Washington City Paper (June 19, 2015)

CITYPAPER Washington

city desk: i bike on the sidewalk 7

food: moment of vermouth 25

Free Volume 35, no. 25 WashingtonCityPaPer.Com june 19–june 25, 2015

AFI DOCS, D.C.’s best film festival, has somehow gotten better. 12

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INSIDE 12 THe

MIgHTy Docs AFI DOCS, D.C.’s best film festival, has somehow gotten better. illustration by lauren heneghan

4 cHaTTer DIsTrIcT LIne

7 In defense of sidewalk cyclists 9 City Desk: District soccer fandom by the numbers 10 Savage Love 11 Gear Prudence 23 Buy D.C.

D.c. FeeD

25 Young & Hungry: The drink that’s about to take over D.C. menus 27 Grazer: Of all the gins in this joint...

27 Brew in Town: Right Proper and Schlafly Plissken 27 The ‘Wiching Hour: 3 Salsas’ Cubana Torta

arTs

29 High-Functioning Punk: Sister Polygon’s more than a farm team.

31 Arts Desk: Mural, mural, on the wall 32 Curtain Calls: Lapin on Occupied Territories 33 Short Subjects: Olszewski on Every Last Child 34 Sketches: Capps on Larry Cook’s “Stockholm Syndrome” at Hamiltonian

cITy LIsT

37 City Lights: Christopher Owens refines his whimsy anew.

41 Theater 43 Film

46 cLassIFIeDs DIversIons 47 Crossword

on THe cover Illustration by Lauren Heneghan

“”

i don’t know if you want to say cult beverage..

—Page 25

washingtoncitypaper.com june 19, 2015 3

CHATTER

In which readers go nuts for our Food Issue

Eat Our Words

councilmembers haven’t teamed up to vote that advantage away.” Of the school construction costs, DC Shady Boots said in the comments, “Sounds to me like the developers in these projects see this as a free-for-all spending spree without any legislative checks and balance. A budget really isn’t a budget. Just something to be overlooked until they have milked as much as they possibly can from the District coffers. Somebody has to pay for these projects. Kudos for Council members calling for an end of this practice of retroactive change orders.”

We’ve spent the last week eating up the overwhelmingly

positive reaction (“Perfect,” declared @ tylrfishr; “actually helpful,” said @ RuralicityDC) to our recent Food Issue, which recommended a restaurant or bar for every occasion. Yahoo News’ Meredith Shiner particularly loved the question, “Where do you go when you want to drink alone and live tweet the conversations of the idiots around you?”, tweeting, “<3 u @wcp.” Much of the praise should go to Food Editor Jessica Sidman, as well as Creative Director Jandos Rothstein and Online Developer Zach Rausnitz for their work to make both the print and web editions pleasing to the eye and user-friendly. Online, Rausnitz designed a tool that categorized recommendations (“I’m going with [blank], specifically my [blank]”), which @maeve_mcdermott called “game-changing.” @caddington11i tweeted, “obsessed with this format (date + ¯\_( )_/¯ brings wonderful combinations).” Check it out at washingtoncitypaper.com/go/foodissue2015.

Double Trouble. Will Sommer’s two-for-one Loose Lips column addressed the unfair advantage certain councilmembers have when running for higher office and the continuing objections from the D.C. Council over higher-than-expected school renovation costs.

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Hurt Pride. The Washington Blade devoted not one, but two columns to criticizing Arts Editor Christina Cauterucci’s Gay Issue piece “Swallow Your Pride,” which examined the commercialization of the LGBTQ event. We don’t want to spoil anything, but Mark Lee’s critique included sentences like, “Be forewarned, however, that Cauterucci’s obsession with radical slos ganeering and extremist terminolnt e ogy may require the assistance of an v open browser to define trendy terms /e m like ‘cismen’ for the uninitiated.” We’ll o .c let @mattyigreene respond: “.@Washer p Blade: ‘radical’ orgs like @glaad supa p port the use of terms like cis. Not your writty i c ers?” Lee’s rebuttal, as well as one from Peter n o Rosenstein, can be found on the Blade’s website. gt n —Sarah Anne Hughes i

“That random advantage for certain wards is absurd,” commented Spirit Equality of the seats at the mercy of the election cycle. “Surprised the disadvantaged

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d r a Y e

Department of Corrections: The Food Issue provided an incorrect address for Jimmy T’s Place. It is located at 501 E Capitol St. SE. Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to mail@washingtoncitypaper.com.

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SHAW OPEN HOUSE Saturday, June 20, 2015 1:00 PM - 5:00 PM

Hit the streets on June 20th when dozens of Shaw’s businesses throw open their doors to welcome YOU! Come explore the Shaw neighborhood along 7th and 9th Streets, NW, and get a taste of what Shaw’s businesses have to offer.

FREE food, beer, wine and cocktail samples.

FREE recyclable shopping bags.

FREE raffle for prizes from businesses.

Pick up a FREE Shaw Open House Passport on the day of the event at Shaw Arts, Crafts & Fashion Market, 651 Florida Avenue, NW or Touchstone Gallery ork A venue, Gallery,, 901 New YYork Avenue, NW ogether NW,, and spend an afternoon Where DC Comes TTogether ogether.. TM For the list of participating businesses, visit WWW .SHA WMAINSTREETS.ORG WWW.SHA .SHAWMAINSTREETS.ORG

washingtoncitypaper.com june 19, 2015 5

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DISTRICTLINE

Golden State Warriors

player Andre Iguodala owned a majority of Stadium Club, the strip joint in Woodridge, but wants nothing to do with the establishment. washingtoncitypaper.com/go/andre

Ground Control

Riding a bike on the sidewalk makes sense. Why the hate?

My latest run-in with the law happened last August.

I was biking by the Carnegie Library when a police officer waved me down from his car. My crime: riding a bike on the sidewalk.

I was cycling right outside the border of downtown’s Central Business District, the only part of the city where sidewalk biking is illegal. The cop, who insisted that I had broken the law, let me off with a warning.

I haven’t taken it to heart. I still bike on the sidewalk, even in the CBD, because riding on the sidewalk has its place everywhere in the city. Not that self-hating cycling advocates or the Metropolitan Police Department will tell you that.

Most of the time, I’m not riding on the sidewalk. Almost all of my cycling happens on pavement, because sidewalks just aren’t convenient for most cycling. You have to watch out for pedestrians, dogs, and loose bricks.

And if you’re really scrupulous, you’ll have to ring a bell every time you pass a pedestrian.

But when biking on the sidewalk is useful, it’s indispensable. When traffic is backed up and the cars are too close to the curbs to filter past, the sidewalk is perfect. The same goes for avoiding going the wrong way on a one-way street. And of course, the sidewalk is ideal for new cyclists otherwise spooked by city riding.

David Cranor, who blogs about biking in the District at The Wash Cycle, has a long list of situations where riding on the sidewalk makes sense. Whether looking for a place to park a bike or ascending a hill with heavy traffic, you ought to be on the sidewalk.

“Sometimes, it’s useful to get up on the sidewalk,” Cranor says.

I used to live at the Woodner, a rambling apartment building on the western side of 16th Street NW. Biking home through Mount Pleasant, I had to choose between biking on the sidewalk for a block to get home, or risking my life across five lanes of traffic by biking down 16th Street during rush hour, then crossing against that same rush hour traffic to get to my building. Why wouldn’t I take the

Darrow Montgomery

By Will Sommer

Campaigns that shame cyclists for riding on the sidewalk ignore the real dangers they face. washingtoncitypaper.com june 19, 2015 7

DISTRICTLINE sidewalk? I went cautiously the whole way for pedestrians’ sake—just like I do when I find people standing in the 15th Street cycletrack.

When you consider how convenient riding on sidewalk can be, it’s strange to think about how many people don’t want you to do it.

For some cyclists, there’s a perverse pride in restricting themselves to the street. Like a toddler throwing away their diapers after using a tiny plastic toilet for the first time, they want nothing to do with baby stuff. Consider local tech blog DC Inno, which appointed itself sidewalk biking czar a few years ago. An adult cyclist on a sidewalk, writer Anthony Sodd claims in one blog post, is “simultaneously revolting and pitiful.”

“You are a big kid now and big kids don’t ride on the sidewalks,” he writes in another post.

Left unexplained is why anyone who isn’t afraid of being confused with a child shouldn’t ride on the sidewalk when it’s the most convenient option. DC Inno would find sympathy with MPD, which earlier this month warned cyclists in tweets to stay off the sidewalk: “At every

driveway & [intersection], you are at greater risk of being hit by a motorist than if you were riding on the road with traffic,” MPD tweeted, without explaining that it’s legal to ride on the sidewalk in most of the city.

Sidewalk biking can be more dangerous, thanks to turning drivers who aren’t expected to see a bike come through the crosswalk.

But countless other legal things that cyclists, pedestrians, and drivers do are more dangerous than their alternatives. Riding, driving, or walking at night is more dangerous than the alternative, but that doesn’t stop people from doing all three.

The pernicious “safety” argument surfaced last year, when the Washington Area Bicycling Association, the District Department of Transportation, and a local Advisory Neighborhood Commission teamed up to post anti-sidewalk biking signs in Logan Circle. Funded by the ANC, the signs portrayed the kind of unobstructed bike lanes, free of idling trucks and hastily opened car doors, that don’t actually exist in the District.

“All are safer when cyclists use the street” the

8 june 19, 2015 washingtoncitypaper.com

signs read, “NOT the sidewalk.”

Then-DDOT spokesman Reggie Sanders told me the signs were “the kind of [bottomup] approach to traffic safety that we like to see.” The joke is that 14th Street NW, where many of the signs appeared, may have the most ignored, potholed bike lanes in the city. One of the signs was placed right in front of a dumpster that was blocking the bike lane. So much for traffic safety.

There’s an ugly classism to complaints about sidewalk biking. The wards that are best served by bicycle lanes also tend to be the richest ones.

The city’s two poorest wards, meanwhile, have the least amount of bike lanes, according to 2014 DDOT statistics. Ward 8 didn’t get its first bike lane until last year. DDOT statistics show that cycling infrastructure consistently reduces cycling on the sidewalk by double digits. After the installation of the 15th St. NW cycletrack, bikes on the sidewalk dropped by 70 percent. Before opposing biking on the sidewalk, try cycling across the East Capitol Street Bridge without it.

By stigmatizing cycling on the sidewalk,

sidewalk biking prohibitionists make it harder for people who most need the flexible, inexpensive commute that cycling provides. That class difference also makes it worse when District pols try to kick bikes off the sidewalk.

Last year, outgoing Ward 1 Councilmember Jim Graham proposed a bill that would make biking on the sidewalk illegal on any road with a bike lane. Graham’s bill was inspired by a 78-year-old man’s death after being hit by a cyclist.

The fact that the deceased man was hit in an alley, not a sidewalk, apparently didn’t dissuade Graham from proposing his bill. Fortunately, its chances died when Graham left the D.C. Council. That left the choice about whether it’s wise to ride in street where it belongs: with the cyclists themselves.

About a year ago, I was biking through Mount Vernon Square. A truck came up on me fast, which is exactly what its driver was furious about. Despite being in a bike lane, I still wasn’t moving quickly enough for him.

“Get on the sidewalk!” he yelled.

CP Right on.

City Desk

Handout photo courtesy Aaron DeNu

DISTRICTLINE

Tomorrow’s history today: This was the week the heat index rose above 100, tying us with Charleston, S.C. as the hottest place in the country.

Fever Pitch

On Friday, the Pitch Tavern was packed. So packed, in fact, that the Petworth sports pub had to turn away people who wanted to watch the U.S. Women’s National Team’s World Cup match against Sweden. Across town, thousands of people gathered in Dupont Circle to watch the same game.

And in living rooms around D.C., residents watched the play at a higher rate than any other city in the country. While the debate about the publicly financed stadium deal struck with D.C. United to keep the team in the city will continue for years, one thing is not up for discussion: D.C. is a soccer town. Don’t believe us? Here’s proof, by the numbers.

—Josh Solomon

7,500

1

Number of viewers at the Dupont Festival watch party Friday night. Tack on an additional 1,000 for those who passed by the event but didn’t stay the whole time.

Ranking of D.C. viewership of the first two World Cup USA matches, according to Fox, with Richmond, St. Louis, Baltimore, and Hartford rounding out the top five

103,727 Approximate number of D.C. area Nielsen households that watched those matches

24

Width in feet of the screen that displayed the game in Dupont

500

AmericAn flAgs hAnded out during dupont wAtch pArty

2.5

Pounds lost

by Aaron DeNu of the Dupont Festival while setting up the watch party

1900 BLOCK OF 7TH STREET NW, JUNE 5. BY DARROW MONTGOMERY washingtoncitypaper.com june 19, 2015 9

SAVAGELOVE My boyfriend and I both spent a lot of time masturbating when we were young, and pretty much trained our brains to come only one way. He can only come from masturbating furiously, or sometimes from a marathon of jackhammer sex. A few years before I met him, I toned down the masturbating to retrain my brain and pussy and tried a bunch of new things, and I can now come from different acts and positions. It wasn’t easy, but I am so happy with this versatility. I’m starting to get annoyed that he isn’t working harder to overcome this jackhammering reliance. It hurts, it’s super boring, and it makes me feel like I might as well be an inflatable doll. We’ve talked about it, and he says he’ll masturbate less, and that does help (read: Now it’s a half hour of jackhammering instead of hours), but I’m still eager for more variety—and to be able to walk after sex and ride a bike the next day. For what it’s worth, about half the time he just lets me come buckets and then gives up on himself. Can you recommend anything that would help him?

Since I know firsthand this can be overcome and I accommodate him as much as possible, I think I’m being reasonable, but I’m sure you’ll tell me if I’m not. —Hoping A Massive Masturbator Eventually Retrains Exacting Dick Here’s how you retrain his dick: Your boyfriend stops doing what he’s always done— no more masturbating or fucking in the style to which his dick has become accustomed— but he keeps on having sex and he keeps on masturbating. But he is not allowed to revert to jackhammering away at your pussy or his fist if he doesn’t get off. If he doesn’t come, he doesn’t come. Eventually his dick, in desperation, will adjust to newer, subtler sensations, and he’ll be able to get off without jackhammering.

Or not.

Some guys can retrain their dicks—and some women can retrain their pussies—but some people have carved too deep a groove into themselves and their junk. Other people really

The only way to find out if your boyfriend’s dick can be retrained is to try and retrain it. do require intense stimulation—jackhammers and death grips and powerful vibrators—to get off, and they have to figure out how to incorporate that intense stimulation into partnered sex without destroying their partners’ orifices. But the only way to find out if your boyfriend’s dick can be retrained is to try and retrain it. The fact that masturbating less cut his jackhammering down from hours to half an —Dan Savage hour is a positive sign.

Oh god, Dan! Help! How do I get over my jealousy over my bisexual boyfriend, who now wants to act on his urges for women? We’ve been together and had a happy gay life for 15 years, open with men for only three of those years. He has integrity, and he says he would never cheat on me, but he’s getting to the point where he is gonna hook up with women, whether I am okay with it or not. There’s more to it, though. He is perfect in every facet of his life. A perfect person and a gift to the world, so any woman would be crazy not to want him for herself.

We are deeply in love, but I’m afraid of a woman’s ultimate intention for a guy like my partner.

—Jealousy Annoys Gay Guy Gay and bi men are just as interested in having

10 june 19, 2015 washingtoncitypaper.com

partners who are perfect in every facet of life, JAGG, and yet you trust your boyfriend to fuck other guys and come home to you. You’ll just have to trust your gift-to-the-world boyfriend to do the same with women: fuck a woman now and then but come home to you after.

The “ultimate intention” of whatever woman your boyfriend fucks should concern you less than your boyfriend’s ultimate intention.

Does he ultimately intend to stay with you? Or would he ultimately prefer to be with someone else? If he wants to stay with you—and he’s likelier to wanna stay if being with you doesn’t mean he never gets to have sex with a woman ever again—then you’ll have to trust that your same-sex relationship is strong enough to withstand a little opposite-sex hooking up.

—Dan I’m a 25-year-old heterosexual female, and I’ve been in a long-term friends-with-benefits relationship for a little more than four years. My FWB partner and I have recently decided to move from being FWB to actually dating. The issue is that we’ve both become so accustomed to the late-night sexting-and-hookup routine that going on dates seems awkward and forced. It doesn’t help that neither of us has been in a relationship before, so we both feel a little in the dark on how to navigate this. I really do like the guy (and our sex life is amazing), but I’m not sure how to move past the in-between phase we’ve found ourselves in. Have we been in FWB-land too long to come back?

—Lost In Datingland Dating is what people do before entering into a relationship—or it’s what most people used to do—and you two are already in a relationship. It was a FWB relationship, yes, but it was still a relationship. And people in relationships don’t typically go out on dates. So, yeah, the reason going out on a date with your boyfriend feels awkward is because you’re not dating, LID, not at this stage. You’re together. So be

together: Go places, do things, have dinner, see friends, go home, sex amazingly. Spend more time together, build on what you’ve already established, (i.e., the emotional and sexual connection that carried you through the last four years), and stop stressing about performing the roles of “boyfriend” and “girlfriend.” —Dan Recently, while masturbating, as I was approaching climax, I had a sharp pain in my abdomen. It felt like my intestine wanted to burst though my abdomen, kind of like a hernia. It really sucked and it ruined my orgasm. This has happened a handful of times in the past. I mentioned it to my doctor once, and I tested negative for a hernia. I’m a 52-year-old male in reasonably good shape; I’ve been going to the gym on the reg for the past few months. This sucks in that when my wife and I play, part of it involves my wife putting me in four-point restraint, masturbating me, then tickling me post-orgasm. It would really suck for this to happen while tied up and has me concerned about our sex play. Advice, an explanation, or a good theory would be welcome.

—Gut Ruins Orgasms, Addling Nerves I would advise you to speak to your doctor, GROAN, but I don’t think you should worry about this too much. And I would theorize that you tense a particular muscle or set of muscles when you masturbate and every once in a great while this muscle group revolts and spasms painfully; your return to gym-going may have contributed to your most recent spasm.

So long as your doctor gives you the all clear, GROAN, I don’t think you should stop going to the gym—or masturbating or letting your wife tie you to the bed. Risking the occasional spasm, however painful, seems a reasonable price to pay for regular orgasms and —Dan adventurous sex.

Send your Savage Love questions to mail@savagelove.net.

Gear Prudence: This year, after a lot of cajoling from bicyclist friends, I decided that I would finally sign up for Bike to Work Day and that would kick off my brand new biking lifestyle.

Goodbye Red Line forever! So, I signed up and I did it... except I sort of hated it, and I haven’t ridden my bike since then. The roads were scary, everyone was faster than me, and I just felt like an imposter the whole time. If Bike to Work Day is supposed to be the safest and most fun biking experience, and I didn’t like it then, shouldn’t I just accept that it’s not for me?

—Underwhelmed New Cyclist Obviously Now Viewing Introduction Negatively, Commuting’s Exceptionally Disappointing Dear UNCONVINCED: Maybe! Sometimes doing something once based on a combination of peer pressure and inflated expectations of life-changing outcomes then not enjoying it to the extent that you had hoped is a perfectly justifiable reason to draw conclusions that you would never enjoy it in the future. After all, Bike to Work Day is the only day of the year when you’ll be given a free banana for your efforts. If that didn’t compensate for your feeling underwhelmed by the experience, what hope will you have on days when you’d have to buy your own banana? That truly does sound hopeless.

Think of bike commuting like Pride and Prejudice. Elizabeth Bennett didn’t fall in love with Mr. Darcy right away—in fact, she thought he was the worst. But for reasons I have forgotten since high school English class, after a series of biting quips on contemporary social mores and turns about the room, she eventually decided that her first impression was wrong and they fell in love. In case it’s not clear, in this scenario you are Elizabeth Bennett, bike commuting is Mr. Darcy, and the free banana is Charlotte Lucas, for some reason. First impressions are not always the most accurate, so give yourself a few chances before reaching any sweeping conclusions.

GP says to give it six days total. Bike to Work Day was one, so in addition, either do full work week or five more Fridays. Why six? It’s the number of novels Jane Austen completed, and it’s enough times to get a more representative sample. Try a few different routes. Try by yourself, or if you can, with a friend. Keep an open mind, but be fair in your assessment.

However, it’s also perfectly conceivable that you might not actually like bicycling. And this is totally fine! Every means of commuting has advantages and disadvantages, and if you’ve weighed the things you like about bicycling against the things you dislike and the latter comes out ahead, then by no means should you force yourself to keep up with it. That —GP seems self-defeating.

Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com.

Cross safely

use crosswalks

Want to know the right way to cross the street?

Wait until traffic has stopped before crossing at designated crosswalks—and never dart out in front of an approaching streetcar or between two stopped vehicles. Crosswalks and pedestrian signals are there for you and your safety. Using them is the right way and the safe way.

dcstreetcar.com washingtoncitypaper.com june 19, 2015 11

docs

the mighty afi DoCs, D.C.’s best film festival, has somehow gotten better.

Clear your schedules:

D.C.’s best film festival has somehow gotten better. For its 13th year, AFI DOCS, which runs June 17-21, is offering a sensational slate of documentaries that touches on subjects so diverse and unusual, you probably don’t know that you don’t know about them.

We’ve reviewed over half of the featurelength offerings, and the bulk of those are winners. Though there is a lighter side to DOCS—City of Gold is a go; Drunk Stoned Brilliant Dead: The Story of the National Lampoon is a no—the fest largely hews to weightier matters. The magic of 2015’s curation, however, is that even when a film makes you angry, rarely does this serious fare feel like something you should watch for your own good.

Equality—or, more often, inequality—is a pervasive subject this year, as it applies to nearly any group you can imagine. Women are regarded in jaw-droppingly caveman terms in films such as Radical Grace, in which the Vatican investigates and shames Catholic nuns because of their “feminist spirit.” Young people with autism don’t get much more respect in How to Dance in Ohio, with one woman being criticized that she’s “difficult to work with” by her supervisor, who apparent-

ly doesn’t give a damn about her condition if it affects her job.

Peace Officers, meanwhile, attempts to discuss the epidemic of deaths at the hands of hyper-militarized law enforcement officers without a single African-American voice to comment, criticize, or mourn.

You’ll also have the opportunity to be fascinated by nobodies (In Transit; The Wolfpack) as well as somebodies (What Happened, Miss Simone?; Mavis!), watch a personal story of a married transgender woman (From This Day Forward), and take a closer look at animal rights (Tyke Elephant Outlaw), political fights (Best of Enemies), and the true reason our economy is so screwed up while our intolerance is growing (Requiem for the American Dream).

This year’s Guggenheim Symposium honoree is Stanley Nelson, director of the awardwinning The Murder of Emmett Till, Freedom Riders, and his latest, The Black Panthers: Vanguard of the Revolution, which will premiere during the festival.

You need only surf the ‘net to get mad, get sad, get educated, or have a laugh.

This week, do those things in a setting that’s not only communal, but first-class.

—Tricia Olszewski

see more reviews at washingtoncitypaper.com/go/afidocs2015

12 june 19, 2015 washingtoncitypaper.com

Best of enemies

The 1968 presidential conventions hosted the ultimate TV debate showdown: Douche supremes Gore Vidal and William F. Buckley, the former guilty of writing Caligula and the latter of a segregationcheering magazine, faced off. Best of Enemies breezily makes the case that ABC’s Buckley-Vidal tussles created our modern cable news yell-a-thons, but the debates themselves are a real snooze. Watching two East Coast arrivistes talk to each other through their noses makes Bill Press and Tucker Carlson look like “The School of Athens.” Vidal comes off like an entertaining tool, Buckley comes off just as jerky but less amusing (and possibly closeted, at that). They’re both dead now, so Kelsey Grammer and John Lithgow do the voiceovers. Best of Enemies steams com-

petently along toward its obvious climax, when Buckley calls Vidal a queer and threatens to knock his face in. What a guy.

—Will Sommer Wed., June 17 at 7:30 p.m. at the Newseum and Thurs., June 18 at 1:15 p.m. at AFI Silver

tyke elephant outlaw

PETA has been heavily promoting this movie, which tells the story of Tyke, a circus elephant with a feisty streak whom police gunned down after she threw a violent tantrum at a Honolulu performance. However, the film is not quite animal rights propaganda. Tyke Elephant Outlaw is a moving documentary that uses the titular elephant’s existence as a microcosm for examining America’s relationship with the circus. Directors Susan Lambert and Stefan Moore conduct fascinating, in-depth interviews with

figures in Tyke’s life, including trainers, circus entertainers, and people who were in the Honolulu arena on that fateful day. Though they do tend to favor the opinions of animal rights activists, Lambert and Moore end up carefully critiquing everybody who has a strong opinion on the misunderstood plight of elephants. The more people psychoanalyze Tyke, the more tragic and memorable Tyke Elephant Outlaw becomes.

—Dean Essner Thurs., June 18 at noon at Landmark E Street Cinema and Sat., June 20 at 9:15 p.m.

AFI Silver

City of golD

The fact that a taco stand in a gas station can get as much recognition in today’s food and media culture as a fourstar restaurant is, in no small part, thanks to the trail paved

by Jonathan Gold. The Los Angeles Times critic has helped democratize the restaurant world by bringing attention to the mom-and-pop Ethiopian or Thai joints in run-down strip malls that have historically been ignored by mainstream food writers. Much of City of Gold follows Gold as he drives his pickup truck through Tehrangeles, Koreatown, and other L.A. neighborhoods. With suspenders pulled over his protruding belly, the formerly anonymous critic points out the best dim sum, the last remaining Chinese-Islamic restaurant, and the pho place with boiled ox penis. Chefs talk about Gold’s ability to unlock some deeper truth about their cooking or how he saved their businesses by shining a light on their small corners of the earth. Ultimately, City of Gold is not just about a “failed” cellist and former music writer with the first Pulitzer Prize ever given to a restaurant critic. It’s not even really about food. It’s about a complicated, sprawling city, which Gold describes as “less a melting pot than a great glittering mosaic.”

—Jessica Sidman Thurs., June 18 at 1:30 p.m. at AFI SIlver and Sat., June 20 at 4:14 p.m. at Landmark E Street Cinema

Cartel lanD

Cartel Land

As in the Mexican drug war it covers, there are no heroes in Cartel Land. Fed up with cartel bullying, a doctor and his armed neighbors start vigilante autodefensa teams to protect themselves. You know this won’t end well. As the movement grows, so too does the vigilantes’ taste for their own dirt-road executions. Director Matthew Heineman gets so much access to each side’s shootouts, drug cookouts, and confessions that you wonder why he wastes time with self-proclaimed “border recon” cretins on the other side of the border. But the Arizona segments can be forgiven for the portrayal of autodefensa leader José Manuel Mireles, a lecherous doctor who finds himself allied with the same cocaine cowboys he meant to stop. Mireles is an egomaniacal creep, but at least he’s not leaving severed heads in the plaza. In Cartel Land, that’s about as good as it gets.

—Will Sommer Thurs., June 18 at 3:15 p.m. at AFI Silver and Fri., June 19 at 8:30 p.m. at Landmark E Street Cinema

from this Day forwarD

“A lot of kids with LGBT parents are just as much in the closet,” says Sharon Shattuck, who comes out in From This Day Forward, tracing the effects on her family of her dad’s transition into a woman named Trish. Through interactions, interviews, still photos, and the subjects’ self-recordings, we watch them figure out how much they’re willing to sacrifice for one another. Should Trish wear a dress to Sharon’s wedding? What does Marsha, her mother, owe Trish as a life partner? Some of the most revealing moments happen in what could have been outtakes, like when Shattuck is focusing the camera and bantering with members of her family. In one charming scene, Trish and Marsha go mushrooming. They’ve got their arms around each other and are facing the camera when a fly lands on the lens. Shattuck entreats her parents to blow the fly off, and the ensuing image shows their lowkey affection. Trish is a pleasure to spend time with—goofy, honest, and brimming with different talents (she paints, grows trees and roguishly plants them in neighbors’ yards, and plays guitar, banjo, and harmonica) that keep From This Day Forward from dragging.

—Rachel Kurzius Thurs., June 18 at 3:45 p.m. at AFI Silver and Fri., June 19 at 6:45 p.m. at Landmark E Street Cinema

the storm makers

There’s not a single flicker of hope or happiness in The Storm Makers, a harrowing, uncompromising portrayal of human trafficking in Cambodia. But it’s hard to watch Guillaume Suon’s film without emotional detachment, because The Storm Makers is nearly swallowed alive by its source material. Suon handles everything too delicately,

From This Day Forward

following around a few impoverished families and the crooked man who’s sold their young ones off to other countries for profit without digging into the political corruption at the root of it all. So it’s no surprise that The Storm Makers is at its strongest and most memorable when Suon lets his bias run free for a few moments, as in the scene where he interviews the human-trafficking orches-

trator next to a lavish swimming pool. The movie could have used more sequences like these, which supplement the marginalized voices and remind us that its director isn’t just an innocent bystander with a camera.

—Dean Essner Thurs., June 18 at 4:30 p.m. at Landmark E Street Cinema and Fri., June 19 at 2:30 p.m. at AFI Silver

washingtoncitypaper.com june 19, 2015 13

hot type: 150 years of the nation

Documentary film festivals and liberal political magazines tend to appeal to the same demographic, so it’s no surprise that a film about the Nation would find a place on the AFI DOCS slate. However, you’d think that the team that selects each film would have been slightly dubious of a film produced by the magazine to pat itself on the back as it celebrates its 150th anniversary. Over the course of the 90-minute film, the magazine’s editors blandly discuss all the good work they do; examples include reporting on Occupy Wall Street and the Wisconsin recall election, dispatches from Haiti and the 2012 Republican National Convention, and its celebrated internship program, through which many current Nation editorial staffers passed. If you’re an avid Nation fan and reader, this might interest you. If you’re interested in a diversity of opinions, it won’t. Director Barbara Kopple briefly veers into thought-provoking territory when explaining how the magazine makes money—it can’t survive on subscriptions alone, so it raises funds by sponsoring a wine club, inviting readers on an annual cruise, and begging deep-pocketed readers like Paul Newman to write a check—but soon enough, it’s back to business as usual, as editors applaud the reelection of Barack Obama and struggle to attract readers under the age of 60.

—Caroline Jones Thurs., June 18 at 6 p.m. at AFI Silver and Fri., June 19 at 9 p.m. at Naval Heritage Center

welCome to leith

“Small” is an inadequate word for Leith, a North Dakota town whose population could barely fill a school bus. Their lives are pleasant, if a little remote, at least until white supremacists arrive and upend any sense of tranquility. Directed by Michael Beach Nichols and Christopher K. Walker, Welcome to Leith is a disturbing thriller about Craig Cobb, a notorious racist who sees Leith

as an opportunity for a haven of hate. He reasons that the population is so small that he and his neo-Nazi pals can easily take over the town. Nichols and Walker have incredible access to Cobb and the townspeople who want him out. Cobb functions like a high-velocity troll, a shrill asshole who defends his right to free speech in order to spew pure bile.

On the streets and at public meetings, Cobb and the Leithians attempt to use the

law to their advantage, and the results are often shocking. While the stakes are small, Nichols and Walker’s documentary is a real battle between good and evil. There’s solace for both sides once it’s all over, yet Cobb throws in one last line that’s more chilling than anything we might hear from a comic book supervillain.

—Alan Zilberman Thurs., June 18 at 6 p.m. at AFI Silver and Sun., June 21 at 2:15 p.m. at Landmark E Street Cinema

the wolfpaCk

You might think you had a strange childhood, possibly with eccentric parents and a weird uncle, but nothing could be as unorthodox as staying in an apartment your entire life, watching movies and recreating them. But that’s exactly how the Angulo brothers—all six of them—grew up, sons of a Peruvian Hare Krishna devotee. The brothers were never allowed to venture past the door of their Manhattan apartment because their father believed that great big New York City would corrupt them. Despite that, he let them watch movies on VHS. Then, the magic happens. Countless times, the brothers have reenacted scenes from their favorite films, going so far as to craft homemade costumes and suits. To be honest, their makeshift Batman outfit does the original justice. This, as well as homeschooling from their American mother, is how the Angulo brothers learned about the world. When a few of the brothers leave, they learn that not everything goes by a neatly crafted script and human behavior is more than just a director’s cues.

—Jordan-Marie Smith Thurs., June 18 at 6 p.m. at Landmark E Street Cinema

Requiem for the American Dream

requiem for the ameriCan Dream

I hate to break it to you 99 percenters, but you’re a “bewildered herd” and “must be put in [your] place.” These words are actually from a 1922 book on the relationship between mass culture and democracy, but in Requiem for the American Dream, Noam Chomsky explains how the sentiment is near Lego Movie-levels today. (Don’t dismiss Lord Business and his ability to keep his underlings in line and distracted by dumb TV and Taco Tuesday.) Chomsky—linguist, philosopher, media critic, political analyst, nerd crush—is the sole character in the film, speaking for 73 minutes about how the “American Dream” is hardly possible anymore due to massive inequality; the increased ability of the wealthy to protect themselves while

letting the working class compete in a now global, and often exploitative, economy; and indoctrinating consumerism and marketing so deeply in us plebes that after the 2008 election, President Barack Obama was named Advertising Age’s Marketer of the Year. It’s all fascinating stuff, and you don’t have to be an economist to understand it. The film’s only drawback is the directorial trio’s attempt to train their cameras somewhere other than Chomsky’s close-up face. There’s archival footage, of course, and lots of ominous skyscrapers. But we also see Chomsky… reading.

Talking on the phone. And, most thrillingly, rearranging his desk. It proves how brilliant Michel Gondry was to animate his interview with the intellectual in 2013’s Is the Man Who Is Tall Happy? The subject matter doesn’t really call for bells and whistles, however, so his face would have been fine. What’s not so great is Chomsky’s claim that modern politics aim “to make people hate and fear each other,” an intolerance that seems to have skyrocketed since Obama’s win and doesn’t show signs of reversing. The takeaway: “It’s going to be an extremely ugly society.”

—Tricia Olszewski Thurs., June 18 at 6 p.m. at Naval Heritage Center and Fri., June 19 at 6:45 p.m. at AFI Silver.

14 june 19, 2015 washingtoncitypaper.com

The Wolfpack

Drunk stoneD Brilliant DeaD: the story of the national lampoon

When one of a mishmash of players in Drunk Stoned Brilliant Dead recalls that a National Lampoon art director was fired because the magazine had become “messy” and “confusing,” that person might as well have been criticizing the film itself. Image after image, all packed with jokes—and breasts—flash on the screen with commentators whose significance you can’t quite catch. (Oh wait, here’s Meat Loaf, but why?) If, that is, they’re identified at all: Christopher Buckley gets the honor around his fourth remark. The gist of the film is the mag’s “cursory history” (truer words, etc.), particularly of founders Doug Kenney and Henry Beard, though their involvement is discussed with a not-quite-focus that alternates between the two at whiplash-inducing speeds. Like a soccer mom who finds O magaizine too racy, I jotted in my notes, “SETTLE DOWN!” What I was really thinking, however, is that considering all the scenes of the staff working in a pot haze, the filmmakers might have benefited from taking a hit or several.

—Tricia Olszewski Thurs., June 18 at 8:30 p.m. at AFI Silver and Sun., June 21 at 7:30 p.m. at Naval Heritage Center

The Amazing Acro-cats!

A troupe of former orphaned, rescued,and stray cats amaze and delight you as they jump through hoops, ride skateboards, walk tight ropes, and more!

The only all cat band known in existence

Tuna and the Rock Cats!

Purrforming for a limited set of shows 6/25 - 6/28 Synetic Theatre in Crystal City. 1800 S. Bell St Arlington, VA.

washingtoncitypaper.com june 19, 2015 15

The Three Hikers

the russian wooDpeCker

the three hikers

You’ve probably heard about the plight of Sarah Shourd, Shane Bauer, and Josh Fattal, Americans hiking in Kurdish Iraq who were arrested and imprisoned by the Iranian military in 2009. The Three Hikers gives an intimate understanding of how their story became so prominent. Through ongoing interviews with their family members during the ordeal (which is confusing at first, because it’s unclear when they were recorded), the audience sees the behind-the-scenes machinations to get the hikers in the public eye and on the lips of diplomats. The film counts the number of days behind bars with a screen of tallies, resembling how the prisoners kept track of their time. Those tallies also apply to their families, whom director Natalie Avital captures in moments of great doubt and pain. When

Shourd is released before her companions, she fears that speaking out against Iran will result in their mistreatment and criticizing the U.S. could lose them support. The Three Hikers deepens our understanding of Shourd, Bauer, and Fattal, who come off as three-dimensional, caring activists rather than ignorant wanderers who stumbled into enemy territory. Some aesthetic choices, like scenes recreating the hikers’ arrest, are less effective, but Avital’s access helps her tell a compelling story.

—Rachel Kurzius Thurs., June 18 at 8:30 p.m. at Naval Heritage Center and Sat., June 20 at 11:45 a.m. at AFI Silver

In Transit

in transit

In Transit is a fitting end to the five-decade career of Albert Maysles, the documentarian who died in March. His final subjects are the passengers of the Empire Builder, an Amtrak train that travels the longest commercial route in the United States.

The journey between Chicago and Portland lasts roughly three days. In between beautiful photography of trains cutting across the mountains and plains, Maysles interviews everyone from the conductor to children who are looking for new playmates. His style is unobtrusive—there is no voiceover and title 16 june 19, 2015 washingtoncitypaper.com

cards are minimal—an approach that gives brief, insightful glimpses into who these people are. He revisits the same passengers, including a pregnant woman well past her due date, and the cumulative effect is touching: These people comprise a compelling, albeit incomplete snapshot of America’s diversity, yet In Transit never feels cloying, due to Maysles’ effortless maturity and patience.

There are a variety of reasons someone would opt for a three-day train journey, either economic or romantic, and the point of In Transit is that no matter the circumstance, these travelers are too curious and kind-hearted to be weary.

—Alan Zilberman Fri., June 19 at noon at AFI Silver and Sun., June 21 at 1:15 p.m. at Landmark E Street Cinema

The official explanation for the 1986 Chernobyl nuclear catastrophe fits one trope about the Soviet Union. As the Nobel Prize-winning nuclear physicist Hans Bethe put it, the disaster was born of “the deficiencies of the Soviet political and administrative system.” But an alternate theory, explored in Chad Gracia’s The Russian Woodpecker, fits another trope: the Soviet regime’s brutality. Was the disaster, in fact, a deliberate act based on orders from Moscow? Such extreme disregard for Ukrainian life does have precedent in the 1932-33 famine, which many, including the film’s subjects, believe Stalin engineered to kill millions. As for motive, the film argues that a top Soviet official wanted to hide major misdeeds related to a radar installation near the nuclear site. But the film doesn’t quite work as a whodunnit, as it tells its story through an eccentric performance artist named Fedor Alexandrovich, who pushes the conspiracy theory. While watching, one can’t help but wonder whether the gathering of facts is secondary to some kind of larger performance art going on. (“Everything he does is theater,” the film’s cinematographer says of Alexandrovich.) Still, through revealing interviews, the film makes a valid case for the central theory. More importantly, it captures the fear and paranoia that’s pervading Ukraine as Russia once again strong-arms its neighbor.

—Zach Rausnitz Fri., June 19 at 2 p.m. at AFI Silver and Sat., June 20 at 9:15 p.m. at Landmark E Street Cinema

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althea

A few weeks ago, Serena Williams won her 20th Grand Slam, further cementing her status as one of the greatest tennis players that ever lived. But decades before Serena and Venus and Arthur Ashe collected trophies and sponsorship deals, another African-American player earned those honors: Althea Gibson, who won Wimbledon titles in 1957 and 1958. Rex Miller’s film is a biography of Gibson and her journey from rural South Carolina to Harlem, where she first played tennis, to the great courts of Europe—but it also serves as an indictment of amateur tennis in the ’50s and ’60s. Despite winning tournaments around the world, Gibson brought home very little prize money and had to pay all her travel expenses, leaving her broke by the time she retired from competition. To add insult to injury, much of the tennis establishment forgot about Gibson’s victories and excluded her from activities involving past champions. The result is a film that shows the darker side of tennis whites.

—Caroline Jones Fri., June 19 at 2:15 p.m. at Landmark E Street Cinema and Sun., June 21 at 2:30 p.m. at AFI Silver

most likely to suCCeeD

Parents, teachers, and experts agree there’s something broken in the American education system. Greg Whiteley’s Most Likely to Succeed looks at outdated curricula, arguing that the industrial-minded model of segmented classrooms no longer adequately prepares high school students for the real world. Whiteley’s alternative is High Tech High, a San Diego school where teachers encourage independent thought and cross-disciplinary group projects.

Some parts are discouraging: There’s an idiotic cameo from Thomas Friedman—there’s no other kind—and the film does not have the self-awareness to think about education from a top-down perspective. Whiteley posits that college admissions should not be a top student goal, yet uses the school’s admission rate as evidence of its success. There’s also an ulterior motive: Most Likely to Succeed was funded by a venture capitalist who actively wants to engineer a more innovative, competent workforce. But for all its omissions and dubious conclusions, Most Likely to Succeed does highlight a compelling reason for education reform—the students themselves. One young freshman begins the year as a shy introvert, only to transform into an assertive leader, and her growth is more persuasive than the agenda of the film’s many talking heads.

—Alan Zilberman Fri., June 19 at 3 p.m. at Naval Heritage Center and Sun., June 21 at 12:15 p.m. at AFI Silver

peggy guggenheim: art aDDiCt

Peggy Guggenheim lost a parent on the Titanic, befriended Surrealist artists like Marcel Duchamp and Man Ray, and saved dozens of artworks from the Nazis during World War II. She championed the work of Jackson Pollock, had an affair with Samuel Beckett, and brought international art to New York. In short, she lived a wildly exciting life, which makes Lisa Immordino Vreeland’s chronological examination of

Althea

Guggenheim’s life quite disappointing. While her film does include one big find—audio interviews Guggenheim recorded with her biographer in 1978—the rest of the film unfolds through grainy stock footage and dull statements from art historians. Vreeland’s documentary seems more concerned with chronicling Guggenheim’s sex life than creating a nuanced portrait of her varied career and lasting contributions to the art world, which are extensive. If you’re seeking a deep dive into Guggenheim’s life, wait for author Francine Prose’s biography, coming this fall.

—Caroline Jones Fri., June 19 at 4:15 p.m. at Landmark E Street Cinema and Sat., June 20 at 6:45 p.m. at AFI Silver

unCertain

In the eponymous town of Uncertain, nestled deep in the swamps of the Texas-Louisiana border, a slow-growing aquatic weed threatens to turn beloved marshes into stagnant pools stripped of oxygen. It will kill the catfish, lush vegetation, and precious delicate ecosystem that sustain this town, populated by 94 people. These wetlands are mythologized in Uncertain as “part heaven and home, but also part hell,” and it’s not hard to see why: Dappled sunlight filters through 40-foot trees, burning through rolls of fog that curl across the marsh come dusk. It’s storybook scenery with villains: Uncertain’s inhabitants are ex-convicts, recovering alcoholics, and drug addicts attempting a return to normalcy and who turn to nature—to hunting boar, fishing, and keeping pet raccoons—looking for salvation. Uncertain’s muted, seething stillness mimics the town it portrays. Though the meandering plot is loosely told, the images more than compensate: It’ss both lush and grotesque in its depiction of the emptiness of life. It’s a mesmerizing study of Gothic charm and isolated America.

—Morgan Baskin Fri., June 19 at 4:30 p.m. at AFI Silver and Sun., June 21 at 7:15 p.m. at Landmark E Street Cinema

18 june 19, 2015 washingtoncitypaper.com

Peggy Guggenheim: Art Addict

Uncertain

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washingtoncitypaper.com june 19, 2015 19

requiem for the DeaD: ameriCan spring 2014

The bleak title of Requiem for the Dead: American Spring 2014, premiering June 22 on HBO, does its best to signal what the next 68 minutes of your life will be like. But nothing can prepare you for the despair of the emotionally exhausting film, which uses photos, video, and audio pulled from social media sites, news reports, and police files to tell eight stories of gun violence. There’s the mother of three killed by her ex-military husband; the grandmother accidentally shot by a grandfather; the children murdered by their father. It’s an hour-long slideshow of misery that will leave you with a feeling of dread as the number of people in the U.S. killed by guns over a four-month period—1,000; 3,000; 8,000—ticks up against a black screen. The lack of talking heads and overt judgment beyond “America is obsessed with guns” allow the viewer to focus on humanity rather than politics. But Requiem for the Dead also offers no solutions, something you’ll desperately want to quell the feeling of hopelessness the film leaves behind.

—Sarah Anne Hughes Fri., June 19 at 5 p.m. at Landmark E Street Cinema and Sun., June 21 at 5 p.m. AFI Silver

Requiem for the Dead: American Spring 2014

peaCe offiCers

You’d be forgiven for assuming that a new documentary about the militarization of local police forces and the civilian deaths that result would contextualize an important social movement in black communities to address the systematically unequal way they are policed. So you’ll probably understand how shocked I was to find, in this documentary, no black voices. None at all.

In fact, at no point in the film do we hear from any person of color on the matter. The failure is even more egregious because the movie makes two or three passing references to communities of color: There are a few seconds of Ferguson protest footage, sans commentary. A black man is shown being shot to death by police when he raises a golf club, but not much is said about his particular case. A sheriff notes, “You can go to a community in their neighborhoods and ask a person a simple question: Should we call the cops? And in some communities they’ll look you in the eye and laugh and say ‘hell no.’” “Their neighborhoods”? You’re almost there, guys.

And so the omission starts to feel intentional or even malicious. The black man who is shot, Todd Blair, never gets his movie moment, when his family members might have spoken to the camera and shared photos and mementos. In fact, we never even see his face.

The film leaves you with the impression that there’s little more to say about outof-control policing than that it’s happened in Utah, and it’s probably getting better because lawmakers and activists are starting to pay attention. What a tragedy, indeed.

—Emily Q. Hazzard Fri., June 19 at 6:30 p.m. at AFI Silver and Sat., June 20 at 11 a.m. at Landmark E Street Cinema

even as a child, refusing to play at a church if her parents would be forced to stand in the back—but it’s not long before the first hairline fractures of a typical volatile performer bust open to reveal clear mental illness. Director Liz Garbus is an ace at assembling the standard documentary puzzle with just the right photographs, archival footage of performances, audio from interviews, and even Simone’s journal entries. Sometimes Simone’s honesty is applaudable, as with her tendency to end a show if an audience was chattering: “I thought they needed teaching,” she said. “If they couldn’t listen, fuck it.” But it’s also gutting, with accounts of spousal abuse, extreme political activism during the civil rights movement (“I’m not nonviolent,” she allegedly told Martin Luther King Jr.), and bipolar-seized thoughts after she’d quit the business and moved to Liberia (“They don’t know that I’m dead and my ghost is holding on”). The film is not to be missed, especially considering that during her lifetime, Simone—the woman, the emotionally wrecked—was rarely heard.

—Tricia Olszewski Fri., June 19 at 8:30 p.m. at AFI Silver and Sat., June 20 at 6:45 p.m. at Landmark E Street Cinema

fresh DresseD

the Diplomat

The Diplomat offers an insider’s view of U.S. foreign policy by examining the storied, 50-year career of Richard Holbrooke, who is widely credited with ending the Bosnian War in 1995, with an accord signed in an Air Force base in Dayton, Ohio. His oldest son David directs, gathering a who’s who of dignitaries to speak on his pops, including Bill and Hillary Clinton, John Kerry, Al Gore, U.N. Ambassador Samantha Power, and a number of top journalists. But this isn’t a wide-eyed paean to diplomacy’s power to bring peace; nor is it a cynical exposé on the backroom dealings of a few powerful men. As The Diplomat traces the legacy of Holbrooke from his days in Vietnam to Bosnia, and finally to Pakistan and Afghanistan, it humanizes diplomacy, yet also shows its dark underbelly—a battle of wills between a select few who are far removed from the front lines. Holbrooke, though surely fallible, was keenly aware of the “service” part of the Foreign Service; The Diplomat shines a light on the strategies he employed to make peace an all-too-rare reality.

—Toni Tileva Fri., June 19 at 8:30 p.m. at National Portrait Gallery and Sat., June 20 at 1:45 p.m. at AFI Silver

what happeneD, miss simone?

When you’re learning the life story of an acclaimed artist, it’s rarely a surprise when the talk turns to demons. What Happened, Miss Simone?, whose title comes from a Maya Angelou piece, is stunning and devastating in its portrayal of Nina Simone, the gifted jazz singer who started out wanting to become the first black classical pianist. Simone is portrayed as a strong, fierce woman throughout the film—

20 june 19, 2015 washingtoncitypaper.com

Dope hats, dope kicks, dope style. Before swagger was Bieber-fied, the ’70s epitomized dressing fresh, and the South Bronx personified what it meant. In Fresh Dressed, director Sacha Jenkins looks at New York’s style hits through a nuanced and cultural lens. This film isn’t only about cool denim and skull embroidery on jackets; Jenkins tells you how people of color in New York’s toughest neighborhoods equated style with pride and identity. In the first few scenes, Kanye West hits the nail on the head: “Being fresh was more important than money.” Other cultural heavyweights like Nas and Kid ‘n Play tell you exactly why being fresh meant more than having a fat check. Between throwback tracks from Afrika Bambaataa’s Planet Rock: The Album, it becomes clear that your “flair” spoke for you. African kings and queens showed their power by having eccentric and rich style; this helps explain why slaves wore their Sunday best and why freed blacks made sure every inch of their wardrobe was clean and presentable, even if they didn’t have much. Jenkins shows that the same held true for New York in the ’70s and ’80s: You could have nothing in the Bronx, but you’d be fresh to death. —Jordan-Marie Smith Fri., June 19 at 9 p.m. at AFI Silver and Sat., June 20 at 3:45 p.m. at Landmark E Street Cinema

Fresh Dressed

raDiCal graCe

If the nuns who taught me how to diagram a sentence were as kindly and, dare I say, Christ-like as those featured in Radical Grace, perhaps my Catholicism wouldn’t be quite so lapsed. Regardless of your beliefs, you’ll fall for these “radical” sisters, whom the Vatican investigated because of concerns about their “feminist spirit.” The film offers several jaw-dropping remarks, including a protester saying the nuns are “worse than pedophile priests.” A news anchor reports that a bishop had been appointed to “bring the nuns back in line.” “How far can they push that?” he says of the bishop’s issue with the nuns’ outspokenness, particularly their defense of the Affordable Care Act and proclaimed right to be ordained as priests. “The question is, ‘Are you still religious?’” (After this, he gives an incredulous, K-Stew-ish half-laugh.) The sisters were distraught until embarking on their “Nuns on the Bus” tour, launched in fury after Rep. Paul Ryan defended a lower income-hitting budget cut by saying his “Catholic social teaching” led him to propose it. Social justice of all kinds was the theme of the tour, and naturally, the sisters knocked heads with opponents. But more often,

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they were overwhelmed with support so uplifting, tears will inevitably well up in the audience as readily as they do onscreen. Atheists, agnostics, and disgruntled Christians should reconsider their likely decision to skip this doc, which is less about organized religion than it is about community, compassion, and unconditional love. As one sister points out: “Jesus did not discriminate.”

—Tricia Olszewski Sat., June 20 at 1 p.m. at Naval Heritage Center and Sun., June 21 at 7:15 p.m. at AFI Silver

how to DanCe in ohio

In a particularly gut-wrenching scene in Alexandra Shiva’s How to Dance in Ohio, a young woman named Jessica is told by her job-training supervisor that she is difficult to work with.

Jessica’s face contorts as if she’s been physically wounded, and she tries to explain through tears how she struggles to make herself understood. “You don’t have to be understood in the work setting,” the boss replies. “You have to work.” These scenarios are commonplace for the film’s subjects: teenagers and young adults with autism who attend social skills classes at a Columbus counseling center. Shiva follows the group as they prepare for a spring formal, a rite of passage that, for these young women and men, requires more preparation than just buying an outfit. They struggle, in varying degrees, with communication and interactions, and the staff tries to prep them through dance lessons, matchmaking, and lots of talking. It can be a difficult film to watch, as the daily frustrations seem to outnumber the triumphs (19-year-old Caroline’s experiences in college best encapsulate this). But the triumphs do happen, like when the group starts to let loose on the dance floor. “Let’s give it up for butterflies!” the lead counselor tells them at one prep session. “It means you’re alive.” —Sarah Anne Hughes Sat., June 20 at 1:30 p.m. at Landmark E Street Cinema and Sun., Jun 21 at noon at AFI Silver

CoDe: DeBugging the genDer gap

CODE presents a picture of the U.S. in a tech crisis: More jobs are being created in tech than we have qualified workers to fill, and computer science programs in public schools are sorely inadequate. Meanwhile, young women are socialized away from math and engineering, which leads to the kind of all-male teams that produce airbags that kill women and software helpdesk characters that appear to leer at users. And when women do make it into the tech field, they’re sexually harassed and elbowed out by misogynist, insular circles of brogrammers. So the tech world is doomed, huh? Not so fast. Before you’ve stress-eaten too many Raisinets, CODE offers a bright path forward. There are fellowships for female coders of color, camps for girls who want to make their own computer games, and plenty of talented women who are creating a pipeline to diversify the industry of the future. Particularly gratifying is the film’s alternative history of computer science; women like Ada Lovelace, whose 19th-century work earned her the

first computer programmer, and Grace Hopper, a Navy rear admiral who pioneered coding languages and popularized the term “debug” when she removed an actual moth from a glitchy computer, have been written out of mainstream tellings of tech’s past. In a stylized, well-reported story, CODE makes a bitter reality seem ready for change.

—Christina Cauterucci Sat., June 20 at 2:15 p.m. at AFI Silver and Sun., June 21 at Naval Heritage Center

friendships miss the point.

I don’t care about what it’s like to be a privileged American in a refugee camp—I care about what it’s like to be a refugee. “The whole camp is talking about you— why would Americans want to live like this?” asks one Za’atari resident. I think I can answer his question in three words: white savior complex.

—Christina Cauterucci Sat., Jun 20 at 3 p.m. at Regal Gallery Place

salam neighBor

It’ll take you a good 15 minutes into Love Marriage in Kabul to figure out what this Australian doc is about. Director Amin Palangi set out to tell the story of Mahboba Rawi, an Afghan-Australian force of nature who runs orphanages and widows’ services in her home country, but decided to focus instead on Mahboba’s efforts to secure the marriage of teenaged Abdul, an orphan boy she raised, to Fatemeh, his neighbor. The two are hopelessly in love, but Fatemeh’s father is holding out for the highest bidder for her hand. Love Marriage in Kabul’s matter-of-fact depiction of the financial and interpersonal negotiations around marriage—in lieu of money, the father of the bride will also accept a wife for his oldest son—will fascinate anyone unfamiliar with marital practices commonplace in many parts of the world. But the film’s frequent detours to Mahboba’s orphanages, especially at the start, distract from the narrative and aim straight for the tear ducts. (And the wallet: Mahboba, a smart nonprofit manager, makes several oncamera pleas for funding.)

Take a bathroom break during those segments and rejoice in young love for the rest.

—Christina Cauterucci Sat., June 20 at 4:30 p.m. at AFI Silver and Sun., June 21 at noon at Landmark E Street Cinema

The two twentysomethings behind Salam Neighbor frame their film in dramatic terms: The first filmmakers allowed by the United Nations to register as refugees and set up tent in a camp, they spent a month living among displaced Syrians in Jordan. Well, kind of. On their first night in Za’atari, they’re told they’ll have to stay in a nearby town and commute in every morning; a refugee camp is too dangerous a place for two white Americans with expensive camera equipment to sleep.

No shit. Rather than focusing on the lives of the Syrians trying to heal and reclaim stability in the world’s secondlargest refugee camp, these dude-bros center their analysis on their own feelings and manufactured experiences.

Here they are, playing cards and wrestling with infatuated crowds of Syrian children, as seen in every do-gooders’ photos from study abroad.

Here they are, persuading a 10-year-old boy (“Dude, this kid’s the man!”) who was traumatized by a bombing of his home school to attend the camp’s third-grade class.

There they go again, crying about the unfair circumstances faced by these lovely, helpful people, including one man who “looked just like my dad in college!” They claim to have made close friends with several of their Syrian neighbors (or, rather, daytime companions, since the filmmakers did not actually live in the camp), yet they spoke almost no Arabic; besides that, their

22 june 19, 2015 washingtoncitypaper.com

love marriage in kaBul

Pike seemed like the coolest place to buy records if you grew up in the Maryland suburbs. It’s been gone for nearly nine years, but you’ll get the full nostalgia trip while watching All Things Must Pass, Colin Hanks’ tribute to the company founded by Ross Solomon in 1960. The narrative progresses chronologically—Solomon started selling used records out of his father’s Sacramento, Calif., drug store in the 1940s. Then, in the ’60s and ’70s, he opened shops up and down the West Coast, grabbing the attention of emerging artists like the Eagles and Jefferson Airplane. His company survived the fall of disco and the rise of the CD, and, after a massive expansion throughout South America in the ’90s, filed for bankruptcy in 2006. The devotion of the employees interviewed, many of whom started as clerks before working their way into the corporate division, really resonates.

(At least three people openly weep when talking about Solomon and their time at Tower.) Even Dave Grohl, who seems to spend more time chatting with filmmakers than making music these days, discusses scanning CDs at the Tower in Foggy Bottom.

—Caroline Jones Sat., June 20 at 9:30 p.m. at AFI Silver and Sun., June 21 at 4:30 p.m. at Landmark E Street Cinema

mavis!

Jessica Edwards’ Mavis! is more than just singer Mavis Staples’ story: It’s a never-dry history lesson about her father (guitarist Pops Staples), their family band (the Staple Singers), the civil rights movement, and their hit song “I’ll Take You There.”

The movie largely follows the standard procedure of mixing archival photos and film alongside new interviews with musicians (Bob Dylan, Chuck D), journalists (biographer Greg Kot), and friends. To keep the film contemporary, Edwards says she consciously tried to only include archival footage that features Mavis. This approach captures the still-vibrant seventysomething’s personality, but it also means her current producer, Wilco’s Jeff Tweedy, gets more screen time than, say, her longtime colleague, activist Julian Bond. Still, the film displays Mavis’ skillful vocal chops, warmth, and tenacity from her days as a booming, deep-voiced teen gospel singer on through her family’s freedom songs period, Stax Records soul years, and solo Prince-produced efforts. Mavis and her father are eloquent throughout. She recounts him saying, “If Dr. King can preach it, we can sing it,” and later pays homage to her dad: “You laid the foundation. I’m still working on the building.”

—Steve Kiviat Sun., June 21 at 7 p.m. at National Portrait Gallery

all things must pass

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Mavis!

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DCFEED

Later, cupcakes. Hello, artisanal toast.

The owners of Baked & Wired have opened a new bakery and cafe in Mount Vernon Triangle.

Read more at washingtoncitypaper.com/go/baked.

YOUNG & HUNGRY

The Gospel Vermouth The aperitif is beginning to have its moment in D.C.

The housemade rosé vermouth at Etto could easily be mistaken for a cocktail. Aside from the lovely pinkish-garnet hue, it’s citrusy and slightly sweet with a nice herbal, bitter finish. And why suspect vermouth when, well, who orders a glass of vermouth these days? But if you’ve ever visited Spain, you’ll recognize the presentation: garnished with a pickled pepper, olive, and orange slice, and served with a soda siphon to turn the aperitif into a spritzer.

Etto is one of very few places in D.C. where you will find vermouth prominently featured on the menu.

That’s starting to change. Several local bars are beginning to make their own vermouth in-house, and at Nido and the Royal, which both plan to open in the coming weeks, the aperitif will be the focus of their beverage offerings. Meanwhile, Etto manager Kat Hamidi and co-owner Peter Pastan have teamed up with New Columbia Distillers to bottle and sell their vermouth, which they’re calling Capitoline Vermouth. The first batch will debut in restaurants and bars next week with retail locations to follow.

The product will be the first commercially available D.C.-made vermouth.

The challenge is that most American drinkers tend to think of vermouth as that “other” ingredient in a martini or Manhattan. This new wave of vermouth advocates aims to show people that it can stand on its own, or at the very least, be just as important to the quality and character of a cocktail as the type of gin or whiskey.

Part of the problem is that not everyone knows exactly what vermouth is. In short, it’s an aromatized, fortified wine. That means that the alcohol level is boosted to 15 to 18 percent by the addition of a spirit (typically a grape brandy) and then in-

fused with a range of spices, herbs, roots, and other botanicals. The word vermouth comes from “wermut,” the German name for wormwood, which was historically a prominent in-

In the U.S. today, vermouth is often an afterthought, while spirits are the main attraction. But with more domestic vermouths becoming available and bars experimenting with their own interesting interpretations, Hamidi believes vermouth is finally starting to get its due. “Amaro was a big thing and still is a big thing, and vermouth seems to be the next—I don’t know if you want to say cult beverage—but some people take it very seriously,” she says.

She, of course, is one of them. Hamidi had been making vermouth for years at Obelisk before she joined the team at Etto.

With Capitoline, Hamidi and Pastan are producing a white and a rosé vermouth out of New Columbia’s Ivy City distillery.

The rosé is a Sangiovese wine from a California vineyard co-owned by Pastan. The other is a blend of aromatic dry white varietals. Both vermouths have a similar citrusy herbal character and don’t shy away from a little bitterness. “We think bitter is kind of an undervalued element in a flavor profile,” Hamidi says. She adds that it’s “very wine centric”: They didn’t want to cover up the vermouth with a heavy-handed dose of botanicals and sugar since it is a wine-based product, after all.

New Columbia Distillers will be using the collaboration for its own spin-off product known as a “fruit cup” or “summer cup,” which consists of vermouth and gin infused with additional botanicals. The most famous brand of this genre is Pimm’s. New Columbia Distillers cofounder John Uselton says he isn’t aware Etto serves its own of any U.S. distillers that bottle and sell housemade vermouth. a summer cup. The D.C. distiller’s version—which will be around 35 percent algredient but is less so today. The aperitif can be sweet (the tra- cohol—will use its Navy Strength Gin and Capitoline Verditionally Italian style), dry (French style), or somewhere in mouth. “It’s kind of herbal-y and sweet and gin-y and all between. Originally used for medicinal purposes, commercial kinds of good stuff,” Uselton says. “Think of Pimm’s but vermouth grew out of Turin, Italy in the late 1700s and be- with more going on.”

The Capitoline collaboration actually started because New came a popular cocktail ingredient by the late 1800s.

Jessica Sidman

By Jessica Sidman

washingtoncitypaper.com june 19, 2015 25

DCFEED(cont.)

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Columbia had been thinking of producing a summer cup and was looking for some help on the vermouth component. Uselton was friends with Hamidi and knew about her vermouth experiments, so he asked her to help.

It turned out that she was interested in starting her own vermouth brand. “This was a good time and opportunity to do it,” Uselton says. The distiller plans to release its summer cup by mid-July.

Between the summer cup and Capitoline, Uselton hopes to give people a different view of vermouth. “Americans look at it like it’s a mixer, and it doesn’t have to be that way,” he says. “I was in Spain a couple months ago, and there are whole bars that have 15 vermouths.

That’s what they do. You go to Europe and it’s definitely a thing.”

That’s the way Lupo Verde Beverage Director Francesco Amodeo, who also founded D.C. liqueur producer Don Ciccio & Figli, experienced vermouth growing up in southern Italy. “When I was a kid, I got drunk on white vermouth,” he says. “I was 14. My dad was like, ‘If you need to get drunk, just try this. It’s the safest thing.’”

Amodeo has been playing with his own vermouth recipes for five or six years. He finally put them on a menu for the first time at Lupo Verde when the Italian restaurant opened in February 2014 on 14th Street NW. Last year, he produced a sweet white vermouth with chocolate notes. Now, he’s making something a little more bitter with a Prosecco and Sangiovese base that’s infused with ingredients like gentian, rose petals, fresh orange, juniper, and safflower. “It’s bitter orange-y with notes of red peppers almost,” he says.

Amodeo likes to make as many cocktail ingredients as he can himself. And with vermouth, he can apply many of the botanicals he uses in his liqueurs to the fortified wine.

He says he’s thought about bottling up his vermouth, but Don Ciccio & Figli’s facility doesn’t have the space or equipment necessary to do it on a large scale anytime in the near future.

For now, his vermouth makes its way into cocktails at Lupo Verde. The restaurant’s menu doesn’t list it on its own, although people can still order it straight if they ask.

Others are looking to take a more purist approach and make vermouth an even more central part of their menus. The Royal in LeDroit Park and Nido in Woodridge—both opening within the next couple weeks—will serve housemade vermouth on tap in addition to a wide selection of vermouth brands.

At Mediterranean-inspired Nido, co-owner Erin Lingle plans to change up her signature vermouth seasonally. “I’ve been steeping chamomile for a little while, and I’m excited to play around with that,” she says. The

former Passenger bartender plans to make a more piney, resinous vermouth for wintertime. The vermouth will likely be served the way she experienced it during her travels to Spain: chilled or on the rocks with pickles or olives, a cherry, and an orange.

Lingle also plans to offer a vermouth happy hour where the restaurant will pair the best vermouths for soda, tonic, orange juice, grapefruit soda, and so on. The cocktails will also be vermouth heavy with an Americano, a French Kiss (equal parts dry and sweet vermouth), and a Manhattan variation that’s half vermouth and half rye whiskey. “[Vermouth] is not just sweet and syrupy or dry and herbal. There’s so many different ways to go,” she says. “Some of them are vanilla-y and smoky, and some of them are bitter.”

Meanwhile, the Royal Beverage Director Horus Alvarez has already been experimenting with his own vermouth at sister restaurant Vinoteca. It took him two months to get a version he was happy with before debuting it on the menu in April. The recipe includes 17 different ingredients, including wormwood, cinchona root, Spanish thyme, citrus, cinnamon, and nutmeg. Instead of the traditional caramelized sugar used in sweeter vermouths, Alvarez used a lemongrass simple syrup. The whole concoction is aged in a whiskey barrel, and the result is a semi-dry greenish golden liquid with citrusy, spicy, piney, and slightly bitter notes.

The same recipe will be on tap at the Royal, a Colombian-inspired cafe and bar. There will also be about half a dozen other vermouths for diners to try, and Alvarez hopes to grow the selection over time and possibly even offer flights. He also wants to make his own dry and sweet varieties.

“Vermouth has never been respected,” says Alvarez, citing one of the reasons he got into the beverage. He’s seen bars leaving the vermouth on the shelf for months like it’s a spirit. But because it’s a wine-base product, it’s best kept refrigerated.

Alvarez has tried to change that respect by hosting Monday night vermouth classes at Vinoteca. (They’re on hiatus, with the opening of the Royal, but he hopes to continue them in the fall.) “Some people were really interested; some people were like, ‘All right, well, I don’t even know what vermouth is,’” he says.

But as people start to drink more cocktails and get interested in their components, it’s only a matter of time before they start asking about vermouth.

“If you’re picky about your whiskey,” Alvarez asks, “why not do the same thing CP with vermouth?”

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DCFEED Grazer

Gin-Off

what we ate last week: Orecchiette with broccoli rabe, tuna, garlic, and anchovy, $24, Centrolina. Satisfaction level: 4 out of 5 what we’ll eat next week:

Tom yum noodle bowl with shrimp, scallops, and squid, $2, BKK Cookshop. Excitement level: 4 out of 5

When making D.C.’s official cocktail—the gin rickey—you now have two spirits for a truly D.C.-made drink. One Eight Distilling debuted its Ivy City Gin last week, joining New Columbia Distillers’ Green Hat Gin in the local gin market. Although they’re both produced

THE’WICHINGHOUR

locally, the two products have very different flavors and branding. Here’s a quick comparison. —Jessica Sidman

Green Hat Gin from new Columbia Distillers

ivy City Gin from One Eight Distilling

Release date: Oct. 2, 2012

Release date: June 12, 2015

Distillers: John Uselton and Michael Lowe

The Sandwich: The Cubana Torta

Distillers: Alexander “Sandy” Wood and Alex Laufer

Where: 3 Salsas, 3439 14th St. NW

How they describe it: “Clear juniper nose, hints of citrus lightness and coriander spice, a vague recollection of root botanical earthiness, a subtle note of grains of paradise pepperiness, an herbal whisper of celery, and a rewarding complexity.”

How they describe it: “The complex yet well-balanced taste profile features forward notes of juniper and spicebush, and a subtle bouquet of eight additional botanicals.”

Bread: Bolillo, an ovoid baguette popular in Mexico

The name: A nod to bootlegger George Cassiday, who supplied members of Congress with illegal liquor in the 1920s and wore a green fedora.

The name: A nod to the neighborhood where the distillery resides.

Thickness: 4.5 inches

Price: $36

Price: $37 (with $1 from every bottle going to Habitat for Humanity projects in Ivy City)

Also try: Navy Strength Gin plus Spring/Summer and Fall/Winter seasonal gins

brew in town Right Proper and Schlafly Plissken Where in Town: Right Proper Brewing Company, 624 T St. NW Price: $6/12 oz.

Snake’s On a Grain Film director John Carpenter famously shot his 1981 post-apocalyptic action flick Escape From New York in St. Louis. In it, we see Kurt Russell (aka “Snake Plissken”) running down streets that resemble Berlin in 1945: crumbling and

Also try: District Made Vodka, Rock Creek White Whiskey, Untitled No. 1 sherry-finished bourbon

lined with burned-out, abandoned buildings. The kicker, of course, is that Carpenter captured St. Louis exactly as it was, no special effects required. One of the structures featured in the film stood empty for decades, until 1991, when Schlafly Tap Room moved in as a beacon for change.

Last April, when Schlafly’s brewers attended the Repeal of Prohibition Festival in D.C., they befriended their counterparts from Right Proper. Soon enough, there was talk of collaboration, and now, we have the result: Plissken, affectionately named for the one-eyed badass.

Apocalypse Wow Plissken, a 4.6 percent alcohol

farmhouse pale ale, was brewed in April and released during SAVOR week earlier this month. While Schlafly is known for a creative, expert use of hops, Right Proper has gained fame for its flavorful use of yeast—a forensic beerologist would find both sets of fingerprints all over Plissken.

The beer, brewed with a Saison yeast and Galaxy and Lublin hops, is medium-bodied and lightly carbonated. A sniff suggests peach, tangerine, and hay, while Plissken’s flavor is akin to a citrus scone: sweet pastry with a mix of juicy and tart fruit.

Wheat and flaked oats provide a creamy, cloudlike texture that is nothing less than heavenly. Sound good? The beer is now pouring, but only at the Schlafly Tap Room in St. Louis and Right Proper in Shaw. It’s well worth a trip and a tipple, but you’d better hurry—it’s going fast.

—Tammy Tuck

Price: $12

Stuffings: Breaded and fried steak, ham, chicken, chorizo, fried egg, refried beans, queso fresco, lettuce, tomato, white onion, avocado, mayonnaise, and sour cream

Pros: Despite its mile-long ingredient list, this sandwich comes together surprisingly well. Think of it as a Mexican take on the Uruguayan chivito. The plentiful serving of vegetables on top adds a cool dose of freshness, cutting through the saltier combination of ham, cheese, sausage, and egg. What really makes this sandwich great, however, is the mildly spicy slathering of refried beans, spread like hummus on the bottom bun.

Cons: Unlike most fried steaks, which have a crispy crust and a juicy interior, the steak is tough like jerky and the breading feels soggy.

The more flavorful ingredients overtake the bland steak; eventually, you’ll forget it’s even in the sandwich.

Sloppiness level (1 to 5): 3. When a sandwich is stacked this high, it’s impossible for all the ingredients to remain inside the bun at all times. A few pieces of chicken and egg fall out, but the real place you’ll see the mess is on your face. You’ll need plenty of napkins.

Overall score (1 to 5): 4. This sandwich appears to have too much going on, but once you take a bite, you realize just how well pigs, chickens, and cows can coexist on a bun. 3 Salsas’ super fresh bread and vegetables turn this stuffed sandwich into a full meal. You won’t be hungry until the —Caroline Jones next day.

washingtoncitypaper.com june 19, 2015 27

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CPARTS

She's baaaack: A local ex-con returns to review the third season of

Orange is the New Black. washingtoncitypaper.com/go/orangeis

High-Functioning Punk Why Priests’ Sister Polygon Records is more than just an indie-band farm team

It’s a quiet Friday afternoon, and G.L Jaguar paces through his apartment, pointing out a box of tapes, record sleeves, a tape-totape recorder. Then, the nattily-appointed guitarist for the D.C. punk quartet Priests moves towards a closet, lit bright by a window with a decent view of the Capitol. “Well, here it is,” he says.

There in the closet sits a short shelf with an orderly library of identical records and tapes, each stacked one next to the other.

Here in Jaguar’s 16th Street Heights apartment lives Sister Polygon Records, the tiny but disproportionately influential label jointly owned and operated by the four members of Priests. While it can’t approach the size and scope of Dischord, an independent label synonymous with underground music in D.C., Sister Polygon might very well be more significant in today’s tight-knit world of underground punk.

Bands on the label, including Priests, have rattled the gates of the popular music kingdom, collecting acclaim from critics and deals from bigger record labels along the way. And they’ve done it while shunning buzzy bands, hot sounds, and pleas for coverage. Sister Polygon is a DIY concern through and through.

In fact, the label is built far more on friendships and mutual admiration than on any kind of desire to sign the next hot band. By the label’s own admission, the Sister Polygon roster is a collection of musical oddballs that would struggle to find the mainstream on a map, let alone stand in it.

The story of Sister Polygon begins, in some ways, with a band that has never appeared on the label. It was 2012, and one of Jaguar’s old friends, Richard Howard, had started a new band called Cigarette. By the time Jaguar saw Cigarette, he had just finished a series of audio engineering courses at Omega Studios in Rockville, and his old label, J Street Records, had fizzled. He’d been working sound at DIY gigs around town, but his primary venue, a space on 7th Street NW called

Darrow Montgomery

By Ron Knox

Jaguar’s closet is Sister Polygon’s HQ. Warehouse Next Door, had shuttered. Jaguar was left twisting. “There was a long period of time when I really wasn’t doing much of anything,” he says.

Cigarette’s spacy, sometimes unearthly post-rock was a revelation. “I thought, ‘This is so... weird!’ And I’m really happy people are making music like this,” Jaguar says. For weeks, he spent most every day in the Howard family’s basement, recording a series of demos meant to be the first release on a new record label, Sister Polygon.

Cigarette never did release those songs on Sister Polygon, but the recording session and general momentum bled over into Jaguar’s

then-new musical project, Priests. It was the band’s intention from the beginning to put out its own music. “I didn’t like the idea of going around to labels and people that I didn’t know saying, ‘Hey, check out my band! Put out my music!’ says Priests vocalist Katie Alice Greer. “I don’t expect you to care as much as I care, so I’d rather just get my resources together and do it myself so I don’t have to ask other people for help.”

Priests recorded and released a limited run demo tape—Greer insists they only dubbed about 50 copies or so, in part on a tape machine Greer’s father, a minister, had used to record sermons in Michigan—and a two-song

single. Jaguar then began asking bands he felt were “vibrating on the same wavelength” as Priests if they’d want to put out music on his new label. New York-based feminist punk band Shady Hawkins’ 2013 LP Dead To Me became the second Sister Polygon release and its first on cassette tape.

Tapes have become the preferred vehicle for Sister Polygon. At J Street, Jaguar learned that bands that don’t tour much or teeter on the verge of breaking up won’t sell a lot of records. But tapes are a fraction of the cost of vinyl and can be dubbed at home if need be.

They’re perfect for the music Sister Polygon favors: ambitious albums from artists as brilliant as they are disorganized.

The label’s third release was Drift + Fade—a deeply experimental album that included a nearly 15-minute long drone track— from Carni Klirs, a fixture in the D.C. underground music scene. The label also pressed a tape by Dudes, an avant-garde D.C. punk trio that occupied very much the much same musical world as Chain & The Gang. They broke up shortly after the tape was released.

According to Priests drummer and Sister Polygon co-founder Daniele Daniele, the label’s owners put out music they like from people they like “that doesn’t have any other way to get out.” Some bands appear destined to find a home on another label. “But people like Dudes, they’re a bunch of freaks. I’m like, ‘you are so weird, and I love you, but no one else is going to touch this with a 10-foot pole,’” she says. “We’re interested in finding people who are underrepresented or weren’t signed, making something weird enough where there might not be a normal outlet for it.”

When Greer first saw Providence sixpiece Downtown Boys at a show in Pawtucket, R.I., she was enamored. They were wild, with this dynamic bilingual singer, Victoria Ruiz, and jarring horn section. They were a big, political band—but not political in the way that bands tend to be in D.C., Greer says.

They were open, welcoming, radiating a kind of positive energy. There was a spontaneous connection between Greer and Ruiz; both

washingtoncitypaper.com june 19, 2015 29

CPARTS Continued

t�e

TRAVEL

Tues, 6/23 at 6:30pm The Art of Travel Four writers share their travel tips for women.

Wed, 6/24 at 6:30pm Great Catastrophe Thomas de Waal Mon, 6/29 at 6:30pm Fig Tree Press An Evening of Independent Fiction The Book of Stone Jonathan Papernick Prayers for the Living Alan Cheuse Safekeeping Jessamyn Hope Tues, 6/30 at 6:30pm The Promise of the Dupont Underground featuring chef Nora Poullion 1517 CONNECTICUT AVE. NW 202.387.1400 // KRAMERS.COM

30 june 19, 2015 washingtoncitypaper.com

would comprise the band’s debut EP on Don Giovanni, Bodies and Control and Money and Power, Sister Polygon churned away behind the scenes. It was a hectic time, Jaguar says, but the label finally released the Downtown Boys EP in mid-2014. The record lit a fuse beyond the punk world, landing on a Rolling Stone year-end list as an album you probably didn’t hear in 2014, but should have.

That same summer, the label put out a five-

full-length should be out sometime in 2016.

At Sister Polygon, the attention has translated into brisk sales of the bands’ 7-inches; the Downtown Boys record is in its second pressing, and its sales allowed the label to produce the Pinkwash 7-inch.

“It makes sense that there’s crossover” between the two labels, Steinhardt says, “but it is kind of weird and unintentional.” If he’s soured any feelings at Sister Polygon for signing two of the label’s most popular artists, that certainly wasn’t part of the plan, and he’s reminded Jaguar that he recommended Downtown Boys and Pinkwash in the first place.

“They are a label that exists with an actual identity. So many labels today have no identity, and are focused on big releases or buzzy things, but the bands have no real identity,” Steinhardt says. “I don’t look to Sister Polygon for what I should put out; I look to them for what I should be listening to.”

Jaguar sees Don Giovanni as the next level up for the bands that have made the jump from Sister Polygon.

Whatever Sister Polygon might be in the future, for now, it’s a label run out of a guy’s apartment closet, with no space to store even a few thousand records, let alone a 5,000 or 10,000 run of any one album. If Priests continue to do well as a band, Jaguar suggests, they may have more resources to put into Sister Polygon, and perhaps the label can become what Don Giovanni is now.

Sister Polygon’s owners wouldn’t call the label a tastemaker, far out in front of the encroaching tide of the larger independent music world. “I never thought of Sister Polygon as a stepping stone, like if people don’t have resources, we can give them resources and then can get their foot in the door and move on to better things,” Daniele says. She thinks of the label like this: People start DIY record labels as a way to create something that’s going to last, something people can touch and hold onto. Because maybe the world is fucked, maybe no one cares about what’s going on in your scene, but it matters to the people who are there, who are living it. To those people, it’s still important. It could mean everything.

“For those people, I want to create something,” Daniele says. “A little wall against the flood, you know? Give us a little shelter with each other where we can be together, and appreciate each other’s music, and share it in a physical format.” And if it’s too weird, or political, or challenging? All the better. Let the CP whole world hear it.

Darrow Montgomery

UPCOMING EVENTS

women come from worlds outside of punk and sometimes feel like outcasts in the scene.

Even after she began singing for Downtown Boys, Ruiz knew little of the punk ecosystem of 7-inch records, cassette tape demos, and online zines.

Greer came back to D.C. preaching the gospel of Downtown Boys, and she and Jaguar quickly booked the band’s first D.C. show, a bill with Priests at Asefu, a now-shuttered Ethiopian joint that hosted the occasional punk gig. After the show, Jaguar took Downtown Boys to Ben’s Chili Bowl and tried to convince Ruiz and the band to let him record them. A week later, they scheduled studio time. “That was one of the first times the idea of Sister Polygon expanded outside of just being like, this immediate group, or just people that we already knew really well,” Greer says.

For those who have yet to catch a Downtown Boys show, Jaguar recommends imagining a fight in a Looney Tunes short: a cartoon cloud of chaos, with fists and feet flying in every direction. It was the first band he recorded for Sister Polygon that wasn’t his own. “It was a real struggle to capture what that sounds like live, recorded. I struggled for a long time to get that sound just right,” he says.

Around the same time, Joe Steinhardt, co-owner of Don Giovanni Records, emailed Priests about working together on an album. “I loved them. From the first time I saw them, they were one of the best bands I’d ever seen,” Steinhardt says. But when he approached the band about possibly putting out a Priests record, they initially bristled. “It was like a stranger coming out and asking, ‘Can I babysit for you?’ And you’re just like, ‘No, this is my child, get away from me,’” Daniele says.

While Don Giovanni isn’t EMI, it’s also not Sister Polygon. It’s a big label in the world of independent music, and the Priests crew didn’t know Steinhardt from anyone. But Priests got to know Steinhardt and realized that he saw Don Giovanni in much the same way as they saw Sister Polygon. They settled on putting out a Priests EP, and Jaguar—his friends call him Gideon, his given name— began selling Steinhardt on his Sister Polygon labelmates. “Gideon was just, ‘These are the best fucking bands ever, you’re going to love them.’ And he was right,” Steinhardt says.

While Priests recorded the songs that

song tape by Pinkwash, a Philadelphia-viaD.C. power-punk duo. Joey Doubek, the band’s singer, spent much of 2008 caring for his mother, who died a year later from breast cancer. The resulting band and music channeled Doubek’s anger, both at the disease and the way corporations exploit it: “Pinkwashing” refers to the corporate trend of imposing pink on a product in the name of breast cancer awareness while doing little to address the disease or the people affected by it.

“That to me is a band that I want to support in every single way that I can,” Greer says. “That to me creates great music. Tell me about your personal experiences. Tell me about its dimension to the rest of the world, and the bullshit that we see in the rest of the world. That’s what I want to hear about.”

It’s the kind of music and message Steinhardt wants to hear, too. By the end of 2014, he’d signed deals with both Downtown Boys and Pinkwash.

Since Steinhardt first saw Priests and Downtown Boys in New Brunswick two years ago, Don Giovanni has released records by both bands. The Pinkwash LP should be out before the end of the year, and a Priests

CPARTS Arts Desk

Does the Hirshhorn have windows, or nah?

The museum debates the New York Times: washingtoncitypaper.com/go/window

Name: “City Fields”

The New Free Public

Place: Mount Vernon Triangle at O, 5th & K streets NW Artist: Rachel Schmidt, an exhibits specialist at the Hirshhorn Museum and Sculpture Garden and an artist in residence at the Arlington Arts Center

’Tis the season for outdoor art, and D.C.’s got a slew of new murals, sculpture, and prints to see. Check out a Capital Bikeshare rig on a sunny afternoon and take a trip to see these four recent additions to the District’s public-art scene. The city is your gallery.

—Josh Solomon

What is it? The 160-foot scrim is a grand collage of photos from five different cities, including D.C., interspersed with drawings of deer families; it speaks to how urban growth affects native wildlife.

Inspiration: “The site was my initial inspiration, the wide open space of the parking lot in the forest of tall buildings and activity offered a moment of calm,” Schmidt says.

Name: “Symphony in DC Major” Place: City Market at O, 8th and P streets NW Artist: Zachary Oxman, a Rockville-based sculptor

Rodney Bailey

What is it? “I envisioned the 125-foot span to become a dynamic experience, whether by foot or car, that unfolds like a film strip or musical score,” Oxman says. “An experience that is at once part mural, part sculpture, and part performance.” Three sculptures along P Street between 7th and 8th streets NW honor three local figures who helped shape the Shaw neighborhood: jazz legend Duke Ellington, abolitionist Robert Shaw, and Washington Color School painter Alma Thomas.

Inspiration: “The challenge for me was to share these people not just as static images, but to share their emotion and their history,” Oxman says.

Name: “Your Money For Nothing” Place: The Fridge, 8th Street SE

Josh Solomon

Artist: Gregg Deal, a visual and performance artist and 16-year resident of the D.C. area

Name: “Living Timeline: Paul Robeson” Place: U Street, between 13th & 14th streets NW Artist: Graffiti writer Cory L. Stowers, co-founder of Art Under Pressure, and his main collaborator Andrew Katz What is it? The mural down an alley off U Street depicts different stages of Robeson’s life. When completed on June 27, the mural will be interactive; viewers can use an app to access archival footage to learn more about each depicted moment in Robeson’s life.

What is it? The black and white mural is a part of Deal’s ongoing Square Series and a group show, “Hipster Facism,” which opens at the Fridge on June 20. Riffing on traditional American symbols, the insignia includes the text “representing self interest and corporate gain.”

Inspiration: “D.C. is the great American anomaly when it comes to politics and the representation they have on the Hill,” Deal says. “I think this speaks to that, as well in being the only place that has taxation without representation. Politicians are letting us all down, and our money is going towards nothing but job security for these fools.”

Inspiration: The building that hosts the mural is home to a kung fu school run

by Rahim Muhammad, who counts Robeson among his heroes. “It’s one thing to paint a singular image or a singular scene out of someone’s life, but with Paul Robeson’s story, it really needs to see that span of time he was in the public eye and how that developed,” Stowers says. “Then how he was ultimately blacklisted from his chosen profession because of his stance on international politics and the racial situation here in the United States.” washingtoncitypaper.com june 19, 2015 31

TheaTerCurtain Calls Sensory overload helps distract from Theater Alliance’s all-toofamiliar tale of a Vietnam vet.

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In Occupied Territories, the new original work from Theater Alliance, every seat is front-row. The theater-in-the-round setting forms a single semicircle around the set at the Anacostia Playhouse, so the play’s horrors of war can be experienced just a little differently from every angle. Director and co-writer Mollye Maxner is banking on us experiencing sensory overload as we watch her soldiers fight their battles. Since these battles are mostly external, not internal, the sensory side of the experience is the only one that really lingers.

We’re in a Vietnam vet’s basement just after his death, which spurs his daughter to desecrate his memory. The daughter is Jude (Nancy Bannon, who co-wrote the show), a recovering addict in her early forties. Jude holds a grudge against her father for his PTSD-addled parenting and many attempts to form religious-themed family bands. She’s also not impressed by his 11-month tour: “I’ve had rashes that lasted longer than that.” Jude’s simmering hatred is so strong that when she uncovers an old cassette addressed to her, she rips up the tape with vigor instead of listening to it. The innards shred and scatter across the set like confetti.

Jude’s motivations are never clear, and that’s a shame, because any drama whose central conflict ends with the hellishness of war is far too easy. We see Collins, her father, in flashback with his platoon in Vietnam, a rowdy bunch of good ol’ boys who have success-

fully desensitized themselves to the carnage.

A meek choir boy, Collins (impressive newcomer Cody Robinson) becomes the object of ridicule as his brothers-in-arms look for ways to blow off steam in the jungle. The soldiers are the play’s sensory triumph: They march in front of and behind the audience, pointing guns at or just above our heads, trading racially tinged jabs, their chants echoing around the tiny stage.

Could Collins (or “Cornbread,” as his platoon calls him) have experienced something horrifying and soul-destroying in Vietnam, maybe immediately after earning the respect of the most hardened men in his mixed-race company? Perhaps his deployment prevented him from being there for Jude’s birth, and the only thing that kept him going in the thick of a hopeless war was thinking of his infant daughter? Perhaps. The play’s brief 80 minutes don’t allow for much in the way of catharsis—Jude’s arc consists of going through her dad’s old things and reading about war horrors in his diary, and it’s pretty deep into the mission before we realize this really is a simple in-and-out operation.

But we can still enjoy some strong dialogue among the military, a rapport that carries a more intensely aggro male energy than theater is accustomed to. Even better are two lingering dance sequences, one a horrific interlude between a deranged soldier and a dead female Vietnamese fighter he manipulates like a ragdoll, the other a more graceful display between two shirtless soldiers as their roughhousing morphs into something acrobatic and haunting. These tidbits, so abstract and challenging, help such battle-worn deja vu go —Andrew Lapin down smoothly.

2020 Shannon Place SE. $20–$35. (202) 2412539. theateralliance.com.

FilmShort SubjectS Shot Button ISSue Every Last Child Directed by Tom Roberts

Every Last Child, a documentary about the World Health Organization’s campaign to vaccinate Pakistani children against polio, has a lot of statistics, a little drama, and a few personal stories. But a cohesive film doesn’t result as a sum of those parts.

It’s hard to decide which of director Tom Roberts’ missteps is the worst: There’s a lack of organization in his storytelling, yes, but he also makes the terribly distracting choice of throwing text—lots and lots of text—on the screen, in different spots, and in rather thin letters, while an often drama-filled or sympathy-evoking scene simultaneously demands the viewer’s attention.

The notes are there to get viewers up to speed with the polio situation in Pakistan, one of only three countries in which the virus still exists. (In fact, Pakistan hosts 80 percent of polio cases worldwide.) So the WHO launched a 12-week campaign to help eradicate the disease, with volunteers going door to

and the subsequent conversation is not natural.

You can almost hear Roberts asking, “Can you reminisce a bit more? Include a detail from your last visit? Mention the deceased again?” Later, they’re shown mourning on the anniversary of their relatives’ deaths, and it feels just as staged: “Now, linger over these photos a while.” It’s not until the very end of the film that we learn exactly what happened to these women, information that would have made the previous scenes less puzzling.

The most surprising and frustrating factor of the health organization’s efforts is that several Pakistanis refuse the vaccinations, saying it’s a “huge conspiracy” by the U.S. and Europe-funded WHO. The shot “makes boys impotent,” they say, in a strategy to control the Muslim population. When their talk turns to drones, though, you can almost see their point: Children are being killed in acts of war, yet the same countries that attack them want to ensure their children’s health? Someone jokes, semiseriously, that if Pakistan is to be polio-free, it should be drone-free, too.

Of course, there’s heartbreak here that no amount of filmic messiness can obscure.

Watching a paralyzed toddler wiggle and wail as he’s fitted for leg braces is agonizing, as is following a polio-struck 31-year-old man who gets around on a hand-cranked bike and drags

In Pakistan, drones kill children while the WHO tries to save them with vaccines. door to vaccinate children.

The Taliban banned the vaccine, however, and began killing volunteers daily. At the campaign’s launch, policemen referred to the effort as the “Holy War.” Dr. Elias Durry, WHO’s head of polio containment in Pakistan, sees it differently when his workers start to fall: “It’s not supposed to be a war.”

Despite the abundance of stats strewn across the screen—some of which you’re sure to miss because of their bouncing placement—any viewer will grasp that the campaign is dangerous. But individual stories are presented without context and come off as heavily directed.

There’s one family of mostly women who visit a beach and talk about how it’s their first time at the spot without two family members who have died. They mention it more than once,

himself across sidewalks and floors. “I console myself knowing that life is temporary,” he says, with an attitude and fortitude you can’t imagine.

Pakistanis aren’t the only citizens of the world who distrust vaccines—cough Jenny McCarthy cough—but the country’s dilapidated infrastructure and unclean drinking water (polio is water-borne) make it even more important to convince its residents otherwise.

Durry and other WHO execs brainstormed a smart plan to downplay the vaccine and instead include it as part of a rebranded “Justice for Health” package. So far, it’s working.

—Tricia Olszewski Every Last Child opens Friday at the Angelika Pop-Up. washingtoncitypaper.com june 19, 2015 33

GalleriesSketcheS Don’t miss this or our other terrific offers:

Form over Gumption “Stockholm Syndrome” At Hamiltonian Gallery to June 20

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Larry Cook may be the artist D.C.’s been waiting for. While D.C. looks less like Chocolate City and more like Chocolate-Chip City with every passing day, here’s an artist who dwells on issues of image and representation in the city’s black population—and he’s finding sure footing. Since he graduated with an MFA from George Washington University in 2013, he’s been named as a finalist for both the Trawick Prize in Bethesda and the Sondheim Artscape Prize in Baltimore, two of the highest honors in the region.

Cook’s second solo show at Hamiltonian Gallery, “Stockholm Syndrome,” sees him navigating a subtle racial dividing line. This spare show builds on other fictions about black identity, namely two classic films about slavery, to create a multimedia meta-fiction of his own. It’s big, national-picture thinking. And yet the most compelling takeaway in “Stockholm Syndrome” is a narrow one.

fidence in photography, his former medium of choice, or maybe art altogether. Once upon a time, contemporary art really did matter. Women artists, artists of color, and queer artists took up conceptual, performance, and installation art as an alternative to sculpture, painting, and even photography. The barriers to entry were lower for contemporary art.

Nobody needed a degree or money or access to use a photocopier, or her body, or her ideas, to make new work. All that has changed.

Other works in “Stockholm Syndrome” don’t offer the same grip. A sound installation and a video installation borrow clips, respectively, from Roots and 12 Years a Slave. These nod at the cultural construction of black identity, but they seem to lack a working theory. They aren’t out to prove something about form. Cook also offers up “Whitewashed,” a series of text installations, gorgeous plates rendered in plexiglass and wood frames. In these, Cook references everything from medieval art history by Kurt Weitzmann to From Babylon to Timbuktu, a source for the Black Hebrew Israelites (you know, the shouty guys outside the Gallery Place–Chinatown Metro station). Taken together, they read like deliberate non sequiturs, but I can’t quite find the thread.

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“Some of my best friends are black” by Larry Cook (2014) At first glance, “Some of My Best Friends Are Black” looks very current: White neon letters spell out the titular phrase along one of the gallery’s long walls. But this is a throwback piece: Cook is plainly sampling wellworn art history here. Text-plus-neon is signature Bruce Nauman and Glenn Ligon (and Joseph Kosuth and Tracey Emin and maybe some others). The phrase itself is mordant shorthand, a quip about the kind of excuse that white people use to preface whatever appalling thing they think about black people.

Both the content and the form are vintage, snarky, and cynical.

It’s as if Cook is embracing and dismissing contemporary art as a way to tell some truth about being black—like he’s lost con34 june 19, 2015 washingtoncitypaper.com

“Stockholm Syndrome” feels inscrutable because it’s incomplete. Cook’s mixing up his modes to make his point now, where content carried his photography. This is good.

Amid the national fury over police brutality, housing inequality, every kind of inequality—all these issues that have always been with us but have only now taken pride of place at the top of the newshour—Cook is working at a whisper. His focus is acute.

His concentration is Vulcan. This is fine. But viewers need to see more to know whether Cook can channel these efforts into a full roar.

—Kriston Capps 1353 U St. NW, Suite 101. Free. (202) 3321116. hamiltoniangallery.com

washingtoncitypaper.com june 19, 2015 35

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CITYLIST Music

Friday Rock

Music . . . . . . . . . . . . . . . . . . . . . . . . .37 Theater . . . . . . . . . . . . . . . . . . . . . . 4 1 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .43

SearCh LISTIngS aT waShIngTonCITYpaper.Com

CITY LIGHTS: FRIDAY

CHRISTOPHER OWENS

9:30 Club 815 V St. NW. (202) 265-0930. White Ford Bronco. 8 p.m. $18. 930.com. bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Iguanas. 8 p.m. $20. bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Graham Parker & The Rumour.

7:30 p.m. $35. birchmere.com. the hamilton 600 14th St. NW. (202) 787-1000.

Like Your Dad Did Vol. 2. 8:30 p.m. $25–$30. thehamiltondc.com. roCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Christopher Owens. 9 p.m. $15. rockandrollhoteldc.com. u street musiC hall 1115 U St. NW. (202) 5881880. The Griswolds, Urban Cone. 7 p.m. $15. ustreetmusichall.com.

ElEctRonic Pyramid atlantiC art Center 8230 Georgia Ave., Silver Spring. (301) 608-9101. Insect Ark, Olivia Neutron-John, Chester Hawkins, Bastet. 9 p.m. $10. pyramidatlanticartcenter.org. u street musiC hall 1115 U St. NW. (202) 5881880. Miami Horror. 10:30 p.m. $15. ustreetmusichall.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Terence Blanchard. 8 p.m. & 10 p.m. $40. bluesalley.com. howard theatre 620 T St. NW. (202) 803-2899.

Ginger Baker’s Jazz Confusion, Pee Wee Ellis. 8 p.m. $42.50. thehowardtheatre.com. twins Jazz 1344 U St. NW. (202) 234-0072. The Robert Shahid. 9 p.m. & 11 p.m. $15. twinsjazz.com.

classical wolf traP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. National Symphony Orchestra: Back to the Future. 8:30 p.m. $30–$58. wolftrap.org.

saturday Rock bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Janiva Magness. 8 p.m. $25. bethesdabluesjazz.com. the hamilton 600 14th St. NW. (202) 787-1000.

Shartel and Hume. 10:30 p.m. Free. Carbon Leaf, Marie Miller. 8:30 p.m. $30–$35. thehamiltondc.com.

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Jimmy Buffett. 8 p.m. $36–$136. livenation.com.

Christopher Owens had a stellar run fronting the indie-rock duo Girls at the end of the last decade; the band’s fragile love songs and hazy surf-rock textures made it a critical darling and frequent guest on late-night talk shows. As a solo artist, he’s struggled to settle into a comfort zone—2013’s Lysandre and last year’s A New Testament dabbled with baroque ballads and Americana to mixed reviews. However, last month’s surprise release Chrissybaby Forever suggests Owens has emerged from his slump with a warm, winning formula that draws together his prior creative excursions. “Heroine (Got Nothing On You)” and “Out of Bed (Lazy Head)” are natural extensions of the Girls’ sound that traded out guitar fog for beachy ’60s grooves. “Come On And Kiss Me” may be his most jubilant, gospel-infused ditty to date, and “I Love You Like I Do” is a blissful trance of a song that layers guitar arpeggios underneath a chorus of female vocalists. Chrissybaby Forever is hardly adventurous territory for Owens, but it presents a newfound sense of clarity and purpose that refines his whimsy for the better. Christopher Owens performs with Tomás Pagán Motta at 9 p.m. at Rock & Roll Hotel, 1353 H St. NE. $15. (202) 388—Dan Singer 7625. rockandrollhoteldc.com.

merriweather Post Pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Hozier, The Antlers. 8 p.m. $40–$55. merriweathermusic.com.

musiC Center at strathmore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Landau Eugene Murphy, Jr. 8 p.m. $13.50–$45. strathmore.org.

roCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Local H, Aeges. 8 p.m. $15. rockandrollhoteldc.com.

twins Jazz 1344 U St. NW. (202) 234-0072. The Robert Shahid. 9 p.m. & 11 p.m. $15. Christian Winther Quartet. 4 p.m. & 6 p.m. $10. twinsjazz.com.

velvet lounge 915 U St. NW. (202) 462-3213.

Harris Face, The Darkest Timeline, Two Dragons and a Cheetah. 8:30 p.m. $8. velvetloungedc.com.

ElEctRonic u street musiC hall 1115 U St. NW. (202) 5881880. Julio Bashmore. 10 p.m. $12. ustreetmusichall.com.

Folk kennedy street nw Kennedy Street Festival.

11 a.m. Free. kennedystreetnw.org.

WoRld

Jazz

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

Leo Dan. 8 p.m. $50. thehowardtheatre.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Terence Blanchard. 8 p.m. & 10 p.m. $40. bluesalley.com.

kennedy Center millennium stage 2700 F St. NW. (202) 467-4600. Mariela Shaker. 6 p.m. Free. kennedy-center.org.

washingtoncitypaper.com june 19, 2015 37

Folk

wolf traP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Celtic Woman. 8 p.m. $30–$125. wolftrap.org.

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

(703) 237-0300. The Weepies. 6 p.m. $32. thestatetheatre.com.

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

Backyard Band, Northeast Groovers. 11 p.m. $40. thehowardtheatre.com.

classical freer gallery of art Jefferson Drive & 12th Street SW. (202) 633-1000. DJ Spooky: “Electric Imaginary: Compositions Inspired by Nam June Paik”. 5 p.m. Free. asia.si.edu.

opERa barns at wolf traP 1645 Trap Road, Vienna.

(703) 255-1900. The Marriage of Figaro. 7:30 p.m. $36–$78. wolftrap.org.

kennedy Center millennium stage 2700 F St. NW. (202) 467-4600. Chicago Harp Quartet. 6 p.m.

Free. kennedy-center.org.

sunday

wolf traP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. National Symphony Orchestra: 1812 Overture. 8:15 p.m. $20–$75. wolftrap.org.

Rock

9:30 Club 815 V St. NW. (202) 265-0930. The War On Drugs. 7 p.m. $30. 930.com. fillmore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Against Me!, frnkiero andthe cellabration, Annie Girl and the Fight. 8 p.m. $22. fillmoresilverspring.com.

Jazz Folk

u street musiC hall 1115 U St. NW. (202) 5881880. King Gizzard & The Lizard Wizard. 7 p.m. $15. ustreetmusichall.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. David Crosby. 7:30 p.m. $90.50. birchmere.com.

Jazz amP by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Brubeck Brothers.

7 p.m. $35–$45. ampbystrathmore.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Madeleine Peyroux Trio. 7:30 p.m. $55. birchmere.com.

Monday

kennedy Center millennium stage 2700 F St. NW. (202) 467-4600. Tyné Angela Freeman, Melissa Goldstein, Kelley Kessell, and Miranda Scott. 6 p.m.

Free. kennedy-center.org.

Vocal

blaCk Cat 1811 14th St. NW. (202) 667-4490. Jaga Jazzist. 7:30 p.m. $18–$20. blackcatdc.com.

verizon Center 601 F St. NW. (202) 628-3200.

Bette Midler. 8 p.m. $45–$260. verizoncenter.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Terence Blanchard. 8 p.m. & 10 p.m. $40. bluesalley.com.

wolf traP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. National Symphony Orchestra, Audra McDonald. 8:15 p.m. $25–$75. wolftrap.org.

CITY LIGHTS: SATURDAY

KATHY GRIFFIN

Since her stint hosting Fashion Police came to a sudden end, Kathy Griffin is returning to her stand-up roots. Her 50-city tour features all new material, so when she stops at the Kennedy Center Concert Hall and potentially declasses the joint, expect riffs on the latest celebrity scandals, from Kylie Jenner’s lips to the latest Duggar family drama. Though Griffin claimed she didn’t want to play the mean girl on E!’s show, she rarely pulls punches during her live sets; a nuanced discussion of Caitlyn Jenner’s upcoming series on the same network is unlikely. Remember: This is the lady who got Anderson Cooper to talk dirty on national television and who told Jesus to “suck it” when she won an Emmy. If political correctness threatens to kill comedy, Griffin is the one to bring it back from the dead. Kathy Griffin performs at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $49–$99. (202) 467-4600. kennedy-center.org.

—Diana Metzger

38 june 19, 2015 washingtoncitypaper.com

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CITY LIGHTS: SUNDAY

THE BLACKBYRDS AND TOM BROWNE What’s your favorite thing to do in Rock Creek Park?

Do you like to bike, or jog, or ride horses? Forty years ago, D.C. R&B group the Blackbyrds suggested that the park’s greatest pleasures are to be had after sunset. “Doin’ it in the park, doin’ it after dark, oh, yeah, Rock Creek Park” are the only lyrics to the group’s classic six-anda-half minute funk track.

It’s no wonder that the Blackbyrds paid tribute to one of D.C.’s greatest assets: The group formed at Howard University in 1973 under the guidance of legendary trumpeter Donald Byrd, who taught music and earned his law degree there. Throughout the ’70s, the group enjoyed mainstream success outside the Beltway, including a Grammy nomination for its 1975 single “Walking in Rhythm.” The Blackbyrds’ influence also extended into the hip-hop world long after they released their last album in 1980; acts as varied as N.W.A., De La Soul, and Wiz Khalifa have sampled “Rock Creek Park.” Now, two years after Byrd’s death, his former students are coming home to play a Father’s Day celebration at the Lincoln Theatre. Their brand of funk always turns sedate live shows into lively parties. The Blackbyrds and Tom Browne perform with In Gratitude at 6 p.m. at the Lincoln Theatre, 1215 U St. NW. $50–$60. (202) 888-0050. thelincolndc.com.

—Anya van Wagtendonk

tuesday Rock kennedy Center millennium stage 2700 F St. NW. (202) 467-4600. Louis Weeks. 6 p.m. Free. kennedy-center.org. warner theatre 513 13th St. NW. (202) 783-4000.

Huey Lewis and the News. 8 p.m. $53–$93. warnertheatre.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Lenny Marcus Trio. 8 p.m. & 10 p.m. $20. bluesalley.com.

BluEs the hamilton 600 14th St. NW. (202) 787-1000. Taj Mahal. 7:30 p.m. $38–$55. thehamiltondc.com.

Hip-Hop u street musiC hall 1115 U St. NW. (202) 5881880. Jon Bellion. 7 p.m. $15. ustreetmusichall.com.

Wednesday Rock

bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Babys. 7:30 p.m. $35. bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Trevor Hall, Mike Love. 7:30 p.m. $20. birchmere.com. u street musiC hall 1115 U St. NW. (202) 5881880. Rubblebucket, Alberta Cross, Cuddle Magic.

7 p.m. $20. ustreetmusichall.com.

Funk & R&B blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Erikka J. 8 p.m. & 10 p.m. $20. bluesalley.com. gyPsy sally’s 3401 K St. NW. (202) 333-7700.

George Porter Jr. and his Runnin’ Pardners, The Beat Hotel. 8:30 p.m. $15–$20. gypsysallys.com. howard theatre 620 T St. NW. (202) 803-2899.

Jody Watley. 8 p.m. $25. thehowardtheatre.com.

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

Matthew Frantz. 7 p.m. Free. gypsysallys.com.

WoRld

WoRld

kennedy Center millennium stage 2700 F St. NW. (202) 467-4600. New Inca Son. 6 p.m. Free. kennedy-center.org.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m. & 10 p.m. $25. bluesalley.com.

thursday

Patriot Center 4500 Patriot Circle, Fairfax. (703) 993-3000. Romeo Santos. 8 p.m. $44–$122. patriotcenter.com.

Rock

u street musiC hall 1115 U St. NW. (202) 5881880. Novalima. 7 p.m. $18. ustreetmusichall.com.

blaCk Cat 1811 14th St. NW. (202) 667-4490.

Blonde Redhead. 7:30 p.m. $20. blackcatdc.com.

Vocal

dC9 1940 9th St. NW. (202) 483-5000. No Joy, Creepoid. 9 p.m. $10–$12. dcnine.com.

kennedy Center millennium stage 2700 F St. NW. (202) 467-4600. Coro Entrevoces. 6 p.m. Free. kennedy-center.org.

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

The Falconers. 7 p.m. Free. gypsysallys.com. wolf traP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Peter Frampton, Cheap Trick.

7:30 p.m. $35–$45. wolftrap.org.

Jazz dukem bar and restaurant 1114 U St. NW. (202) 667-8735. Nicole Saphos Quartet. 9 p.m. Free. dukemrestaurant.com. twins Jazz 1344 U St. NW. (202) 234-0072. Batida Diferente. 8 p.m. & 10 p.m. $10. twinsjazz.com.

Folk amP by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Chatham County Line. 7:30 p.m. $20–$30. ampbystrathmore.com.

theater

(a love story) Three couples, determined to love each other as much as they can, face obstacles and challenge the assumptions about love presented in movies and music, in this new work by Kelly Lusk.

Source Theatre. 1835 14th St. NW. To June 28. $20.

(202) 204-7800. sourcedc.org. blue straggler This dark drama revolves around an astrophysicist and chocolatier who separate amidst great tragedy. Can the scientist find the right formula to bring the lovers back together or are they destined to stay apart forever? Rebecca Bossen’s play explores the limits humans will go to for love and whether love can tear the universe apart. Source Theatre. 1835 14th St. NW. To June 28. $20. (202) 204-7800. sourcedc.org.

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

HoneyHoney. 7:30 p.m. $15–$18. thehamiltondc.com.

the book of mormon The Broadway musical about two missionaries and their misadventures in Africa arrives at the Kennedy Center for an extended summer stay. Kennedy Center Opera House. 2700 F St. NW. To August 16. $43-$250. 202-467-4600. kennedy-center.org.

roCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Jessica Pratt, Ryley Walker. 8 p.m. $12–$14. rockandrollhoteldc.com.

Cabaret Wesley Taylor stars as the Emcee in this classic musical set at a Berlin nightclub during the Nazis rise to power. An American journalist and a nightclub sing-

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Mason Jennings, Karen Jonas.

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

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CITY LIGHTS: MONDAY

THE HARD PROBLEM

A production of playwright Tom Stoppard’s first hit, the tragicomedy Rosencrantz and Guildenstern are Dead, has entertained audiences at the Folger for the past several months.

But while Stoppard’s comedies induce chortles among theatergoers, his latest play asks audiences and characters to deal with more serious, scientific concerns. The Hard Problem, broadcast at Sidney Harman Hall as part of London’s National Theatre Live series, follows Hilary, a young psychology researcher who has a hard time figuring out where her field intersects with biology and how these issues intersect with idea of consciousness. Meanwhile, Hilary finds herself in a personal crisis that places her at odds with her colleagues and has her looking to religion for answers. The struggle to meld all these different belief systems leaves the characters and the audience questioning their own beliefs and acceptance of things just the way they are.

Stoppard, a formidable thinker, wouldn’t have it any other way.

The broadcast begins at 7:30 p.m. at Sidney Harman Hall, 610 F St. NW. $20. (202) 547-1122. shakespearetheatre.org.

—Caroline Jones

washingtoncitypaper.com june 19, 2015 41

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CITY LIGHTS: TUESDAY

ENIGMAS: THE ART OF BADA SHANREN

17th-century Chinese artist Bada Shanren held a multitude of titles, but his inner life remains mysterious.

Born under the Ming dynasty to a high-society family, Shanren lived as a Buddhist monk and calligrapher before turning his attention to painting. Shanren’s style for calm but energetic paintings reflected the tumultuous mental state of the aristocrat monk. Examine “Lotus and Ducks,” a painting of a scowling fowl with piercing eyes, and you can imagine how rumors of Shanren screaming and making strange noises while he painted could be true. He’s been described by art historians as a prodigy, immensely talented, and deeply soulful. You can attempt to understand him while his work is on display at the Freer, but be warned: Shanren will likely remain an enigma for good. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Jan. 3, at the Freer Gallery of Art, Jefferson Drive and 12th Street SW. Free.

(202) 633-480. asia.si.edu. —Jordan-Marie Smith

er begin a tumultuous affair but the political changes forces an end to their carefree way of life. Signature Theatre. 4200 Campbell Ave., Arlington. To June 28. $29-$95. (703) 820-9771. signature-theatre.org. the good Counselor Alex Levy directs this production of Kathryn Levy’s new play about an attorney who defends a mother accused of killing her three-week old child and is forced to reconcile his own relationship with her in the process. 1st Stage. 1524 Spring Hill Road, McLean. To June 21. $18-$25. (703) 854-1856.

1ststagespringhill.org.

Jarry inside out The life of French author Alfred Jarry, whose work inspired the Surrealist artists and the Theater of the Absurd movement, is chronicled in this biographic play written by Richard Henrich.

Spooky Action Theater. 1810 16th St. NW. To June 21. $10-$35. (301) 920-1414. spookyaction.org.

JumPers for goalPosts An amateur pub soccer team tries to succeed even though the players and their town have seen better days in the U.S. premiere of this play by Tom Wells. Studio Theatre. 1501 14th St. NW. To June 21. $20-$78. (202) 332-3300. studiotheatre.org. las PolaCas: the Jewish girls of buenos aires This somber new musical tells the story of thousands Polish-Jewish women who were lured into prostitution by a slave trading organization in early 1900s Argentina from the perspective of Rachela, a young woman whose dreams disappear under these horrific circumstances. GALA Hispanic Theatre. 3333 14th St. NW. To June 28. $20-$50. (202) 234-7174. galatheatre.org. the madwoman of Chaillot WSC Avant Bard presents a new translation of Jean Giraudoux’s play about four women who come together with a group of street friends to overthrow radical capitalists.

Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington. To June 28. $10-$35. (703) 418-4808. wscavantbard.org.

nsfw Explore the world of glossy magazines and discover how women are exploited by both men’s and women’s lifestyle publications in Lucy Kirkwood’s biting comedy. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To June 21. $10-$50.

(240) 644-1100. roundhousetheatre.org. oCCuPied territories Mollye Maxner’s play draws inspiration from Euripides’ The Trojan Women and examines how the history of war impacts our bodies, spirits, and relationships with each other. Anacostia Playhouse. 2020 Shannon Place SE. To July 5. $20-$35.

(202) 544-0703. anacostiaplayhouse.com. our town The company adds its traditional commedia dell’arte twist to Thornton Wilder’s classic play about love and life in a small town. Originally presented last year as part of Arena Stage’s Kogod Cradle Series, Faction of Fools now presents a fully staged, extended adaptation. Faction of Fools at Gallaudet University’s Elstad Auditorium. 800 Florida Ave. NE. To June 21. $12-$25. factionoffools.org.

Potted Potter Two super fans send up a parody of the Harry Potter universe in this 70-minute performance. Those sitting in the premium seats can join the action in a live Quidditch match. Lansburgh Theatre.

450 7th St. NW. To June 21. $39.95-$99.95. (202) 547-1122. shakespearetheatre.org. the PriCe Two estranged brothers reunite in a tiny New York apartment in order to clean out their late father’s belongings in this lesser-known work by Arthur Miller. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 21. $22-$65. (301) 924-3400. olneytheatre.org. rosenCrantz and guildenstern are dead Aaron Posner directs Tom Stoppard’s take on the fate of Hamlet, as assessed and told by his two old friends Rosencrantz and Guildenstern. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To June 21. $37-$75.

(202) 544-7077. folger.edu.

mary-kate olsen is in love The Olsen Twins might be 27-year-old Grace’s only friends and they just might save her life in this funny play about sad people from Mallery Avidon. Studio Theatre. 1501 14th St. NW. To June 21. $20-$35. (202) 332-3300. studiotheatre.org.

a tale of two Cities Synetic company member Alex Mills stars as drag queen who finds a baby on the street and entertains it by performing the Dickens classic in its entirety in this lively comedy directed by Serge Seiden. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To June 21. $10-$50. (800) 494-8497. synetictheater.org.

newsies Newspaper delivery boys stand up to a powerful publisher in this lively, dance-filled musical.

National Theatre. 1321 Pennsylvania Ave. NW. To June 21. $48-$108. (202) 628-6161. nationaltheatre.org.

tales of the allergist’s wife An Upper West Side professional luncher finds herself in the midst of a midlife crisis when she unexpectedly reunites with a mysterious childhood friend. Charles Busch’s lively

comedy explores what happens when her happy, obligation-free life is upset and how her family responds.

Theater J. 1529 16th St. NW. To July 5. $30-$65. (202) 518-9400. theaterj.org. tartuffe Moliere’s indictment of religion and its associated hypocrisy comes to Sidney Harman Hall in a co-production with Berkeley Repertory Theatre and South Coast Repertory Theatre. Sidney Harman Hall.

610 F St. NW. To July 5. $20-$110. (202) 547-1122. shakespearetheatre.org. the traP Ambassador Theater presents this look at the life of Franz Kafka, as imagined by Polish playwright Tadeusz Rózewicz, that also looks at the struggle of artists over time. Ambassador Theater at the XX Building. 814 20th St. NW. To June 21. $25-$35.

(703) 475-4036. aticc.org. the word and the wasteland In Timothy Guillot’s play terrorist has just committed the most violent attack on U.S. soil since 9/11 and while he’s in custody, he requests to write poetry. The FBI initially allows it and searches for messages in the man’s work and his decision to have a young woman perform his work.

As the performer struggles to cope with her instant fame and FBI investigators suspect another imminent attack, no one feels safe any longer. Source Theatre.

1835 14th St. NW. To June 28. $20. (202) 204-7800. sourcedc.org.

zombie: the ameriCan In this new sci-fi thriller, America’s first gay president faces a looming civil war, a philandering spouse, and, oh yeah, a zombie invasion of the White House basement. Howard Shalwitz directs the world premiere of Robert O’Hara’s creepy comedy. Woolly Mammoth Theatre. 641 D St. NW. To June 21. $40-$68. (202) 393-3939. woollymammoth.net.

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HUBBARD STREET DANCE CHICAGO

THE JAMES BROWN DANCE PARTY

Now in its 37th season, Hubbard Street Dance Chicago is known for showcasing a wide range of work by contemporary choreographers. Those on display as the company comes to Wolf Trap include pieces by Czech artist Jiří Kylián, Madrid-born Alejandro Cerrudo, and Canada’s Crystal Pite. Selected from Hubbard Street’s vast repertoire, pieces range from solos to works bringing the majority of the company’s dancers to the stage. Expect to see small-group works like Cerrudo’s “PACOPEPEPLUTO,” starring minimally-clad male dancers moving to Dean Martin’s crooning voice; Robyn Mineko Williams’ ethereal “Waxing Moon,” with a trio of dancers and haunting piano-based score; and Pite’s “A Picture of You Falling,” a number about a failed love affair that’s overlaid with sparse spoken phrases. Larger performance pieces include Kylián’s “Falling Angels,” which keeps eight women dancers onstage throughout, and Nacho Duato’s “Gnawa,” which pulls 16 of the company’s 18 dancers into a fictional ritual, moving in linked circles, clusters, and broken-apart pairs, all set to a Mediterranean-inspired drum and chant. Even if you opt for seats on the back of the lawn, a stage full of dancers will make for a captivating visual. Hubbard Street Dance Chicago performs at 8:30 p.m. at Wolf Trap’s Filene Center, 1645 Trap Road, Vienna. $10–$44.

—Emily Walz (703) 255-1900. wolftrap.org.

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City. (See washingtoncitypaper.com for venue information) out Amy Poehler and Mindy Kaling give n inside voices to the feelings of joy and disgust in this animated movie about a young girl who moves from the Midwest to San Francisco and handles the situation with some help from her emotions. (See washingtoncitypaper.com for venue information)

Fri & Sat, June 19 & 20 at Midnight!

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JurassiC world Picking up two decades after Jurassic Park left off, this sequel explores what happens when a new attraction, aimed at increasing revenue, backfires. Starring Chriss Pratt, Bryce Dallas Howard, and Vincent D’Onofrio. (See washingtoncitypaper.com for venue information)

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me and earl and the dying girl This dark comedy that won both the Audience Award and the Grand Jury Prize at this year’s Sundance Film Festival follows a young man whose life changes dramatically when he befriends a classmate with cancer and decides to make a film for her. (See washingtoncitypaper.com for venue information)

testament of youth Alicia Vikander and Kit Harrington star in this romantic drama about a couple that falls in love during World War I and the subsequent trauma they endure while waiting for the war to end.

(See washingtoncitypaper.com for venue information) when marnie was there In this Japanese animated movie directed by Hiromasa Yonebayashi, a young girl’s life is transformed when she begins having visions of another girl who used to live in her house years ago.

Actors Hailee Steinfeld, Kiernan Shipka, and Geena Davis provide the English dubbed voices. (See washingtoncitypaper.com for venue information) the wolfPaCk Brothers living on welfare in n New York City entertain themselves by reenacting and recording scenes from their favorite films. Crystal Moselle’s documentary offers audiences a look into the lives of these men affectionately known as the Wolfpack. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones.

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CHAMBER DANCE PROJECT D.C. has few dance options during the summer months, which is why it’s a triple bummer that three performances worth paying attention to fall during the same week. At the Lansburgh Theatre, a coalition of mostly local musicians and dancers are pooling their resources to present five days of concerts. The second annual Chamber Dance Project season is the brainchild of choreographer Diane Coburn Bruning, who has very practically paired military musicians gigging on the side with Washington Ballet dancers who are off for the summer. Thursday’s program features the world premiere of Wild Swans by choreographer Darrell Grand Moultrie, inspired by the Edna St. Vincent Millay poem of the same title. Moultrie has received commissions from Beyoncé, director Diane Paulus, and the Dance Theatre of Harlem, so it’s hard to guess exactly how he’ll choreograph a dance for swans, but given the jazzy Latin score, it probably won’t involve birds drowning in an enchanted lake. Other ballets on the program are set to classic works of chamber music, including Prokofiev’s “Sonata for Two Violins” and Samuel Barber’s “Adagio.” Chamber Dance Project performs at 7:30 p.m. at the Lansburgh Theatre, 450 7th St. NW. $18–$70.

—Rebecca J. Ritzel (202) 499-2297. chamberdance.org.

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA FAMILY COURT DOMESTIC RELATIONS BRANCH In the matter of: Eugene D. Davis, Jr. D0cket . 2015 FSP 190 Judge Jennifer A. Di Toro ORDER On March 20, 2015, Nicole Ashley Green filed an Application for Change of Name of a Minor on behalf of the minor child, Eugene D, Davis, Jr. born on February 23, 2012 in Washington, D.C. A hearing on the Application for Change of Name was held on April 20, 2015. The Petitioner appeared pro se before the court. Ms. Green represented that Matthew J. Shelton is the minor child’s biological father and that she has not served Mr. Shelton with the Application for change of Name. The court finds that Matthew J. Shelton is an interested party, as he is the minor child’s father, and this matter shall be continued in order to allow Ms. Green additional time to serve him. Additionally, the court finds that notice of the Application shall be published in a newspaper of general circulation once a week for three consecutive weeks.

Wherefore, it is this 20th day of April, 2015, ORDERED, that the Application for Change of Name of a Minor Child shall be HELD IN ABEYANCE; it is further ORDERED, that the Petitioner shall serve Matthew J. Shelton with the Application for Change of Name of a Minor Child and with a copy of this Order prior to the next hearing date and file proof of such service with the court; it is further ORDERED, that pursuant to DC. Superior Court Rules of Civil Procedure 205, the petitioner shall publish notice of the “filing of the http://www.washingtapplication, the substance and oncitypaper.com/ prayer thereof and the date of final hearing... once a week for 3 consecutive weeks in a newspaper in general circulation in the District of Columbia” and bring proof of publication with an attached copy of the notice as published to the next hearing date. A separate Notice shall be issued by the court to be published. It is further ORDERED, that the parties shall appear for a further hearing on the Application for Change of Name on June 22, 2015 at 10:30 a.m. in Courtroom JM-9. Failure to appear may result in a default or a dismissal.

IT IS SO ORDERED, Jennifer A. Di Toro Associate Judge Copy to: Nicole Ashley Green http://www.washingtHand Delivered in Court Petitioner oncitypaper.com/ Matthew J. Shelton To be served

by Petitioner Interested Party

NORTH CAROLINA IN THE GENERAL COURT OF JUSTICE DISTRICT COURT DIVISION DUPLIN COLTNTY FILE NO: 15 CVD 163 MONICA FAISON EVANS Plaintiff vs.

IRA WAYNE EVANS Defendant.

NOTICE OF SERVICE OF PROCESS BY PUBLICATION

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Out with the

TO: IRA WAYNE EVANS, the above named defendant.

TAKE NOTICE that a pleading seeking relief against you has been filed in the above entitled action. The nature of the relief being sought is an Absolute Divorce.

You are required to make defense to such pleading not later than July 21, 2015, said date being 40 days from the first publication of this notice, or from the date complaint is required to be filed, whichever is later, and upon your failure to do so the party seeking service against you will apply to the court for the relief sought.

This is the 9th day of June, 2015.

S. Reginald Kenan Attorney for Plaintiff 106 West Hill Street Post Offi ce Box 472 Warsaw, N.C. 28398 NC State Bar: 9300 Telephone: 910-293-7801 Facsimile: 910-293-7431 The IDEA Public Charter School solicits proposals for the following: •Bread Distributor •Milk Distributor •Building Painting •Student Transportation •Legal services •Security Systems •Auditor

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38 “We stop serving at ten past”?

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washingtoncitypaper.com June 19, 2015 47

JUNE 19

BACK TO THE FUTURE

NATIONAL SYMPHONY ORCHESTRA

JUNE 20

JUNE 22

JUNE 21

CELTIC WOMAN 10TH ANNIVERSARY WORLD TOUR

EMIL DE COU, CONDUCTOR

TCHAIKOVSKY’S 1812 OVERTURE EMANUEL AX PLAYS BRAHMS

AUDRA McDONALD NATIONAL SYMPHONY ORCHESTRA

ANDY EINHORN, CONDUCTOR

NATIONAL SYMPHONY ORCHESTRA

™ & © UNIVERSAL STUDIOS AND U-DRIVE JOINT VENTURE

ANDREW LITTON, CONDUCTOR

HUBBARD STREET DANCE CHICAGO JUNE 24

JOHN FOGERTY 1969

NATIONAL SYMPHONY ORCHESTRA

JUNE 30

PETER FRAMPTON AND CHEAP TRICK JUNE 25

BEETHOVEN’S SYMPHONY NO. 5 SARAH CHANG PLAYS BRUCH JULY 11

R5

MOVE FEATURING DEREK & JULIANNE HOUGH JULY 3

SOMETIME LAST NIGHT TOUR

JACOB WHITESIDES RYLAND

JULY 12

NATIONAL BALLET OF CHINA

MILLION DOLLAR QUARTET

TONY AWARD-WINNING ROCK ‘N’ ROLL MUSICAL

NATIONAL BALLET OF CHINA SYMPHONY ORCHESTRA

PINK MARTINI

Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis

JUNE 26-28

SHIYEON SUNG, CONDUCTOR

TICKETS ON SALE NOW!

THE PEONY PAVILION

JULY 10

JULY 14

A KAY SHOUSE GREAT PERFORMANCE

PLUS PUNCH BROTHERS | BÉLA FLECK & ABIGAIL WASHBURN 7/15 GUSTER | KISHI BASHI 7/16 » POKÉMON: SYMPHONIC EVOLUTIONS | NSO 7/18 PATTI LaBELLE | THE JONES FAMILY SINGERS 7/19 » BRANDI CARLILE | FIRST AID KIT 7/22 VERDI’S AIDA IN CONCERT | NSO 7/24 » DIANA KRALL 7/25 » AND MANY MORE!

SUMMER 2015

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