Washington City Paper (May 8, 2015) by Washington City Paper

CITYPAPER Washington

Free Volume 35, no. 19 WashingtonCityPaPer.Com may 8–14, 2015

politics: Ward 8 race goes into overtime 7

Food: Big plates vs. small plates 25

’Sphere Today Artisphere cost Arlington County millions. Should that matter? 16 By Erin DEvinE

Photographs by Darrow Montgomery

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2 may 8, 2015 washingtoncitypaper.com

INSIDE

16 ’Sphere Today

Artisphere cost Arlington County millions. Should that matter?

Unique vintage & antique finds, great food, good vibes, and a killer time, all in one COOL spot!

by erin devine PhotograPhs by darrow montgomery

4 ChaTTer diSTriCT Line

7 Loose Lips: The Ward 8 race goes into overtime. 9 City Desk: A brief history of empty voting rights promises. 10 Housing Complex: Local governments seek the Internet of Things. 12 Gear Prudence 14 Savage Love 15 Straight Dope 23 Buy D.C.

d.C. Feed

37 Sketches: Capps on “Watch This!” at the Smithsonian American Art Museum 38 Short Subjects: Gittell on The D Train 39 Disco: Tani on Pree’s Rima

CiTy LiST

41 City Lights: Documenting climate change with saris 41 Music 48 Books 49 Galleries 50 Dance 50 Theater 52 Film

25 Young & Hungry: Big plates are the new small plates. 27 Grazer: Sauce-o-Meter 27 Brew In Town: New Belgium La Folie 27 The ’Wiching Hour: Maketto’s Cambodian “Num Pang” Pork Sandwich

diverSionS

arTS

Photo by Darrow Montgomery

29 Film: Olszewski on About Elly and Welcome to Me 32 Arts Desk: Dudes abound at area music festivals. 32 One Track Mind: Dot Dash’s tribute to ‘60s girl groups 34 Theater: Lapin on Metamorphosis and On Approval 36 Curtain Calls: Graham on Hamlet: The First Quarto

53 CLaSSiFiedS 53 Crossword 55 Dirt Farm

on The Cover

“ ”

All I gottA do Is put A poster up. —pAge 7

washingtoncitypaper.com may 8, 2015 3

CHATTER Critter Chitter Washington City PaPer ’s first animals issue (“fluff Piece,” may

In which readers praise a hero dog and shake their damn heads at a cat cafe

Take Metrobus and Metrorail to the...

ger.” Jim_Ed1 commented, “Man, I wish I was privileged enough to have a quarter-life crisis. That sounds sweet,” while @ouij tweeted, “I cannot imagine a place I am LESS likely to visit.” Teresa Rodriguez, however, was willing to offer some very good, not at all offensive advice: “market to single middle aged women and you will be a success and that is what mainly makes up 2015 DC, so your chances are good.”

DC JAZZFESTIVAL JUNE 10 –16,

1) featured stories of a hero dog, baby mallard-eating herons, luxury buildings that cater to pets, and many delightful dog photos by our own Darrow Montgomery. Cazo, D.C .’s only search and rescue dog and the subject of Sarah Anne Hughes’ “The Rescuer,” received some much deserved praise. @BethLowell tweeted, “This dog makes my Piper look bad, but can’t resist sharing this--a very good dog who is about to retire. Good boy!” City Paper intern Morgan Hines’ “Wild Things,” on the wildlife returning to the Anacostia River as its health improves, was the good news some people needed that day, including @rlswong: “We may ‘fail’ when it comes to Ozone, but at least we are doing something right.”

Give Me Your Spa. The luxury rooftops and amenities new D.C. buildings are offering to attract pet owners was the subject of Aaron Wiener’s “Gone to the Dogs.” Or as @jayrano put it, “how you don’t have to interact with the neighborhood you live in by walking your dog outside.” BB focused on the list of 29 breeds Bozzuto bans in the properties it owns: “Glad to see the recognition that there is dog breed discrimination (even for those dogs that are wellFor tickets, artists, and complete schedule visit DCJAZZFEST.ORG behaved and therefore unfairly discriminated against as a breed) in DisPLATINUM SPONSORS trict apartments. We have a very sweet, well-behaved husky, and it is unbelievably hard to find an apartment in the District. Would love to see a longer, more thorThe DC Jazz Festival®, a 501(c)(3) non-profit service organization, is sponsored in part with major grants from the Government of the District of Columbia, Muriel ough examination of this issue.” There’s Bowser, Mayor; and, in part, by major grants the National Endowment for the Arts and the DC Commission on the Arts and Humanities, an agency supported in part by always next year’s animals issue. the National Endowment for the Arts. ©2015 DC Jazz Festival. All rights reserved. Catty. Jessica Sidman’s piece on D.C.’s first —Sarah Anne Hughes cat cafe and the 24-year-old woman behind it (“Cat Department of Corrections: “The Rescuer” originalWoman”) was received with excitement (“Cannot wait ly misstated the year of The Cloakroom’s collapse. It for this to open,” @royalmusing tweeted), apathy (Sure, why not? commented, “Sure, why not?”), and occurred in 2014, not 2013. of the cleveland park cereal store within 18 months. I rage. Oh, the rage. Archie Bunker wrote, “This is one of those incredibly dumb ideas that is obvious to evonly give it 18 months because people gave her so much Want to see your name in bold on this page? Send letters, gripes, eryone but the person trying it. This will go the way with her kickstarter, she will be able to hang in lonclarifications, or praise to mail@washingtoncitypaper.com. PuBLiSHER: Amy Austin MAnAGinG EDiToRS: emily q. hAzzArd, sArAh Anne hughes ARTS EDiToR: christinA cAuterucci fooD EDiToR: jessicA sidmAn CiTY LiGHTS EDiToR: cAroline jones STAff WRiTERS: will sommer, AAron wiener STAff PHoToGRAPHER: dArrow montgomery ConTRiBuTinG WRiTERS: john Anderson, mArtin Austermuhle, jonettA rose BArrAs, ericA Bruce, sophiA Bushong, Kriston cApps, riley croghAn, jeffry cudlin, sAdie dingfelder, mAtt dunn, sArAh godfrey, trey grAhAm, louis jAcoBson, steve KiviAt, chris KlimeK, ryAn little, christine mAcdonAld, dAve mcKennA, BoB mondello, mArcus j. moore, justin moyer, triciA olszewsKi, miKe pAArlBerg, tim regAn, reBeccA j. ritzel, Ally schweitzer, tAmmy tucK, KAArin vemBAr, joe wArminsKy, michAel j. west, BrAndon wu inTERnS: jAmes constAnt, morgAn hines onLinE DEvELoPER: zAch rAusnitz DiGiTAL SALES MAnAGER: sArA dicK SALES MAnAGER: nicholAs diBlAsio SEnioR ACCounT ExECuTivES: melAnie BABB, joe hicKling, AliciA merritt ACCounT ExECuTivES: lindsAy BowermAn, chelseA estes, stu Kelly, chAd vAle MARkETinG AnD PRoMoTionS MAnAGER: stephen BAll SALES oPERATionS MAnAGER: heAther mcAndrews SALES AnD MARkETinG ASSoCiATE: chloe fedynA CREATivE DiRECToR: jAndos rothstein ART DiRECToR: lAuren heneghAn CREATivE SERviCES MAnAGER: BrAndon yAtes GRAPHiC DESiGnER: lisA deloAch oPERATionS DiRECToR: jeff Boswell SEnioR SALES oPERATion AnD PRoDuCTion CooRDinAToR: jAne mArtinAche DiGiTAL AD oPS SPECiALiST: lori holtz infoRMATion TECHnoLoGY DiRECToR: jim gumm SouTHCoMM: CHiEf ExECuTivE offiCER: chris ferrell inTERiM CHiEf finAnCiAL offiCER: glynn riddle ConTRoLLER: todd pAtton CHiEf MARkETinG offiCER: susAn torregrossA CREATivE DiRECToR: heAther pierce DiRECToR of ConTEnT/onLinE DEvELoPMEnT: pAtricK rAins CHiEf TECHnoLoGY offiCER: mAtt locKe CHiEf oPERATion offiCER/GRouP PuBLiSHER: eric norwood DiRECToR of DiGiTAL SALES AnD MARkETinG: dAvid wAlKer LoCAL ADvERTiSinG: wAshington city pAper, (202) 332-2100, Ads@wAshingtoncitypAper.com voL. 35, no. 19, MAY 8-14, 2015 wAshington city pAper is puBlished every weeK And is locAted At 1400 eye st. nw, suite 900, wAshington, d.c. 20005. cAlendAr suBmissions Are welcomed; they must Be received 10 dAys Before puBlicAtion. u.s. suBscriptions Are AvAilABle for $250 per yeAr. issue will Arrive severAl dAys After puBlicAtion. BAcK issues of the pAst five weeKs Are AvAilABle At the office for $1 ($5 for older issues). BAcK issues Are AvAilABle By mAil for $5. mAKe checKs pAyABle to wAshington city pAper or cAll for more options. © 2015 All rights reserved. no pArt of this puBlicAtion mAy Be reproduced without the written permission of the editor.

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DISTRICTLINE

D.C. is one of the country's most segregated cities, data shows: washingtoncitypaper.com/go/ segregatedcities

Housing Complex

Hack to the Future

local governments partner with a D.C. tech incubator to make cities smarter ty Alert (SCALE) Network, builds sensors that can send automatic sigA woman is biking north on 15th nals to first responders when they Street NW on a recent afternoon, in detect, say, hazardous gases at a sefront of the Loews Madison Hotel. nior housing facility. Suddenly, a taxi driver heading the Last month, Montgomery Counother way U-turns into her, knockty took a step that Hoffman thinks ing her to the ground. A few passwill help get it to the smart-cities fuersby and the hotel doorman quickly ture he envisions. The county anhelp her up, and the driver gets out of nounced a partnership with 1776, his cab to check on her. She appears the tech incubator that launched in to be OK. Information is exchanged. downtown D.C. in 2013 and quickly The driver leaves; the cyclist lingers a became the epicenter of the District’s while, then leaves, too. tech scene, with 285 member startups A few minutes later, Dan Hoffnow. The arrangement is designed to man arrives at a coffee shop across the give Montgomery County startups acstreet, 15 minutes late for a meeting. cess to 1776’s resources and guidance, He has just come from Capitol Hill, and to allow the county government he says by way of apology, where he to work with existing 1776 members briefed Rep. Darrell Issa (R-Calif.) to incorporate their technology into and several congressional staffers on public infrastructure that could inthe “Internet of Things”—a future clude everything from traffic lights to of networked devices and systems that government buildings. communicate with one another. When As part of the arrangement, Monttold of the incident that just occurred, gomery County is paying 1776. Hoffhe cuts in with a vision of the future, man won’t specify how much, but he when sensors and “vehicle-to-infrasays it’s less than the $200,000 grant structure technology” will prevent the District provided to help the insuch occurrences. cubator get off the ground. Perhaps He lays out the scenario. “Somemore importantly for 1776, it gets to one’s in the bike lane. Someone’s pullexpand its footprint and influence being around. Car senses that that’s a yond the District line. The company bike lane, shouldn’t be going there. Or isn’t stopping at Montgomery Councar senses biker. Car stops.” ty. Three days after it announced that Hoffman thinks he can help get partnership, it formed another one us to that future. As Montgomery with Arlington County, where it was County’s first-ever chief innovataking over the tech hub Disruption tion officer, a job he’s held since Oc- 1776 says its partnership will help local governments screen the best tech ideas pitches. Corp. Two weeks after that, it actober 2012, Hoffman is responsible quired a San Francisco co-working for bringing creative and efficient new ap- And the sandbox at the center of the play- neurs to experiment with new technology, space, although no direct partnership with the proaches to the county government and its ground is the Thingstitute, an innovation with the goal of getting a jump on the Inter- city is imminent. technology efforts. lab that the county opened in January in a net of Things and incorporating it into the On some level, the arrangement with the Put another way, he’s the grown-up su- historic Rockville courthouse. The Thing- county’s development. The Thingstitute’s D.C.-area jurisdictions is a peculiar one. pervising the county’s tech playground. stitute serves as a test bed for local entrepre- cornerstone project, the Safe Communi- Montgomery and Arlington counties are payDarrow Montgomery/file

By Aaron Wiener

washingtoncitypaper.com may 8, 2015 7

DISTRICTLINE ing a private company (1776) for the privilege of connecting other private companies (local startups) to its resources. But David Zipper, managing director of 1776 Ventures, the company’s for-profit venture arm, says the partnership will serve a more important function, allowing 1776 to screen the many tech ideas out there and then pitch the most promising ones to local governments. “The problem is, if you’re in government, it’s very hard to separate the wheat from the chaff and figure out who has a product that will scale and improve people’s lives,” says Zipper, who served as D.C.’s director of business development under Mayor Vince Gray. “1776 is designed to provide that kind of curated system for public leaders so they can zero in on the startups that will have the biggest impacts throughout the region.” Zipper says this is the first major partnership anywhere in the country he’s aware of between a tech incubator and local governments. If the jurisdictions in the region remain as committed to smart-cities innovation as Montgomery County appears to be

now, the result of these partnerships could be cities that are safer and easier to navigate. Capitalizing on its location in America’s hub of government, nonprofit, and advocacy work, 1776 has made city-building one of the main focuses of its startups. The company lists “cities” among its five core areas, but the other four—education, energy and sustainability, health, and transportation— are also central to the ways cities are trying to incorporate technology. Take TransitScreen. The 1776-based startup uses public data from transit agencies and partnerships with companies like Car2Go and Uber to create live displays of real-time transit data, which can be mounted in building lobbies, bus shelters, or other facilities. Partnerships between TransitScreen and jurisdictions in the region could involve governments funding screens in public spaces or facilitating public-private partnerships where a company installs screens in public facilities in exchange for advertising revenue. (There’s some question about how useful an arrangement like this would be for the D.C. government, which

launched its own real-time transit info program, Ride DC, in December, and an accompanying app last month.) “Having this relationship with Montgomery County is huge for us,” says TransitScreen CEO Matt Caywood. “Montgomery County is ready to deploy technology to make their urban cores, the Bethesdas and Rockvilles, a more walkable and transit-friendly place.” It’s not an easy task, given how few streets in those cities are currently welcoming to pedestrians. Hoffman says that, as with so much of his work, it’s still an experiment. “We’re learning what TransitScreen means in a more suburban environment,” he says. “What does it mean to put a screen in a bus stop in front of a strip mall? Will it change behaviors?” Other suburbs may soon have an opportunity to test out this thesis, too. Zipper says 1776 has had conversations with “almost every jurisdiction that borders the three where we’re working right now.” He adds, “I won’t tell you where we’re going next, but I’ll tell you there’s a lot of interest in the DMV region.” Here in the District, Mayor Muriel

BIKE TO WORK DAY

Bowser announced on Wednesday a partnership with 1776 to conduct workshops at THEARC, the cultural center on Mississippi Avenue SE, to expose residents to career opportunities in the digital economy. Zipper also says 1776 recently introduced Caywood to Elliott Ferguson, the head of Destination DC, the D.C. government’s marketing arm for tourism and conventions. “Elliott and Matt just went right off to the races about the public infrastructure that would get the most value out of this,” Zipper says. All of this leads to a future of interconnected infrastructure, making it easier and safer to get around a city, says Hoffman. “In the future future state—and that’s where we get into the Internet of Things—the ‘smart cities’ concept gets more pervasive,” he says. “I think that’s just a matter of time.” Until then, it’s up to the police to start CP cracking down on illegal U-turns. Got a real-estate tip? Send suggestions to housingcomplex@washingtoncitypaper.com. Or call (202) 650-6928.

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DISTRICTLINE

Tomorrow’s history today: This was the week we were reminded how miserably hot D.C. summers get.

City Desk

This week, the D.C. Council honored Eric Holder for his six years of service as U.S. attorney general. He officially left the position last month. The ceremonial resolution praised Holder, in part, because he’s a disenfranchised District resident: “Eric H. Holder, Jr. is the only Attorney General, out of the 82 who have served, who does not enjoy taxation with representation, full voting rights, budget autonomy, a District of Columbia Representative in Congress with full voting rights or two District of Columbia Senators in Congress.” Holder again pledged to work toward obtaining voting rights for D.C. during the Council ceremony. But he’s not the only powerful person who has advocated for greater autonomy for the District.… on his way out the door. And even when politicians securely in high places support D.C. voting rights or statehood, their words don’t necessarily lead to action. Below, we —sarah anne hughes rate some of these recent statements.

Darrow Montgomery

Zip Service

former sen. Joe lieberman on Dec. 19, 2012, two weeks before the end of the 112th congress and his retirement

The white house on Jan. 15, 2013, four years after obama took office

“As I retire from the Senate after having had the great privilege of serving here for 24 years, securing full voting rights for the 600,000 disenfranchised people who live in the District is unfinished business, not just for me, but for the United States of America.”

“Attaching these [“Taxation Without Representation”] plates to the presidential vehicles demonstrates the president’s commitment to the principle of full representation for the people of the District of Columbia and his willingness to fight for voting rights, home rule and budget autonomy for the District.”

rating: An upside down D.C. flag on a voters’ guide

rating: A warm DC Brau on a 100-degree day

President barack obama on July 21, 2014, five years after moving to D.c.

“I’m in D.C., so I’m for [statehood]... Folks in D.C. pay taxes like everybody else. They contribute to the overall well-being of the country like everybody else. They should be represented like everybody else. And it’s not as if Washington, D.C. is not big enough compared to other states.” rating: An autographed copy of Dream City

sen. Tom carper on sept. 15, 2014, the day of a senate hearing on a statehood bill

“Yet when it comes to having a voice in Congress, these men and women do not count. In truth, they never have. While they bear the full responsibilities of funding the federal government and dealing with the consequences of the laws it enacts, they do not enjoy the benefits and protection of having voting representation in our Congress. In my view, this situation is simply not fair. Neither is it consistent with our values as a country. Perhaps most importantly, though, it’s not consistent with the Golden Rule: Treat other people the way we want to be treated.” rating: A $100 donation to DC Vote

holder on sept. 26, 2014, one day after announcing his resignation

“When I talk about all who want to be heard in the halls of the federal government, I am talking about the more than 600,000 taxpayers who, like me—like me—live in the District of Columbia and still have no voting representation in Congress. We pay our taxes. We die in the Army. We have a great representative, and we do not have voting rights. It is long past time for every citizen to be afforded his or her full responsibilities and full rights.” 600 block of 14Th sTreeT nw, may 6. by Darrow monTgomery

rating: A really good stars and bars tattoo washingtoncitypaper.com may 8, 2015 9

DISTRICTLINE

A new PAC targets members of Congress who meddle with D.C.'s laws: washingtoncitypaper.com/go/PAC

Loose Lips

Count on It

The Ward 8 special election goes into overtime.

Darrow Montgomery

A Trayon White victory depends on more than 1,000 provisional ballots.

By Will Sommer Ward 8 candidate Trayon White came to the Congress Heights parade last Saturday with his own hype man. “The people’s champ is here!” declared one White supporter.

But not everyone was happy to see him. The drill teams and children’s bands waiting to march were at best neutral about the man who has about a 50 percent chance of being their next councilmember. The parade’s organizers were even less impressed. They complained that White

10 may 8, 2015 washingtoncitypaper.com

hadn’t registered to march in time. The fact that Monica Ray, the campaign treasurer for LaRuby May, runs the group that organizes the parade also didn’t help White’s chances. The special election to decide who would take the late Marion Barry’s seat left White just 152 votes behind May, May-

or Muriel Bowser’s candidate. As of Election Day, more than 1,000 provisional ballots remained uncounted, even as more absentee ballots came through via email. At the parade, organizers told White he would have to march last, while May would lead the parade. Each of the rival campaigns

passed the time trying to out-chant the other. White groaned that Ray and her candidate were just representing the interests of Phinis Jones, the frequently scandal-tied developer and political donor whose involvement in the Park Southern housing complex gave Bowser’s campaign heartburn last year. “They’re the face,” White tells LL. “He’s [in] back with the money.” Suddenly, things got heated about who would march behind whom. White’s supporters spilled out across the parade route on Congress Street SE, advancing on another parade organizer. Older White volunteers got up in younger men’s faces, trying to talk them down from brawling. “Don’t let that nigga provoke you!” yelled one woman. Welcome to the Ward 8 race in overtime. Despite the mayor’s support and a campaign treasury more than 16 times as wealthy as White’s, May found herself within three percentage points of White on election night. What could have turned into a victory party lost momentum when Bowser declared May was just “winning”—so far—then quickly exited with her candidate. The tight race leaves May and White now in dispute over the legitimacy of the provisional ballots, which could mean the difference between a suite in the Wilson Building and a year-long wait until the seat is up again. It also means one final round of White versus Bowser’s Green Machine, which has resources that extend far beyond who goes where in a parade. The parade near-fight was an intense moment for White, who usually alternates between introspective mumbling and, at 5 feet two inches, a Pan-like glee at his good fortune in the race. Walking to the parade, White pumped his supporters up with stories about how many people the campaign had taken to the polls. “There’s no way they’re even close to us, dog!” White told one. As it turns out, there are a lot of ways for May to be close to him as the Ward 8 race drags on. Barring some truly bizarre electoral math, the roughly 1,000 votes won’t be split between just May and White. Instead, a majority of them will likely go to the other candidates who received votes last week. Candidates like Eugene D. Kinlow, Barry’s son Marion C. Barry, Sheila Bunn, and Natalie Williams kept both White and May under 30 percent on election day, and they could have the same effect on their provisional vote totals. “We believe that most of those provisional ballots belong to us,” says Stuart Anderson, who dropped out of the race last month to organize for White. Anderson thinks that if his candidate can get 400 of the votes, he’ll win. On Tuesday, the D.C. Board of Elections accepted 822 of the provisional ballots and rejected 344 of them, although the approved number could increase if more provisional voters prove their eligibility. DCBOE plans to release an unofficial count on Friday. If May and White are separated

by less than one percent of the votes, there will be an automatic recount. If he’s losing by more than that, White says he’ll pay the cost of a recount himself—a whopping $50. DCBOE doesn’t make it easy for campaigns to prove that the provisional votes should be counted. First the campaigns have to find the voters, then they have to take them to DCBOE headquarters at Judiciary Square, miles away from Ward 8. Most difficult of all, the elections board doesn’t provide the campaigns with the names of people who cast provisional ballots. “It’s sort of hard,” says May spokesman Everett Hamilton. “You don’t get the names of the people.” Instead, the campaigns are left guessing about which of their supporters would have gone to the polls as a first-time voter or without proof of their address. On Monday night, White’s campaign organized volunteers to canvass their neighborhoods, while others worked on Facebook to find potential voters. Knocking on doors during the workweek in the District’s poorest ward has one advantage, according to candidate-turned-Whitesupporter Jauhar Abraham: There’s a better chance that people will be home because they’re unemployed. For his part, White insists he isn’t worried about the daunting task of figuring out who cast a provisional ballot. On Monday, his campaign estimated that they had identified roughly 100 voters. “Ward 8’s small,” White says. “All I gotta do is put a poster up.” That low-tech approach would be in keeping with the rest of White’s campaign, which managed to survive in the face of a crowded field and May’s overwhelming money advantage. White, a former State Board of Education member and Barry protege, has embraced his underdog image. At one point during a press conference, he urged his supporters to chant “we will not be bought.” “This is life-or-death for a whole lot of people,” White says. “We’re the hope.” Lately, White has redirected many of his attacks from May to Bowser: He frequently says the mayor is setting up a “dictatorship” in the District (Bowser spokesman Michael Czin disagrees). As Bowser walked by White’s crew on Congress Heights Day, one White fan addressed her as Sharon Pratt Kelly—a reference to the mediocre ’90’s District mayor. May has the money and the mayor, but White has at least one advantage of his own: everyone knows who he is. White lives every day like an episode of This is Your Life, constantly delighted to run into people he knows. Outside a Giant on Alabama Ave. SE, White ran into his high school football coach, who seemed unsure about his former player’s fifth quarter at the ballot box. “Is that a good thing or a bad thing?” he asked. White’s reply: “It’s just a thing, man.” CP Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.

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Gear Prudence: I signed up for a 100-mile charity ride, and it’ll be the longest I’ve ever biked. I ride my bike to work every day, and I ride a lot on weekends, but never this far and never all at once. I bristle at the idea of “training,” but is that something I absolutely need to do if I actually hope to finish? —Do I Seriously Try Attempting Normalizing Century Efforts? Dear DISTANCE: Ugh. Training. Who has the time what with all the Netflix and the laundry and the literally anything else? You already ride your bicycle to work, and you ride on the weekends, so you’re more or less familiar with the general mechanics of cycling—sit on it and spin—how much harder could it possibly be? In addition, you’ll be inspired not only by the pulsing adrenaline of the long ride, but by the self-righteousness of converting an enjoyable leisure activity into an exercise of meaningful munificence. Surely that will up your gumption. But all of that said, riding 100 miles isn’t like your regular bike commute, and if you’ve never done it before—and if you’ve never ever come close to doing it—there are a few precautions you might want to take. Mary Gersema, who writes the blog Chasing Mailboxes, is a randonneur, a kind of long-distance cyclist who regularly covers hundreds of kilometres on her bike at a time. She suggests that you gradually build up on your weekly miles to gain additional belief in your abilities to eventually cover the distance needed. Additionally, seek out some practice routes that mirror the terrain of your century course so you’re not caught unawares. Building a base will allow you an opportunity to dial in your bike fit and to get a sense of how your body might respond to longer distances. That’s one approach: Train and then you’ll succeed. And GP supposes that there’s some logic to that. But there’s also some logic to just Rosie Ruiz-ing it. Unless the funds you’ve raised are contingent on your actually finishing the event, there’s really no reason (other than pride or self-esteem or whatever) for busting your hump to ride some ungodly distance. “Oh, I’m sorry, we can’t cure [insert disease here] now because that guy didn’t bicycle far enough” is unlikely to be uttered if you shave off a few miles or take a seat in the SAG wagon. Ride as far as you want. Quit when you run out of steam. It’s the worthiness of the cause that matters, not your bicycling some arbitrary distance. —GP Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling? Email gearprudence@washcp.com.

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1 4 t h S t r e e t , W a s h i n g t o n , D C 3 3 2 - D O G S • W W W. L O V E P L A N E T P E T. C O M washingtoncitypaper.com may 8, 2015 13

SAVAGELOVE Last summer, I reconnected with a high-school teacher I hadn’t seen for a year. We first met when I was 15, and I had nothing but respect for him and his intelligence. I also had a crush on him for the next four years. Fast-forward a year. He is sexting me and sending dick pics and wants to hook up. He has told me he loves me. I feel violated and tricked, like he was supposed to be someone I could trust and he didn’t respect that. Now I wonder how teachers really see underage high-school girls. This whole experience has made me feel dirty. Moreover, he has never respected that I have a boyfriend and that I want nothing to do with his advances. I met up with a former classmate, and she told me that this teacher and another teacher said similar things to her. Ew! Most former classmates of mine still believe him to be a respectable man and a great teacher. But I know him for what he really is, and when I think of it, I get so angry. How do I move on from this? —Schooling Thankfully Over Permanently

Enjoying a spanking… isn’t evidence that there’s something wrong with you or your relationship. I would never want to minimize the creepiness factor of a former teacher sending you dick pics and refusing to take “I want nothing to do with your advances” for an answer. (And you didn’t just say “I have a boyfriend” and hope that he would hear “And I want nothing to do with your advances,” right? Because if all you said was “I have a boyfriend,” STOP, he may have heard, “I would love to fuck you, but I have a boyfriend.”) And I definitely believe high-school teachers—all teachers who work with minors—should refrain from fucking current students and sending dick pics to former students. One is statutory rape and an abuse of power (fucking underage students); the other is career suicide (hitting on former students will get your ass fired eventually). As for the other issues you raise… This guy was your teacher when you were 15… you had a crush on him for four years… a crush he doubtless picked up on… and you 14 may 8, 2015 washingtoncitypaper.com

somehow reconnected with him after not seeing him for a year… and one year after reconnecting, he’s still contacting you despite your rejection of him. If I’ve got the timeline right (math is still hard!), STOP, you were 19 or 20 when you reconnected with your former teacher and you’re 20 or 21 now. Maybe even 22. That means nothing happened—nothing appropriate or inappropriate—until you were (1) no longer his student and (2) legally an adult. Your former teacher did nothing inappropriate when you were his student (you surely would’ve included that detail), and so far as you know, he’s never behaved inappropriately toward a current student. Which means either your former teacher has a solid age-range floor (he’s not attracted to anyone under the age of 18) or he’s capable of exercising selfcontrol (not only can he refrain from fucking girls under the age of 18 who he happens to find attractive, but he can conduct himself in such a way that those girls have no idea he finds them attractive). Your former classmate’s story complicates the picture—and yucks the picture—but she was a former student and an adult when these teachers said “similar things” to her, right? That’s still creepy, of course, it’s still not okay, and it’s still potential career suicide for both these idiots. But it’s not technically illegal. If you honestly believe that either or both of these idiots are behaving inappropriately toward their current students, STOP, you should approach the administration at your old high school with your concerns. Doing so will result in the end of their careers as educators—but if these guys are trying to fuck their current students and/or grooming their current students for fucking a year or two after they graduate, then both should get the fuck out of teaching. As for feeling dirty, STOP, I don’t understand where that’s coming from. You didn’t do anything dirty. The realization that this teacher might have had a crush on you back when you had one on him—and he might not have had a crush on you then—shouldn’t hurl you into some sort of existential crisis. If knowing that a teacher might have found you sexually attractive back when you were a junior in high school leaves you feeling violated, tricked, and angry, STOP, if that realization has you convinced that all teachers are secret perverts, then you seem to be operating under a faulty set of assumptions about what teachers are. They’re not robots, they’re not eunuchs, they’re not humanoids from a parallel universe where life isn’t occasionally complicated by an unwanted sexual attraction. Teachers are human beings, and like all other human beings*, they sometimes experience sexual attraction, including sexual attraction of the unwelcome and/or inappro-

priate variety. What they choose to do about it—suppress it, act on it—determines whether they’re respectable men and women and (possibly) great teachers or total creeps and/ or sex offenders. This does not, of course, excuse what your former teacher is doing to you now. He’s sexually harassing you. Tell him to stop and threaten to take it up with the school board if he doesn’t. How do you move on? You do what I do on Twitter: Block and forget the asshole—BAFTA. —Dan Savage * Except for asexual humans, of course. Except for them. Male here, 21 years old. I’ve been in a relationship with my girlfriend for a year and a half. We have somewhat kink-themed sex, though nothing too intense. My girlfriend is very submissive, and I’m more on the submissive side myself, so we have done only light bondage and light flogging. Recently, my girlfriend and I had a fight, and while things were still kind of heated, she suggested I “punish” her by spanking her, which I did, and we wound up having a much better, calmer conversation after the spanking. The next day, she proposed that this be something we do more often. I am not certain about all the dynamics at play here. Is this a healthy approach to resolving conflict? We already do a bit of kink, and there would be two consenting partners. But at the same time, I don’t want to be an abusive boyfriend or something. It seemed to help us resolve the conflict— but if we do it more, I’m not sure it would play out as well. It happened only that one time, so I haven’t moved forward on it. I’m uncertain whether it would be good for our relationship. —Keeping It Newly Kinky Research conducted at Tilburg University in the Netherlands found that kinky people— people who engaged in consensual submission, bondage, and pain play—scored better on most measures of psychological health than non-kinky people. So enjoying a spanking, asking for one, giving one on request, etc., isn’t evidence that there’s something wrong with you or your relationship. As for whether it’s a good idea to spank your girlfriend in the heat of an argument, well, that depends on two things: whether she wants to be spanked at those times (gotta keep it consensual) and whether the spanking—for you—represents an extension of the argument or a suspension of the argument. If you’re setting aside the argument to enjoy a spanking—maybe a little conflict gets her blood pumping and turns her on—and then picking it up later, after you’ve both enjoyed a spanking, then I don’t see the harm. —Dan Send your Savage Love questions to mail@savagelove.net.

How old do human remains, graves, etc., have to be before digging them up is OK? If I go to a cemetery and dig somebody’s remains up, it will undoubtedly make front-page news, especially if I put what I find on display on my mantel. However, museums are filled with really old dead people and their artifacts. Is it just that these people’s relatives are no longer around? —John E. Riley I’m tempted to ask what prompted this inquiry, but I’ll leave you and your god to resolve that between yourselves. One must concede, though: At this point in human existence, with more than 100 billion dead people in the ground (or lying around at varying levels of decomposition somewhere, anyway), the odds of Spot digging a hole in the backyard and turning up one of them aren’t insignificant. As it’s important to be prepared for these sorts of situations, what follows here are your basic guidelines for grave-robbing. It’s not a total free-for-all. The Native American Graves Protection and Repatriation (and Desperate Attempt to Make Up for Previous Shitty Policies Regarding Native Americans) Act of 1990 requires any remains or artifacts be returned to the appropriate descendants. Perhaps the most famous related case so far was the 1996 discovery in Washington State of Kennewick Man, a near-complete human skeleton roughly 10,000 years old—the sort of find that gets archaeologists fogging up their microscope lenses. Despite uncertainty about KM’s ethnic origins, a group of Native American tribes claimed him as their own and wanted him reburied under the 1990 law, while scientists, seeing him as a priceless research subject, tried to stop the Army Corps of Engineers (who had jurisdiction) from turning the bones over. After the legal dust settled, no one was all that happy: A 2004 ruling held that the remains weren’t provably Native American, so no reburial, and the Corps has allowed only limited scientific testing in the years since. But that’s as far as federal law goes. (Well, plus prohibitions against disturbing a crime scene, always a consideration in cases of unattended death.) Everything else gets delegated to the states, where things get a little hazier. There’s a common-law principle in play under which it’s not OK to disturb a dead body without proper authorization, although really that mainly applies to bodies interred in modern cemeteries with all paperwork accounted for. Seventeen states explicitly prohibit abuse of a corpse, which generally encompasses things that would offend hypothetical loved ones. True, the possession and sale of human remains by private individuals is legal in all but three states—eBay, unsurprisingly, hosts a lively trade in such things, which can fetch hundreds or sometimes thousands depending on the body part. This, however, doesn’t mean it would be wise for just anyone to take some femur they found (even on their own property)

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THESTRAIGHTDOPE and slap a Buy It Now price on it. If you’re a part of a museum or other organization that’s official enough to claim the aforementioned proper authorization, though, the random dead bodies out there not covered by the repatriation act are more or less up for grabs. According to the Ohio Archaeological Council, the general idea when discovering human remains is to determine whether they belong to anybody still alive. This could be a relative or heir, or possibly a contemporary group with a cultural affinity. There must be an attempt to contact the relevant parties, which isn’t always simple even when Native Americans aren’t involved; countless controversies have ensued over millennia-old bones of unclear provenance. (The self-proclaimed chief of modern-day British druids, King Arthur Pendragon—formerly known as John Rothwell— has threatened to chain himself to Stonehenge if the bones found there are displayed). Finally, the general idea is to avoid activities seeming “exploitative or insensitive.” But that’s about it. Antigone (you remember—she was determined to get her traitorous but dead brother properly interred) would be appalled. As for rules about how long you’re required to leave bodies undisturbed: There aren’t any. Excavations are already going on at certain World War I battlegrounds where the slain were just a couple of generations older than many now in the prime of life, e.g. me. The more modern the site, of course, the more controversial the remains. Last year, for instance, 7,930 unidentified human fragments, most the size of “a Tic Tac,” as one medical examiner memorably put it, were transferred to the National September 11 Memorial and Museum, to be placed at bedrock level of what organizers had called “the sacred ground of the site.” As respectful as that might sound to some, to many of the families of the deceased it meant their loved ones’ remains were being stored away in a museum basement. Some victims’ families had earlier protested against World Trade Center dust and debris being moved to a Staten Island landfill, arguing that it certainly contained human remains as well. I predict many more lawsuits before we finally lay this issue to rest. And if the police find anything weird in your house? Blame the dog. —Cecil Adams Have something you need to get straight? Take it up with Cecil at straightdope.com.

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’Sphere To Artisphere cost Arlington County millions. Should that matter? By Erin Devine Photographs by Darrow Montgomery

16 may 8, 2015 washingtoncitypaper.com

In February, a friend and I went to a theatrical performance at Artisphere in Rosslyn, but we didn’t watch the actors. Instead, we watched their shadows against the handdrawn elements that created a cinematic backdrop with the use of old-school overhead projection. The performance, Lula del Ray, was an original coming-of-age story that followed a young girl living in a trailer, isolated with her single mother. When Lula packed her suitcase and ran away to the city to find the singing duo of her obsessed fandom, viewers followed the silhouetted drama across the interior of Artisphere’s planetarium-like dome, periodically returning to the choreography of the actors and musicians below. Written and performed by Chicago-based Manual Cinema, the story has no dialogue. In addition to the overhead projectors, the action unfolds before the audience via shadow puppetry, actors in silhouette, live music, and sound effects. My friend and I were joined by Artisphere’s

current (and now final) artist-in-residence Elsabé Dixon, whose “living environment” installation of silkworm cocoons and their detritus was just downstairs. At the end of Lula del Ray, the three of us sat slack-jawed, barely able to utter an intelligent appraisal other than “amazing.” Each of its members is under 30, but Manual Cinema has already received awards from around the world, even performing to standing ovations at a festival in Tehran. We were able to see the company for $20 in Arlington. The Lula del Ray performances sold out, as many recent Artisphere events have. My first experience watching a performance at Artisphere was a Halloween screening of the 1922 silent film classic Nosferatu, projected above a live band playing jazz, classical, klezmer, and tango in Artisphere’s Dome Theatre. Again, the house was packed. The exhibitions in Artisphere’s gallery space have presented curatorial concepts that are cutting-edge and intellectually en-

oday..

gaging yet accessible to a wide audience, featuring new processes by artists from around the world. Last summer’s ambitious “Fermata” series felt right at home in the recent surge of interest in (and attention to) sound art installation. More recently, “Think with Your Hands,” an app-based collaboration between artists and software developers that brought flat images to animated life, attracted grade school field trips populated by legions of new gallery-goers ready with their iPads. These have been among the best exhibitions in an area that’s surprisingly short on contemporary art venues. At Lula del Ray, the audience’s palpable excitement about the performance contrasted sharply with the dark cloud hanging over Artisphere. In December, Arlington County Manager Barbara Donnellan recommended

that the county close the center; its fate was finally sealed in April. When the current fiscal year ends on June 30, so will Artisphere. What went wrong? If Artisphere had been judged on the quality of its programming, the enthusiasm of its attending audiences, and its steadily growing numbers, it would be here to stay. But in her closure announcement, Donnellan focused on Artisphere’s current and future dependence on taxpayer support. “In the current fiscal environment,” she said, “I cannot advise we continue.” Artisphere had not met the county’s financial or attendance goals, and that came with a consequence: the withdrawal of the funds taxpayers contribute to the venue’s operation. Donnellan did not plead poverty or say that Arlington was unable to fund Artisphere; instead, she emphasized that the venue was “money-losing.” It’s not uncommon for a public cultural center, if it has become too much a financial burden for the local economy to bear, to be deemed an extraneous service and shut down. Still, Artisphere’s success was not measured by the visual and performing arts programming it has provided but by quantitative outcomes weighed against faulty and unrealistic projections. A publicly funded cultural center tasked with servicing the community should not be evaluated according to its revenue-generating abilities. Arlington County is treating Artisphere like an amusement park or corporate movie theater rather than the only accessible, common space of cultural identity in a large, diverse, resource-rich county. Discussion of an arts center for Arlington County began under the tenure of former Cultural Affairs Director Norma Kaplan. The Cultural Affairs office works with county artists and organizations to help facilitate cultural offerings around Arlington, so centralizing its efforts into a single location made sense. When the Newseum relocated from Rosslyn to the District in 2008, the building owner, Monday Properties, leased the space to Arlington County rent-free. It seemed like a golden opportunity for the county: The cultural center would likely draw new businesses and residents to one of the area’s most uninteresting corners. Its potential to help revitalize Rosslyn (a sterile, concrete-and-glass wasteland) was an attractive element of the plan to the county and Rosslyn Business Improvement District from its inception. “For years, the county has struggled unsuccessfully to find an appropriate replacement for the Newseum that would serve as a draw to Rosslyn, to enliven the street life, and to complement the next generation of Rosslyn development,” a board agenda from June 2009 stated. “The... space offers an extremely rare opportunity to meet several county objectives in a highly cost-effective manner.” Arlington rushed to open Artisphere on the gimmicky date of 10/10/10, but did so without an executive director, communications director, website, or ticketing system. Unfortunately, Rosslyn is still a soulless washingtoncitypaper.com may 8, 2015 17

business district. If you drive there, you’re apt to get lost in its Byzantine layout. The county didn’t originally intend for Artisphere to single-handedly revitalize Rosslyn—it was part of a broader vision to enliven the area with new businesses and venues. But when Rosslyn’s economy, particularly the real estate market, experienced a downturn, local development projects were delayed. On Wilson Boulevard, just a block from Artisphere, a large mixed-use residential and commercial construction project was slated to be finished in 2010, the same year Artisphere opened; it just recently broke ground. Even though Artisphere is the lone wolf in culturally depressed Rosslyn, the County Board expected its attendance numbers to arrive at or about 250,000 people in the first year. Donnellan now calls that goal “simply unattainable.” “In fact,” she says by email, “other more established cultural institutions in the region would have been hard-pressed to deliver that level of visitors.” She notes that the Shakespeare Theatre Company, a nationally recognized theater company with a yearly operating budget of about $17 million, attracts about 120,000 people a year. Artisphere’s first-year attendance numbers fell short of the goal by about 75 percent. Still, 55,000 visitors in its first year—in a place like Rosslyn, at the height of the Great Recession—is pretty impressive. Given that a number of visual and performing art centers around the country folded during the economic downturn, the expectations demanded of Artisphere in attendance numbers, revenue, and Rosslyn revitalization were heady, indeed. After realizing that the first-year goals went beyond all reasonable expectation, the county formed an advisory committee and took measures to boost Artisphere’s image and revenue, including a successful program to rent the facility to outside groups. And in the time since its rocky first two full years (2011 and 2012), Artisphere attendance has steadily increased, reporting 11 percent growth in its last full year. According to Ford Bell, president of the American Alliance of Museums, Artisphere presents a

unique challenge as both a visual and performing arts center. It’s a much more complicated program to manage than one or the other would be, especially with a small staff of 12 full-time and 20 part-time employees. Bell calls Artisphere’s initial attendance projections “unreasonable” but says its recent numbers—more than 71,000 visitors from summer 2013 to 2014—indicate promising growth for a still-new organization. Unrealistic expectations and an out-of-theway setting with no foot traffic would spell disaster for just about any public institution. A fickle budget that shifted from year to year stifled Artisphere’s ambitions and didn’t account for its problematic facility. In December, current County Board Chair Mary Hynes told the Washington Post that Artisphere had been placed in a building “not well-suited for an art center.” “Artisphere has a number of really interesting spaces—the dome, the black box, the ballroom, the Bijou Theatre,” she told me recently. “[However,] it was impossible to run multiple simultaneous events because sounds from one event traveled and disrupted another.” Facilities managers can’t close off spaces that aren’t in use, whether for a day or a month, leading to unnecessarily high climate control and lighting costs. From a design standpoint, the space visitors first encounter when entering Artisphere still looks and feels like an office lobby: Common areas between the galleries and performance spaces are cluttered with tables and chairs that serve no aesthetic and little functional purpose. And yet, given the skeletal facilities left behind by the Newseum, the county spent $6.7 million to renovate lighting, sound, and acoustic systems, replace 60,000 square feet of flooring, and build out new walls for art exhibition spaces. So if Artisphere’s facility is rent-free and it receives millions a year from Arlington County, how did the project still go over budget? In fiscal year 2014, the venue’s total operating budget comprised $2,381,347 from the county plus $1,259,206 in revenue, which includes an annual $300,000 donation from the Rosslyn BID. The county went over the $2.2

million allotted in its budget for Artisphere by $181,347. (That’s a marked improvement from the 2013 overage of $687,368, the result of additional renovations to the heating and lighting system.) The $3.6 million covers all of the organization’s expenses, including $1.2 million per year in utilities and maintenance alone. Donnellan says the annual costs to maintain the roughly 60,000-square-foot facility includes things the public may never consider, like “taxes and building charges from the property owner for

elevators [and] common areas.” The remaining $2.4 million paid employee salaries and programming expenses, including marketing, managing equipment and facilities for performances, mounting exhibitions, hosting artists, and staging live events. Now, with the county set to close Artisphere just over four years after opening, it doesn’t appear that the problem is attendance numbers or revenue, which are steadily rising. The problem doesn’t even seem to be last year’s overage. Instead, the county seems to take issue with the allotment of any money whatsoever to Artisphere. This past year, Arlington County projected a more than $24 million budget gap for fiscal year 2016; the $2.2 mil-

Gone Tomorrow

18 may 8, 2015 washingtoncitypaper.com

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Handout photos courtesy of Artisphere

Clockwise from top left: Images from “Think With Your Hands;” “Frida Kahlo: Her Photos;” the main “Fermata” installation; and artist Christine Sun Kim, “Fermata” contributor

lion in proposed funding for Artisphere immediately went on the chopping block. But Arlington County’s annual budget is $1 billion. That’s like taking $1,000 to the racetrack, losing $24 in bets, and demanding your friend pay you back for the $2.20 coffee you bought her on the way to the track in an effort to recoup. Artisphere’s closure is symptomatic of a much larger political view of culture in which the arts are important to community building, but funding them is not; art is valued, but using public money to support artists or organizations is suspect. This particular stance of fiscal conservatives has been around at least since Ronald Reagan sought to defund the National Endowment for the Arts in 1981. During this past election cycle, John Vih-

stadt—a former Republican running as an Independent—pulled off a surprising upset when he was elected to the board of liberalleaning Arlington County. One of his campaign platforms was nixing the Arlington streetcar project, which would have run along Columbia Pike; he also eyed “money-losing” Artisphere. “I think the county manager made a cold, calculated, and reality-based decision that the Artisphere would not be successful without a large continuing subsidy,” he told the Washington Post after the announcement. “I was concerned about the Artisphere all along.” Vihstadt harbors a hard-nosed approach to public funding of capital projects, particularly ones he deems high-cost (the streetcar) or unnecessary (an arts center). The American Alliance of Museums attempts to quantify the impact of arts and cul-

20 may 8, 2015 washingtoncitypaper.com

ture in U.S. communities. Based on attendance numbers and operating hours of its member museums and cultural institutions across the country, AAM estimates that activity in U.S. cultural centers accounts for 1 million hours of intellectual engagement per week. The cultural tourism those institutions support is 6.5 times higher than that of all major league sports. Think about it: When tourists visit New York, do they go to a Knicks game, or a Broadway show and the Met? (The same can be said for D.C., where the Nats vs. National Gallery decision is a no-brainer for most outof-town visitors.) When cultural institutions disappear, their employees aren’t the only ones out of a job. The local economy suffers as restaurants, hotels, parking garages, and retail outlets lose business both from audiences and from the

arts organizations themselves, which pay market rates for goods and services. The cultural industry has long been overlooked as an economically sustainable investment that not only strengthens the quality of life in communities but boosts their economies, too. According to a report from Americans for the Arts, a nonprofit that studies the relationship between the arts and local economies, the Great Recession had a measurable financial impact on the arts that was comparable to most other industries. The year Artisphere officially opened was the same year nonprofit art and cultural organizations began to slowly turn around. But revenues, particularly in ticket sales, were still below pre-recession averages. Artisphere’s exhibitions are free to the public, and performance tickets are priced lower

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than most other venues in the area (usually between $10 and $20). Its modest ticket revenues either got absorbed by or barely offset event operating costs, which include compensating and accommodating the artists, according to one Artisphere employee. If Artisphere had aligned its ticket rates with its expenses, perhaps it wouldn’t have been criticized as “money-losing,” but it certainly wouldn’t have been an accessible community art center. As an arm of the county and its cultural affairs office, Artisphere could not conduct fundraising, which hampered its ability to recoup some expenses. After Artisphere’s first birthday, the county’s advisory committee recommended a separate 501c3 organization to conduct fundraising on Artisphere’s behalf. The Arlington Foundation for Arts and Innovation was then established in 2013 and has helped to financially bolster Artisphere as well as support other cultural activities in the county. But in the less than two years since its inception, the organization didn’t collect enough tax-deductible contributions or adequately develop strategic fundraising plans in time to significantly help Artisphere. When the county announced its intention to close Artisphere, Hynes told the Post that she considered the board’s decision “a repositioning, not a retreat,” which led some local arts patrons to wonder if the cultural center might be relocated or reconceptualized at a later date. Michelle Isabelle-Stark, director of Arlington’s cultural affairs office, quashed that hope. “Since the County Manager Barbara Donnellan has announced her recommendation to close Artisphere and that relocation is not an option she intends to support, there is little that our cultural affairs department will be doing to explore a relocation option,” she told me. The recent rally among arts patrons, citizens, and an advertising campaign to save the Detroit Institute of Arts provides a creative model Artisphere’s supporters could look to. The DIA serves one of the most economically depressed areas in the nation; no other U.S. city is in such dire need of revitalization. Facing catastrophic budget cuts in 2012, the DIA appealed to its three surrounding counties, whose residents voted in favor of a 0.2 percent property tax hike (an average of $20 per household per year) to raise as much as $23 million annually for the DIA’s operating budget. Voters in the greater Detroit area, who comprise 79 percent of the DIA’s annual visitors, will receive free admission in exchange. The tax covered most of the operating budget of a large museum with a collection of over 65,000 works. But Detroit is an atypical case. When the Michigan city declared bankruptcy, creditors salivated over emergency management planners’ quickand-dirty recommendation to send the DIA collection—which the city has owned since 1919—to the auction houses in order to raise funds. Faced with a new crisis, the DIA launched a second remarkable fund22 may 8, 2015 washingtoncitypaper.com

“It is critical that we build an inclusive city that has accessible art.” raising drive in 2013 and has since drawn $800 million from major corporations and philanthropists. Michigan Governor Rick Snyder recognized the museum’s efforts and, in response, shored up the depleted city pensions the sale would have offset. As federal funding for the arts continues to shrink, local governments will need to decide not only what the arts mean in the lives of their taxpayers but formulate a new vision of collaboration with cultural institutions. It’s ironic that Artisphere’s overarching value to the Arlington County Board lay in its ability to attract residents and businesses to Rosslyn: It shows that the board recognizes that arts and culture are a vital part of the fabric of a desirable community, while neglecting to understand or support the financial needs of organizations and artists who enhance the lives of that community every day. According to the board, that wasn’t worth the $2.3 million it expects to save by closing Artisphere. Investors and government entities are often keen to revitalize areas using cultural spaces and artist-run projects, only to raise the rents once the arts have served to make these areas more attractive. CulturalDC is a nonprofit that helps businesses and arts organizations collaborate to revitalize areas in exchange for more affordable spaces for artists. The arts “define the cultural and economic vibrancy of a city,” says CulturalDC Director Juanita Hardy. “It is critical that we build an inclusive city that has accessible art. This means communities that incorporate art spaces and systems that ensure their sustainability. All of us play a role in making this happen: artists, art organizations, developers, property owners, the government, and community.” Hardy notes that most of the greatest cities in the world are made so by their arts and culture. Last year’s dissolution of the Corcoran gained national attention because it was alarming to see an institution with such history fold in our capital city. More recently, D.C. Mayor Muriel Bowser withdrew her support from a plan to turn the historic Franklin School building into a contemporary art center. With Artisphere on its way out, two major public exhibition spaces for contemporary art have closed within the last two years, with no concentrated, substantial efforts to replace them. While the Hirshhorn stages compelling contemporary exhibitions, it’s also a collecting institution with accompanying stewardship responsibilities. Under the long shadow of the additional free Smithsonian art museums, there seems to be no space for the active,

long-term support of a center for the art and activities of living artists—one that focuses on rotating exhibitions in support of new curation and the work of artists who contribute a much-needed dialogue within the passionate political climate of D.C. In Minneapolis, there is the Walker Art Center; in Cincinnati, the Center for Contemporary Art; and near the border of Vermont in a town called North Adams is the renowned Massachusetts Museum of Contemporary Art. That there is no dedicated contemporary art center or museum in the D.C. area is lamentable, but it speaks plainly to the lack of political understanding of the important dialogue that visual artists create. In D.C., it seems as though an artist has proven her value if she’s dead and in a museum; if she’s still making work, the verdict is out, and so is the funding. According to José Ortiz, who resigned as Artisphere’s director in February, what “went wrong” with Artisphere was “not a matter of losing money, [but] a matter of meeting the expenses.” In a cultural center’s mission, it is essential to articulate the difference between “money-making” and creating a long-term, sustainable, realistic operating model in concert with local government so that the institution can focus on its essential programming responsibilities for their community. The Arlington County Board and its planning committee for Artisphere did not adequately prepare for the venue’s operating expenses. While its closure will put money back in the county’s annual budget, that money was an investment not just in Artisphere, but in the people of Arlington who had access to a trailblazing cultural center in the region. Last year alone, Artisphere worked with 216 artists (more than half from the D.C. area) and presented 141 programmed events despite a limited staff and budget. On April 22, the Arlington County Board made its decision official and voted to close Artisphere. Just under $500,000 will be redirected toward arts and cultural programming around the county, thus ending its fiveyear experiment with a centralized visual and performing arts center. Some politicians perceive the arts as a dispensable luxury, which disavows the important educational and sociological roles they play in how we interpret our world. An evening at Artisphere, as with many such institutions dedicated to the work of living artists, will find people from all ages and backgrounds. Art bridges a community in a way that nothing else can, and CP that alone is worth the price tag.

Boasts of Artisphere Past

A look at some of the highlights from Artisphere’s too-short history.

“ImmerSIve IdeAl”

Summer 2011, Black Box Theatre Beauty Pill uses an array of unexpected instruments and computerized sound to place richly textured melodies against clever, emotional lyrics. Artisphere gave over its Black Box Theatre to the D.C .-based experimental pop band for an intensive two-week recording session, “Immersive Ideal,” and invited the public to watch. The resulting effort, Beauty Pill Describes Things As They Are, was released earlier this month.

“frIdA kAhlo: her PhoToS” Spring 2012, Terrace Gallery

During Frida Kahlo’s brief life, she amassed a collection of 6,500 photos— of her, by her, and by her friends, who were among the greatest photographers of the 20th century. Artisphere was the first institution in the U.S. to showcase 240 of the photographs that were only made public in 2007. The resulting exhibition was a poignant look into the life of one of the most beautiful and enigmatic figures in the history of art.

“floATIng World”

March 2013, Town Hall Video Wall An installation that brought new meaning to having your “head in the clouds,” “Floating World” used the drawing machine of inventive Maryland artist Billy Friebele. Visitor movement triggered motion sensors attached to fans that, when activated, pushed a cluster of 50 balloons around the space and moved their suspended pen, hovering over a large paper. With foot traffic both altering the drawing below and moving the balloons’ shadow-clouds along the wall, the end result was a series of abstract line drawings, a collaboration between the artist and the visitors as they moved within the space.

“fermATA”

Summer 2014, Terrace Gallery The three rotating exhibitions that comprised “Fermata” featured nearly 30 artists. The visual component of the exhibition, a wall of vintage speakers stunningly designed by Richmond’s John Henry Blatter, lit up Facebook pages and Instagram feeds. Viewerlisteners could lounge on family-sized beanbags while taking in works, including one from a NASA scientist, from the impressive 14-channel sound system.

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DCFEED

Plankton Pasta, anyone?

That's one of the seafood-centric dishes found at Brine, the new Fairfax restaurant from Rappahannock Oyster Co. Read more at washingtoncitypaper.com/go/brine.

YOUNG & HUNGRY

By Jessica Sidman

Size Matters

Darrow Montgomery

Big plates are the new small plates

Provision No. 14 embraces communal dining—and risky presentation—with its fried suckling pig leg.

At Provision No. 14, the Filipino-style fried suckling pork leg arrives at the table on a silver platter with a large white-handled knife stabbed in the middle. The upright serrated blade is the chef ’s mic drop. It’s the kind of gesture that dares you to question it. Earlier, our server suggested—unsarcastically—that we should order some extra dishes. His comment was baffling when we saw the football-sized hunk of meat $65 bought us. Known as pata, the pig leg is braised, hung to dry overnight, and deep-fried, giving it an extra crispy brown skin. It’s served with slices of bread, a banana barbecue sauce, chili vinegar sauce, and cilantro lime aioli. Four of us only polished off half of it. The rest got stuffed in two huge takeout boxes. Whatever, small plates. For anyone who’s ever complained about paying $12 for a few measly bites on a tapas-style menu, there’s a counter movement underway. The phrase “family style” is becoming ubiquitous dining lingo as more places institute weekly feasts or devote entire sections of their menus to platters designed for two to six people. From the brisket blowout at Rose’s Luxury to the whole animal rotisserie at Iron Gate to the American Wagyu bao platter at Maketto, bigger is better. At the same time, it’s hard to really call this a trend. There’s nothing new about people sharing a pizza at Italian restaurants or making the Peking duck the centerpiece of a Chinese meal. In most parts of the world, meals revolve around a shared single protein with accompaniments. In fact, it’s the way most people eat in their own homes. But for whatever reason, the vast majority of American restaurants have traditionally been dominated by the appetizerentree format or small plates. The occasional exception has been a whole fish or a large steak. “Our whole suckling pig leg is just something that just wouldn’t have been possible 10 years ago considering the style of dining,” argues Provision No. 14 chef James Duke. “But now it’s large ingredients, and it’s more of a wow factor.” He and chef de cuisine John Leavitt say the dish is something they’ve wanted to serve for a while but haven’t had the platform for until now. The restaurant, which opened at 14th and V streets NW last week, features an entire section of “communal” dishes, including miso lamb ribs and chili braised short ribs. Even the cocktails— poured from French presses—serve four to five. In some ways, the rise of large platters in D.C. dining establishments looks like a backlash to the small plates trend. After all, people who complain about leaving hungry after six mezze shut up when one giant mountain of food arrives at the table. And while people who hate sharing will still have to share with these kinds of dishes, it’s generally a more tolerable kind of group activity. “The thing about small plates is that if you don’t know how to navigate it correctly, there’s always somebody at the table who’s getting screwed,” says chef and restaurawashingtoncitypaper.com may 8, 2015 25

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DCFEED(cont.) teur Jeff Tunks. In February, one of his restaurants, Fuego Cocina y Tequileria in Clarendon, began serving the “Feast of the Chupacabra,” an entire hind quarter of a goat cooked low and slow for three to four hours with a chile de árbol rub. Served on a large cutting board, the hunk of meat comes with handmade corn tortillas, several kinds of salsas, guacamole, plantains, mushrooms, black beans, and rice. It’s advertised as a dish for four to six people, but Tunks says it can feed a lot more. Only served on Sundays, it must be ordered by 5 p.m. on the Friday before and requires a credit card to reserve. “If you’re sitting there with four people and out come three oysters, I mean, how are you going to cut the oyster in half ?,” Tunks asks. But with an entire chunk of goat? At least everyone will get their fair share. That’s not to say one is replacing the other. The Partisan and Red Apron Butcher chef Nate Anda argues that the platters help small plates. “You’re going in on a game plan with your table. You can do small plates and then also have a big shareable plate. It ends up working hand in hand,” he says. Among several family-style dishes, The Partisan offers a $120 pig feast for four to six people with half a roasted pig’s head, a coil of pork sausage, smoked bone marrow, a pig ear and arugula salad, and other condiments. Most groups order a couple small plates to go with it. In some cases, family-style preparations are just a more authentic way to present food from other corners of the world. (And “authenticity” is the magic word for restaurants these days.) “Anybody cooking real authentic Asian food, we’re not just eating one plate as our meal,” explained Erik Bruner-Yang upon the opening of his new food and fashion emporium, Maketto, in April. “It’s going to be a bunch of little things, and then a big centerpiece. So it could be salad, pickles, a couple grilled meats, and then a big soup or a big fish or a big piece of meat.” Six of the 15 items on Maketto’s dinner menu are “large format” dishes like Taiwanese fried chicken or wok-fried noodles that are meant to be split by two to four people. Likewise, Iron Gate chef Tony Chittum says much of his menu was inspired by the way he ate at agriturismos (farm house resorts) while traveling to Greece and Sardinia, Italy. A lot of the restaurants had no menus. Instead, they would just send out food, starting with antipasti and culminating with a large protein like steak or porchetta served with different sauces. In the garden and carriageway of Iron Gate, Chittum offers a daily rotation of four different family-style platters all with a two-person

minimum. Usually, there’s a whole grape leaf-roasted fish, a mixed grill with different sausages and skewers, and a whole animal rotisserie that could be anything from lamb to rabbit. The large plates dovetail nicely into the trend toward whole animal butchery in restaurants. When you have an entire pig to break down, it just makes sense to showcase the animal’s whole head or leg. It’s also a lot less strenuous on the kitchen. While large pieces of meat may take hours to roast, the work is mostly done before the service rush, especially given that many of these dishes require guests to place an order 24 to 48 hours in advance. There’s not as much to prepare à la minute. Plus, rather than coordinating a bunch of entrees for a group, there’s only one dish that needs to go out. The format works well for high-volume eateries, or in the case of Iron Gate, restaurants with a small kitchen. “Being able to do a porterhouse for two instead of two plated steak dishes with sauce and starch and veg and garnish, it’s much easier to get out,” Chittum says. It’s easier for the waitstaff, too. “All they have to focus on then is getting their drinks and not so much mise en place and timing and who’s not getting a course and this type of thing,” Tunks says. Diners are bound to have some initial sticker shock when they see anything on a menu for more than $100 or even $50. But when you consider how many people the family-style platters feed, chefs say they tend to be a better value for guests. For example, with most dishes at Fuego, the food costs the restaurant around 28 to 30 percent of the menu price. For the Feast of the Chupacabra, the food cost is 45 percent. But Fuego only sells a few every Sunday, “so it’s not really enough to skew your average base over the course of a month,” Tunks says. “The feedback and the social media and the goodwill and the experience people have is a great offset.” Plus, over the course of a couple hours, groups will end up consuming quite a few cocktails and tequila. And for Fuego, it’s also a way to get diners in on an otherwise slower night. Family-style dishes end up being their own form of marketing. They turn heads when a server marches the oversized plates through the dining room. People snap photos and share them on Instagram. They beg for attention—even from the restaurant’s staff. “It gets the most oohs and ahhs from the cooks and the servers,” says Chittum of Iron Gate’s family-style plates. “It’s big. CP It’s impressive.” Eatery tips? Food pursuits? Send suggestions to hungry@washingtoncitypaper.com.

DCFEED

what we ate last week: Cheddar-stuffed Philly waffle topped with Kobe beef, $12, Barmini. Satisfaction level: 5 out of 5 what we’ll eat next week: Homemade spaghetti with smoked shrimp and mussels, $8/$17, Bar Civita. Excitement level: 4 out of 5

Grazer

LAME SAUCE

SAUCE-O-METER How the week’s food happenings measure up

THE’WICHINGHOUR MUMBO SAUCE

The Sandwich: Cambodian “Num Pang” Pork Sandwich No D.C. chefs or restaurants win at this year’s James Beard awards.

Where: Maketto, 1351 H St. NE Breakfast pizzas from Veloce

Paying $25 per person for a restaurant reservation

Cost: $9 A winery is looking to open in Navy Yard.

Flying Dog Brewery will release Sriracha Pale Ale.

D.C. distilleries can now sell cocktails.

Bread: Baguette from Frenchie’s Artisan Pastries and Desserts Stuffings: Grilled pork, pickled carrots and radishes, cucumber, jalapeño, basil, cilantro, mayonnaise, pâté Thickness: 4 inches Pros: This sandwich comes together like a puzzle with acidic and salty pieces. Pâté and mayonnaise add richness while the crisp, cool veggies refresh each bite. The juicy grilled pork tastes lightly of smoke and remains warm without wilting the veggies piled on top of it.

Yet another steakhouse, Mastro’s, is opening.

There’s an entire D.C. business devoted to cake push-pops.

Shaw’s Caribbean Citations rewards bad driving with discounts for tickets.

brew in town New Belgium La Folie Where in Town: D’Vines, 3103 14th St. NW Price: $13.99/22 oz. The Barrel Whisperer One of the hardest-working palates in the country belongs to Lauren Salazar, who oversees New Belgium Brewing Company’s stockpile of more than 30 giant French-oak red wine barrels, which the Colorado brewery uses

to age beer. Called foeders, some of them have names like “Sure Thing” or “Pixie Dust,” denoting the unique souring qualities their wood, yeast, and bacteria impart. Salazar regularly tastes samples, from months to years old, from each vessel and chooses how to blend them together into a final product. It’s a lot of effort for something that can be a hard sell; People tend to either love or hate sour beers, and even those who swear by them at one time couldn’t stomach them—including Salazar (and me). But whether you’re a proud puckerer or put off by the thought, I suggest giving New Belgium’s sours a shot. Sour Power New Belgium’s original sour, La Folie, was first produced in 1997, before most American breweries had begun experimenting

José Andrés saves a man from choking at a Wizards game.

with blending wood-aged beers. Since then, La Folie has won a slew of awards, including a World Beer Cup gold medal for Belgian-style sour ale—beating out even the classic brews from Belgium’s Flanders region that inspired it. This year’s La Folie is drawn from 13 different foeders and is perhaps the best and most complex yet. Amber brown with brilliant red hues, the beer has tart cherry, plum, and oak aromas. Its rich grape, caramel, and cherry flavors are complemented by funky, sour notes—primarily green apple. The medium-bodied, 7 percent alcohol brew is Champagne-like in carbonation and finishes dry with a woody, acidic aftertaste. Still unsure? Pick up a bottle with an aged goat or sheep’s milk washed rind cheese and prepare to be converted. —Tammy Tuck

Cons: Num pang (the Cambodian sibling to the banh mi) will give your mouth a workout. Frenchie’s baguette is a bit tough and slows down the eating process. If the pickled veggies were slightly sweeter, they could help counter the bitterness of the jalapeño, which wipes out every other flavor should you happen upon a super spicy slice. Sloppiness level (1 to 5): 2. Kudos to Maketto’s sandwich makers for managing to squeeze all the ingredients, even tiny shreds of carrot, inside the baguette. A bit of meat juice mixes with mayonnaise to create some drippage, but for the most part, this sandwich is mess-free. Overall score (1 to 5): 4.5. The technical precision of this sandwich suits the setting of Erik Bruner-Yang’s sleek new market and clothing emporium. Sit down in the cafe between the kitchen building in the back and the sneaker display at the front, enjoy a great sandwich, and watch shoppers casually check out the fanciest baseball hats and sweatshirts H Street NE has to offer. —Caroline Jones washingtoncitypaper.com may 8, 2015 27

Take Metrobus and Metrorail to the...

DC JAZZFESTIVAL JUNE 10 –16, 2015 Events DC Presents:

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friday

The Soul Rebels

5:30 PM

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John Scoﬁeld Überjam Band feat. Andy Hess, Avi Bortnick 7:30 PM & Tony Mason

wednesday

doors open

5:00 PM

6:30 PM

Cubano Groove

thursday

7:30 PM

Paquito D’Rivera w/Edmar Castañeda

doors open

Sharón Clark

6:30 PM

friday

The Bad Plus Joshua Redman

8:30 PM

saturday

3:00 PM

Femi Kuti & The Positive Force

doors open

7:00 PM

saturday

gates open

2:00 PM

Esperanza Spalding Presents: Emily’s D+Evolution

Jack DeJohnette Trio

7:30 PM feat. Ravi Coltrane & 10:30 PM & Matthew Garrison doors open

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Stanton Moore Trio & Charlie Hunter Trio 7:30 PM feat. Bobby Previte doors open 6:30 PM & Curtis Fowlkes

sunday

COMMON

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Marshall Keys

15–16 8:00 PM

Snarky Puppy

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The DC Jazz Festival®, a 501(c)(3) non-proﬁt service organization, is sponsored in part with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; and, in part, by major grants the National Endowment for the Arts and the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts. ©2015 DC Jazz Festival. All rights reserved.

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tickets? Hold out for free ones. washingtoncitypaper.com/go/freetix

Film

Other Knows Best

Meddlesome friends and pill-pushing doctors do more harm than good. About Elly Directed by Asghar Farhadi Welcome to Me Directed by Shira Piven By Tricia Olszewski In 2012, I described Asghar Farhadi’s Iranian Oscarwinner A Separation as “two hours of stress with an Inception-like ending.” That opening line apparently cast a pall on the rest of the review for some of the film’s fans, who lashed out at my cluelessness while failing to note my high praise for the cast and Farhadi’s masterfully paced writing and directing, an alchemy that transformed constant tension into “incredibly compelling stuff.” So this time I’ll be more clear: About Elly is a terrific movie. Elly is just now getting a stateside release, despite predating A Separation, and it solidifies Farhadi as a filmmaker not only to watch but to seek out. Along with his American breakout and its follow-up, The Past, this 2009 film forms a trilogy that observes human behavior—particularly romantic relationships—under stress with deft psychological precision. You’d think such unhurried portrayals of crises would turn tiresome; instead, Farhadi knows just how much to hold back to keep you drawn in. It’s no surprise, then, that the less you know about About Elly, the more it will grip you. Many Western audiences may find its portrayal of Iranians eye-opening from the first scene, which shows young women in hijabs whooping as they lean out car windows on their way from Tehran to a seaside vacation with friends and family. Though one of the drivers, Amir (Mani Haghighi), directs a passing scolding at his wife, Sepideh (Golshifteh Farahani), about acting wild, this group cares more about fun than traditional gender roles. It’s not obvious from the beginning that these two are together; for one, the film feels a bit crowded at first, and it takes a while before Farhadi gives the characters room to become individuals whose names and relationships you remember. (It helps that all the actors have a presence the camera loves.) But Amir also seems much older than Sepideh—and most of the others, really—as well as the sensible, nearly paternal figure of the bunch. That dynamic, though, becomes integral to the storyline, which centers on Sepideh inviting her daughter’s schoolteacher, Elly (Taraneh Alidoosti), at the last minute without telling anyone. Sepideh, with the recently divorced Ahmad (Shahab Hosseini) in mind, is rather aggressively playing matchmaker, despite

Director Asghar Farhadi is a master at narrative pacing. shy Elly’s resistance. Also, she’s the only one besides her daughter who knows Elly, and the group’s welcome act, albeit sincere, comes with a significant side of loud and inconsiderate joking about the potential couple whenever Elly’s back is turned. As Elly grows more uncomfortable, Sepideh grows more childish. Though Elly had told her that she could only stay for a night, Sepideh won’t let her leave, refusing to give her a ride to the bus depot. By this point, the playful and seemingly well-intentioned woman has grown irritating, as she turns out to be the kind of impulsive dope who knew a cabin wouldn’t be available for their entire stay yet figures things will work out instead of telling the rest. When a mysterious accident occurs, Sepideh’s omissions and lies mount. About Elly was Iran’s official submission for 2009 Academy Award consideration, and it’s difficult to understand why it was Force Majeure’d. Farhadi’s script metes out details at just the right times and leaves other areas open to endless interpretation, and his direction is frequently artful and magnetic: In one scene, Elly grows giddy as she helps her student fly a kite, yet you see neither the kite nor the girl, just Elly’s face as she laughs and runs in shots that look nearly continuous but are actually cut. It’s a subtly chilling cue—something’s about to go wrong. But only in the narrative. As a film, About Elly is exactly right.

Few characters who interact with Kristen Wiig’s Alice Klieg in Welcome to Me bother to hide their eye rolls—and even Wiig’s most ardent fans may find it contagious. Adding another mentally ill, broken, and awkward role to her increasingly familiar filmography, Wiig isn’t by any means bad in Shira Piven’s comedy/drama/none of the above. She’s just boring. It’s inarguable that Wiig has enjoyed more success on the big screen than most Saturday Night Live alumni, at least among critics. (Bridesmaids was a notable exception, a box-office smash.) But after the likes of Paul, Hateship Loveship, and The Skeleton Twins, it seems as if she’s determined to stick to roles that are cringe-inducing-funny rather than funny-funny. And you can often drop “funny” from the former. In Welcome to Me, Alice is divorced and living on disability because of severe borderline personality disorder. She stops taking her medication and is all about Oprah and The Secret’s law of attraction when she wins an $86-million lottery, reinforcing her illusions of manifestation and grandeur. Alice has one devoted friend, Gina (Linda Cardellini), and her ex (Alan Tudyk) is emotionally supportive as well. But everyone else, including her parents, treats her like a freak. Alice decides to use her financial freedom to create a two-hour washingtoncitypaper.com may 8, 2015 29

CPARTS Continued

talk show—about herself. A struggling cable network run by two brothers, the greedy Rich (James Marsden) and more ethical Gabe (Wes Bentley, surprisingly likeable and vulnerable), gives her whatever she wants, as long as the multimillion-dollar checks keep clearing. Naturally, it’s a train wreck, with Alice regularly breaking down on camera when she’s not stiffly addressing the audience or making cake out of ground beef. It’s impossible to pin down what Piven (sister of Jeremy) and first-time feature scripter Eliot Laurence intended Welcome to Alice to be. It’s kind of a reality-show satire, as Alice’s spectacle becomes popular, much to the surprise of the network’s fedup execs (Joan Cusack, easily the most entertaining here, and Jennifer Jason Leigh, underused). It might be a weak message about preying on people who have challenges. Or is Alice actually smarter than everyone else? The most dangerous idea the film suggests with its version of happily-ever-after is that the mentally ill (or physically ill, for that matter) should just keep popping pills as their condescending doctors order, even if they’d rather try other methods to control their symptoms. Alice’s psychiatrist, played by Tim Robbins, reacts sarcastically to her belief that protein regulates her moods and “reads” a statement—actually a random brochure—to reiterate his treatment plan. (A running joke has Alice saying, “I’d like to read a prepared statement.”)

Again with the awkward, mentally ill thing, Kristen Wiig? The bottom line is that the character is unstable and delusional, few people treat her or her illness with respect, and little of that is fodder for comedy. Alice’s behavior is extreme, but generally a truthful representation of borderline personalities: sharp mood swings, inappropriate anger, and stilted social interactions, all of which require skillful acting. But Wiig’s now got that kind of character nailed down. Are we ever going to

see another Dooneese of SNL’s “The Lawrence Welk Show?” In one session, Alice tells her doctor, “It’s a new era. Eightysix-million-dollar Alice.” Yet it’s the same ol’ Kristen Wiig. CP

About Elly opens May 8 at E Street Cinema. Welcome to Me opens May 8 at the Angelika Pop-Up.

“Great theatre is about challenging how we think and encouraging us to fantasize about a world we aspire to.” — Willem Dafoe A biting political satire.

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washingtoncitypaper.com may 8, 2015 31

CPARTS Arts Desk

One trAck MinD

A soapy web drama about Anacostia residents won its first Daytime Emmy: washingtoncitypaper.com/go/emmy

CASUAL SexiSm

Early this spring, as multi-day music mega-festivals announced their lineups on social media, a new meme took hold. Fed up with summer after summer of concert stages brimming with dudes, fans and bloggers blacked out the names of every male-only act on the docket, leaving most promo posters conspicuously blank. It’s a handy aid for visual learners and a sharp whack on the forehead for those who’d pooh-pooh allegations of entrenched misogyny in the music industry. With D.C.’s festival season looming, we compared four area lineups. The bands you see in the altered versions, as far as we could tell, contain at least one member who identifies as a woman. The ones missing—in each festival, it was an easy majority—are entirely composed of men. And, as in the worlds of business and politics, most of the women are clustered near the bottom while men take top billing. The problem, of course, lies not just with individual bookers but in structural barriers to women taking up and succeeding in popular music. It’ll take a lot more than a poster and Photoshop to dismantle that. —Christina Cauterucci

Dot Dash

Earthquakes & Tidal Waves

SWEETLIFE

Standout Track: No. 2, “Flowers,” a peppy adrenaline rush that channels late-’70s mod revival and jangly college rock in equal measure. Propelled by a bouncing bass line, Dot Dash frontman Terry Banks sings from the perspective of an old soul who escapes into nostalgic mid-century dance crazes like the Mashed Potato. “Flowers” is the shortest track on new album Earthquakes & Tidal Waves, and like an ideal sock hop song, it radiates ephemeral, youthful glee before it disappears in a flash. Musical Motivation: Banks says he had a ’60s girl-group vibe in mind when he wrote “Flowers” but wanted to avoid composing a deliberate retro pastiche. The songwriting process was quick and intuitive, he says, and it resulted in “a really simple, elemental thing that kind of rocks.” Producer Mitch Easter, who fronted the jangle-pop band Let’s Active and sat behind the board for R.E.M.’s early output, brings “Flowers” to life on the album with a clean mix that leaves room for Banks’ vocals to dance around distorted guitar chords. “He was kind of a hero of mine back in the day,” Banks says of Easter. A Common Thread: The members of Dot Dash have résumés stacked with stints in notable D.C. bands. Banks played with Slumberland signee the Saturday People and joined Dot Dash bassist Hunter Bennett in local power-pop supergroup Julie Ocean; drummer Danny Ingram co-founded Youth Brigade and guitarist Steve Hansgen played bass in both Minor Threat and Government Issue. Despite their diverse musical backgrounds and tastes, Banks says his bandmates find common ground in the “intensity and energy” that accompanies even their most accessible melodies: “We all like good songs and pop songs, but we couldn’t stand to do them in a —Dan Singer sort of formalist way.” Listen to “Flowers” at washingtoncitypaper.com/go/ flowers. Dot Dash plays a free show Sat. May 9 at the 18th Street and Columbia Road NW plaza. 32 may 8, 2015 washingtoncitypaper.com

Merriweather Post Pavilion, May 30-31 12 of 28 acts (43 percent) include women Sweetgreen’s foray into outdoor entertainment was the most gender-balanced on our list. Still, there are only three all-woman acts on the schedule, and they’re solo artists. MARYLAND DEATHFEST

Baltimore: parking lot, Rams Head Live, and Soundstage

LANDMARK MUSIC FESTIVAL

7 of 90 acts (8 percent) include women Anyone surprised? It appears that only one all-woman act will perform at Deathfest: Flagitious Idiosyncrasy in the Dilapidation, a grindcore fourpiece from Japan that may also be the only group to smile in its band photo. (Thantifaxath’s three members are anonymous, but I sided with probability and blacked ‘em out.)

West Potomac Park, Sept. 26-27 17 of 41 acts (41 percent) include women This brand-new event gets an OK score, but most of the 17 include just one woman. The only all-woman band (that is, not a solo act) is local favorite Ex Hex.

CAPITAL JAZZ FEST

Merriweather Post Pavilion, June 5-7 10 of 29 acts (34 percent) include women On Jazz Fest’s closing day, the entire mainstage lineup is dudes. Chances of the emcee making some stupid joke about that: way higher than 34 percent.

Votes are in! Find all the winners at

www.washingtoncitypaper.com

washingtoncitypaper.com may 8, 2015 33

TheaTer

Come Crawling Back

A musical Metamorphosis needles the Kafka faithful, while a 1927 comedy still kicks. By Andrew Lapin

Ari Jacobson strikes an unwieldy pose.

Metamorphosis Adapted by Steven Berkoff (drama) and Susan Galbraith (musical) Directed by Susan Galbraith Alliance for New Music-Theatre at Capital Fringe Trinidad Theatre to May 17

Megan Dominy and Tricia McCauley want to try out their suitors On Approval.

On Approval By Frederick Lonsdale Directed by Steven Carpenter Washington Stage Guild at the Undercroft Theatre to May 17 One morning, when Gregor Samsa awoke from troubled dreams, he found himself transformed into a WTF musical. Well, not quite a musical—like how Franz Kafka’s original German opening to his 1915 classic The Metamorphosis has Gregor turning into a “hideous vermin,” which is not quite an “insect.” Steven Berkoff’s dramatic rendition of the story, which dates back to 1969, is the husk for the Alliance for New Music-Theatre’s production. Rather than start from scratch like other recent shows (a 2010 Synetic Theater original; a traveling dance piece that came to the Kennedy Center in 2013), director Susan Galbraith has tweaked Berkoff’s version and will soon take it to this year’s Prague Fringe Festival. Quite the metamorphosis, indeed: Americans showing the Czechs how they’ve messed with their beloved Kafka. Forget the optics. Does it work? Yes and no. The music is strange, even for a story about a man-insect: Some lines (“I like milk in the morning”) morph into jaunty half-realized ditties that stick out from the grim tone like sore antennae. But mostly, cellist Schuyler Slack’s dissonant strings—like bugs crawling up your leg—push the text even further toward expressionism. Also, Gregor assumes no costumes or makeup to communicate his transformation. Instead, lead Ari Jacobson contorts his body as he scuttles around, climbing steel ladders that have been placed in the corner of the set designated as his room. The show uses animation, including some of Kafka’s own drawings, to portray secondary characters and props. Though the timing on the projector-actor coordination was sketchy on the night I saw the show, the idea is a smart one, playing with ideas of isolation and unease. But other changes sit funny. Kafka famously transforms his hero in the story’s first sentence, forcing readers to reckon with the uncertainty

whether to accept Gregor in his new body, but with Gregor’s—and Kafka’s—interior alienation outwardly manifest in the most grotesque form imaginable. What this production forgets is that, in this story, the bug is also the best feature. of the disfiguration, rather than what came before. Galbraith, by contrast, shows considerably more of Gregor’s pre-vermin life than Kafka intended, beginning with a scene where he and his family sing Sabbath prayers—an overt link to Kafka’s own status as a German Jew in prewar Europe that feels incongruous next to the unholy nature of this transformation. But the truly bizarre choice is to show Gregor playing with his sister Gerta (an exuberant Lily Kerrigan) as their parents smile warmly. Happiness and familial bonding, in a Kafka adaptation? What manner of horror is this? Galbraith then pushes Gregor aside—his room is tucked into a small cramped corner on the minimalist white set, while his family assumes center stage. Here, Gerta fights with her mother (Pamela Bierly Jusino) and father (David Millstone) over Gregor’s treatment, while Gregor crouches upside-down on a stool, nearmotionless, contemplating his new form. The family’s movements are even more animal than Gregor’s: They often exaggerate their actions in ways that recall Pointless Theater’s recent silent-film adaptation Doctor Caligari, and at one point they impersonate chickens. This could be yet another manifestation of that oft-abused literary term, “Kafkaesque.” (The put-upon hero is sidelined in his own story! O, cruel irony!) Or it could be a misreading of where The Metamorphosis’ true dramatic power lies: not with the family’s debates over

34 may 8, 2015 washingtoncitypaper.com

The practice of taking expensive goods for a spin before making a purchase “on approval” may be out of fashion in the retail world, but think of the Washington Stage Guild’s ongoing reappraisals of vintage theater as a reinvigoration of the concept. Here’s a no-frills rendition of a forgotten early-century British relic. Take it for a spin in a church basement with capable actors. If you don’t like it, well, no reason to stay wedded. But it will be hard not to fall in love with On Approval, Frederick Lonsdale’s 1927 drawingroom comedy. The play, in which two rich women and two poor men take the then-scandalous step of trying out their prospective matches for a month before considering marriage, is a cheeky good time. Its barbs fly fast and furious, and its wit feels progressive even today. There’s a certain cheesiness to how this cast puts on airs with their highborn accents, but that’s not a bad thing with this material, assuming you have at least a grudging respect for PBS Britcoms. Battles of the sexes live and die on the strength of their players, and Stage Guild has assembled a strong team. Tricia McCauley, as the older widow Maria, knows her way around a withering put-down. For her crimes of being unmarried and pushing 40, Maria catches a lot of flak in London high society, though it all comes from her archrival George (Dylan Myers), a newly broke duke

whose boorish, entitled behavior (“I have a grievance against God’s creatures; I fear they don’t appreciate me”) hasn’t yet caught up to his new financial realities. If the whole play were just McCauley and Myers tossing barbs at each other like hand grenades, it’d still be a rollicking good time. But there’s another couple in the mix, too: Helen (Megan Dominy), a young heiress who’s starry-eyed for George, and Richard (Paul Edward Hope), a meek dweeb who’s admired Maria from afar for years. When Richard finally confesses his love, Maria sees an opening to test out her “approval” hypothesis, and the entire crew winds up in her country home in the Scottish highlands. Even without sex—Maria makes clear that the men are staying at a nearby hotel, against their wishes—this journey will eventually make fools of them all, as three weeks playing house proves enough to make everyone recoil at the sight of one another. Director Steven Carpenter’s efficient production gets us through the first act’s snarky introductions before we’ve begun to catch our breath from laughter. In no time, we’re on to the cozy Scottish cabin, a rustic charmer by the company’s longtime scenic designer, Carl F. Gudenius. And soon after, we’ve arrived at Lonsdale’s pleasantly ambiguous ending. It’s all the hilarity of a bad marriage without that icky feeling of watching people CP make a terrible mistake. 1358 Florida Ave. NE. $20–$30. (202) 3410254. newmusictheatre.org. 900 Massachusetts Ave. NW. $20–$50. (202) 582-0050. stageguild.org.

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FREE SIMULCAST! PRIZES! MUSIC! FUN!

TheaTerCurtain Calls Denmark, When It DrIzzles Hamlet: The First Quarto By William Shakespeare (probably) Directed by Joel David Santner Taffety Punk Theatre Co. at Capitol Hill Arts Workshop to May 23

Saturday, May 16 at 7 p.m. Nationals Park Gates open at 5 p.m.

RSVP at OperaInTheOutﬁeld.org* M&M’S® Opera in the Outﬁeld will take place rain or shine!

Rough magic: It’s as good a term as any for what theater traffics in. And it’s certainly what the crew at Taffety Punk has always been about: a raw, DIY aesthetic that aims to rekindle the anarchic flame that might have fired performances in the rank, sweaty playhouses of William Shakespeare’s day. The troupe’s annual Bootleg Shakespeare concept, which rehearses and stages a show in a single day, may be the purest expression of that mad passion, which makes Taffety Punk’s current production—an earlydraft Hamlet that was on the Bootleg menu a few years back, now getting a full production—a kind of second pass through the panic room. Odd, then, that it should feel so overthought. A bit of background: The A lean and hungry Hamlet still gets tangled “Bad Hamlet” is a 1604 ver- up in blue. (Pictured: Dan Crane as Leartes) sion of the play we know best from the 1623 first folio text. Shake- and urgent, they’re both framed and occaspeare nerds periodically get fascinated with sionally interrupted by moments of stylized these early variants, which may be drafts, movement in which the cast assembles to abbreviated touring scripts, or (most like- march or sway or swoon through the moodly) unauthorized pirate texts, and they stage ily lit playing area to the spacey accompathem to see what they reveal. A singularly niment of a low-energy score by the D.C.inventive take on this particular Hamlet took based band Beauty Pill. Atmospheric, to be home one of the festival prizes at Capital sure; communicative, not so much—and it’s Fringe in 2009. almost fatally enervating. What’s terrific about Taffety Punk’s The nadir comes when, after a mad scene reading is what’s strongest about the text that itself feels clumsily staged, director Joel from which the players are working: It’s a David Santner and choreographer Paulina sleeker tragedy, less flowery, with a hero Guerrero bring Ophelia back on for an interwho’s more decisive, less caught up in pretive dance that lasts roughly a thousand his own head. The action comes to few- days. Shakespeare was fond of using recaps er screeching time-for-a-soliloquy halts; to drive home the import of a plot point, but Rosencrantz, Guildenstern, and Polo- he had his limits. nius (though they’re all called by different All told, Taffety Punk’s flirtation with names here) aren’t as prominent. With the the quarto Hamlet is a worthy experiment, proceedings focused more tightly on the if one that loses urgency when it loses its central story of a murdered king and the focus on the basics. Stripping down a classon tasked with revenging him, a four-hour sic to its chassis might have worked better drama that can feel like a staged reading of if the bones had been left good and bare. —Trey Graham the Bible zips by in two hours and 20 minutes. That includes intermission. Taffety Punk mainstay Marcus Kyd tears 545 7th St. SE. $15. (202) 355-9441. through the prince’s part, lines tumbling over taffetypunk.com. Handout photo by Teresa Castracane

*RSVP not required to attend.

Arrive early for family fun! M&M’S® Ms. Brown l Living Statue of Babe Ruth Photo Ops with Cinderella Characters Costume Dress-up Trunk l Face Painting Open Playground l A Royal Parade Performances from Duke Ellington School of the Arts Opera Program and the Watkins Elementary Choir The Warner Bros. cartoon “What’s Opera, Doc?” Chances to Win Amazing Prizes from Tickets to Kennedy Center Performances to a Year of Free Candy And Much More! Major support for WNO is provided by Jacqueline Badger Mars. David and Alice Rubenstein are the Presenting Underwriters of WNO. General Dynamics is the proud sponsor of WNO’s 2014-2015 Season. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. M&M’S ® Opera in the Outﬁeld is brought to you by American Heritage Chocolate. M&M’S ® Opera in the Outﬁeld is presented in partnership with the Washington Nationals Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello.

36 may 8, 2015 washingtoncitypaper.com

themselves on the way past his lips. Jessica Lefkow’s Gertred stalks through the play, an intense presence whose appetites and motivations are clearer in this version of the story. Other actors double and triple as needed, with Esther Williamson handling both Horatio and Ophelia, for instance, and Jim Jorgensen undertaking the First Gravedigger and Ophelia’s father, called Corambis here. But if the proceedings are generally brisk

GalleriesSketcheS Crown the tube “Watch This! Revelations in Media Art” At the Smithsonian American Art Museum to Sept. 7 “Watch This!” is an encyclopedia entry. An artwork by Bruce Nauman greets visitors at the top of the north wing of the Smithsonian American Art Museum’s third floor as if it were “Art Make Up” by Bruce Nauman (1967-78) a chapter heading. Seeing this exhibition is like reading a capsule his- by this title. Today’s “Watch This!” elabotory on a topic you thought you knew. rates on a theme outlined in 2010 by con“Art Make Up” (1967–68), Nauman’s sulting senior curator John G. Hanhardt in video installation, plays on four large screens a smaller permanent-collection show and a that occupy the corners of a gallery. Each multi-part critical lecture series. video shows the same loop of Nauman as One drawback of the current “Watch he covers his face and torso with a powder- This!”—beyond its ’70s-esque title, which is a white foundation. The sensibility of this bit on the nose—is the show’s size. The exhihalf-smirking, half-serious piece governs bition’s 44 artworks are crammed into a hallthe many smaller works on view in “Watch way-and-a-half’s worth of space. There’s no This!”, an exhibition that’s close to the core room to describe how Rosler, Sadie Benning, of the Smithsonian American Art Museum. and Eve Sussman found liberation in media “Watch This!” is a broad sampling of art and its low barriers to entry (no prestimedia artworks from the museum’s per- gious degrees from university gatekeepers manent collection. Despite the show’s ti- required). The plainest evidence for the centle—a very Technicolor salute to inclusiv- trality of the object to this history of media ity—the show outlines a knotty thesis that art is the museum’s insistence on squat, tube the American Art Museum has been draft- television sets, which dominate the space. ing in fits and starts for years. In this exhibit Overlapping lo-fi bleeps and bloops give the and others, the museum has made the case show a fun tinny buzz, though. that the television set, as an object and a toCompare “Watch This!” to other musetem, has guided the evolution of media art um showcases of media art, like the Hirshmore than cinema. horn Museum and Sculpture Garden’s twoNauman is critical to the museum’s take part survey, “The Cinema Effect,” from on media art (a big tent that, in this exhibit, 2008, or its “Days of Endless Time” exhibcovers contributions from 1941 to 2013 in it from 2014. For the most part, these shows video, film, pictures, moving pictures, vid- deployed flatscreens and projections witheo games, computer programs, and digital out giving a second thought to the role of artworks). “Art Make Up,” like all of Nau- the TV set or projector in the artwork. The man’s video works, has its roots in post- works, by the Hirshhorn’s estimation, could Minimalist sculptural practice rather than play just as well on a laptop. in anything having to do with movies or Provocatively, and convincingly, curators television. Martha Rosler’s “Semiotics of at the American Art Museum are tracing an the Kitchen” (1975), a mock culinary tu- alternate history, a lineage of media art told torial in which the artist demonstrates with through its physical correspondence with flat, seething intensity the use of various the television—the thing, the appliance, the kitchen utensils, is another performance of boob tube. Mansfield and Hanhardt are on to body and political identity. Nam June Paik, something, and it’s the story that the Ameriwho is the granddaddy of all media arts can Art Museum was born to tell (along with (and whose archive the museum runs), con- its unrivaled scholarship on the art of the tributes both sculpture and performance to Civil War). One day, maybe, the museum will this statement show. give this thesis the space it deserves. Consid“Watch This!” insists on a history of me- er “Watch This!” an abridged history. —Kriston Capps dia art whose arc is sculptural and feminist. Organized by Michael Mansfield, the American Art Museum’s curator of film and me- 8th and F streets NW. Free. (202) 633-7970. dia arts, the exhibit is the museum’s second americanart.si.edu

THE MEASURE OF ALL THINGS

SAT MAY 9 AT 7PM + 9PM / DOME THEATRE

Inspired in part by The Guinness Book of Records, this live documentary features the poignant stories of several recordsetters from around the world. Academy Award nominated director Sam Green will narrate the film live on stage, accompanied with live film score by Todd Griffin, Catherine McRae and Brendan Canty (formerly of Fugazi).

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Bohemian Caverns Tuesdays Artist in Residency

Herbert Scott r ap

Elijah Balbed

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Jamie Broumas Sunday

Frank Lacy

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Tim Berne Snake Oil

May 3rd

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Sun 4/26

presented in conjunction w/ Transparent Productions

Fred Wesley

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The Harry Bells Thur May 14th

Todd Marcus

Sine Qua Non

Fri & Sat May 1st & 2nd Single Release Make It Feel Good

Bohemian Caverns Jazz Orchestra Mondays @ 8pm

FilmShort SubjectS Gay or Nay? The D Train Directed by Andrew Mogel and Jarrad Paul When The D Train premiered at Sundance earlier this year, one scene caused a lot of buzz: an uncomfortably long sexual encounter between co-stars Jack Black and James Marsden. For its theatrical release, the filmmakers have trimmed it to just a few seconds, presumably to avoid an NC-17 rating. It was a necessary financial move (no major theater chain will show an NC-17 flick), but it also lays bare the film’s true character. Absent its shock value, The D Train is just a generic indie that tries to marry edgy humor with real emotional stakes, but they end up canceling each other out.

“anything goes” approach to sexuality— makes a move on Dan, who acquiesces. It may sound contrived on paper, but it’s actually a believable moment. Dan is not gay, but he is so desperate to be accepted by the coolest kid in school that he goes along and spends the rest of the film reeling. So does the film, which never really recovers from this early sequence. It’s not hard to make a night out on the town look like fun, but maintaining a strong pace over an entire film is a bigger challenge, and once Oliver and Dan head back to their hometown, The D Train skips the tracks. Dan becomes obsessed with maintaining their intimacy, at the expense of both his marriage (Kathryn Hahn is typically underserved by her nagging wife role) and his career (same goes for the great Jeffrey Tambor as Dan’s boss). His dalliance with Oliver causes no introspection on his part, nor does it quell his anxiety over his sta-

Jazz Orchestra Friday May 15th

Matt Stevens

"This group is something special." ~ Mike West (CityPaper)

Fri & Sat May 22nd & 23rd

www.BohemianCaverns.com

LIFELINE DID YOU KNOW? Did you know? You may qualify for assistance in paying your home phone bill. Discounts You may qualify for assistance in paying your home phone for basic telephone service are available to eligible District of Columbia bill. Discounts for basic telephone service are available to low-income residents.

eligible District of Columbia low-income residents.

Verizon Washington, D.C. Lifeline Plans: Verizon Washington, D.C.’s Lifeline service, known as “Economy II,” offers reduced rates on Verizon’s monthly telephone bill and one-time discounts on the cost of installing phone service. Additionally, toll blocking is Verizon Washington, D.C. Lifeline Plans: available to Economy II customers at no charge.

Verizon Washington, D.C.’s Lifeline service, known as “Economy II,” offers reduced

Economy II Service*: $3.00 per for unlimited local calling. Value-added services are rates onmonth Verizon’s monthly telephone bill and one-time discounts on not the included cost of (e.g., Call Waiting, Caller ID). No connection Also, customers willisnot be charged for the IIfederal installing phonecharges service.apply. Additionally, toll blocking available to Economy customers subscriber line charge. Economy II customers who are 65 years of age or older can have this service at a further at no charge. reduced rate of $1.00 per month.

Economy II Service*: $3.00 per month for unlimited local calling. Value-added services

* Full terms and rates for these services, including terms of eligibility, are as set forth in federal and in Verizon’s tariffs on file with the Public Service Commission of the not included Callare Waiting, ID). connection charges apply. Also, District of Columbia. All rates, terms are and conditions included (e.g., in this notice subject to Caller change and are No current at the time of printing.

customers will not be charged for the federal subscriber line charge. Economy II customers who are 65 years of age or older can have this service at a further reduced

Eligibility: rate of $1.00 per month. District residents who have been certified by the Washington, DC Lifeline Program asandeligible apply including terms of eligibility, * Full terms rates formay these services, are as set forth in federal and in Verizon’s tariffs on file with the Public Restrictions: Commission of the District for the Economy II program.Service To apply, schedule an of Columbia. Rates as stated here are effective as of September 1, 2011. But, the rates and other terms are ✓ No other working telephone service at the same location subject to change in the future. appointment with the Washington, DC Lifeline Program by ✓ No additional phone lines calling 1-800-253-0846. Households in which one or more ✓ No Foreign Exchange or Foreign Zone service individuals are receiving benefits from one of the following Restrictions: ✓ No bundles or packages public assistance programs Eligibility: or have an annual income  unpaid No other working that is 150% or below the Federal Poverty Guideline may ✓ No outstanding final bills telephone service at District residents who have been certified by the the same location be eligible. ✓ Bill name mustmatch eligible participant District Department of the Environment’s Energy No additional phone lines ✓ Food stamps Office (DDOE) as income eligible may apply ✓ for Nothe separate Lifeline discountExchange on cellular wireless  No Foreign or or Foreign Zone ✓ Temporary Assistance for Economy Needy Families (TANF) II program this program. To apply, phone service service schedule an appointment with DDOE by calling 311. ✓ Supplemental Security Income bundles ✓ Business linesareNonot eligibleor packages which one or more individuals are ✓ Low Income Home EnergyHouseholds AssistanceinProgram (LIHEAP) No outstanding unpaid final bills ✓ Phone numbermust match eligible participant receiving benefits ✓ Federal Public Housing Assistance (Sectionfrom 8) one of the following public  Bill name must match eligible participant ✓ Must be a current Verizon customer or establish new assistance programs may be income eligible. ✓ Medicaid  No separate Lifeline discount on cellular service with Verizon or wireless phone service  Food(Free Stamps ✓ National School Lunch Programs Lunch Program)  Business lines are not eligible  Phone number must match eligible participant Contact 1-800-253-0846 to apply  Must be a current customer or establish To learn more about the Lifeline program, visit www.lifelinesupport.org. new service with Verizon  Aid to Families with Dependent Children (AFDC)  Supplemental Security Income  Public Assistance to Adults Washington, DC Lifeline Program at  Temporary Disability Assistance Program

Economy II is a Lifeline supported service. Lifeline is a government assistance program. Only eligible consumers may enroll. You may qualify for Lifeline service if you can show proof that you participate in certain government assistance programs or your annual income (gross and from all sources) is at or below 150% of the Federal Poverty Guideline. If you qualify based on income, you will be required to provide income verification. Proof of participation in a government assistance program requires your current or prior year’s statement of benefits from a qualifying state or federal program; a notice letter or other official document indicating your participation in such a program; and/or another program participation document (for example, benefit card). Proof of income requires your prior year’s state or federal tax return; current income statement from an employer or paycheck stub; a statement of Social Security, Veterans Administration, retirement, pension, or Unemployment or Workmen’s Compensation benefits; a federal notice letter of participation in General Assistance; a divorce decree; a child support award; and/or another official document containing income information. At least three months of data is necessary when showing proof of income. In addition, the Lifeline program is limited to one discount per household, consisting of either wireline or wireless service. You are required to certify and agree that no other member of the household is receiving Lifeline service from Verizon or another communications provider. Lifeline service is a non-transferable benefit. Lifeline customers may not subscribe to certain other services, including other local telephone service. Consumers who willfully make false statements in order to obtain the Lifeline benefit can be punished by fine or imprisonment, or can be barred from the program.

Contact DDOE at 311 to apply

To learn more about the Lifeline program, visit www.lifelinesupport.org.

38 may 8, 2015 washingtoncitypaper.com

What could have been a fascinating character study reads shallow. Black and Marsden play Dan and Oliver, former high-school classmates whose lives get intertwined in the days before their high school reunion. Their paths didn’t cross often in school—Dan was a nerd, Oliver was a jock—and, 20 years later, both are still struggling to break free from their high-school personas. As chair of the alumni committee, Dan sees a successful reunion as his chance for redemption, so he flies out to Los Angeles to recruit Oliver, hoping it will boost attendance. Though Oliver doesn’t remember Dan, he can’t resist the adulation, and the two have a wild, coke-addled night in L.A. It’s easily the best sequence in the movie. Both actors seem to specialize in drug- and drinkfueled sequences (Black, in particular, is a whiz with such material), and co-directors Andrew Mogel and Jarrad Paul capture the gleeful freedom of a night out on the town with strong comedic energy. At the end of the night, Oliver—who earlier professed his

tion in life. It only makes him more self-obsessed. In short, Dan is not a very good person, and neither is Oliver, yet both of them dominate the film and leave the more sympathetic characters in the margins. Such a mistake is not always a fatal; lots of great movies have unlikeable protagonists. But here, the filmmakers get the tone wrong, opting for sitcom-level misunderstandings where they should have dug a little deeper into Dan’s character. The star power and comedic chemistry of Black and Marsden keep the film engaging but highlight their shortcomings as much as their virtues. Despite their best efforts, they cannot elevate the material or make the film’s disparate parts into a compelling whole. Like its characters, The D Train needs a little help figuring out just who it is. —Noah Gittell The D Train opens May 8 at E Street Cinema.

Pree skillfully defies pop tropes, but sometimes sprawls too far.

Take iT From The PoP Rima Pree Paper Garden Records Pree sounds like a band with just enough patience. On its latest record, Rima, the D.C. fourpiece refines its sunny experimental pop, which is detailed and deliberate yet bursting with energy and ideas that often feel a misstep away from spilling out of the band’s pockets. Though not terribly inventive—the band’s pop-tinged math rock shares a fair number of similarities with yesterday’s music blog darlings, Givers and Maps & Atlases—the style requires patience and technicality that eludes many bands that attempt the same. Pree does it well. Pree’s music is layered, with sonic ornaments hanging close together and occasionally crowding one another out. Buoyed by restless, spindly guitars and an enthusiastic rhythm section, the band bounces from idea to idea, rarely leaving time for listeners to catch their breath before launching into the next refrain. Despite the lineup’s above-average indie rock musicianship, on display in more technically complex tracks like “Different Shores,” one element occasionally threatens to overshadow it all: May Tabol’s alto, which warbles high in the mix in the same indecipherable English popularized by Regina Spektor and tUnE-yArDs’ Merrill Garbus. Tabol’s voice colors the record and lends blander songs some needed character, but its omnipresence steps on some interesting riffs and melodies that are equally entitled to center stage. As hackneyed as instrumental so-

los can be, listeners may find themselves yearning for one on “Walk Right,” for instance. Melodies occasionally amble and jostle too much for attention in the album’s more crowded songs. On “Maybe We’ll Row,” the band attempts to reconcile essentially different ideas into a lopsided, slightly bloated track. Here, the time change could be dropped and the licks could be clipped to focus and reign in the sonic sprawl. These various detours often obscure the fact that Pree is a very talented pop band. Though the band intentionally opts out of repetitive, straightforward structures, when the group can’t help itself, the results are still fruitful. With the help of a few effects pedals on “Hello, Shadow,” the band updates a ’50s-influenced pop ballad with contemporary flourishes. Pree successfully coaxes a bit of brightness out of an otherwise inoffensive Mazzy Star soundalike track, “The Dog,” by watermarking the tune with shimmery faraway guitars, allowing the band to nod at influences rather than rip them off. Rima is stronger as a collection of individual songs than it is as a full album. Packaged in small chunks, it’s interesting and bubbly, but after 30 minutes, the album flags and gets weighed down by its singular aesthetic. The band is clearly dedicated to making music that ignores traditional pop structures, but not patient enough to clip the occasional loose sonic limbs that hang off of more cumbersome songs. Still, the members of Pree are intuitive enough in their songwriting that even when they let their impulses run amok, they still manage to get plenty right. —Maxwell Tani

THE CLASSIC FAIRY TALE COMES TO LIFE LIKE NEVER BEFORE WITH UPROARIOUS COMEDY & FABULOUS TWISTS!

PHOTOS BY BRETT COOMER/HOUSTON GRAND OPERA

MusicDiscography

MAY 9–21 OPERA HOUSE Tickets on sale now!

(202) 467-4600 kennedy-center.org Tickets also available at the Box Office Groups (202) 416-8400 In Italian with projected English titles

Major support for WNO is provided by Jacqueline Badger Mars. David and Alice Rubenstein are the Presenting Underwriters of WNO. General Dynamics is the proud sponsor of WNO’s 2014-2015 Season. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello.

Pree plays the Black Cat on May 8. Listen to songs from Rima at washingtoncitypaper.com/go/rima. washingtoncitypaper.com may 8, 2015 39

JUNE 18

LINDSEY STIRLING THE MUSIC BOX TOUR

SEP 6

AUG 13

COUNTING CROWS SOMEWHERE UNDER WONDERLAND TOUR

RODRIGO Y GABRIELA

JULY 22

BRANDI CARLILE FIRST AID KIT GILL LANDRY

CITIZEN COPE HOLLIS BROWN

STAR TREK

INGRID MICHAELSON

NATIONAL SYMPHONY ORCHESTRA

GUSTER

KISHI BASHI

JUKEBOX THE GHOST

OH HONEY

JUNE 3

AUG 1

JULY 16

AN EVENING WITH THE CREATORS OF SERIAL:

LITTLE BIG TOWN THE PAIN KILLER TOUR

DAVID NAIL

JILL SCOTT

ASHLEY MONROE

SARAH KOENIG & JULIE SNYDER JULY 29

JUNE 6

AUG 15

KELLY CLARKSON

BEN HARPER & THE INNOCENT CRIMINALS

DAVID GRAY AMOS LEE JUNE 16

TICKETS ON SALE NOW!

JULY 30

PENTATONIX

ERIC HUTCHINSON

SEP 12 & 13

PLUS KOOL & THE GANG | CHAKA KHAN 5/30 » THE B-52s | BERLIN 6/5 “WEIRD AL” YANKOVIC 6/12 » PINK MARTINI 7/10 » R5 7/12 » DIANA KRALL 7/25 » INDIGO GIRLS 7/28 THE PIANO GUYS 8/6 » JIM GAFFIGAN 8/12 » LYLE LOVETT & HIS LARGE BAND 8/14 ZZ TOP | BLACKBERRY SMOKE 8/18 » KRISTIN CHENOWETH 8/28 » AND MANY MORE!

SUMMER 2015

WOLFTRAP.ORG 40 may 8, 2015 washingtoncitypaper.com

1.877.WOLFTRAP

CITYLIST

Music . . . . . . . . . . . . . . . . . . . . . . . . .41 Books . . . . . . . . . . . . . . . . . . . . . . . . 4 8 Galleries . . . . . . . . . . . . . . . . . . . . . 4 9 Dance . . . . . . . . . . . . . . . . . . . . . . . 5 0 Theater . . . . . . . . . . . . . . . . . . . . . . 5 0 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .52

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Music

Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Ben Folds and yMusic. 8 p.m. (Sold out) 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Pree, Heavy Breathing, Young Rapids. 9 p.m. $10. blackcatdc.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. UVF Rays. 9 p.m. $12. blackcatdc.com. DC9 1940 9th St. NW. (202) 483-5000. Those Darlins, Adia Victoria. 7 p.m. $12–$14. dcnine.com. RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Joywave, Kopps. 9 p.m. $13–$15. rockandrollhoteldc.com.

Funk & R&B

u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Nick Hakim, Ben Talmi. 7 p.m. $15. Lee Foss, Juan Zapata, Edo. 10:30 p.m. $15. ustreetmusichall.com.

Jazz MontpelieR aRts CenteR 9652 Muirkirk Road, Laurel. (301) 377-7800. Ken Navarro. 8 p.m. $25. arts.pgparks.com. MR. HenRy’s 601 Pennsylvania Ave. SE. (202) 5468412. The Kevin Cordt Quartet. 8 p.m. Free. mrhenrysdc.com. utopia baR & gRill 1418 U St. NW. (202) 4837669. Collector’s Edition. 11 p.m. Free. utopiaindc.com.

BluEs biRCHMeRe 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Delbert McClinton, Brian Dunne. 7:30 p.m. $45. birchmere.com.

Hip-Hop tRopiCalia 2001 14th St. NW. (202) 629-4535. Los Master Plus, G-Flux. 8 p.m. $10–$12. tropicaliadc.com.

opERa kenneDy CenteR MillenniuM stage 2700 F St. NW. (202) 467-4600. Washington National Opera Young Artist Program. 6 p.m. Free. kennedy-center.org.

DJ nigHts DC9 1940 9th St. NW. (202) 483-5000. Discnothèque with DJs Sean Morris and Bill Spieler. 10:30 p.m. $2–$5. dcnine.com.

saturday Rock

MeRRiweatHeR post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Florida Georgia Line, Thomas Rhett, Frankie Ballard. 7:30 p.m. $45–$75. merriweathermusic.com. RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Strung Out, Red City Radio, La Armada. 7:15 p.m. $18–$20. rockandrollhoteldc.com.

u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Hiatus Kaiyote, Rashad Smith. 7 p.m. (Sold out) ustreetmusichall.com.

Funk & R&B gypsy sally’s 3401 K St. NW. (202) 333-7700. Easy Star All-Stars, The Skints, Dub Architect. 9 p.m. $20–$23. gypsysallys.com. kenneDy CenteR MillenniuM stage 2700 F St. NW. (202) 467-4600. Curtis Harding. 6 p.m. Free. kennedy-center.org.

ElEctRonic

G W OR T N RE. P S 00 T & .33 EA TH 32 TH 14 2.3 IO 20 TUD S

Zoo baR 3000 Connecticut Ave. NW. (202) 2324225. Sooky Jump Blues Band. 9 p.m. Free. zoobardc.com.

Anthropomorphic animals, Technicolor costumes, falling down dark holes—it could be a gritty, hallucinogenic avant-garde film or a restaging of a beloved children’s story. This month, it’s the latter: Things get curiouser and curiouser as Septime Webre’s ALICE (in wonderland) returns to the Kennedy Center, drawing inspiration from Lewis Carroll’s memorable characters, illogical landscapes, and unpredictable series of events. In the wonderland of the ballet, Alice spins with childlike energy and exquisite technique through pas de deux with the pocket watch–toting White Rabbit and grinning Cheshire Cat. Then, she confronts the Queen of Hearts and her playing card and pink flamingo ballerinas; meets a woman in blue undulating through the air accompanied by a giant hookah (the languid, puffing caterpillar); and, finally, crosses a giant Jabberwocky. Webre’s wild, experimental choreography pairs masterfully with the otherworldly costumes of Liz Vandal (who previously designed for Cirque du Soleil) and a lively score by Matthew Pierce. Washington Ballet’s spin on an old favorite balances elements both outlandish and elegant to make the audience feel, as Carroll writes in the opening to Alice’s Adventures in Wonderland, like “the dream-child moving through a land of wonders wild and new.” The ballet runs May 6 to May 17 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. —Emily Walz $25–$135. (202) 467-4600. kennedy-center.org.

CT MU L– AN IA IC UL IRE ID RI 5 D V P 01 US J M DA A 2 Y MA

ElEctRonic

ALICE (IN WONDERLAND)

ITH W Y D SB N AN RIC DA Y B BY LY R D D JO ICS SH VE N IA LYR NA BY EI K A L A ED SE NC OO JU D N CO B

HowaRD tHeatRe 620 T St. NW. (202) 803-2899. Teedra Moses, Bradd Marquis, John Michael. 7:30 p.m. $22.50–$60. thehowardtheatre.com.

CITY LIGHTS: FRIDAY

S ba ara tr ck ’s St eas up life a a g ur in is au nd a ed es he per fo die liv cab in t r li fec r h f t M a fu nce i e ban aret- is ex e, th , unt ED ll i n t d, st pl rea il a IA mm he m Mu yle w osiv ten n o PA ersi idd rder ith e ro ing ld fl RT ve e le o Ba full ck mever ame N xpe f its llad bar us ythi sho ER rie a pu se ica ng w nc cti ts rv l. s s he e. on th ice e

gypsy sally’s 3401 K St. NW. (202) 333-7700. DJ Williams Projekt, Ron Holloway Band, the Trongone Band. 9 p.m. $14–$19. gypsysallys.com.

u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Holy Ghost, Ben Browning, Ypset. 10:30 p.m. $15. ustreetmusichall.com.

washingtoncitypaper.com may 8, 2015 41

Jazz

DJ nigHts

Hylton peRfoRMing aRts CenteR 10960 George Mason Circle, Manassas. (703) 993-7759. Swing Machine Big Band Goes to the Movies!. 7:30 p.m. $20–$29. hyltoncenter.org.

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

MR. HenRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Diane Daly Quartet. 8 p.m. Free. mrhenrysdc.com.

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Bearzerk with DJs Dean Sullivan and Tommy Cornells. 10 p.m. $5. blackcatdc.com.

utopia baR & gRill 1418 U St. NW. (202) 4837669. Elijah’s Quintet. 11 p.m. Free. utopiaindc.com.

BluEs Zoo baR 3000 Connecticut Ave. NW. (202) 2324225. Smokin Polecats. 9 p.m. Free. zoobardc.com.

WoRlD publiCk playHouse 5445 Landover Rd., Cheverly,. (301) 277-1710. Maestro Khan, Sistah Mafalda & The Kuumba Performers. 8 p.m. $20. pgparks.com/ Things_To_Do/Arts/Publick_Playhouse.htm.

classical Hylton peRfoRMing aRts CenteR 10960 George Mason Circle, Manassas. (703) 993-7759. Manassas Symphony Orchestra: Sonus. 7:30 p.m. $14–$20. hyltoncenter.org. kenneDy CenteR teRRaCe tHeateR 2700 F St. NW. (202) 467-4600. Igor Levit. 2 p.m. $35. kennedy-center.org.

DC9 1940 9th St. NW. (202) 483-5000. Body Werk. 10:30 p.m. $2–$5. dcnine.com.

sunday Rock

9:30 Club 815 V St. NW. (202) 265-0930. The Maine, Real Friends, Knuckle Puck, The Technicolors. 6 p.m. $20. 930.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Hayden. 7:30 p.m. $12–$15. blackcatdc.com. DC9 1940 9th St. NW. (202) 483-5000. Natural Child, Dead Professional. 9 p.m. $10. dcnine.com. RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Surfer Blood, Turbo Fruits. 8 p.m. $15. rockandrollhoteldc.com.

CITY LIGHTS: SATURDAY

“CLIMATE AND ACTIONS: STORYTELLING WITH SARIS” Residents of Katakhali, a rural village on a remote island far off the southern coast of Bangladesh, have struggled against the impacts of climate change over the last decades. Cyclones have repeatedly torn through this farm-dependent community, rendering soil infertile and economic opportunities scarce, and a rising tide has generated fear for the island’s very survival. D.C.-based artist Monica Jahan Bose, whose family comes from Katakhali, started her multimedia “Storytelling with Saris” project to merge art with climate activism, leading art and writing workshops with 12 local women to help document their lives on a changing island. The resulting art objects—large-scale prints on sari fabric, journal entries, and a video of the process—are part of a travelling exhibition, “Climate and Actions,” in which visitors are encouraged to think about and address their roles in climate change. By focusing on women’s lives, using their traditional garb as artistic medium and strengthening literacy through storytelling and writing classes, Bose is celebrating a community’s steps toward gender equality, even in the face of an uncertain future. The exhibition is on view May 8 to June 6 at the Anacostia Arts Center, 1231 Good Hope Road SE. Free. (202) 631-6291. —Anya van Wagtendonk anacostiaartscenter.com.

42 may 8, 2015 washingtoncitypaper.com

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

Kenny Chesney w/ Jake Owen & Chase Rice ................................................. MAY 27 MAY

THIS WEEK’S SHOWS

Butch Walker w/ Jonathan Tyler & The Dove and The Wolf .................................. Th 7 JoeMaine Pug w/w/Field (solo) ................................................................................... Sa10 2 The RealReport Friends • Knuckle Puck • The Technicolors ......................... Su Butch Watson Walker.............................................................................................................. w/ Jonathan Tyler & The Dove and The Wolf ................................Th Th14 7 Aaron ALL GOOD PRESENTS The Maine w/ Real Friends • Knuckle Puck • The Technicolors ...................... Su 10 Papadosio w/ EarthCry ................................................................................................ F 15 AN EVENING WITH

Walk Off The Earth w/ Scott Helman ..................................................................... Sa 16 Sons of Bill ..................................................................................................................... F 22 U STREET MUSIC HALL PRESENTS

Kilngande w/ Autograf ............................................................................................... Sa 23 The Story So Far w/ Four Year Strong • Terror • Souvenirs.............................. Su 24 Patrick Watson w/ The Low Anthem ........................................................................ W 27 FIDLAR & METZ .......................................................................................................... Th 28 STEEZ PROMO PRESENTS

12th Planet w/ Loudpvck & Kove ............................................................................. Sa 30

JUNE ALL GOOD PRESENTS

Rusted Root w/ Adam Ezra Group .............................................................................. W 3 Lil Dicky w/ ProbCause..................................................................................................... Th 4 SpeakeasyDC’s Out/Spoken: Queer, Questioning, Bold, and Proud Early Show! 6pm Doors .......................................................................................................F 5

Calexico w/ Gaby Moreno Late Show! 9:30pm Doors ..................................................F 5 The Vaccines w/ Little May ............................................................................................. Su 7 SBTRKT................................................................................................................................... M 8 Paul Weller ......................................................................................................................... Tu 9

FEATURING

Single-Day tickets on sale now. For more info, visit sweetlifefestival.com.

The Decemberists

930.com

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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

w/ Father John Misty .......................................................... JUNE 4

CAPITAL JAZZ FEST FEATURING

Kenny G • George Clinton and Parliament/Funkadelic and more!.............JUNE 5-7 Florence + The Machine w/ Empress Of ....................................................... JUNE 9 Hozier w/ The Antlers .................................................................................................... JUNE 20 Fall Out Boy | Wiz Khalifa w/ Hoodie Allen & DJ Drama ............................... JUNE 27 VANS WARPED TOUR

FEATURING

Asking Alexandria • Black Veil Brides • Riff Raff and more! .................... JULY 18 Sam Smith .....................................................................................................................JULY 24 My Morning Jacket w/ Jason Isbell ...................................................................JULY 26

FAITH NO MORE w/ Refused ............................................................ AUGUST 2 CDE PRESENTS 2015 SUMMER SPIRIT FESTIVAL FEATURING

ERYKAH BADU • ANTHONY HAMILTON and more! .................... AUG 8

PHISH .........................................................................................................AUGUST 15 & 16

Willie Nelson & Family and Old Crow Medicine Show............ AUG 19 Darius Rucker w/ Brett Eldredge • Brothers Osborne • A Thousand Horses .... AUG 22 Death Cab For Cutie w/ Explosions in the Sky ..................................SEPT 13 Alabama Shakes w/ Drive-By Truckers ............................................FRI SEPT 18

U STREET MUSIC HALL PRESENTS

A-Trak w/ Araabmuzik & Ape Drums ...................................................................... Th 11 Who’s Bad: The World’s #1 Michael Jackson Tribute Band .................................. F 12 Josh Rouse w/ Walter Martin ......................................................................................M 15 Best Coast w/ Bully ..................................................................................................... Tu 16 Jungle .............................................................................................................................. W 17

Kendrick Lamar • Pixies and more! ......... MAY 30 Calvin Harris • The Weeknd and more!... MAY 31

• For full lineups and more info, visit merriweathermusic.com • 930.com

Echostage • Washington, D.C.

TV On The Radio w/ Bo Ningen ...............................................................................MAY 19 Hot Chip w/ Sinkane ........................................................................................................ JUNE 5 Tame Impala w/ Kuroma .............................................................................................. JUNE 6 I.M.P. & STEEZ PROMO PRESENT

Flume ................................................................................................................................. JUNE 10 Belle and Sebastian w/ Alvvays........................................................................... JUNE 11 Edward Sharpe and the Magnetic Zeros ................................................ JUNE 16 Milky Chance w/ X Ambassadors ..............................................................................JULY 27 Interpol ..............................................................................................................................JULY 28 Brandon Flowers .........................................................................................................JULY 29 SEPT 8 SOLD OUT! SECOND NIGHT

ADDED!

Twenty One Pilots w/ Echosmith.................................................................. SEPTEMBER 9 Stromae ............................................................................................................... SEPTEMBER 16 2135 Queens Chapel Rd. NE • Ticketmaster

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Stu Larsen & Natsuki Kurai

Ivan & Alyosha w/ Kris Orlowski.......... F 29 w/ Matt Sanders.............................. Th MAY 7 Seinabo Sey ......................................... Su 31 Jedi Mind Tricks ............................ W JUN 3 Kate Tempest ........................................ Th 4 JEFF the Brotherhood .......................... F 5 Songhoy Blues ...................................... F 12 w/ Dension Witmer ............................... Th 21 The Maccabees ................................... Sa 13 Geographer w/ Empires & Idlehands .. Sa 23 Unknown Mortal Orchestra w/ Alex G .M 15 Avan Lava............................................. Th 28 Shamir .................................................. Tu 16 Nick Hakim w/ Ben Talmi........................ F 8 Lo-Fang ................................................. W 13 Sam Prekop w/ Mountains.................... F 15 William Fitzsimmons

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

JUST ANNOUNCED!

1215 U Street NW

Washington, D.C.

AEG LIVE PRESENTS

STUFF YOU SHOULD KNOW.......................... FRI JUNE 26 On Sale Wednesday, May 6 at Noon

JUSTICEAID PRESENTS MUSIC FOR THE MID-ATLANTIC INNOCENCE PROJECT & INNOCENCE PROJECT NEW ORLEANS

The Blind Boys of Alabama & Ani DiFranco ............................................. MAY 17 Lisa Lampanelli .................................................................................................... MAY 29 LIVE NATION PRESENTS

T.J. Miller ...........................................................................................................JUNE 20

AEG LIVE PRESENTS

Jim Jefferies ...............................................................................................NOVEMBER 7

Pimlico Race Course • Baltimore, MD

BLACK EYED SUSAN DAY CONCERT

FEATURING

Gin Blossoms • Fuel • Vertical Horizon and more!.............................................. FRI MAY 15 For more info, visit blackeyedsusanday.com.

ARMIN VAN BUUREN w/ Childish Gambino .................SAT MAY 16 All day event! For more info, visit preakness.com/inﬁeld.

• thelincolndc.com •

U Street (Green/Yellow) stop across the street!

RFK Stadium • Washington, D.C.

20th Anniversary Blowout!

Buddy Guy • Gary Clark Jr. • Heart • and more! For full lineup, visit 930.com ... JULY 4 Ticketmaster

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

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

washingtoncitypaper.com may 8, 2015 43

CITY LIGHTS: SUNDAY

THIS SIDE OF PARADISE Jacqueline Kennedy began socializing with artist Andy Warhol after her husband’s assassination in 1963. Warhol had made portraits of her following JFK’s death; eventually, the pair became chummy, and Warhol welcomed the widowed first lady and her family for weekend stays at his home in the Hamptons. There, Kennedy welcomed filmmaker Jonas Mekas to teach her children and their cousins the basics of filmmaking. Mekas later turned the footage into a short documentary, This Side of Paradise, which screens this weekend at the National Gallery of Art. The shots are simple and feature JFK Jr. and Caroline engaging in basic activities like flipping through books and playing with the dogs, further humanizing the family Americans spent decades obsessing about. The film shows at 4 p.m. at the National Gallery of Art West Building Auditorium, 6th Street and Constitution Avenue NW. Free. (202) 737-4215. nga.gov. —Caroline Jones

Funk & R&B

HowaRD tHeatRe 620 T St. NW. (202) 803-2899. A Tribute to Earth, Wind, and Fire. 1 p.m. $29.50–$50. thehowardtheatre.com.

MaDaM’s oRgan 2461 18th St. NW. (202) 6675370. One Nite Stand. 9 p.m. Free. madamsorgan.com.

Jazz

kenneDy CenteR faMily tHeateR 2700 F St. NW. (202) 467-4600. Afro Blue, Queen Esther, Brianna Thomas. 6 p.m. Free. kennedy-center.org.

kenneDy CenteR MillenniuM stage 2700 F St. NW. (202) 467-4600. Christie Dashiell. 6 p.m. Free. kennedy-center.org.

utopia baR & gRill 1418 U St. NW. (202) 4837669. Sherryl Jones, Wayne Wilentz. 9:30 p.m. Free. utopiaindc.com.

classical pHillips ColleCtion 1600 21st St. NW. (202) 3872151. Kristin Lee, violin. 4 p.m. $15–$30. phillipscollection.org.

Vocal saint luke CatHoliC CHuRCH 7001 Georgetown Pike, McLean. (703) 356-1255. City Choir of Washington: French Choral Spectacular II. 4:30 p.m. $20–$30. saintlukemclean.org.

gospEl tHe HaMilton 600 14th St. NW. (202) 787-1000. The Gospel Persuaders. 10 a.m., 12:30 p.m. & 3 p.m. $45. thehamiltondc.com.

Monday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Matt & Kim, WATERS. 7 p.m. (Sold out) 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Laibach, Technophobia. 7:30 p.m. $20. blackcatdc.com. DC9 1940 9th St. NW. (202) 483-5000. Anthony Pirog Trio, Boat Burning, Halo Valley. 8:30 p.m. $8. dcnine.com. RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Palma Violets, Public Access T.V. 8 p.m. $13. rockandrollhoteldc.com.

44 may 8, 2015 washingtoncitypaper.com

tuesday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Matt & Kim, WATERS. 7 p.m. (Sold out) 930.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Mystic Braves, the Blank Tapes. 7:30 p.m. $10. blackcatdc.com. DC9 1940 9th St. NW. (202) 483-5000. Lost Lander. 9 p.m. $10. dcnine.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. Dr. John Cooper Clarke. 7:30 p.m. $15–$25. thehamiltondc.com. RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Lightning Bolt, Buck Gooter, Group Vision. 8 p.m. $12. rockandrollhoteldc.com. u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Tennis, Kuroma. 7 p.m. $18. ustreetmusichall.com.

Funk & R&B MaDaM’s oRgan 2461 18th St. NW. (202) 6675370. The Johnny Artis Band. 9 p.m. Free. madamsorgan.com.

Jazz utopia baR & gRill 1418 U St. NW. (202) 4837669. Lyle Link Trio. 9:30 p.m. Free. utopiaindc.com.

classical kenneDy CenteR MillenniuM stage 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

washingtoncitypaper.com may 8, 2015 45

Take Metrobus and Metrorail to the...

DCJAZZFESTIVAL JUNE 10–16, 2015 10

Sweet Lu Olutosin 6:00 PM Kennedy Center Millennium Stage

wednesday

11 Nobuki Takamen

thursday

6:30 PM Japan Information and Cultural Center Brad Linde’s BIG OL’ ENSEMBLE feat. Eliott Hughes thursday 8:00 PM Atlas Performing Arts Center

thursday/friday

11–12 Gretchen Parlato/Lionel Loueke Duo

7:30 PM & 9:30 PM

8:00 PM & 10:00 PM Bohemian Caverns CapitolBop DC Jazz Loft

Thundercat/Sam Prather’s Groove Orchestra friday 9:30 PM -1:00 AM Hecht Warehouse

friday/saturday

12–13 Michael Thomas Quintet

9:00 PM & 11:00 PM Twins Jazz

Wednesday

Folk

Rock

Hill CountRy live 410 7th St. NW. (202) 556-2050. Ray Wylie Hubbard. 8 p.m. $22–$35. hillcountrywdc.com.

9:30 Club 815 V St. NW. (202) 265-0930. Billy & the Kids. 7 p.m. (Sold out) 930.com.

go-go

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Hop Along, Field Mouse. 7:30 p.m. $12. blackcatdc.com.

HowaRD tHeatRe 620 T St. NW. (202) 803-2899. Rare Essence, Jeremy Ellis, Starship Connection. 8 p.m. $12.50–$45. thehowardtheatre.com.

DC9 1940 9th St. NW. (202) 483-5000. Matthew Ryan & The Northern Wires, The Cowards Choir. 9 p.m. $10. dcnine.com.

classical

RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. The Dear Hunter. 7:30 p.m. $20. rockandrollhoteldc.com. u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Lo-Fang,. 6:30 p.m. $15. ustreetmusichall.com.

Funk & R&B gypsy sally’s 3401 K St. NW. (202) 333-7700. Orgone, Sophistafunk. 8:30 p.m. $12–$15. gypsysallys.com.

Jazz twins JaZZ 1344 U St. NW. (202) 234-0072. Elijah Cole Quartet. 8 p.m. & 10 p.m. $10. twinsjazz.com.

kenneDy CenteR MillenniuM stage 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

thursday Rock

biRCHMeRe 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Todd Rundgren. 7:30 p.m. $49.50. birchmere.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Broncho, Strange Faces. 7:30 p.m. $12. blackcatdc.com. DC9 1940 9th St. NW. (202) 483-5000. East India Youth, Rioux. 9 p.m. $10–$12. dcnine.com.

countRy

fillMoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Nightwish, Delain. 7:30 p.m. $45.50–$73.50. fillmoresilverspring.com.

MaDaM’s oRgan 2461 18th St. NW. (202) 6675370. The Human Country Jukebox Band. 9 p.m. Free. madamsorgan.com.

HowaRD tHeatRe 620 T St. NW. (202) 803-2899. Tierra Santa. 7:30 p.m. $30–$50. thehowardtheatre.com.

EAST RIVER JAZZFest Series

Christylez Bacon: Strayhorn from

13 a Hip-Hop Perspective

saturday

2:00 PM Francis A. Gregory Neighborhood Library Meet the Artist:

13 Jack DeJohnette

saturday

12:00 PM NYU/DC Abramson Family Auditorium saturday/sunday

13–14

8:00 PM & 10:00 PM Nicholas Payton 7:00 PM & 9:00 PM Bohemian Caverns

The Cookers 8:00 PM Sixth & I Historic Synagogue

sunday

AfroHORN (in conjunction with

14 Transparent Productions)

sunday

4:30 PM Bohemian Caverns

15 Bohemian Caverns Jazz w/Oliver Lake

monday

8:00 PM & 10:00 PM Bohemian Caverns

For tickets, artists, and complete schedule visit DCJAZZFEST.ORG PLATINUM, GOLD & SILVER SPONSORS

Meet the Artist is an initiative of The DC Jazz Festival Roberta Flack Education Program, made possible through major grants from the Anne and Ronald J. Abramson Family Foundation, the Morris and Gwendolyn Cafritz Foundation, The Mayo Charitable Foundation, Venable Foundation, NEA Foundation, CrossCurrents Foundation, New Music USA, and the PNC Foundation; and,in part, with a grant from the National Endowment for the Arts and the DC Commission on the Arts and Humanities, supported in part by the National Endowment for the Arts; and by the City Fund administered by The Community Foundation for the National Capital Region. The Roberta Flack Music Education Program is a project of the DC Jazz Festival, a 501(c)(3) non-profit service organization. ©2015 DC Jazz Festival. All rights reserved.

46 may 8, 2015 washingtoncitypaper.com

CITY LIGHTS: MONDAY

HEAVEN ADORES YOU It’s been nearly 12 years since Elliott Smith—the singer-songwriter known as much for his struggles with addiction as for his haunting, deeply personal music—killed himself, but his legacy continues to expand. Most recently, songwriters Jessica Lea Mayfield and Seth Avett (of Avett Brothers’ fame) released an album of Smith covers; before that, there was a spate of biographies, a posthumous compilation of his unreleased tracks, and countless Cobain-esque conspiracy theories about the nature of his death. Now there’s Heaven Adores You, a documentary that traces the musician’s sphere of influence across time and space. Though Smith was closely linked to Portland, Ore., director Nickolas Rossi also focuses on his time in New York and Los Angeles, rooting a musical journey in geographies familiar to any Smith fan. Long beloved by critics, Smith’s career had been on the commercial rise at the time of his death, following an Oscar nomination for his contribution to the Good Will Hunting soundtrack and his well-received 2000 release, Figure 8. Through interviews with Smith’s friends and collaborators, Rossi offers a new narrative of the creative and personal forces that brought Smith such public success and private despair. The film shows at 7 p.m. at the Howard Theatre, 620 T St. NW. $10–$15. —Anya van Wagtendonk (202) 803-2899. thehowardtheatre.com.

Wednesday, May 13 Doors 6:30 PM Show: 7:30 PM Tickets: $15

Includes cocktail hour sponsored by Neighborhood Restaurant Group & tastings from Blue Jacket Brewery. Additional food and drink available for purchase FEATURING:

Kokayi and El Mansouris washingtoncitypaper.com/events

washingtoncitypaper.com may 8, 2015 47

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

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

THEMILKCARTONKIDS

Sept. 10, 8:00 pm Presents

Washington DC Tickets On Sale Now! through Lisner.org or call (202) 994-6800.

May 8

2461 18th St., NW Washington, DC 202-667-5370

“Where the Beautiful People go to get

Ugly.” “One of the 25 best bars in America” - Playboy Magazine

Redheads always drink 1/2 price Shiner Bock!

LIVE MUSIC EVERY NIGHT Thu: Ladies Night (No Cover For Ladies)

Patrick Alban & Noche Latina Latin & World Beats

Fri: Chris O’Leary Harmonica Driven Blues

Madam’s House Party On The Second Floor-Featuring DJ India 10:00pm

Sat: Ursula Ricks Project Deep Throated Blues from Balitmore

Saturday Opening Act: Rico Amero Soulful Blues 7:00pm - 9:00pm Madam’s House Party On The Second Floor-Featuring DJ India 10:00pm

Sun: B.T. Richardson Band Blues & Funk

Mon: One Nite Stand Reggae, Funk & R&B Tue: TheRock, Johnny Artis Band R&B & Reggae Wed: The Human Country Jukebox Band featuring JACK GREGORI from the

Open Mic-8pm Second Floor

Sun, Tues & Thurs

Second Floor: Drunkaoke (Karaoke with Two Drink Minimum)

www.madamsorgan.com 48 may 8, 2015 washingtoncitypaper.com

Brian DELBERT McCLINTON Dunne 9 GARY TAYLOR 14 TODD RUNDGREN

‘GLOBAL TOUR 2015’

15 16

17 18

IRIS DEMENT IAN TYSON RISING APPALACHIA BOB JAMES ‘75th Anniversary’

JOHNNYSWIM 21 ALEX BUGNON ‘Byrdland’ 19

Tribute to Donald Byrd

feat. TOM BROWNE & ELAN TROTMAN

Carolyn ERIC ROBERSON Malachi 27 THE SECRET SISTERS & STRIKING MATCHES 28 DOWN TO THE BONE Jo 29 JONATHA BROOKE Lawry 30 WALTER BEASLEY 31 ROAMFEST 2015 7pm June 1 JOE ELY / L 2 SAMANTHA FISH & ANDY POXON 3 MARC BROUSSARD 4 THE LONESOME TRIO

22&23

ucette

feat. ED HELMS, IAN RIGGS, JACOB TILOVE

OTTMAR LIEBERT & Luna Negra 6 THE SELDOM SCENE 5

w/SHANNON WHITWORTH & BARRETT SMITH 7 In the !

KEVIN FOWLER 8&9 NILS LOFGREN (Acoustic) 10 THEMANHATTANTRANSFER 12 BILL KIRCHEN & TOO MUCH FUN and THE NIGHTHAWKS with BILLY PRICE 13 BILLY JOE SHAVER 14 STEPHANE WREMBEL’S DJANGO-A-GO-GO June 16 & 17 15 ELIZABETH COOK

RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Beach Fossils, Den-Mate, Big Hush. 8 p.m. $13. rockandrollhoteldc.com.

ElEctRonic u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Penguin Prison, Fort Lean, Lightwaves. 8 p.m. $12–$15. ustreetmusichall.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m. & 10 p.m. $40. bluesalley.com. MontpelieR aRts CenteR 9652 Muirkirk Road, Laurel. (301) 377-7800. Karen Lovejoy and the Lovejoy Group. 12 p.m. $12. arts.pgparks.com. utopia baR & gRill 1418 U St. NW. (202) 4837669. The Wayne Wilentz Trio. 9:30 p.m. Free. utopiaindc.com.

countRy 9:30 Club 815 V St. NW. (202) 265-0930. Aaron Watson, Midland. 7 p.m. $15. 930.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. The Thrillbillys, the Highballers. 8:30 p.m. $10–$14. gypsysallys.com. MR. HenRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Amanda Murphy and the Lost Indians. 8 p.m. Free. mrhenrysdc.com.

WoRlD MaDaM’s oRgan 2461 18th St. NW. (202) 6675370. Patrick Alban and Noche Latina. 9 p.m. Free. madamsorgan.com.

classical kenneDy CenteR MillenniuM stage 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

Books

akasHiC books fiCtion ReaDing A variety of novelists, including Eliza Factor and Stacy Wakefield, who have shared their work with the Brooklyn-based publishing company read at this gathering. Politics & Prose. 5015 Connecticut Ave. NW. May 9, 1 p.m. Free. (202) 364-1919. saRaH albee Albee explains fashion to children in her new volume, Why’d They Wear That?: Fashion as the Mirror of History . Politics & Prose. 5015 Connecticut Ave. NW. May 14, 10:30 a.m. Free. (202) 364-1919. allison leotta The prolific novelist reads from the fourth novel in her Anna Curtis series, A Good Killing. Busboys and Poets Takoma. 234 Carroll St. NW. May 13, 6:30 p.m. Free. (202) 726-9525. MiCHelle bRafMan The acclaimed journalist and short-story writer reads from her first novel, Washing the Dead, which focuses on a Jewish woman’s crisis of family and faith. Politics & Prose. 5015 Connecticut Ave. NW. May 9, 3:30 p.m. Free. (202) 364-1919. elaine lowRy bRye The author, a military spouse and mother of four active duty military officers, offers her advice to others in similar situations in Be Safe, Love Mom: A Military Mom’s Stories of Courage, Comfort, and Surviving Life on the Homefront. Politics & Prose. 5015 Connecticut Ave. NW. May 10, 1 p.m. Free. (202) 364-1919. eRiC buRns The award-winning media critic and host explains how the first year of the 1920s came to define the decade in 1920: The Year That Made the Decade Roar. Politics & Prose. 5015 Connecticut Ave. NW. May 12, 7 p.m. Free. (202) 364-1919. DaviD Downie The author and French scholar explains the romantic allure of Paris in A Passion for Paris: Romanticism and Romance in the City of Light. Politics & Prose. 5015 Connecticut Ave. NW. May 9, 6 p.m. Free. (202) 364-1919. Mona eltaHwy The Egyptian-American journalist reads from her latest examination of Middle East policy, Headscarves and Hymens: Why the Middle East Needs a Sexual Revolution. Politics & Prose. 5015 Connecticut Ave. NW. May 11, 7 p.m. Free. (202) 364-1919. CyntHia MaRie HoffMan anD neva HeRRington Visiting poet Hoffman and former Northern

CITY LIGHTS: TUESDAY

LIGHTNING BOLT

A buddy of mine introduced me to Lightning Bolt when I was college. I had never heard anything like it: With just a bass and drums, two guys from Rhode Island named Brian specialize in an abrasive, heavily distorted kind of noise punk that makes all other music seem tame by comparison. The same buddy told me that listening to Lightning Bolt is like “riding a flaming motorcycle into hell.” Their shows are like that, too. When Lightning Bolt played DC9 a few years ago, I remember seeing fans lose their minds, either from the onslaught of noise or the band’s ferocious energy. That show remains the first and only time I’ve seen a fan hang from the ceiling. Expect the same energy at this Rock & Roll Hotel show, especially since the Brians prefer playing on the floor instead of a stage. Don’t forget your earplugs. Lightning Bolt performs with Buck Gooter and Group Vision at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $12–$14. (202) 388-7625. rockandrollhoteldc.com. —Alan Zilberman

Virginia Community College professor Herrington read from their recent work at this gathering. The Writer’s Center. 4508 Walsh St., Bethesda. May 9, 7:30 p.m. Free. (301) 654-8664. JessiCa HoppeR Hopper, a popular music critic with bylines in the Chicago Reader, GQ, and Rolling Stone, reads from her first collection, The First Collection of Criticism by a Living Female Rock Critic. Busboys and Poets Brookland. 625 Monroe St. NE. May 13, 6:30 p.m. Free. louis p. MasuR anD JaMes M. MCpHeRson The two historians and Civil War scholars read from their new books, Lincoln’s Last Speech: Wartime Reconstruction and the Crisis of Reunion and The War That Forged a Nation: Why The Civil War Still Matters. Politics & Prose. 5015 Connecticut Ave. NW. May 13, 7 p.m. Free. (202) 364-1919. DaviD MCCullougH The prolific biographer and historian chronicles the history of flight and the men who made it possible in The Wright Brothers. Sixth & I Historic Synagogue. 600 I St. NW. May 11, 7 p.m. $35-$45. (202) 408-3100. geoRge MitCHell The former U.S. Senator from Maine and chair of the Walt Disney Company shares stories from his life in his new memoir, The Negotiator. Politics & Prose. 5015 Connecticut Ave. NW. May 8, 7 p.m. Free. (202) 364-1919. HannaH papp The author offers travel tips and recounts her own solo journey through Europe in The Mystical Backpacker. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. May 11, 6:30 p.m. Free. (202) 387-1400. eRika RobuCk Romance novelist Robuck reads from her latest work, The House of Hawthorne. One More Page Books. 2200 N. Westmoreland Street, No. 101, Arlington. May 12, 7 p.m. Free. (703) 300-9746. DaviD k. sHipleR The author chronicles various recent violations of free speech in Freedom of Speech: Mightier Than the Sword. Politics & Prose. 5015 Connecticut Ave. NW. May 14, 7 p.m. Free. (202) 364-1919. lisa anDeRson toDD The author and activist reads from her latest work, For a Voice and a Vote: My Journey with the Mississippi Democratic Freedom Party. Busboys & Poets 14th and V. 2021 14th St. NW. May 11, 6:30 p.m. Free. (202) 387-7638. DevoRa ZaCk The author advocates turning our attention to one task at a time in her new guide, Singletasking: Get More Done One Thing At a Time. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. May 12, 6:30 p.m. Free. (202) 387-1400.

Galleries

aDaMson galleRy 1515 14th St. NW, Suite 202. (202) 232-0707. adamsongallery.jimdo.com. OngOing: “Gordon Parks: A Segregation Story.” Photographs chronicling racial segregation throughout America by the late Life magazine photographer Gordon Parks. April 11–June 27. anaCostia aRts CenteR 1231 Good Hope Road SE. anacostiaartscenter.com. Opening: “Storytelling with Saris.” Artist Monica Bose tells the story of women living in a remote part of Bangladesh in this exhibition that combines printmaking and storytelling. May 9–June 6. aRlington aRts CenteR 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org. OngOing: “2015 Spring SOLOS.” Former AAC curators Andrea Pollan and Jeffry Cudlin judge this annual exhibition of work by emerging artists. Featured participants include Bradley Chriss, Nichola Kinch, Kate Kretz, Ariana Lamb, Nate Larson, Dan Perkins, and Paul Shortt. April 18–June 27. OngOing: “Every Now and Then.” Resident artist Bridget Sue Lambert presents large scale photos of dollhouse scenes that look both domestic and off-putting in this new, immersive exhibition. April 18–June 11. aRtispHeRe 1101 Wilson Blvd., Arlington. (703) 875-1100. artisphere.com. OngOing: “Bruised.” Local animator Safwat Saleem and WAMU’s Rebecca Sheir curate this new participatory art project that invites visitors to share their stories of defeat. Saleem will

then animate the stories and display them on screens throughout the building. April 15–July 31. atHenaeuM 201 Prince St., Alexandria. (703) 5480035. nvfaa.org. OngOing: “Rara Avis.” Martin Tarrat and Langley Spurlock present “The Abcdearium of Birds,” a collection of illustrations and verses about imaginary birds, while Beverly Ress presents large-scale drawings and constructions of birds. April 16–May 31. bRentwooD aRts exCHange 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks.com. ClOsing: “Brentwood Arts Exchange 5th Anniversary Show.” Artists who’ve presented work at the center over the years return to celebrate at this anniversary show. March 16–May 9. OngOing: “Kristi Kelly.” New glasswork and bead decorations from the local artist. May 2–July 4. Capitol skyline Hotel 10 I St. SW. (202) 4887500. capitolskyline.com. Opening: “Hothouse Video: Amy Finkelstein.” Stop-motion animations, unedited shorts, and abstract film pieces by the local video artist. May 7–June 21. Capitol skyline Hotel 10 I St. SW. (202) 4887500. capitolskyline.com. Opening: “Hothouse: ImPRINT.” Member artists showcase their work and write about their creative experiences in this juried exhibition. May 7–June 20. Civilian aRt pRoJeCts 1019 7th St. NW. (202) 6073804. civilianartprojects.com. OngOing: “Post Nihilist Utopia.” New paintings, sculpture, and paper works by New Orleans-based artist Dan Tague. April 25–May 30.

TOP PRICES PAID

for your Records (33S or 45S) CD’s or DVD’s

NO COLLECTION TOO SMALL or LARGE WE BUY EVERYTHING! Call STEVE at 301-646-5403 or e-mail:

stevebuysrecords@gmail.com

UPTOWN BLUES

Open Mic Blues JaM w/ Big Boy LittLe every Thursday

Fri. May 8 Sat. May 9 Fri. May 15 Sat. May 16 Fri. May 22 Sat. May 23

Sookey Jump BLueS Band Smokin’ poLecatS moonShine Society Stacy BrookS BLueS Band Swamp keeperS Band Bruce ewan the red harmonica king

Sundays mike FLaherty’S

dixieLand direct Jazz Band

Find out what ToDo Today online.

3000 Connecticut Avenue, NW (across from the National Zoo)

202-232-4225 zoobardc.com

CRoss MaCkenZie galleRy 2026 R St. NW. (202) 333-7970. crossmackenzie.com. OngOing: “Carole Bolsey.” Paintings of horses, homes, and boats by artist Carole Bolsey. May 1–May 30. DC aRts CenteR 2438 18th St. NW. (202) 462-7833. dcartscenter.org. OngOing: “Self/Non-Self: Sequence and Abstraction.” Artist Justin D. Strom blends the techniques of photography and digital printmaking in this exhibition of pieces influenced by microbiology and genetic sequencing. April 24–June 14. flasHpoint galleRy 916 G St. NW. (202) 3151305. culturaldc.org. Opening: “The Marginalia Archive.” Reader annotations contributed by individuals and gathered from items at MLK Library are examined in this exhibition curated by artist Molly Springfield. May 1–May 30. tHe fRiDge Rear Alley, 516 Eighth St. SE. (202) 6644151. thefridgedc.com. Opening: “Apoptosis.” Largescale sculptural works by local designer and muralist Peter Krsko. May 9–May 31. goetHe-institut wasHington 812 7th St. NW. (202) 289-1200. www.goethe.de/washington. OngOing: “Take It Right Back.” Sculptural works inspired by plants and other natural materials by German artist Paula Doepfner. May 5–July 3. gReateR Reston aRts CenteR 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org. OngOing: “Installation.” Sculptor Patrick Dougherty installs a new piece in Reston’s Town Square Park and the Arts Center showcases images of his other large-scale works around the world. April 16–July 3. OngOing: “Patterson Clark.” The Washington Post’s “Urban Jungle” columnist presents a series of works printed on wood carved from invasive tree species. April 16–July 3. HillyeR aRt spaCe 9 Hillyer Court NW. (202) 3380680. artsandartists.org. OngOing: “Pulse15.” Fifteen artists who’ve previously presented work at Hillyer return to raise money for the gallery at this fundraising exhibition. May 1–May 30. HonfleuR galleRy 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Opening: “Rush Baker.” Paintings that explore themes of chaos and world politics by local resident and artist Rush Baker. May 8–June 26. long view galleRy 1234 9th St. NW. (202) 2324788. longviewgallery.com. Opening: “V E R S U S.” New paintings of boats, houses, and streets by Hawaiibased artist Jason Wright. May 7–June 7. MoRton fine aRt 1781 Florida Ave. NW. (202) 628-2787. mortonfineart.com. OngOing: “Sistas in Flux: The Visual-Lingual Braid.” Paintings influenced by

washingtoncitypaper.com may 8, 2015 49

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daryl davis & featured guests

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Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends 50 may 8, 2015 washingtoncitypaper.com

CITY LIGHTS: WEDNESDAY

JUMPERS FOR GOALPOSTS Most U.S. residents consider soccer an activity suburban kids between the ages of 5 and 18 do after school and on weekends. But elsewhere in the world, the fanaticism of both fans and players increases with age. At least that’s the case in Tom Wells’ new play, Jumpers for Goalposts, which makes its U.S. debut at Studio Theatre tonight. The comedy follows the travails of a hopeless five-a-side team competing in an LGBT league in eastern England. After the match, the players nurse their bruises, as well as their bruised egos, and grow closer than they’d ever imagined over the course of the season. Like the majority of British dramas, it offers a bit of humor, a bit of somberness, and plenty of pints. The team in the play, after all, is sponsored by the local pub. The play runs May 13 to June 21 at Studio Theatre, 1501 14th St. NW. $20–$88. (202) 332-3300. studiotheatre.org. —Caroline Jones traditional nsibidi graphics by Nigerian-American artist Ekpuk. May 1–May 21.

group show organized by the arts group Quota. May 9–June 13.

MosaiC 2910 District Ave., Fairfax. OngOing: “Transcendence.” Muralist James Walker creates a largescale installation and painter James Bullough installs a 30-foot mural inspired by break dancers at this outdoor exhibition presented by Art Whino. March 7–July 26.

viviD solutions galleRy 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Opening: “3 Millimeters.” Local photojournalist Greg Kahn chronicles the impact of rising sea levels on the residents of Maryland’s Eastern Shore, many of whom work as watermen. May 8–June 26.

olD pRint galleRy 1220 31st St. NW. (202) 9651818. oldprintgallery.com. OngOing: “Resonant Terrain.” Photographs and prints of landscapes and seascapes from the 20th and 21st centuries. April 17–July 11.

wasHington pRintMakeRs galleRy 8230 Georgia Ave., Silver Spring. (301) 273-3660. washingtonprintmakers.com. OngOing: “Observations.” Watercolors and monotypes of outdoor scenes by artist Deron DeCesare. April 29–May 31.

pleasant plains woRksHop 2608 Georgia Ave. NW. pleasantplainsworkshop.blogspot.com. OngOing: “The NASCAR Series.” Photographs of racing fans and the NASCAR environment by artist Ann-Marie VanTassell. May 2–May 31.

dance

tate galleRy of CHRist CongRegational CHuRCH 9525 Colesville Road, Silver Spring. (301) 585-8010. ccsilverspring.org. OngOing: “Exploring Abstracts.” Eighteen members of the Silver Spring Camera Club, the D.C. area’s oldest camera club, display their abstract works in this exhibition. April 20–June 12. touCHstone galleRy 901 New York Ave. NW. (202) 347-2787. touchstonegallery.com. OngOing: “In Pursuit of Happiness.” Figurative paintings that explore themes of happiness and identity by Touchstone Foundation for the Arts Young Artist Fellow Aleksandra Katargina. May 1–May 31. tRansfoRMeR galleRy 1404 P St. NW. (202) 4831102. transformergallery.org. Opening: “Interspatial.” Artists Rachel Schmidt, Johab Silva, and Levester Williams explore the idea of space and its limits in this

touR-De-foRCe: seRenaDe The Washington Ballet celebrates another season with a mixed repertory bill. The enterpiece is the company’s debut of George Balanchine’s “Serenade,” a dreamy and romantic work set to music by Tchaikovsky. Kennedy Center Eisenhower Theater. 2700 F St. NW. May 13, 7:30 p.m.; May 14, 7:30 p.m. $41-$135. (202) 467-4600. kennedy-center.org. aliCe (in wonDeRlanD) The Washington Ballet revives its celebrated adaptation of Alice’s Adventures in Wonderland, which first premiered in 2012. Kennedy Center Eisenhower Theater. 2700 F St. NW. May 8, 7:30 p.m.; May 9, 7:30 p.m.; May 9, 1:30 p.m.; May 10, 1:30 p.m.; May 10, 6:30 p.m. $30-$125. (202) 467-4600. kennedy-center.org.

theater

tHe blooD Quilt Katori Hall, author of The Mountaintop, presents the world premiere of this story about four sisters who come together to create a quilt

in honor of their deceased mother. When the talk turns to inheritance, they must decide whether to strengthen their family bonds or pull away from each other once and for all. Arena Stage. 1101 6th St. SW. To June 7. $45-$110. (202) 488-3300. arenastage.org.

fReeDoM’s song Abraham Lincoln’s life and words come to life in this musical that tells the stories of individuals’ highs and lows throughout the Civil War. Ford’s Theatre. 511 10th St. NW. To May 20. $27-$69. (202) 347-4833. fordstheatre.org.

CabaRet Wesley Taylor stars as the Emcee in this classic musical set at a Berlin nightclub during the Nazis rise to power. An American journalist and a nightclub singer begin a tumultuous affair but the political changes forces an end to their carefree way of life. Signature Theatre. 4200 Campbell Ave., Arlington. To June 28. $29-$95. (703) 820-9771. signature-theatre.org.

HaMlet, Q1 Taffety Punk continues its exploration of Hamlet with its first production of the first quarto, a much shorter and reordered early version of Shakespeare’s classic. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To May 23. $15. (202) 261-6612. taffetypunk.com.

tHe Call A white couple sets out to adopt a child from Africa but quickly encounters opposition from African-American friends. Tanya Barfield’s play examines how global issues manifest themselves within our lives. Atlas Performing Arts Center. 1333 H St. NE. To May 31. $25-$45. (202) 399-7993. atlasarts.org. CaRousel A carousel barker gets a second chance at love in this Rodgers and Hammerstein musical that features classic songs like “You’ll Never Walk Alone” and “If I Loved You.” Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To May 10. $18-$75. (301) 924-3400. olneytheatre.org. Closet lanD Factory 449 presents this spooky tale about a children’s book author who’s tortured when the government suspects her writing contains subversive messages. While she realizes that the people watching over her can break her body, she fights to preserve her spirit. Anacostia Arts Center. 1231 Good Hope Road SE. To May 10. $22. anacostiaartscenter.com. DontRell, wHo kisseD tHe sea Theater Alliance presents Nathan Davis’ play about a young man who’s determined to swim into the Atlantic Ocean to cope with his family’s past before he can move on with his life. Anacostia Playhouse. 2020 Shannon Place SE. To May 31. $20-$35. (202) 544-0703. anacostiaplayhouse.com. tHe fiRe anD tHe Rain Contemporary Indian playwright Girish Karnad turns the Indian epic The Mahabharata into this play about a man who prays for rain to save the earth and the romantic entanglements of his family. Constellation Theatre at Source. 1835 14th St. NW. To May 24. $20-$45. (202) 204-7741. constellationtheatre.org.

JuMpeRs foR goalposts An amateur pub soccer team tries to succeed even though the players and their town have seen better days in the U.S. premiere of this play by Tom Wells. Studio Theatre. 1501 14th St. NW. To June 21. $20-$78. (202) 332-3300. studiotheatre.org. tHe letteRs Travel back in time to Stalin’s Soviet Union in this tense play about the censorship of artists in an authoritarian state. John Vreeke directs John W. Lowell’s script. MetroStage. 1201 N. Royal St., Alexandria. To June 7. $50-$55. (703) 548-9044. metrostage.org. lettiCe anD lovage An eccentric tour guide leads visitors on a tour of an English estate and embellishes the truth to liven the experience. Peter Shaffer’s comedy explores what happens when these little lies put the tour guide at odds with a tough inspector from the Preservation Trust. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To May 17. $15-$30. (301) 816-1023. quotidiantheatre.org. MaRiela in tHe DeseRt Playwright Karen Zacarías’ draws inspiration from the lives of Diego Rivera and Frida Kahlo to tell this story about Mexican art patrons who find their inspiration lacking when their family and friends move away. GALA Hispanic Theatre. 3333 14th St. NW. To May 10. $20-$50. (202) 234-7174. galatheatre.org. MuRDeR ballaD A woman revels in her perfect life until her ex-lover returns to turn everything upside down. David Muse directs Julia Jordan and Juliana Nash’s exciting rock musical. Studio Theatre. 1501 14th St. NW. To May 10. $20-$50. (202) 332-3300. studiotheatre.org. tHe no Rules sHow—sketCH! Members of the No Rules company present original songs and scenes in

CITY LIGHTS: THURSDAY

A TALE OF TWO CITIES Imagine opening your front door to find a baby just sitting there. Would you call 911 and ask the police to come retrieve it? Would you wander the neighborhood and ask people if they lost their kid? Or would you bring the baby into your home, look after it, and entertain it by performing Charles Dickens’ A Tale of Two Cities in its entirety? Jerry, the drag queen at the center of Synetic Theater’s latest production, chooses the third option—and while performing for a lost baby doesn’t seem like the most legally advisable option, this is a work of fiction, so audience members would be advised to just go with it. Performing the entirety of Dickens’ classic by oneself is an enormous task, and Synetic company member Alex Mills is one of the few young actors in D.C. up to the challenge. The fate of the random baby, for now, remains unknown. The play runs May 13 to June 21 at Synetic Theater, 1800 South Bell St., Arlington. $10–$50. (703)8248 0 6 0 . s y n e t i c t h e a t e r. o rg . —Caroline Jones

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tHe pRiCe Two estranged brothers reunite in a tiny New York apartment in order to clean out their late fatherâ&#x20AC;&#x2122;s belongings in this lesser-known work by Arthur Miller. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 21. $22-$65. (301) 924-3400. olneytheatre.org. RosenCRantZ anD guilDensteRn aRe DeaD Aaron Posner directs Tom Stoppardâ&#x20AC;&#x2122;s take on the fate of Hamlet, as assessed and told by his two old friends Rosencrantz and Guildenstern. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To June 21. $37-$75. (202) 544-7077. folger.edu.

sunset baby A political prisoner reunites with his daughter and his life changes irrevocably in this play by award-winning playwright Dominique Morriseau. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To May 17. $15-$40. (443) 518-1500. repstage.org. swing tiMeâ&#x20AC;&#x201D;tHe MusiCal Enjoy the music of Benny Goodman, Glen Miller, and Duke Ellington in this comedic wartime musical set during a war bond radio drive broadcast. Arleigh & Roberta Burke Theater at the U.S. Naval Heritage Center. 701 Pennsylvania Ave. NW. To June 24. $19-$49. (202) 573-8127. swingtimethemusical.com. a tale of two Cities Synetic company member Alex Mills stars as drag queen who finds a baby on the street and entertains it by performing the Dickens classic in its entirety in this lively comedy directed by Serge Seiden. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To June 21. $10-$50. (800) 494-8497. synetictheater.org.

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DioR anD i This high-stakes documentary chronicles fashion designer Raf Simonsâ&#x20AC;&#x2122; first haute couture collection for Christian Dior and the people, from the seamstresses to the critics, who he encounters throughout the process. (See washingtoncitypaper.com for venue information) faR fRoM tHe MaDDing CRowD Carey Mulligan and Matthias Schoenaerts star in David Nichollsâ&#x20AC;&#x2122; adaptation of the Thomas Hardy novel about a headstrong young woman in Victorian Englad whoâ&#x20AC;&#x2122;s pursued by three very determined and very different suitors. (See washingtoncitypaper.com for venue information) Heaven aDoRes you Director Nickolas Rossi chronicles the career and personal despair of singersongwriter Elliott Smith, who earned critical praise and an Academy Award nomination for the song â&#x20AC;&#x153;Miss Miseryâ&#x20AC;? from Good Will Hunting before his death in 2003. Howard Theatre. 620 T St. NW. (202) 803-2899. thehowardtheatre.com.

txt Brian Feldman presents this interactive show in which he reads anonymous online messages sent from audience members every Sunday in 2015. Anything goes in terms of subject matter and profanity, so arrive with no expectations. American Poetry Museum. 716 Monroe St. #25. To December 27. $15-$20. (800) 8383006. txtshow.brownpapertickets.com.

laMbeRt & staMp This new documentary follows the lives of Kit Lambert and Chris Stamp, two aspiring filmmakers living in London in the â&#x20AC;&#x2DC;60s who ended up managing a little band called the Who. The duo went on to found a record label and collaborate with other rock legends, but as the film ultimately shows, their careers didnâ&#x20AC;&#x2122;t unfold very smoothly. (See washingtoncitypaper.com for venue information)

TUES, MAY 12

W/ LEIF VOLLEBEKK

DC laboR filMfest With sponsors including SEIU and the Metro Washington Council of the AFL-CIO, this film fest will present cinema that takes a look at workers and workersâ&#x20AC;&#x2122; issues. Programs include; Chavez, The Grapes of Wrath, Fighting for Our Lives (with director Glen Pearcy), Compliance, Eat Sleep Die (introduced by the Cultural Counselor for the Embassy of Sweden, Linda Zachrison), Two Days One Night, Hard TImes, Northern Lights, and Blood Fruit (with director Sinead Oâ&#x20AC;&#x2122;Brien). AFI Silver Theatre and Cultural Center. 8633 Colesville Road, Silver Spring. (301) 4956700. dclabor.org/dc-laborfest.html.

puRsuit Sofia Vergara and Reese Withern Hot spoon star as the wife of a drug dealer and the

nally released in 2009 but now shown in wide release. (See washingtoncitypaper.com for venue information)

DR. JOHN COOPER CLARKE

travels, he meets a variety of people whose lives he impacts, in this moving drama directed by Daniel Duran. (See washingtoncitypaper.com for venue information)

tHe tRaMpâ&#x20AC;&#x2122;s new woRlD Rob Jansen took inspiration from Charlie Chaplinâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Trampâ&#x20AC;? character when creating this multidisciplinary work that combines elements of silent films with music and physical comedy. Flashpoint Mead Theatre Lab. 916 G St. NW. To May 24. $15-$25. (202) 315-1306. culturaldc.org.

FilM

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52 may 8, 2015 washingtoncitypaper.com

on appRoval Two wealthy women have picked out suitable husbands but aim to test the goods out before they commit in this witty comedy from the â&#x20AC;&#x2DC;20s. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To May 17. $20-$50. (240) 582-0050. stageguild.org.

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granddaughter and the filmâ&#x20AC;&#x2122;s co-producer, Yvette Johnson will follow the screening. Anacostia Community Museum. 1901 Fort Place SE. (202) 633-4820. anacostia.si.edu.

sHeaR MaDness Enjoy the record-breaking comedy whodunit that lets the audience spot the clues, question the suspects and solve the funniest murder mystery in the annals of crime, now celebrating 25 years at the Kennedy Center. Kennedy Center Theater Lab. 2700 F St. NW. To December 31. $48. 202-467-4600. kennedy-center.org.

THIS WEEKâ&#x20AC;&#x2122;S SHOWS THURSDAY, MAY 7

this evening of comedy and revelry hosted by Joshua Morgan and directed by Brian Sutow. No Rules Theatre Company at Signature Theatre. 4200 Campbell Ave., Arlington. To May 17. $15-$34. (336) 462-9182. norulestheatre.org.

elly Four couples come together and n about drift apart in this romantic Iranian drama origi-

avengeRs: age of ultRon All your favorite superheroes return to take on the evil Ultron and his army of evil robots in the sequel to the 2012 blockbuster. (See washingtoncitypaper.com for venue information) beat tHe DRuM A South African boy travels from his small village to Johannesburg with only a tribal drum to support him in this film about family, music, and faith. Montpelier Arts Center. 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com.

bookeRâ&#x20AC;&#x2122;s plaCe: a Mississippi stoRy n Documentary film that examines the life of Booker Wright during the struggle for civil rights in Mississippi in 1965. A discussion with Booker Wrightâ&#x20AC;&#x2122;s

police officer assigned to protect her in this comedic caper directed by Anne Fletcher. (See washingtoncitypaper.com for venue information)

tHe MeasuRe of all tHings Academy-Award n nominated director Sam Green will narrate his 2014 documentary while TCB provides the soundtrack, all live and in person. Artisphere. 1101 Wilson Blvd., Arlington. (703) 875-1100. artisphere.com. tangeRines Following the downfall of the Soviet Union, Estonian farmers remain in a remote Georgian village to bring in the last of the yearâ&#x20AC;&#x2122;s tangerine crop. One of the farmers ends up taking in injured soldiers from opposing sides and while they vow to kill each other upon recovering, they end up forming an unlikely bond. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones.

THE OTHER WAY AROUND

Fri & Sat, May 8 & 9 at Midnight! Buy Advance Tickets Online

BY BRENDAN EmmETT QUiglEY 1

59 64

1 Basket from downtown 5 Author Ken 10 Scheduling problem 14 “Is this where it goes?” 15 One-up 16 Julius Caesar costume 17 Directly above 18 Optimistic business goal? 20 Prefix with state and lateral 21 Lionel Messi’s number 22 Jafar’s macaw in Aladdin 23 Gut reaction in a ship’s hospital? 29 Gulf of Masirah resident 30 “Milk me!” 31 Legendary drag Dame 32 “Mr. Blue Sky” band, for short 34 Risk-taking 37 Finale 38 Guided trip through state assistance? 41 “Road soda” crime, briefly 43 Mix things up 44 Oprah’s cable channel 45 Uncreative learning method

Across

37 40

47 54

27 31

47 Loretta E. Lynch’s grp. 49 “Hungarian Rhapsodies” composer Franz 53 Any of nine characters underneath a picture of a leaping stag? 57 Days Are Gone sister band 58 Its gets laid down around the house 59 Line that points to infinity 60 Carbs eaten before a martial arts workout program? 64 Round caramel candy 65 “You ___ be assimilated” (Star Trek catchphrase) 66 Thick woolen fabric 67 Big name in cosmetics 68 Classic, in cheesy store names 69 Time (seemingly) in between checks, for a freelancer 70 Ballerina’s leap

Down 1 “... really?” 2 Make some adjustments to the topiary 3 Beethoven’s Symphony No. 3 4 “You betcha” 5 Land divided by the 38th parallel 6 Dr. Seymour Butz, the proctologist, e.g. 7 Rd. relatives 8 Name on a Slow Churned quart 9 Ashram visitors 10 Chintzy cigar 11 “Now, THAT explains it!” 12 Band’s rep.

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13 Exasperated cry 19 Singer with a death wish? 21 Investments that mature in 52 weeks 24 ACL’s area 25 Warning from a bad drive? 26 Lymphatic mass 27 Cable channel pumped into airport lounges 28 Teensy smidgen 33 Habitually, to Hardy 35 Popular muscle car 36 Cried loudly 38 Kept back 39 President’s “body man,” e.g. 40 Section of a class 41 First player to slam dunk from the free throw line, familiarly 42 Make a pitch for 46 Authorize 48 Yorick’s job 50 Labored 51 Young Turk 52 Sampler’s message 54 God in Rome 55 Depleted 56 Laundry piles 60 A quarter of eight 61 Catch something 62 Astonishment 63 “In the Aeroplane over the ___” (Neutral Milk Hotel magnum opus) 64 British rule in Asia

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D O G M A

S T E E R

N E S I N E N T A

MORGAN

FREEMAN DIANE

KEATON

STARTS FRIDAY, MAY 8TH

Washington AVALON THEATRE

Maryland Virginia ARCLIGHT BETHESDA CINEMA ARTS THEATRE

5612 CONNECTICUT AVENUE NW 7101 DEMOCRACY BLVD, (202) 966-6000 WASHINGTON 240-762-4000 BETHESDA

9650 MAIN ST. (FAIR CITY MALL) (703) 978-6991 FAIRFAX

5FLIGHTSUPMOVIE.COM washingtoncitypaper.com may 8, 2015 53

Contents:

Auto/Wheels/Boat .....................55 Buy, Sell, Trade, Marketplace.................................55 Community...................................55 Employment.................................55 Health/Mind, Body & Spirit ...............................55 Housing/Rentals .........................54 Legals Notices ............................54 Music/Music Row ......................54 Pets................................................55 Real Estate...................................54 Services........................................55

Diversions

Dir�farm ........................................55

Legals Invitation to Bid Maya Angelou Public Charter School in Northeast DC will receive bids until May 29, 2015 for the provision of custodial services. A contract will be awarded for the period from July 2015 to June 2016. All necessary information may be obtained from: Justin Samples at Maya Angelou Public Charter School at 5600 E. Capitol Street, NE Washington, DC 20019 Phone: 202.379.4335. E-mail: JSamples@seeforever.org. Database Developer: gather reqs & plan, dsgn, dvlp, test & doc app sftw & db; perf dba & unstructured data/big data loading. Req exp w/ Oracle 11g, PL/SQL, T-SQL, Unix Shell Scripts, ATG Portal, BEA WebLogic, Toad, Rational Clear Case/Clear Quest, MS SQL Server/SSAS, Visual Studio, Unix &Windows. Reqs BS/MS in comp sci, info sys or eng + 6 YR exp (4 YR w/MS). Full bkgrnd chks reqd. Job in Washington, DC. Email resumes to Securiport, LLC- azeman@ securiport.com

Legals The IDEA Public Charter School solicits proposals for bread and milk distributor, building painting, student transportation for events and legal services all non-children/student issues and school property related matters. Please go to www.ideapcs.org/ requests-for-proposals to view the RFP offering. Proposals shall be received no later than May 22, 2015. Washington Global Public Charter School solicits proposals for Security Personnel, Finance & Accounting, Human resources, Data Management, IT Desk Support. Please direct questions and proposals to rfp@buildinghope. org. Proposals shall be received no later than May 22, 2015. OWE BACK TAXES, recent arrest, other legal problems? Call Attorney Forde for appointment - 202-508-1483. Ofﬁ ce conveniently located to Farragut North Station.

Apartments for Rent Ledroit Park NW DC Special. Nice X-LRG 1 BRDM + Den Apt. HRWD FLRS. French Doors, Bay Window, Ceiling Fan, LRG Rooms. Back Porch. Quiet BLDG, Near trans. $1200/mo. 301-262-9123

Apartments for Rent

NW/ADAMS MORGAN -- 1 BR. TOTALLY RENOVATED MODERN APARTMENT, AIR CONDITIONING, HARDWOOD FLOORS, PATIO ALL NEW APPLIANCES AND KITCHEN, WALK TO METRO $1550 + UTILITIES. OPEN HOUSE SAT 12-5 and SUN 12-5 (2339 ONTARIO ROAD NW #1) CALL or TEXT (202) 277-5526 College Park, Green Line Metro, 1 BR, living, dining area, kitchen, 1BA. 1.5 blocks from College Park Metro station. Quiet building, parking, From $875/mo. includes heat and water. Direct TV and FIOS available. Laundry in building. 1 year lease, 1 month security deposit. Mgr. 301/277-1755.

NW/ADAMS MORGAN -- 1 BR. Totally RENOVATED APARTMENT, AC, Hardwd FLOORS, W/D, PATIO Energy efﬁ cient appl APPLIANCES AND new KITCHEN, WALK TO METRO, pets ok, 5 min to restaurants<\\>bars, shopping $1675 + UTIL. (202) 277-5526.

ALL AREAS: ROOMMATES. COM. Lonely? Bored? Broke? Find the perfect roommate to compliment your personality and lifestyles at Roommates.com!

Rooms for Rent $450 per mo. NS Nice furnished room that includes: utilities, internet, W/D, ﬁ ve minute walk to Suitland Subway. Month to month lease. 240 463 4919

For more information please visit www.washingtoncitypaper.com

54 May 8, 2015 washingtoncitypaper.com

we sell novelties & lube free sample dvd for all raw 22

all rentals 10% off Min. $20 after discount rental required. Exp. 5/21/15.

dvd clearance $5 and $10 • vhs starting at $2 Some restrictions may apply. Exp. 5/21/15.

www.Buyrentvideos.com 8444 A Lee Hwy, Fairfax, VA 22031 ONLY LOCATION • 703-698-8003

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1400 I (EYE) Street NW Suite 900 Washington, D.C. 20005.

You may contact the Classiﬁeds Rep by e-mailing classiﬁeds@washingtoncitypaper.com or calling 202-650-6926.

★ In Merrilee Station Shopping Center ★

DOLLAR VIDEO

Print & Web Classiﬁed Packages may be placed on our Web site, by fax, mail, phone, or in person at our ofﬁce:

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

Adult Videos

Roommates

Classiﬁed Ads Commercial Ads rates start at $20 for up to 6 lines in print and online; additional print lines start at $2.50/line (vary by section). Your print ad placement will include web placement plus up to 10 photos online. Premium options available for both print and web may vary.

Rooms for Rent In the HEART of Columbia Heights, Apt to share. Big Studio to share. Contact Eric: cell 202213-7204. Home 202-986-8940. Amount $425 per month.

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Rooms for Rent

General

Nice Old Bungalow to Share, Hyattsville Historic District Seeking considerate, friendly, neat woman to share attractive bungalow in Hyattsville historic district. All-female house. Room is 10x16, has a twin-size bed. A straight chair and a chest of drawers are available. Off-white walls, nice big windows. Lovely, quiet neighborhood. Wireless internet, Kitchen has two refrigerators, toaster oven, gas range, microwave, all shared. Shared washer-dryer in basement. Porch, patio, spacious yard with trees. Near DC, one mile to Prince George’s Plaza Metro station. (Bus runs very near house but only till about 8:30 p.m.) Seeking responsible, friendly, very neat woman, with full-time permanent job, strong references. $400/month plus utilities (utilities vary through the year, averaging around $120 per month per person). Please do not call before 8:30 a.m.or after 9:00 p.m. Females only. Room is available now.

AIRLINE CAREERS begin here – Get started by training as FAA certiﬁ ed Aviation Technician. Financial aid for qualiﬁ ed students. Job placement assistance. Call Aviation Institute of Maintenance 800-725-1563

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND,Beauty, BODY & SPIRIT Fashion &

Modeling http://www.washingtoncitypaper.com/ AIRBRUSH MAKEUP ARTIST

course for: ads, TV, ﬁlm, fashion. 40% off tuition for limited time -Train & Build Portfolio. One week course Details at: AwardMakeupSchool. com, 818-980-2119.

ng Moving?

Business Opportunities

Find A Helping Hand Today

Make $1000 Weekly!! Mailing Brochures From Home. Helping home workers since 2001. Genuine Opportunity. No Experience Required. Start Immediately. www.theworkingcorner.com.

Computer/Technical

, In st

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ity-

X, AT

Database Administrator (Multi Positions National Placement out of Fairfax County, Virgina) Minim of either BS & 5Yrs exp or MS & 1Yr exp. Degree & exp may be in Computers, Eng’g, or IT related ﬁ eld & foreign educational equiv acceptable. Any suitable combo of educ, training or exp acceptable. Candidate will administer, test & http://www.washingtimplement computer databases, oncitypaper.com/ applying knowledge of database management sys’s & coordinate changes. Also implement computer database security. Will need to apply exp w/MS SQL Server, Oracle, DB2, SSIS & SSRS. Able to travel/relocate to different client sites as needed. 9-5, 40 hrs/wk. Salary $114,546Yr. Ref# DBS–0914 AW. Resume to HR, Allwyn Corporation, 530 B Huntmar Park Drive, Suite Q, Herndon, VA 20171. Allwyn is EOE M/F/V/D.

Out with the old, In with the new Post your listing with Washington City Paper Classifieds

Construction/Labor

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PLASTERERS WANTED! DC Residents Preferred. Must have own tools and transport. Flat, Ornamental, & Acoustical Spray Plaster Please call 410.462.0986 EOE

Driver/Delivery/Courier Drivers needed, must have own car. Pick up and deliver small packages in the Washington area. Call 301-437-6613.

LET. RELAX, AT CLASSIFIEDS BODY & SPIRIT

Education

FIND A

e the

Start your humanitarian Career at One World Center and gain experience through international service work in Africa. Program has costs. Info@OneWorldCenter.org

Part-Time The Phillips Collection Overview: The Museum Assistant will assist the Security ofﬁ ce by helping protect The Phillips Collection’s artwork from being touched, damaged, destroyed or stolen. The incumbent will also assist and serve the visiting public as they view the exhibitions.

FIND YOUR OUTLET. RELAX,Telemarketing UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT

For more information please visit: www.phillipscollection.org NO CALLS PLEASE

The Shakespeare Theatre Company is currently seeking energetic, articulate theatre lovers for our sales and fundraising campaigns. Relaxed professional atmosphere, 12 to 20 hours per week earning $9.50/hr with commissions, bonuses, and free tickets! Please apply on our website at http:www.shakespearetheatre. org/about /oppor tunities/jobs. aspx, or you may send a cover letter and resume to employment@ EOE. shakespearetheatre.org. http://www.washingt-

oncitypaper.com/

Insurance

AUTO INSURANCE STARTING AT $25/ MONTH! Call 855-9779537

WANTED: Soul/R&B 45s, LPS, 12”s, Show Posters (see Globe Posters), or any DC area soul music related memorabilia. 1950s-1980s considered. Cash paid. Call 703-380-7952

ELECTRONICS DISH TV Starting at $19.99/month (for 12 mos.) SAVE! Regular Price $34.99 Ask About FREE SAME DAY Installation! CALL Now! 888992-1957

Miscellaneous KILL STINK BUGS! Harris Stink Bug Spray. Indoor/Outdoor, Odorless, Non-Staining. Effective results begin after spray dries. Available: Hardware Stores, The Home Depot, Buy online: homedepot.com KILL BED BUGS! Harris Bed Bug Killers/KIT Available: Hardware Stores, Buy Online/Store: homedepot.com

Trade/Barter

Please help me out--I’m trying to start an advice column; I think I could be the next Ann Landers, but ﬁrst I need somebody--anybody--to send me some problems to solve!! Send to lenaslovingadvice@gmail.com

Cars/Trucks/SUVs

Specializing in Second/Third Chance Financing!

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT http://www.washingtoncitypaper.com/

Moving?

Find A Moving? Find Helping A Helping Hand Hand Today Today Legal Services AMERICAN LEGAL SERVICES - A Full Service Law Firm Immigration, Probate, Lawsuits, Etc. Free telephone consultations. kevin.zielen@alspc.com, 1629 K Street NW, Washington, DC (202) 466-0997 or (202) 445-0099

http://www.washingtoncitypaper.com/

Out with the old, In with the new Post your listing with Washington

Musical Instruction/ Classes

I BUY RECORD COLLECTIONS!! I drive to you, pay in CASH, and haul them away. professional and courteous. Looking for classic rock, jazz, funk, soul, heavy metal, and MoTown. Call 571-830-5871

NEED A CAR, TRUCK or SUV?

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

ypaper.com/ day

Miscellaneous

Antiques & Collectibles

-Income must gross a minimum $2k monthly or more -2 Current Pay Stubs & 1 Bill Required All vehicles are from 2010-2015

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Call Jason @ 202.704.8213

Cash For Cars Any Car/Truck. http://www.washingtonRunning or not! Top dollar paid. citypaper.com/ We come to you. Call for Instant Offer: 1-888-420-3808 www. cash4car.com.

Boats/Motors/ Trailers/Watercraft

Moving? Find A Helping Hand Today

‘96 Renken Seamaster 2388 CC; 5.7L; SS prop; bimini; sink; porta-potti; dual batts; icebox; live/bait well; depth/ﬁ sh ﬁnder; GPS; VHF; cover; elec. winch; $12,000; 301-237-7595.

MOVING?

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FIND A HELPING HAND TODAY

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Voice, Piano/Keyboards-Unleash your unique voice with outof-the-box, intuitive teacher in all styles classical, jazz, R&B, gospel, neo-soul etc. Sessions available @ my studio, your home or via Skype. Call 202-486-3741 or email dwight@dwightmcnair.com

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT Events

Comic Book & Sports Card Show Sunday MAY 17 10am-3pm the ballroom at the Tysons Corner Virginia Crowne Plaza 1960 Chain Bridge Rd 22102 will be full of dealers selling Gold, Silver , Bronze & Modern Age Comic Books,http://www.washingtoncitypaper.com/ Nonsports cards PLUS vintage to the present Sports Cards& sports memorabilia and Hobby Supplies Admission $3 Adults, under 19 Free; Near the Metro Silver Line Tysons Corner station Info: shoffpromotions.com

Moving? Find A Helping Hand Today Mark your calendar now! The Hall of Fame and Distinguished Service award program will be held May 28th from 5:30 to 8 pm at Knight Hall, University of Maryland, College Park. The reception immediately prior to the program will feature our Reese Cleghorn interns.

General

Out with the old, In with the new Post your listing with Washington City Paper Classifieds

REQUEST FOR QUOTES

Carlos Rosario PCS seeks quotes to supply approx. 2,300 books for students. The book titles are to be selected by the School from a variety of publishers. The supplier must have strong existing http://www.washingtoncitypaper.com/ relationships with publishers of adult education books in the ﬁ elds of English as a Second Language, GED, Citizenship, Culinary Arts, Nurse Aide training, Computer Literacy, and Computer Support Specialist training. The supplier must have the ability to supply the required titles at short notice and in a timely manner, and at reasonable cost. A proven track record working with an educational organization is critical. For more details, please respond to Carole Fuller at cfuller@carlosrosario.org or call 202-797-4700. Responses are due by 5:00pm, Friday May 15th, 2015.

FIND YOUR OUTLET. RELAX, UNWIND, Volunteer Services REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT

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

Counseling http://www.washingtoncitypaper.com/ Pregnant? Thinking of Adop-

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT http://www washingtMoving? oncitypaper.com/

tion? Talk with a caring agency specializing in matching Birthmothers with Families Nationwide. Living Expenses Paid. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293. Void in Illinois/New Mexico/Indiana.

New Age and Psychics

MAGIC SPELLS BY THE BEST! MONEY LOVE COURT CASES! FREE READINGS BY PHONE. 305-986-7503 MRS MAGIC SPELLS

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EggFind Donors Moving? A Needed Helping Hand Today

Financial Compensation $8,000

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If you are a healthy woman between the ages of 20-29 and would like to help Out with an theinfertile old, Incouple, with please email the new Post your info@dominionfertility.com

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