Washington City Paper (May 26, 2017)

CITYPAPER Washington

Free Volume 37, No. 21 WAshiNgtoNCityPAPer.Com mAy 26-JuNe 1, 2017

politics: Is Bowser’s No. 2 Now a lIaBIlIty? 8 food: KNIght moves at medIeval tImes 19 arts: oN smIthsoNIaN folKways 23

Chronic illness, makeup, roach motels, and a lot of driving: The glamorous life of hand grenade job. P. 14

BY BECK LEVY

Live performance by women-duo BOOMscat, Latin and BBQ-style street food, dance party in our city-gardenscape outdoor lot and more!

This year’s Mautner Celebration also celebrates the life of longtime Mautner Project friend and client, Georgette Krenkel and her beloved army of dedicated and loving volunteers led by Janet Redman who worked tirelessly to ensure that women’s health is and always will be a priority.

2 may 26, 2017 washingtoncitypaper.com

INSIDE

A M E R I C A N

F I L M

I N S T I T U T E

14 HGJ vs.UsA

Chronic illness, makeup, roach motels, and a lot of driving: The glamorous life of Hand Grenade Job.

By BeCk Levy

4 ChAtter

Arts

distriCt Line

23 Kin Folk: Three decades after taking over the legendary world music label Folkways Records, the Smithsonian continues to get creative in preserving its mission.

25 Folk on Folkways: A few of the people closest to the legendary Folkways Records pick their favorite recordings.

26 Short Subjects: Gittell on The Commune and Olszewski on The Wedding Plan and Berlin Syndrome

7 Cannot Compute: How an ambitious new computer system crashed D.C.’s Department of Human Services.

8 Loose Lips: Has City Administrator Rashad young become a liability for Bowser?

10 Housing Complex: A company that targets distressed D.C. homes raises eyebrows.

11 Unobstructed View 12 Indy List 13 Gear Prudence

d.C. feed 19 Knight Shift: Step into the shoes of the head knight at Maryland’s Medieval Times.

21 Ballin’ Chain: Restaurant folk from Philly and New Jersey share their Wawa favorites as the convenience store chain prepares to open in D.C. 21 What’s in Stein’s Stein: Bluejacket’s Turning Road IPA 21 Are You Gonna Eat That?: Tuna Ganoush at Siren

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City List 29 City Lights: Let West Coast Get Down’s powerful jazz soothe your soul Saturday night at Songbyrd Music House.

29 Music 34 Galleries 35 Theater 37 Film

38 CLAssifieds diversions

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washingtoncitypaper.com may 26, 2017 3

CHATTER

In which readers and educators second a teacher’s reform vision

Darrow MontgoMery

High Marks It may have seemed controversial for a working DCPS teacher to pen a 4,500-word essay about how D.C. and other cities across the nation are passing students who are woefully unprepared to graduate and navigate the world ahead of them (“When Passing is Failure,” May 19). But educators and readers seem to concede author Rob Barnett’s point that personalized learning should replace traditional course offerings.

Laura Wilson Phelan, the Ward 1 representative on the D.C. State Board of Education, wrote in to say that, based on recommendations from a task force she chaired, the state board has approved flexibility regulations allowing “competency-based learning in District high schools.”

“Previously, students could only receive credit for a ‘Carnegie unit,’ which generally requires spending 120 hours in a classroom and receiving a D- or higher,” Phelan wrote. “These new regulations allow schools to create innovative programs that would award credit for student demonstration of mastery of content, without regard to location or time related to the acquisition of content. With these new regulations, schools can now apply for a waiver to offer competency-based courses, much along the lines of Mr. Barnett’s suggestions.”

And retired DCPS teacher Erich Martel wrote, “Kudos to the CP for printing DCPS high school teacher Rob Barnett’s honest and revealing account of the widespread policy of giving high school diplomas to students whose end-of-course grades do not represent mastery of even minimal course content. He should be thanked by all D.C. residents for bringing this issue to light. Unearned diplomas based on unearned grades are like counterfeit money: They cheat the recipients and erode institutional trust between principals, teachers, and counselors and between them and the chancellor and the administrative hierarchy.”

DEPARTMENT OF CORRECTIONS: Last week’s piece about the work of Dupont Underground (“Tunnel Vision,” May 19) incorrectly reported that DU’s theater in residence, Alliance for New Music-Theater, is based in New York. It is in fact based in D.C. —Liz Garrigan

1600 BLock of PennsyLvania ave. nW, May 23

EDITORIAL

editor: liz garrigan ManaGinG editor: alexa Mills arts editor: Matt Cohen food editor: laura hayes city LiGhts editor: Caroline jones staff Writer: andrew giaMbrone senior Writer: jeffrey anderson staff PhotoGraPher: darrow MontgoMery interactive neWs deveLoPer: zaCh rausnitz creative director: stephanie rudig coPy editor/Production assistant: will warren contriButinG Writers: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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LocaL advertisinG: (202) 650-6937 fax: (202) 618-3959, ads@washingtonCitypaper.CoM Find a staFF directory witH contact inForMation at wasHingtoncitypaper.coM voL. 37, no. 21 May 26-June 1, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005.

Calendar subMissions are welCoMed; they Must be reCeiVed 10 days before publiCation. u.s. subsCriptions are aVailable for $250 per year. issue will arriVe seVeral days after publiCation. baCk issues of the past fiVe weeks are aVailable at the offiCe for $1 ($5 for older issues). baCk issues are aVailable by Mail for $5. Make CheCks payable to washington City paper or Call for More options. © 2016 all rights reserVed. no part of this publiCation May be reproduCed without the written perMission of the editor.

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DistrictLine Cannot Compute

How an ambitious new computer system crashed the Department of Human Services Last faLL the District replaced the antiquated computer system it had been using since the early 1990s to enroll residents in food stamps and cash assistance. The new system was supposed to be an upgrade.

Instead, needy residents and Department of Human Services staff have endured months of prolonged wait times as the new system has repeatedly suffered outages since it went live in October. Already in dire situations that have driven them to seek assistance, frustrated members of the public lashed out physically against DHS employees.

“The implementation of the new system I hope won’t be judged on what was sort of the worst situation on the worst day,” says DHS Director Laura Zeilinger, referring to an incident where someone threw a water bottle at an employee at one of the service centers where D.C. residents apply for benefits.

“But, understanding the pressure that people were under, I also don’t want to understate how challenging it is for customers of the department and for staff,” Zeilinger says.

In another incident, employees reported that a woman angered by the protracted delays threw a soiled diaper at service center staff.

“It has been nothing but problems,” says Sabrina Brown, the president of the local union that represents DHS employees.

“I feel for the public, because their patience is short when they come in,” she adds.

Employees brought their concerns to their union leadership in November, saying customers had physically and verbally assaulted them amid unusually long wait times attributed to the new information technology system, the D.C. Access System.

“The employees are fearful that the customers could become more confrontational, due to the glitches with the DCAS system,” Brown wrote in an email to department officials in December.

In February, Brown filed a formal written grievance on behalf of DHS employees. The union requested that management either return to using the technology that preced-

ed the D.C. Access System or provide hazard pay. It also sought a protective glass partition between employees and customers.

“As you are aware, the employees service a very vulnerable population that is constantly and desperately seeking assistances for their basic survival needs,” Brown wrote.

Two days after the grievance was submitted, fights broke out at the Anacostia service center. A DHS employee reported the incident in an email obtained by City Paper, which described “a brawl” in which “bottles were thrown at front desk staff.”

The message concluded, “I fear for my safety in the waiting area at Anacostia.”

Prior to the D.C. Access System, DHS was still using an eligibility system implemented in 1992 that ran on mainframe computers.

The 2010 passage of the Affordable Care Act provided an enticing opportunity to replace the outdated system. Under that law, the District was able to use federal money to modernize its eligibility and enrollment technology—not just for health insurance programs but for food stamps and cash assistance.

The goal is for D.C. to use a single system for an array of programs.

“There’s a huge investment that we were able to leverage from the federal government,” Zeilinger says.

The budget for the D.C. Access System’s capital costs is about $240 million at DHS, not including operating costs. The federal government has provided the majority of the funding.

The system has been plagued with software and hardware problems since it went live at DHS in October. At their height, outages were severe. “There were a few times where they were extended— an entire day—but it was mostly a few hours at a time,” Zeilinger says.

“But it’s a big deal, even a few hours, given the volume that we see every single day.”

There was also a problem where benefits had not loaded onto Electronic Benefit Transfer cards, yet the D.C. Access System indicated they had. EBT cards are used for food stamps and cash assistance in D.C. The rules governing these programs are elaborate, and instructing a computer to determine eligibility and enroll residents properly is no simple task. The system also has to adhere to requirements about the generation of notices and communicate with databases that verify applicant income.

At the busy service center in Anacostia, one problem was decidedly less abstract: the weather. “It seemed that every time there was precipitation, our system crashed,” Zeil-

Stephanie Rudig

By Zach Rausnitz

inger says.

According to DHS, it is likely that “humidity in the air or direct contact with moisture was the cause of hardware failure.” After the building’s wiring was repaired, the outages became less frequent.

In December, the District government’s Office of the Chief Technology Officer began directly managing the D.C. Access System alongside DHS, bringing expertise with big technology projects and deploying fixes regularly. Downtime remains a problem, but DHS says that in March and April, the situation improved significantly.

Before the D.C. Access System went live, it underwent rigorous testing, the department says. The District is at a disadvantage compared to states that can roll out new systems one county at a time, testing new technology in live environments. As a single jurisdiction whose residents may apply for benefits at any of its five service centers across the city, D.C. could not follow that playbook.

“We did everything we realistically could do without a live pilot,” Zeilinger says. CP

washingtoncitypaper.com may 26, 2017 7

DistrictLinE

Glad-handing Interrupted Has City Administrator Rashad Young become a liability for Bowser?

the funCtion of the Office of the City Administrator depends on the mayor’s agenda and the city administrator’s strengths, according to D.C. Auditor Kathy Patterson, whose committee had oversight of the office from 1997 to 2000 while she served on the

Young’s unwanted attention comes at a critical time for Bowser, as she prepares to announce her run for re-election and awaits Cheh’s DGS report. Whereas previous mayors favored highly competent city administrators who rode herd over the city bureaucracy, it’s hard to tell

loose lips

8 may 26, 2017 washingtoncitypaper.com

whether Young is a doer or an order-taker.

Before being hired in D.C., Young was city manager in Alexandria from 2011 to 2015, where he oversaw 3,700 employees and an operating budget of nearly $637 million. According to former Mayor William Euille—a friend of Bowser’s Green Team and a beneficiary of its campaign fundraising machine— Young’s tenure was marked by “improving communication, performance, and accountability throughout the organization.”

Young’s term in Alexandria was preceded by a similarly unremarkable time as city manager in Greensboro, North Carolina, which was preceded by stints in Dayton and Cincinnati as assistant city manager.

Two incidents stand out. The first is Young’s receipt of a retroactive pay raise, reportedly without the approval of Dayton’s legislative body. The mayor of Dayton at the time claimed she had authority to hand out raises without approval.

The second involves the 2002 hiring of Young’s grandfather at Young’s behest, as he was departing for the job in Cincinnati, according to court records detailed by the Dayton Daily News. He returned to Dayton in 2005 and got involved in a clash between his grandfather and his grandfather’s supervisor, who is white. Young persuaded his boss, the city manager, to give the supervisor a poor review and no raise, according to news reports. Young eventually signed off on the supervisor’s firing, at which point the terminated manager sued the city for reverse discrimination, forcing the city to settle the case for $1 4 5,000.

Yo u n g ’s grandfather later pleaded guilty in federal court to possession of child p o r n o g raphy, which he viewed

on government computers, according to court records.

David Esrati, a citizen journalist, blogger, and Dayton activist, says that Dayton doesn’t hire strong city managers and that Young is a prime example. “They do the bidding of the mayor,” he says. “Their job is to help the mayor draw political support.” Informed of the DGS controversy and the school lottery outrage, Esrati says, “This is how things work in Dayton all the time.”

Young’s scheduled appearance at the Session Law Firm this week perplexes Pedro Alfonso, CEO of Dynamic Concepts Inc. and a longtime civic leader. “If folks feel left out, have them give me a call. They can have my spot,” Alfonso says. “One thing I can afford is a cup of coffee and a Danish.” (Note: LL is told that Session actually serves his invited guests a more elaborate breakfast.) “[Young] doesn’t dish out any contracts,” Alfonso adds, “though he can pick up the phone and say to an agency director, ‘I’d like you to meet with so-and-so.’ There’s value in that, I suppose.”

Asked whether the Department of General Services controversy has hurt Young’s reputation, Alfonso replies, “Not in the local business community. He had to put his foot down.

Those people needed to be fired. If not, he’d have lost a lot of respect.”

CP City Administrator Rashad Young

Photo via Twitter

in d.C. business circles, an invite to a breakfast meet-and-greet with the city administrator at the offices of a powerful lawyer-lobbyist means you have been tapped as an insider. It shows the mayor who is or might be a player in city politics, which comes in handy when time comes to solicit campaign donations.

Such an occasion was scheduled for this Thursday at the Session Law Firm, where its founder, Wa rner H. Session, has presided over “the intersection of law, business, and public policy” for over 25 years. That is, until City Administrator Rashad Young backed out last Friday due to “scheduling conflicts.”

Loose Lips has a hard time envisioning a “scheduling conflict” over a breakfast meeting that is a staple of insider political culture and was scheduled more than a week in advance. Having inquired about the meeting just before Young’s cancellation, it seemed to LL like there had to be another reason—particularly with Mayor Muriel Bowser out of town on a taxpayer-funded business junket in Las Vegas. (Young’s office says he took “personal leave” related to a family matter he has known about for some time.)

Young has been on the hot seat since The Washington Post identified him in a D.C. Inspector General report about former schools Chancellor Kaya Henderson granting preferential treatment to city officials trying to bypass the dreaded school lottery.

His explanation—that he entered the lottery, missed a deadline, but somehow ended up with the school he wanted for his children—was no match for the barrage of parental outrage The Post served up. (Young’s children were home-schooled until they received a coveted placement at Murch Elementary School, adding to the furor.)

Yet the school lottery fiasco is just the latest problem involving Young. Since his arrival, he has drawn attention not for major accomplishments or agency improvements but for controversies that could make him a political liability for Bowser.

D.C. Council. The CA does not require confirmation by the council, as agency heads do, Patterson says, and “because the role serves totally at the pleasure of the mayor, there’s not really anything to measure the person/ the position against.”

Young’s 2018 budget submission consists of pages of bureaucratic speak with little data and few specifics. Several attachments on the D.C. Council’s website consist of blank spreadsheets. A list of salaries shows that Young expects to take home $349,870 next year in salary and benefits.

He drew immediate attention upon arriving in D.C. when he satisfied D.C. residency requirements by purchasing a $1.2 million home from Bowser’s 2014 campaign treasurer Ben Soto, later the treasurer of the controversial political action committee FreshPAC. The sale price and loan rate were market rate, Young said at the time, though he sought an opinion from the Board of Ethics and Government Accountability, which recommended he avoid future involvement in development deals involving Soto and Young’s lender, EagleBank, on whose board Soto sits.

Last summer, Young was embroiled in one of the messier Bowser administration dustups: the resignation of Christopher Weaver, former director of the Department of General Services. According to WAMU, Weaver declined to fire staff members overseeing competitive bids for the D.C. United soccer stadium and the St. Elizabeths sports facility after Fort Myer Construction, a key donor to Bowser and FreshPAC, lost out to a national firm. The employees were fired after Weaver resigned, and Young, who denied any knowledge that Fort Myer was a bidder and defended the action as a matter of “accountability, democracy, and public trust,” is believed to have directed the firings. Ward 3 Councilmember Mary Cheh convened a closed-door hearing to examine the matter, and a report is pending.

In April, LL reported on a similar matter in which Young’s office intervened to reverse the award of local business preference points on a $100 million, five-year energy contract—four months after the firm was notified that it had been awarded the points.

By Jeffrey Anderson

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washingtoncitypaper.com may 26, 2017 9

DistrictLinE Get Rich Flip

A company that targets distressed D.C. homes raises eyebrows.

EarliEr this yEar, Debbie was in the living room of her Capitol Hill townhouse when her husband noticed some commotion outside. The couple hadn’t seen anything like it before.

A large tour bus was parked on their block and at least 30 people were entering a nearby home. The members of this group w e re c a r r y i n g thick workbooks.

It was a Sunday. The people were dressed casually. They appeared to be middle class, middle-aged, and of various ethnicities.

Debbie had heard rumors about the history of the house, which was in bad shape. Word on the street was that the family inhabiting the home sold it and left. A leak in the roof had caused plaster to fall off the exterior. (Debbie’s name has been changed to protect her household’s privacy.)

Intrigued, Debbie went down the block and asked a man who was guiding the group if she could go inside. He agreed, and she watched the visitors surveying the house as if they were going to renovate it. They chatted about tearing out the kitchen and preserving the exposed brick wall.

When everyone left, Debbie says, they received gift bags. Hers contained a pen, a bottle of water, and a calendar from a real estate firm called Helpful Investing. The calendar featured pictures of a property that the company had apparently refurbished, spanning demolition to completion.

The next Sunday, the same thing happened: Another tour bus showed up with yet another group of visitors. Debbie later saw a “giant for-sale sign” out front. It read “We Buy Houses Any Condition CASH!!” plus the business’ name, phone number, and website.

Helpful Investing signs are posted outside several homes in developing areas, from Capitol Hill to Prince George’s County and across a sizeable swath of Northeast D.C. That’s left some residents, especially those on Capitol Hill’s eastern side, scratching their heads.

The property in Debbie’s neighborhood (“The Red House”) is currently listed on Helpful Investing’s website for over $1.2 million.

Property records show that an LLC affiliated with the company bought it in February for $549,999—under half the current price.

A second two-story property located nearby, on K Street SE (“The Purple House”) is advertised online for over $1 million, as are five other Helpful Investing properties in D.C. The site

housing complex

displays 15 “Sold Properties,” eight of them in Maryland, which went for two to six times what Helpful Investing says it bought them for.

Current neighborhood commissioner Dan Ridge is wary about the company. “I think they’re playing some complicated lottery model that has big pay days when they shift a property,” he says. “I don’t like lotteries played on the backs of my neighbors, who often have little recourse.”

Marcus Thomas, a co-founder of Helpful Investing, says the firm focuses on “undervalued properties” in “transitional areas,” converting some into multiple condo units and keeping others as single-family homes. Thomas and his business partner Dan McCutchen launched the company a decade ago and redeveloped their first house in Capitol Heights, Maryland. They’ve since completed more than 50 projects and grown the business to the District, with a concentration in Capitol Hill.

The company aims to keep “hold time”— how long it owns properties—to a minimum: ideally four to six months for a rehabilitation flip, depending on a project’s specifications.

Thomas admits that some Helpful Invest-

10 may 26, 2017 washingtoncitypaper.com

ing redevelopments can drag on for a year or more. He points the finger largely at regulatory hurdles, calling them the “Achilles’ heel” of the firm’s business model, since they can delay projects by months (“an exasperating amount of time”) and increase other costs.

“We don’t just buy something because it’s a dump,” Thomas says. “The value has to be there” in the property’s location and condition.

D.C. Superior Court records show one lawsuit against the company, filed last December by a woman who bought a home in Northeast that Helpful Investing had renovated but did not own.

The litigation alleges “extensive renovations without permits, without inspections, and without regard to proper construction techniques and [D.C.’s] building code,” forcing the buyer and her children to live “in a home that has holes in the walls, a flooding basement, a leaking roof, leaking and burst pipes, lacks insulation, and has broken floors and cabinets.” The current owner, whose attorneys did not respond to a request for comment, sued for fraud under D.C.’s consumer protection laws, claiming “no disclosure was made to [her] or her real estate

756 13th St. SE

Darrow Montgomery

By Andrew Giambrone

agent of any issues with the home.” She purchased it in 2013 for $240,000 from a woman who had contracted with Helpful Investing.

In a response to the complaint, attorneys for the defendants, including Helpful Investing, denied almost all of the substantive allegations and counter-argued that the buyer was “responsible for checking the quality and suitability of the property before purchase.” They also said the alleged damages were “the fault of third parties,” and that the buyer had failed to mitigate them herself.

Once a month, Thomas says, Helpful Investing hosts “meetups” at a Largo hotel (“almost like an open mic session”) for people interested in real estate: Some may need to buy or sell a house, others may need an architect or general contractors. “It builds a trust system,” he says, noting that the sessions are free.

“We’re not those late-night gurus.” (Although there usually is a DJ present.)

Lenders are asked to make a minimum investment of $50,000 in a project for periods of less than one year and penalties for the company are baked in if a project goes long. “That shows you I’m not here to hold your money,” he explains, noting that the average rate of return for investors is more than 10 percent, but those returns can be much higher. “We have never not paid anybody back.”

Thomas says about half of the company’s investors do not live in the D.C. area, but know its real estate market is hot. Helpful Investing identifies properties through multiple-listing services, word of mouth, and even “guerilla marketing” like mailers and signs. “We’re trying to stay within the footprint of the city and make neighbors happy,” he insists.

At mention of the tour buses that five residents say they have witnessed frequenting two of the firm’s Capitol Hill properties this year, Thomas chuckles. He says McCutchen also trains people for FortuneBuilders, a San Diego-based outfit that characterizes itself as “the premier real estate education company in the country,” and sometimes uses a Helpful Investing house as a “conduit” for workshops before it’s been remodeled. “It’s an introduction to what you are able to do in the area,” Thomas explains, adding that Helpful Investing does not charge for tours.

Still, former neighborhood commissioner Daniel Chao was taken aback when he saw a Helpful Investing property on a glossy postcard he received in the mail. The house was on Potomac Avenue SE and listed for about $1.2 million. “For the layout and how little work they did, even though the neighborhood’s value was rapidly skyrocketing, I thought ‘Who the heck would buy that home at that insane price?’”

In Thomas’ telling, though, Helpful Investing improves communities with bona fide processes in place. “This is all about a risk model,” he says with an aficionado’s aplomb.

“I’m managing risk.”

CP

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JUNE 9 – 18, 2017

Dan Snyder Guts His Sports Radio Portfolio

By Matt Terl The local fooTball team’s offseason has been bifurcated into two narratives: One says that, off-field, the team looks like a disaster, primarily because of the sloppy dismissal of wellregarded general manager Scot McCloughan.

The other says that the team has actually had a pretty good offseason as far as addressing their roster composition and on-field needs.

But if you factor team owner Dan Snyder’s Red Zebra Broadcasting organization into the mix, the balance seems to tip pretty emphatically toward disaster.

Over the last couple of months, Red Zebra has systematically dismantled its network of local radio stations. According to radio industry watcher Tom Taylor and local media news source Dave Hughes, Radio One bought 92.7 FM (WWXT) and 950 AM (WXGI) in April. Then, a couple of weeks ago, the Educational Media Foundation bought 94.3 FM (WWXX). Finally, a conglomerate called AM 570 LLC, which is affiliated with Christian-themed Salem Media Group, bought 570 AM (WSPZ) last week.

This doesn’t look particularly great even on the surface: The two FM stations simulcast ESPN 980’s content on the clearer FM band with much more reach than the flagship 980 AM (WTEM) has ever shown. Those are gone now.

And 570 served as a complementary channel to ESPN 980, airing more of the sport network’s national programming (which cleared the way for 980 to lean hard local) as well as the live games and associated programming for teams that could be considered second-tier to the D.C. market, notably the Baltimore Orioles for Major League Baseball and the Virginia Cavaliers for NCAA football. That’s gone now.

Red Zebra’s foothold in Richmond was 950, which will continue to broadcast sports content under its Radio One ownership.

All that’s left in the immediate D.C. area is the flagship 980, and there are persistent rumors and reports that it too may be sold off.

All of that is bad for anyone who likes local sports radio. Regardless of what you think of Snyder or of ESPN 980’s programming decisions, having more locally-focused options is better than having only one. And it’s ominous too for local on-air and behind-the-scenes sports radio talent, who will find an already limited number of gigs squeezed even further.

And it looks to be a financial train wreck for Red Zebra too. Snyder’s company bought the two FM stations, along with 730 AM, back in 2005 for some $33 million, according to Billboard magazine. After a few years of complaints about weak signals, Red Zebra added 980, 570, and 1260 AM for another reported $24.5 million—an estimated total outlay of nearly $58 million.

Five years later, the company sold 730 and 1260 for a reported $4.6 million. This year’s sales TOTAL $4.35 million. I’m not a media entrepreneur or a professional industry analyst, but I’m skeptical that a sale of flagship 980 is going to bring in enough to make up the $48 million difference between the purchase prices and the sale prices of all the stations.

You might assume that because Snyder owns both the team and the radio station the rights are somehow tied together, which would certainly boost the value of 980.

But Chuck Sapienza, who was program director at 980 until 2015, says the rights had never been fully intertwined. “When I worked there,” he says, “we paid for the broadcast rights [to the team’s games]. So if the [Pigskins] wanted to advertise a game on 980, they had to pay the full rate. And if we wanted to get broadcast rights, we had to pay the full rate.”

The distinction is somewhat moot now, as 980 is no longer the strongest signal in town broadcasting the games. In February, the team announced a deal with Cumulus Media-owned station WMAL to broadcast the games on 105.9 FM and 630 AM. It was characterized as supplementary to the ESPN 980 coverage but looks different in light of the moves since.

After Red Zebra purchased WTEM in 2008, then-City Paper columnist Dave McKenna wrote a scathing indictment in these pages of Snyder’s many acquisitions and investments: “The pattern seems to be: He takes something over, that thing goes downhill, and before it improves or even gets off the ground, he’s moved on and taken over something else,” McKenna wrote. “You can look it up. His media acquisitions are many and uniformly fruitless.”

With the benefit of almost a decade of hindsight, it looks like McKenna might’ve blown it on one count: Fruitless implies that you gained nothing. Losing $49 million and letting a competitor have the prestige of broadcasting your own games? That’s like taking fruit out of your refrigerator and putting it back on the trees. CP

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Gear Prudence Gear Prudence: This past weekend I was at a local brewery when a dozen bikers showed up. They proceeded to drink a lot, were very loud, and then rode away. I overheard them say they were doing a ‘bike brewery crawl.’ This seems very irresponsible and I bet some of them were drunk biking. This is not the first time I’ve seen groups of bikers do this, by the way. Next time I see this kind of thing, I think I’m calling the cops for their own safety. I don’t have a question. I just wanted to warn them.

—Bicyclists Endangered, Erroneously Riding Dear BEER: Riding a bike to a brewery (or few) is a popular weekend activity, especially in the summer, when cool suds provide a crisp, refreshing quench after a little pedaling. Some establishments, especially those close to recreational trails, will even advertise their presence in the hope of luring passing bicyclists to taste their wares. And that’s great! Bikes are fun, beer is delicious, etc. But overdoing it—whether you arrive by bike, car, pogo stick, or any conveyance that you pilot yourself—and setting off inebriated is both illegal and ill-advised. Bicyclists, especially in the heat, should be mindful of the effects of alcohol in light of potential dehydration and caloric deficit. There’s nothing wrong with a bike brewery crawl per se, but moderation is paramount.

—GP Gear Prudence: If by chance I’m out on foot and meet up with a lady and she has her bicycle with her, am I then obligated to walk her bike for her? You know, the gentleman thing—I carry her bags when they’re heavy, hold doors etc. But this is her bike, her machine. Maybe she doesn’t even want me touching it and would be insulted if I offered. Are there any guidelines here?

—Guidance On Operating Deftly, Gentleman Understands Yielding Dear GOODGUY: Oh, a chivalry question.

Great. GP is torn here: Generally speaking, codified rules dictating the interactions between men and women seem more laughably old-fashioned than a penny-farthing or a waxed handlebar mustache. On the other hand, being a decent, obliging, and conscientious companion never really goes out of style. When it comes to bicycles, the safest bet is to assume that the person who rode the bike is more than capable of managing it after she dismounts. If it looks to be getting cumbersome, you can politely ask if you can be of any assistance, but you should never assume that someone else needs or wants help pushing her own bike, and snatching it from her without her express permission in an effort to “help” should get you a u-lock to the noggin. You can certainly help in other ways, especially with opening doors, which are always tricky when lugging a bike. But the bike is off limits unless you’re told otherwise.

—GP Gear Prudence is Brian McEntee, who writes @sharrowsdc. Got a question about bicycling?

Email gearprudence@washcp.com washingtoncitypaper.com may 26, 2017 13

Erin McCarley (L) and Beck Levy (R)

By Beck Levy On tour the only thing you can count on

is constant low-grade discomfort. Some shows are great, some are awful. Sometimes you sleep on a nice couch or even a guest bed, and sometimes you zip yourself into your sleeping bag so you can’t smell the floor you’re sleeping on. Sometimes you play in clubs with green rooms, and sometimes there are piles of dirty mattresses being used to sop up a foot of putrid standing water in the basement show. Unless your band gets lucky fast or perseveres for years and gets lucky, you stay on that circuit indefinitely. A person can tire of it. But not everyone does. I first participated in the bizarre, selfdestructive ritual known as touring 10 years ago and haven’t lost my taste for it yet.

We were putting the finishing touches on our tour schedule around the time of the presidential inauguration, when over 200 people were arrested for being in the proximity of a protest (and are now facing decades in pris-

on). I wondered what our travels would be like in this new era. In D.C., it’s a given that music scenes are political. Benefit shows are the norm, and bands are held to a high standard when it comes to calling out injustice. My band Hand Grenade Job has never encountered hostility about the stands we take.

I wondered how we would be received elsewhere, performing in front of our neon “UNGOVERNABLE” sign. I wondered if the election would have already made tangible changes in show spaces around the country.

What I found was the election changed nothing about touring. My ability to openly express my ideas was not affected or threatened. It’s actually funny that I wondered about it—not because it’s impossible that people like me might encounter censorship, but because I’m now imagining the pearl-clutching that would have ensued had I come home with a story about that.

Speech has implicit protections based on

14 may 26, 2017 washingtoncitypaper.com

who is speaking, too. It can be more dangerous to be a young black man on the campus of the University of Maryland than it is to be a white woman in Louisiana singing a song about hexing killer cops. The freedom to live without white nationalist terror, to name just one example, should be at least as fervently protected as my right to sing those songs.

And sing those songs I did. And though formal or informal censorship was not among them, a lot of strange and unexpected things did happen. I documented them carefully for your reading pleasure.

Feb. 26, 2017: Athens, Georgia, at Cookie Road with Deep State and Pansy I’m surprised to be excited to play, because I used to be so nervous. But beta blockers are magic, and now that I love performing, I crave

Andy Gale

Chronic illness, makeup, roach motels, and a lot of driving: The glamorous life of Hand Grenade Job.

long sets and new audiences. Paula Martinez, a local artist, made us the neon “UNGOVERNABLE” sign, and though it’s about 1’ x 6’, we brought it in the van. I can’t wait to light up the sign and talk about being ungovernable.

In the middle of our set, after “The True Story of the Monster of the Potomac,” a guy in the audience yells out that he’s from Southeast D.C., quickly adding, “It’s awful.” I ask where he went to high school. He says Chavez, and we launch into a public conversation about the changing landscape of Anacostia. When it seems like we’re losing the crowd, I recoup by asking if anyone present had a good experience in high school. A few people did, and I ask them to leave.

I spent most of last year living on the behavioral health unit of a research hospital. Consequently, I don’t take my freedom for granted, and mostly, I don’t care if anyone thinks I’m crazy. So on this first day of tour, I am feeling a special kind of freedom. When we play, I want

shots with Priests because it’s their drummer Daniele’s birthday.

My meds start to wear off. First, I’m tired, then suddenly I’m suffering. The lights and sound are swirling. I stand with my head against a pole and a cup of water on my head, waiting for people to be ready to leave. Then I sit on a couch and try to use my hands to block out all light and noise. When we get back to my friend’s house, I’m pretty well fucked up.

My friend slowly administers lidocaine shots to my face, neck, and trapezius. By 3 a.m., I can finally fall asleep.

Erin wakes me up three hours later to drive home. We’re supposed to leave again six days later, to tour for two weeks to Austin and back.

But that doesn’t go as planned.

to wild out. My social anxiety is better than it used to be, because I just walk away from situations I don’t want to be in, or alienate people with my honesty.

After this band plays, we will figure out sleeping. I’ll wash my face and drink some NyQuil. I’ll make a bed for myself on the floor.

March 1, 2017: New Orleans, Louisiana, at Sisters in Christ with Kalvin We are staying with my friends Adrienne and Dan, who publish the local alt-alt-monthly, Antigravity Magazine, and live out in the suburbs in Gretna. I’m on the verge of tears since we got here even though this is the city where I have the most friends—the sweetest, most loving, generous-of-heart friends. My neck pain is bad, and I haven’t yet figured out the most effective balance of medications—how to quell the pain but not get too drugged and drowsy.

I’m not maxed out on Gabapentin yet but inching up toward that.

Our show is at my friend Bryan’s record store. We set up the sign and Bryan sets up chairs. Three black trans women have been murdered in Louisiana in the past week: Ciara McElveen, Chyna Doll Dupree, Jaquarrius Holland. Stolen lives. We write their names on candles and place them on an altar in front of my amp. Every night I make an altar. Life is an accumulation of rituals.

March 6, 2017: Returning Home to Takoma Park In order to afford these two months of on-andoff touring, I found a subletter for my room in Mount Pleasant. When Erin and I were initially planning these tours, I asked if I could crash with her and her family in Petworth between trips. I’d also had vague notions about visiting friends in nearby cities during the intervening periods. But as my home base, I’d designated the apartment in Takoma Park where my father and stepmother live.

That’s where Erin dropped me off around noon, my world a blur of nausea and pain, slightly deadened by Tramadol’s fog of dull confusion. Tramadol is a synthetic opiate, the strongest medication I’m prescribed for breakthrough pain. It only sort of works: It makes the pain a little more distant, but in return it makes me muddled and sleepy. You couldn’t call it relief.

Dragging this fog behind me, I go upstairs and sleep all day and through the night.

March 5, 2017: Durham, N.C., at The Pinhook with Truthers and Priests

March 9, 2017: Erin’s Big News

Josh Nee

I was in a car accident in August and suffered brain, back, and neck injuries, which have largely defined my life ever since, particularly in that I have a constant, low-grade migraine.

It was an unmanageably intense migraine, but then I had some success mitigating it with Gabapentin, lidocaine injections, and Botox injections. Still, it disables me significantly.

Sometimes the migraine spikes and renders me totally unable to do anything. It’s unclear what the triggers are. On this drive, it came back sudden and hard. Perhaps it was from a week of poor sleep, or allergies, or just all the recent new and unusual activities of touring.

My skeleton wanted to escape from my body, and the pain was so bad I felt like I was going to throw up. We pull over and I decide to take the maximum allowed amount of the medications I’m prescribed for breakthrough pain.

If it doesn’t work, I’m going to have to find a hospital. After 10 minutes—fast because I always take part of my medications sublingually—I start feeling some relief, and the rest of the drive is an over-medicated blur of trying to keep my energy up for playing.

I’m perspiring heavily during our set and can’t quite help from speeding up songs or rambling between them, but I’m proud to have gotten through, and the crowd response is positive. We sell more tapes and shirts than usual. My bandmate Erin and our roadie Dee do

Erin tells me she can’t go on tour. Circumstances in her life have abruptly changed, and with them, her priorities. She says I’m welcome to go without her.

Tour is in three days.

My head is spinning. It feels like I’m watching a movie, a dark comedy where everything that can go wrong does. The world is full of little trapdoors. This past year I keep finding them and falling through, to alternate realities where things are slightly harder, a funhouse mirror world. The absurdity makes me want to laugh and laugh, little releases to relieve the pressure that’s building up into one long scream that might never stop.

I literally cannot imagine not going on this tour.

March 12, 2017: Richmond, Va. at Gallery 5 with Magnus Lush and Bad Magic I try to stay relaxed as I set up. I took notes during my solo practices, and I refer to them on stage, even as people start paying attention. I open with “The Name,” and I can feel from washingtoncitypaper.com may 26, 2017 15

lel to the highway. After 15 or so minutes of deliberation, I decide to do this too.

In other words, I intentionally drive into a ditch. And get stuck. My wheels spin in the mud. I hadn’t realized the median was muddy and hadn’t considered that my car (a 2002 VW Golf ) is unusually low. Fuck.

I get out of the car to evaluate the situation.

Because my air conditioning is broken, I’ve been driving in a sports bra and short shorts.

Because I’m sexy and stylish, I’m wearing platform jellies. It is in this garb that I get behind my vehicle and attempt to push it. Shockingly, my attempts are unsuccessful. Aware that I’m running down the clock and that my options are limited, I set out down the shoulder of the highway. Without donning additional clothing. It’s hot as fuck. I receive the honks and catcalls I’m expecting, but I’m

has a Confederate flag bumper sticker and I’m thinking “Oh no.” The dude gets out and looks about like what you’d expect. He quickly grabs chains and comes over to evaluate the situation. He’s all business. I show him my hitch and we attach the chain to his truck.

I get in and steer as he pulls, and just like that I’m on the service road. We all cheer.

I get out and try to give them all a little money. They refuse and the white dude with the Confederate flag truck says “I’m just glad I got here before the cops.” We all nod, unified by our distrust and hatred of the police. It’s a beautiful moment.

play with them again feels so natural. We go to a vegan diner. I’m freaking out and talking way too much, way too fast. I drink several glasses of water and let some Propranolol dissolve under my tongue.

Suze Craft

the audience that it was the right choice, picking up vibes that the song is functioning as a prayer for attention.

There are a couple low points. It seems like “July” doesn’t work as well as I’d hoped solo, though it’s hard to gauge in the moment. I accidentally delete the guitar part I set up to loop in accompaniment to my autoharp for “New Year,” and need to start over. The biggest flop is in “Jupiter,” which I intended to be the denouement of the set. The live-looped crescendo generates unintended feedback at an earshattering frequency.

For the first time in my career as a musician, I just stop playing the song. “You know… this just doesn’t feel fair to either of us,” I tell the audience, who react amicably enough. To further garner sympathy, I share that this is my first solo set, the disclosure earning me a smattering of applause. Mind racing, I settle on an a capella cover of the Hatebreed tune “Driven

by Suffering.” It isn’t my best work—I feel like I’m doing karaoke—but it closes the set.

Breakfast with Gauche

March 17, 2017: Dallas, Texas at NSFWeekend with True Widow, Thou, and Aseethe I drove 10 hours yesterday, six today. I gotta get into the kill zone, pure discipline and focus, taut. It’s not difficult to do this when you approach challenges with total commitment, when you’re totally committed to yourself. I’m like an athlete if the sport is straddling chaos like a bucking bronco.

When I hit traffic just over the Louisiana/ Texas border, I freak out because it pushes my ETA back an hour. I have no time to spare. GPS tells me there’s a faster route if I bail on the highway, get off at the next exit, and take the service road past the congestion. I’m not the only one with this idea, and I see cars pull off over the median onto the road that runs paral-

practiced at ignoring and resisting harassment.

A white pickup truck is pulled over onto the shoulder a ways up. I walk the shoulder and see the truck is packed with five men. “Hi,” I say. “My car is stuck back there.” “We saw,” the driver says, “that’s why we pulled over.” I’m touched. They all get out of their car and we walk down the highway together. The driver’s name is Pedro. We get to my car and try to push it together, first with the car in neutral then with me inside giving it gas. It’s no use.

We contemplate them pushing my car out with their truck, but ultimately agree the risk is too great that their truck will also get stuck.

During another failed attempt to push, a larger pickup truck pulls over onto the service road. It

16 may 26, 2017 washingtoncitypaper.com

I give them all HGJ tapes.

They’re super impressed that I’m touring alone. I hug Pedro and hop back into my car. I make up for the lost time by driving over 100 mph to Dallas.

Reuniting with Thou is amazing. I saw Bryan on the previous tour leg, but I only saw Josh for a moment. I haven’t seen Matthew, Andy, or Mitch in a long time. My old bands Turboslut and The Gift played a ton of shows with Thou, beloved tour brothers. Getting ready to

March 25, 2017: Savannah, Georgia, at Spaceland/ Starlandia with Ankle Sox, Valore, and Orthodox

Folks are slow to trickle in, but among the first are a couple from D.C., Renee and Aaron, who happened to be passing through Savannah on vacation. They’re theater folks I know from having accompanied Taffety Punk’s production of An Iliad. It’s nice to see familiar faces, and the three of us clump together, somehow the most normy (and oldest) people in the mostly vacant room. There are, generously, six people in attendance at this point, scattered throughout a room the size of the Velvet

Lounge’s upstairs.

The first band is a guy named Christian performing as Ankle Sox. He plays YouTube videos through his iPhone and distorts/loops them. I’m confused by this until I remember Savannah College of Art and Design is here.

At one point he just throws on an FKA Twigs song. Accidental? Not clear. Then he fucks with the restaurant orgasm scene from When Harry Met Sally. The set has been about 20

It’s a song about positivity and self-love. Valore isn’t rapping in affected African-American Vernacular English. The songs flow one into the other because the tracks are being played from an iPhone playlist, so anytime Valore wants to talk between songs she has to rush because the next one is already starting. Many of the songs feature the words “intricate” and “succulent.” Her stage presence and physical movements are reminiscent of Jonathan Davis from KoRn: lots of moody crouching and menacing or sullen gazes through hair. With each song, she slips further into AAVE. Five songs into her set, I

in Southern towns, smoking weed, and feeling targeted and profiled by the police for being an artist. Another song begins: I pledge allegiance To the flag Of the United States of Corruption The set runs about 45 minutes. The booker does not intervene, nor does he spend the whole set inside. By the conclusion of her set, the audience is down to four. Valore and her boyfriend leave afterward. They do not return.

April 12, 2017: Montreal, Quebec, at Brasserie Beaubien with Gauche and Jeu De Bouteille

Cape guy

minutes. That was a cool set, I think.

Then he plays for another 25.

The next performer takes the stage, a white woman with long, fine blond hair, who looks like she is either 19 or 40 (nothing in between). She is wearing a gray hoodie with big pom-poms hanging from the zipper pull, hoop earrings also with pom-poms, a black T-shirt with a picture of Paris Hilton on it, pants that are the shape of JNCOs but the texture of yoga pants, and teal sneakers: an ambiguous, enigmatic visual brand.

She introduces herself as Valore. A prerecorded beat plays and she begins to rap.

are you?” Sensing this is some kind of setup or trap, I try to pivot, answering “Sun in Sagittarius, Moon in Scorpio, Virgo Rising.” He is thrown off but recovers quickly, slurring, “What’s the deal with you because you are, because I’ve never actually met a Siren before, like in real life.” I’m a little impressed at the level of his rambling.

Someone else walks up, and grateful for the distraction, I give him all my attention. It’s a tall young man, who tells me he liked my songs a lot, then asks if he can buy my tape for just a dollar. I decline to sell him my tape at less than half its cost. Then my friend Brian shows up and we launch into printer talk, discussing how relief printing ruins you for screenprinting in some ways, and discuss our current studio setups.

Mythology-oogle leaps into the conversation, eagerly telling us about his monoprint/image transfer system. I’m aghast at this twist. Why couldn’t this dude have led with that like a person instead of screaming at me like a toddler? Why are men so corny and dumb? How can I stop them from stealing my lifeforce?

notice that half the audience has left.

Va l o r e announces that the next song is called “Gritty Marsha Brady.” The most memorable lyrics are: Call me Marsha Brady Marsha, Marsha, Marsha And that is Marsha with an S-H-A, Fuck the CIA, Kill your fucking phone There is also a brief and startlingly graphic song about being raped, another song critical of having an iPhone, and a song about smoking weed. There is a song about hanging out

April 10, 2017: Providence, R.I., at AS220 with Gauche, Iris Creamer, and Funeral Cone During Gauche, I’m sitting at my table drinking what would technically be the glass of redemption when an oogle approaches. He seems drunk. I motion disinterestedly to indicate that I can’t hear him over the band. His response is to start screaming at the top of his lungs: “HELLO! HOW ARE YOU?” I’m embarrassed even though I’m the victim, not the perpetrator, of this encounter. His persistence is disconcerting.

I stare at him until he leaves. As soon as Gauche is done playing, he’s back. I pointedly ignore him as he fumbles through my tapes and pins. Finally he blurts out, “What’s the deal with you?” He is holding two cans of PBR tallboys. “Are those both yours?” I ask. “Yes,” he says proudly. “So what’s your deal? What

When I see signs for the border, I get anxious.

This is my first time leaving the country. Until November, I didn’t even have a passport. I pull up to the booth. A female border cop takes my passport and starts asking me questions.

I’ve had enough friends tour internationally to know what to do—if asked, deny that I’m going to be playing music for money. Since I’m in a passenger vehicle, I didn’t anticipate any problems, nor did Gauche, who, because they had lots of people, gear, and merch, told me they’d prepare by printing out a “contract” from the venue.

“What is the nature of your visit?” The question I’ve been preparing for comes. The cop is unimpressed with my answer that I’m just on a road trip. She scoffs and says “it looks like you have your whole life back there or something,” gesturing at the backseat of my car. I don’t know what to say to that, so I don’t say anything. She asks what I do for a living, a question

washingtoncitypaper.com may 26, 2017 17

go?” Damn those decades of anarchist conditioning. But before I can say it, Chief Wiggum dismisses me.

April 15, 2017: Allston, Massachusetts, at Track Shacks for Rogozo Showcase with Missing the Action, The Dingo Babies, Rogozo, Mint Green, and Elizabeth Colour Wheel After I’m done loading in, I see a young man with long hair wearing all white, a white cape, and makeup that looks like the Hamburglar recently vomited several liters of ketchup. He is the person I’ve been in touch with about playing. Oh … good. I introduce myself, and he confirms that I’m in the right place.

While I plug in my pedals, an Alfred E. Neuman-looking dude starts harassing me. He plugs a cell phone charger right into the power strip I’m using on the stage. He keeps getting in my face, asking me over and over again if I’m a rapper, giggling maniacally. My patience threadbare, I completely ignore him. I have zero capacity to give warnings, only to knock this juvenile the fuck out. The child-looking guy doing sound is standing there uncomfortably throughout but doesn’t intervene except to weakly say to Alfred, “I think she’s busy.” He gets a phone call and wanders off.

Once I’m set up, I go use the bathroom upstairs and try to steel myself for playing. When I come back down, the basement is about half full. I inform the Hamburglar and the soundchild that I’m going to begin. I light my candles and focus on giving my all for the last set, determined to deliver, summoning my power, forming an orb of pulsing light around myself powerful enough to supercede this reality and take us into another one.

But really, I’m just trying to ignore the feeling inside me that’s berating and taunting me like “this is the culmination of all your work, look at yourself, playing in a sewer to college brats, this is where you ended up.” I take a deep breath, take my mic, and begin to sing.

As I layer the vocal loops, Alfred returns downstairs, walks to the center of the audience, and starts moshing, shoving the people around him, throwing up his hands and screaming “YEAH!!!! YEAHHHHHH!!!!” I snap. I stomp the foot switch that cuts the loop, and berate him over the mic.

“Why don’t you just leave? That way, you’ll only have ruined two minutes of the show, rather than the whole thing.” He begins to protest, putting up his hands. I shake my head. “Nope.

No one will miss you. Just go. Get out of here.”

I’m ready to make a blood sacrifice of this brat, right on stage, as a warning to anyone else who might dare step to me. Alfred slinks away.

Determined to go on, I hit the footswitch to resume. The crowd seems scared. I can’t tell if they approve or disapprove of my actions, and I also don’t care. I get through my a capella songs and move on to my autoharp songs. Apropos of nothing, the soundchild runs on stage and adjusts my mic stand height, lowering it to where I

18 may 26, 2017 washingtoncitypaper.com

Jaime Lowe

I hadn’t anticipated. I say performer, and she asks what that’s supposed to mean. I tell her I play guitar at a museum. I’m starting to realize that this whole time I’ve been worried that it would look like I was a touring band, when really the risk was looking like I was trying to move to Canada.

Finally, the cop scowls at me and tells me to pull over up. I pull over and a different cop comes over and tells me to get out of the car.

I get out and sit on a nearby bench. He slowly goes through every compartment of my car, occasionally pausing to disdainfully kick something out of the way, or to ask me to identify an object.

When he gets to the backseat, he encounters the large plastic tote I use to contain toiletries, snacks, and my many various medications.

Viewing this pharmacological cornucopia, the pig is startled. “Why do you have so much medication?” he asks. “Because I have illnesses,” I reply, not sure what else to answer. He looks at each bottle and asks me what each drug is and what its meant to treat, often moving onto the next bottle and question before I’ve finished answering, in case there was any doubt about whether he actually cared.

At one point he stops and asks suspiciously, “What did you say your name was again?” I tell him, he cross-checks it with the name on the label, and resumes his survey of my meds. When he’s handled each bottle, he says, “So what did you say was wrong with you?” I don’t say anything for a moment, working to manage the fury inside me, keeping my face expressionless, my voice controlled. “I have a chronic illness,” I answer, and stare into his eyes until he looks away.

My eyes are hot and wet. I’m alone. I’m not sure if my phone will work if I need to tell someone I’ve been detained, and even if it did, I don’t know who I’d call. I don’t have the phone number of the contact at the venue.

Gauche is probably an hour ahead of me, with all their phones off. I feel stupid, naive, and underprepared. Then my decades of training as an anarchist kick in and I remember that stupid and alone is exactly how the State wants me to feel. And, in particular, I remind myself that my internal sense of dignity isn’t something a cop can take away from me. I remind myself that institutional power is arbitrary.

When the cop opens my trunk, I remember that I have a large metal box in there, covered in mysterious tubes and visible weld. It’s my veggie oil tank, but on one occasion a security guard mistook it for a bomb. “That’s my veggie oil tank,” I call out, but the cop doesn’t seem to notice it or care about it and ignores me. He removes every object from my trunk: my little Orange amp, my autoharp, my pedal box, and my box of cables. He quickly replaces each object in my trunk, hands me a piece of yellow paper and sends me inside the station.

A cop at a counter motions me forward. He looks exactly like Chief Wiggum, even down to the slightly lazy eye. I hand him the piece of paper and my passport. He asks me all the same questions again, and then some new ones. The cop stares at his computer screen for a while then hands my passport back. I’m confused.

I almost say “Am I under arrest or am I free to

know I will knock into it as I strum my autoharp.

“Um… okay… thanks,” I say, hoping to expedite his exit. I play my songs, knocking into the microphone every third or fourth chord.

At the end of my set I tell the audience that

tonight is my last show after two months of touring. They clap.

CP Read more of Beck’s HGJ tour diary at washingtoncitypaper.com/arts.

DCFEED

The Dacha Beer Garden planned for 14th Street and S Street NW is causing a stir among neighbors because of its planned 600-person capacity and potential for noise. Renderings show plans for a playground.

Knight Shift

Step into the shoes of the head knight at Maryland’s Medieval Times.

By Laura Hayes Before you can start the nearly 300 hours of arduous training required to become a sword-fighting knight at Medieval Times, you must first pass a physical test wearing a heart monitor.

“Usually the test occurs in the morning when people haven’t had coffee and they’re nervous, so they often fail,” says Josh Brown, a 30-year-old veteran knight at the Hanover, Maryland location of the 11th-century-inspired dinner theater giant with nine locations nationwide. Knowing this, he’s generous with second chances.

Most people underestimate how draining the job is. “I’ve hired guys recently who worked here for maybe two or three weeks and then realized it’s not for them, they can’t handle it,” Brown says. “My ex-wife, she didn’t have an appreciation of the physical toll it takes on you—especially after two or three shows a day. I fall asleep on the couch every night.”

It’s a gig that belongs in a documentary about dangerous jobs, but instead Medieval Times has been featured on Cake Boss, Hell’s Kitchen, and Celebrity Apprentice. On the big screen, who could forget that scene in The Cable Guy? “You’re riding horses that are going 20-30 miles per hour and you’re asked to jump off,” Brown explains. The performance, almost two hours long, is choreographed for safety reasons. Even someone wearing drunk goggles could discern the falls are fake. “The job itself is dangerous. This is where the 200-300 hours of training comes in. We limit as many accidents as we can,” says Brown.

Why is this knight different from all other knights? After 11-and-a-half years with the company, Brown has earned the title of head knight. He hires and fires the squires hoping to be anointed knights, and trains both staff members and horses. But he also gets to claim the villainous lead role in the show. One only needs to spot his painted-on Inigo Montoya-like scar to know he’s the bad guy.

But behind the scenes, Brown is a Medieval mensch. “He’s good with the guys, strong when he has to be and nice and understanding when he needs to be,” Medieval Times general man-

Knight Josh Brown

Darrow Montgomery

Young & hungrY

ager Nate Thompson says, adding that Brown is the first to don his knight uniform to volunteer at community events such as visiting the children’s ward at area hospitals.

An Army brat born in Germany, Brown

started working on his knight moves to cure his awkward teenage blues after community college and a few traditional desk jobs didn’t pan out. A friend who was working as a princess at Medieval Times encouraged him to ap-

ply, and soon after Brown’s office became an 1,110-seat arena inside a castle abutting a mall.

His 6’3” frame and athletic volleyball player build prepared him well for faux hand-to-hand combat.

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On days when there are shows, Brown says he arrives two hours early to start his day-toknight transition. Knocking swords in tights and addressing over-sugared children as “my lord” and “my lady” sounds like medieval torture, but Brown says they’re able to stay engaged with guests show after show.

“We’re a bunch of 30- and 40-year-old goofballs. It’s a locker room environment” he says. “The most fun I have is when I’m fighting one of my more senior guys and we really push each other. I come away with sweat dripping off my beard.”

Though Medieval Times hires female squires and actors, there are no female knights. “Historically there weren’t any, so it doesn’t make sense,” Brown says.

Most of the men have wavy hair—long enough to be tied in a man bun after a hard day’s knight. Thompson says while Fabiolength locks used to be a requirement, there are now work-arounds. “We’re looking for a certain look, that era, that romantic long-haired knight kind of look,” he says. “It’s more photogenic, but times have changed. Now guys with short, trendy hair can wear a hood in the show.”

Dinner and tournament shows are offered almost daily. Upon crossing the threshold of the Arundel Mills shopping mall just off the Baltimore-Washington Parkway you enter the “Hall of Arms,” which has an atmosphere akin to a crowded airport terminal. You only need to stay there long enough to pick up your paper crown—which you’re expected to wear for the duration of the evening—and perhaps to pound a mug of mead piña colada before entering the arena.

Once inside, the “four-course meal” begins with garlic bread and what tastes like Campbell’s tomato soup poured from what looks like the kind of coffee pitchers you find in break rooms at conferences. There are no utensils other than your God-given hands, which doesn’t register as a challenge until your server plops down the next plate, heavy with half a roasted chicken, half a potato, and half an ear of buttered corn on the cob.

The only way to make the meal passable is to make sure there’s at least one vegetarian in your party. The meat-free alternative—a cauldron of rice and beans swimming in more Campbell’sesque soup—comes with little packets of hot sauce. Offer your first born child in exchange for the right to dribble some liquid fire onto the bland bird.

Make sure you have a buddy to remind you not to rub your eyes with your filthy, hot-sauced fingers. And buy your vegetarian friend a round of drinks because he or she will be ridiculed by Medieval Times’ staff, including not-so-subtle off-with-your-head gestures.

Both meals end with a slice of pound cake and coffee.

Adult tickets for dinner and the performance

start at $59.95 and can go up to $81.95, before tax and gratuity, for more VIP experiences. “If we just sold the meal it would be about $10 per meal,” Thompson says. “But our cost is closer to $4-$5 per person for food.”

The performance starts with what looks like dressage. Horses perform precise dance moves and prance around in various patterns.

Then the royal party perched above the arena introduces the knights with great fanfare. The king, who is a dead ringer for the Burger King mascot, acts as MC. The color of your crown corresponds to the knight you’re required to go ga-ga over. Cheer him on as he partakes in games of skill before the jousting and swordfighting begin.

Occasionally knights pause to toss roses into the crowd, and at the end of the show a lucky lady is chosen by the winning lad. Her prize is a moment with him under the spotlight. It’s a reminder that men used to flirt with women on horseback rather than on Snapchat. Also, like Jazz in the Garden, outdoor movies, and apple picking in Loudoun County, a date at Medieval Times feels like an unabashed—yet charmingly sincere—effort to get laid.

Medieval Times got its start in Spain in the 1970s before the concept was exported to the U.S. in 1983 with the first location in Florida.

What else has endured over those 34 years?

Not Reading Rainbow, not Fraggle Rock, not The A-Team.

Somehow the company has single-handedly kept dinner theater cool across many demographics and across the country. Throughout the show, groups celebrating everything from school field trips and new pregnancies to 80th birthdays received shout outs.

“It’s that ambiance,” Thompson explains.

He’s been with the company for 17 years. “How many restaurants can you go and let loose and strip away traditional thoughts? You’re eating with your hands, you’re allowed to yell … it brings you to that romantic time period inside a castle with a king.”

One third of Medieval Times customers are return visitors, so the choreography and storyline change frequently, according Thompson.

He says 80 percent of guests are individuals as opposed to school groups, and the main demographic is women 25 to 50. But chances are your invite will come from someone else.

Remember that friend you had growing up who rocked a Legend of Zelda t-shirt and bribed you with all-you-can-eat Smartfood Popcorn to get you to watch The Outer Limits? Maybe he invented internet cafes later in life, or was an early adopter of Google Glass? When he decides to wed, don’t be surprised if his bachelor party is a wild knight at Medieval Times.

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

DCFEED Grazer

what we ate this week: naan burger with beef patty spiced with ginger, cumin, green chilies, onions, and cilantro and mint chutney, $13.95, Grand Trunk. Satisfaction level: 5 out of 5. what we’ll eat next week: orecchiette with short ribs, pork sausage, rapini, roasted grapes, olive oil, and ricotta, $20, Bar Civita.

Excitement level: 4 out of 5.

Ballin’ Chain

What’s in

Stein’s Stein

Casey Patten, owner, Taylor Gourmet

Breakfast: drip vanilla coffee with a soft pretzel (when they’re the freshest) Lunch: classic-size spicy Italian with lettuce, tomato, onion, hot peppers, sweet peppers, Parmesan, and a bag of Herr’s salt and vinegar potato chips

Steve Uhr, operations director, Schlow Restaurant Group (Tico, The Riggsby, Casolare, Alta Strada, Conosci)

Regular-size turkey, spinach, tomato, pepper jack cheese, and banana peppers

Josh Phillips, general manager and mezcalier, Espita Mezcaleria “Wawa was my first job! I was too young to use the slicer, but I still crushed the deli. Teenage me always got a turkey hoagie, provolone, mayo, pickles, onions, shredded lettuce, oregano, and pepper for my lunch. Do they still have the stuffed pretzels?”

Photo courtesy of Siren

Where to Get It: Siren, 1515 Rhode Island Ave. NW; (202) 521-7171; sirenbyrw.com Price: Free What It Is: Bread service at the fresh-

Beer: Bluejacket’s Turning Road IPA Maker: Tim Liu

“My favorite thing to do is to buy a couple of hoagies: the meatball sub, a tuna hoagie, and a classic Italian. I eat the meatball on the drive home, then the tuna when I get home. I like to let the Italian sit in the fridge for a day to let the flavors marry together, then smash it into my face-hole. Plus the lemonade tea makes a great gin mixer for after work.”

Hometown: Washington, D.C. Price: $8 per 16 oz pint, $10 per 750 ml bottle

Chef Jennifer Carroll, Requin

A roasted turkey and Swiss shortie, soft pretzel, bag of Doritos, and lemon-lime Gatorade

Italian toasted with mayo, mustard, tomato, lettuce, onion, pickles, sweet peppers, hot peppers, parmesan, provolone, and oregano plus green tea, a soft pretzel, and a box of Vanilla Dutches

A build-your-own Italian hoagie paired with a Mountain Dew

The Dish: Tuna Ganoush at Siren

Kyle Bailey, chef and partner, The Salt Line

Jonathan Taub, chef and co-owner, Bub & Pops

Mike Isabella, chef and restaurateur, (Graffiato, Kapnos, G, Arroz, Pepita, Yona)

Are You Gonna Eat That?

Michael Stein

When the news broke that cult convenience store chain Wawa was coming to D.C., Philadelphians living here finally had cause for celebration. After all, the Eagles have lost five straight games to the Washington football team. The food markets that started as a dairy processing plant in Wawa, Pennsylvania, in 1902 are a go-to destination for hoagies and lemonade. In honor of the first D.C. location coming to the former City Sports space downtown (1111 19th St. NW), we asked restaurant folk from Philly and the Garden State to share their Wawa favorites.

—Laura Hayes

man seafood restaurant encourages guests to swipe house-made lavash through a concoction starring tuna poached in olive oil that’s blended with a generous amount of capers, pickling brine, and a hit of espelette pepper. It’s formed into a football-shaped quenelle and accented with pulverized fennel and coriander seeds plus a tableside drizzle of olive oil infused with morel mushrooms, ginger, preserved lemon, and star anise. Chef John Critchley recently added a pickled tapenade of peppers, olives, and garlic to the plate.

What It Tastes Like: Fancy, Mediterranean tuna salad, which isn’t a bad thing.

(I tried it before the addition of the tapenade, which probably takes it to the

next level.) Overall, it’s a really thoughtful and tasty bread service thanks to the pillowy lavash triangles that are cooked on the plancha and re-toasted to order.

The Story: Critchley says this thoughtful freebie came about because he wanted to find a way to use the whole fish.

“With us having a raw bar and having sashimi slices of raw tuna, we typically need to find a way to repurpose the sinewy parts,” he says. Partner and Chef Brian McBride came up with the name, which is a play on baba ganoush, the traditional Middle Eastern eggplant spread.

It comes to the table after any raw bar dishes since Critchley says it pairs better with warm seafood, and many guests ask for seconds.

—Rina Rapuano

Taste: Neighborhood Restaurant Group assistant beer director Tim Liu says Bluejacket began tweaking its hopping techniques a few months ago. The resulting ale is the brewery’s Turning Road IPA at 7.6 percent alcohol by volume. The beer cribs its name from a Paul Cézanne painting and is brewed exclusively with the Mosaic hop variety. Peach, mango, nectarine, and white pepper leap out of the glass into the nose. Highly aromatic, the ale is a touch sweet with minimal acidity.

Though it tastes and smells tropical, this IPA is brewed without fruit.

A century ago, American beer was hopped almost exclusively with hop cones. Today, brewers have many choices between hop cones, pellets, and debittered leaves. “We also use Mosaic lupulin powder ... and we find it has a more intense aroma, which helps soften the bitterness for that beer,” Liu says.

Story: Liu is the only child of two Taiwanese immigrants. “For me, coming from an Asian background, I would love to see more Asian food culture mixed with craft beer,” he says. “That’s what drew me into the industry.”

He also asks restaurant owners to think more creatively when pairing beer with Asian food, saying Sapporo and Tsingtao beer pairings are played out.

“For me almost all of my major life moments have been dealing with food and drink directly or indirectly, and the more we can push people of every culture with food and drink, the more diversity we’ll naturally have.”

Where to try it: Bluejacket, 300 Tingey St. SE; (202) 524-4862; bluejacketdc.com —Michael Stein

washingtoncitypaper.com may 26, 2017 21

“SPARKLING, FRESH, AND LIVELY.” —Los Angeles Times

New York City Ballet Peter Martins, Ballet Master in Chief

Two thrilling programs of

Balanchine, Peck, Ratmansky & Wheeldon “A whirlwind of exhilaration... is any other ballet company as fit and athletic as this one?”

Daniel Ulbricht with Ensemble in Rodeo: Four Dance Episodes, photo by Paul Kolnik

—The Washington Post

June 13–July 16, 2017 | Opera House

TICKETS ON SALE NOW! (202) 467-4600 | KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Additional support is provided by The Blanche and Irving Laurie Foundation.

Kennedy Center Theater Season Sponsor

June 6–11, 2017 | Opera House with the New York City Ballet 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.

Support for Ballet at the Kennedy Center is generously provided by Elizabeth and Michael Kojaian.

22 may 26, 2017 washingtoncitypaper.com

CPArts

Take an audio go-go tour of U Street.

washingtoncitypaper.com/arts

Kin Folk

Three decades after taking over the legendary world music label Folkways Records, the Smithsonian continues to get creative in preserving its mission.

Moses Asch wAsn’t one for organization.

Jeff Place learned this first-hand sitting in a room with countless shelves and boxes in 1988, as he first tried to make sense of Asch’s musical legacy. The fabled producer recorded 2,168 records of music from all over the world on his own Folkways Records imprint between 1949 and 1987, all of which were then custody of the Smithsonian Institution.

“I have no idea how he found anything,” says Place, who started as archivist of the newly-minted Smithsonian Folkways label 30 years ago. “I remember we took a box with old catalogs, a shoe, a bunch of LIFE Magazines, and letters from various people. And at the bottom of the box was a pile of Woody Guthrie lyrics.”

With Folkways, Asch left behind a hugely significant body of work that quite literally runs the musical gamut. Alongside records from revered figures like Guthrie, Pete Seeger, and Leadbelly are recordings of office sounds, work hymns, children’s music, poetry, and spoken word. Asch used the music he recorded as a means for carrying out a greater mission: The goal wasn’t just to entertain, but also to document and educate people about music and cultures from around the world.

The Smithsonian hasn’t just preserved the Folkways collection since Asch’s death, it’s expanded upon it. Today, Smithsonian Folkways boasts more than 3,000 recordings and 43,000 songs. A non-profit label run by a small-but-dedicated group of staffers and volunteers, it has persevered not just through budget cuts, but through drastic changes to the record industry landscape.

“I wasn’t sure it could be done,” says Tony Seeger, Pete’s nephew who served as the label’s first director and curator.

“But thanks to the really hard work and the generosity of people, it’s stayed active. It’s really quite impressive, and it’s something to celebrate.”

Asch was looking for an entity to take over Folkways in 1984 when he ran the idea by Ralph Rinzler, then the artistic director of the Smithsonian’s Folklife Festival. The two operations made a compatible pair, but administrators at the Smithsonian initially were nervous about taking on the acquisition.

“There were a lot of unknowns,” Seeger says. “No one at the Smithsonian had any experience with the record industry. They had never paid for any music collection before, although they bought other collections. They weren’t sure that they had the money, and they had concerns, probably legitimate, about how they could make it work.”

Ultimately, the release of a Folkways tribute album on Co-

music

lumbia Records helped ease the Smithsonian’s financial concerns. Folkways: A Vision Shared - A Tribute to Woody Guthrie and Leadbelly featured covers from U2, Bob Dylan, Bruce Springsteen, and Emmylou Harris, among others. Proceeds from the Grammy-winning tribute helped fund the Folkways acquisition.

With funding in place, Smithsonian Folkways launched in 1987 as a division of the Smithsonian’s Center For Folklife and Cultural Heritage. The label’s budget allowed for the hiring of two positions. Place, an obsessive record collector

stantaneous glass discs.

“I got a contract from Ralph to have the whole collection evaluated album by album,” Seeger says. “We sort of bundled them together. I sent 20 recordings of African music to a specialist and paid him $5 for each review. We had them look at each album, listen to it, and tell me if it was any good. Were the notes outdated? Were the photographs captioned right?”

Organizing the records and songs into a database took three to four years, Place estimates. But he took to the seismic scope of the task, putting his years of previous practice as a record Dan Sheehy, Jeff Place, and Huib Schippers

Darrow Montgomery

By Ryan Bray

by self-definition, was tipped off to the archivist job before the Smithsonian formally advertised for it. Having recently earned his master’s degree in library science and sound archives at the University of Maryland, he applied for the job and was hired.

Seeger, meanwhile, was hired as the label’s curator from Indiana University, where he served as director of the university’s Archives of Traditional Music. Together, their first mission was to sort through and organize the original Folkways collection, most of the recordings of which existed on delicate, in-

store clerk and buyer to good use.

“I was a kid in a candy store,” he said. “I love organizing stuff like that, and here was this really righteous collection.”

Asch died in 1986 before the acquisition was finalized, but he left behind an important-yet-tricky stipulation: Each of the label’s original recordings had to be kept available in print forever. This posed significant logistical challenges, as most of the label’s recordings are not great sellers and are not carried in stores.

So the label created a system for making CDs available to the washingtoncitypaper.com may 26, 2017 23

CPArts and Johnny Irion, who recorded an album of children’s music for the label in 2009. schippers, who AssuMed the curator job last July, says the label gets between 200 and 300 proposals for projects each year, about 20 of which are followed through to production. As a non-profit, the label has to balance Folkways’ anthropological musical mission with remaining financially viable.

“My favorite number was zero,” Sheehy said. “I’d tell people all the time, ‘Just help me get to zero.’ If we go over zero, we can use [the extra money] to fund the mission, and that’s a beautiful thing. But if we go under zero, that’s a problem.”

Folkways relies on a handful of releases each year that sell well enough to help it produce projects that, while less profitable, still add value to the Rinzler collection. In Folkways terms, a good seller is one that moves between 2,500 and 10,000 units, Schippers said. A recent Big Bill Broonzy release sold more than 18,000 copies, making it the biggest selling release in Smithsonian Folkways history.

“The financial and legal people are all completely engaged with the mission, and the mission people realize we have to make money,” he said. “So there’s a real understanding of the delicate balance.”

But that fiscal tightrope acts as an important motivator for the label’s staff, who are consistently on the lookout for grants and other means of bringing in money. In June, the label will launch a Kickstarter campaign to help finance an anthology of hip-hop music, which is in the works with the help of the Mu-

seum of African American History and Culture.

The label also launched a subscription-based membership program in November to help bring in revenue. For $20 a month, members get $1,000 worth of downloads, artistic prints, and discounts on CD and vinyl purchases. Advanced subscriptions offer the same perks and more for an annual fee of $1,000 or a one-time donation of $2,400.

The program has netted about 150 members since its launch, and Schippers said he hopes membership will hit 1,000 subscribers by year’s end. Money from the subscriptions will help fund future recordings, while there is also talk of starting an endowment for the label.

The subscriptions will also help fund other educational ventures, such as Folkways Magazine and specialized lesson plans that are used in classrooms across the world.

“Ideally if things work out the way we want, we can start getting this stuff into schools so kids can listen to it without having to pay,” Place says.

Many Folkways employees have been with the label and the Center for Folklife and Cultural Heritage since the acquisition, and some, such as Place, see retirement coming around the bend. But those closest to the label say the foundation has been set for the Folkways mission to carry on into the future, thanks to workers, volunteers, and a dedicated fan base of supporters.

“This is about more than music,” says Sheehy, who still works on projects for Folkways under the title of curator emeritus. “There’s more to it than that, and that’s what keeps music alive.”

CP

TH FA E TH ER

public strictly on the basis of demand.

“If people want one, we make one,” says Dan Sheehy, who succeeded Seeger as director and curator from 2000 to 2015.

“We finally got to a place where someone in Boise can, at 3 a.m., order a custom CD. We’ll come in in the morning and the CD will already be made with the disc art on there, and another machine will have the sleeve. We just wrap them up and send them out.”

Today, the Ralph Rinzler Folklife Archives and Collections includes not only Smithsonian Folkways, but a host of other philosophically-aligned labels that have since come under the Smithsonian’s wing, including Cook Records, Paredon Records, and the magazine/record label Fast Folk Musical Magazine. Beyond these acquired collections, Smithsonian Folkways also has released 375 new recordings and projects.

Recent releases include the latest from the East L.A. chicano rock outfit Quetzal and Rahim AlHaj’s Letters From Iraq.

Place, meanwhile, is at work on producing a six-CD box set in celebration of Pete Seeger’s centennial anniversary, complete with a 250-page book of notes. The label hopes to release the set next year.

“I think Dan coined the phrase ‘the greatest music you’ve never heard,’” Huib Schippers, the label’s current curator and director, says of the label’s expansive reach.

Folkways holds special significance for many of the artists that record for the label. Ella Jenkins has consistently recorded for Folkways since 1957. Arlo Guthrie also has a strong connection to the label, both through his father’s work and that of his daughter and son-in-law, Sarah Lee

“SLEEK AND STRIKINGLY CONCEIVED” —The Washington Post

HHHHH

“FASCINATING” “A THRILLING RIDE” —TheaterMania

SHAKESPEARE’S

—DC Theatre Scene

NOW PLAYING

THE FATHER MUST CLOSE JUNE 11

1 2417-FT-0245_CityPaper_quotes.indd may 26, 2017 washingtoncitypaper.com

5/18/17 2:13 PM

TH

Pictured: Ian Merrill Peakes as Timon

—THE TIMES (LONDON) Photo: Teresa Wood

202.544.7077 | folger.edu/theatre

“AS SHARP AND SURPRISING A PLAY AS YOU’LL SEE ALL YEAR.”

E

WRITTEN BY FLORIAN ZELLER TRANSLATED BY CHRISTOPHER HAMPTON DIRECTED BY DAVID MUSE FEATURING TED VAN GRIETHUYSEN

CALL 202.332.3300 OR VISIT STUDIOTHEATRE.ORG

CPArts Arts Desk

Folks on Folkways

For almost 70 years, Folkways Records has been documenting music from around the globe. As such, diving into their hefty back catalog can be daunting. Where does one even begin to unfold Folkways’ rich musical history? We asked a few people closest to the legendary label to cherry pick a few of their favorite recordings. It’s a start.

—Ryan Bray Mark Spoelstra Recorded at Club 47 (1963) When I was a kid, I bought an Elektra Records sampler at the grocery store for a buck. It turned me on to some amazing music. One of my favorites was folk singer Mark Spoelstra. He played a wonderful 12-string guitar and spent time busking on the streets of Greenwich Village with a very young, just-intown Bob Dylan. This was recorded at the great Cambridge, Massachusetts, club Club 47. I got to know Mark before he passed.

—Jeff Place Talking Union with the Almanac Singers and other Union Songs with Pete Seeger and Chorus (1955) In 1952, when I was about seven, I was playing the 78 RPM album of the Almanac Singers’ Talking Union on a warm spring day. My father stormed into the room, slammed the window shut, and said “Don’t every play those records with the windows open.” It was the height of the McCarthy investigations and I learned quickly that music is dangerous, both for those who perform it and for those whose positions it threatens. By reissuing it in 1955 with some additional songs, Folkways Records was standing up for freedom of speech in a time when that freedom was under severe threat.

—Tony Seeger Sing out with Pete! (1961) This is a compendium of concerts Pete Seeger gave in various venues in the ’50s and ’60s. The album brings me back to the Christmas concerts I went to as a youngster that affirmed the worthiness of our community during the days of the McCarthy era.

—Michael Asch, Moses Asch’s son, curator of Smithsonian Folkways Recordings: Sounds To Grow On

Llegaron Los Camperos!: Nati Cano’s Mariachi Los Camperos (2005) This Grammy-nominated recording begins with the classic opening theme of the internationally renowned, Los Angeles-based mariachi ensemble led by NEA National Heritage Fellow Nati Cano.

It overflows with both tradition and innovation, offering unflagging extroverted emotion, Mexican mariachi style.

—Dan Sheehy Lightning Hopkins, The Gold Star Sessions Vol. 1 (Arhoolie Records, 1990) Among the inexhaustible wealth of Americana on Folkways and Arhoolie, the early work of Lightning Hopkins has a special place in my ears and heart. I

Read an interview with the author of drink., a survival guide for the Trump era. washingtoncitypaper.com/arts.

fondly remember sitting in Musiques du Monde, the record shop I ran in Amsterdam in the late ’80s and early ’90s, immersing myself in the unpolished perfection of this music for the soul. What these Gold Star recordings made in the late 1940s lack in technical perfection, they compensate for with honesty and directness.

—Huib Schippers Classical Music of Iran: The Dastgah Systems (1991) This was my introduction to the Dastgah system of Iranian classical music. The playing is beautiful, and it confirmed my love for music from the belt stretching from Iran to India. Part of the importance of recordings is the power of the music to amaze, delight, and start people on their own journeys of musical discovery.

—Tony Seeger The Foc’sle Singers - Foc’sle Songs and Chanties (1959) A boisterous bunch of sea songs and chanties by a one-day-long group made up of the New York folk singers Dave Van Ronk, Paul Clayton, Roger Abrahams, Bob Yellin, and Bob Brill. Van Ronk once told me, being the serious project it was, they spent the day at Gerde’s Folk City drinking numerous pitchers of beer while rehearsing. They then ambled over to Moe Asch’s Folkways and let go.

—Jeff Place

Rahim AlHaj, Letters From Iraq (2017) Folkways has always been about giving voice to the underrepresented, highlighting the humanity behind major events and shedding new light on existing issues, all while using great music as its primary conduit. Letters from Iraq features eight heartrending compositions inspired by actual letters from the war-torn Middle East for oud and string quintet. It features Rahim Alhaj, an Iraqi refugee who keeps talking about building bridges rather than walls between people and cultures. —Huib Schippers

Ayombe! The Heart of Colombia’s Musica Vallenata (2008) The Heart of Colombia’s Musica Vallenata shines a spotlight on the living, pioneering roots musicians who shaped one of Latin America’s most beloved folk musics. While the music went “big time” with its own category and popularity throughout Latin America and beyond, its grassroots creators stayed true to their roots, embracing the more traditional style with even greater passion.

Great music to move to! —Dan Sheehy

We Shall Overcome: Songs of the Freedom Riders and the Sit-Ins (1961) This record brings to us all the courage, resolve, and determination of those who stood at the forefront of the civil rights movement.

—Michael Asch

washingtoncitypaper.com may 26, 2017 25

FilmShort SubjectS even inspire an amendment to the famous rule about Chekhov’s gun: If a kid with a heart condition is introduced in the first act, well, you know the rest. Sorry for the spoiler, but if it saves you the troubling of seeing The Commune, you owe me one.

—Noah Gittell

The Commune

The Commune opens Friday at E Street Cinema.

Bride aNd doom The Wedding Plan

Directed by Rama Burshtein

Not So Happy togetHer

The Wedding Plan

The Commune

Directed by Thomas Vinterburg Thomas VinTerburg is a great filmmaker, but he must be a real drag at parties. His oeuvre is unrelentingly grim. 2013’s The Hunt centered on a small-town father accused of child molestation. His previous film Submarino was about two traumatized men who reconnect at their mother’s funeral. Then there is his adaptation of Thomas Hardy’s Far from the Madding Crowd, which opened with a herd of sheep driving themselves off a cliff to smash on the rocks below. Of course, no one asked Ingmar Bergman to make comedies. Vinterburg, too, has always made life’s miseries worthwhile.

For his latest, he seems to have purposefully stepped out of his comfort zone, and the results are predictably substandard. The Commune begins as a shallowly giddy celebration of ’70s counterculture, complete with skinnydipping and day-drinking, but it’s not long before the old, cold Vinterburg returns to punish his characters for their fun.

Erik (Ulrich Thomsen) and Anna (Trine Dyrholm) are a middle-aged married couple who have just inherited a beautiful old home from Erik’s estranged father. It’s the perfect opportunity to start a communal living arrangement, which Anna has been urging for some time. Erik still isn’t convinced, so Anna persuades him with some afternoon delight on their first day as new homeowners. Within minutes, they are planning their hippie par-

adise and interviewing the strangers who will become their new family.

Normally, this is where I would run through a list of the film’s eccentric housemates, but here they are almost shockingly ill-defined.

There is a scoundrel who has a crush on Anna; a married couple with a seven-year-old child who has a heart condition and talks about it constantly; an attractive redhead; and a gentle giant, Allon, the only one given a modicum of characterization. His thing is that he cries a lot, but his cartoonish hyper-sensitivity is a meaningless quirk and never factors into the plot.

The film is only interested in these folks as set dressing. Immediately after they are introduced Vinterburg finds himself drawn back to Erik and Anna, who are depicted with only a sliver more depth than their near-anonymous housemates. Erik begins an affair with a beautiful student (Helen Reingaard Neumann, Vinterburg’s wife) and, after bringing her back to the house, gets caught by his daughter. He confesses to Anna, who responds by inviting his mistress to move in with them. Who are these people? Why would Anna, a successful television journalist, be so beholden to her

26 may 26, 2017 washingtoncitypaper.com

slimy, cowardly husband? We can only guess.

It’s never even clear why Anna wants to start a commune in the first place. “I need to hear someone else speak,” is all she tells him. “Otherwise I’ll go mad.”

The foundation is there for a deep, compelling story about the limits of sexual freedom, but Vinterburg takes an uncharacteristically timid stance on the characters and their troubles. Perhaps he was too close to the material. The story is reportedly based on the director’s own upbringing, with Erik and Anna as stand-ins for his real-life parents. That could explain the uneven tone, as if he is trying to wrestle his complicated past into a comprehensible present.

It doesn’t work. With its reliance on cliché and a superficial understanding of its characters, The Commune fails to hit a surprising note.

It is both utterly predictable and inexplicably plotted, a dubious accomplishment that is exemplified in the depiction of the commune’s lone child, the aforementioned heart patient.

This poor child has nothing to do with the story, but he gets used to raise the stakes in the cheapest way possible. His character arc could

some women crash the gates at the blowout sales of high-end bridal shops with the intention of buying a couture dress on the cheap, regardless of whether a groom is in the picture. In writer-director Rama Burshtein’s The Wedding Plan, however, her heroine goes several steps further.

Twenty-two days before their wedding, Michal (Noa Koler) and Gidi (Erez Drigues) are at a tasting to choose the menu for their reception. Michal, sure that something’s wrong, pressures Gidi to open up. “I don’t love you,” he says. Oy. Naturally, Michal is crushed. She’s 32, an Orthodox Jew, and desperately wants to settle down like her peers. In a flashback, she consults a fortune teller (for lack of a better term) who gets Michal to admit that she doesn’t just want love. She wants to feel normal. Because none of her relationships have worked out, she believes there’s something wrong with her.

Gidi’s rejection only piles on.

So instead of allowing herself to be swallowed by grief, Michal continues to plan the wedding, believing that God will provide. She books the hall, sends out invitations, gets a dress. Her faith will save her from embarrassment.

Burshtein (Fill the Void) has fashioned a romantic comedy that’s free of wacky misunderstandings, cartoonish suitors, or sassy best friends. Even if Michal’s grand gesture isn’t realistic, the rest of her experience is. She has a job— running a mobile petting zoo—and is shown working. She spars with her sister (Dafi Alferon), whose own marriage is full of melodrama, and tries to ignore her mother (Irit Sheleg), who isn’t nearly as religious and is therefore ashamed of her daughter’s actions. Everyone tries to gently dissuade Michal, though a couple of people are more pointed. “Who gave you the right?” asks a rabbi, who’s critical of her feeling so special that God will grant her exactly what she wants.

As Michal goes on blind dates arranged by matchmakers, there are a few red herrings, including a swoony pop star, thrown in among the red flagged and humiliations. (Dinner with a deaf man is particularly painful.) But she’s not the type to plant herself in front of the TV with a pint of ice cream when she’s blue. Michal prays, and breaks down when she starts to feel spiritually alone as well: “Where are you?”

Berlin Syndrome she asks in tears. “I can’t feel you.”

Some of Michal’s actions may seem puzzling in the moment, including her rather angry takedown of the aforementioned pop star. And as her wedding date draws near, the whole gambit starts to feel unforgivably ridiculous. But to Burshtein’s credit, Michal’s path toward the aisle is never predictable, and it’s more about faith, self-acceptance, and an unwillingness to compromise than it is about landing a guy. Despite a plot that sounds absurd, this Plan goes off without a hitch.

—Tricia Olszewski The Wedding Plan opens Friday at Landmark E Street Cinema and Landmark Bethesda Row.

Captive State Berlin Syndrome

Directed by Cate Shortland The mosT frighTening kind of monsters aren’t indestructible or supernatural like Jason or Freddy. Rather, it’s the bogeymen who live among us. Cate Shortland’s Berlin Syndrome capitalizes on examples of real-world paranoia, fears that are particularly associated with women: traveling alone, becoming too involved too quickly with an attractive someone you meet on the street, revealing personal information to the mysterious object of your fling. But as an English teacher charms an Australian woman exploring Germany’s capital, her attraction is understandable. Of course, if you know what the story’s about, at every bit of foreshadowing you think, “Don’t!”

Clare (Teresa Palmer) is an architecture photographer who goes to Berlin partly because of professional interest but mostly, it seems, out of boredom. While she’s wandering the streets, a German man next to her drops some of his things, and they engage in a little chitchat. His name is Andi (Max Riemelt), and a day or so later, she finds him in the library and approaches. This time they talk some more; one of Andi’s many questions is, “Does your mother know you’re here?” (Don’t!) They end up in his apartment for what Clare surely believed would be a limited-night stand. She

whispers, “I wish I could stay.”

Careful what you wish for.

The next morning, Andi is long gone by the time Clare gets herself together and leaves— or tries to leave. There’s a bulky bar across the door and no sign of a key. So Clare entertains herself until school’s out and Andi comes home. “Did you lock me in?” she says, laughing. He goes along with the not-a-joke, at least until the days wear on and Clare realizes she’s being imprisoned.

Shortland (2004’s Somersault) and Shaun Grant co-adapted the script from a novel. Despite the subtle sequence of events that result in Clare’s captivity, the writers are careful not to overtly make it seem like her fault.

Of course, everyone—especially solo travelers in a foreign country—should keep their wits about them. But Clare had socialized with other strangers without incident, and Riemelt’s Andi appears to be an intelligent, thoughtful non-psychopath. Surely a single woman can indulge in a little romance while on vacation.

And besides one flagrant don’t-go-in-thebasement! moment, Clare is a resourceful captive, knowing when to play nice and how to take advantage of her time alone. There is a period in which it seems as if she’s fallen prey to the title’s play on Stockholm Syndrome.

Whether this is ever geniune is unclear.

Cinematographer Germain McMicking largely lights the film as if lights didn’t exist.

In many scenes, it’s difficult to make out exactly what’s going on. Along with Bryony Marks’ minimalist score, however, it achieves a feeling of dread. There’s a bit of comic dialogue to ease the perpetual bleakness and unease, such as when Andi comes home to find that Clare has used a chair to try to break through his reinforced windows. “I just bought these chairs,” he calmly says as she looks incredulous.

Palmer, usually a supporting character, and Riemelt carry the film ably, with Riemelt in particular morphing from normal to unhinged as the story—and the ick factor—progresses.

Also impressive is the fact that the bit of blood that appears onscreen isn’t needed to convey the depravity of the situation. The end is a bit anticlimactic, but that’s a quibble considering Shortland achieves something rare: making a thriller feel fresh.

—Tricia Olszewski Berlin Syndrome opens Friday at AMC Hoffman Center. washingtoncitypaper.com may 26, 2017 27

Merriweather Post Pavilion • Columbia, MD THIS THURSDAY! I.M.P. & GOLDENVOICE PRESENT AN EVENING WITH

Sigur Rós .............................................................................................. MAY 25

THIS WEEK’S SHOWS

No Scrubs: ‘90s Dance Party

with DJs Will Eastman and Brian Billion ............................................. F MAY 26

JMSN w/ Gabriel Garzon-Montano & Alcordo ................................................. Tu 30 JUNE

JUNE (cont)

LUPE FIASCO ..................F 2

White Ford Bronco: DC’s All ‘90s Band ...................Sa 24

STORY DISTRICT PRESENTS

Out/Spoken: Queer, Questioning,

Bold, and Proud ........................Sa 3

The Avalanches ........................M 5 Freddie Gibbs ...........................Th 8 Jamestown Revival w/ Colter Wall ................................F 9 The Record Company w/ The Deadmen Early Show! 7pm Doors ...................Sa 10

Mixtape Pride Party with DJs Shea Van Horn and Matt Bailer .Sa 10 dded!

First Night Sold Out! Second Night A

Rodrigo y Gabriela w/ Ryan Sheridan .......................Su 12 Lizzo ............................................F 16 Who’s Bad: The Ultimate Michael

Jackson Experience ................Sa 17

The Chainsmokers

w/ Kiiara, Lost Frequencies, featuring Emily Warren ................................................. MAY 26 JUNE 3 SOLD OUT! CAPITAL JAZZ FEST FEATURING

Charlie Wilson • George Benson • Robin Thicke • Anthony Hamilton • Chris Botti •

Sheila E • “After All”L A Tribute to Al Jarreau and more! ............................................ JUNE 2 & 4

Get Low w/ Mathias & Friends ...F 30

SAVE $100 - HAPPY BIRTHDAY, INDEED!!!

JULY

Go to all four shows - get the same ticket type - take $100 off the total!

PAUL SIMON • STEVE MILLER BAND • 50TH ANNIVERSARY CONCERT • SANTANA

Caravan Palace ........................W 5 Mitski w/ Julia Jacklin & Half Waif .........Sa 8 Violent Femmes ......................Su 9

Share the bargain with friends... tickets can be used by the purchaser or split up!

For more info, visit merriweathermusic.com

Paul Simon w/ Sarah McLachlan.............................................................. JUNE 9 Jack Johnson w/ Lake Street Dive .....................................................................JUNE 11 John Legend w/ Gallant .....................................................................................JUNE 20 Steve Miller Band w/ Peter Frampton ................................................JUNE 23 Luke Bryan w/ Brett Eldredge & Lauren Alaina ..............................................JUNE 25 Jason Isbell and the 400 Unit w/ The Mountain Goats .........................JUNE 30 Dispatch w/ Guster & Marco Benevento ........................................................... JULY 7 My Morning Jacket w/ Gary Clark Jr. ......................................................... JULY 14

AEG LIVE PRESENTS

The Bodega Boys Live! feat.

Desus Nice & The Kid Mero . Sa 15 ow Added!

First Show Sold Out! Second Sh

Bitch Sesh Live Matinee Show!

2pm Doors. This is a seated show. .....Su 16

Amadou & Mariam w/ Redline Grafitti ......................Th 20 Conor Oberst (of Bright Eyes) w/ Hop Along ...............................W 26 Sister Hazel ..............................F 21

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

THIS FRIDAY!

MERRIWEATHER 50TH ANNIVERSARY CONCERT FEATURING

Jackson

Browne and Willie Nelson

w/ Father John Misty plus special guest host Grace Potter Talkin’ & Singin ... JULY 15

930.com

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

The best thing you could possibly put in your mouth

American Authors • Anti-Flag • The Ataris • Big D and The Kids Table • CKY •

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

Emmure • GWAR • Hatebreed • Hawthorne Heights • Municipal Waste and many more! ........ JULY 16 Gorillaz .................................................................................................................. JULY 17 THE MOST SUCCESSFUL FILM COMPOSER OF OUR ERA

Hans Zimmer Live with Orchestra and Chorus performing music from Pirates of the Caribbean, Gladiator, The Dark Knight and more! .................................. JULY 21

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

Pop-Up Magazine feat. Gillian Laub • Yasser Lester • Alexandra Petri and more! ..... JUNE 6 dded!

First Night Sold Out! Second Night A

Feist .................................................................................................................................. JUNE 8 AEG LIVE PRESENTS

Mystery Science Theater 3000 Live!

EEGAH Early Show! 5pm Doors .......................................................................................... JULY 9 SECRET SURPRISE FILM! Late Show! 8:30pm Doors ........................................... JULY 9

SECOND NIGHT ADDED! AEG LIVE PRESENTS

Tim And Eric: 10th Anniversary Awesome Tour ........................................................ JULY 19 TajMo: The Taj Mahal and Keb’ Mo’ Band w/ Jontavious Willis ............................. AUGUST 9 Apocalyptica - Plays Metallica By Four Cellos .................................................... SEPTEMBER 9 The Kooks .................................................................................................................OCTOBER 4 Paul Weller ..............................................................................................................OCTOBER 7

Children 12 and under FREE on the lawn with paid ticket!

alt-J w/ Saint Motel & SOHN .................................................................................... JULY 27 Fleet Foxes w/ Animal Collective ........................................................... JULY 29 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex .................. JULY 30 SUMMER SPIRIT FESTIVAL FEATURING

Kenny “Babyface” Edmonds • Bel Biv Devoe • Fantasia • SWV • De La Soul •

The Internet • Trombone Shorty & Orleans Avenue • Guy featuring Teddy Riley and more! .AUGUST 5-6 Lady Antebellum w/ Kelsea Ballerini & Brett Young .............................. AUGUST 13 Santana ............................................................................................................ AUGUST 15 Sturgill Simpson w/ Fantastic Negrito ................................................ SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave .................................. SEPTEMBER 16

THE BIRCHMERE PRESENTS

Colin Hay ................................................................................................................OCTOBER 21 JOHNNYSWIM .....................................................................................................NOVEMBER 15

Chrysalis at Merriweather Park

Greensky Bluegrass w/ Leftover Salmon ................................................. JULY 22

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

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Tuxedo w/ Gavin Turek .................... F JUN 2 Fragile Rock ....................................... F 16 !!! (Chk Chk Chk) w/ Nerftoss ................ Th 8 Azizi Gibson ...................................... Sa 24 Austin Mahone w/ The YRS ............... Su 11 Mt. Kimbie & Ash Koosha w/ Tirzah .M 12 DakhaBrakha .................................... Tu 27 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

28 may 26, 2017 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

A HIP HOP, FUNK & AFRO FUTURISTIC SET with Baronhawk Poitier

2ND & 4TH THURSDAYS 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

DAY PARTY

WITH DJ RUSSEL CAMPBELL 2nd & 4th Sundays

2 - 6pm

Music 29 Books 34 Theater 35 Film 37

Music

located next door to 9:30 club

the WashiNgtoN Ballet

Friday rock

DC9 1940 9th St. NW. (202) 483-5000. Urban Cone, Nightly. 6:30 p.m. $15. dcnine.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Black Alley. 8:30 p.m. $20. fillmoresilverspring.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Life on Mars: A Tribute to David Bowie. 9 p.m. $10–$12. gypsysallys.com. ioTa Club & CaFé 2832 Wilson Blvd., Arlington. (703) 522-8340. Throwing Plates. 8:30 p.m. $10. iotaclubandcafe.com. roCk & roll HoTel 1353 H St. NE. (202) 388-7625.

Vancouver Sleep Clinic, Venn. 8 p.m. $15. rockandrollhoteldc.com.

SongbyrD muSiC HouSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Elf Power, We Capillaries.

8 p.m. $12–$14. songbyrddc.com.

STaTe THeaTre 220 N. Washington St., Falls Church.

(703) 237-0300. Head for the Hills, Strung Like a Horse, Dear Creek. 8 p.m. $15. thestatetheatre.com.

Blues

amp by STraTHmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Corky Siegel’s Chamber Blues. 8 p.m. $25 –$45. ampbystrathmore.com.

THe HamilTon 600 14th St. NW. (202) 787-1000.

John Mayall, Bill Carter. 8 p.m. $19.75–$45. thehamiltondc.com.

caBaret

muSiC CenTer aT STraTHmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Audra McDonald. 8 p.m. $45–$105. strathmore.org.

dJ Nights

9:30 Club 815 V St. NW. (202) 265-0930. No Scrubs: ‘90s Dance Party with DJs Will Eastman and Brian Billion. 9 p.m. $16. 930.com.

DC9 1940 9th St. NW. (202) 483-5000. Liberation Dance Party with DJ Bill Spieler. 10:30 p.m. Free. dcnine.com. u STreeT muSiC Hall 1115 U St. NW. (202) 5881889. Friday Night Dance Party with Jerome Baker III & Friends. 10 p.m. $10. ustreetmusichall.com.

electroNic

As the Washington Ballet winds down its first season under the leadership of Artistic Director Julie Kent, the company debuts its first new ballet of the season.

They didn’t have to look far for a choreographer to create it. “Frontier” comes from Ethan Stiefel, Kent’s former colleague at the American Ballet Theatre and her co-star in the cult classic dance movie Center Stage. And Stiefel didn’t have to look far to find inspiration, either. The 29-minute piece draws inspiration from the words and work of John F. Kennedy, specifically a 1961 speech Kennedy gave about the space program and his dream of putting a man on the moon. Stiefel’s choreography requires dancers to take on the persona of an astronaut and convey the rigorous physical challenges space explorers encounter. Both JFK and Jackie espoused the importance of the arts and helped turn D.C. into a cultural capital as well as a political one. The living memorial that bears his name carries that legacy into the 21st century, be it through world premieres like this one or free daily performances. The Washington Ballet performs at 7:30 p.m. at the Kennedy Center Opera House, 2700 F St. NW. $25–$140. (202) 4674600. kennedy-center.org.

—Caroline Jones

Jazz

gypSy Sally’S 3401 K St. NW. (202) 333-7700. The Upton Blues Band, Rufus Roundtree and Da B’more Brass Factory. 8:30 p.m. $12. gypsysallys.com.

TwinS Jazz 1344 U St. NW. (202) 234-0072. John Russell Lamkin III. 9 p.m.; 11 p.m. $15. twinsjazz.com.

dJ Nights

saturday

merriweaTHer poST pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. The Chainsmokers, Kiiara, Lost Frequencies featuring Emily Warren. 7 p.m. $61–$170. merriweathermusic.com.

9:30 Club 815 V St. NW. (202) 265-0930. Sylvan Esso, Lucy Dacus. 8 p.m. Sold out. 930.com.

TropiCalia 2001 14th St. NW. (202) 629-4535. DJ Stylus Chris. 10 p.m. Free. tropicaliadc.com.

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

Prom with Basscamp and The Lothario. 10 p.m. $13. rockandrollhoteldc.com.

World

FlaSH 645 Florida Ave. NW. (202) 827-8791. Lee Burridge, Meegs b2b Marko Peli, Uptown House Experience. 8 p.m. $10–$20. flashdc.com.

hip-hop

amp by STraTHmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Corky Siegel’s Chamber Blues. 8 p.m. $25–$45. ampbystrathmore.com.

mr. Henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Aaron L. Myers II. 8 p.m. Free. mrhenrysdc.com.

HowarD THeaTre 620 T St. NW. (202) 803-2899.

Reggae Fest vs. Soca. 11 p.m. $20–$25. thehowardtheatre.com.

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. James “D-Train” Williams. 8 p.m.; 10 p.m. $35. bluesalley.com.

Blues

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Ottmar Liebert, Luna Negra. 7:30 p.m. $35. birchmere.com.

eCHoSTage 2135 Queens Chapel Road NE. (202) 503-2330. Armin van Buuren, Ruben de Ronde. 9 p.m. $40–$60. echostage.com.

FuNk & r&B

2047 9th Street NW

CITY LIGHTS: Friday

electroNic

FlaSH 645 Florida Ave. NW. (202) 827-8791. Adam Port, Voigtmann, Jus Nowhere b2b Throe, Benoit, Natural Resources. 8 p.m. $8–$15. flashdc.com. u STreeT muSiC Hall 1115 U St. NW. (202) 588-1889.

Rumpshaker, Billy The Gent, The Banditz, Trayze. 10 p.m. $10. ustreetmusichall.com.

rock

FuNk & r&B

beTHeSDa blueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Be’la Dona. 8 p.m. $20. bethesdabluesjazz.com.

blaCk CaT 1811 14th St. NW. (202) 667-4490. The Orwells, The Walters. 8 p.m. $20. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Arlie, HyeTension, Ross Nicol. 6:30 p.m. $10. dcnine.com. kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Daryl Davis. 6 p.m. Free. kennedy-center.org.

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Freddie Jackson. 7:30 p.m. $45. birchmere.com. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. James “D-Train” Williams. 8 p.m.; 10 p.m. $35. bluesalley.com.

washingtoncitypaper.com may 26, 2017 29

THe HamilTon 600 14th St. NW. (202) 787-1000.

Amel Larrieux. 7:30 p.m.; 10:30 p.m. $34.50–$69.50. thehamiltondc.com.

Photo by Krystal Harfert

Photo by Teresa Wood

wolF Trap Filene CenTer 1551 Trap Road, Vienna. (703) 255-1900. Fifth Harmony. 8 p.m. $35–$65. wolftrap.org.

Jazz

mr. Henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Heather Maxwell. 7:30 p.m.; 10 p.m. $15. mrhenrysdc.com.

BaNDalOOP

Kennedy Center Open House Celebrating JFK at 100 Dance BaNDalOOP l Company E l FlExN Dance & Bmore with CJay Philip

l

The Washington Ballet

u STreeT muSiC Hall 1115 U St. NW. (202) 588-1889.

REV909: French House/Daft Punk Tribute & Indie Dance Classics with Will Eastman & Ozker. 10:30 p.m. $10. ustreetmusichall.com.

electroNic

eCHoSTage 2135 Queens Chapel Road NE. (202) 503-2330. Alesso. 9 p.m. $40. echostage.com.

FlaSH 645 Florida Ave. NW. (202) 827-8791. Concret.

2 p.m. $8–$12. flashdc.com.

SongbyrD muSiC HouSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Miles Mosley, The West Coast Get Down, DJ Ayes Cold. 7 p.m. $15–$18. songbyrddc.com.

FuNk & r&B

suNday

TwinS Jazz 1344 U St. NW. (202) 234-0072. Durty Dub. 8 p.m.; 10 p.m. $10. twinsjazz.com.

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

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Sharon Clark. 8 p.m.; 10 p.m. $25. bluesalley.com.

rock All the Way Live!

dJ Nights

u STreeT muSiC Hall 1115 U St. NW. (202) 588-1889.

LP, Josiah and The Bonnevilles, Lauren Ruth Ward. 6 p.m. Sold out. ustreetmusichall.com.

classical

u.S. CapiTol weST lawn East Capitol and First streets NW. National Memorial Day Concert. 8 p.m.

Free. visitthecapitol.gov. wolF Trap Filene CenTer 1551 Trap Road, Vienna.

(703) 255-1900. “The President’s Own” United States Marine Band. 8 p.m. Free. wolftrap.org.

couNtry

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Seldom Scene. 7:30 p.m. $25. birchmere.com.

beTHeSDa blueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. ConFunkShun. 7 p.m.; 10 p.m. $45. bethesdabluesjazz.com.

Jazz

kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. George Burton. 6 p.m. Free. kennedy-center.org.

MoNday rock

blaCk CaT baCkSTage 1811 14th St. NW. (202) 6674490. We Rock! DC Camp Showcase. 7 p.m. $12. blackcatdc.com.

classical

kenneDy CenTer opera HouSe 2700 F St. NW. (202) 467-4600. JFK Centennial Celebration. 4 p.m. $25. kennedy-center.org.

CITY LIGHTS: saturday

Music National Memorial Day Choral Festival l alec Mackaye l DJ ayes Cold Mista Cookie Jar & The Chocolate Chips l John Reeves Donvonte McCoy and Third Floor l Ron allen with Quim Cardona Chuck Berry Tribute with Daryl Davis l Javier Starks Voces Veracruzanas l The JoGo Project l The Messthetics

Young audiences All the Way Live! l Mouth Open, Story Jump Out NSO Instrument “Petting Zoo” l WNO Costume Trunk Mosby the Kennedy Center Cat l Maestro Mouse

Participatory activities Skateboarding l Yoga l Tai Chi l Fan Dance l Native american Movement Boogie Woogie Dance lessons from GottaSwing l D.C. Bluegrass Union Jam archie Edwards Blue Heritage Foundation Jam

and more!

FREE! Saturday, May 27, Noon–10 p.m.

Part of JFK Centennial Week—Explore more at jfkc.org/openhouse

The 35 Days of Giving Centennial Challenge is your opportunity to play an active role in promoting President Kennedy’s legacy! During the 35 days leading up to President Kennedy’s 100th birthday on May 29, your contributions will be matched two-to-one by Shelley and Allan Holt of the Hillside Foundation, helping to raise vital funds to support the Center’s ongoing and future artistic and educational activities. Learn more and get involved at jfkc.org/35days

Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Ambassador Elizabeth Frawley Bagley, Chevron, The Blanche and Irving Laurie Foundation, and Target.

30 may 26, 2017 washingtoncitypaper.com

West coast get doWN

The West Coast Get Down is to modern jazz what Monty Python was to comedy in the 1960s and ’70s. Its members are revolutionaries that seek radical reform from within rather than the toppling of traditions and conventions. Some, chiefly bassist/singer Thundercat and saxophonist/ composer Kamasi Washington, are career musicians, but all of the members display highly individualized, incendiary approaches to playing jazz in 2017. On this tour, upright bassist/singer Miles Mosley and pianist Cameron Graves trade off leading a condensed, five-piece version that lacks none of the full group’s raw musical power. When Mosley is at the helm, he leads the group in the James Brown-by-way-of-Stanley Clarke funk fusion you can find on his debut LP, Uprising. In the intimate confines of Songbyrd Music House, the sheer amount of sound the group produces will excite you through the end of the holiday weekend. The West Coast Get Down performs with Miles Mosley at 7 p.m. at Songbyrd Music House, 2477 18th St. NW. $15–$18. (202) 4502917. songbyrddc.com.

—Jackson Sinnenberg

Take Metrobus and Metrorail to the...

DCJAZZFESTIVAL JUNE 9 – 18 2 017 DC JA Z ZFEST.ORG

DISCOVER MULTIPLE GRAMMY® AWARD WINNING ARTISTS AND MORE WHEN JAZZ TAKES OVER THE DISTRICT THIS SUMMER! An Evening with Pat Metheny w/Antonio Sanchez, Linda Oh & Gwilym Simcock / Gregory Porter Robert Glasper Experiment / Lalah Hathaway / The Kenny Garrett Quintet / Black Violin Roy Haynes Fountain of Youth Band / Ron Carter-Russell Malone Duo / Jacob Collier Jane Bunnett and Maqueque / Odean Pope Saxophone Choir / Mary Halvorson Octet Hiromi & Edmar Castañeda Duo / Kandace Springs / Chano Domínguez / Ola Onabulé / New Century Jazz Quintet Sarah Elizabeth Charles & SCOPE / Princess Mhoon Dance Project / Smithsonian Jazz Masterworks Orchestra / Lori Williams Joseph Daley Trio / Sun Ra Arkestra / Michael Thomas Quintet / Allyn Johnson UDC JAZZtet feat. Nasar Abadey / Youngjoo Song Septet James King Band / Tommy Cecil/Billy Hart/Emmet Cohen / Herman Burney’s Ministerial Alliance / Kris Funn’s CornerStore Amy Shook and the SR5tet / Trio Vera w/Victor Dvoskin / Cowboys and Frenchmen / Janelle Gill / Anthony Nelson Quartet Miho Hazama with the Brad Linde Expanded Ensemble / Lena Seikaly / Alison Crockett / Irene Jalenti / Tim Whalen Septet Cesar Orozco & Kamarata Jazz / Jeff Antoniuk & The Jazz Update / Marshall Keys & Soulful Path / Lennie Robinson & Mad Curious / Donato Soviero John Lee Trio / Herb Scott Quartet / Reginald Cyntje Group / Leigh Pilzer & Friends / Elijah Balbed and The JoGo Project / Kendall Isadore Pepe Gonzalez Ensemble / Warren Wolf/Kris Funn Duo / Slavic Soul Party: Duke Ellington’s Far East Suite / Donvonte McCoy Quartet Charles Rahmat Woods Duo / Aaron Myers / Origem / David Schulman + Quiet Life Motel / Harlem Gospel Choir / Debora Petrina Brian Settles / Brandee Younger / Christie Dashiell / Tiya Ade Ensemble / Freddie Dunn Ensemble / Hope Udobi Ensemble 2017 DCJAZZPRIX FINALISTS including SULA, AMP Trio Featuring Tahira Clayton, the Ernest Turner Trio / & more!

For tickets, artists and a complete schedule, visit DCJAZZFEST.ORG PRESENTING SPONSOR

PLATINUM SPONSORS

@DCJAZZFEST

GOLD SPONSORS

MEDIA SPONSORS

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; and, in part, by major grants from the Anne and Ronald Abramson Family Foundation, The Morris and Gwendolyn Cafritz Foundation, Gillon Family Charitable Fund, The Mayo Charitable Foundation, CrossCurrents Foundation, 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 with awards from the National Endowment for the Arts and the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts. ©2017 DC Jazz Festival. All rights reserved.

washingtoncitypaper.com may 26, 2017 31

C O N G RC OEN SG R SE S IS IOO NNA LAC HL O R UCS H O R U S

Saturday, June 3, 2017 – 7:30 PM National City Christian Church : suNday CITY 5 ThomasLIGHTS Circle, NW, Washington, DC Tickets: $15 - $30, 202-629-3140

george BurtoN

CongressionalChorus.org WASHINGTON PREMIERE:

Calling All Dawns CHRISTOPER TIN

FOLLOW

Saturday, June 3, 7:30pm National City Christian Church 5 Thomas Circle, WDC

Tickets: $15-$30 at

CongressionalChorus.org

When John F. Kennedy was president, a Washington D.C. jazz ensemble named itself the JFK Quintet because of its dedication to pursuing “new frontiers.” The Kennedy Center continues its celebration of its namesake’s 100th birthday this week by bringing in another musician, this one from New York by way of Philadelphia, with a passion for new frontiers. George Burton is a pianist with a luminous sound and a fully formed vision.

While last year’s The Truth of What I Am > The Narcissist is his debut recording, Burton has made his way in the jazz world since 2000, honing his musical concepts to perfection before fully displaying it to the world. For this show, Burton brings along his superlative quintet, as well as D.C.based vocalist and poet Heidi Martin. He wants the set, which includes songs from his album as well as new material, to be a commentary on contemporary American society and the ways JFK’s legacy has shaped it. George Burton performs at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Michael J. West

dJ Nights

SongbyrD muSiC HouSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. UP with DJ Alizay, Little Bacon Bear, Felipe Dro, Uptown XO, Allison Ent, CVPSET Martae, Lil Big Brother, DJ Rio. 8 p.m. $10. songbyrddc.com.

Jazz

beTHeSDa blueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. A Tribute to the Music of Alexander O’Neal featuring Keith Soul. 8 p.m. $40–$50. bethesdabluesjazz.com.

hip-hop

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Edmund Burke School Jazz Ensemble. 9 p.m. $15. bluesalley.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Geto Boys, Scarface, Willie D, Bushwick Bill. 8 p.m. $29.50. fillmoresilverspring.com.

kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Navy Commodores. 6 p.m. Free. kennedy-center.org.

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Iyona Blake. 8 p.m.; 10 p.m. $20. bluesalley.com.

World

boSSa biSTro 2463 18th St NW. 202-667-0088. Iron Rydem Soundz. 9:30 p.m. Free. bossadc.com.

tuesday rock

DC9 1940 9th St. NW. (202) 483-5000. Mystery Friends, H A U N T E R, Broke Royals, Silo Mentality. 8 p.m. $10. dcnine.com. kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Color Palette. 6 p.m. Free. kennedy-center.org.

Jazz

WedNesday rock

9:30 Club 815 V St. NW. (202) 265-0930. Frightened Rabbit, Torres, Kevin Devine. 7 p.m. $32.50. 930.com.

DC9 1940 9th St. NW. (202) 483-5000. Tim Kasher, John Bradley, Campdogzz. 9 p.m. $14. dcnine.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Melanie Edwards, Nicole Balanus. 8:30 p.m. $18–$20. gypsysallys.com.

THe HamilTon 600 14th St. NW. (202) 787-1000. John Nemeth & Danielle Nicole Band. 7:30 p.m. $10–$15. thehamiltondc.com.

SongbyrD muSiC HouSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Moonchild. 8 p.m. $12–$15. songbyrddc.com.

rHizome DC 6950 Maple St. NW. Valerie Kuehne and the Wasps Nests, X & Y (but not Z). 8 p.m. $10. rhizomedc.org.

electroNic

classical

9:30 Club 815 V St. NW. (202) 265-0930. JMSN, Gabriel Garzon-Montano, Alcordo. 7 p.m. $20.

930.com.

32 may 26, 2017 washingtoncitypaper.com

FuNk & r&B

naTional gallery oF arT eaST garDen CourT Fourth Street and Constitution Avenue NW. (202) 842-6941. West Garden Trio. 12:10 p.m. Free. nga.gov.

washingtoncitypaper.com may 26, 2017 33

LIVE

UPCOMING PERFORMANCES

JOHN MAYALL W/ BILL CARTER FRIDAY MAY

26

TDC SHOWS PRESENTS

AMEL LARRIEUX 7pm & 10pm

SATURDAY MAY

27

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

JOHN NEMETH AND DANIELLE NICOLE BAND THURS, JUNE 1

THE NEW STEW FEAT. JASON ESKRIDGE & ROOSEVELT COLLIER PERFORMING THE ALBUM

BILL WITHERS LIVE AT CARNEGIE HALL W/ PARIS MONSTER FRI, JUNE 2

May 26

Luna OTTMAR LIEBERT &Negra

FREDDIE JACKSON

27

An Evening with

28

THE SELDOM SCENE

June 2

THE HOT SARDINES

With Love” LULU “To Sir& more!

Harrow 4 TAB BENOIT Fair 6 ERIC JOHNSON ELECTRIC BAND

3

MIKI HOWARD

9

10 The Mike Seeger Commemorative

OLD TIME BANJO FESTIVAL In the

15

16&17 21

SAT, JUNE 3

OLD EBBITT GRILL PRESENTS

AUSTRIAN WINE TOUR SAT, JUNE 3

NEWMYER FLYER PRESENTS

PAUL McCARTNEY’S 75TH BIRTHDAY TRIBUTE SUN, JUNE 4

AN EVENING WITH

MARK G. MEADOWS FEAT. BRENT BIRCKHEAD

From ruPaul’s Drag race

BenIDel- a- c-reme nFerno a go go

THREE DOG NIGHT 26 ROSANNE CASH and Band BADFINGER 28 “Straight Up” Live & Complete starring JOEY MOLLAND

25

A-WA

Canada 150 Celebration!

KEN YATES

VIVIAN GREEN

30

July 1&2

7&8

LYFE JENNINGS

Walker JERRY JEFF WALKER Django

13

KASEY CHAMBERS

14

ROBERT EARL KEEN

15

SOUTHSIDE JOHNNY & The Asbury Jukes

16

GARY PUCKETT & The Union Gap

WALLY KINGS & DOCTOR DREAD PRESENT

THURS, JUNE 15

KATHLEEN EDWARDS

29

SUN, JUNE 11

AND CULTCHA SOUND

ALEJANDRO ESCOVEDO BAND

24

THE DEVON ALLMAN BAND

REGGAE FOREVER FEAT. ETANA W/ AN’JAHLA & ILAVIBEZ BAND

KINDRED THE FAMILY SOUL

GERALD ALBRIGHT & JONATHAN BUTLER

22

FRI, JUNE 9

W/ THE PETERSON BROTHERS

!

OLD 97s

CHUBBY CARRIER & THE BAYOU SWAMP BAND W/ THE GET RIGHT BAND

DONALD SULTAN: THE DISASTER PAINTINGS

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

Tix @ Ticketmaster.com 800-745-3000

with Special Guest Arielle

WED, MAY 31

CITY LIGHTS: MoNday

17

THEHAMILTONDC.COM 34 may 26, 2017 washingtoncitypaper.com

18

electroNic

FlaSH 645 Florida Ave. NW. (202) 827-8791. Paco Osuna, Oliver Caine, Mike Guimond. 10 p.m. $5–$10. flashdc.com. u STreeT muSiC Hall 1115 U St. NW. (202) 588-1889.

Stööki Sound & Joker, Panch. 10 p.m. $12. ustreetmusichall.com.

gospel

HowarD THeaTre 620 T St. NW. (202) 803-2899.

Harlem Gospel Choir Sings Adele. 8 p.m. $22–$45. thehowardtheatre.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Whalum. 8 p.m.; 10 p.m. $25. bluesalley.com.

TwinS Jazz 1344 U St. NW. (202) 234-0072. Marty Nau. 8 p.m.; 10 p.m. $10. twinsjazz.com.

World

beTHeSDa blueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Edwin Ortiz y La Mafia Del Guaguanco. 8 p.m. $10. bethesdabluesjazz.com. kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Daby Touré. 6 p.m. Free. kennedy-center.org.

thursday rock

9:30 Club 815 V St. NW. (202) 265-0930. Car Seat Headrest, Nap Eyes. 7 p.m. Sold out. 930.com. blaCk CaT baCkSTage 1811 14th St. NW. (202) 6674490. Richard Lloyd, Dot Dash. 7:30 p.m. $12. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Amy Shark, Surf Rock Is Dead. 9 p.m. $14. dcnine.com.

THE ZOMBIES

STEVE EARLE & THE DUKES M

While they likely didn’t anticipate how dreary life would seem when they scheduled an exhibition of work by Donald Sultan entitled The Disaster Paintings, curators at the Smithsonian American Art Museum have a very timely new show on their hands. Sultan works as a painter, printmaker, and sculptor, and the displayed works, created between 1984 and 1990, combine elements of all three mediums. He incorporates stiff, industrial materials like tiles and tar to create scenes of fires, vehicle accidents, and toxic waste, giving a traditionally two dimensional piece of art some texture and grit. The devastating events, covered in depth by local media outlets when they occur but quickly eclipsed by the next significant event, achieve some permanence when Sultan paints them in shades of gray, black, and brown. Together, the paintings give off an eerie glow, as viewers take in the craftsmanship and depressing subject matter at the same time. As an added bonus, D.C. visitors to the touring show will see an additional image: “Plant May 29 1985,” loaned to the American Art Museum from the Hirshhorn. The exhibition is on view daily 11:30 a.m. to 7 p.m., to Sept. 7, at the Smithsonian American Art Museum, 8th and F streets NW. Free. (202) 633-7970. americanart.si.edu.

—Caroline Jones

The asTersons

gypSy Sally’S 3401 K St. NW. (202) 333-7700. Joe Hertler & The Rainbow Seekers. 8:30 p.m. $10–$12. gypsysallys.com.

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

Pallbearer, Inter Arma, Gatecreeper. 8 p.m. $16. rockandrollhoteldc.com.

couNtry

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Easton Corbin. 8 p.m. $29.50. fillmoresilverspring.com. mr. Henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Truck Farmers. 8 p.m. Free. mrhenrysdc.com.

electroNic

FlaSH 645 Florida Ave. NW. (202) 827-8791. Jeremy Olander, Sid Waters, Alan Ospina. 8 p.m. $10–$15. flashdc.com.

FuNk & r&B

beTHeSDa blueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Michael Henderson, Cherrelle. 8 p.m. $45–$75. bethesdabluesjazz.com.

THe HamilTon 600 14th St. NW. (202) 787-1000. The New Stew featuring Jason Eskridge and Roosevelt Collier, Paris Monster. 7:30 p.m. $15–$20. thehamiltondc.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

TwinS Jazz 1344 U St. NW. (202) 234-0072. Sarah Slonim. 8 p.m.; 10 p.m. $10. twinsjazz.com.

World

big CHieF 2002 Fenwick Street NE. (202) 465-4241.

Black Masala. 8 p.m. Free. bigchiefdc.com.

Galleries

aDDiSon/ripley Fine arT 1670 Wisconsin Ave. NW. (202) 338-5180. addisonripleyfineart.com. Closing: “Cambalache.” Multimedia artist Joan Belmar

CITY LIGHTS: tuesday

1811 14TH ST NW

www.blackcatdc.com

M AY S

27

SU 28

@blackcatdc

MAY / JUNE SHOWS

BE’LA DONA CONFUNKSHUN

THU 25 JOE STRUMMER FOUND. BENEFIT:

STONE DRIVER

2SHOWS (7/10PM)

W 31

EDWIN ORTIZ LA MAFIA DEL GUAGUANCO

FRI 26

JMsN

“Sometimes I wonder, this gon’ pull me under? Or is this a different kind of lover? ’Cause I’ve been doin’ this for a long time, and I stay on my grind. So please don’t be playin’ games with love,” JMSN begs on “Love Ain’t Enough” from his latest album, Whatever Makes U Happy. The Michigan-born electro-soul artist layers his compositions with both diverse sounds and heavy emotions. Much like on his previous four albums, JMSN expertly threads his signature nostalgic ’90s R&B-style croon throughout thoughtful experimentations in blues and soul on Whatever Makes U Happy. It’s the perfect soundtrack for getting in touch with your feelings, whether you’re longing for a distant lover, relentlessly pursuing a goal, or struggling with your own character flaws. JMSN’s soothing serenade is comforting in the face of life’s trials and tribulations, proving there’s nothing more healing than a feel-good groove and a gentle voice. JMSN performs with Gabriel Garzon-Montano and Alcordo at 7 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com.

—Casey Embert presents a series of works on paper, as well as an installation in this solo show. April 22 to May 27. arlingTon arTS CenTer 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org.

Ongoing: “Spring Solos 2017.” More than 100 artists from around the region applied and 14 were selected to participate in this annual exhibition that allows each artist to curate and display their work throughout the arts center. April 8 to June 11.

THe aTHenaeum 201 Prince St. , Alexandria. (703) 548-0035. nvfaa.org. Ongoing: “Pattern and Repetition.” Reni Gower and Stephen Boocks present works full of precise pattern work and bright colors in this dual exhibition. May 18 to June 25. brenTwooD arTS exCHange 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks.com.

Closing: “Re-Locations.” In this exhibition of representational paintings, Morgan Craig, Joey Manlapaz, and Trevor Young explore their connection to specific places and capture the meaning of different locations. March 27 to May 27. greaTer reSTon arTS CenTer 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org.

Ongoing: “The Great Dismal Swamp.” Acclaimed multimedia artist Radcliffe Bailey makes his D.C. area debut with this exhibition that addresses his family’s Virginia heritage and the state’s role in the Underground Railroad. April 21 to July 8.

HempHill Fine arTS 1515 14th St. NW. (202) 2345601. hemphillfinearts.com. Ongoing: “Romare Bearden.” See a collection of collages and watercolors from the acclaimed African-American artist and activist. April 15 to June 10. Ongoing: “Jacob Kainen.” See a series of abstract expressionist paintings inspired by the American painter and printmaker’s 1972 trip to the former Soviet Union. April 15 to June 10.

HonFleur gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Ongoing: “FinderMaker.” Artists Eric Celarier, Ani Hoover and Nicole Salimbene create the work in this exhibit from abandoned and trashed objects. April 21 to June 3. monTpelier arTS CenTer 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. Closing: “Substrates.” Artists present paintings and drawings on unconventional surfaces like cardboard, ceramic, and fabric in this group show. April 2 to May 28. Closing: “David Brosch.” The printmaker, who developed his skills in classes at Montpelier and now teaches there, presents a series of intaglio and linocut prints.

May 6 to May 28. morTon Fine arT 1781 Florida Ave. NW. (202) 6282787. mortonfineart.com. Closing: “Victor Ekpuk.” The Nigerian-American artist uses visual symbols from world cultures in his large and unique works. May 12 to May 31. viviD SoluTionS gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Ongoing: “Forgetting Is Normal.” Artist Kylos Brannon combines memories and scientific information about the brain in this video installation, his first gallery show.

April 21 to June 3.

Theater

THe arabian nigHTS Ten years after first presenting this drama based on The Book of the Thousand Nights and One Night, Constellation Theatre revives it. Director Allison Arkell Stockman tells stories of love, desire, and sacrifice in this elaborate produc-

F

2

S

3

SU 4 W 7 F

9

SU 11

W 14 F 16

SU 18

THE CARTER V CARTER

DANCE PARTY W/ DJ DREDD

JUNE TH 1

BEY V JAY

MICHAEL HENDERSON & CHERRELLE STARSHIP LANDING THE FABULOUS HUBCAPS THE WANNA BEATLES PLUS VI-KINGS JESSE GARRONS TRIBUTE TO ELVIS PRINCE TRIBUTE SHOW WAYNA ALL-STAR BIRTHDAY PARTY FOR GLENN LEONARD & JOE BLUNT TONY CRADDOCK JR. & COLD FRONT INGRATITUDE: A TRIBUTE TO EARTH, WIND & FIRE

FRI 26

ELIZABETH CROYDEN

SAT 27

THE ORWELLS

SAT 27

MOUSETRAP

AN INDIE POP DANCE PARTY

MON 29

WE ROCK! DC

CAMP SHOWCASE

THU 1 FRI 2

SAT 3

FRI 9 SAT 17 FRI 23

RICHARD LLOYD

(OF TELEVISION)

SUPER ART FIGHT IN 3-D WHEDONISM VI: BUFFY SLAYS

(18+)

BOOTY REX JC BROOKS AROCKALYPTIC

LOCAL SUMMER SOLSTICE PARTY

THE ORWELLS

LENNY WILLIAMS FATHERS DAY

SAT MAY 27

(2SHOWS 1/7PM)

TH 22

RAUL MIDON

http://igg.me/at/bethesdablues

SAT JUNE 17

7719 Wisconsin Ave., Bethesda, MD

JC BROOKS

(240) 330-4500

www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com may 26, 2017 35

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

DIANE LANE

ARNAUD VIARD

AND

ALEC BALDWIN

“A DELICIOUS ROMANTIC BON BON. DIANE LANE IS IRRESISTIBLE.” -Peter Travers, ROLLING STONE

PARIS CAN WAIT 600 beers from around the world

tion. Constellation Theatre at Source. 1835 14th St. NW. To June 4. $20–$45. (202) 204-7741. constellationtheatre.org.

magic, and ambition. Sidney Harman Hall. 610 F St. NW. To May 28. $44–$118. (202) 547-1122. shakespearetheatre.org.

THe FaTHer In this internationally acclaimed drama, an elderly man starts to lose track of his life and experiences strange events, from disappearing furniture to unknown people in his home. Local favorite Ted van Griethuysen stars in Florian Zeller’s drama, translated by Christopher Hampton. Studio Theatre. 1501 14th St. NW. To June 18. $20–$85. (202) 3323300. studiotheatre.org.

THe man wHo Inspired by the late Oliver Sachs’ The Man Who Mistook his Wife for a Hat, this play incorporates research and improvisation techniques. Originally performed in French, Peter Woods’ play closes the Spooky Action season. Spooky Action Theater.

1810 16th St. NW. To June 4. $20–$40. (202) 248-0301. spookyaction.org.

Fear eaTS THe Soul A widowed cleaning woman falls in love with a young Moroccan immigrant in 1970s Germany in this drama from playwright Rainer Werner Fassbinder. Despite marrying and coping with pressure from their respective families, the couple must decide how their own emotions impact their relationship. Robert McNamara directs the U.S. stage premiere of the play for Scena Theatre. Atlas Performing Arts Center. 1333 H St. NE. To June 4. $15–$45.

(202) 399-7993. atlasarts.org.

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THe HunCHbaCk oF noTre Dame The story of the deformed bellringer Quasimodo and the enchanting dancer Esmerelda who captures his heart comes alive in a wordless production helmed by Founding Artistic Director Paata Tsikurishvili. The city runs wild when Quasimodo’s adoptive father pursues Esmerelda but Quasimodo’s inclination to protect the woman he cares for remains. Synetic Theater at Crystal City.

1800 South Bell St., Arlington. To June 11 $20–$60.

(866) 811-4111. synetictheater.org.

maSTer ClaSS Young opera students train with an aging Maria Callas in Terrence McNally’s drama about the sacrifices artists make for their craft and the demands of performing at a high level. Local favorite Ilona Dulaski stars in this production directed by Nick Olcott. MetroStage. 1201 N. Royal St., Alexandria. To June 11. $55–$60. (703) 548-9044. metrostage.org. ouTSiDe mullingar John Patrick Shanley’s latest play gets its D.C. premiere at the Keegan under the direction of Mark A. Rhea. Told from the perspective of two farmers, it’s a rumination on love and the nature of relationships. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To May 28 $35–$45. (202) 265-3767. keegantheatre.com.

StreetS

THe SCHool For lieS Director Michael Kahn leads Shakespeare Theatre Company’s adaptation of Moliere’s Le Misanthrope. When alternate facts become reality and a man aims to take down the pompous suitors who fill his social group, all hell breaks loose. Lansburgh Theatre. 450 7th St. NW. To July 2. $44–$123. (202) 547-1122. shakespearetheatre.org.

StreetSense

JeSuS CHriST SuperSTar Signature presents this classic Andrew Lloyd Webber musical that chronicles the last week of Christ’s life. Featuring songs like “I Don’t Know How to Love Him” and “Everything’s Alright,” this production is directed by Joe Calarco.

CITY PAPER Signature Theatre. 4200 Campbell Ave., Arlington. To July 2. $40–$99. (703) 820-9771. sigtheatre.org.

WASHINGTON THU 5/25 maCbeTH Liesl Tommy, the director behind productions 2.25" X 3.371" 1/12acclaimed PG JL of Danai Gurira’s Eclipsed and Brandon Jacobs-Jenkins’ Appropriate, leads this production of Shakespeare’s ALL.PCW.0525.WCP #7 classic tale of murder,

Timon oF aTHenS The generous and wealthy Timon experiences a downturn of fortune and must figure out a way to survive in this biting Shakespearean satire. Robert Richmond, last seen at the Folger directing Julius Caesar, leads this production starring Helen Hayes Award-winner Ian Merrill Peakes. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To June 11. $35–$75. (202) 544-7077. folger.edu.

TopDog/unDerDog Jessica Frances Dukes and Dawn Ursula star in this Pulitzer-winning drama

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36 may 26, 2017 washingtoncitypaper.com

Pick up a copy today from vendors throughout downtown D.C. or visit www.streetsense.org for more information.

CITY LIGHTS: WedNesday

Joker

Before dubstep metastasized into the bass-fueled chainsaw massacre soundtrack of summer festivals, it was a sparse and smoky sound full of unknown pleasures. Predominantly developed in the United Kingdom, dubstep was the sonic counterpart to nightclubs and night buses. And as the genre began to find global acclaim, Bristol-based DJ and producer Joker made a bright splash in that dark world. On his first records, released when he was still a teenager, Joker added metallic, synthesizer melodies to his block-rocking beats, painting a sci-fi future for dance music, rap, and R&B. Capitalizing on his early success would prove difficult: The Vision, his attempt at a crossover album, flopped, and by the time the followup, 2015’s The Mainframe, landed, the dubstep moment had passed. But timing is everything.

Still just 28 years old, Joker returned with the appropriately-titled The Phoenix in 2016 with the type of widescreen wonders with which he made his name. And with dubstep’s finest hour now a decade gone, it’s the perfect time for a revival of the sound that Joker helped formulate. Joker performs with Stööki Sound and Panch at 10 p.m. at U Street Music Hall, 1115 U St. NW. $10. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly

CITY LIGHTS: thursday

4 0 + C O F F E E VA R I E TA L S B Y T H E P O U N D ESPRESSO FRENCH PRESS DRIP ICED NITRO POUR OVER

pallBearer

Beauty and doom metal don’t often go hand in hand, but Little Rock, Arkansas’, Pallbearer have perfected a formula that marries the two. Following their outstanding 2012 debut, Sorrow and Extinction, the band has consistently pushed its Sabbath-y sound into new territories without watering down its core strengths, a difficult balancing act (see: current-era Mastodon) within metal’s rigid template. Heartless, the band’s latest, finds them pushing things into prog-ish territory without succumbing to the pompous silliness often associated with the genre. The last time I caught Pallbearer, they opened for Deafheaven at Rock & Roll Hotel when they could have headlined in their own right. They played just four songs—most of which careened past 10 minutes—but played with such power and emotion that I felt forever thankful my black t-shirt didn’t betray the moisture leaking from my eye ducts. Pallbearer performs with Inter Arma and Gatecreeper at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $16–$18. (202) 388-7625. rockandrollhoteldc.com.

—Matt Siblo

about two brothers who end up fighting each other for the upper hand in the game of life. For the first time since the play premiered, Olney and director Timothy Douglas have decided to cast two women in traditionally male roles. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 11. $35–$70.

(301) 924-3400. olneytheatre.org. ulySSeS on boTTleS An Arab-Israeli school teacher tries to smuggle copies of Dostoyevsky to Gaza on a raft made of plastic bottles. What happens next?

Led by managing director Serge Seiden, the play uses the case of the aforementioned school teacher, nicknamed Ulysses, and his Jewish, pro-bono defense attorney Izakov to view the Israeli-Palestinian conflict through a different lens. Atlas Performing Arts Center. 1333 H St. NE. To June 11. $15–$60. (202) 399-7993. atlasarts.org.

F I N D U S AT T H E S E FA R M E R S M A R K E TS : Dupont Circle, Bethesda Central Farm, Brookland, H Street, 14th & Kennedy, Penn Quarter, White House, CHOP (Reagan Building), Capitol Riverfront, Mosaic, Pike & Rose, Greenbelt, Riverdale Park, Rockville, and more!

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WORLD PREMIERE

criminals. (See washingtoncitypaper.com for venue information) everyTHing, everyTHing In this story of young love, a teenager who spends most of her life inside due to serious allergies develops a relationship with her new neighbor. Starring Amandla Stenberg, Nick Robinson, and Anika Noni Rose. (See washingtoncitypaper.com for venue information) pariS Can waiT A woman facing a crossroads in her life attempts to add some excitement by taking off on an impromptu road trip with her husband’s business associate in this drama from director and screenwriter Eleanor Coppola. Starring Diane Lane, Alec Baldwin, and Arnaud Viard. (See washingtoncitypaper.

ETHAN STIEFEL’S

com for venue information)

Film

buena viSTa SoCial Club: aDioS In a follow-up to the popular 1999 documentary, director Lucy Walker reconnects with the remaining original members of the Cuban music group and explores how their lives have changed since tensions eased between the U.S. and Cuba. (See washingtoncitypaper.com for venue information) baywaTCH Dwayne Johnson and Zac Efron team up in this humor-filled adaptation of the cheesy ‘90s TV series. When a young recruit challenges an established team, he meets resistance but they all must come together to save the beach they love from

piraTeS oF THe Caribbean: DeaD men Tell no TaleS In the latest entry in the Pirates of the Caribbean franchise, Captain Jack Sparrow returns to search the ocean for Poseidon’s trident. Starring Johnny Depp, Geoffrey Rush, and Javier Bardem. (See washingtoncitypaper.com for venue information) wakeFielD Following a nervous breakdown, a man moves into his home’s attic, leaving his wife to deal with the consequences of his actions. Writer and director Robin Swicord leads this drama starring Jennifer Garner, Brian Cranston, and Beverly D’Angelo.

(See washingtoncitypaper.com for venue information)

LAUNCHING TONIGHT! MAY 25-27, 2017 with Antony Tudor’s Lilac Garden and Frederick Ashton’s The Dream KENNEDY CENTER OPERA HOUSE

TICKETS: KENNEDY-CENTER.ORG OR 202-467-4600

WASHINGTONBALLET.ORG

washingtoncitypaper.com may 26, 2017 37

Contents:

Legals

Adult . . . . . . . . . . . . . . . . . . . . . . . 38 Auto/Wheels/Boat . . . . . . . . . . . 38 Buy, Sell, Trade Marketplace . . . . . . . . . . . . . . . . . 38 Community . . . . . . . . . . . . . . . . . . 39 Employment . . . . . . . . . . . . . . . . . 38 Health/Mind . . . . . . . . . . . . . . . . . . . .

Body & Spirit . . . . . . . . . . . . . . . . . 39 Housing/Rentals . . . . . . . . . . . . . 38 Legal Notices . . . . . . . . . . . . . . . . 38 Music/Music Row . . . . . . . . . . . . . 39 PetsOUTLET. . . . . . . . . . . . . . . . . . . . . . . . . 39 FIND YOUR Estate . . . . . . . . . . . . . . . . . . 38 RELAX,Real UNWIND, REPEATShared CLASSIFIEDS Housing . . . . . . . . . . . . . . 38 HEALTH/MIND, BODY Services . . . . . . . . . . . . . . . . . . . . . 38 FIND YOUR OUTLET. & SPIRIT RELAX, UNWIND, REPEAT http://www.washingtonciDiversions typaper.com/ CLASSIFIEDS HEALTH/ Crossword . . . . . . .MIND, . . . .BODY . . . & . .SPIRIT . . . 39

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WASHINGTON LEADERSHIP ACADEMY REQUEST FOR PROPOSALS School Technology Washington Leadership Academy Public Charter School, an approved 501(c)3 organization, requests proposals for the following technology: Item Quantity MacBook Air - 2016 - 20 *Acer C731 or C731t Celeron N3060 4GB RAM Chrome OS + Google Chromebook Management Console License (Perpetual license only) - 125 *HP Chromebook 11 G5 Celeron N3060 4GB RAM Chrome OS + Google Chromebook Management Console License (Perpetual license only) - 125 *ASUS Chromebook C202SA (YSO2 or other available models) Celeron N3060 4GB RAM Chrome OS + Google Chromebook Management Console License (Perpetual license only) - 125

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Please email proposals ngould@wlapcs.org.

to

We request proposals by May 30, 2017.

SOMERSET PREPARATORY DC PUBLIC CHARTER SCHOOL Request for Proposal Instructional Coaching

and

Leadership

Somerset Preparatory DC Public http://www.washingtCharter School is advertising the oncitypaper.com/ opportunity to bid on Instructional and Leadership Coaching. Additional specifications outlined in the Request for Proposals (RFP) may be obtained beginning on Friday, May 26, 2017 by emailing sspdc_bids@somersetprepdc. org.

FIND YOUR Please send all proposals by OUTLET. Monday, June 5,RELAX, 2017 no later than 5:00 pm.

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Legals Invitation for Bid Food Service Management Services Washington Leadership Academy PCS

Proposals will be accepted at 3015 4th Street NE, Washington DC on (6/19/17), not later than 4:00pm.

All bids not addressing all areas as outlined in the IFB will not be considered.

PUBLIC NOTICE – Park Jefferson JR High AT&T Mobility, LLC is proposing to collocate antennas on a 112foot building at 905 6th Street SW, Washington, DC. Public comments regarding the potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Amanda Sabol – CBRE, 4 West Red Oak Lane, White Plains, NY 10604, whiteplainsculturalresources@ cbre.com or (914) 694-9600.

PUBLIC NOTICE – Doubletree AT&T Mobility, LLC is proposing to collocate antennas on a 105foot building at 801 22nd Street NW, Washington, DC. Public comments regarding the potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Amanda Sabol – CBRE, 4 West Red Oak Lane, White Plains, NY 10604, whiteplainsculturalresources@ cbre.com or (914) 694-9600.

Moving?

38 May 26, 2017 washingtoncitypaper.com

tp://www.washingtoncitypaper.com/

Out Outwith withthe the

The SEED Public Charter School of Washington, D.C. (“SEED DC”) is issuing this Request for Proposals (“RFP”) to engage a Cleaning Service company for the 20172018 school year for its four acre campus, located at 4300 C Street, SE Washington, D.C. Additional specifications outlined in the Request for Proposal (RFP) may be obtained between the hours of 8 am – 4pm from:

Brightwood Gardens Cooperative. Ready to move into spacious 1 bdr unit with renovated kitchen. All utilities included. Small pets are welcome. Conveniente located next to Georgia Ave., with 10 minutes express buses to the green and red lines.

Call us at 202-291-0063 or brightwoodgardens@gmail. com

Colleen Turner Operations and Finance Coordinator THE SEED PUBLIC CHARTER SCHOOL of Washington, D.C. 4300 C Street, SE Washington DC 20019 cturner@seedschooldc.org 202-248-3041

One bedroom in Marshal Heights 5574 B. St. SE Close to metro cln. quiet property $850 month. laundry rm.

443 261-4284

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The deadline for submitting bids is June 13th, 2017 at 3:00pm.

Brookland/ CUA Metro 1BR apt W/D, $1200/mo. + gas & elec.

202-832-7855. Quiet, NS, no pets.

Condos for Rent

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All bids not addressing all areas as outlined in the RFP will not be considered

3656 New Hampshire Ave. NW, #2 Garden studio with assigned parking for rent in a six unit building. Updated Kitchen and bath. Hardwood floors and SS appliances. Across the street from Georgia Ave./Petworth Metro. In-unit washer/dryer. Fenced yard with gated entrance. Grocery stores and restaurants within walking distance. $1550/mo. utils. incl except elec. Please call 240-476-2522 or email koulaz@ msn.com.

Moving? Find A Helping Hand Today Rocketship Education DC Public Charter School

Rocketship Education DC Public Charter School is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/ or CACFP supper meals to children enrolled at the school for the 2017-2018 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifi cations outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on May 26, 2017 from Larisa Yarmolovich at (860) 2354459 or lyarmolovich@rsed.org: http://www.washingtonci-

Duplexes/Townhouses For Rent

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typaper.com/ CLASSIFIEDS HEALTH/ http://www.washingtoncitypaper.com/ Proposals will be accepted at 2335 Raynolds Place, SE Washington DC, 20020 on June 20, 2017 not later than 4:00 PM

Totally renovated 3 bedroom 1 1/2 bath townhouse in Petworth. Wood floors throughout. Living room with gas fireplace, dining room, kitchen with stainless steel and composite, 1/2 bath, rear deck on main floor. 3 bedrooms (1 small) on 2nd floor with 1 full bath. Enclosed rear paved patio. Alarm system.

No smokers and no pets. Call Evers&Co Real Estate (202) 364-1700.

Roommates

Nice, well-lit room available in Adams Morgan group house.$475 per/month. 240 646 2882 ALL AREAS FREE ROOMMATE Service @ RentMates.com. Find the perfect roommate to complement your personality and lifestyle at RentMates.com!

Rooms for Rent

Houses for Rent 4914 Ames St. NE Wash DC 2 lvl 3br 1 1/2 bath semi detached home. A/c, ceiling fans, deck 5min walk to Benning Rd ss $2300 mo.

All utilities included $2000 dep call 301-346-6383

MIND, BODY & SPIRIT

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All bids not addressing all areas as outlined in the IFB will not be considered.

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Apartments for Rent

Cleaning Services

Washington Leadership Academy PCS is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/or CACFP supper meals to children enrolled at the school for the 2017-2018 school year with a possible extension of (4) one year renewals.

All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifi cations outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on (5/26/17) from Natalie Gould at 612-867-3829 or ngould@ wlapcs.org:

http://www.washingtoncitypaper.com/

Moving? Find A Helping Hand Today

Legals Request for Proposals

GM seeks M to rent bedroom and bath in townhouse located in Arlington’s Adams Mill neighborhood. $785 rent includes all utilities, maid service, premium cable, WIFI, W/D,kitchen access.

Monthly lease but looking for a one year informal commitment. $375 security deposit. Employment and credit check. No smoking, no pets, no drugs, no weapons. 703-727-6029.

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Upper NW DC Upscale neightborhood, Room for rent. Near Takoma Metro, Walmart and fi tness center. Cozy, large closet.

All Utils. & Internet included.

Good References and Background Check required. Male prefered. $600/mo. Call 202-271-2704.

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Management/ Professional Alexandria, VA. Director of Paid Media & Analytics: oversee $100K+ campaigns, supervise account managers. Min. req. BA Marketing/Bus. Admin./rltd; 1 yr prof. exp. CL/R: Silverback Strategies, 625 N. Washington St., Ste. 250, Alexandria, VA 22314

Miscellaneous Flyer Distributors Needed Monday-Friday and weekends.

We drop you off to distribute the fl yers. NW, Bethesda, Silver Spring, Wheaton. $9/hr. 301237-8932

Education REQUEST FOR PROPOSALS Two Rivers PCS is seeking companies to provide comprehensive psychological assessments and therapeutic interventions. For a copy of the RFP, email procurement@tworiverspcs.org.

Antiques & Collectibles

Miscellaneous NEW COOPERATIVE SHOP! THINGS FROM EGPYT AND BEYOND 240-725-6025 www.thingsfromegypt.com thingsfromegypt@yahoo.com SOUTH AFRICAN BAZAAR Craft Cooperative 202-341-0209 www.southafricanbazaarcraftcooperative.com southafricanba z a ar @hotmail. com WEST FARM WOODWORKS Custom Creative Furniture 202-316-3372 info@westfarmwoodworks.com www.westfarmwoodworks.com 7002 Carroll Avenue Takoma Park, MD 20912 Mon-Sat 11am-7pm, Sun 10am-6pm

Cars/Trucks/SUVs

Nissan Altima 2008, Sedan, Silver, 2.5L, 1 Owner, Automatic, FWD, 70k miles, Great condition! $1900. Call Philip (207) 613-4671

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Introducing Acti-Kare InHome Services of Chevy Chase servicing Chevy Chase, Bethesda and Kensington.

This is one of minority female owned home care agencies in this area. We provide in-home services including senior care, live-in, companion care including medication management.

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Out with the old, In with the new Post your listing with Washington City Paper Classifieds Out with the Events old, In with Call for Entries the new Falling for Fall Arts & Crafts Show Post your (9/16/17-9/17/17) Application is located at: listing with www.TroyPromotions.com Application Deadline - (6/1/17) Washington General City Paper Classifieds Volunteers needed for the U.S.

Capitol. Are you interested in History, Politics, Art, Architecture http://www.washingtoncitypaper.com/ and you love to meet and help visitors from all over the world?

Our Volunteers help with visitor operations, public programs, special events, and administrative duties. Please consider volunteering at the Capitol Visitor Center. We are open Monday to Friday from 8:30-4:30 and have multiple days and shifts available.

For information, please see the website www.visitthecapitol.gov or contact Volunteer Coordinator at cvcvolunteer@aoc.gov or call (202) 593-1774.

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

Twitter: @wacdtf Would you like to volunteer to prevent Human Rights violations?

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Out with the old, In with the new Post your listing with Washington City PaperEXECUTIVE Classifieds– ACCOUNT http://www.washingtoncitypaper.com/

ADVERTISING SALES Washington City Paper has an immediate opening for an outside sales position responsible for selling and servicing our advertising and media partner clients across our complete line of marketing solutions including print advertising in Washington City Paper, digital/online advertising on washingtoncitypaper.com and across our Digital Ad Network, as well as event sponsorship sales.

In addition to selling and servicing existing accounts, Account Executives are responsible for generating and selling new business revenue by finding new leads, utilizing a consultative sales approach, and making compelling presentations.

You must have the ability to engage, enhance, and grow direct relationships with potential clients and identify their advertising and marketing needs. You must be able to prepare and present custom sales presentations with research and sound solutions for those needs. You must think creatively for clients and be consistent with conducting constant follow-up. Extensive in-person & telephone prospecting is required. Your major focus will be on developing new business through new customer acquisition and selling new marketing solutions to existing customer accounts. Account Executives, on a weekly basis, perform in person calls to a minimum of 10-20 executive level decision makers and/or small business owners and must be able to communicate Washington City Papers value proposition that is solution-based and differentiates us from any competitors. Account Executive will be responsible for attaining sales goals and must communicate progress on goals and the strategies and tactics used to reach revenue targets to Washington City Paper management.

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

http://www.washingtoncitypaper.com/ http://www washingtQualifications, background, and disposition of oncitypaper.com/ the ideal candidate for this position include:

• Two years of business to business and outside customer sales experience • Experience developing new territories & categories including lead generation and cold calling • Ability to carry and deliver on a sales budget • Strong verbal and written communication skills • Able to work both independently and in a team environment • Energetic, self-motivated, possessing an entrepreneurial spirit and strong work ethic • Organized, detail and results oriented with professional presentation abilities • Willing to embrace new technology and social media • MS Office suite proficiency - prior experience with a CMR/CMS software application • Be driven to succeed, tech savvy, and a world class listener • Enjoy cultivating relationships with area businesses We offer product training, a competitive compensation package comprised of a base salary plus commissions, and a full array of benefits including medical/dental/life/disability insurance, a 401K plan, and paid time off including holidays.

Compensation potential has no limits – we pay based on performance.

For consideration please send an introduction letter and resume to Melanie Babb at mbabb@washingtoncitypaper.com.

No phone calls please.

washingtoncitypaper.com may 26, 2017 39

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