum of the american indian 4th Street and Independence Avenue SW. (202) 633-1000. Something Wonderful: The Remarkable Collaboration of Rodgers and Hammerstein. 7 p.m. $20–$30. nmai.si.edu.

CITY LIGHTS: TUESDAY

DISGRACED

Ayad Akhtar’s award-winning play Disgraced, an examination of Muslim-American identity issues in a post-9/11 America, premiered off-Broadway in 2012, and it remains just as urgent and relevant as it makes its D.C. debut at Arena Stage. Akhtar, also known for his successful 2012 novel American Dervish, is still unafraid to discuss the second generation immigrant experience in his work. In Disgraced, Amir (an assimilated and conflicted Muslim-American lawyer) and his wife Emily (a WASPy artist whose passion for Islamic themes is seen in her work) invite colleagues over for a dinner party.

Before the party, Emily and Amir debate whether Amir should defend an Islamic leader charged with providing financial support to terrorist organizations. Amir has, so far, kept his Muslim background out of his professional life, but when this decision seeps into their once-polite dinner party conversation, all guests find a stake in the argument, turning a question about work into a full-blown battle over faith. The play is already a favorite with the D.C. theaterati; Washington Post theater critic Peter Marks was the head of the jury for drama when Disgraced won the Pulitzer Prize. The play runs April 22 to May 29 at Arena Stage, 1101 6th St. SW. $40–$110. (202) 554-9066. arenastage.org.

—Diana Metzger

THU APRIL 28TH

BUNNY WAILER TUE MAY 3RD

JACQUEES WED MAY 4TH

FILTER

MAKE AMERICA HATE AGAIN TOUR WITH ORGY

THU MAY 5TH

THE AFRO-CUBAN ALL STARS

FRI MAY 6TH

BUCKCHERRY WITH BITERS

SUN MAY 8TH MOTHER'S DAY CELEBRATION FT DAMIEN ESCOBAR

WED MAY 11TH

BUCKETHEAD FRI MAY 13TH

MYA

SUN MAY 15TH

CURREN$Y THU MAY 19TH

THE FOREIGN EXCHANGE FRI MAY 20TH

HERMAN’S HERMITS

STARRING PETER NOONE

SUN MAY 22ND

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

washingtoncitypaper.com april 22, 2016 43

FROM THE PRODUCER OF

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PRESENTED BY WAMU’S BLUEGRASS COUNTRY

WE BANJO 3

W/ CHARM CITY JUNCTION WED, APR 27

DAVID WAX MUSEUM AND DARLINGSIDE W/ HAROULA ROSE

rioiloveyoumovie.com

STARTS FRIDAY, APRIL 22 THEHAMILTONDC.COM WASH DCON CITY THE PAPERGLOBAL MON 4/18 BASED 1/6th PG (2.25" x 6.917") 4C BESTSELLER BY DUE MON 12 NOON PT PATRICIA McCORMICK SUB

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ation #: A FILM BY ACADEMY AWARD® WINNING DIRECTOR JEFFREY D. BROWN

Q&As with Academy Award winning director Jeffrey Brown and producer Jane Charles after the 7:30 show on Fri 4/22 & Sat 4/23 www.soldthemovie.com

STARTS FRIDAY, APRIL 22

If your upbringing was informed by Western religions, you’re probably familiar with certain inflexible ideas about Mary Magdalene and Jesus Christ’s mother Mary. In a confrontational collection of comics that focuses on sex work in biblical stories, award-winning Canadian cartoonist Chester Brown dismantles those ideas, arguing that the textual representations of prostitution don’t align with Christ’s opinions of it. Brown’s typically four-panel, black and white pages in Mary Wept Over the Feet of Jesus: Prostitution and Religious Obedience in the Bible are sourced from the books of Genesis and Joshua, among others. Clean linework and sparingly worded dialogues take center stage: Men engage with and patronize prostitutes as freely as Brown did in 2011’s Paying for It, a graphic chronicle of his own relationships with sex workers. And in researched, voluminous back matter, Brown describes “a schism in the early Christian community” that divided people on the subject of prostitution. “Some of you may feel that the apparent approval of prostitution contradicts Jesus’s teachings,” he writes, “but Jesus never said that it’s wrong to sell sex or pay for it.” Chester Brown reads at 7 p.m. at Politics & Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Dominic Umile

TheaTer

110 In the Shade A young woman aches for a life outside her small town and when she meets a handsome stranger who promises her opportunity and the ability to ease the region’s drought, her dreams appear within reach in this lively romantic musical by Harvey Schmidt, Tom Jones, and N. Richard Nash. Ford’s Theatre. 511 10th St. NW. To May 14. $28–$69. (202) 347-4833. fords.org. all the Way Explore the power and personality of Lyndon Johnson in this drama from playwright Robert Schenkkan. Featuring appearances by Martin Luther King, J. Edgar Hoover, and other public figures from the era, this play serves as both history lesson and cautionary tale. Arena Stage. 1101 6th St. SW. To May 8. $55–$100. (202) 488-3300. arenastage.org. the annual ten-MInute Play FeStIval Students write, direct, and perform new works created over the course of 10 intense days as part of this annual celebration of theater. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax.

To April 23. $10–$15. (888) 945-2468. cfa.gmu.edu.

Black Pearl SIngS American folk songs and spirituals are put to use in this play set in Depression-era Texas, about two women whose love of music draws them together during difficult times. MetroStage.

1201 N. Royal St., Alexandria. To May 29. $55–$60.

(703) 548-9044. metrostage.org.

cat on a hot tIn rooF Secrets and flawed relationships are revealed in Tennessee Williams’ classic drama about two generations fighting to figure out inheritance and their roles in the world. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To April 24. $46–$61. (240) 644-1100. roundhousetheatre.org. chronIcle oF a death Foretold A young woman returns to her family after her husband discover she is not a virgin, leading her brothers to take revenge in this exciting tale based on the novel

by Gabriel Garcia Marquez. GALA Hispanic Theatre.

3333 14th St. NW. To May 8. $20–$42. (202) 2347174. galatheatre.org.

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CHESTER BROWN

the Body oF an aMerIcan A war reporter and a playwright, both haunted by their pasts, form a friendship that takes them around the world in this new play by Dan O’Brien, who based the drama on his own relationship with friend Paul Watson. Theater J. 1529 16th St. NW. To May 29. $27–$67. (202) 777-3210. theaterj.org.

FROM EXECUTIVE PRODUCER EMM A THOMPSON

Artist: (circle one:) mmett Heather

Ronnie

LIVE JUSTIN

UPCOMING PERFORMANCES

CITY LIGHTS: WEDNESDAY

WASHINGTON, DC ANGELIKA POP-UP AT UNION MARKET 550 Penn St NE (571) 512-3313 angelikafilmcenter.com

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dIal ‘M’ For Murder A former tennis star aims to get away with killing his wife in order to cash in on her wealth but he’s quickly investigated by a detective and his wife’s former lover, leading to a

wild chase and surprising ending. Jason King Jones directs this play, which inspired Alfred Hitchcock’s film of the same name. Olney Theatre Center.

2001 Olney-Sandy Spring Road, Olney. To May 1. $15–$45. (301) 924-3400. olneytheatre.org. dISgraced Ayad Akhtar’s Pulitzer Prize-winning drama considers the consequences of the American dream from the perspective of Amir, a South Asian immigrant who fears that his lavish lifestyle has alienated him from his roots. Arena Stage. 1101 6th St. SW. To May 29. $55–$100. (202) 488-3300. arenastage.org. the electrIc BaBy Rorschach Theater presents Stefanie Zadravec’s spooky thriller about a woman who kills a young man and finds herself haunted by a series of lost souls and spirits that gather around and illuminate a young child. Directed by Randy Baker, this production explores how strange beginnings can lead us on unexpected paths. Atlas Performing Arts Center. 1333 H St. NE. To May 15. $15–$30. (202) 399-7993. atlasarts.org. the goSPel accordIng to thoMaS JeFFerSon, charleS dIckenS, and count leo tolStoy: dIScord Three famed thinkers who adapted The Bible to suit their own lives debate the merits of their own interpretations in this clever comedy by Scott Carter. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 24. $40–$50. (240) 582-0050. stageguild.org. huntIng and gatherIng In this lively comedy from playwright Brooke Berman, a group of New Yorkers seek temporary shelter in different locations as they cohabitate and separate over the course of time. Rep Stage at Howard Community College.

10901 Little Patuxent Parkway, Columbia. To April 24. $15–$40. (443) 518-1500. repstage.org.

In a Word Two years after her son’s disappearance, a mother continues to grieve and feel lost within her community. Though interactions with an incompetent detective,an absent husband, and a strange local kidnapper, Lauren Yee’s play shows how humans cope with tragedy and what we must do in order to move on. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To April 24. $20–$30. (703) 674-3177. thehubtheatre.org.

JerSey BoyS The Tony-winning musical tells the story of the rise and fall of The Four Seasons and includes many of the group’s hit songs, including “Walk Like a Man,” “Big Girls Don’t Cry,” and “Sherry.” National Theatre. 1321 Pennsylvania Ave. NW. To April 24. $53–$113. (202) 628-6161. nationaltheatre.org.

Journey to the WeSt Mary Zimmerman’s take on this ancient Chinese legend about a monk on the search for sacred scriptures is both mystical and

dreamy, as presented by Constellation Theatre.

Constellation Theatre at Source. 1835 14th St. NW. To May 22. $20–$45. (202) 204-7741. constellationtheatre.org.

MoMent Tony-nominated director Ethan McSweeny makes his Studio debut with this family drama set in Ireland. When a young man returns home to visit his estranged movement, he starts a series of conflicts within his suburban town and within his family. Studio Theatre. 1501 14th St. NW. To April 24. $20–$91. (202) 332-3300. studiotheatre.org. the Mystery of Love & sex On the eve of their college graduations, two longtime friends debate pursuing a romantic relationship and in the process, learn about themselves, as well as about love and sex, in this warm comedy from author Bathsheba Doran. Signature Theatre. 4200 Campbell Ave., Arlington. To May 8. $40–$85. (703) 820-9771. sigtheatre.org. the nether Local favorite Ed Gero makes his Woolly Mammoth debut in Jennifer Haley’s fantastical play about what happens when Earth turns into a gray wasteland. A special place where all desires are met serves as a safe space for some individuals but when a detective begins to look into the forces behind this wonderland, the artifice around it crumbles. Woolly Mammoth Theatre. 641 D St. NW. To May 1. $35–$68. (202) 393-3939. woollymammoth.net.

Pride and Prejudice Drama students tell the story of the frustration and love between Mr. Darcy and Elizabeth Bennet in this stage adaptation of Jane Austen’s classic novel. Catholic University of America. 620 Michigan Ave. NE. To April 24. $5–$15. (202) 319-5000. cua.edu.

Proof In this Pulitzer Prize-winning play, a young woman who has spent much of her life caring for her unstable father must reckon with his actions after his death. When she encounters her estranged sister and a former student of her father’s, the three of them begin to figure out what’s left behind. 1st Stage. 1524 Spring Hill Road, McLean. To May 1. $15–$30. (703) 854-1856. 1ststagetysons.org. the rat Pack Three regular Signature performers take on the songs of Frank Sinatra, Dean Martin, and Sammy Davis Jr. at this cabaret featuring lively renditions of songs like “That’s Amore” and “I’ve Gotta Be Me.” Signature Theatre. 4200 Campbell Ave., Arlington. To April 23. $35. (703) 820-9771. sigtheatre.org. reduced shakesPeare coMPany The popular British comedy group, which presents the Bard’s work in silly, abbreviated form, returns to the

The New York Times

Folger with its take on “William Shakespeare’s Long Lost First Play.” Folger Elizabethan Theatre. 201 E. Capitol St. SE. To May 8. $35–$75. (202) 544-7077. folger.edu.

Film BarBershoP: the next cut Ice Cube, Cedric the Entertainer, and Eve return in this sequel to the 2002 comedy. This time, our heroes fight back against a gun-carrying gang that threatens their neighborhood. (See washingtoncitypaper.com for venue information) criMinaL Gary Oldman, Kevin Costner, and Tommy Lee Jones reunite for the first time since JFK on this thriller, directed by Ariel Vromen that involves an ex-con taking over a deceased CIA agent’s memories in order to complete a mission. (See washingtoncitypaper.com for venue information) Green rooM A band must take on a gang of n vicious skinheads after witnessing a murder in this thriller from writer and director Jeremy Saulnier. Starring Anton Yelchin and Alia Shawkat. (See washingtoncitypaper.com for venue information) the huntsMan: Winter’s War Charlize n Theron and Emily Blunt star in this prequel to 2012’s Snow White and the Huntsman, which finds sisters Freya and Ravenna competing over the love and protection of an army of huntsman. Directed by Cedric Nicolas-Troyan. (See washingtoncitypaper. com for venue information) the junGLe Book Animals come to life in this CGI and live action retelling of Rudyard Kipling’s tale about a boy raised by wolves and his adventures among the creatures. Featuring the voices of Lupita Nyong’o, Ben Kingsley, and Bill Murray. (See washingtoncitypaper.com for venue information) street A teenager coming of age in n sinG 1980s Dublin forms a band and starts writing songs in order to win the heart of a beautiful model in the latest film from writer/director John Carney.

Starring Ferdia Walsh-Peelo, Aidan Gillen, and Maria Doyle Kennedy. (See washingtoncitypaper.com for venue information)

Washington, DC LANDMARK’S ATLANTIC PLUMBING (202) 534-1965 Alexandria AMC HOFFMAN CENTER 22 amctheatres.com Annapolis BOW TIE HARBOUR 9 (410) 224-1145

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gkids presents a riveting steampunk sci-fi adventure from the creators of persepoLis

MIYAZAKI MEETS PIXAR!”

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THE VERGE

Film clips by Caroline Jones.

CITY LIGHTS: THURSDAY

BUNNY WAILER Long before Bob Marley became an iconic symbol of reggae, he was one of three vocalists in The Wailers, along with Peter Tosh and Bunny Wailer. Today, Wailer, born Neville Livingston, is the only surviving member. From 1963 to 1973, the three harmonized on songs they each wrote, backed by some of Jamaica’s top musicians. Soon the group was being pushed to tour extensively with Marley as the lead vocalist, and Wailer burned out after three months on the road in the U.K. and returned to Jamaica. In 1976, he established his solo career with the album Blackheart Man, a relaxed roots-reggae effort made special by Wailer’s gospel and soul-rooted vocals. Since then Wailer, a Rastafarian, has advocated for the decriminalization of marijuana, released albums with disco and dancehall beats, won three Grammys, and received media attention after accusing Snoop Dogg of exploiting Rastafarianism in a documentary in which they both appeared. Now touring again, reports from recent gigs note that Wailer has been doing memorable songs from his past like “Trenchtown Rock” and “Easy Skanking.” Not generic Caribbean songcraft, these timeless compositions mesh catchy melodies, passionate vocals, and potent rhythms. Bunny Wailer performs at 8 p.m. at the Howard Theatre, 620 T St. NW. $35–$75.

—Steve Kiviat (202) 803-2899. thehowardtheatre.com.

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The movie so teems with delightful detail and has such an exuberant sense of play that it feels entirely fresh.”

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