Washington City Paper (May 18, 2018) by Washington City Paper

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Science: RetiRed cheetahs in love 8 Food: the demand foR misshapen pRoduce 17 Art: ancient hoRRoR stoRies, danced 21

Leap of Faith Many of the Districtâ&#x20AC;&#x2122;s famed gospel quartets are half a century old and still singingâ&#x20AC;&#x201D;though not often in their hometown. P. 12 By Hamil R. Harris Photographs by Darrow Montgomery

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INSIDE on tHe CoVer: LeaP oF FaItH

12 D.C. was once home to more than 60 gospel quartets. As singers grow old, younger performers step in, keeping groups alive.

DIStrICt LIne 5 housing complex: Shady rent concessions are alive and well. 6 first come, first preserved: New Kingman Park residents object to becoming a historic district. 8 where the wild things are: Out in Front Royal, Virginia, scientists work to save cheetahs. 10 indie in d.c.

FooD 17 pretty hurts: Tackling food waste, one misshapen mango at a time 19 sipping nectar: Floral drinks that summon the spirit of spring 19 are you gonna eat that?: Fermented durian curry with spaghetti squash at Spoken English 19 top of the hour: Momofuku CCDC’s discounted cocktails and pork buns

artS 21 theater: Ritzel on Synetic Theater’s Titus Andronicus and Pointless Theatre’s Rite of Spring 23 short subjects: Olszewski on Beast and Zilberman on Bye Bye Germany 24 give it away now: Mapping the final resting places of the Corcoran’s collection 26 sketches: Capps on Jiha Moon: Double Welcome, Most Everyone’s Mad Here at Katzen Arts Center

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DistrictLine

The Rent Is Too Damn Sly While D.C. officials figure out how to tackle rent control, tenants continue to see astronomical hikes. A decAdes-old flAw in D.C.’s rent control law continues to burden residents. Tenant association leaders, lawyers, and advocates say that so-called rent concessions scams are alive and well in D.C., despite administrative complaints against the worst corporate offenders and a lawsuit from the city itself challenging the practice. “We believe thousands of tenants across the District are dealing with the practice of rent concessions every year, facing higher-thanexpected rent increases and being pressured to waive their rights,” says Beth Harrison, a housing attorney at the Legal Aid Society. As the legislative season winds down and the Council eyes summer recess, Harrison and other rent control advocates are looking to a handful of bills sitting in the Council’s Committee on Housing and Neighborhood Revitalization. They’re pushing the committee’s chairwoman, At-Large Councilmember Anita Bonds, to introduce, mark up, or vote on the measures, which they say will close pernicious loopholes in rent control laws. City Paper has reported extensively on the allegations lodged against Equity Residential and affiliate Smith Company Holdings, a management firm that tenants say has consistently engaged in rent “concessions” in properties like 3003 Van Ness Street NW: It lures prospective residents by advertising market-rate prices for apartments, but when it’s time to renegotiate the lease, quotes them substantially higher prices, often by many hundreds of dollars. Equity does it by claiming that the lower price was merely a temporary “concession,” while arguing that there’s a “real,” higher rent that the company uses to calculate rent increases (the Consumer Price Index, plus 2 percent). The result is a figure that can be double what tenants already pay. Attorney General Karl Racine filed a lawsuit against the company last year, characterizing Smith’s rent negotiations as “unlawful trade practices.” Rent concessions fights are considered widespread among the city’s 80,000-plus

housing complex

rent-controlled apartment buildings, and are estimated to have collectively cost residents hundreds of thousands, if not millions, of dollars. And since January, the Rental Housing Commission has issued two separate decisions in favor of 3003 Van Ness tenant Gabriel Fineman, who challenged the company’s use of concessions. The commission denounced the practice of calculating rent from a hidden figure, ruling that rent increases should only be based on the amount of rent a tenant actually pays—not an arbitrary, fictitious number. (Smith appealed the decision, and the case now goes to the D.C. Court of Appeals. A spokesperson for the company “denies these allegations.”) But despite the initial rush of attention to Racine’s case and the Rental Housing Commission’s most recent March decision, advocates say the only way to stop routine abuses is to make changes to the law itself: A legal precedent, they say, isn’t always helpful for tenants who are worried about retribution should they challenge the company in court. And only a bill could close small but mighty loopholes that allow property managers to effectively “save up” their concessions, charging tenants an astronomical increase in rent years down the line. Ward 3 Councilmember Mary Cheh introduced legislation in 2016 that would narrow the circumstances in which a landlord could offer tenants a discount on their rent, but withdrew it after the measure failed to garner enough support from other Council members. Since then, Bonds organized a working group to deal with the issue, but while it has met sporadically for two years, it has not yet produced a Council-ready bill to address loopholes that allow property managers to exploit concessions. That’s about to change, per Barry Weise, the housing committee’s legislative director. He says he anticipates that Bonds will introduce the bill before the Council breaks in July. “I’ve never had a more intractable nut to crack than rent concessions,” Weise says of the time it’s taken for the group to find consensus on a policy to address concessions, noting that members have “gone through many ideas and permutations.” That stems largely from the working group’s effort to weigh “good” concessions against the

bad, per characterizations of the group’s conversations by Weise and Joel Cohn, the legislative director of the Office of the Tenant Advocate. The two say the working group has toyed with finding a way to make sure mutually beneficial concessions—like a property manager temporarily reducing rent for an elderly tenant with high medical bills—aren’t discouraged. But doing so requires the Council to create a “two-tiered rent system,” 3003 Van Ness tenant association president Harry Gural says. In email corresponCouncilmember dence to Bonds, he called the proposal Anita Bonds “a radical re-writing” of rent laws that effectively legalizes rent concessions (by call- and former 3003 Van Ness resident, says he ing them “discounted rent”). In February, he receives “countless” reports from tenants resigned from the group, calling Bonds’ bill “a about concessions fights at Equity properties, but that the Fineman decision and a growing Trojan Horse for large corporate landlords.” Gural says D.C. officials are “trying to broker whisper network of tenants who have faced what they think is a compromise between ten- tough lease renegotiations have made tenants ants and landlords, but I think they’re wrong.” more bold in challenging the company. One resident of 3003 Van Ness, who re(“I completely disagree with that assessment,” Weise says of Gural’s position. He declined to quested anonymity out of fear of retribution comment on the minutiae of Bonds’ bill, but said from the company, says that Smith continues that it will protect tenants entering into rent con- to engage in the concessions practice. The advertised price of a studio in the resicessions for “the lifetime of the tenancy,” and will also protect housing providers who want to dent’s building was just over $1,600 per month when the resident moved in last summer. But temporarily lower rent out of goodwill.) Advocates say that other proposed rent con- as it came time to renegotiate the lease, the restrol bills, such as B22-025, which would cap how ident says it took weeks of haranguing propermuch property managers can increase rental ty managers before they’d provide a new rentprices after a vacancy, and B22-100, which would al price. When the company did, it came back restrict the unwieldy use of voluntary agree- with a price of over $3,000, email communiments, have also languished in the housing com- cations between the parties show. Smith appears to have backed down only mittee. Harrison says that Legal Aid has “heard that both of these bills have broad support from after the resident cited the Rental Housing members of the housing committee and the rest Commission’s decision in the Fineman case, of the Council,” and is “hopeful that [Bonds] will copying city agencies on the email. “The fact follow through on her promise to mark these bills that people are aware it’s not just them [facing up and move them forward.” Weise says Bonds’ this] has made the decision to go public or go to committee is “confident” the voluntary agree- court much more obvious,” Robinson says. Gural says he’ll continue to press city leadment bill will move forward in its current form ers to categorically denounce rent concesbefore summer recess. Equity, meanwhile, is “do[ing] business as sions, arguing that the Fineman decision is a usual,” according to Gaston de los Reyes, powerful enough deterrent without introducthe tenant association president at Cleveland ing a bill that housing providers could exploit. House, another Equity property. “It’s incred- “It’s clearly, clearly illegal in a massive way,” ible how brazen the company practices are,” he says, and then pivots to city leaders: “They he says. Jason Robinson, a tenant activist are not doing anything, and they know it.” CP

Darrow Montgomery/File

By Morgan Baskin

washingtoncitypaper.com may 18, 2018 5

DistrictLinE First Come, First Preserved The decision to designate Kingman Park as a historic district has split residents and ignited a debate over the effects on homeowners. In one of the oldest working-class AfricanAmerican neighborhoods in the nation’s capital, a proposal to conserve its history has divided residents over the questions of what it means to be historically significant, and what makes a structure worth saving. Settled in the 1920s, Kingman Park in Northeast D.C. was one of the first examples of a “separate-but-equal” community—a place where African-American veterans, government workers, and business people bought homes at a time when most neighborhoods were off limits to them. But while black families who grew up in Kingman Park have cheered the proposal to make the area a historic district, the community has become more white and more middleclass in recent years. Many black families have moved away, and many of the current residents oppose a preservation order that they see as unnecessary for the homes in the community. They have proposed other methods, such as the installation of historical plaques, to honor the neighborhood. For two years the two sides have battled, but last week, D.C.’s Historic Preservation Review Board issued its decision: Kingman Park will become an official historic district. “There are legitimate reasons to be for or against historic designation,” responds Bob Coomber, the Advisory Neighborhood Commissioner for the area. “There’s no excuse for ignoring the will of the people this designation will directly affect.” “I definitely understand the desire for designation for those people that have been here a long time,” said Megan Mance before the decision came out. She moved with her husband Steve into a 1937 home on C Street NE two years ago. The couple explained that their neighbors represented a good mix of longtime residents, including their next door neighbor who has lived there for the past 30 years. “But I’m an economist,” Steve Mance added. “I have to keep in mind what’s best for our property value, and there’s really nothing special about our home that would deem designation.” The debate in Kingman Park echoes one that is playing out nationwide. Historic preservation has typically favored affluent, white neighborhoods with unique architecture, while minority neighborhoods have been overlooked. But cities have recently turned

their attention to those neighborhoods that were passed over. “Now, diversity is of extreme importance to preservation,” says David Maloney, the city’s top preservation official. “Society’s values must be reflected to show what’s important now, the value of communities and a sense of meaning.” Supporters filed paperwork with the city saying that Kingman Park’s historical structures include row houses, apartment build-

1958 after being priced out of its location on 3rd and L streets SW. Holloway, along with many other Mount Moriah members, wanted to see their church protected so that redevelopment does not again force the church, with its 133-year history, to move. Neighborhood historic designation began in the 1970s with communities such as Dupont Circle and Logan Circle. The city’s largest historic districts are Capitol Hill, with about 8,000 build-

ings, commercial buildings along Benning Road NE, public school buildings, and the Langston Golf Course, which was the nation’s first golf club for African-Americans. While the row houses are not necessarily architecturally significant, supporters say the modest brick homes represent the character of a distinguished community. Calvin Holloway favors the designation. “I grew up here, went to school here, and watched history get done away with,” he says. Now a deacon at Mount Moriah Baptist Church along the southernmost border of Kingman Park, Halloway recalls watching his church get torn down from its original location in Southwest D.C. during urban renewal, and seeing his community become gentrified. “Not only did they destroy the building, they destroyed the entire neighborhood,” says Holloway. Doris Rousey is the great-granddaughter of the Mount Moriah Baptist Church’s founders, who first hosted services in their home at 1220 2nd Street SW in 1885. “If they’re looking at the building, this building isn’t as significant as the history it holds,” says Rousey as she flips through the church history book. Mount Moriah moved to Kingman Park in

ings under preservation, and Georgetown, with about 4,000 buildings. Community leaders are now able to petition the city for consideration for historic designation. In Kingman Park, the proposal was submitted by the Kingman Park Civic Association, a group that residents established in 1928 to address “the educational, economic and public safety concerns of the neighborhood and focus on the needs of African-American residents.” But many of the group’s members pushing for historical designation have, like Holloway, moved away. Some current residents formed a rival civic association, Friends of Kingman Park, and conducted a poll in December that said 72 percent were against historic designation for their homes. Coomber, who is also a board member for Friends of Kingman Park, says he was initially interested in the proposed historic district, but was persuaded otherwise when he spoke to his elderly neighbors, who he says raised concerns about affordability, new restrictions on their homes, and new permitting requirements for repairs. Residents within historic districts wanting to renovate or add on to their homes have to

Darrow Montgomery

By Charis Hanner

6 may 18, 2018 washingtoncitypaper.com

complete a building permit process to ensure they are not degrading the historic values of their properties. The Historic Preservation Office inspects properties with approved building permits to ensure compliance with the standards the HPRB establishes. Coomber says the city’s preservation office doesn’t understand the neighborhood or the concerns of its residents. “By preserving the architecture, the concern that I’m hearing from my neighbors is that you’ll be driving out the people who have been here the longest,” he says. “Architecture preservation does not reflect the history.” Coomber’s family home was built in 1941, some 20 years after the establishment of Kingman Park. He feels that markers and plaques would better serve the neighborhood, where he says houses are not “architecturally unique.” Once he was alerted of the Historic Preservation Review Board’s May 3 decision to designate, Coomber says he and other residents were frustrated. Brandon Arnold owns a home on 23rd Place NE that was constructed in the 1930s. Arnold feels that homeowners’ concerns were not heard and that the decision to designate was steamrolled. “I understand that [the HPO] is saying they want to work with us and talk about the guidelines. I hope they do. I hope they take the neighborhood views into consideration and actually hear what people’s concerns are, but given how they handled the application as a proposal, I’m incredibly doubtful that they will actually care what anyone in the neighborhood thinks, and suspect that they will just push forward whatever they think is best regardless of what the neighborhood thinks,” says Arnold. The historic preservation designation will go into effect on June 24. The boundaries of the new Kingman Park Historic District will be smaller that what the application proposal suggested but larger than what the HPO recommended—a sticking point for those who opposed it. Before the designation takes effect, Kingman Park homeowners will have the opportunity to have their questions answered by the HPO. They plan to work with the local Advisory Neighborhood Commission and other stakeholders on revising and finalizing the Kingman Park Historic District Design Guidelines. Once finalized, the guidelines will be presented to the Historic Preservation Review Board for approval. CP

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washingtoncitypaper.com may 18, 2018 7

DistrictLinE

Where The Wild Things Are

From the plains of Namibia to the mountains of Virginia, two D.C.-area scientists have devoted their lives to saving cheetahs.

Adrienne Crosier/Smithsonian Conservation Biology Institute

Six Smithsonian Conservation Biology Institute cheetah cubs

By Kayla Randall Barafu died a long way from his ancestral home. He lived an ocean away from the Namibian grasslands where, if he wasn’t needed as insurance, the cheetah would have roamed. Egyptian pharaohs once purported to have tamed cheetahs in their abundance. But now, in this age, cheetahs like Barafu and his offspring are precious reserves should their wild counterparts die out. He lived with his mate Amani in Front Royal, Virginia, at the Smithsonian Conservation Biology Institute, storied land near the mountains of the Shenandoah that in the early 1900s was used to breed and train horses and mules for the U.S. Cavalry. A horse cemetery on SCBI’s campus pays homage to that history. This is no zoo, but rather a science facility dedicated to finding out how to best study and save rare, troubled, and endangered species from the brink of extinction. Cheetahs qualify. “Everyone was unfortunately shocked by the population estimates that

came out a couple years ago,” says SCBI’s cheetah biologist Adrienne Crosier. “We thought there were more cheetahs out there, and then when the estimates came back at only 7,500, it was a bit disheartening.” Fewer than 8,000 cheetahs are left in the wild. A little more than a century ago, 100,000 of them lived across Africa and in parts of Asia. Amani and Barafu were known as SCBI’s resident grandparents, an institution unto themselves. She is now 12, and he died at 14 in April. They have given life to generations of cheetahs, and became elders within the 26-strong insurance population at the Biology Institute. “They live together, which isn’t how they’d live in the wild,” said Crosier shortly before Barafu’s death. “But he loves having a friend, and they get along so great. They sleep together, they groom each other. For their last few years of life, they have each other and they love each other, and that’s worth it to me. I don’t care if that’s how they’d live in the wild. It’s made their quality of life better and that’s what’s important to me.”

8 may 18, 2018 washingtoncitypaper.com

On a freezing March morning the pair is, as usual, together. They’re resting in their grassy enclosure, and they seem relaxed compared to the curious younger cheetahs, like Carmelita, who rubs her rough fur against the enclosure barrier and leaps up to receive her favorite toy from Crosier: a durable black Kong. Amani and Barafu served well and retired from the breeding program. Crosier, 43, is the authority on all things cheetah at the facility, and serves as the coordinator for the Association of Zoos and Aquariums’ Cheetah Species Survival Plan, making breeding recommendations for all cheetahs living in Association of Zoos and Aquariums-accredited facilities in North America. The program houses about 2,000 cheetahs internationally. Out of the 57 facilities participating in the survival plan, eight of them breed cheetahs. Crosier manages all the animals at SCBI’s 9-acre cheetah science facility, which opened in 2007, and her research is on cheetah reproductive biology, an essential area of study.

The goal is to create a self-sustaining, genetically diverse population of cheetahs in human care. Right now, the world’s fastest land animal is also the fastest-dying and most endangered African cat. The cheetah is fading as quickly as it sprints, and becoming increasingly isolated in the wild. So SCBI is working hard to build a healthy population, despite the fact that they’re notoriously difficult to breed. Cheetah females don’t care to mate with just any old male, after all. They tend to be very selective. Before coming to SCBI, Crosier worked with Dr. Laurie Marker on the frontlines of wild cheetah life in Namibia. Marker, 63, is the godmother of cheetah knowledge, having worked with the animals since 1974. She established the most successful cheetah breeding program in North America during her 16 years at Oregon’s Wildlife Safari. Marker is one of the scientists who helped to first discover the cheetah’s problematic lack of genetic variation. She did the research with collaborators in D.C. at the National Cancer Institute and the National Zoo, where she worked from ’88 to ’91. “I used to always think that there was some big organization and that they might go out and save the cheetah,” Marker says. “Everybody thinks that there’s a ‘they,’ but there is no ‘they.’ The more I worked, I found that nobody was going to go out and save the cheetah. So, it became me who was going to go save the cheetah.” In 1990, she founded the nonprofit Cheetah Conservation Fund, the primary goal of which is to help save the animal’s wild population through research, conservation, and education. She packed up and moved to Africa in 1991 and settled in Namibia, which still has a sizable cheetah population. The fund now has two main locations: the Research and Education Centre in Otjiwarongo, Namibia, and a U.S. home base in Alexandria, Virginia. Marker still travels back and forth, but stays in Namibia most of the time to continue studying the cheetah’s natural ecosystem and how it lives. Cheetahs are a peculiar, fascinating, entrancing species. Their endless brown eyes have black tear marks that run from the inside corners down to the outside edges of their mouths, reflecting the glare of the sun as they hunt during the day. They don’t roar, but instead purr, bark, bleat, and hiss. They have foibles: Highly susceptible to disease due to a lack of genetic diversity, scientists must bleach the bottoms of their shoes before even entering their SCBI facility. They also reveal flashes of magic. A cheetah on the hunt is a majestic affair. As they give chase to prey—small antelope like springbok, Thomson’s gazelles—their strides cover ground in split seconds, hitting top speeds of up to 70 miles per hour, their muscular

Adrienne Crosier tails acting as rudders. Their free-floating breastplates allow them to turn their heads to unnerving degrees, making them flexible enough to fit through the tiniest openings. Claws that don’t fully retract grip the ground like football cleats, steadying them as they dash. They aren’t strong enough to overpower prey, as lions do, so they rely on chasing their dinner and then tripping it once they get close enough. Fifty percent of the time, cheetahs fail and go hungry. Sometimes, opportunistic larger cats like lions lurk and strike, forcing cheetahs to concede their hard-won meals. Cheetah cubs are prey themselves, and many don’t make it past their first year. These are natural factors in the species’ current predicament, but it’s poaching and habitat loss that are the biggest reasons for their sharp decline. Cheetahs aren’t listed as “endangered” by the International Union for Conservation of Nature, but instead as the less-severe “vulnerable,” much to the dismay of many scientists, including Crosier, who believe their status should be endangered. “They hold a unique place in the ecosystem because of their size and because of their hunting strategy,” Crosier says. “They are sight hunters, they are speed hunters, so they fill that midsize cat role in the African ecosystem. They’re the only midsize cat, really. You’ve got leopards and lions, you’ve got a lot of small cats, but no other midsize cat.” Their numbers are bleak, and so are the words scientists use to describe the dire nature of their situation. But it’s not too late for cheetahs, Crosier and Marker insist. They’ve both dedicated their lives to proving that. Marker has made much progress in her endeavors in Africa. She’s set up farmer training programs in which she and her teams work with farmers who have cheetahs on their land. She wants to both protect the animals and help the farmers by keeping them from losing their livestock to hungry cheetahs and other predators. “A lot of our work has been understanding how the cheetah lives, and then understanding how it lives within the system of people, and then understanding how people live, and

Mehgan Murphy/Smithsonian Conservation Biology Institute

A M E R I C A N

making a plan so that they can all live together,” Marker says. Crosier’s reproductive work has also yielded great results so far. Last spring, two large litters were born at SCBI, and 10 of the 12 cubs survived—a healthy number among litters that size. Through the past decade, 35 surviving cubs have been born at SCBI. Crosier also develops assisted reproductive techniques to help cheetahs breed. She uses artificial insemination in cases where two cheetahs are a good genetic match, but not a match personality-wise, and also in vitro fertilization. Because female cheetahs have a relatively short reproductive lifespan and usually don’t have cubs after they turn 8, she is working on techniques to possibly implant embryos from older females into younger females so the genes of older females who have not had much success breeding are not forever lost. Studying and freezing cheetah sperm is another part of Crosier’s research, so if the need to infuse a boost of genetic diversity into the population even hundreds of years from now arises, it will probably be possible. And most recently, she and her team made a breakthrough, developing a way to determine if female cheetahs are pregnant in their first month by testing for a protein in their feces. While it is still possible for these cats to recover in the wild, time is of the essence. “Their habitat is decreasing, the threats are not decreasing. Loss of habitat, loss of prey base, poaching, and other human-derived aspects are decreasing these population numbers,” says Crosier. Reintroducing the insurance population into the wild is a possibility, but as of now, it’s a distant aspiration. “If we need to talk about sending cats back into Africa, we have the animals that we can do that with,” Crosier says. This fall, they may have even more. At SCBI, a new facility called Cheetah Ridge is scheduled to open so that Amani and Barafu’s progeny, as well as the offspring of other cheetahs, can roam. It won’t compare to Namibian grasslands, the home of these spotted cats built for speed, but the Biology Institute hopes that for now, it’s enough. CP

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business, that’s really—it’s really all you have, your ability to keep consistent relationships with people.

Amina Ahmad is the owner of Handmade Habitat. She makes all-natural soy candles and beauty products. She started her business as a vendor at local markets and now has a studio at Off the Beaten Track Warehouse in Northeast D.C. You can find her at handmadehabitat.co or on Instagram @handmadehabitat. Your business has grown over eight years. Can you tell me about that growth process? When I was first doing markets I was selling mostly clothing and bags. It was under a different name. What was the name? It was Cats and Crafts by Amina. It was horrible. I had this blog called “Of Cats and Crafts.” And it was me sewing in my house. My cats would do wild things like walk through the sewing machine while I was sewing. I started the blog first and I was like, “Well, I should start doing markets.” I couldn’t come up with a name so I just transitioned that name to the business. It became Handmade Habitat in 2011 or 2012. Everything that I made at that point was an experiment. I experimented with candles back then, and they started selling really well at markets. I always thought of the business at that point as: “Let’s see what this can do. Can it sustain my crafting hobby? Can it sustain paying a little bit of my rent?” The candles were doing really well and from a business model perspective moving in that direction made a lot of sense. Kaarin Vembar

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What is your philosophy around why you make your candles the way you do? When I first started making candles I was an environmental science major in college. There was a lot of new research at the time about the toxicity of a lot of traditionally made candles. My candles are all made from soy wax, which is a renewable resource, and it’s made in the U.S. It’s also very clean burning.

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What does that mean? It doesn’t release carcinogens and harmful additives into your home air quality. A lot of other waxes have those types of additives in them. There are a lot of petroleumbased candles. People don’t realize that a paraffin-based candle is really made from a petroleum byproduct. My candles are made

10 may 18, 2018 washingtoncitypaper.com

with a soy wax, which is a lot cleaner burning and burns longer just naturally than traditional candles. My candles are all scented with essential oils and all-natural botanical fragrance oils—no synthetics added and they are phthalate-free. The wicks are made with cotton and recycled paper. So they burn cleanly, too. Because a lot of candle wicks will have lead in them. Oh, I had no idea! Yeah, which is actually only illegal in California. It’s legal everywhere else. If you ever have a candle wick that’s like very pointy—or if you pull it down and you see a little metal piece in it—it’s lead. One thing you have been able to do as an entrepreneur is to get your products into other stores. A lot of it is based on relationships, which is one thing that I really love about D.C. There are a lot of people in D.C. who have stores now that I’ve known from the market circuit for years. It’s been really great to see them get spaces. And it’s been really great to see them pull in other makers that they know from their community. So it’s really about finding these good relationships with people. Because in

You have popped around a bit. You worked out of your house. You were at the Arts Walk at Monroe Street Market. Now you are at Off the Beaten Track. Why you have moved around and what that has meant for your business? I was working out of my house until 2015. At that point we were planning on downsizing apartments because our rent was getting out of hand, as things do in this area. We moved into an apartment that was significantly smaller and it was really not possible to run the business out of there anymore. It was the point when I was like, “I need to grow and I need space to grow.” I really wanted a studio space. I looked around everywhere in D.C. I interviewed for a space at the Arts Walk, but I didn’t get it. Instead they were like, “Maybe if you do this pop-up something will open up by the time you leave.” Which didn’t happen. So I did a pop-up there. I was subletting space for a few months. Then I shared space with a different artist on the Arts Walk. Then in May 2016 a space opened up here. Your journey to get here has been really amazing. You did it in this natural way that makes sense for your own process. As an entrepreneur you are always so busy that you don’t always stop to appreciate it. But I’m totally self-funded. Like the only thing— my mom bought me my first tent when I did my first craft show ever. We went to Kmart and she bought me a tent and two tables because I was 20 years old and had no money. But with the business, this has been completely self-funded the whole time. And it probably would have been easier if I had money to be like, “Oh, I need this, this, and this.” But it really takes time to figure out what direction you are going in and then you don’t really waste money that way. D.C. is really supportive of its makers. I feel like other cities are starting to copy the model because they’ve seen that the makers really like it and everybody just—it makes your city cooler when you’re really into your local scene. I feel like I serve a population that’s overstressed and overworked. —Kaarin Vembar

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Scripture Cathedral

Leap of Faith Manual labor Monday through Friday, song all weekend long. D.C. was once home to more than 60 gospel quartets, and many are still singing. By Hamil R. Harris

Photographs by Darrow Montgomery

12 may 18, 2018 washingtoncitypaper.com

During the week Jonathan Shanks climbs into holes under the District’s streets to dig out mud and busted pipes to repair water mains for DC Water. And Gary Satcher worked repairing fire hydrants for the same government agency before he retired. But on weekends—for decades—Shanks and Satcher have exchanged their work clothes for colorful suits to step into pulpits across the D.C. area and much of the country to create toe-tapping harmony in the name of Jesus with The Southern Gospel Singers. Gospel Quartet music has been the blue collar worker’s opera for decades. The lyrics communicate a message of overcoming struggle. This music gave hope at the peak of segregation for the descendants of slaves. And when integration came, the beats and the harmony were packed into trunks and exported to the North by generations of African-Americans who left Dixie in search of a better life. “I moved to D.C. in 1965 from Laurel, Mississippi,” says Satcher, 65, who became a member of The Southern Gospel Singers after he listened to gospel music station WUST-AM and heard an advertisement for the group. They were looking for a tenor and a bass player. “The audition was at 460 K Street NE,” he says. Cleophus “Cleve” Pointer held that audition back in 1973. He was the founder and manager of the quartet, and also a supervisor who became superintendent and one of the highest ranking men at D.C.’s Water and Sewer Authority. (In 1996 the agency became DC Water.) Satcher says that in addition to welcoming him into the group, Pointer was instrumental in helping him find a job within the D.C. government. “He got most of the young folks in the group a job,” says Satcher. “We were all coming out of high school and needed jobs. It was time to stop playing.” the District was once home to more than 60 gospel quartets, according to the DC Commission on the Arts and Humanities. Many legendary groups got started in D.C. In the 1940s there were jubilee gospel quartets like The Four Echoes. Then came male and female groups like the DC Harmonizers, the Gospel Travelers, Mattie Johnson And The Stars of Faith, the Zion Hill Gospel Singers, the Prodigal Sons, the Queens of Faith, The Realistic Gospel Singers, the True Tones, and the DC Aires. One of their biggest venues was the Bibleway Temple on New Jersey Avenue NW, but they more often played storefront churches and even public school cafeterias. They performed at the WUST Radio Music Hall—now home to the 9:30 Club—just off U Street NW, a block away from Howard University. This 1,000 watt station WUST-AM 1120 linked the city’s gospel community. Quartet members were often the same people who have been the bedrock of the District and federal government workforces. And despite the fact that many of these groups are now nearing or exceeding their

50th anniversaries, they are still putting on shows, writing new songs, and drawing large and committed crowds. Satcher and Shanks are among them. On Sunday afternoon, May 6, Shanks connected his snare drum and foot pedal to the house drum set when it was time to perform at Scripture Cathedral in Landover, Maryland. The occasion was the 48th Anniversary Concert of the Gospel Pearls, and his group had a 15-minute set. The Sensational Singing Angels, Ronica & The Mighty Blazing Stars, Darrell McFadden & The Disciples, Angela Robinson & High Praise, and yet more groups were there to perform and enjoy. The parking lot of the church, which once was a car dealership, was filled with luxury coaches and vans. Before the concert began, quartet men unloaded speakers, strapped guitars to their shoulders, and walked along a gauntlet filled with people seated at tables selling everything from CDs to jewelry. When they were up, The Southerns came down the aisle dressed in matching black square blazers, took their microphones, and began to sing. Shanks, who is 64 years old, churned a driving beat out of the drums, and when they got to one of their hit songs, “I Know What Prayer Can Do,” the sanctuary erupted and people stood to their feet. From the singers to the bass and lead guitar players, the group moved in one rhythmic motion during a musical call and response lead by Satcher. “You been praying for a brand-new car,” he sang. And his quartet brothers responded: “It’s on the way.” “You have been praying for a brand-new home,” he sang. And the men responded, “It’s on the way.” With tight harmony and a good beat, it really didn’t matter what the lyrics were—the people were up and rocking in the pews. Seated down front in a royal blue dress and broad gold hat was Vi Pointer—a gospel “first lady,” veteran gospel promoter, and businesswoman. She is the widow of Cleve, who was a native of Talladega, Alabama, and founded The Southern Gospel Singers 54 years ago along with Carvin Coles, better known as the Shouting Deacon because he would sing so hard and so full of the Holy Spirit during concerts that audiences would follow suit. “The group started in Alabama back in 1964,” says Vi Pointer. “I made a promise that I would keep his legacy alive.” “We met in church,” says Pointer of her deceased husband. She remembers how he and other group members, like Ernest Gooden— aka “Joe Black”—and Coles, worked together under the streets of D.C. and sang together as musical ambassadors for the Lord. Today Vi’s grandson Geoffrey Hankins, 28, is the bass player and one of lead singers with The Southerns. “He has been singing with the group since he was two years old,” she says. Hankins is part of a tradition that extends beyond The Southerns. One of the things that keeps gospel quartets going is the fact that there is a new generation of singers who are the descendants of singers from the past. Be-

Gary Satcher, lead singer for The Southern Gospel Singers fore Hankins sang at Scripture Cathedral on May 6, Angela Robinson & High Praise opened the concert. That group’s members are related to the famed D.C. female group Mattie Johnson And The Stars of Faith. Throughout the evening, the lady groups had no problem making steps in their high heels and pretending that their routines were not grueling. And Shanks did not need to tell his wife where he was going when he dressed to sing for the May 6 concert because she is the Rev. Robin Walker of Kingdom Hearts Ministries who is also the lead singer for the Singing Angels, an Alexandria, Virginia, based group that has been performing for about as long as his has at 50 years. At the same concert, Verna Locus-Hillary performed as lead singer of the headliner act, Gospel Pearls. She too was performing the music that is really a family affair. Flanked by her daughter, Locus-Hillary said, “You have to be able to have someone to lean on.” And her daughter, Chevela Garvin, said it’s special singing with her mother. “When the Pearls went out to sing, we were always in the front row singing louder than they were. I like other genres of gospel but quartet music has that extra thump.” These groups and others comprise a caravan of gospel singers who for half a century have been singing for God in the big sanctuaries, cramped store fronts, and school auditoriums of the D.C. area. They have served up needed melodies imported from the South that have calmed souls for generations. But today many of the city venues where The Southern Gospel Singers once per-

Jonathan Shanks formed have fallen victim to change. Gospel venues that are now gone include Scripture Cathedral in D.C., The WUST Radio Music Hall, and the old Uline Arena. And though many of the larger congregations have remained in the city, gospel quartets were most popular among the smaller congregations with people packing into little sanctuaries on Sundays. Terry Lynch, Executive Director of the Downtown Cluster of Congregations, says that about three dozens churches in D.C. have closed their doors over the last decade. A good deal of the sanctuaries that hosted their Sunday afternoon concerts have been boarded up, torn down, or converted into other uses. A

number of churches in Southwest, for example, were sold and transformed into residential dwellings. While many churches remain in D.C., once declining neighborhoods have been born again. For longtime D.C. churches—and particularly for congregants who are growing old—gospel concerts in the city often come with a prohibitive scourge: lack of parking. For years the District allowed diagonal parking near churches during certain hours on Sunday mornings, but afternoon programs were a different story. Today attending a concert means fishing for parking on neighborhood streets that have residential restrictions. “The parking available for generations is no

washingtoncitypaper.com may 18, 2018 13

L. LeRoy Callahan, Thomas Snow, and Keith Young

Vi Pointer and Rev. Barbara Walker watch Angela Robinson & High Praise 14 may 18, 2018 washingtoncitypaper.com

longer available, and the elderly often can’t take mass transit,” Lynch says. “There is strict parking in each of the wards and this is part of the changing fabric of the city.” A lot of congregations that once worshipped in the District have moved to more spacious pastures in Prince George’s County. On June 24, The Southern Gospel Singers will host their 54th anniversary program in Landover. “This will be the first year at the Maryland church instead of D.C.—because it will be easier to park,” Shanks says. “We love D.C. but many of our followers are elderly and have a hard time parking. We used to have our programs at New Southern Rock, but this year our anniversary will be at Scripture Cathedral because there is more parking there. People just don’t want to come to a program and park four blocks away,” Shanks says. Scripture Cathedral was located at the corner of 9th and O streets NW for years. During that time, Bishop C.L. Long, a nationallyknown radio preacher, came on WYCB-AM several times a day to preach, pray, and advertise the “largest prayer meeting in the nation’s capital.” Long died in 2015, but a few years before his death he sold his District sanctuary and purchased an empty one in Landover that was once was a car dealership and later Glendale Baptist Church, which ultimately moved a few miles away. The space now holds Scripture Cathedral. What began as the result of “white flight” following the riots in the 1960s has come full circle. Whites are moving back into the same city corridors they vacated and were filled by African-American families who came and opened up neighborhood churches. But today many of these churches are located in revitalized neighborhoods where churches have limited lots and street parking is at a premium. “It is very important that we continue the tradition of gospel music,” says Rev. Donnell Long at his church on the afternoon of the May 6 concert. He succeeded his father as pastor of Scripture Cathedral. As Long talked, people were laying out trays of baked chicken, fresh collard greens, potato salad, and various deserts to be sold in the same way his father sold food in the “Blue Room” of the D.C. church. “We try to accommodate everyone because they all have a message,” Long says. “This gives the people the opportunity to come together. When we were in D.C. we had to fight for parking to accommodate all of the parishioners and the visitors. We used to be able to park at the Giant across the street from the church, and then that changed.” Today the old sanctuary has been replaced by towering residential buildings at the corner of 9th and O streets NW. Rev. Thomas Bowen, Director of Mayor Muriel Bowser’s Office of Religious Affairs and Associate Pastor of Shiloh Baptist Church, says a lot of the historic churches that have stayed in D.C. have not really attracted the city’s newest residents. “We have to find a way to meet the needs of a new generation. Gospel music can’t just be relegated to per-

Rev. Robin Walker leads for Singing Angels

formances. It has to be part of the worship experience and it can’t just be just our mom and dad’s music,” he says. Bowen says that the District has a number of diverse choirs and choral groups, like Washington Performing Arts and the Choral Arts Society of Washington. “In choral music they are carrying on the tradition of singing songs in appreciation of that time,” he says. D.C. has a mixture of faith venues. Some people enjoy the hymns, spirituals, and anthems of chancel choirs while others favor the guitars and drums of quartet music. But Winston Chaney, radio host at the 1340 WYCB-AM, says, “Some of the biggest concerts in the area are the gospel quartet concerts, and quartet lovers are dedicated to the bone.” Chaney is a well known host of gospel quartet concerts. rosetta thompson is a local beautician during the week, but she exchanges her hot comb for a briefcase on the weekends. She is one of the top gospel promoters in the country. In the mid 1990s she packed the Show Place Arena in Upper Marlboro, Maryland, with more than 5,000 people for a concert. “We have the Mighty Clouds of Joy, the Gospel Keynotes, The Violinaires, The Soul Messengers, Jay Caldwell, and the Nightingales on August 26th,” says Thompson, seconds after answering the phone for an interview. She does most of her advertising through colorful, postcard-size flyers—just right for being dropped on the hoods of cars.

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HA shanks has been a member of The Southern Gospel Singers for 42 years, and he wouldn’t take anything in exchange for his musical journey. “We have performed from Mississippi to Boston and everything in between, and gone west from Washington to Milwaukee, Wisconsin. We have performed with every major group on the road from Mighty Clouds of Joy, the Five Blind Boys, The Dixie Hummingbirds, The Brooklyn All Stars, The Williams Brothers, and everybody else.” Sometimes he would leave a town on a Sunday evening and drive all night to go to straight to work for the water authority on Monday morning. He hopes he can still find places to perform in D.C., but his group wants to be sensitive to their aging followers, and he knows that regardless of the location people will always come to hear quartet music. Satcher and Shanks are the last living original members of a gospel group that has been stirring up souls for more than five decades. “It’s all about bringing souls to Christ and reaching people who might not go to church,” says Satcher. “This is our way to minister to people.” CP

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Her husband Horace Thompson leads the Sensational Nightingales. At 78, he is a Grammy-nominated artist and still performs with Jo Jo Wallace, 92, of Durham, North Carolina, and Larry Moore of Portsmouth, Virginia. “We are just like the energizer bunny, we just keep going by the grace of God,” says Horace Thompson. “Our group is 72 years old and I have been in the group for 56 years.” The Thompsons live in Mitchellville, Maryland, and they see another side of the changing business of gospel music. Horace Thompson hits the road on Friday, Saturday, and Sunday to drive to venues across the South where gospel music is still played on the air and quartets enjoy a larger following. He says that while gospel has fewer outlets than it once had, the big exception is 1340 WYCB-AM. “The Gospel Quartets are still performing but times have changed,” he says. “The stations which are left are going with contemporary music and most of the stations don’t play the traditional quartet music. Many people still love quartet music, but they can’t find it on the radio and most of the record stores have shut down across the country for a lot of reasons.” “Today some of the mega churches are having the big concerts,” he adds, “but the little churches are losing out and that is where we all started.” His group has been on the Malaco label for 30 years, and he says gospel groups and record

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Pretty Hurts

ters, schools, and nonprofits. In 2012, Egger left D.C. to open a similar nonprofit in California, L.A. Kitchen. “People would say, ‘Robert, shut the fuck up,’” Egger recalls. “We throw away billions of pounds of produce, that’s not going to go anywhere soon. People say, we will worry about that in 10 years.” But Egger thinks of himself as someone who foresees the future of the food industry. “There was always an inevitable moment of declining donations, but it’s being accelerated by the sudden, unexpected surge in in-

Food banks rely on imperfect fruits and vegetables to feed those in need, but what happens when more forprofit companies want to cash in on ugly produce? By Avery J.C. Kleinman Within the last five years, so-called ugly produce has become the darling of the socially conscious food industry, and the D.C. region has in large part been the birthplace of the trend. Ugly produce goes by other terms, too—imperfect, flawed, off-grade, seconds, even the politically correct “aesthetically challenged.” They all describe fruits and vegetables that traditionally would go to waste because grocery stores and consumers wouldn’t buy them because of blemishes or bumps. Once considered castoffs, ugly produce is now in style, and three of the country’s most successful ugly produce companies, Imperfect Produce, Hungry Harvest, and Misfit Juicery, have roots in the area. All three companies share similar goals—using ugly produce to fight food waste and make a profit. More than 20 percent of domestic fruits and vegetables “never make it off the farm because they aren’t perfect enough for grocery store standards,” according to Imperfect Produce, a company that delivers discounted produce on the West Coast and in the Midwest. They say grocery stores’ unwillingness to buy edible and healthful produce that is misshapen or blemished results in billions of pounds of wasted produce every year. The company, which now operates out of San Francisco, was founded by Ben Simon, who first started working to fight food waste as a student at the University of Maryland, where he launched Food Recovery Network, a multi-campus organization that collects leftovers from school cafeterias. Like Simon, the founders of Misfit Juicery, which sells cold-pressed juice made from grocery-store rejects, and Hungry Harvest, which sells produce delivery subscriptions in the region, first began fighting food waste from their

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dorm rooms. The founders of Misfit Juicery, Ann Yang and Phil Wong, conceived of the idea while at Georgetown University. Hungry Harvest founder Evan Lutz was also a University of Maryland student. The ambitious, entrepreneurial spirit that empowers these young founders makes Robert Egger, the founder of local non-profit DC Central Kitchen, hesitate to voice his concerns about the burgeoning ugly produce business. When he does voice those concerns, it’s with significant qualifications.

“I’m always reluctant to diminish a younger generations’ new ideas because that’s what happened to me,” Egger says. But he wonders if greater demand for ugly produce could eventually lead to less access to fruits and vegetables for those in need. Egger built DC Central Kitchen into the massive community kitchen that it is today. A team of staff members and volunteers work to serve three million meals per year made from donated food and items purchased directly from growers to area homeless shel-

terest of millennials,” he says. “Whether it’s the kind of rudimentary efforts we see now, whether it’s the industry itself getting more sophisticated, or it’s rapidly growing science—I see a much more expedited process where food waste will disappear.” For others working in the industry, that moment when food waste disappears is so far off as to be unimaginable—the supply of discarded fruits and vegetables is simply too great. “There’s so much produce out there that doesn’t find a home that there are places for it

washingtoncitypaper.com may 18, 2018 17

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DCFEED to go in all cycles of the supply chain and value stream,” says Lutz, the founder of Hungry Harvest. “In the food industry, everybody needs to collectively reduce waste in more capacities than one.” According to Rethink Food Waste Through Economics and Data (ReFED), 63 million tons of food goes to waste every year. Ten million tons, or 16 percent, of that waste happens at the first stage of the supply chain—on the farm. One of the solutions ReFED recommends is accepting and integrating ugly produce into the food system. That step alone would slow climate change by diverting 266,000 tons of waste away from landfills and on-farm losses, reducing greenhouse gases by 422,000 tons and saving 39 billion gallons of water every year, according to ReFED. Egger believes framing food waste as bad for the Earth signals a paradigm shift. “My generation looked at food waste as a supply that could feed the poor,” he says. “The younger generation looks at it as saving the planet.” That means that instead of redirecting surplus food from the landfill to food banks, the long term goal is no surplus at all. In that scenario, would food banks still have access to healthful fruits and vegetables that underserved communities need for nourishment? Jody Tick, the chief operating officer of Capital Area Food Bank, says she isn’t concerned about that outcome. It’s the region’s largest anti-hunger organization and feeds 540,000 people each year. “We love that ugly fruit is getting its due and we think it can actually provide more access to fruits and vegetables rather than less,” she says. “What we wouldn’t want to see is that ugly fruits and vegetables become so in vogue that they’re out of reach financially for most people.” Capital Area Food Bank, as well as other anti-hunger organizations in the region including Martha’s Table and DC Central Kitchen, purchase the majority of the produce they distribute to those in need from regional farmers and distributors. Even though the demand for second-rate produce is growing, they say there’s enough to go around for everyone. “What we say to our growers is take your top quality and get the best price you can for it,” Tick says. “Take it to the Safeways, the Giants, the restaurants—but do us the effort and harvest your second. No farmer plans to grow seconds, but it is just the nature of the beast … We want to help grow the seconds market.” Tick also sees the value in ugly produce companies changing the way people think about their food. “As a society, we need to focus less on the perfectly red apple, and more on the nutrition of the fruit,” she says. “And ugly fruits can bring that to bear, as long as we’re getting more from the field and it’s not a cost that puts it out of reach for most people. We see this as more of a glass

half-full.” This year marks the fifth season that Capital Area Food Bank is partnering with farms throughout the region for the Fruits and Vegetables Fund for Greater Washington program. The food bank orders a set quantity of specific items from each farm at a predetermined, discounted price, then picks up and distributes the harvest. The program is beneficial for both the food bank and the farmers. “Most growers just assume, oh you want a donation,” Tick says. “No, we want to make it worth your while to take it out of the greenhouse. When you start having those types of conversations, different possibilities open up.” The logistical cost of transporting the food is why so much produce that can’t be sold ends up going to waste rather than to those in need—and where socially conscious food companies can step in. “Typically farmers are very resourcestrapped, they don’t have a ton of capital, so food bank donations are typically their very last resort, and only if they have the time and the resources to go about doing that,” says Lutz, the Hungry Harvest founder. According to Lutz, Hungry Harvest intentionally over-orders so that it can donate the excess produce, an average of 1,000-2,000 pounds per week, to food banks. The Manna Food Center in Montgomery County is a regular recipient. In January, the company ended up with a truckload, or 24 pallets, of cabbage that was rejected by grocery stores for having too much dirt. That was too much cabbage for the subscription delivery service—each box would have had three heads of cabbage—so the supply went to a Maryland food bank. The company also runs weekly Produce in a SNAP markets throughout Baltimore, where people can purchase discount produce using SNAP benefits. “It’s part of our mission,” says Lutz. “The last thing we want to do is take away produce from a subset of the population that needs it most.” The food banks that Hungry Harvest donates to vary week to week, but Lutz says nearly every local one has been a recipient since the company’s inception, including Egger’s DC Central Kitchen. Across the country in California, Imperfect Produce is a major partner and donor for L.A. Kitchen. For now, most companies marketing ugly produce, although for-profit, are missioncentric. But Egger worries about the moment when the trend becomes so popular that other less socially-conscious companies start to see the profitability and marketing appeal. “It went from free-if-you-could-come-getit, to a reduced price,” Egger says. “Now we are actually seeing a rising market value. Not on a large scale. But it’s coming.” CP

Sipping Nectar

Grazer

The Bee’s Knees from Bresca 1906 14th St. NW Fat-washed gin infused with the flavor of bee’s wax forms the basis of this cocktail, which is topped off by a sweet-and-savory nip of truffle honey. If that’s not buzz-worthy enough, the drink is served in a bee-shaped vessel adorned with sprigs of flowers.

Rosé Mule from Himitsu 828 Upshur St. NW This drink has a particularly rosy outlook: It’s crafted with rosé wine, rose vodka, rose water, and enough rose petals to deck out an entire honeymoon suite.

Puss In Booch from Bruja Kombucha Available on draft on a rotating basis at Fox Loves Taco and Calabash Tea & Tonic This particular brew contains number of surprising ingredients, including the catnip which gives it its name. Even more surprising is the brilliant purple hue, derived from the butterfly pea flower within, which can change the color of the liquid it’s infused in depending on the pH level.

py hour) contains a few drops of bonji, which is made from fermented grains and has a similar flavor profile as soy sauce. Momofuku CCDC’s happy hour is also a win for winos. Pay $17 for all-you-can-drink wine throughout the duration of happy hour.

Where: Momofuku CCDC; 1090 I St. NW; (202) 602-1832; ccdc.momofuku.com Hours: Monday-Friday, 5-7 p.m.

Laura Hayes

Drink Specials: $7-$10 cocktails, $17 bottomless glasses of wine; $6 beer; $6 wines by the glass

Pros: The star of happy hour is a trio of options featuring Chef Tae Strain’s liberal take on Chinese bing bread that has the texture of Indian naan. Strain rolls them out to order and cooks them on the plancha before pairing them with three different dippers: pimento cheese, cultured butter, or sunflower hozen. The

Eric Kayanan

Harvest Bees from Ana at District Winery 385 Water St. SE The Harvest Bees cocktail at Ana truly goes the extra mile. Not only are the drink’s lavender bitters made in house, the flowers within it are grown in the winery’s rooftop garden.

Top of the Hour

Food Specials: $5 spicy cucumbers, pork belly buns, and bing dishes

Épine from Primrose 3000 12th St. NE The basis of this cocktail is a syrup made from rosé wine infused with rose petals and rose buds. Don’t let the gentle color fool you: Épine means spiked in French, and this little libation indeed packs a boozy punch.

Glow water from JRINK Multiple locations Many of JRINK’s waters are loaded with real flowers and other natural ingredients to maximize potential health benefits. The Glow water contains roses that have been steeped for several hours like a tea, and purports to cleanse the skin.

District Winery

The Lady from Buffalo & Bergen 1309 5th St. NE Buffalo & Bergen infuses several different syrups at their Union Market location, including one made with fresh lavender and lemon peel, which is used liberally in their The Lady cocktail, a fresh and lemony wine spritzer. If you’re not in the mood for booze, you can get the flowery syrup in a soda, or take home a bottle to make your own concoctions.

Laura Hayes

Spring is basically a nonexistent season in D.C.—we usually go straight from blizzards to blistering heat. Now that the cherry blossoms are mostly off their branches, their accompanying specials are mostly off menus, but there’s still plenty of lost springtime to be found in glasses around town. You can get a beverage garnished with a decorative flower at countless spots, but these drinks are fully flower powered. Try sticking your proboscis (that would be a bee’s mouth tube) into some of the selections. —Stephanie Rudig Sakura milk tea from Bon Matcha 1928 I St. NW We’ll lift the embargo on cherry blossom coverage for this refreshing beverage from Bon Matcha. Instead of sickeningly sweet synthetic cherry syrup, their sakura milk tea is brewed with actual dried cherry blossoms from Korea.

what we’ll eat next week: Steak of The Union sandwich with short rib, gruyere bone marrow sauce, onions, and peppers on sourdough with UTz chips, $16, Calico. Excitement level: 4 out of 5.

latter is an umami bomb that has the funkiness and flavor of miso. Pair the hozen bing with a drink with a similar flavor profile. The bar’s take on an Old Fashioned ($10 during hap-

Cons: Seats fill up fast and happy hour is only available at the bar and on the patio. Other than that, negatives are few, save for the fact that one of the dishes on the happy hour food menu is a dud. Skip the spicy cucumbers unless you’ve just completed a bikram yoga session or marathon and need to replenish your body of salt. —Laura Hayes

Are You Gonna Eat That?

Tim Ebner

DCFEED

what we ate this week: Xiao Long Bao soup dumplings with crab and pork, $12, China Chilcano. Satisfaction level: 3 out of 5.

The Dish: Fermented Durian Curry With Spaghetti Squash Price: $13 Where to Get It: Spoken English, 1770 Euclid St. NW; (202) 588-0525 What It Is: One of the most talked about dishes at this tachinomiya-style standing eatery is a nest of spaghetti squash coated in a luscious curry that’s spiked with a notoriously stinky fruit— durian. Some liken durian’s scent to diesel fuel. But there’s not even a whiff of foul play here. This dish passes the smell test and it’s also bursting with flavor from an assortment of other ingredients. What It Tastes Like: Have no fear, you won’t have to hold your nose or risk bad breath for days after one bite of this dish. Chefs Matthew Crowley and James Wozniuk prepare the durian three weeks in advance using a lacto-fermentation process that removes the fruit’s obnoxious odor. The fermented durian gives way to a subtle tropical fruit flavor and smell. The Story: Wozniuk wanted to change the stinky reputation of durian, which in Southeast Asian has been known to evacuate buildings and ground airplanes. How to Eat It: You can use chopsticks to pick up the spaghetti squash, but also ask your server for a spoon to lap up every last drop of curry. And since this dish is a mix of fresh veggies and fermented durian, vegans should consider it for an appetizer or even a main dish. —Tim Ebner

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CPArts

The D.C. Public Library is recreating the Resurrection City Soul Tent as part of its 1968 anniversary series. washingtoncitypaper.com/arts

Dance, Dance, Revolution

Two of D.C.’s most innovative theater companies have done away with dialogue in their current movementfocused shows. Titus Andronicus

By Rebecca J. Ritzel

Titus Andronicus

Adapted from William Shakespeare’s play by Emily Whitworth Directed by Paata Tsikurishvili At Synetic Theater to May 27

Rite of Spring

Music by Igor Stravinsky Story by Matt Reckeweg and Patti Kalil Directed by Matt Rekeweg At Dance Loft on 14 to May 27

When onstage acts of violence are convincing, it takes only a few smears of red paint, not gallons of fake blood, to thoroughly disturb audiences. This lusty month of May, two local companies have achieved that low-gore, high-payoff feat in beautifully rendered productions of ancient horror stories. Synetic Theater’s Titus Andronicus and Pointless Theatre’s Rite of Spring are significant achievements in dance theater not only because they freak the hell out of people, but because they represent a landmark cross-pollination of the two companies. Pointless’ publicist Scott Whalen is featured as Lavinia’s ill-fated lover Bassianus in Titus, and its co-artistic director Patti Kalil served as props designer for the show. Several Synetic veterans are making their Pointless debuts in Rite of Spring, including

choreographer Kathy Gordon, who demonstrates that her work should be on as many D.C. stages as possible. And yet, despite sharing personnel, each work has a distinct aesthetic, with Pointless turning to the world of ballet for a narrative and using puppets, mime, and the music of Igor Stravinsky, while Synetic reinterprets Shakespeare through movement, Goth costumes, and original sound compositions. Heavy eyeliner, black chokers and flashes of red have never looked out of place on Synetic stages, but for the first time in this, the theater’s 13th dialogue-free production of a Shakespeare play, there are actual Goths. For those unfamiliar with Titus Andronicus—beyond its reputation as “the play where a bunch of people get their hands chopped off ”—here’s the storyline, as it has been truncated by Synetic: In the later days of the Roman empire, the titular general (Philip Fletcher) goes to war with Tamora (Irina Tsikurishvili), queen of the Goths. He conquers her people and lets his soldiers chop the limbs off her oldest son, at which point we see that aforementioned red paint smeared across Tamora’s face. Meanwhile, back in Rome, two brothers are tussling over who’s in charge. Bassianus loses out to his brother Saturninus (Dan Istrate). Once crowned, Saturninus falls prey to Tamora’s (empowered) feminine wiles, as demonstrated by a seductive tango. Tsivkurishvili, who also choreographed the production, wraps her knee around Istrate’s thigh and he lifts her straight up to the throne beside him. Her surviving two sons go free as well. But Tamora is still fooling around with her Goth lover on the side, and her sons are hardly model stepchildren. Lots of people die, and there’s a clever who’s-your-daddy subplot that causes trouble before the show is over. (Tsikurishvili’s hip-rocking choreography for women in labor sure looks a lot more fun than getting an epidural.) It seems worth mentioning that I managed to go 18 years as a professional theater critic without ever seeing a Titus; my first visual introduction was clips of the Anthony Hopkins film version when Shakespeare Theatre Company honored director Julie Taymor a few years back. I’ve never been a fan of gratuitous violence, Shakespearean or not. I’m a cancer survivor. There’s a nine-inch scar bisecting my stomach and a five-inch metal plate in my shoulder. I have an idea of what it feels like to have your arm cut off, and I have no need to watch actors pretend they do. But if I can make it through this Titus so can you. It’s an early Shakespearean play, from when the Bard was less of a poet and more of a kid writing a slasher flick. Without the dialogue, it’s easier to feel empathy for the characters, including Tamora as a woman trying to make it in a man’s world, Titus as a general working for an emperor with troubling tastes in women, and Lavinia (Irina Kavsadze) as a girl in the wrong place with the right guy for her at the wrong time. Some violence is portrayed as ritualistic, but there’s beauty in those rituals, particularly when long streamers of red are unfurled across the stage to represent Lavinia’s missing vocal chords and hands. (Goth and Roman costumes are by Erik Teague) There’s some sexy humor too, like the tango, and when Istrate and Tsikurishvili make much ado of eating what looks like a cherry tart but is actually a forerunner of Mrs. Lovett’s “meat pies” in Sweeney Todd. The background score is, as always, by resident composer Koki Lortkipanidze. The bells and whistles available to electronic composers have improved greatly in the past decade, washingtoncitypaper.com may 18, 2018 21

and so have Lortikpanidze’s scores; this one sounds Rite of Spring more like an actual orchestra than ever, with few awkward segues. It’s still a far cry from Stravinsky, however. Although Rite of Spring appears on symphony orchestra schedules year after year, this masterpiece was conceived as dance theater. While composing, Stravinsky corresponded with artist and ethnographer Nicholas Roerich, who was researching ancient peoples of the Caucuses as he designed the sets and costumes for the Ballets Russes, the renowned avant-garde 20th century dance company. Rather infamously, there was a riot when Rite debuted in 1913, though it’s never been clear whether Parisians objected to ballerinas not wearing toe shoes; the riotous music, with throbbing basses and ever-changing time signatures; or the subject matter: a virgin dancing herself to death. Or maybe some combination of the three. In the ensuing century, many directors, choreographers, and visual artists have created Rites of their own. The most famous (and best), is by the late German chore- mittee included women. The adapters smartly honored both ographer Pina Bausch, who depicted harrowing gang violence the original ballet and the Bausch version, while still creating against a dancer in a red dress. The most recent opened in Eng- something entirely new. What was a Gandalf-looking old guy land on May 11 and features five naked dancers rolling around in Nijinsky’s ballet is now a crone-like puppet operated by three of the dancers and beautifully integrated into the action. All in six tons of clay. It appears to be a total mess. This Pointless production may be among the best Rite’s of the performers are women, a fluid mix of Synetic veterans put together by committee since Serge Diaghilev commis- and Howard University dance students. Gordon’s choreograsioned the original from Stravinsky, Roerich, and choreography retains the circular patterns for the ensemble, but adds far pher Vaslav Nijinsky. More importantly, the Pointless com- more sideways stutter steps for the solos, plus a general sense

that the women inhabiting the barren landscape are performing for themselves, not as a spectacle for men. The original Pocahontas-looking costumes have been replaced by baggy earth-tone knit jumpsuits from designer Frank Labovitz (who often works with larger theaters) that flatter everyone onstage as they move. There’s still an onstage sacrifice. You know as soon as Deidre Staples—an airy dancer with surprisingly strong jumps— carries a (puppet) baby onstage that all will not end well, and sure enough, when the famous throbbing basses cue up (boom boom BOOM boom, boom boom BOOM boom), Anne Flowers climbs to the top of the village well, points to the baby, and rocks her cradled arms back and forth to Stravinsky’s foreboding rhythm. A few special effects have been added to the recording, including noise from a violent thunderstorm that will only end if blood is shed. That’s obvious. A few mime gestures are puzzling, and the program notes are a bit heavy-handed as they spell out the story’s relevance to contemporary environmental justice. Like most good works of art, however, all viewers will get the general idea of what’s going on, and there’s plenty of room for interpretation. The key takeaway is this: Washington is oozing with talented performers and dance-theater creators. Please keep the reinterpretations of classics coming. Feel free to keep skipping the dialogue, and the fake blood. CP

“

My father clung hard to the belief that by creating beauty, and by sharing it with as many people as possible, artists had the power to tip the earthly balance in favor of brotherhood and peace.

“

CPArts

- Jamie Bernstein

Bernstein:

ODE TO FREEDOM

SUNDAY, MAY 20, 4:00 PM

WASHINGTON NATIONAL CATHEDRAL In Leonard Bernstein’s centennial year, we honor his work as an advocate for peace. Haydn’s Mass in Time of War, Beethoven’s Symphony No. 9, and works by Bernstein and Copland.

Passion, power, and religious fanaticism light Botticelli’s world on fire. Will he save his love... or his art? BY JORDAN TANNAHILL DIRECTED BY MARTI LYONS

MAY 28 – JUNE 24

WOOLLY MAMMOTH THEATRE COMPANY

WOOLLYMAMMOTH.NET // 202-393-3939 // #WOOLLYFIRE

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5/7/18 6:48 PM

Tickets

STARTING AT $25

CATHEDRALCHORALSOCIETY.ORG | 202-537-2228

FilmShort SubjectS

AnimAl instincts Beast

Directed by Michael Pearce There’s very liTTle beauty in Beast. The feature debut of writer-director Michael Pearce, the film offers two characters with dark pasts and not much desire to change their ways. Moll is a young woman in a deadend life, working as a tour guide and living with her parents so she can help take care of her Alzheimer’s-stricken father. Pascal is a loner whose fortuitous presence one morning saves Moll from the unwanted advances of another bad dude. “You’re wounded,” he says while looking at her hand, which earlier squeezed tightly around some glass. “I can fix that.” He’s referring to the literal gash, of course. But Pearce isn’t exactly subtle with this figurative sizing-up. Moll (Jessie Buckley) is instantly smitten. Pascal (Johnny Flynn) is a poacher, fast driver, and hard drinker but seems to have nothing nefarious in mind when it comes to his new obsession. Still, her mother (Geraldine James, looking like a Redgrave) circles tightly; a serial killer is loose and had just abducted a teenage girl the night of Moll’s birthday BBQ, right before Pascal entered their lives. Though the impression is that Mum has always circled tightly anyway. She asks Moll to account for her whereabouts whenever she leaves the house and practically hisses when she accuses her daughter of lying, which is often. “You’ve come so far, Moll,” she cryptically says. Moll and Pascal take to each other quickly, so when he becomes a person of interest in the serial killer case, investigators talk to her, too. She provides him an alibi for the latest disappearance and doesn’t entirely believe that the guy she’s been having an “amazing” time with could be a murderer. But there’s always a little doubt. Beast is a grim fairy tale. There are hints that Moll is not quite human: that long hair that pops out of her neck, for example, or her claiming that what she loves about Pascal is “his smell.” (Later, she tells someone she can’t stand that she’s always hated his smell.) When the couple are going at it, you hear barely there growls underneath their kisses. Because Pascal is wild, too. They’re both quick to vicious anger. But Moll is the more vulnerable one, often dreaming of being attacked and offering her condolences to the mother of the murdered, even though she and seemingly the rest of those gathered at a service vehemently want Moll to leave. As the story wears on, Buckley’s performance becomes more remarkable. It’s a raw, animalistic turn; she plays Moll like a woman

with all her nerves exposed. Her character must fend off the town’s bile, and she’s not above flat-out roaring at those who try to chase her out. Flynn is serviceable as the dangerous stranger, but Buckley is the one you’ll watch. Beast’s tone is uneasy throughout, from its opening scene of a search party and impromptu memorials to Moll’s interrogation by a creepy investigator in a dim room to its bloody close. You’ll cringe as Moll does things such as lying down in a victim’s former shallow grave or closing her fingers around that glass. The sense of jeopardy is palpable. But the film’s more impressive achievement is a third act that feels like a natural progression as well as a twist that isn’t a complete cheat. Pearce doesn’t always take the more difficult route—there are enough cheap jumps to make you think you’re watching a horror movie. But overall, Beast succeeds because of his instinct. —Tricia Olszewski Beast opens Friday at Landmark E Street Cinema, Landmark Bethesda Row Cinema, and Angelika Film Center Mosaic.

nein And dAy Bye Bye Germany

Directed by Sam Garbarski There have been a spat of German films taking place around the beginning or the end of the Third Reich. In our coverage of the Washington Jewish Film Festival, I reviewed The Last Supper, a drama about a Jewish family in Berlin that got together for dinner on the night Hitler was elected into power. Phoenix, one of the finest films of the decade, is on the other end of the spectrum: It is about an estranged married couple who run into each other after the war, when the woman returns from a concentration camp (her husband does not recognize her). Indeed, there are films like this all the way back to classics like The Third Man, suggesting there is ample dramatic material about ordinary people who are still reeling from history and genocide. Bye Bye Germany continues in this tradition, with two key differences: It is a genuine crowd-pleaser, and it can be surprisingly funny. Directed by Sam Garbarski, the film opens on an image of a dog with three legs. It is an

Beast

obvious metaphor, yet it works for the material: A bombed out Berlin is a fraction of what it once was, yet still has just enough going for it to get by. The hero is David Bermann (Moritz Bleibtreu), a concentration camp survivor who used to work in Berlin’s most glamorous linen shop along with his family. He wants to leave Germany for America—so does every Jew in the city—and Bermann has a plan to raise the cash he will need: He recruits a team of survivors to scam Berliners by overselling linens and tablecloths. While this is going down, Bermann undergoes a series of interviews with an American named Sara Simon (Antje Traue) who suspects him of collaborating with the Nazis. Bermann protests—the psychic wounds of the concentration camps are still raw—and we see his wartime activities through flashback. Garbarski films with vivid colors, recalling lavish entertainments from Hollywood’s Golden Age, and they add a grim irony to a milieu where everyone is guarded and traumatized. You may recognize Bleibtreu from Speed Racer, or the German comedy Soul Kitchen. He brings charm and irreverence to his roles, sort of like a German Paul Newman, and that is crucial to the success of Bye Bye Germany. He has a way of standing outside the action, offering a cutting aside or a glib joke. When Bermann finally confesses his feelings, they land with genuine power. That is part of Garbarski’s strategy: He eases the audience with an ensemble of smooth-talking con men, only to obliterate flashes of nostalgia with the ugliness of Nazism. The most amusing scenes in Bye Bye Germany involve Bermann and his team selling their wares. There are elements of The Sting and Glengarry Glen Ross to these scenes, which will require non-German speakers to read the subtitles faster than usual. They’re so successful because their marks cannot believe that things are so normal in 1946 that they’re being swindled again. The crucial subtext, of

course, is that the salesmen see their upselling as retribution for German inaction during the Holocaust (almost all their marks were former Nazis or “good Germans”). This is the easiest form of anti-Nazi propaganda, and yet also the most forceful: By making them into dupes who are prone to guilt, German Jews are reclaiming the economic power/status they lost. The interrogation scenes are not quite as exciting, even if they give Bleibtreu and Traue an acting showcase. They play into classic archetypes: He’s a smooth-talking scamp, she does things by the book. This blossoms into a romantic subplot, as it must, except neither Bermann nor Simon have any delusions of true love. As for the flashbacks, they start with an air of plausibility, only to give way to more exaggeration. It could be that Bermann is making fun of the proceedings, or the actual truth is too painful, or both. Either way, this leads to broad sight gags, like the shot of Bermann in Lederhosen groping a buxom German secretary. In the ’40s, such imagery would be shocking, but even now it strikes a subversive note. As Bye Bye Germany leads to its inevitable conclusion, Garbarski develops a political subtext that is as relevant to modern Europe as it was back in 1946. Bermann may be a lifelong German, yet he has a completely new identity now that he is a concentration camp survivor. And despite it all, he has a stubborn affection to Germany he cannot shake. The Jews who stayed in Germany are more than survivors: In their own way, they’re also the country’s first modern refugees. Bye Bye Germany meanders sometimes, and some of its jokes are almost certainly funnier in the original language. But it is rare to see comedy entertainment this ambitious, or keenly aware of history. That Garbarski pulls it off is an achievement unto itself. —Alan Zilberman Bye Bye Germany opens Friday at Landmark E Street Cinema.

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CPArts Arts Desk

American University Number of works acquired: 8,899 Highlights: Titian, “Martino Pasqualigo” (1544 painting); Rembrandt, “An Old Man in an Armchair” (1637 painting, pictured); work by local artists including Jae Ko, Jim Sanborn, and Frank DiPerna; hundreds of unknown pieces

Give It Away Now The biggest art giveaway in museum history? Or the biggest museum implosion in art history? It’s a matter of perspective. After the Corcoran Gallery of Art was dissolved in 2012, the National Gallery of Art agreed to act as the steward of its collection, accepting more than 8,600 artworks into its ranks. But the National Gallery didn’t take everything. More than 10,750 remaining paintings, photographs, drawings, prints, and sculptures were to be split up but dispersed within the area. This week, the remaining trustees of the Corcoran announced the tentative final resting places of the encyclopedic art collection of what was once D.C.’s oldest private art museum. For 22 museums and universities in the D.C. area (and a few beyond), the Corcoran’s loss means their gain. Organizations as diverse as the D.C. Council and the U.S. Supreme Court got in on the action. American University’s Katzen Arts Center took a healthy helping: thousands of works in all media, likely hundreds more than it asked for. (Full disclosure: Some of them include images by City Paper staff photographer and Corcoran grad Darrow Montgomery.) For curators, the Corcoran’s final dissolution may be a bonanza, but it’s still a net loss for viewers: Collections that should have been kept whole are now divided, and works that had a rationale in the Corcoran may disappear into the vaults for good. Here’s a look at where you can find pieces of the Corcoran collection now, and highlights of each institution’s acquisition. —Kriston Capps, Louis Jacobson, and Matt Cohen

Howard University Number of works acquired: 16 Highlights: Lois Mailou Jones, “Pont Louis Philippe, Paris” (1958 painting, pictured); Howard Mehring, “Cadmium Groove” (1965 painting)

University of the District of Columbia Number of works acquired: 87 Highlights: Gaston Lachaise, “Torso of Elevation” (1912–17 sculpture); prints by Alphonse Legros and Joseph Goldyne

Tudor Place Number of works acquired: 2 Highlights: Drawings by Armistead Peter III

Kreeger Museum Number of works acquired: 8 Highlights: Helen Frankenthaler, “Hurricane Flag” (1969 painting, pictured); Anne Truitt, “Essex” (1962 painting); Joan Mitchell, “Untitled” (1965 painting)

Georgetown University Number of works acquired: 85 Highlights: A portrait by Gilbert Stuart (1819 painting); photographs by Garry Winogrand (late 1970s); abstract silkscreens by Josef Albers (1972 prints, pictured)

24 may 18, 2018 washingtoncitypaper.com

Phillips Collection Number of works acquired: 46 Highlights: Nikki S. Lee “The Hispanic Project (6)” (1998 photograph, pictured); Sam Taylor-Wood, “Some Gorgeous Accident” (2002 photograph); Depression-era photographs by Walker Evans

George Washington University Number of works acquired: 777 Highlights: Jennifer Steinkamp, “Loop” (2000, pictured); Janet Cardiff and George Bures Miller, “The Paradise Institute” (2001); Soviet-era photography from Ljalja Kuznetsova, Valeri Mikhailov, and Marina Yurchenko

Out-of-Town Acquisitions

District of Columbia Council Number of works acquired: 17 Highlights: Photographs of D.C. by Clifton Adams, John Gossage, Arthur Ellis, and, uh, Tipper Gore

Smithsonian American Art Museum Number of works acquired: 318 Highlights: Paintings by James Peale and Albert Pinkham Ryder; photographs by Ansel Adams, William Henry Jackson, William Christenberry, Eadweard Muybridge, Thomas Eakins, Andre Kertesz, W. Eugene Smith, Jan Groover, Joel Meyerowitz, Mary Ellen Mark, and Sally Mann (pictured) National Portrait Gallery Number of works acquired: 80 Highlights: Painting by Gilbert Stuart; photographs by Robert Frank, Philippe Halsman, Annie Leibovitz, and Stephen Shore

D.C. Commission on the Arts and Humanities Number of works acquired: 40 Highlights: Works by Howard Mehring, Paul Reed, Gene Davis, Thomas Downing, Willem De Looper, Steven Cushner, Marjorie Phillips, and Richard Dempsey

Anacostia Community Museum Number of works acquired: 100 Highlights: Sam Gilliam, “Long Green” (1965 painting), Gene Davis, “Micro-Painting;” photographs by Brad Richman and Henry Chalfant

National Museum of African American History and Culture Number of works acquired: 123 Highlights: Documentary images and photojournalism work by Roy DeCarava, Michael Margolis, Milton Rogovin, Eli Reed, and Gordon Parks; numerous images by Benedict J. Fernandez of civil rights figures and events

U.S. Department of the Treasury Number of works acquired: 1 Highlights: Eliphalet Frazer Andrews, “Andrew Johnson” (1882 painting)

Cooper Hewitt National Design Museum Number of works acquired: 92 Location: New York, New York Highlights: Numerous unknown sculptures from 3rd to 7th century B.C., unknown decorative art from 17th to 19th century Deer Isle–Stonington Historical Society Number of works acquired: 1 Location: Deer Isle, Maine Highlight: Malvin Marr Albright, “Deer Island, Maine” (1940 painting) Weir Farm National Historic Site Number of works acquired: 1 Location: Ridgefield and Wilton, Connecticut Highlight: Julian Alden Weir, “Autumn” (1906 painting)

Supreme Court of the United States Number of works acquired: 1 Highlight: Robert Matthew Sully’s portrait of Chief Justice John Marshall (1830 painting)

National Museum of the American Indian Number of works acquired: 3 Highlights: Early 20th century photographs by Joseph K. Dixon

Willistead Manor Number of works acquired: 1 Location: Windsor, Ontario Highlight: Gari Melchers, “Edward C. Walker” (1906 painting) Bari Melchers Home & Studio, University of Mary Washington Number of works acquired: 4 Location: Falmouth, Virginia Highlight: Gari Melchers, “James Parmalee” (1927 painting) Montana Museum of Art & Culture Number of works acquired: 9 Location: Missoula, Montana Highlights: An undated painting by Jean-Honoré Fragonard; two undated paintings by Jean-Baptiste-Camille Corot Wythe County Historical Society Number of works acquired: 1 Location: Wytheville, Virginia Highlight: David Silvette, “Thornton Nye of Wytheville” (1931 painting)

The Hirshhorn Museum and Sculpture Garden Number of works acquired: 10 Highlights: Sam Gilliam, “Light Depth” (1969 painting, pictured); Jim Sanborn, “Lux, Lux, Lux” (1990 projected light on petrified wood)

Freer|Sackler Number of works acquired: 10 Highlights: Early 17th century Isfahan Rug, photographs by Joseph F. Rock

National Museum of African Art Number of works acquired: 11 Highlights: Photographs by Volkmar Kurt Wentzel, Albert Couturiaux, Peter Magubane, and Constance Stuart Larrabee

National Museum of Women in the Arts Number of works acquired: 51 Highlights: Kiki Smith, “Breast Jar” (1990 sculpture, pictured); Louise Bourgeois, “Untitled (with foot)” (1989 sculpture); Dorothea Lange “Washing Facilities for Families in a Migratory Pea Pickers’ Camp” (1937 photograph)

washingtoncitypaper.com may 18, 2018 25

GALLERIESSketcheS

It’s a Mad, Mad, Mad, Mad World

Ballet Nacional de Cuba Don Quixote (May 29 & 30) (Minkus/Alonso after Petipa)

Giselle (May 31–June 3) (Adam/Alonso, based on Coralli and Perrot)

May 29–June 3 | Opera House with the Kennedy Center Opera House Orchestra

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

The Presenting Underwriter of Artes de Cuba HRH Foundation Major support is provided by David M. Rubenstein. Digital Sponsor

Additional support is provided by Virginia McGehee Friend, Amalia Perea Mahoney and William Mahoney, The Irene Pollin Audience Development and Community Engagement Initiatives, and the Artes de Cuba Festival Committee. Support for Ballet at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

26 may 18, 2018 washingtoncitypaper.com

Don Quixote, photo by John Rowe

Alicia Alonso, Artistic Director

ican textile traditions, and the pool of imagery that the painting depicts is just as diverse— from calligraphy scrolls to happy-face stickers. The piece is finely calibrated, a portrait of hyphenated thinking. “Yellow Dust” (2012) might be the exhibition’s standout, the painting with the greatest tension between background and foreground; Jiha Moon: Double Welcome, it’s as if the artist completed one painting, let Most Everyone’s Mad Here it dry, then kept right on going. Viewers who At American University Museum at the know the artist’s work from her time as a D.C. Katzen Arts Center to May 27 resident may recognize the interplay between illustration and realist painting. Yellow ribPoPs of Uber modernity peek out from bons look like Roy Lichtenstein comic brushJiha Moon’s paintings. There’s the familiar strokes painted directly over a somber mounif grimace-inducing lowercase “f ” of the Fa- tainscape. But the background is more than cebook logo tucked into “Forever Couple- backdrop; any and every part of Moon’s painthood” (2014), for example, or the Starbucks ing cascades in a sequence of further layered siren hiding behind a cloud in “Double Bless” images on closer investigation. Elsewhere in the show, low-slung tables, ce(2012). Scores of icons compete for the surface of Moon’s paintings. Most of them hail ramic teapots, and pillows for seating add anfrom impossible realms. Picture the serenity other dimension to Moon’s work—not just the of a late 19th-century Korean landscape paint- third dimension of sculpture, but a vector for ing invaded by a hostile force of 21st-century critique. The artist has recreated a sequence of norigae, blending painting and found objects with traditional costume elements. Ceramic fortune cookies point a finger at the commodification of Asian cultures; the “Most Everyone’s Mad Here” by Jiha Moon (2015) gesture is #brands and that might approach the level of perhaps a bit overdone in contemporary art, manic fantasy that Moon sustains throughout but it’s awesome to see an artist translate her mark-making strategies so seamlessly from her latest survey. Double Welcome, Most Everyone’s Mad Here ink and acrylics to clay and textiles. “Smiley is a fitting title for a show that starts and ends Gook” (2014) deploys a derogatory slur to through the looking glass. Her paintings swirl make the point explicit, but the overall instalwith figures borrowed from other genres: a lation, with its embrace of coy cultural cues, is chubby-cheeked leopard stolen from a me- no less subtle as a broadside. Moon’s work only has one volume, and it’s dieval illumination, perhaps, or a cotton candy monster maybe borrowed from Adventure a roar. That works for this show (which was asTime. Paintings such as “Traveler” depict a sembled by the Taubman Museum of Art in maelstrom of ancient and contemporary in- Roanoke, Virginia, and the Halsey Institute fluences, captured through both modern and of Contemporary Art in Charleston, South traditional techniques. Along with the occa- Carolina). Humming with vibrational energy, Moon’s paintings scale down to the level sional Angry Bird. As with most of Moon’s paintings, “Big of detail of Hieronymus Bosch. Her composiPennsylvania Dutch Korean Painting” (2011) tions scale up to the sweep of the Joseon Dymakes use of Hanji, the traditional mulberry nasty landscape painter Jang Seung-eop. Big paper favored for Korean landscapes and cal- and small, majestic and giggly, Moon’s work ligraphy. Along with ink and acrylic, the du- dwells there, between the two. —Kriston Capps eling mediums in her paintings, Moon also employs stickers and patches of embroidered fabric. This particular painting takes the shape 4400 Massachusetts Ave. NW. Free. of a quilt, referencing both Korean and Amer- (202) 885-3668. american.edu/cas/museum.

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April 22–July 29, 2018 See the pioneering African American artist’s most personal work—hand-carved and assembled sculptures inspired by the materials and traditions of Africa and ancient Greece.

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Exhibition closes June 10

freersackler.si.edu @freersackler

This exhibition is co-organized by The Baltimore Museum of Art and The Metropolitan Museum of Art.

It is generously sponsored by The Alvin and Fanny B. Thalheimer Foundation, Suzanne F. Cohen, Anonymous, Heidi and Brian Berghuis, Amy L. Gould and Matthew S. Polk, Jr., Agnes Gund, Guy and Nupur Parekh Flynn, LaVerna Hahn Charitable Trust, Nancy Dorman and Stan Mazaroff, Amy and Marc Meadows, Clair Zamoiski Segal, Dorothy Wagner Wallis Charitable Trust, Eddie C. and C. Sylvia Brown, Eileen Harris Norton Foundation, Ilene and Michael Salcman, and Hauser & Wirth. Jack Whitten. Detail, Homage to the Kri-Kri. 1985. Courtesy of the Artist’s Estate and Hauser & Wirth. Photography by Genevieve Hanson, NYC.

washingtoncitypaper.com may 18, 2018 27

28 may 18, 2018 washingtoncitypaper.com

CITYLIST

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 Trapper BoDEANS Schoepp 18 KINDRED THE FAMILY SOUL 20 KIEFER SUTHERLAND B R Monica 23 RAUL MALO Rizzio 24 MARC COHN 25 RAHSAAN PATTERSON 27 10,000 MANIACS

May 17

Music 29 Books 35 Theater 35 Film 36

ick Rantley

Music

CITY LIGHTS: FRIDAY

FRIDAY DJ NIgHTS

U Street MUSic Hall 1115 U St. NW. (202) 588-1889. Jungle Fever. 10:30 p.m. $10. ustreetmusichall.com.

ELECTRONIC

Lily JUSTIN TOWNES EARLE Hiatt

30 2018 Blues Music Awards Entertainer of The Year!

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

Jamie THE TAJ MAHAL Trio McLean 31 BIG BAD VOODOO DADDY June 1 HERE COME THE MUMMIES 2 JASON D. WILLIAMS & THE NIGHTHAWKS

FOLk

tHe antHeM 901 Wharf St. SW. (202) 888-0020. Fleet Foxes. 8 p.m. $45–$75. theanthemdc.com. Black cat 1811 14th St. NW. (202) 667-4490. Handsome Hound. 8 p.m. $15. blackcatdc.com.

FuNk & R&B

BircHMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Kindred the Family Soul. 7:30 p.m. $59.50. birchmere.com.

In the

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

HIp-HOp

9:30 clUB 815 V St. NW. (202) 265-0930. Nav. 8 p.m. $25. 930.com.

JAZZ

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Azar Lawrence Experience. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

pOp

Pearl Street WareHoUSe 33 Pearl Street SW. (202) 380-9620. Carsie Blanton. 8:15 p.m. $15. pearlstreetwarehouse.com.

THREE DOG NIGHT 11 RY COODER & His Band 12 DAVID SANBORN J 13 MATTHEW SWEET t 14 DAVE ALVIN & JIMMIE DALE GILMORE

ROCk

Dc9 1940 9th St. NW. (202) 483-5000. Lincoln Durham. 9 p.m. $12. dcnine.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. The Weight Band featuring members of The Band, Levon Helm Band, and Rick Danko Group. 8 p.m. $24.75– $33.75. thehamiltondc.com.

ustin rawick

SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. Makeup Girl. 8 p.m. $10. songbyrddc.com. State tHeatre 220 N. Washington St., Falls Church. (703) 237-0300. Jimmie’s Chicken Shack. 7 p.m. $15. thestatetheatre.com. Union Stage 740 Water St. SW. (877) 987-6487. Iceage. 8 p.m. $15–$25. unionstage.com.

WORLD

HoWarD tHeatre 620 T St. NW. (202) 803-2899. Eva Ayllon. 8 p.m. $59–$109. thehowardtheatre.com.

SATuRDAY FOLk

tHe antHeM 901 Wharf St. SW. (202) 888-0020. Brandi Carlile. 8 p.m. $38–$78. theanthemdc.com.

FuNk & R&B

tHe HaMilton 600 14th St. NW. (202) 787-1000. Bettye LaVette. 8 p.m. $20–$50. thehamiltondc.com.

gO-gO

Pearl Street WareHoUSe 33 Pearl Street SW. (202) 380-9620. Chuck Brown Band. 8:30 p.m. $25–$40. pearlstreetwarehouse.com.

HIp-HOp

U Street MUSic Hall 1115 U St. NW. (202) 588-1889. SOB X RBE. 7 p.m. $15. ustreetmusichall.com.

(Backed by The Guilty Ones) w/Dead Rock West

WORLD ON THE HORIZON: SWAHILI ARTS ACROSS THE INDIAN OCEAN

FREDDIE JACKSON 16 PIECES OF A DREAM 15

17 Mike Seeger Commemorative 12th Annual

Perhaps you are only familiar with the term “Swahili” as the college language elective you almost took to impress your Peace Corps friends. If that’s the case, the World on the Horizon exhibition open at the National Museum of African Art will hip you to the cultural relevance of the East African region positioned in one of the most important trade routes the world has ever known. Pulling art, personal jewelry, religious texts, and architectural elements, the exhibition weaves a kitambaa that covers the broad geographic reach of Oman to Johannesburg. Organized by the Krannert Art Museum in Illinois, it features more than 150 works of art spanning four continents and includes rarely seen artifacts from public and private collections worldwide. One particular highlight is the exhibition’s display of exquisite illuminated Qurans with breathtaking calligraphy. It’s a can’t miss. The exhibition is on view to September 3 at the National Museum of African Art, 950 Independence Ave. SW. Free. (202) 633-4600. africa.si.edu. —Hamzat Sani

OLD TIME BANJO FESTIVAL

feat. DOM FLEMONS, CATHY FINK & MARCY MARXER & MUCH MORE!

GORDON LIGHTFOOT Zane 19 ROBERT EARL KEEN Campbell 18

2018 Blues Music Awards Winner!

THE ROBERT CRAY BAND

21 The Knitting Factory Presents

CHAD PRATHER

22& 23

TOWER OF POWER “50th Anniversary!”

washingtoncitypaper.com may 18, 2018 29

Take Metrobus and Metrorail to the...

#DCJAZZFEST

JUNE 8 – 17, 2018

CITY LIGHTS: SATuRDAY

TICKETS ON SALE NOW

D C JA Z Z F E S T.O RG

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For tickets, artists and a complete Jazz in the ‘Hoods schedule, visit DCJAZZFEST.ORG 6/8 City Winery Patricia Barber Trio 6/8 Blues Alley Roy Hargrove 6/10 NYU-DC Oliver Lake Big Band CapitalBop DC Loft Series 6/10 Ivy City Smokehouse Vocal Jam at Ivy Smokehouse w/the Chris Grasso Quartet 6/14 Sixth & I Terri Lyne Carrington: Feed The Fire: Celebrating Geri Allen’s Genius, Grace and Fire 6/12 Hamilton Live Allan Harris: The Genius of Eddie Jefferson w/ Lena Seikaly 6/15 Honfleur Gallery Todd Marcus Quintet East River Jazz Series 6/15 Kennedy Center Chucho Valdés & Gonzalo Rubalcaba PRESENTING SPONSOR

PLATINUM SPONSORS

Washington D.C.’s Irish contemporary arts company has given Frederick Douglass the Hamilton treatment, and as crazy as that combination sounds, it should be good. A hip-hop musical about the abolitionist hero is onstage under a Yards Marina tent courtesy of Solas Nua, which commissioned a double bill of new works from local theatermaker Psalmayene 24 and Irish playwright Deirdre Kinahan. Settled right on the Anacostia River, The Frederick Douglass Project performances will overlook Douglass’ historic Cedar Hill home. The performances were designed to segue one into the other, with Psalmayene writing about Douglass’s 1845 journey to Ireland, and Kinahan taking over the narrative once the activist and writer lands on the Emerald Isle and gets treated like, well, the 19th century equivalent of a hip-hop star. The show runs to May 24 at The Yards Marina, 1492 4th St. SE. $35. (765) 276-8201. solasnua.org. —Rebecca J. Ritzel

JAZZ

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Azar Lawrence Experience. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

pOp

Black cat 1811 14th St. NW. (202) 667-4490. Wet. 8 p.m. $25. blackcatdc.com.

ROCk

9:30 clUB 815 V St. NW. (202) 265-0930. The Fratellis. 8 p.m. $30. 930.com. SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. The Envoys. 7 p.m. Free. songbyrddc.com. State tHeatre 220 N. Washington St., Falls Church. (703) 237-0300. Donna The Buffalo. 9 p.m. $20–$23. thestatetheatre.com.

The Washington Post is the official media sponsor of DC JazzFest at The Wharf GOLD SPONSORS

SILVER SPONSORS

PepsiCo is the official drink sponsor of DC JazzFest at The Wharf MEDIA SPONSOR

Union Stage 740 Water St. SW. (877) 987-6487. Middleway Music: Studio Concert XVI. 12 p.m. $12. unionstage.com. Union Stage 740 Water St. SW. (877) 987-6487. Basement and Citizen. 7 p.m. $20–$30. unionstage.com.

WORLD

HoWarD tHeatre 620 T St. NW. (202) 803-2899. Patrice Roberts & MarzVille. 11 p.m. $25–$30. thehowardtheatre.com. The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; with awards from the National Endowment for the Arts, the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts, the Office of Cable Television, Film, Music & Entertainment; and the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major funding from the Anne and Ronald Abramson Family Foundation, The Morris and Gwendolyn Cafritz Foundation, Gillon Family Charitable Fund, Wells Fargo Foundation, The NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, The Reva & David Logan Foundation, John Edward Fowler Memorial Foundation, Bill and Melinda Gates Foundation, and the Mid-Atlantic Arts Foundation. ©2018 DC Jazz Festival. All rights reserved.

30 may 18, 2018 washingtoncitypaper.com

FOLk tHe antHeM 901 Wharf St. SW. (202) 888-0020. Brandi Carlile. 8 p.m. $38–$78. theanthemdc.com.

JAZZ BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Azar Lawrence Experience. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

pOp SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. Priscilla Renea. 8 p.m. $12–$15. songbyrddc.com.

ROCk 9:30 clUB 815 V St. NW. (202) 265-0930. Andrew W.K. 7 p.m. $25. 930.com. Black cat 1811 14th St. NW. (202) 667-4490. Okkervil River. 7:30 p.m. $25. blackcatdc.com. Dc9 1940 9th St. NW. (202) 483-5000. Homosuperior. 8 p.m. $10. dcnine.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. Yacht Rock Revue. 7:30 p.m. $20.50–$25.50. thehamiltondc.com. HoWarD tHeatre 620 T St. NW. (202) 803-2899. Sons of Apollo. 8 p.m. $25–$55. thehowardtheatre.com.

SuNDAY

Pearl Street WareHoUSe 33 Pearl Street SW. (202) 380-9620. Tribute to Billy Hancock featuring Tex Rubinowitz and The Bad Boys with Martha Hull. 5 p.m. $20–$30. pearlstreetwarehouse.com.

BircHMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Kiefer Sutherland with Rick Brantley. 7:30 p.m. $45. birchmere.com.

State tHeatre 220 N. Washington St., Falls Church. (703) 237-0300. Caramelos de Cianuro. 6 p.m. $30. thestatetheatre.com.

COuNTRY

washingtoncitypaper.com may 18, 2018 31

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AMY HELM w/ THE MAMMALS KINGSLEY FLOOD w/ GLENN YODER AND THE WESTERN STATES & HUMBLE FIRE FEUFOLLET 3PM CAJUN DANCE PARTY!

TICKETS ON SALE! THEHAMILTONDC.COM 32 may 18, 2018 washingtoncitypaper.com

Unless you’ve been living under a musically devoid rock, you’ve probably been hearing the more consistent influence of the African continent on hip-hop music stateside. These days it’s more likely than not that your favorite rapper’s favorite rapper hails from Cape Town instead of Compton and Lagos instead of Brooklyn. And while many in the U.S. are just getting their taste of the dancedemanding music from mama Africa, hip-hop on the African continent has a considerably long and poignant history. Howard University professor of African studies Msia Kibona Clark will use her new book, Hip-Hop in Africa: Prophets of the City and Dustyfoot Philosophers, as the central source material for her talk at the National Museum of African Art this Sunday. Clark, known as one of the foremost experts on hip-hop in Africa, runs an aptly named blog and podcast, Hip Hop African, that keeps current on the affairs of African diaspora musicians and provides great source material to explore everything from diaspora immigration to whether whining to Drake’s “One Dance” gets you hemmed up at the next Afrobeat party. The talk begins at 3 p.m. at the National Museum of African Art, 950 Independence Ave. SW. Free. (202) 633-4600. africa.si.edu. —Hamzat Sani

LEE ROY PARNELL

W/ ELIJAH JAMAL BALBED

HIP-HOP IN AFRICA

w/ JANINE WILSON AND MAX EVANS

JUNE CONCERTS

SAT, JUNE 9

REGINA CARTER: SIMPLY ELLA

2-STEP DANCE LESSON INCLUDED!

CITY LIGHTS: SUNDAY

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CITY LIGHTS: MONDAY

TUNEYARDS

A lot has happened since Merrill Garbus, who performs as TuneYards with bassist Nate Brenner, released her last full-length album, Nikki Nack, in 2014. Since then, much of America’s darkness has come to light—again: racism encouraged by a polarizing new president; rampant police brutality committed against black people; and so much sexual harassment in Hollywood and the music industry that it has evoked a widespread reckoning against its perpetrators. Over the years, Garbus has used her platform in indie rock to explore these topics, like social inequality, women’s rights, and police brutality. But Tune-Yards’ 2018 album, I Can Feel You Creep Into My Private Life, bravely confronts Garbus’ own white privilege. As a white woman from Connecticut, Garbus has made a living by making (and profiting from) music that is directly influenced by African and Caribbean rhythms and vocals. I Can Feel You Creep Into My Private Life serves as her own public reckoning and a conversation-starter for other white people to acknowledge—and repent—for their social privilege and cultural appropriation. Tune-Yards perform at 7 p.m. at 9:30 Club, 815 V St. NW. $30. (202) 265-0930. 930.com. —Casey Embert

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

Portugal. The Man w/ Lucius ..........................FRI SEPTEMBER 21 On Sale Friday, May 18 at 10am

THIS FRIDAY!

THIS WEEK’S SHOWS

Jukebox the Ghost w/ The Greeting Committee ............................... Th MAY 17 Andrew W.K. w/ Moluba .............................................................................. Su 20 Tune-Yards w/ My Brightest Diamond .......................................................... M 21 MAY

JUNE (cont.)

ALL GOOD PRESENTS

WPGC BIRTHDAY BASH FEATURING

U STREET MUSIC HALL PRESENTS

Who’s Bad: The World’s #1

Rising Appalachia w/ Be Steadwell & Arouna Diarra . F 25 Lissie w/ Van William ...............Sa 26 Japanese Breakfast w/ LVL Up & Radiator Hospital ....W 30

E.U. with Sugar Bear • Kid ’N’ Play • Big Daddy Kane . Th 14 American Aquarium w/ Cory Branan Early Show! 6pm Doors .....................F 15

Michael Jackson Tribute Band

Flight Facilities ....................Th 31

Late Show! 10pm Doors .....................F 15

JUNE

M. Ward ....................................Sa 16 Houndmouth ..........................Su 17 Story District’s Out/Spoken

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

This is a seated show.......................Th 21 AN EVENING WITH

Rihanna, and Drake Dance Night with DJ Dredd and Video Mix by O’s Cool Late Show! 10pm Doors ..F 1

The Feelies ..............................F 22 STEEZ PROMO PRESENTS

Ghastly ....................................Sa 23 Old 97’s ......................................F 29 Turnpike Troubadours w/ Charley Crockett ...................Sa 30

NIGHT SOLD OUT! SECON FIRST

D NIGHT ADDED!

The Glitch Mob w/ Elohim .......Su 3 Hop Along w/ Bat Fangs & Bad Moves ...........Tu 5 Francis and the Lights ..........W 6 Parquet Courts w/ Goat Girl ...Th 7 White Ford Bronco:

JULY

Steve Hofstetter This is a seated show. 14+ to enter. .....Sa 7 Hot In Herre: 2000s Dance Party

DC’s All-90s Band .......................F 8

with DJs Will Eastman and Ozker • Visuals by Kylos .........................F 13

MIXTAPE Pride Party

w/ DJs Matt Bailer • Keenan Orr • Tezrah ................Sa 9

JUNE 2 SOLD OUT!

CAPITAL JAZZ FEST FEATURING

Earth, Wind & Fire • Brandy • Anita Baker and more! .............. JUNE 1 & 3

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

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

Lady Antebellum & Darius Rucker

w/ Russell Dickerson ........................................................................................AUGUST 2 CDE PRESENTS SUMMER SPIRIT FESTIVAL FEATURING

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

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

Phish ................................................................................................................AUGUST 12 CAKE & Ben Folds w/ Tall Heights .................................................AUGUST 18 Kenny Chesney w/ Old Dominion ......................................................AUGUST 22 The National w/ Cat Power & Phoebe Bridgers ...................................SEPT 28 • For full lineups and more info, visit merriweathermusic.com • 930.com

JUST ANNOUNCED!

The Modell Lyric • Baltimore, MD

THE DECEMBERISTS ............................................. SEPTEMBER 12 On Sale Friday, May 18 at 10am

The Circus Life Podcast 5th Anniversary Concert feat.

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

The Bumper Jacksons • Justin Trawick and The Common Good • Louisa Hall • more TBA! ........Sa 14

Chromeo w/ Pomo ...................Tu 12 Ben Harper & Charlie Musselwhite ...........W 13

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Dierks Bentley w/ Brothers Osborne & LANCO .................................... MAY 18 Jason Aldean w/ Luke Combs & Lauren Alaina ..................................... MAY 24

930.com

Ticketmaster • Modell-Lyric.com

THIS SATURDAY!

Pimlico Race Course • Baltimore, MD

PREAKNESS BUDWEISER INFIELDFEST FEATURING

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

The best thing you could possibly put in your mouth

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

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

JUST ANNOUNCED!

A M O S L E E w/ Caitlyn Smith...................................................... SEPTEMBER 18

9:30 CLUB PRESENTS AT U STREET MUSIC HALL SOB X RBE ................................. Sa MAY 19 070 Shake .......................................... Th 24 Jake Miller w/ Devin Hayes .................. F 25 Jussie Smollett w/ Victory Boyd ....... Sa 26

Bruno Major ................................ Tu JUN 5 Logan Henderson ................................F 8 Shwayze & Cisco: 10th Anniversary Summer Tour

w/ Cam Meekins ...................................... Sa 9

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

THE MILK CARTON KIDS w/ The Barr Brothers ..SAT OCTOBER 13 On Sale Friday, May 18 at 10am

Gomez:

Bring It On 20th Anniversary Tour ....JUNE 9

Eels w/ That 1 Guy ........................JUNE 11

• thelincolndc.com • U Street (Green/Yellow) stop across the street!

TICKETS for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office. 9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

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

Blackmore’s Night w/ The Wizard’s Consort ................. JULY 25 Blood Orange ........................ SEPT 28

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

930.com washingtoncitypaper.com may 18, 2018 33

WORLD

kenneDy center MillenniUM Stage 2700 F St. NW. (202) 467-4600. Tiempo Libre. 6 p.m. Free. kennedy-center.org.

MAY 5-18 Eddie Levert -By Popular Demand-

5-20 Vivian Green

CITY LIGHTS: TuESDAY

MONDAY ELECTRONIC

Union Stage 740 Water St. SW. (877) 987-6487. Carla dal Forno. 7:30 p.m. $13–$15. unionstage.com.

FOLk

rock & roll Hotel 1353 H St. NE. (202) 388-7625. Damien Jurado. 8 p.m. $18. rockandrollhoteldc.com.

JAZZ

5-25 Macy Gray 5-26 Macy Gray -By Popular Demand-

June 6-2 Joe Clair and Friends Comedy Show ( 2 shows 7/10pm)

6-3 Rare Essence 6-4 Bethesda Blues and Jazz Youth Orchestra 6-5 Midge Ure and Paul Young 6-7 Jesse Colin Young 6-8 Jesse Colin Young

JUST ANNOUNCED 7-5 Cheryl Lynn 7-14 Stokley Encore Performance 7-28 Christie Michele http://igg.me/at/bethesdablues 7719 Wisconsin Avenue Bethesda, MD

(240) 330-4500

www.bethesdabluesjazz.com Two blocks from Bethesda Metro Station/Red Line

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Sasha Masakowski. 8 p.m.; 10 p.m. $24. bluesalley.com.

pOp

9:30 clUB 815 V St. NW. (202) 265-0930. Tune-Yards. 7 p.m. $30. 930.com. Dc9 1940 9th St. NW. (202) 483-5000. THE WLDLFE. 8 p.m. $12. dcnine.com.

TuESDAY FuNk & R&B

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Lady Day Experience. 8 p.m.; 10 p.m. $22. bluesalley.com.

ROCk

Black cat 1811 14th St. NW. (202) 667-4490. Dead To Me. 7:30 p.m. $15. blackcatdc.com. fillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. New Found Glory with Bayside, The Movielife, William Ryan Key. 7 p.m. $27. fillmoresilverspring.com. SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. American Pleasure Club. 8 p.m. $15–$18. songbyrddc.com.

WEDNESDAY CLASSICAL

kenneDy center concert Hall 2700 F St. NW. (202) 467-4600. Washington Performing Arts presents Itzhak Perlman, Pinchas Zukerman, and Rohan de Silva. 8 p.m. $45–$125. kennedy-center.org.

COuNTRY

aMP By StratHMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Front Country. 8 p.m. $18–$25. ampbystrathmore.com. BircHMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Raul Malo with Monica Rizzio. 7:30 p.m. $39.50. birchmere.com. SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. George Shingleton. 8 p.m. $10–$12. songbyrddc.com.

FuNk & R&B

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Miller Micheal. 8 p.m.; 10 p.m. $22. bluesalley.com.

HIp-HOp

SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. Kobbie. 8:30 p.m. Free. songbyrddc.com.

TREVOR YOuNg: LIgHT STRuCTuRES

I’ve been reviewing Trevor Young’s thick, moody landscape paintings for the last 16 years. But only when I reached out to him personally for the first time—to discuss his third exhibition at Addison/Ripley Fine Art, Light Structures—did I learn that not a single one of his convincing renderings of billboards and loading docks in the collection was painted outdoors, or in “plein air.” Rather, the paintings at Addison/Ripley, a mix of small and large works, were created in the studio he calls his “cave.” His aerial works, featuring rocky valleys crisscrossed by illuminated strands that suggest insect tracks, “are created from my imagination and memories,” he says. Young’s most notable works obsess over how light floats above and around seemingly humdrum architectural shapes, like deserted gas stations bathed in an eerie fluorescence, or a light pole that casts a cone-shaped glow akin to a Christmas tree. The exhibition is on view to May 26 at Addison/Ripley Fine Art, 1670 Wisconsin Ave. NW. Free. (202) 338-5180. addisonripleyfineart.com. —Louis Jacobson

THuRSDAY COuNTRY

MerriWeatHer PoSt Pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Jason Aldean. 7 p.m. $55–$125. merriweathermusic.com.

pOp

ELECTRONIC

U Street MUSic Hall 1115 U St. NW. (202) 588-1889. Superfruit. 7:30 p.m. $20. ustreetmusichall.com.

U Street MUSic Hall 1115 U St. NW. (202) 588-1889. Ed Rush & Optical. 10:30 p.m. $10–$20. ustreetmusichall.com.

9:30 clUB 815 V St. NW. (202) 265-0930. Bishop Briggs. 7 p.m. $25. 930.com.

ROCk

Black cat 1811 14th St. NW. (202) 667-4490. Pussy Riot. 7:30 p.m. $25–$30. blackcatdc.com. Dc9 1940 9th St. NW. (202) 483-5000. Handsome Ghost. 8 p.m. $12–$14. dcnine.com. Union Stage 740 Water St. SW. (877) 987-6487. The Dangerous Summer. 7:30 p.m. $18–$30. unionstage.com.

34 may 18, 2018 washingtoncitypaper.com

Black cat 1811 14th St. NW. (202) 667-4490. Mount Kimbie. 7:30 p.m. $18. blackcatdc.com.

FOLk

BircHMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Marc Cohn. 7:30 p.m. $49.50. birchmere.com.

HIp-HOp

fillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Flatbush Zombies. 8 p.m. $54–$150. fillmoresilverspring.com.

SongByrD MUSic HoUSe anD recorD cafe 2477 18th St. NW. (202) 450-2917. Leikeli47. 8 p.m. $15–$20. songbyrddc.com. U Street MUSic Hall 1115 U St. NW. (202) 588-1889. 070 Shake. 7 p.m. $15. ustreetmusichall.com.

ROCk Dc9 1940 9th St. NW. (202) 483-5000. A Place to Bury Strangers. 8 p.m. $12–$14. dcnine.com. rock & roll Hotel 1353 H St. NE. (202) 388-7625. The Cassaday Concoction. 8 p.m. $12. rockandrollhoteldc.com. Union Stage 740 Water St. SW. (877) 987-6487. Suuns. 8 p.m. $16. unionstage.com.

WORLD BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Trio Caliente. 8 p.m.; 10 p.m. $22. bluesalley.com.

Books

ElisabEth CohEn Author Elisabeth Cohen chats about her debut book, The Glitch, the story of a highprofile Silicon Valley CEO and mother of two whose world turns upside down when a woman claiming to be a younger version of herself appears and disrupts her over-worked life. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. May 23. 6:30 p.m. Free. (202) 387-1400. JamEs ClappEr Former director of national intelligence James Clapper discusses his new book, Facts and Fears: Hard Truths from a Life in Intelligence, in which he asks controversial questions and shares an insider’s experience and knowledge of the U.S. intelligence world. Jack Morton Auditorium at George Washington University. 805 21st St. NW. May 23. 7 p.m. $15–$35. (202) 994-7470. Yossi KlEin halEvi Through 10 moving letters, award-winning author Yossi Klein Halevi offers a powerful call for peace and reconciliation between Israelis and Palestinians in his new book, Letters to My Palestinian Neighbor, which he discusses at Sixth & I Historic Synagogue. Sixth & I Historic Synagogue. 600 I St. NW. May 24. 7 p.m. $12–$35. (202) 408-3100.

Theater

CamElot This musical based on Arthurian legend is the winner of four Tony Awards. From its stunning score to its story’s legendary Round Table, Camelot is an ode to idealistic leadership that champions the potential of humankind. Sidney Harman Hall. 610 F St. NW. To July 1. $44–$118. (202) 547-1122. shakespearetheatre.org. thE CruCiblE This Eleanor Holdridge-directed adaptation of Arthur Miller’s classic play about the

Salem witch trials features Chris Genebach from Carousel starring as John Proctor. Coming to the Olney stage for the first time, this tale focusing on an unseeable evil tearing a colonist town apart aims to speak truth to power much like the 1953 original did. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To May 20. $49–$74. (301) 924-3400. olneytheatre.org. GirlfriEnd Todd Almond and Matthew Sweet’s vibrant coming-of-age musical duet makes its D.C. premiere. In 1993 small-town Nebraska, collegebound jock Mike and aimless Will find themselves drawn to each other. What follows is a rush of firsttime love, full of excitement, confusion and passion. Signature Theatre. 4200 Campbell Ave., Arlington. To June 10. $40–$84. (703) 820-9771. sigtheatre.org. thE invisiblE hand From Ayad Akhtar, the Pulitzer Prize-winning playwright of Disgraced, comes a thriller about an American options trader and Citibank executive, whom a fringe radical group holds hostage in Pakistan. He must use his trading strategies to find a way out in the midst of violence, corruption, and inequality. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To June 10. $49–$74. (301) 924-3400. olneytheatre.org. thE rEmains Starring Maulik Pancholy (Weeds, 30 Rock, Star Trek: Discovery), this production centers on Kevin and Theo. Ten years after their wedding, the pair host a dinner for their families and reveal the truth of their seemingly perfect union. Studio Theatre. 1501 14th St. NW. To June 17. $20–$85. (202) 332-3300. studiotheatre.org. thE sCottsboro boYs In 1931, nine African-American teenagers were taken off a train, falsely accused of a crime, and hastily tried and sentenced to death. Nominated for 12 Tony Awards and making its D.C. premiere, The Scottsboro Boys transforms an event that gripped the country into a compelling musical. Signature Theatre. 4200 Campbell Ave., Arlington. To July 1. $40–$89. (703) 820-9771. sigtheatre.org.

COUNTRY CURRENT 45TH ANNIVERSARY Saturday, May 19, 7 p.m. Rachel M. Schlesinger Concert Hall 4915 E. Campus Drive Alexandria, Va. free, no tickets required

City Paper CC45.indd 1

5/4/2018 10:08:03

#DCJAZZFEST

Take Metrobus and Metrorail to the...

JUNE 8 – 17, 2018 TICKETS ON SALE NOW

D C JA Z Z F E S T.O RG

shEar madnEss A famed concert pianist who lives above the Shear Madness unisex hair salon dies in a scissor-stabbing murder. Set in modern day Georgetown, this interactive comedy whodunit lets its audience solve the crime. Kennedy Center Theater Lab.

FRIDAY JUNE 8 , 2018

CITY WINERY DC

1350 OKIE STREET, NE • 8:00 PM (Doors 6:00 PM)

CITY LIGHTS: WEDNESDAY

CURATED COSMOS: MICHAEL BENSON REVISITED

Five years ago, the American Association for the Advancement of Science mounted an exhibition stunning in both its artistry and its technical backstory. Titled Planetfall, it featured images of planets and moons in our solar system painstakingly constructed from raw, unmannedmission data by artist and filmmaker Michael Benson. It’s hard to know how much the data was being juiced, but the images were so hypnotic that it was easy not to care. Now, AAAS is mounting a return engagement called Curated Cosmos, showcasing many images that were not included in Planetfall. It’s a welcome return: a chance to view Jupiter’s swirling atmosphere, Europa’s deeply crevassed surface ice, the vinyl-record delicacy of Saturn’s rings, and the roiling plasma flares of our sun. The exhibition’s star (sorry, I couldn’t resist!) is Io, a moon of Jupiter, which has a volcanic yellow, pockmarked surface that looks unmistakably like a Yukon Gold potato. The exhibition is on view to July 6 at the American Association for the Advancement of Science Art Gallery, 1200 New York Ave. NW. Free. (202) 326-6400. aaas.org. —Louis Jacobson

PATRICIA BARBER PRESENTING SPONSOR

GOLD SPONSORS

PLATINUM SPONSORS

SILVER SPONSORS

MEDIA SPONSOR

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; with awards from the National Endowment for the Arts, the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts, the Office of Cable Television, Film, Music & Entertainment; and the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major funding from the Anne and Ronald Abramson Family Foundation, The Morris and Gwendolyn Cafritz Foundation, Gillon Family Charitable Fund, Wells Fargo Foundation, The NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, The Reva & David Logan Foundation, John Edward Fowler Memorial Foundation, Bill and Melinda Gates Foundation, and the Mid-Atlantic Arts Foundation. ©2018 DC Jazz Festival. All rights reserved.

washingtoncitypaper.com may 18, 2018 35

ANNETTE SAOIRSE COREY ELISABETH MARE JON GLENN MICHAEL BILLY AND BRIAN BENING RONAN STOLL MOSS WINNINGHAM TENNEY FLESHLER ZEGEN HOWLE DENNEHY

“EVERY SINGLE ACTOR DAZZLES.” -Dana Schwartz, ENTERTAINMENT WEEKLY

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2700 F St. NW. To June 10. $54. 202-467-4600. kennedy-center.org. tHe SMall rooM at tHe toP of tHe StairS The Small Room at the Top of the Stairs centers on Grace, who finds herself irresistibly drawn to a mysterious and forbidden room. From the award-winning French Canadian playwright Carole Fréchette and her acclaimed translator John Murrell. Spooky Action Theater. 1810 16th St. NW. To June 10. $20–$40. (202) 2480301. spookyaction.org. titUS anDronicUS Synetic Theater’s visionary founding artistic director Paata Tsikurishvili produces the 13th addition of the “Wordless Shakespeare” series, showcasing this revenge-driven tragedy about fiery passion, energy, and vengeance. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To May 27. $15–$35. (866) 811-4111. synetictheater.org. tHe UnDeniaBle SoUnD of rigHt noW Making its D.C. premiere, Laura Eason’s The Undeniable Sound of Right Now revolves around Hank, a struggling rock club owner in 1992. When his daughter starts dating a star DJ, he comes to realize the destructive power of the Next Big Thing. Keegan Theatre. 1742 Church St. NW. To May 27. $35–$45. (202) 265-3767. keegantheatre.com. Waiting for goDot Director Garry Hynes brings a fresh and funny take on playwright Samuel Beckett’s absurdist exploration of time in this play about two characters waiting for the arrival of someone who never shows up. In Waiting for Godot, life is both vaudeville and tragedy, philosophy and confusion. Lansburgh Theatre. 450 7th St. NW. To May 20. $44–$118. (202) 547-1122. shakespearetheatre.org. WaitreSS Featuring original music and lyrics from Grammy-winning pop star Sara Bareilles, this uplifting musical tells the story of Jenna, a waitress dreaming of a way out of her little town and loveless marriage. Based on Adrienne Shelly’s beloved film of the same name. National Theatre. 1321 Pennsylvania Ave. NW. To June 3. $48–$98. (202) 628-6161. nationaltheatre.org.

Film

Book clUB Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen star as four lifelong friends whose lives are changed after reading the 50 Shades of Grey erotic novel series. (See washingtoncitypaper.com for venue information) Breaking in Gabrielle Union stars as a mother fighting to protect her family after her home is invaded. Co-starring Billy Burke and Richard Cabral. (See washingtoncitypaper.com for venue information) DeaDPool 2 Deadpool, the foul-mouthed Merc with a Mouth, puts together a team of rogues to defeat the villainous Cable. Starring Ryan Reynolds, Josh Brolin, and Zazie Beetz. (See washingtoncitypaper.com for venue information) life of tHe Party Melissa McCarthy plays a newly-dumped housewife who decides to make the most of her situation by going back to college to complete her degree. Co-starring Gillian Jacobs and Debby Ryan. (See washingtoncitypaper.com for venue information) MeaSUre of a Man During one life-changing summer, a bullied teen learns to stand up for himself and develops an unlikely bond. Starring Judy Greer, Donald Sutherland, and Danielle Rose Russell. (See washingtoncitypaper.com for venue information) SHoW DogS A Rottweiler police dog must go undercover as a show dog with his human partner to avoid a disaster. Starring Will Arnett, Alan Cumming, and Stanley Tucci. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: THuRSDAY

FLATBuSH ZOMBIES

Flatbush Zombies can ride a damn beat! The trio of rap mercenaries, Meechy Darko, Zombie Juice, and rapper-producer extraordinaire Erick The Architect, are bound for the Fillmore Silver Spring with their new sophomore studio album Vacation in Hell in tow. For the uninitiated, listening to the Zombies can sound like hip-hop past, present, and future all at once. With co-signs from legends like RZA and Ice-T and name-dropping influences like Onyx and Bone Thugs-N-Harmony, the group are undoubtedly students of their craft. The group helms an underground following in sonic opposition to the mumble rap trend that has claimed a chunk of today’s hip-hop. While their first studio album 3001: A Laced Odyssey was met with critical acclaim, Vacation in Hell has enough juice to launch them into the mainstream “What’s next?” category, with outlets like GQ and The New York Times taking notice. Flatbush Zombies perform at 8 p.m. at the Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $54–$150. (301) 960-9999. fillmoresilverspring.com. —Hamzat Sani 36 may 18, 2018 washingtoncitypaper.com

SAVAGELOVE Savage Love Live at Denver’s Oriental Theater last week was epic. I fielded sex questions in front of a sold-out crowd, singersongwriter Rachel Lark performed amazing news songs, comedian Elise Kerns absolutely killed it, and Tye—a token straight guy plucked at random from the audience—joined us onstage and gave some pretty great sex advice! We couldn’t get to all the audience questions during the show, so I’m going to race through as many unanswered questions as I can in this week’s column. —Dan Savage

You’ve famously said, “Oral comes standard.” How long before anal comes standard? How does a week from next Tuesday grab you? I enjoyed a great sex life with many kinky adventures until my husband died suddenly two years ago. I have insurance $$$ and a house to sell and a dream of using the proceeds to become a sexpositive therapist. Crazy idea? Or something the world needs more of? Judging by how many people tell me they’re having a hard time finding sex-positive, kinkpositive, open-positive, and poly-positive therapists, I would definitely file “sex-positive therapist” under “world needs more of.” Chase that dream! How do you introduce your inexperienced-butwilling-to-try partner to BDSM? By starting a two-person book club. Order Playing Well with Others: Your Field Guide to Discovering, Exploring, and Navigating the Kink, Leather and BDSM Communities by Lee Harrington and Mollena Williams, The Ultimate Guide to Kink: BDSM, Role Play and the Erotic Edge edited by Tristan Taormino, and SM 101: A Realistic Introduction by Jay Wiseman. Read and discuss, and discuss some more— and when you’re ready to start playing, take it slow! What resources are available—which do you recommend—to share with my male partner so he can improve (learn) oral sex? (Girl oral sex!) Two more book recommendations: The Ultimate Guide to Cunnilingus: How to Go Down on a Woman and Give Her Exquisite Pleasure by Violet Blue and She Comes First: The Thinking Man’s Guide to Pleasuring a Woman by Ian Kerner. My boyfriend told me that women orgasm only 60 percent of the time compared to men. I said I want orgasm equity. How do I navigate his pansy-assed male ego to find a solution? The orgasm gap—91 percent of men reported climaxing in their last opposite-sex sexual encounter compared to 64 percent of women (National Survey of Sexual Health and Behavior)—doesn’t exist for lesbians and

bi women in same-sex relationships. So the problem isn’t women and their elusive orgasms, it’s men and their lazy-ass bullshit. A contributing factor is that women often have a hard time advocating for their own pleasure because they’ve been socialized to defer to men. There’s evidence of that in your question: You want to navigate this problem—the problem being a selfish boyfriend who doesn’t care enough about you to prioritize your pleasure and has taken cover behind the orgasm gap—but you want to spare his ego in the process. Fuck his precious ego. Tell him what you want and show him what it takes to get you off. If he refuses to do his part to close the orgasm gap in your apartment, show him the door.

My expectations for sterling silver, crystal stemware, and fuckable ass are the same: I want it sparkling. How do you prioritize sex with your partner when life gets so busy and masturbation is so much easier? My fiancé is down for quickies sometimes but not always. Forgive my tautology, but you prioritize sex by prioritizing sex. Scheduled sex can be awesome sex—and when you’re truly pressed for time, you can always masturbate together. How do I come out to my family as a stripper? I’ve been dancing for more than two years and don’t plan to stop. Some of my family members are biased against sex workers, but I’m tired of keeping up the facade (I told them I’m a bartender). It’s a Catch-22: People are afraid to come out to their closed-minded families as queer or poly or sex workers or atheists, but closed-minded families typically don’t open their minds until after their queer or poly or sex-working or nonbelieving kids come out to them. To open their minds, you’ll have to risk telling your truth. Address their concerns, stand your ground, open their minds. I keep having sex dreams about Kanye West. What does that mean? You’re Mike Pence.

Am I doing society a disservice by dating an international drug dealer? A sexually frustrated international drug dealer is arguably more dangerous than a sexually satisfied international drug dealer—so you may be doing society a service. Can I want to be monogamous without any reasoning? My boyfriend would probs be in an open relationship, but I’m not interested for no reason in particular. Speaking with a low-information voter is frustrating because they can’t tell you why they voted for someone; speaking with a low-information fucker—someone who can’t tell you why they’re doing/screwing what they’re doing/screwing—is just as frustrating. It’s even more frustrating when the low-information/ low-self-awareness fucker happens to be the person you’re fucking. It’s fine to want what you want—because of course it is—but unless you’re interested only in solo sex, you need to be able to share your reasons. I dated a guy who said he was in an open relationship. We started working together on a podcast. I got irritated because after two months he never did any preliminary research. When I pointed that out, he deleted all our work and blocked me on FB. Now he’s asking for some stuff he left at my place. Do I give it back? Yep. As tempting as it might be to hold on to his stuff or trash it, that just keeps this drama alive. If you keep his stuff, he’ll keep after you for it. If you trash his stuff, you’ll have to worry about the situation escalating. If you want him out of your life and out of your head, put his crap in a bag, set it on your porch or leave it with a neutral third party, and tell him when he can swing by and get it.

THE CONGRESS SATURDAY, JUNE 9 $12/$15

★

THU, 5/31 FRI, 6/1

REVELATOR HILL KENDALL STREET COMPANY NIGHT 1 $15 SAT, 6/2 KENDALL STREET COMPANY NIGHT 2 $15 SUN, 6/3 AMANDA ANNE PLATT & THE HONEYCUTTERS $12/$15 TUES, 6/5 CHUCK HAWTHORNE $15 FRI, 6/8 THE NATIONAL RESERVE/ THE VEGABONDS SAT, 6/9 THE CONGRESS $12/$15 TUES, 6/12 GOIN GOIN GONE & THE TRAVELING ONES THU, 6/14 SCOTT KURT FRI, 6/15 DANGERMUFFIN $14/$16 SAT, 6/16 THE SEA THE SEA TUES, 6/19 ANDREW DUHON DUO THU, 6/21 HIGHDIVERS/BIG MAMA SHAKES $12/$15 FRI, 6/22 BART CROW $15/$20 SAT, 6/23 JONNY GRAVE SUN, 6/24 JOSIAH JOHSON (HEAD AND THE HEART) AND PLANES ON PAPER $12/$15

How clean should a bottom be? A little bit of shit is kinda expected, isn’t it? I mean, you are fucking an ass, right? My expectations for sterling silver, crystal stemware, and fuckable ass are the same: I want it sparkling. Zooming out: One doesn’t have anal sex with an ass full of shit for the same reason one doesn’t have oral sex with a mouth full of food—it’s going to make a mess. Making sure your mouth is empty is easy, of course, but it’s not that difficult to empty or clean out an ass. Also, a good, fiber-rich diet empties and cleans out the ass naturally. Yes, you are fucking an ass, that’s true, and shit sometimes happens. The top shouldn’t poop-shame the bottom when it does happen, and the bottom doesn’t need to have a meltdown. It just means you need to pivot to some other sexual activity— after a quick cleanup restores the sparkle.

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38 may 18, 2018 washingtoncitypaper.com

Date of first publication: Legals 5/17/2018 Name of Newspaper DC SCHOLARS PCS REQUEST and/or periodical: WashFOR PROPOSALS – Moduington City Paper/Washlar Contractor Services - DC ington Scholars Law PublicReporter Charter School Name of Person solicits proposals for Reprea modular sentatives: Monica D. contractor to provide professional Thomas J. managementand andSuetta construction services to construct a modular Freeman building to house four classrooms TRUE TEST copy and oneMeister faculty offi ce suite. The Anne Request forof Proposals (RFP) Register Wills specifi cations can be obtained on Pub Dates: May 17, and after Monday, November 27, 24, 31. 2017 from Emily Stone via communityschools@dcscholars.org. SUPERIOR COURT All questions should be sent in OF THE DISTRICT writing by e-mail. No phoneOF calls regarding this RFP will be acCOLUMBIA cepted. Bids must be received by PROBATE DIVISION 5:00 PMADM on Thursday, December 2018 000477 14, 2017ofat Decedent, DC Scholars Public Name Charter School, ATTN: JoAnne G. Coates,Sharonda Mann, 5601 E. Capitol St. SE, Notice of Appointment, Washington, DC 20019. Any bids Notice to Creditors and not addressing all areas as outNotice toRFP Unknown lined in the specifi cations will Heirs, Lolita A. Glover, not be considered. whose address is 8443 Greenbelt Road, #101, Apartments for Rent Greenbelt, MD 20770 was appointed Personal Representative of the estate of JoAnne G. Coates who died on 3/19/18, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter Must Spacious in semi-furtheir see! appearance this nished 1 BR/1Objections BA basement proceeding. apt,such Deanwood, $1200. Sep. ento appointment trance, W/W carpet, W/D, kitchshall be filed with the en, fireplace near Blue Line/X9/ Register of Wills, D.C., V2/V4. Shawnn 240-343-7173. 515 5th Street, N.W., Building A, 3rd Floor, Rooms for Rent Washington, D.C. 20001, on or before Holiday SpecialTwo fur11/17/2018. nished rooms forClaims short or long against decedent term rentalthe ($900 and $800 per shall presented month)bewith access totoW/D, WiFi, Kitchen, and Den. the undersigned withUtilia ties included. N.E. location copy to theBest Register of along H St. Corridor. Call Eddie Wills or to the Register 202-744-9811 info. ortovisit of Wills withfor a copy www.TheCurryEstate.com the undersigned, on or before 11/17/2018, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not

receive a copy of this noticeConstruction/Labor by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: POWER DESIGN NOW HIR5/17/2018 ING ELECTRICAL APPRENTICES of OFNewspaper ALL SKILL LEVName ELS! periodical: Washand/or ington City Paper/Washabout the position… ington Law Reporter Do you working with Name of love Person Repyour hands? Are you interresentative: Lolita A.and ested in construction Glover in becoming an electrician? TRUE TEST copyapprentice Then the electrical Anne Meister position could be perfect for Register of Wills you! Electrical apprentices are Dates: able to earn a paycheck Pub May 17, and full benefi ts while learn24, 31. ing the trade through firsthand experience. Superior Court of the

District of Columbia what we’re looking for… Case No.D.C. 2018 DRB Motivated residents who 000821 want to learn the electrical CHAD DEITRICK, trade and have a high school Plaintiff diploma or GED as well as reliable transportation. Versus LIEN THI BICH TRAN, a little bit about us… Defendant PowerEvent: Design Status is one of the Next top electrical contractors in Hearing on June 26, the U.S., committed to our 2018 atto9:30am values, training andinto givCourtroom 102 (500 ing back to the communities Indiana Ave. Washin which we live NW, and work. ington, DC 20001 more details… Notice To Defendant Visit THIpowerdesigninc.us/ LIEN BICH TRAN careers or email careers@ The object of this acpowerdesigninc.us! tion is Plaintiff CHAD DEITRICK’S Complaint for Absolute Divorce from Defendant LIEN Financial Services THI BICH TRAN, filed Denied Credit?? to ReMarch 8, 2018.Work Upon pair CreditOrder Report GrantWith The the Your Court’s Trusted Leader inMotion Credit Repair. ing Plaintiff’s to Call Lexington Law forby a FREE Authorize Service credit report summary & credit Publication, file April repair consultation. 855-62017, is this 23rdat 9426.2018, John C.itHeath, Attorney day April, Law, of PLLC, dba hereby LexingtonORLaw DERED, that Defendant Firm. LIEN THI BICH TRAN, cause her appearance Home to be entered onServices or before June 25, 2018; Dish the Network-Satellite Telethat Court will hold vision Services. Now Over 190 a status hearing on June channels for ONLY $49.99/mo! 26, 2018 for at 9:30am HBO-FREE one year, in FREE Courtroom FREE 102 at 500 Installation, Streaming, Indiana Avenue NW, FREE HD. Add Internet for $14.95 DC 20001 aWashington, month. 1-800-373-6508

regarding Plaintiff’s Auctions request for divorce; and that if Defendant LIEN THI BICH TRAN, does not appear at the hearing or otherwise respond to Plaintiff’s complaint, the Court may issue a judgement by default on Plaintiff’s complaint. SO ORDERED. Lynn Leibovitz, Associate Judge. Publication May Whole FoodsDates: Commissary 4,Auction 2018, May 11, 2018, DC Metro Area May 18, 2018. Dec. 5 at 10:30AM 1000s S/S Tables,GLOBCarts WASHINGTON & Trays, 2016 Kettles up AL PUBLIC CHARTER to 200 Gallons, Urschel SCHOOL Cutters & Shredders inNOTICE INTENT TO cluding OF 2016 Diversacut ENTER A SOLE SOURCE 2110 Dicer, 6 Chill/Freeze CONTRACT Cabs, Double Rack Ovens & Ranges, (12) Braising Student Assessment Tables, 2016 (3+) Stephan Services VCMs, 30+ Scales, Hobart 80 Global qt Mixers, Washington Complete Machine Shop, Public Charter School and much more! View the intends to enter into catalog at a www.mdavisgroup.com sole source contractor with The Achievement 412-521-5751 Network for student assessment services to help identifyGarage/Yard/ and close Rummage/Estate Sales gaps in student learning for the upcoming Flea Market everyschool Fri-Sat year 2018-2019. 10am-4pm. 5615 Landover Rd. Cheverly, MD. 20784. Can buy * Global in Washington bulk. Contact 202-355-2068 Public CharterforSchool or 301-772-3341 details or if intrested in being a vendor. constitutes the sole source for The Achievement Network for student assessment services that will lead to student achievement. * For further information regarding this notice, contact bids@washingtonglobal.org no later than 4:00 pm Tuesday, May 29, 2018. NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT Apple Computers Two Rivers PCS intends to enter into a sole source contract with Apple Inc. for the purchase of computers

and operating system Miscellaneous products. Two Rivers purchases Apple prodNEW COOPERATIVE ucts directly withSHOP! Apple for two reasons: (1) FROM EGPYT THINGS the AppleCare product AND BEYOND is only available for 240-725-6025 purchases made directly www.thingsfromegypt.com with Apple. AppleCare thingsfromegypt@yahoo.com provides technical service and support from SOUTH AFRICAN BAZAAR Craft Cooperative Apple experts beyond 202-341-0209 the standard one-year www.southafricanbazaarcraftcoo limited warranty and perative.com 90 days of telephone southafricanba z a ar @hotmail. technical support that com comes with Apple hardware purchased through WEST FARM WOODWORKS other and (2) Custom vendors; Creative Furniture by purchasing products 202-316-3372 info@westfarmwoodworks.com directly from Apple, www.westfarmwoodworks.com Two Rivers receives education pricing and 7002 Carrollnot Avenue discounts available Takoma Park, MD 20912 from any other vendor. Mon-Sat 11am-7pm, The10am-6pm estimated yearly Sun cost is approximately $50,000. Questions Motorcycles/Scooters should be addressed to Mary Gornick at pro2016 Suzuki TU250X for sale. 1200 miles. CLEAN. Just sercurement@tworiverspcs. viced. Comes with bike cover org. and saddlebags. Asking $3000 Cash only. REQUEST FOR PROCall 202-417-1870 M-F between POSALS 6-9PM, or weekends. Dell Computers

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Two Rivers PCS is soliciting proposals for the purchase of Dell 11-inch Chromebooks, licenses, and charging carts. To request a copy of the RFP, email Gail Williams at procurement@tworiverspcs.org.

Get Wit It Productions: ProfesWASHINGTON GLOBsionalPUBLIC sound andCHARTER lighting availAL able for club, corporate, private, SCHOOL wedding receptions, NOTICE: REQUEST holiday FOR events and much more. Insured, PROPOSALS competitive rates. Call (866) 531Washington Global 6612 Ext 1, leave message for a Public Charter ten-minute call back,School or book in onaccordance with section line at: agetwititproductions.com 2204(c) of the District of ColumbiaAnnouncements School Reform Act of 1995 solicits proposals for the following Announcements - Hey, all you lovers of erotic and bizarre services: romantic fi ction! Visit www. nightlightproductions.club * Janitorial Services and submit your stories to me Happy Holidays! James K. West wpermanentwink@aol.com

Proposal Submission

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SUMMER THE WASHINGTON BALLET GISELLE WOLF TRAP ORCHESTRA

MAY 25

CLASSIC ALBUMS LIVE PRESENTS:

THE BEATLES WHITE ALBUM JUN 2

LIVE FROM HERE

WITH CHRIS THILE SPECIAL GUEST KACEY MUSGRAVES

BARRY MANILOW MICHAEL LINGTON JUN 8 + 9

ROGER DALTREY PERFORMS THE WHO’S TOMMY

HARRY CONNICK JR.

A NEW ORLEANS TRICENTENNIAL CELEBRATION JUN 14

MARGO PRICE

RYAN KINDER

THE TREE OF FORGIVENESS TOUR

MAY 29 + 30

JUN 1

JAKE OWEN

NILE RODGERS & CHIC CHAKA KHAN

ALISON KRAUSS

MAY 26

WITH CHRIS JANSON JORDAN DAVIS

JUN 3

JUN 16

LES BALLETS TROCKADERO DE MONTE CARLO JUN 19

STEVEN TYLER AND THE LOVING MARY BAND

THE SISTERHOOD BAND WITH MEMBERS OF JUN 21 THE WHO BAND AND WOLF TRAP ORCHESTRA DR. DOG JUN 10 + 12

JOHN PRINE

WITH COMIC SHENG WANG AND DUET PARTNER SARAH JAROSZ

FITZ AND THE TANTRUMS SING-A-LONG SOUND OF MUSIC X AMBASSADORS MIKKY EKKO JUN 7

JOHN FOGERTY | ZZ TOP: BLUES AND BAYOUS TOUR

JUN 5

TONY BENNETT JUN 23

CHARLIE WILSON

(SANDY) ALEX G JUN 22

DAVID CROSBY AND FRIENDS

JUN 6

BARENAKED LADIES

LAST SUMMER ON EARTH TOUR

BETTER THAN EZRA

SHEILA E.

KT TUNSTALL JUL 2

MOTOWN THE MUSICAL

HARRY POTTER AND THE PRISONER OF AZKABAN™ - IN CONCERT

JUN 24

JUN 26–28

BRUCE HORNSBY & THE NOISEMAKERS THE WOOD BROTHERS JUN 29

McENTIRE MANCHESTER ORCHESTRA REBA JUL 1 CRITICAL EQUATION TOUR

WITH

NATIONAL SYMPHONY ORCHESTRA JUL 6 + 7

LUDOVICO EINAUDI ESSENTIAL EINAUDI JUL 8

HARRY POTTER characters, names and related indicia are © &™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

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