Washington City Paper (July 14, 2017) by Washington City Paper

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Free volume 37, no. 28 washingTonciTypaper.com july 14â&#x20AC;&#x201C;20, 2017

politics: The insidious ways developers wield influence 9 food: hummus shop liTTle sesame To expand 21 arts: hive is buzzworThy 25

WRITING A WRONG An estimated 90,000 D.C. adults are functionally illiterate. Where the city has failed, charter schools fill the void. P. 14 By Rachel M. Cohen

Photographs by Darrow Montgomery

2 july 14, 2017 washingtoncitypaper.com

INSIDE

AMERICA’S BIGGEST TRAVELING MUSIC AND CRAFT BEER FESTIVAL

14 Writing a Wrong An estimated 90,000 D.C. adults are functionally illiterate. Where the city has failed, charter schools fill the void. By Rachel M. Cohen

Photographs by Darrow Montgomery

4 Chatter distriCt Line 7 Unprotective Oversight: Some say the D.C. Council’s proposed revamp of a 40-year-old disability law will sacrifice protections. 9 Loose Lips: What campaign finance reform can’t address is the insidious culture of developer influence. 10 Indy List 11 Gear Prudence 12 Savage Love

26 Galleries: Photo-like drawings make for a pleasant day at The Mansion at Strathmore, but a piquant exhibit on the human body challenges tradition. 28 Theater: Reviews of Capital Fringe Festival productions Release: A Rock Opera and Abortion Road Trip 30 Short Subjects: Gittell on A Ghost Story, Olszewski on Marie Curie, and Zilberman on The B-Side: Elsa Dorfman’s Portrait Photography

d.C. feed

City List

21 The Promised Brand: Hummus shop Little Sesame took a field trip to Israel as it prepares to expand. 24 Gig Gastronomy: When they’re not taking your order, these restaurant and bar workers are doing everything from refereeing games to making eco-friendly candles.

arts 25 Buzzworthy: A massive hive made of paper tubes at the National Building Museum is honey for the eyes, ears, and brain.

33 City Lights: Catch Colombian dance band Tribu Baharu at Tropicalia Saturday. 33 Music 40 Galleries 40 Theater 40 Film

42 CLassifieds diversions 43 Crossword

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CHATTER

Mortadella Mortification

In which readers chew on our David Brooks/sandwich post

Darrow MontgoMery

City PaPer has offered its readers several news revelations this summer, but none have inspired them to comment so swiftly and deeply as Zach Rausnitz’s Tuesday morning post revealing the name of the sandwich shop a New York Times columnist wrote about this week (“These Italian Cold Cuts Are Ruining America, Says David Brooks,” July 11). Brooks’ anecdote—one paragraph within a longer hand-wringing column about class warfare entitled “How We Are Ruining America”—recalled how he took a friend who doesn’t have a college degree to an unnamed gourmet sandwich shop. Confronted with placing an order, “ingredients like soppressata, capicollo and a striata baguette” caused his friend to “freeze up,” so they went to a Mexican place instead. “I’m really dying to know what ‘gourmet sandwich shop’ David Brooks insensitively brought his friend with only a high school degree to,” @jeansgallo tweeted. She wasn’t alone. When Rausnitz revealed that the shop was undoubtedly Radici, a Capitol Hill eatery selling sandwiches matching what Brooks described, a comment deluge followed. “I know we’re all talking about Don Jr. and Russia, but @wcp FOUND THE SANDWICH SHOP,” @PolitiCarty aptly tweeted amid mounting evidence that Trump & Co. counted on Russia to help win the election. While most commenters emerged to mock Brooks, a delightful subset focused on how delicious the sandwich in question looked. “Class warfare aside, that is one good-looking sandwich,” @engrRG tweeted. “Would have been worth the horrific emotional scarring to have stayed, IMHO,” he added. “Not to take away from the class issue, but isn’t this where customer service comes in and you ask an employee what the ingredients are and their recommendations?” ntaylor08 wrote in the comment section on City Paper’s website. “Here’s a suggestion. ... Next time you’re presented with a word you don’t know, ask what it means,” Larry Holt echoed on Facebook. And then there was the unsolicited advice for the uppity Italians at Radici who have the audacity to use Italian words to describe their offerings. “@Radici_Market You guys should consider selling a baloney sandwich called the ‘David Brooks,’” @Daniel_Luzer tweeted. “Thanks for the idea! But we would have to call it Mortadella,” the café tweeted back. —Alexa Mills

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eDiToR: liz garrigan MANAGiNG eDiToR: alexa Mills ARTS eDiToR: Matt Cohen fooD eDiToR: laura hayes CiTy LiGHTS eDiToR: Caroline jones STAff WRiTeR: andrew giaMbrone SeNioR WRiTeR: jeffrey anderson STAff PHoToGRAPHeR: darrow MontgoMery iNTeRACTive NeWS DeveLoPeR: zaCh rausnitz CReATive DiReCToR: stephanie rudig CoPy eDiToR/PRoDuCTioN ASSiSTANT: will warren iNTeRN: j.f. Meils CoNTRiBuTiNG WRiTeRS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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LoCAL ADveRTiSiNG: (202) 650-6937 fAx: (202) 618-3959, ads@washingtonCitypaper.CoM Find a staFF directory with contact inForMation at washingtoncitypaper.coM voL. 37, No. 28 JuLy 14-20, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005. Calendar subMissions are welCoMed; they Must be reCeiVed 10 days before publiCation. u.s. subsCriptions are aVailable for $250 per year. issue will arriVe seVeral days after publiCation. baCk issues of the past fiVe weeks are aVailable at the offiCe for $1 ($5 for older issues). baCk issues are aVailable by Mail for $5. Make CheCks payable to washington City paper or Call for More options. © 2017 all rights reserVed. no part of this publiCation May be reproduCed without the written perMission of the editor.

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E A S T of the M I S S I S S I P P I NINETEENTH- CENTURY AMERICAN LANDSCAPE PHOTOGRAPHY

T H RO U G H J U LY 16

N AT I O N A L G A L L E RY O F A RT O N T H E N A T I O N A L M A L L | W W W. N G A . G O V Organized by the National Gallery of Art, Washington, in association with the New Orleans Museum of Art. Made possible through the generous support of the Trellis Fund. Additional funding is kindly provided by Kate and Wes Mitchell. detail: George Barker, Niagara Falls, 1886, albumen print, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

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DistrictLine Unprotective Oversight Some say the D.C. Council’s proposed revamp of a 40-year-old disability law will sacrifice protections. leonard (not hiS real name) has a profound intellectual disability. For him, that means an IQ below 50. He also breathes through a tracheostomy tube, cannot walk, talk, see, or use his hands much. Because of his condition, he requires 24-hour care or he could die. To receive that care, Leonard, 25, must be committed under D.C. law, a requirement that no longer exists anywhere else in the country. But the same law also mandates that Leonard’s commitment come with a federally funded personal attorney to advocate on his behalf for life. New legislation that the D.C. Council will consider this fall, dubiously named the “Citizens with Intellectual Disabilities Civil Rights Restoration Act,” would change the way the next Leonard entering the system qualifies for care—and is protected—in the District. The proposed law would eliminate new civil commitments altogether and introduce something called “a supported decision-making agreement,” a separate option for avoiding guardianship available to a wide range of people with disabilities, not just those currently committed. The agreement would be made between a person with an intellectual disability and a “supporter.” The supporter in theory would be able to better help—and empower—a person with an intellectual disability to make decisions they might not be able to make

Kim Cree

J.F. Meils

By J.F. Meils

on their own. It would not remove any attorneys from their existing clients, but the law would eliminate the appointment of new lawyers for people who would’ve been committed in the past— those with moderate, severe, and profound intellectual disabilities—a move that has the lawyers who represent the District’s 705 currently committed individuals up in arms. “What’s wrong with having a lawyer for free? Why would anyone not want that?” asks John

Connelly, an attorney with more than 40 years of experience in the disability rights field. Connelly believes the proposed legislation would deprive new entrants to the system who would’ve been committed in the past “of multiple, significant, and long-standing legal rights and due process protections.” “We’re talking about a move away from a more paternalistic system,” says Robert Dinerstein, director of the disability rights law clinic at American University. “There’s a

stigma to being committed, and that’s something I think some of the lawyers haven’t focused on.” The current intellectual disability rights law was passed in 1978, at a time when big mental health institutions were dominant, and it was primarily meant to prevent people from being placed in them unjustly. The current model of caring for people with intellectual disabilities uses smaller group homes, day programs, and care facilities integrated within communities. “Having the court there as a venue you can go to easily is a very good option,” says Sandy Bernstein, legal director of University Legal Services, a D.C.-based protection and advocacy organization for people with intellectual disabilities. “But being committed infringes on people’s privacy. The court can order certain services, decide your medical care, how much you weigh, what you do every day.” Some context: Until recently, D.C. had a horrifying track record when it came to serving its intellectually disabled population. The current law was largely a response to a classaction lawsuit stemming from years of abuse, neglect, and preventable deaths at Forest Haven in Laurel, Maryland, then the District’s sole mental health facility. The lead plaintiff in the case was Joy Evans, a District resident who was committed to Forest Haven when she was nine and died there

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eight years later. The case was filed in 1976, and “Evans” has since become a kind of shorthand for 30-odd years of the District’s failure to care for its most vulnerable citizens. The Evans court order that mandated how the District must improve its systems for caring for and monitoring people with intellectual disabilities took 40 years to satisfy and was only lifted earlier this year. “My biggest concern is removing court protections,” says at-large Councilmember Robert White. The [new] bill kind of takes a ‘trust us’ approach. I was surprised we were pursuing it so soon [after the order was lifted].” In 1999, eight years after Forest Haven closed and 20 years into the Evans order, The Washington Post published a series of articles that detailed squalid, dangerous conditions at a number of group homes where former Forest Haven patients lived. Sexual predation, over-drugging, beatings by care workers, brazen fraud—the Post stories described a deeply broken system where care providers were getting rich while those with intellectual disabilities were stuck in the same hell as Forest Haven, just with different wallpaper. The District’s basic defense at the time was that the city didn’t have the money to perform better oversight. “We were born out of that [Evans] case,” says Jared Morris, deputy director of D.C.’s Department of Disability Services, which replaced the Mental Retardation and Developmental Disabilities Administration in 2006. DDS authored the proposed legislation for the Bowser administration. Over the past 10 years, DDS has developed a slew of internal monitoring programs that regularly evaluate care providers, investigate reported incidents, and track housing inspections performed by the Department of Health. All its data are entered into the agency’s case management database, where it is analyzed regularly. DDS also works closely with Quality Trust for Individuals with Disabilities, an independent protection and advocacy organization that the Evans order required the District to fund. It and University Legal Services would become the only non-government entities charged with watching out for the District’s entire intellectually disabled community, about 2,500 of whom receive services from DDS. “Civil commitment has outlived its time in the District,” says Morgan Whitlatch, legal director for Quality Trust, which extensively monitors DDS and conducts regular, randomized field visits. “We’re trying to create a culture of self-advocacy.” But the lawyers with intellectually disabled clients argue that the limits of self-advocacy are the very reason they are necessary. “We all find things when we go into these homes,” says Betty Sinowitz, a lawyer with 20 clients committed in D.C. “You may have someone who has problems with their hands and they don’t have knobs on the drawers, or

you have someone overweight and ... ordering in pizza for two weeks straight.” Lawyer Joel Curtis has a client, Kim Cree, who was in a bad spot a few years ago. Because of a licensing snafu, DDS was going to move Cree, who uses a wheelchair, to a different group home, prompting Curtis to seek court interference to stop her relocation. “DDS was perfectly willing to separate people who lived together for a long time,” Curtis says. “These people are like family. She would’ve wound up in another home with strangers, one that might not have been as accessible to wheelchairs.” Curtis also represents Leonard, who was on his way to a nursing home three years ago because DDS couldn’t find a facility in the District willing to take him with his significant medical needs. Had Curtis not intervened and worked with Leonard’s aunt to find a facility willing to take him, he believes Leonard would likely be passing his waking hours in a nursing home day room without much stimulation or interaction with anyone at all. One idea to ensure an extra measure of independent oversight in the new law is to add a grievance system. Councilmember White says his support for the bill “hinges” on it or at least a timeline for its creation. “There needs to be something else in place if court oversight goes away,” says Bernstein. “For years now, we’ve been asking for a meaningful grievance system, and they [DDS] refuse to do it.” Says DDS director Andrew Reese, “I have difficulty identifying where there’s a gap in oversight [between DDS and Quality Trust].” Advocates cite as a model the grievance system the District’s Department of Behavioral Health uses. “The opportunity for a person with a disability to speak directly to a mediator is really powerful,” says Dinerstein. “For many, they’re talking to the wall, and no one’s talking back.” Ward 1 Councilmember Brianne Nadeau, who chairs the council’s health and human services committees, doesn’t consider the absence of a grievance system a flaw in the new bill. “I don’t think this is an oversight issue as much as a process issue,” she says. “This [law] is not something we’re going to put in place and walk away from.” What the disagreement over the new bill seems to boil down to is finding a balance between self-determination and safeguarding against abuse and neglect. “There’s a philosophical thing going on that all these people [with intellectual disabilities] need protection,” says Carol Grigsby, a parent of a child with a mild intellectual disability who blogs on D.C. disability issues and supports the new bill. “I believe they need agency and people to help them exercise their agency.” CP

DistrictLinE

Is Pay-to-Play Here to Stay?

which includes Park Morton. Observers in the business community are troubled by her hard pivot to government consulting. “You don’t get to just take off one jersey and put on another like that,” says a local developer.

What campaign finance reform can’t address is the insidious culture of developer influence. By Jeffrey Anderson D.C. is a big city, but in local political and business circles, it can feel as small as Mayberry. Everyone seems to know what everyone else is doing. Leading businessmen are constantly under suspicion. And personal relationships lead to speculation about how the cake is baked. Take the national developer who leaves a meeting with the mayor, then receives a call moments later from an influential local counterpart who cautions against going into the executive suite without him. Or the same local developer who offers money to nonprofits associated with local neighborhood commissioners who will vote on his land deal—and whose employee is sleeping with the city official overseeing the project. Such a player is Buwa Binitie, a major contributor to Mayor Muriel Bowser’s FreshPAC, an accomplished businessman and insider who joins her on economic development journeys abroad, and someone deeply involved in major city programs and projects. On the surface, Binitie, who didn’t respond to interview requests, is merely the most recent in a line of developers who wield tremendous influence and successfully win city projects, even more so depending on who is in power. On another level, he’s a prime example of how the current debate over campaign finance reform glosses over the more insidious ways in which D.C. government does business. Recently approved for a second consecutive term on the D.C. Housing Finance Agency Board, which he chairs and which finances many of his projects, Binitie’s bona fides are strong. He has closed on more than $300 million in real estate transactions and created thousands of units of workforce and affordable housing. He partners with private developers, negotiates public land deals, and advises public agencies. But his influence doesn’t come cheap, and it is wielded in various ways. In addition to

Loose Lips

a $10,000 contribution to FreshPAC, Binitie Binitie’s overture was brazen enough and his company Dantes Partners have con- for ANC Chair Marge Maceda to upbraid tributed $25,000 to local candidates since him for risking a perception of impropriety, Bowser’s mentor, Adrian Fenty, was may- the resident recalls. Asked to reflect on the or. And he generously supports nonprofit matter in hindsight, Maceda, who no longroups. ger serves on the commission, downplays An example of that support is when his it. “I may have questioned where the monfirm was competing for a contract to acquire ey was to be distributed,” she says. “If I repand rezone city property in Ward 6 to build rimanded anyone, it was because the devela mixed-use project known as Capitol Vista, oper didn’t come to our zoning subcommittee with 104 affordable housing units and 3,200 to discuss it first. I don’t think of it as dishonsquare feet of ground floor retail. est, but it’s wise to not have [nonprofit] board Bidders on public land deals must win over members involved in the political decisions Advisory Neighborhood Commissioners of the ANC.” before gaining city approval, and so-called Less pecuniary, but equally familiar to the “community benefits agreements” are part sub rosa of D.C. political and business culof that courtship. At an ANC 6E meeting on ture—and equally galling to the resident who Nov. 3, 2015, Binitie gave a PowerPoint pre- first contacted City Paper about the meetsentation in which he ing—is the romantic reDeveloper Buwa Binitie proposed contributing lationship between the $100,000 to a number Binitie employee who of nonprofit organizamanaged Capitol Vistions, including severta at the time and the al associated with comproject manager for the missioners who would Deputy Mayor of Planultimately vote on the ning and Economic Dewinning bid. The offer velopment who oversmacked of undue insees the development. fluence, and it did not Loose Lips doesn’t go unnoticed. “I’m a condone peering into neighbor, and I don’t people’s bedrooms, but like how that went it is relevant and widedown,” says a resident ly known that LaToya who witnessed the proThomas, then-busiposal. ness development diIn particular, Binitie rector for Dantes Partdangled the prospect of contributions to ners, was seeing DMPED project manager Shaw Main Streets, a nonprofit associated Lee Goldstein, who oversees both Capitol with ANC commissioner Alex Padro, who Vista and Park Morton, another Binitie projsits on that organization’s board, and Holy ect. Thomas is careful not to discuss specifRedeemer Church, which is associated with ics related to her former employer, and when commissioner Alfreda Judd. Padro says asked about her relationship with Goldstein, that he told Binitie after the meeting that she pauses: “I’m not interested in answerthe Shaw Main Streets offer was inappropri- ing that question.” Goldstein did not return ate because “SMS does not serve the neigh- calls, and DMPED spokesman Joaquin borhood where the project was proposed to McPeek did not respond to requests for be built.” Padro also says he would have re- comment. cused himself from voting on the project had Thomas has since started her own firm the offer stood. In the end, Binitie contribut- called Brick & Story and is consulting with ed $50,000 to other nonprofits. DMPED on the New Communities Initiative,

Campaign finanCe reform is complicated; human nature, less so. And missing from the rhetoric of reform is the human factor, the relationships that form the basis or at least the perception of how deals go down in the District. Ward 6 D.C. Councilmember Charles Allen, who is trying to forge a campaign finance reform package out of numerous pending pieces of legislation, got into it this week on the dais with Ward 2 colleague Jack Evans, who claimed that no evidence of pay-to-play exists. Allen was quick to refresh memories, citing Michael “Piece of the Piece” Brown, who pleaded guilty in 2013 to accepting a cup full of cash; the council censures of Marion Barry and Jim Graham, and an ethics board reprimand of Vincent Orange, now CEO of the D.C. Chamber of Commerce, who testified at the hearing. “I believe there is support to cut back on the reality and the perception of pay-to-play,” Allen tells City Paper in an interview after the hearing. But he concedes the task is complicated by so many competing agendas that it’s hard to see a unified way forward. “It’s like the Wild West,” he says. Perhaps it’s because D.C. knows no other way to do business. Don Peebles, of the Peebles Corp., was on the receiving end of a call from Binitie shortly after leaving a meeting last summer with Mayor Muriel Bowser, her chief of staff John Falcicchio, Deputy Mayor Brian Kenner, and some local developers. According to sources who know Peebles, Binitie wanted him to know that word travels fast within Bowser’s inner circle. Peebles chuckles when asked about the call. A distinguished national developer who has seen it all going back to the Marion Barry days, he is too savvy to trash talk competitors or would-be local partners. In his view, there are only so many people engaged in the political process in D.C., a government that is still politically very young compared to, say, New York or Boston, places where he also does business. Insiders are going to pick sides and deal with people they know, he says, making it tough for small businesses to come in and compete on a level playing field. Will campaign finance reform help cure D.C. of its small town ways? “Probably not,” says Peebles, a realist where free markets—and the freedom to contribute to politicians—are concerned. “If people are going to be unethical, then they are gonna find ways to do it,” he says. “The best way to ensure reform is to elect ethically strong candidates with a high level of integrity.” CP

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By Kaarin Vembar Do you have a tip for The Indy List? Independent artists, retailers, and crafters, send your info to indylist@washingtoncitypaper.com.

Gear Prudence Gear Prudence: I’m in a serious relationship with a guy who travels a lot for work. I’m also a pretty serious bicyclist who spends at least one full day every weekend out on long rides by myself. Lately, though, as he’s been traveling more and around less, I’ve felt pangs of guilt about spending so much of my weekend off biking instead of with him. But at the same time, I feel like I’m a less happy person when I don’t get my biking in, and I don’t want to become resentful for giving up something I love to do in order to spend time with him. Ugh, I’m so conflicted! How do I keep up my bicycling while also keeping my relationship together? —Guy Unavailable, I Leave Trepidatiously Dear GUILT: Don’t try to convince him that he should bike. Don’t try to get him to ride with you on the weekend. Don’t try to combine your love of bicycling with your love of this guy in an attempt to achieve some sort of “best of both worlds” balance. If your guy hasn’t expressed interest in bicycling previously—or if, frankly, you have no interest in trading your solo bike time for relationship time (which is perfectly reasonable)— combining these things isn’t going to work. Many couples enjoy cycling together, but just as many don’t, and trying to fix both problems with the same solution is a pretty ugly kludge. But what about the guilt? Any hobby that demands a lot of time that could instead be spent with an otherwise mostly unavailable partner does seem like it could be emotionally fraught. Days are finite and hours spent bicycling alone are hours you’re not spending with him. You have to choose one or the other. But have you ever talked about this? GP wonders if you’re feeling guilty without cause. Perhaps your guy, recognizing how important bicycling is to you, understands how riding makes you happy and would prefer you continue your routine rather than ditch it to spend a few extra (unhappy) hours with him. Any partner worth having is one who’s able to carry on a frank conversation about wants and needs, be it about bicycling or other less important topics like marriage, kids, etc. If you (of your own volition) decide you want to skip those weekend miles, maybe there’s a way to get them back during the week. A post-work shakedown or a sunrise ramble once or twice or a week might help. Lunchtime laps don’t work for everyone, but they might for you. It might be less of a question of sacrificing miles overall rather than re-arranging your schedule to find the proper balance. —GP Gear Prudence is Brian McEntee, who writes @sharrowsdc. Got a question about bicycling? Email gearprudence@washcp.com.

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I’m a gay medical student with a medical fetish, and I can’t even open up to my therapist about this. I think the fetish started when I was young. I was once in the hospital and given a suppository for a fever. Then one time I was given a Fleet enema. I don’t think the “butt stuff ” turned me gay, but my fetish may stem from the aspect of being controlled. I grew up in a very conservative religious household. I’ve never been in a relationship, and I don’t know that I could have one while hiding what turns me on. In my profession, we have to be confident and even sort of “dominant” in our roles as providers, but underneath I’m incredibly submissive. I didn’t go into medicine for this reason. We have very strict professional boundaries and ethical expectations, and I have no problem with that. I expect my job to be very clinical and boring. But outside of work, I feel like my sexual desires need some kind of outlet. —Dilemma Of Conscience “Someone can have one persona at work and another at home,” says Eric the Red, a Florida nurse and a fellow medical fetishist. “DOC can be confident and dominant at work—his patients need someone confident and dominant to get them through their medical issues—and then find someone to spend his life with who brings out his submissive side and gives him the balance to make him feel like a whole person.” In other words, DOC, when you do start dating and having relationships, you’re going to want to be open about your kinks. They’re nothing to be ashamed of, and there’s no point in hiding your sexual interests from your future partner(s). You want a sex partner who meets your needs, not one you have to hide your needs from. So long as you keep things professional at work—which shouldn’t be hard, since it’s being the patient and not the doctor that turns you on—you have nothing to feel conflicted about. “The one practical problem he will encounter is that, since he actually knows how to give a physical, he may have less patience with fetishists who are not medical professionals in real life and don’t really know what they are doing,” says Eric. “Over the years, I have trained nonprofessionals who want to play doctor to give semi-realistic physicals, insert and irrigate catheters, use sounds, and otherwise hav enough technical expertise to do a medical scene that’s realistic enough that I can enjoy being their patient without screaming, ‘No, that’s not how it’s done!’ He may find himself doing the same.” The good news? “DOC won’t have any trouble finding likeminded people,” says Eric. “Medical fetishists are well organized online. Just spend a few minutes on Google, and he’ll find them.” —Dan Savage

12 july 14, 2017 washingtoncitypaper.com

For many gay men, the taunts we feared most in high school become the dirty talk that gets us off in adulthood.

As a 56-year-old, 95-percent-straight woman, I’d like to think all y’all gay men can enjoy blowjobs without that dip in the degradation pool straight men always take. Maybe you could gay sex talk some sense into stupid straight men. On PornHub recently, I watched a fearless young woman use a dildo five ways and come at least 10 full-symphony times. This new generation of women! Impressive! But then I watched an 18-year-old Russian woman with an equally beautiful black American man. She sucked away on his dick and swallowed 12 times in five minutes! I kept thinking: She’s gonna get a break now? Maybe a hug? A beer, a joint, a pay raise? Something? Nope. She even apologized for spilling some come at one point. Now I’m SAD. It’s the exact same shit I faced when I started in ’73. Gay sex talk some sense into stupid straight boys! Y’all gay men do blowjobs without degradation. Tell straight men how it’s done! —Really Angry Gal Is Needing Gays There’s nothing inherently demeaning about giving someone a blowjob, and plenty of people—gay, straight, bi, pan, demi, sapio, etc.— give and receive blowjobs without splashing around in the degradation pool. That said, RAGING, gay men are just as likely as straight men to “dip in the degradation pool” when they’re getting blowjobs— particularly when a blowjob is being filmed. No need to take my word for it: Head over to the gay aisle at PornHub. You’ll find lots of videos where the guys giving blowjobs are degraded—called names, roughly handled, made to apologize for come spillage—and you’ll be hard-pressed to find one in which the word “cocksucker” isn’t tossed around. But don’t feel bad for all those gay cocksuckers, RAGING: For many gay men, the taunts we feared most in high school become the dirty talk that gets us off in adulthood. As for the video you saw—a Russian interfering with an American erection—there must have been breaks that were edited out (no guy can come 12 times in five minutes), so hugs, beers, and joints may have been made available when

the cameras weren’t running.

—DS

I have a phone-sex kink, and I got Tinder to explore that. I tell guys it won’t get physical and that I’m interested only in text play and photo swapping. I matched with a cute, kinky guy, and I have been playing with him mostly over text for about two years. The issue is that I found out recently that he’s engaged. I’m pretty conflicted about this. He says that sex with her is good but vanilla and that she’s unwilling to experiment. He also isn’t comfortable sharing his kinks with her. I understand that some people have a hard time reconciling the dirty shit they want to do in bed with the sweet girl they want to marry, but he seems unwilling to try. Do I cut him off ? Is he just doing what he has to do to make an otherwise good relationship work? Is it OK if she never finds out and everyone is happy? —Playing Hurtful Over Text Only? The odds that your sext buddy’s wife will never find out are slim. Spouses snoop, computers and phones get left open, a dirty message or photo intended for one person (say, you) gets sent to the wrong person (say, her). If you’re not comfortable playing with someone who is deceiving his fianceé and/ or wife—if you don’t want the incriminating message his wife inevitably finds to be one intended for or from you—you should end this, PHOTO. But it is possible to continue playing/ texting/sexting with a semi-clear conscience: He may be doing what he needs to do to make this relationship work; he’s exploring his kinks without touching another woman; if this is cheating, it’s cheating lite, etc. Whatever you ultimately decide to do, PHOTO, you should encourage this guy to open up to his fiancée about his fantasies and kinks. It’s exhausting to spend your life with someone you have to hide from—exhausting and rarely successful. If he doesn’t want the truth to end his marriage, he needs to tell her the truth now. Engagements are easily called off, marriages less so. —DS ITMFA UPDATE: We want to send tasteful ITMFA American flag lapel pins to every member of Congress! Go to ImpeachTheMotherFuckerAlready.com, select a member of Congress, and write a short note explaining why you want that motherfucker impeached! It costs $15 bucks to send two tasteful pins—and one unmistakable message—to Congress! All proceeds benefit the ACLU, Planned Parenthood, and the International Refugee Assistance Project! Help us flood Congress with ITMFA pins! —DS Email your Savage Love questions to mail@savagelove.net.

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washingtoncitypaper.com july 14, 2017 13

Clie Job Siz Da

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718 Ken

Writing a Wrong An estimated 90,000 D.C. adults are functionally illiterate. Where the city has failed, charter schools fill the void. By Rachel M. Cohen

Academy of Hope student Todd Campbell

14 july 14, 2017 washingtoncitypaper.com

Photographs by Darrow Montgomery

In 1985, nInth grader Todd Campbell dropped out D.C.’s Cardozo High School to take care of his sick father. Though he planned to return later for his diploma, life kept getting in the way. Campbell’s first daughter was born when he was just 18, and he needed to find work to support her. After taking up trucking for more than a decade, he eventually started his own garbage collection business in 2001, which he managed for seven years until the recession hit. The price of fuel skyrocketed, and Campbell’s Curbside Disposal was forced into bankruptcy. Just like his business, his marriage ended, and he struggled to find new work. Most companies preferred younger workers, or quickly screened out adults without a high school diploma. Dejected, Campbell moved back in with his mom and tried to figure out his options. Now, at 50, Campbell is a student again. He’s enrolled at Academy of Hope, an adult charter school in D.C. “When I first came, I was kind of nervous and didn’t know what to expect, because I felt like you can’t teach an old dog new tricks,” he says. “But everyone here is just so nice and makes you feel like you’re more than just a statistic.” After just one year at Academy of Hope, Campbell says he now has ambitions of completing a dual-enrollment program with the University of the District of Columbia (UDC) and getting his business degree, so that if he does start his own company again, he’ll be better prepared to protect it if the economy goes downhill. “When I walked out from bankruptcy court, all I had was the clothes on my back and my pickup truck,” Campbell says. “As a person who was thrown into darkness from depression, this school is just a bright light of sunshine for me.” D.C. has a proud reputation as a “highly educated” city. The city offers universal pre-K to all 3- and 4-year-olds, and D.C. Public Schools—with rising test scores and graduation rates—has been characterized as the “fastest improving urban school district in the country.” D.C. also leads nationally when it comes to educational attainment—55 percent of adult residents have a four-year college degree or higher. But those numbers can be misleading. Graduation rates don’t reflect proficiency, and achievement gaps between rich and poor students in the District have widened over the past decade. In short, not everyone has reaped the benefits of D.C.’s education system. U.S. Census data show that nearly 60,000 D.C. adults lack a high school diploma or its equivalent and that 11,000 D.C. adults speak English less than “very well.” Worse, the Washington Literacy Center estimates that 13.4 percent of city residents—some 90,000 adults— are functionally illiterate, unable to read a newspaper, a map, or fill out job applications. Lacking basic literacy, numeracy, and English-language skills comes at a high cost in a

city like D.C. More than three-fifths of all local jobs already require at least a bachelor’s degree. By 2020, economists estimate that more than three-quarters of jobs in the capital will require some form of postsecondary education, more than anywhere else in the country. Though improving, D.C. Public Schools continue to produce high rates of high school dropouts. The school district reports that 10,000 students ages 16-24 dropped out between 2008 and 2017—a demographic often characterized as “disconnected youth.” As adult opportunities for this population narrow, finding ways to help these thousands of residents across the city has taken on a new sense of urgency. D.C. has never really had a comprehensive or strategic approach to delivering adult education and related services to the majority of those who need them,” says Alex Donahue, deputy director for policy and research at the 21st Century School Fund and a former D.C. Public Schools principal. “It needs to do better.” aDult eDuCatIon has been described as a “step-child issue” in the District for decades. Never a serious focus for city officials, underresourced community-based organizations shouldered most of the heavy lifting, and the city’s minimal investment always rested precariously on the chopping block, framed as an ultimately unessential budget expenditure. “I remember first hearing about adult education when I got involved in school issues in the 1980s, because there was a fiscal crisis and the question was how can the school system cut expenses apart from raising class sizes,” recalls Mary Levy, a longtime independent budget analyst for the D.C. schools and a former DCPS parent. “One of the ideas on the table for the board of education was, ‘Well, maybe we should only offer instruction for those of compulsory school age.’” One of the few adult schools that existed back then was Rosario Adult Education Center, which opened in the early 1970s and was later honored by the U.S. Department of Education as a national model for adult learning. Its longtime leader, Sonia Gutierrez, known as one of the most ardent Latino activists in D.C., wanted to create a school that could help immigrants find community and acclimate to life in the United States. By 1996, amid immense fiscal stress and rapidly declining student enrollment in DCPS (down 45 percent from 1970 at that point), the school district decided to largely end its adult education offerings. Then-D.C. schools superintendent Franklin Smith justified the closures as necessary because adult education was not mandatory, reasoning that adults could attend classes in other city schools if they really wanted. Carlos Rosario, which enrolled 2,000 students at the time, was one of the adult education centers closed that year. “There was some talk that maybe UDC could take adult education over, but it couldn’t and it didn’t,” Levy says. What remained were three small alternative high schools—known as the STAY

Where the sChool district has relinquished its role, the charter system has stepped in to pick up the slack. There are currently nine adult charter schools operating across the city, and the D.C. charter board recently approved a new one to open in the 2018-19 school year. Carlos Rosario, which DCPS shuttered in 1996, reopened two years later as the na-

Academy of Hope, the one Todd Campbell attends, which focus on older adults who lack basic literacy skills. It’s unusual for so many adults to attend charter schools. In some places, this isn’t even possible—Florida’s law, for example, says charters can only provide K-12 education. And within many states, community colleges act as the primary adult education service provider. But the District never even had a community college until 2009. D.C.’s charter school law is uniquely broad. Jim Ford, then the staff director for the D.C Council’s education committee, pushed Congress to include adult charter schools in the 1995 School Reform Act. (It wasn’t a very hard sell since charters are funded through local taxes, not federal dollars.) As a result, the D.C. law allows for charters that provide education below the college level for adults who “lack sufficient mastery of basic educational

tion’s first adult charter. Today it has two campuses—in Columbia Heights and Eckington—and serves 2,500 students annually, most of whom are immigrants and English-language learners. Other schools target different slices of the adult population. Briya, for example, serves 640 students across four campuses, educating both parents (or grandparents) and their children together. Founded originally in 1989 as a family literacy center for immigrant refugees, Briya transitioned into a charter school in 2006. There are some schools, like the Maya Angelou Young Adult Learning Center and the Latin American Youth Center Career Academy, that target the “disconnected youth” demographic. And then there are charters like

skills to enable them to function effectively in society,” who have not graduated from high school or have not achieved an equivalent certificate, or who “have limited ability in speaking, reading, writing, or understanding the English language and whose native language is a language other than English.” Even so, back in 1995 Mary Levy says nobody expected charter schools would one day take on the bulk of adult schooling in D.C. Though it was clear at the time that there was a great need—Levy recalls many packed community meetings organized to discuss adult education —there was also so much ongoing turmoil. With the city’s terrible fiscal crisis, its beleaguered schools, and its surging homicide rate, the thought of where the adult charter

schools—but they weren’t providing basic adult education. Instead, they were places for younger dropouts to return for their diplomas. Today alternative DCPS high schools collectively serve 1,700 students, and while there are no formal rules prohibiting older adults from attending, school district officials say they try to make clear that these alternative schools are targeting the 10,000 D.C. dropouts under age 24. For the city’s tens of thousands of older adults in similar circumstances, DCPS had no good options.

sector might go in a decade or two just wasn’t much considered. Yet given all the difficulties adult learners faced, the charter model ended up being a good match. One key advantage of adult charters is the per-pupil funding guarantee. There is simply far more money available to educate adults through charter schools in D.C. than any other alternative. Base per-pupil funding during the 2014-15 school year in D.C. for adult charters was $8,448 per student, compared to, at most, $800 per adult student at a community-based organization (funded primarily through federal grants). “Those [federal] grants are not sufficient. They are woefully inadequate, to be very candid,” says Allison Kokkoros, the CEO at Carlos Rosario. Academy of Hope, which Church of the Saviour volunteers first formed as a local nonprofit in 1985, transitioned into a charter in 2014, precisely to tap into this more stable, generous funding stream. Lecester Johnson, the school’s executive director since 2006, recalls how difficult it was back then for the school to function, constantly scrambling for money, having to make tough financial tradeoffs all the time. Now, what would have taken Academy of Hope a year to fundraise, it automatically receives from the city as its first quarter budget funding. “For the first time in my almost 10 years at Academy of Hope, we can buy classroom materials, hire teachers, and provide the wraparound services that our learners need,” Johnson wrote in 2015 in an online forum for adult education practitioners. “Prior to the transition to charter, we were operating on less than $2,000 per student, and we were very dependent upon volunteers to staff our classes.” Switching to the charter model, Johnson said, allowed her school to hire full-time teachers, offer competitive salaries, revise the curriculum and instructional methods, and hire all sorts of additional staff like a special education coordinator, a college and career specialist, and a case manager. Other factors hastening Academy of Hope’s decision to transition to charter included sharply increasing pressure on all adult education providers to include more college and career preparation into their program models and accommodating imminent changes to the GED. Beginning in 2014, passing the exam to obtain the national high school equivalency credential became significantly more difficult, as it now aligns with the K-12 Common Core standards. Even before the revamped GED, D.C. was already trailing behind other states when it came to adult education. Adult learners in the District were more likely to leave their programs early compared to students elsewhere, and in 2013 just 64 percent of D.C. candidates passed their GED exams, compared to many states that boasted pass rates well over 80 percent. So some leaders of local community-based organizations, like Lecester Johnson, recognized they needed significantly more funding if they were ever to help their students

washingtoncitypaper.com july 14, 2017 15

reach these new, more rigorous standards. although thIngs are looking up for D.C.’s adult charters—and many of the students they enroll— there are still some problems ahead. Perhaps the most unexpected threat is coming from within the charter sector itself. The explicit bargain behind the charter movement is that schools earn more autonomy in exchange for increased accountability. A charter operator can run a school independently of many DCPS rules and regulations if they can demonstrate that their students are meeting certain pre-defined benchmarks, standards, and expectations. But accountability in adult education isn’t easy to define or measure. Compared to K-12, designing meaningful metrics to evaluate adult learners is an inherently more challenging task, and little research has been invested into doing so. Most studies have examined educational strategies for traditional public school students, the findings of which adult education providers often must awkwardly borrow from. “Let’s say we’re talking about a 55-year-old woman who worked full-time her whole life, has three grandchildren, but doesn’t have her high school degree,” says Sasha Lotas, the research coordinator at Academy of Hope. “Maybe she’s technically testing on a fifthgrade reading level according to CASAS [a national assessment for adult learners], but she is not a fifth grader.” While Allison Kokkoros, the head of Carlos Rosario, welcomes the greater accountability demands that come with running a charter—like demonstrating a school’s GED pass rate, whether students in career training ultimately got their certification, and whether students found employment and stayed employed—she acknowledges there are some tensions. “Showing job placement rates and job retention rates are fine, and one part of the story, but we teach the working poor. They’re working multiple jobs and are still below the poverty line … so [employment] is not really the question,” she says. “We’re happy to report those things for accountability purposes, and we will, but for me, it’s not really capturing the deeper story of what we’re actually trying to do.” Which touches on another complicating factor for accountability in adult education: Often, the students’ end goals are too practical and pragmatic to be easily captured by a standardized test or statistical measure. Some attendees aren’t trying to go to college, or aren’t even focused on getting a specific job. They’re trying to learn basic skills to help with their daily lives. “Sometimes their kids have outpaced them in school and they want to be able to help with their homework, and we try really hard to recognize that that’s just as valid as wanting the high school diploma to go back into the workforce,” says Jamie Kamlet Fragale, director of advocacy and communications at Academy of Hope. “Making that case can be a little diffi-

Carlos Rosario Public Charter School

“D.C. hAs neveR ReAlly hAD A CoMPRehensive ... APPRoACh to DeliveRing ADult eDuCAtion.”

16 july 14, 2017 washingtoncitypaper.com

cult sometimes.” D.C.’s charter school movement, at times fixated on boosting its accountability measures as high as possible, has had trouble accepting these realities of adult education. While each charter school used to negotiate its own accountability goals with the D.C. charter board, the city more recently transitioned to a more unified accountability system so that all local charters could be more easily compared to one another. The charter board developed measures for early childhood education, for K-12, and for adult schools. Naomi DeVeaux, deputy director of the D.C. charter board, says it was far more difficult to develop accountability measures for adult charters than for K-12 and early childhood because adult schools all target such different populations of students. Still, she describes the framework they ultimately created as “powerful” and adds that the D.C. charter board annually reflects on their measures, making changes to ensure their system remains applicable and appropriate. But the conflict between accountabilityoriented thinking and adult education has persisted, blowing into view this past spring when the D.C. charter board began to consider closing the Latin American Youth Center Career Academy. The Career Academy opened in 2012 and targets students under age 24—those who have dropped out of high school and those who might have their diplomas but need help getting on track for college or career training. The typical student is significantly disadvantaged, likely having been homeless, formerly incarcerated, living in poverty, or experienced some other form of serious trauma. This year marked the school’s five-year evaluation, and the charter board announced in January that it was strongly considering revoking the Career Academy’s charter, given the school’s low academic performance and its failure to meet its contractual goals. Board officials said, among other things, that the majority of students who enrolled in the school since 2012 were not on track to earn a GED or receive college or career training. Though the charter board regularly closes schools for low performance, those are mostly K-12 institutions, where plenty of educational alternatives exist. The Career Academy’s staff challenged the board’s conclusions, and months-long fights about data and measuring academic progress ensued. Before January “there was no indication that we were at risk of closure,” says Lori Kaplan, the president and CEO of the Latin American Youth Center. “We were very caught off guard.” She adds that the charter board had even recently upgraded the Career Academy to a “Tier 2” school, from its former designation as a “Tier 3” one, indicating clear improvement. Shuttering the Academy, advocates pleaded at charter board hearings during the spring, would further deprive vulnerable D.C. residents of already scarce resources and support. The school receives more than $2 million a year from the city to educate dis-

washingtoncitypaper.com july 14, 2017 17

nance. In addition to the routine battles between the federal government and local city officials, D.C. also lacks some of the basic planning structures that many states have. Leaders of local institutions often make decisions, and in effect, set D.C. policy for themselves. Rather than DCPS and the charter sector agreeing to develop a joint approach to most efficiently serve the city’s 89,000 students, for example, the charter sector— which fiercely defends its legal independence —generally resists such efforts. “A citywide conversation about how many schools do we need, and how do we get to the right number of schools, as opposed to continuing to allow as many schools to proliferate as possible, is probably a necessary conversation to have at some point,” then-DCPS schools chancellor Kaya Henderson said in 2014, in response to news that a new scienceoriented charter would be opening up across the street from a science-oriented DCPS school that teaches the same grades. While the city has since established a task force charged with improving policy coordination between DCPS and charters, leaders say that real progress on these kinds of issues has yet to seriously begin. Still, the grassroots constituencies that advocate for adult learners across the city have grown more organized and effective over the past few years. In 2015, the D.C. Adult and Family Literacy Coalition successfully lobbied for city-issued high school diplomas for all individuals who pass the new, more difficult GED, and this year advocates convinced the city council to subsidize the transportation costs for adult learners to get to school. But there remains a general lack of strategic leadership among government officials for how best to meet the needs of adults who lack basic skills and credentials across the city.

A class at Briya Public Charter School

connected youth, and closure wouldn’t necessarily redirect those funds to other adult service providers. Instead, a funding stream would simply cease to exist. When a K-12 charter closes, its students transfer to other schools, but if an adult charter closes, students are more likely to abandon their education altogether. “We [ask] that ... the public charter school board take into account the full landscape of options, or lack thereof, [for] our most vulnerable young people,” Maggie Riden, executive director of D.C. Alliance of Youth Advocates, testified in April. “In the District of Columbia, with a graduation rate that has yet to top 70 percent, in a city with over 8,000 disconnected youth yet fewer than 3,000 alternative education seats, to remove an opportunity for success and long-term engagement in the workforce and our community is wrong. If for no other reason than these young people have made a very active choice

to commit to their education. … I strongly encourage you to [recognize] … we lack capacity to meet an already existing, intense, and extreme need.” The hours of hearings and testimony between January and May made clear that the charter board was uncomfortable with the idea of evaluating a school by standards other than traditional academic and economic outcomes. The board did not seem prepared to evaluate the charter’s success in filling a practical role as a well-resourced welfare support to a deprived population. On May 9, at a special board meeting meant to decide the fate of the academy, the charter board ultimately voted to reverse its decision and keep the school open, under a new set of accountability conditions. (The board could still decide to shutter the school next year.) D.C. charter board member Sara Mead remarked near the hearing’s end that while it’s clear there is “tremendous need” for adult ed-

18 july 14, 2017 washingtoncitypaper.com

ucation services throughout the city, the academy closure process had illustrated some ways in which meeting that need “does not fit naturally and well” with various aspects of the charter school model. She urged her fellow board members to “think very carefully” about approving similar applications in the future. another problem DoggIng D.C.’s current approach to adult education is the lack of centralization. Rather than develop a comprehensive strategy to ensure that all adult needs are met and that the broader system has the capacity to comply with federal standards, D.C. has little resembling city-wide strategic planning. As a result, adult education suffers from coordination issues, as nonprofits, higher ed institutions, DCPS, welfare agencies, the D.C. Council, and charters all fill overlapping, disjointed roles. To some extent, coordination troubles reflect broader difficulties with D.C. gover-

as polICy experts, government leaders, and community activists keep wrestling with these questions, the few thousand existing adult education seats will, for now, continue to serve as a real lifeline for the city’s most disadvantaged. In 2014, Jeannette Millimono, then a 21year-old single mom, was working at Target. She had graduated from high school and even attended some college, but had to drop out when she had her daughter and couldn’t afford to pay the tuition to return. When a co-worker told her about the free medical assistant career pathway the Latin American Youth Center Career Academy offered, she decided to enroll and graduated a year later with her MA certification. Today she owns her own apartment in Maryland, works as a medical assistant, and plans to go back to school again next year to become a certified nursing assistant. “I feel so fortunate that I was able to go to the Career Academy without a penny, without me having to take out a loan, and I was able to grow so much in such a short time,” says Millimono. “It was really challenging, a lot of work, and I had my daughter to care for, but because of the motivation my teachers gave, I was able to get it done.” CP

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DCFEED

Irish Whiskey Public House in Dupont closes to make way for Tulips. The prix-fixe-menu restaurant coming in October will feature an after dinner lounge where diners can redeem tokens for free drinks.

The Promised Brand Hummus shop Little Sesame took a field trip to Israel as it prepares to expand. For centuries, people in the Middle East have been chasing the perfect hummus recipe by combining the same six ingredients: chickpeas, tahini, lemon, garlic, water, and salt. With something so simple, ratios are everything. But so too is the notion of place, as restaurateur Nick Wiseman learned when he accompanied Chef Ronen Tenne to Israel this summer. “Food with an authentic beginning point is so important,” says Wiseman, who coowns the fast-casual restaurant Little Sesame with both Tenne and his cousin David Wiseman. “There’s a connection to place. That’s why we wanted to go and explore.” While they ate six meals a day, carefully studying technique and ingredients, they also reverently took in “the feel and spirit behind it.” Wiseman was transfixed by the pulsating vibrancy that only faraway markets bring. Such was the environment at Abu Hassan, a hummus shop near the Jaffa port in Tel Aviv that’s popular with Americans and dates back to 1959. Tenne imitates the bustling atmosphere at the restaurant with the intonation and speed of a livestock auctioneer. “You come and they drop the pitas and the pickles and the hummus on the plate yelling, ‘What do you want? What do you want?’” At another hummus shop, Abu Sohil in Akko, the communal spirit left a lasting impression. “As a woman was running her stand, her regular customers were bussing the tables, chopping the parsley for her,” Wiseman explains. “There was this sense of community around each place. That was the most inspiring takeaway.” Wiseman is just one local restaurateur to travel abroad to understand the surroundings of the country or countries that inform their menus. The Tiger Fork team hit Hong Kong before it opened. Rose Previte has shuttled her staff to Georgia to keep Compass Rose current, and she’s now with her team traveling through the regions of the world that will inspire her next restaurant, Maydan. And higher-ups for the restaurant

Young & hungrY

group Fat Baby Inc. traveled to Spain in May to keep Estadio fresh. Wiseman’s voyage comes as he looks to grow Little Sesame—his lunch-only, fast-casual hummus restaurant below DGS Delicatessen in Dupont Circle. “The plan is to do more, and do more soon,” he says. “We’ll open our next store by the beginning of the year.” The second Little Sesame will be larger and will incorporate a choice between hummus bowls and stuffed pitas. But the pilgrimage to Israel is only a small part of Little Sesame’s momentum-building phase for its next chapter. In March, Tenne moved to D.C. full time to help Wiseman. Born in Haifa, Israel, Tenne didn’t find his niche in the kitchen until his mid-twenties. After serving in the Israel Defense Forces from age 18 to 21, he left for Los Angeles to earn money so he could travel throughout Central America. When he returned, he moved to Austin, Texas, where he manned a kiosk at the mall selling dead sea salts. “I was a horrible salesmen,” he says. “If there’s a product I don’t believe in, I can’t sell it.” Tenne felt called to New York at age 24. Having always loved cooking, he enrolled at

Darrow Montgomery

By Laura Hayes

the Institute of Culinary Education and soon found a job at the Big Apple’s venerable Gramercy Tavern. He eventually joined restaurateur Michael White’s Italian empire in New York, first at Alto, which had just earned two Michelin stars. That’s when he met Wiseman, who was working the fish station at Alto in 2010. The duo bonded, and when the Little Sesame partnership between the two began in 2015, it was with a simple text message.“What do you think is a good tahini brand?” Wiseman wrote. Tenne has been the consulting chef since Little Sesame opened in January 2016, traveling from New York whenever it was time for seasonal menu changes and recipe development. But now he lives in the District and is fully committed to the endeavor. “For me it feels great being in America and selling hummus,” he says. Wiseman says the restaurant will be the team’s major focus for the foreseeable future. And by all calculations, it should be. “Hummus is on fire—it’s been growing 18 percent year over year for the last five years,” Wiseman says, citing research from the Israeli newspaper Haaretz. Combine its popularity with the prowess of the fast-casual sector, and perhaps Little S esame could eventually punch with the same weight as CAVA, &pizza, and Sweetgreen. “To me the power of the model is that it’s a disrup tive force because you’re changing the way Americans eat,” Wiseman says. He points to diners’ intensifying desire for quick, healthy meals and thought fu lly sourced food that’s driving them away from more traditional fast food in droves. “We’re bringing the

perspective of fine dining experience in kitchens, but we’re able to do that for $9 or $10,” Wiseman says. “There’s so much power in that.” Little Sesame exclusively sources its chickpeas from Timeless Seeds in Montana, for example. Farmers there work to take back land that was used for commodity production and transform it into organic farmland. And the toppings that brighten each bowl of Little Sesame hummus predominantly come from Mid-Atlantic farms. A favorite right now features roasted eggplant, green schug, and pickled red cabbage. The fact that hummus enables Wiseman and Tenne to feed D.C. high-quality food at reasonable prices is appropriate considering the spread’s history. In countries like Lebanon and Georgia, hummus was commonly offered as a side dish. “But there were some rough times around the ’60s in Israel where people didn’t have money for protein, so they started upgrading hummus to the main plate,” Tenne recounts. “Sometimes it’s only when you don’t have a choice that you become creative.” Tenne says he immediately began tweaking Little Sesame’s hummus when he returned from Israel in June. “I really like that fluffy feel, when before I was chasing smoothness,” he explains. Wiseman too had been obsessed with achieving maximum creaminess, especially because grocery store hummus—all mealy and granular—lacks it. Creaminess comes from the tahini (paste made from sesame seeds), which tends to weigh down hummus. To achieve the light, airy quality they were drawn to during their travels, Tenne reduced the tahini ratio in Little Sesame’s recipe. His new formula features chickpeas that are boiled, then left to sit for a day, which makes the flavor more robust. Once the chickpeas start to cream up in the forceful food processor, Tenne introduces lemon juice and a mix of raw garlic and confit garlic cooked in olive oil. “America has a more sensitive palate,” he says. “Too much raw garlic goes too far. You need to be delicate.” Don’t expect to see any bastardized beet or carrot hummus from this team, who mock the trend. Subtle tweaks are as far as Little Sesame will go. “The trip only deepened our commitment to keeping hummus as the sacred thing,” Wiseman says. “The purity around hummus. … It’s not something we’re creating. It’s how people have been eating forever.” CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

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DCFEED Gig Gastronomy Outsiders may still think D.C. is a city full of federal workers clacking away at keyboards, but over the past five to 10 years the District has become a pulsating metropolis of creatives, disrupters, and entrepreneurs. One window into how versatile our society has become is to look at the side hustles of D.C.’s restaurant workers. When they’re not taking your order, these D.C. servers and other “front of house” employees are doing everything from refereeing games to making eco-friendly candles. —Laura Hayes

Jack Rose Dining Saloon server Natalie Pfau, founder, The Rich & Strange Working at one of the nation’s top whiskey bars, Natalie Pfau has a nose for brown spirits. But she also has an eye for design, so she founded home decor company The Rich & Strange in 2015. “It was born out of my love for handwoven textiles, and that will always be the ‘common thread,’” she says. Working out her Columbia Heights apartment, Pfau makes pillows, throws, and the like from vintage handwoven textiles that she discovers while traveling in Guatemala and Mexico. “The legacy of handwoven textiles runs deep in Mexico, and the range of techniques is endless.” Next up for Pfau is a women’s clothing line. Purchase her work online and at pop-ups around town. www.therichandstrange.com

Carmine’s server Nandi TongeGabremedhin, founder, Efua’s Baby Nandi Tonge-Gabremedhin would like-

ly smell like Italian red sauce like most of her customers if not for her hand-made soy candle business, Efua’s Baby. It was during a trip to Cuba that Tonge first felt called to try her hand at candle-making. “I had a reading with a Babalawo [priest] who told me I should be burning candles for my deceased mother and grandmother religiously,” she says. Her online store launched in 2016, and she says her biggest sellers are candles and body butter that carry the scent of frankincense and myrrh. The candles are to be used during prayer, meditation, cleansing of spaces, and massage. Her mother changed her name to Efua in the late 1960s, hence the name. www.efuasbaby.com Espita server Tara Papanicolas, founder, Los Gitanos Vintage Score some sweet vintage wear thanks to Espita server Tara Papanicolas. She launched her company in 2012 after spending many years collecting vintage clothing for her career as a wardrobe stylist. Papanicolas has an Etsy store, but you can also find her garb at various local pop-up shops. Pieces include men’s and women’s clothing, jewelry, and accessories from the 18th century through the late 1970s. “I travel all over the U.S. and pick the most covetable pieces from each decade, with love,” she says. “For the poet, adventurer, gypsy, heroine, and muse in all of us.” www.etsy.com/shop/LosGitanosVintage

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what we’ll eat next week: Big rice bowl with yellowfin tuna, string beans and carrots, spinach and kale, red lentils, and toppings, $13, Gorsh. Excitement level: 4 out of 5.

Phil Andraychak

Grazer

what we ate this week: Wedding salad with daikon, dill, cilantro, bean sprouts, and jellyfish marinated in mushroom soy, $6, Tiger Fork. Satisfaction level: 4 out of 5.

Drink Company special projects director Matt Fox, hockey referee If you’ve visited or heard about the Game of Thrones pop-up in Shaw, know that Matt Fox had his hands in it. When he’s not sawing styrofoam dragons, Fox is on the ice. He started officiating hockey games in college in 2006, but things picked up in 2014 when he sought to referee higher-level games and attended training camps conducted by USA Hockey. This past season he worked games in the Southern Professional Hockey League, a pro league made up of teams in the Southeast and Midwest, and the North American Hockey League, which is a Tier 2 Junior League. He also works local youth, high school, and adult league games and has been both a referee and a linesman. “Being a linesman also allows a little more interaction with players, especially when things start getting a little out of hand because the linesmen are responsible for breaking up any rough stuff during a game,” he says.

Mirabelle captain Seth Fromal, concert pianist When Seth Fromal isn’t recommending the jambon beurre sandwich at Mirabelle, he’s tickling the ivories. He started playing when he was eight and eventually went on to earn a masters of music in jazz piano performance. Since he only works lunch at the restaurant, Fromal spends his evenings playing paid gigs at places like Columbia Station. He recently formed a trio with a bass player and drummer and plans to record an album in the next few months. Playing in front of crowds prepared him to work in a high-stakes dining room. “Confidence, being able to articulate menu items in a cogent way to guests, and staying calm all work to ensure the guest experience is a positive one,” he says.

Toki Underground server and host Tonia Saba, music producer When Tonia “T.Sabz” Saba isn’t at Toki Underground, she’s producing music. Two years ago she quit her corporate job in sales for Marriott to pursue music. She’s worked for several studios but now aims to create her own label. It’s hard to tie T.Sabz down to one genre of music. “There’s definitely a huge influence of electronic music, hip-hop, and bass, while making sure that my Lebanese roots stay clear and adding some sounds used heavily in Arabic music,” she says. She’s also focused on lyrics and poetry. “I have a lot to say.” Saba is currently collaborating with Rachel Feldhaus (HausMuzak), a multi-instrumentalist and poet who is also a barista.

Nick Olsen, Little Coco’s server, founder, Atwood 3D Fabrication Watching a 3D printer is mesmerizing. The ones in Nick Olsen’s basement in Bloomingdale whir away, making everything from spare parts to bag accessories to signs. Olsen started 3D printing two years ago and made his side gig official when he started his company five months ago. While he makes some products for sale—like Sip Clips that can turn any backpack into a hydration pack—he prefers the problem-solving of commission work. He once designed a modified coffee grinder hopper for Larry Weaver, who heads up the coffee program at Maketto. “I’ve been referring to it as being like a ‘martian handyman,’” Olsen jokes. Learning how to do the CAD (computer-aided design) modeling is the hardest part. “I’d say that for now 3D printing is still for professionals or advanced hobbyists.”

CPArts

Merriweather Post Pavilion celebrates its 50th birthday this weekend with an all-star show headlined by Willie Nelson and Jackson Browne, who originally recorded “Running on Empty” on its stage 40 years ago.

Buzzworthy Hive

At the National Building Museum to Sept. 4. By Amanda Kolson Hurley Like crippLing humidity and left-standing tourists on Metro, madly popular architectural follies at the National Building Museum are a staple of summer in D.C. But as traditions go, the museum’s annual Summer Block Party, combining avantgarde design with food and entertainment, is a young one. In 2013, the museum was looking for a new way to use its immense Great Hall, so it invited local architects to design holes for a temporary mini-golf course there. The following year, Danish architect Bjarke Ingels built a concave maze out of plywood in the hall, and in 2015 a studio called Snarkitecture filled it with hundreds of thousands of white plastic balls for The Beach, which burned up social media and broke visitor records. Last year, Field Operations went in a more meditative direction with Icebergs, a stylized Arctic landscape. This summer we are invited inside the Hive: three large domes ingeniously assembled out of thousands of paper tubes, the design of architect Jeanne Gang and her Chicago-based practice, Studio Gang. A beehive is a wonder of nature because the colony builds its internal structure—a cellular honeycomb encoded in the bees’ DNA. Fittingly, Hive offers its own structural derring-do. The domes were given just the right curves to be self-supporting, so they require no framing or columns. Paper tubes may be a humble material—and what the architects used for their first model (toilet-paper rolls) was even more so—but Studio Gang saw the museum’s invitation as a chance to explore new structural possibilities, as well as to conjure some eye candy. In fact, those purposes are one and the same here. Jeanne Gang knows how to make engineering look good: At her Aqua tower in Chicago, the rippling concrete balconies that form its profile actually help break up the winds that pummel the 82-story building. Your first encounter with Hive might give you a jolt even if you think you know what to expect. The main dome is 50 feet high, the tallest structure ever built inside the Great Hall. (It was supposed to be 60 feet, but had to be curtailed during construction when the tubes started to lean. This really was an experiment.) Entering from F Street NW, the mounds rear up in front of you like a mountain range. Colored silver and hot pink and slotted together in spiraling rows, the tubes are an impressive sight, but Hive was designed with another of our senses in mind. To counter the unfriendly acoustics of the vast hall, Gang wanted to make the domes into sonic retreats, chambers where musical notes bounce off the walls and whispers travel.

galleries

Sound and its relationship to space is the installation’s theme, and through Labor Day, the museum will host concerts and “interactive sound experiences” inside the domes. Hive itself encourages us to prick up our ears in novel ways. In one of the smaller domes, a series of chimes hang from points above and connect to cardboard tables below with lengths of fishing line. Tug on the lines and notes ring out. Some of the chimes are made of non-musical objects, like wrenches. But the main attraction sits inside the other minor dome, reached through the big one via a low-roofed passage. It’s a Rube Goldberg machine with arms and teeth: a tubulum, or tubular xylophone, made out of plumbing and garden pipes by acoustic engineer John Tewksbury and percussionist Steve Bloom. Visitors can “play” the tubulum by smacking table-tennis paddles against the pipe ends. It is sheer, ridiculous fun. Not only that, the fun at Hive is age-agnostic. Anyone from a toddler to a grandmother can get a kick out of whacking the tubulum or tinkling the chimes. In this, the show is more broadly accessible than last year’s Icebergs, which required climbing stairs to take in the whole vista and had a slide scaled to tiny bottoms and short legs. Whether each of Gang’s domes has a recognizable “sound signature” was hard to tell at the press gaggle, and the last-minute changes to the main dome may have affected its acoustic properties. Regardless, the emphasis on sound is very welcome, because it’s a crucial and underrated aspect of how we navigate the world around us. Walking in and out of the domes, peeking through the gaps between the tubes and listening to the tubulum, I kept thinking about a new book that describes the human experience of place in lucid, remarkable detail. In Welcome to Your World, critic Sarah Williams Goldhagen summarizes a raft of research into neuroscience, psychology, and architecture, writing vivid case studies to explain how our “embodied cognition” works. Although Hive is temporary and uses simple materials, it offers the kind of rich multisensory experience that Goldhagen

Darrow Montgomery

A massive hive made of paper tubes is honey for the eyes, ears, and brain.

says our brains crave from the environment around us. The domed forms, so big yet paradoxically held inside the container of the museum, challenge our sense of spatial awareness, prompting us to gauge and re-gauge their scale and our proximity to them. (Scientists call this sense “proprioception.”) The spiral pattern formed by the tubes is a fractal, proven in studies to activate the brain’s pleasure center and reduce stress. The openings (oculi) at the top of the domes bring in daylight and draw our eyes up to the ornate details of the 19th-century Great Hall, causing more synapses to fire. Hive isn’t the irresistible selfie backdrop that The Beach was, but no doubt it’ll still be popular for that purpose, especially with regular nighttime parties catered by Hill Country. This again begs the question whether summer spectacles divert audiences from more meaty and serious exhibits. I recommend balancing things out with a trip through Architecture of an Asylum, the museum’s excellent show on the history of St. Elizabeths. If interactive blockbusters bring in the funds to mount good scholarly exhibits like that one, we all win. And don’t feel bad about taking selfies. Goldhagen writes that we experience our bodies both egocentrically (from within) and, less often, allocentrically (from without). So it stands to reason that uniting those two modes—as the selfie’d architectural encounter lets us—may deepen our experience of a moment, our connection to a place. You can ’gram away without guilt at Hive. You’ll be feeding your brain, not just your vanity. CP 401 F St. NW. $5–$16. (202) 272-2448. nbm.org. washingtoncitypaper.com july 14, 2017 25

Galleries

Ain’t Nothing Like the Real Thing? Photo-like drawings make for a pleasant day at the museum, while a piquant exhibit on the human body challenges tradition. Blush: Emily Hoxworth & Rose Jaffe and 25th Annual Colored Pencil Society of America International Exhibition

At The Mansion at Strathmore to Aug. 6 By Becky Little The Two exhibiTs currently on view at the Mansion at Strathmore are both strikingly colorful, but that’s about where the similarities end. The larger and more prominent show is the 25th Annual Colored Pencil Society of America International Exhibition, which features 118 drawings that were curated from 500 submissions to the society’s annual contest. Although some of these works deal in the surreal, most are intensely realistic. From afar, they resemble detailed oil paintings, computer-generated images, or even photographs. Blush, on the other hand, isn’t concerned with art that looks like what you might call “the real thing.” This exhibit is a collaboration between D.C. artists Emily Hoxworth and Rose Jaffe that explores representations of bodies, both inside and out. And even though it’s limited to one room, while the larger Colored Pencil show is scattered throughout the museum, it’s by far the stronger of the two exhibits. Jaffe’s work in Blush feels like a bit of a nostalgia trip (in a good way). The brightly-colored, acrylic-on-birch-wood ladies that hang on the wall—some naked, some wearing underwear or clothes—might remind viewers of the kind of drawings they used to see in their teenage zines. More than one of the women has the kind of wide, angular hair that recalls Jane Lane from the animated TV show Daria or some of the illustrations in Alison Bechdel’s Dykes to Watch Out For comic strips. And like the women in Bechdel’s influential queer comics, the ladies in Jaffe’s exhibit have visible body hair and realistic proportions. Jaffe’s work hits you over the head with the reality that, paradoxically, these cartoon bodies look more like those you see every day than most of the ones on magazine covers and movie posters. Jaffe’s largest piece is an enormous tangle of women painted onto a large linen sheet with acrylic and spray paint. Cleverly titled “Knot

Your Woman/Panorama,” it evokes her work as a muralist in D.C. The women in the painting actually appear to be variations of the same woman in different emotional states—happy, angry, content, frustrated. They are a knot of the unnamed woman’s unknowable emotions, and a refusal to cede complete knowledge of her inner self to another. If Jaffe’s work makes viewers feel like they’re walking through a zine, Hoxworth’s makes them think they’ve entered another dimension. Her art represents bodies in a completely different way from Jaffe’s. Eyes and organs are pulled out of their sockets. Intestinal tracts float around in dark green fluid resembling bile. From afar, a large piece titled “Strange Specimen” looks like a collection of fairies hanging from a shelf. Up close, they look like something that someone puked up. In fact, most of Hoxworth’s pieces make viewers wonder what the hell they’re even looking at; her paintings of disembodied organs and limbs and her primal-looking wool sculptures don’t lend themselves easily to interpretation. She seems to be fascinated with the parts and functions of our bodies that disgust us. This isn’t meant to be pretty or comforting. Even her wool sculpture “Nesting Instincts,” which has the muted psychedelic colors of an episode of Fraggle Rock, has a shape and construction that renders the colorful fabric grotesque. One of the strongest pieces is “The Dilemma,” an oil painting of a semi-visible woman holding an apple. It’d be a little on-the-nose if it were just an apple—but, to the woman’s horror, it has a mouth, suggesting that the apple might try to take a bite of her first. Compared to Blush, the drawings in the Colored Pencil exhibit are easier to take in. Birds, soda cans, people, cars—the subjects are wideranging and mostly ordinary. Viewing the drawings is a little bit like looking at optical illusions. When you stand several feet away from some of them, they really do look like photographs. Only when you move closer do you start to see some of the signs that they were drawn with pencils. Sometimes, you need to hold your face right up to the frame before your brain can really make this connection. It’s a fun game, but it doesn’t always make

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“Knot Your Woman/Panorama” by Rose Jaffee for the most interesting art. Drawings of fruit that look like real fruit, or trees that look like real trees, don’t always convey enough of the artist’s perspective. One of the pieces in the show, a colored pencil drawing of pearls and jewels, looks like a gaudy photograph from afar. When you get up close, you can appreciate how well-drawn it is to look so photorealistic. But it’s still a bit tacky. The best pieces in the Colored Pencil exhibit show something unique about the artist’s point of view. Deborah Maklowski’s “Sirocco” evokes the hot, sandy sirocco winds that blow from North Africa to Southern Europe. The picture’s fluid movement and blended hues make these gusts of wind look almost cosmic—and make the viewer feel the wind viscerally in a way that a more lifelike image might not. Tanja Gant’s “1992” is strikingly photorealistic, yet its power comes not just through its realism but also its subject matter. In Gant’s portrait, a young man sits confined in a straightjacket with a menacing stare that

makes it remarkably difficult for the viewer to look straight at him. A couple of the drawings have a computer generated, almost futuristic quality to them. The woman in Cecile Baird’s “Strangely Beautiful” looks like a sci-fi, posthuman movie star. Jesse Lang’s “Adrenaline” resembles a photo from far away, but up close it approaches a kind of artistic uncanny valley. Is the figure in the drawing a man being invigorated by a great splash of water, or a Pixar dad taking some kind of erotic shower? Whether you’re fascinated or freaked out (or both), it’s one of the most attention-grabbing pieces in the exhibit. Though Colored Pencils is a little light compared with some of the other shows on view in the region, it’s still a pleasant, low-key way to spend a leisurely afternoon. And if you want to turn up the volume, just head upstairs to check out Blush. CP 10701 Rockville Pike, North Bethesda. Free. (301) 581-5109. www.strathmore.org/mansion.

FreerSackler.si.edu/films

TwenTy-second AnnuAl

Mad World

Made in Hong Kong Film Festival July 14â&#x20AC;&#x201C;August 6

Mad World Friday, July 14, 7 pm In person: Wong Chun, director; Florence Chan, screenwriter

Trivisa Sunday, July 16, 1 pm

Vampire Cleanup Department Sunday, July 16, 3:30 pm

Three Sunday, July 23, 1 pm

Closing Weekend

Festival venue

Post-1997 Classics

National Museum of American History Warner Bros. Theater

The final weekend of the festival features three classic films from post-1997 Hong Kong.

Kung Fu Hustle Friday, August 4, 7 pm

Beast Cops Sunday, August 6, 1 pm

Made in Hong Kong Sunday, August 6, 3:30 pm

americanhistory.si.edu/visit/getting-here Admission is first-come, first-served. Auditorium doors open 30 minutes before show time. Visit FreerSackler.si.edu/films for full descriptions, schedule updates, and admission policies. Schedule is subject to change.

Cosponsored by the Hong Kong Economic and Trade Office

Mrs. K Sunday, July 23, 3:30 pm

Soul Mate Sunday, July 30, 2 pm hongkong.org

washingtoncitypaper.com july 14, 2017 27

TheaTerCurtain Calls

doc opera Release: A Rock Opera

By Steve Organ and Mark Baughman Directed by Steve Organ At Elstad Auditorium at Gallaudet University through July 23 Rock opeRas opeRate in a strange theatrical space. They’re not as lyrically narrative as traditional operas and musicals, but they tell more of a story than a rock concept album. Among the more famous and successful ones are The Who’s Tommy and Andrew Lloyd Webber’s Jesus Christ Superstar. Composer Mark Baughman makes his Capital Fringe debut by trying his hand at the genre, presenting an original piece entitled Release: A Rock Opera. Release introduces audiences to Amy Ryan (Lexie Martin), a plucky lab assistant trying to make a difference at the shabby St. Mary’s Veterans Medical Clinic. When working with an autistic teenager named Patrick, she decides to incorporate some innovation by combining psychology with neurobiology, aiming to write about the experiment in a medical journal. Her superior, Dr. Sharon Hendricks (Christine Asero), insists that her attempt to change things up at the medical facility is ridiculous and that she should focus on the very basics of her job, which is to handle “required lab tests and paperwork.” But it becomes clear that Amy is onto something. Just as Patrick (Theodore Sapp) is about to be committed to an insane asylum, he sud-

denly breaks out into song with “Breach in the Wall.” Another patient, Thom Wilson (Carlos Ramirez), who consoled himself with drugs and is the son of a famous doctor whose notoriety attracts ardent fans, tells his father that Amy helped him become clean for three months. Even Dr. Hendricks understands that Amy’s research has something to offer the medical community because she steals Amy’s work and tries to pass it off as her own. Singing in a rock opera, particularly a new one, is challenging. Lexie Martin’s role as Amy Ryan is particularly difficult because her theatrical singing voice lacks a rock ’n’ roll roughness. But the sweetness she conveys makes sense: Her character has to sound optimistic and full of dreams. Theodore Sapp, as Patrick, sings with a vocal force on par with Freddie Mercury. Carlos Ramirez, as Thom Wilson, takes inspiration from Bono, and Harv Lester, as Dr. Wilson, channels Thom Yorke. Both singers combine the edginess and precise inflection a rock opera requires. Despite the artificial opening number that pays forced homage to Orange Is the New Black, audiences are able to connect with the show as they begin to understand Amy’s aim to make a difference in people’s lives. At that point, the play hits its groove and the songs, which, for the most part, are played well, provide another dimension to the story. There’s a typical happy ending, complete with an emotional final number, even though the music sounds more like Blink-182. The performers’ motivations seem unclear during an initial viewing, but Release still has a lot to offer. —Selma Khenissi 800 Florida Ave. NE. $17. (202) 737-7230. capitalfringe.org.

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body politics Abortion Road Trip

By Rachel Lynett Directed by Tracey Erbacher At Logan Fringe Arts Space Trinidad Theatre through July 23 Abortion roAd trip, playwright Rachel Lynett’s comedy about reproductive rights, approaches its subject bluntly, honestly, and without any saccharine moralizing. It’s not preachy, but it does have an opinion: that a woman’s decisions about whether or not to give birth are hers alone to make. The play centers on two sisters, Lexa (Lauren Patton) and Minnie (Dominique C. Brown), as well as a cab driver (Renae Erichsen-Teal) they’re paying to drive them from Texas to New Mexico so that Lexa can medically terminate her pregnancy. This interstate itinerary is based in reality: It’s far easier to get an abortion in New Mexico than Tex-

as, and a good portion of the abortions performed in New Mexico involve women from out-of-state. During their trip, intermittent flashbacks reveal details, sometimes shocking ones, about each woman’s past. Through these flashbacks, the audience learns that Lexa’s best friend, Quinn (Rachel Messbauer)—who is also Minnie’s girlfriend—doesn’t approve of Lexa’s decision to have an abortion. Minnie’s memories of conversations with her mom (Stephanie Pounds) reveal a new layer to the story, as do the taxi driver’s stories about her wife (Thais Menendez). The characters have great chemistry with each other both in the flashbacks and in the present, and the way Minnie and Lexa interact as sisters feels especially real. At one point, Minnie ribs Lexa for telling their mom Minnie was gay as soon as she came out: “You texted her while I told you.” Although men figure into each woman’s story, and come up in the women’s conversations, these guys don’t appear as characters in the play, meaning the only people who get to say anything about abortion are women. This shouldn’t feel radical, but it does. So often, when men talk about abortion, it sounds like an abstract ethical issue, because to them, it is. For many women, the issue is deeply personal and when they talk about it, the tone of the conversation changes. The characters in Abortion Road Trip have different, sometimes conflicting opinions about the ethics of abortion and how a woman should feel or talk about it, and the story is richer for focusing only on women’s voices. A healthy dose of humor is mixed in with the difficult situations these women encounter. The comedic relief never feels forced or inappropriate because it comes from a real understanding of women’s lived experiences. The play also acknowledges the reality that, as a University of California San Francisco study found in 2015, most women don’t regret their abortions. Of course, whenever women talk openly about abortion, controversy follows close behind. On July 7, the play’s opening night, at least two anti-choice protesters showed up at the venue’s entrance to harass theater-goers as they filed in to see the show. After the play ended, Capitol Fringe Festival CEO and founder Julianne Brienza told the audience that the protesters had claimed they would show up every day during the show’s run. It’s a shame that protesters tried to disrupt the show that evening, and that they apparently plan to do so again. But it would be an even bigger shame if their presence dissuaded anyone from seeing this play. It’s well-paced, wellwritten, and worth it. —Becky Little 1358 Florida Ave. NE. $17. (202) 737-7230. capitalfringe.org.

Stand Up, Podcasts, Sketch Comedy, Music & More!

July 20–22 with appearances by Jane Krakowski & Tituss Burgess with the National Symphony Orchestra Pops The Daily Show Correspondents Tour with Roy Wood Jr., Ronny Chieng, and Gina Yashere  Louie Anderson  Puddles Pity Party The Second City’s Almost Accurate to America: Divided We Stand The Improvised Shakespeare Co.  Night Train with Wyatt Cenac How to Be Amazing with Michael Ian Black  Judah Friedlander Aparna Nancherla  Jo Firestone  Brandon Wardell Boast Rattle with Kyle Ayers  Mortified  Reductress presents Mouth Time Live! Leah Bonnema  Brittany Carney  Petey DeAbreu  Ryan Donahue Chris Duffy  Sam Evans  Jared Freid  Violet Grey  Stavros Halkias Benjy Himmelfarb  Jamel Johnson  Sean Joyce  Matty Litwack Dylan Meyer  Joyelle Nicole  Molly Ruben-Long  Cerrome Russell Paris Sashay  Chelsea Shorte  Justin Smith  Kasaun Wilson  Will Winner Brightest Young Things presents The Bentzen Ball Podcast Studio Underground Comedy

Complete schedule at tkc.co/districtofcomedy

JULY 7 – 30. SHEPHERDSTOWN, WV.

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

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

Roy Wood Jr.

Aparna Nancherla

Louie Anderson

800/999.CATF

CATF.org

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

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

washingtoncitypaper.com july 14, 2017 29

FilmShort SubjectS A Ghost Story

science Rules Marie Curie

Directed by Marie Noelle

Haunting House A Ghost Story

Directed by David Lowery The firsT Thing you need to know about A Ghost Story is that there is an eight-minute scene in which Rooney Mara does nothing but eat a pie. That might be a deal-breaker for some, but it shouldn’t be because there is also a shot in which we literally watch paint dry. At least its writer and director, David Lowery, has a sense of humor. He also has a sense of awe, wonder, and curiosity, which is to say that A Ghost Story may be the best film of the year. Rejecting categorization at every turn, A Ghost Story is an elliptical drama, a tender meditation on grief, and a naturalistic work of science fiction that bends time and space. It opens modestly, with our pair of lovers, C (Casey Affleck) and M (Rooney Mara), holding each other in bed while they kiss and eventually fall asleep. In this long, unbroken shot, Lowery and his actors display love more realistically than a million grand gestures ever could. When C is killed in a car accident at the end of their driveway, the film shifts gears, using its tranquil, observational style to create something bracingly new. Lowery doesn’t depict the crash that kills C; he shows us its eerie aftermath. We never see M’s twisted, crying face as she receives the news; we see her in the morgue identifying the body, her face as still as her husband’s. It’s a radical narrative technique that eschews the plot points that typically comprise a film and asks us to look for meaning in asides, preambles, and codas. In other words, A Ghost Story is a horror

movie in name only. The real terror in this story is man’s helpless, hopeless existence. C returns home as a ghost, represented by a tactile, old-fashioned sheet with two holes cut out, and bears witness as M grieves, moves on, and eventually moves out. He watches as other residents come and go, presumably over the course of years. One evening, some hipsters are having a party, and an enthused misanthrope explains to the group the impermanence of life, how even the most lasting parts of our humanity (Beethoven is his example) will one day be stretched into nothingness by our expanding universe. We’ve heard this rant before, onscreen and off, but never has it been so thoroughly voiced and felt so acutely true. Confined to the home he never wanted to leave, C continues to wait and watch as his house is destroyed and new houses are built. New worlds, too. Time bends in on itself, and he ends up in the past, and finally back in our present. Remarkably, Lowery accesses this grandeur without the aid of his lead actor’s face or voice, only his own soaring vision, as well as a vital, masterful sound design. When Rooney Mara eats that pie, you can hear and feel every scrape of metal on ceramic. As the ghost drifts silently through his home, Daniel Hart’s achingly coercive score evokes the suffering of an entire species. Just about everything in A Ghost Story feels alive and new. With little use for the cinematic conventions that humans have relied upon for over a century, it makes every romantic comedy, superhero flick, or Oscar-bait tearjerker feel like a relic from an ancient past, and boy, has it arrived just in time. You’ll watch with your eyes wide open and at some point realize that, for the first time in a long time, you have no idea what’s coming next. —Noah Gittell A Ghost Story opens Friday at E Street and Bethesda Row Cinemas.

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Marie Curie is often maddening—at least, that is, if you’re not still espousing social conventions from the Dark Ages. For every handful of peer approvals the titular Polish physicist received, she faced a barrage of rejections. But her colleagues didn’t plague her because she was an incompetent researcher or teacher. Always, Curie got knocked out of the ring simply for being a woman. Of course, in 1903 Curie also became the first woman to receive a Nobel Prize, and later the first person and only woman to win it twice—in two different sciences, no less—so she blasted expectations of the fairer sex anyway. The creation of Marie Curie is on par, having been written by two women (Marie Noelle and Andrea Stoll) and directed by one (Noelle) in a time when film is still largely a boys’ club. After a blue-tinged opening sequence, Marie Curie begins in 1904, when Curie (Karolina Gruszka) gives birth to her second daughter with her husband and work partner, Pierre (Charles Berling), in France. The timeline then becomes indistinct, but we see Marie lovingly watch Pierre give a speech for the Nobel they shared, with the camera zooming in on

ly: A man stops her from seeing the dean of the school at which Pierre was a chair. After she tells the man her name, he says, “I know, Madame. Your husband was a genius scientist.” And though she does get to see the dean and plead for lab funding and offer to teach in Pierre’s place, he counters with, “No one will oppose if you train your husband’s successor.” The instances of such resistance are frequent and baseless enough throughout Marie Curie to make you grip your popcorn bag so hard you put holes in it. The film is decidedly feminist, with Marie encouraging her daughters and female students to press on if science interests them and pointing out the hypocrisies she faces, such as being asked to refuse her second Nobel after her affair with a married man is discovered. (She remarks that if honored men were asked to do the same, there would be no one left to award.) This affair, however, puts a chink in her girl-power armor—the betrayed wife was a friend, but Marie doesn’t care. Gruszka is wonderful to watch as the spunky, no-nonsense Marie. She doesn’t want congratulatory remarks or celebration when she achieves something, at one point wordlessly (and amusingly) brushing off a student who invites her to have a drink. Yet she tosses back shots at home and isn’t immune to being charmed, giggling, for example, when Albert Einstein (Piotr Glowacki) flirts with her. It’s to the film’s benefit that Noelle and Stoll painted her character as human. Marie Curie

Gruszka’s warm, penetrating brown eyes. The pair afterward would gaze just as blissfully at the element they discovered. “Our radium,” Pierre says. “It is radiating from inside.” Both look as if they’re admiring a newborn. Pierre is not long for this filmic world, however. He fell under a horse-drawn vehicle and died from a skull fracture in 1906, which happens early in the movie. Marie is naturally inconsolable; she misses not only her love but her research partner, soon thinking that she’s “getting stupid” and can’t continue their work without him. It’s after Pierre’s death that doors start shutting for Marie, sometimes literal-

“Painted” also describes Michal Englert’s cinematography. That blue tint from the film’s opening recurs throughout, while many other scenes are flooded with natural light. This is a film with both beauty and brains, though the latter has a stronger presence as Marie pushes forward in her research and encourages others to seek and learn. In her speech for her second Nobel, she offers an evergreen lesson: “One shouldn’t be scared of anything in life, but strive to comprehend. Who would we be without curiosity of mind?” —Tricia Olszewski Marie Curie opens Friday at West End Cinema.

The B-Side: Elsa Dorfman’s Portrait Photography

THE KENNEDY CENTER

DISTRICT OF

COMEDY FESTIVAL Presenting Sponsor

lens cRafteRs The B-Side: Elsa Dorfman’s Portrait Photography Directed by Errol Morris

DirecTeD by fameD documentarian Errol Morris, The B-Side: Elsa Dorfman’s Portrait Photography is a perfect match of filmmaker and subject. Over a long career, Morris focused his camera on everyone from former Defense Secretary Robert McNamara to the owners of a pet cemetery, and he always strives for a new way to film faces. To that end, he invented the “Interrotron,” a specialized camera that allows Morris’ subject to look at him and into the camera lens at the same time. Faces and bodies also fascinate Dorfman, who internalizes the reciprocal relationship between herself and the people she shoots. These two are masters, and their gentle rapport is a swansong for a format in the midst of its death rattle. At age eighty, Dorfman still has the sweet disposition and warm smile of her early years. The film’s opening section covers her early life and how she didn’t own a camera until her late twenties. For her, a camera was a way to establish an identity, since being an unmarried Jewish woman was frowned upon in the ’60s. By then, she had already struck up a friendship with Allen Ginsberg, the poet featured in her most famous picture: “The Music Lesson,” a shot of Ginsberg and Bob Dylan leaning over a guitar in 1975. Her real calling, however, did not come until she began working with largeformat Polaroid cameras. Her preferred film stock is 20x24 inch Polaroid film, much larger than what we typically see, and her portrait studio was a place to capture people, couples, and families in a bright, revealing way. Morris does not need to use the Interrotron on Dorfman since she is already so comfortable in front of the camera. Decades before selfies became ubiquitous, Dorfman would photograph herself regularly, sometimes nude, as a way to hone her craft. Most of The B-Side takes place in Dorfman’s studio, where she unearths photos she hasn’t seen in years. Soft-spoken and funny, Dorfman has an un-

canny ability to say something profound in simple, arresting terms. Part of her charm is that she developed her photographic style out of practical concerns. She explains her philosophy, noting she refuses to photograph people when they’re sad (her least favorite clients are teenagers). Morris weaves archival footage alongside his interviews, suggesting that Dorfman has maintained this unflappable nature over the years. The other constant of her career, of course, was her obsession with Polaroid film. The documentary begins by noting that the company plans to discontinue its 20x24 film at the end of 2017. At one point, Dorfman bitterly notes how the new owners want the brand without preserving the machinery. “Photographs will never again look like this,” she notes unironically. Plenty of The B-Side includes languid shots of the portraits, with Paul LeonardMorgan’s evocative music in the background, and the pictures are indeed enigmatic. Morris and Dorfman keep returning to Ginsberg, who loved to be photographed, and their deep friendship hints at the challenges of photography. Not everyone is comfortable in front of a camera, and Dorfman’s genius comes from creating a space where anyone can feel poised, natural, and happy. Almost every family has an awkwardly staged professional photograph of their early years, possibly taken in a mall. Some of us have school portraits or wedding photographs. Many of these look forced, with the subjects forcing smiles and conveying the comfort of someone who wants to leap out of their skin. At first, Dorfman’s way of eliminating barriers seems easy, or inconsequential. As we reflect on the quality of her portraits, however, we see that Dorfman’s general attitude toward humanity is what helps her flourish as an artist. Morris has similar reserves of empathy, except here he can relax since Dorfman is every bit his equal. More than anything else, The B-Side will make you prioritize the need to get better, more artful portraits than the shitty selfies that we snap every day. Dorfman and Morris could not ask for a better legacy. —Alan Zilberman The B-Side: Elsa Dorfman’s Portrait Photography opens Friday at Landmark E Street Cinema.

Now thru August 13 | Theater Lab The Second City’s Almost Accurate Guide to America: Divided We Stand takes a hilarious look at the divisions that have driven this country apart and those moments that can still bring us all together. The famed comedy theater returns to DC with a show that focuses as much on the people as the politics—be it Russian spies, women’s rights, or North Korean missiles. You may think you know America, but if the last year has taught us anything, it’s that there are many different Americas to get to know. Alas, there is still one thing the blue states and red states share— the need for a good laugh! Age 16+

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

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

washingtoncitypaper.com july 14, 2017 31

The Anthem • 901 Wharf St. SW, Washington, D.C.

JUST ANNOUNCED!

THE HEAD AND THE HEART w/ Phosphorescent ...FRI OCTOBER 27

THIS WEEK’S SHOWS

JULY

AUGUST cont.

Freddie Gibbs................................................................................................. Th 8 Added! U STREET MUSIC HALL PRESENTS Jamestown Revival w/ Colter Wall ...............................................................F 9 Valentino Khan.....................Sa 19 Bitch Sesh Live Matinee Show! TheDoors. Record The Deadmen Early Show! 7pm Doors .................. Sa 10 .....Su 16 2pm This isCompany a seated show.w/ Waxahatchee Mixtape & Pride Party with DJs Shea Van and Matt Bailer .............. Sa21 10 Amadou Mariam w/Horn Palehound & Outer Spaces .....M w/ Redline Graffiti ......................Th 20 Delta Rae Sister Hazel w/ Christian 21 w/ Lauren Jenkins......................ThM24 Rodrigo y Gabriela w/Lopez Ryan .F Sheridan ........................................................ 12 AN EVENING WITH Uhh Yeah Dude This is a seated show.......................Sa 22 The Chris Robinson Conor Oberst (of Bright Eyes) Brotherhood ........................Sa 26 w/ Hop Along ...............................W 26 Washed Out ............................Th 31

The Shins w/ Baio ...............................................................................NOVEMBER 2 O.A.R.............................................................................................SAT DECEMBER 16 On Sale Friday, July 14 at 10am

First Show Sold Out! Second Show

AUGUST

• theanthemdc.com

SEPTEMBER

U STREET MUSIC HALL PRESENTS

Added!

Little Dragon w/ Xavier Omär ...W 9

THIS FRIDAY!

My Morning Jacket w/ Gary Clark Jr. ..................................................... JULY 14

THIS SATURDAY!

MERRIWEATHER 50TH ANNIVERSARY CONCERT FEATURING

Jackson Browne and Willie Nelson

w/ Har Mar Superstar ..................Sa 9 Nick Murphy (Chet Faker) ...Su 10 Joseph w/ Bailen .......................W 13

THE CIRCUS LIFE PODCAST 4TH ANNIVERSARY CONCERT FEATURING

Party Like It’s • Justin Trawick

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

Broken Social Scene

and The Common Good • Oh He Dead • Two Ton Twig •

THIS SUNDAY!

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

w/ Belle Game ............................Tu 16

American Authors • Anti-Flag • The Ataris and many more! ................................... JULY 16

Aaron Watson

Soldiers of Suburbia ....................F 11 Bomba Estéreo .....................Th 17

w/ Gunnar and the Grizzly Boys ...F 22

THIS MONDAY!

Gorillaz w/ Vince Staples & Danny Brown ........................................................... JULY 17

ALL GOOD PRESENTS

The Districts

Trevor Hall w/ East Forest ....Tu 26

w/ Sam Evian & Soccer Mommy ...F 18

THE MOST SUCCESSFUL FILM COMPOSER OF OUR ERA

Hans Zimmer Live with Orchestra and Chorus performing music from

Pirates of the Caribbean, Gladiator, The Dark Knight and more!.................................. JULY 21

930.com

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Merriweather Post Pavilion • Columbia, MD

Pat Green w/ Casey Donahew ...Th 7 The Brian Jonestown Massacre ....................................F 8 The Afghan Whigs

Petit Biscuit ..............................W 2 Mew w/ Monakr ...........................Sa 5 First Show Sold Out! Second Show

Kaleo w/ ZZ Ward & Wilder ............................................................................OCTOBER 14 Phoenix ........................................................................................................OCTOBER 16 Queens of the Stone Age w/ Royal Blood .......................................OCTOBER 20 Zedd w/ Grey & Lophiile ..................................................................................OCTOBER 21 Courtney Barnett & Kurt Vile (and The Sea Lice) ......................NOVEMBER 7 St. Vincent ...............................................................................................NOVEMBER 27 Lorde ............................................................................................................ APRIL 8, 2018

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

John Legend New date! All 6/20 tickets honored. ................................................. JULY 25 alt-J w/ Saint Motel & SOHN .................................................................................. JULY 27 Fleet Foxes w/ Animal Collective ........................................................ JULY 29 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex ........ JULY 30

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

SUMMER SPIRIT FESTIVAL FEATURING

Kenny “Babyface” Edmonds • Bel Biv Devoe • Fantasia • SWV and more! .........AUGUST 5-6

1215 U Street NW

Lady Antebellum w/ Kelsea Ballerini & Brett Young .......................... AUGUST 13

Washington, D.C.

AN EVENING WITH

Matisyahu w/ Common Kings & Orphan ...........................................................OCTOBER 10

Santana ......................................................................................................... AUGUST 15 Sturgill Simpson w/ Fantastic Negrito ............................................ SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave .............................. SEPTEMBER 16

AN EVENING WITH

JUST ANNOUNCED!

The Breeders ......................................................................................SAT NOVEMBER 4

Kevin Smith ...................................................................................................NOVEMBER 5 On Sale Friday, July 14 at 10am

Alison Krauss & David Gray .................................................. SEPTEMBER 23

WPOC SUNDAY IN THE COUNTRY FEATURING

Rascal Flatts • Billy Currington • Scotty McCreery • Dylan Scott and more!. SEPTEMBER 24

SECOND NIGHT ADDED! AEG LIVE PRESENTS

Chrysalis at Merriweather Park

Tim And Eric: 10th Anniversary Awesome Tour ........................................................ JULY 19

TajMo: The Taj Mahal and Keb’ Mo’ Band w/ Jontavious Willis............................. AUGUST 9 Apocalyptica - Plays Metallica By Four Cellos .................................................... SEPTEMBER 9

Greensky Bluegrass w/ Leftover Salmon ................................................. JULY 22 • For full lineups and more info, visit merriweathermusic.com

STORY DISTRICT PRESENTS

I Did It For The Story: A Tribute to 20 Years of Storytelling ........ SEPTEMBER 23 The Kooks w/ Barns Courtney...................................................................................OCTOBER 4 Paul Weller ..............................................................................................................OCTOBER 7 Blind Pilot ...............................................................................................................OCTOBER 13 THE BIRCHMERE PRESENTS

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Colin Hay ................................................................................................................OCTOBER 21 Iron & Wine w/ John Moreland ..............................................................................NOVEMBER 9 ALL GOOD PRESENTS

John McLaughlin/Jimmy Herring: Meeting of the Spirits ....................NOVEMBER 11 JOHNNYSWIM.....................................................................................................NOVEMBER 15 • thelincolndc.com •

Myles Parrish ............................ Sa JUL 15 Frank Iero w/ The Homeless Gospel Choir . F 21 ALL GOOD PRESENTS White Ford Bronco: The Hip Abduction .......................... Th 20 DC’s All ‘90s Band ........................ F AUG 11 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

32 july 14, 2017 washingtoncitypaper.com

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

930.com

CITYLIST

SUPERSUCKERS / THE UPPER CRUST

Music 33 Galleries 40 Theater 40 Film 40

FRI., JULY 21 ~ 9:00PM TIX: $17-$20

Music

CITY LIGHTS: Friday

Friday

Tosca is perhaps the first soap opera that is actually an opera, a schmaltzy love story of the kind where love is expressed through things like torture and suicide. Now a beloved repertory piece, Puccini’s opera was originally roasted by critics for its gratuitous violence, one dimensional villains, and convoluted story, set during the Napoleonic wars in Italy, in which the Italians (surprisingly, for an Italian opera) are the bad guys. Puccini overcame these handicaps and shepherded Tosca into the canon with great music, which he achieved by ripping off Wagner. The titular soprano role has long served as a star vehicle for divas such as the great Maria Cs, Caniglia and Callas, and thus it’s also a good opportunity for up-and-coming singers like those fostered by Wolf Trap Opera. This production will star Alexandra Loutsion (pictured) as Tosca, a singer caught between her freedom fighter boyfriend and a rape-y police chief. Much of the fun of any Tosca is seeing how the production carries out the final fall-to-the-death scene, which, legend has it, once resulted in the unscripted reappearance of the body a couple times courtesy of a trampoline. The opera begins at 8:15 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $25–$75. (703) 255-1900. wolftrap.org. —Mike Paarlberg

rock

Black cat 1811 14th St. NW. (202) 667-4490. Royal Headache, The Rememberables, Wildhoney. 8 p.m. $15. blackcatdc.com. Merriweather Post Pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. My Morning Jacket, Gary Clark Jr. 7 p.m. $46–$76. merriweathermusic.com. rock & roll hotel 1353 H St. NE. (202) 388-7625. Darkest Hour, Havok, Genocide Pact. 9 p.m. $20. rockandrollhoteldc.com. songByrd Music house and record cafe 2477 18th St. NW. (202) 450-2917. Wild Rivers, Chris Cassaday. 8 p.m. $10–$12. songbyrddc.com.

classical

kennedy center MillenniuM stage 2700 F St. NW. (202) 467-4600. National Symphony Orchestra’s Summer Music Institute. 6 p.m. Free. kennedy-center.org.

country

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Robert Earl Keen, Ruston Kelly. 7:30 p.m. Sold out. birchmere.com. gyPsy sally’s 3401 K St. NW. (202) 333-7700. The Morrison Brothers Band, Them Vibes, Tom Maxwell. 8:30 p.m. $15. gypsysallys.com.

dJ nights

Black cat Backstage 1811 14th St. NW. (202) 6674490. DJ Kraftcheese, DJ Sami. 9:30 p.m. Free. blackcatdc.com. songByrd Music house and record cafe 2477 18th St. NW. (202) 450-2917. Aqua Friday Cuban Dance Party. 11 p.m. $8–$10. songbyrddc.com.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Alexi Delano, Navbox. 8 p.m. $8–$15. flashdc.com. u street Music hall 1115 U St. NW. (202) 588-1889. Rush Plus, 1432 R. 10 p.m. $5. ustreetmusichall.com.

Funk & r&B

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. the haMilton 600 14th St. NW. (202) 787-1000. Les Nubians, Sahel. 8 p.m. $20.75–$25.75. thehamiltondc.com. howard theatre 620 T St. NW. (202) 803-2899. Mali Music, DJ Lance Reynolds. 8 p.m. $26.50–$65. thehowardtheatre.com. troPicalia 2001 14th St. NW. (202) 629-4535. Culture. 8 p.m. $18. tropicaliadc.com.

hip-hop

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Raekwon, Allan Kingdom. 8 p.m. $25. fillmoresilverspring.com.

Jazz

national gallery of art sculPture garden 4th Street and Constitution Avenue NW. (202) 7374215. Onyx Club Boys. 5:30 p.m. Free. nga.gov. twins Jazz 1344 U St. NW. (202) 234-0072. Alex Snydman Trio. 9 p.m.; 11 p.m. $15. twinsjazz.com.

TOSCA

opEra wolf traP filene center 1551 Trap Road, Vienna. (703) 255-1900. Wolf Trap Opera performs Puccini’s Tosca. 8:15 p.m. $25–$75. wolftrap.org.

saturday

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Southside Johnny and the Asbury Jukes. 7:30 p.m. $45. birchmere.com. Black cat 1811 14th St. NW. (202) 667-4490. Rent Party, The Radiographers, Cool Baby. 8 p.m. $12. blackcatdc.com.

7.13 7.14 7.15 7.18 7.20 7.21 7.22 7.25 7.27 7.28 7.29

KURT CRANDALL BEN MILLER BAND THE HIGHBALLERS THE CRANE WIVES BEX MARSHALL SUPERSUCKERS / THE UPPER CRUST HOLLERTOWN ZANE CAMPBELL VINTAGE #18 THE WOODSHEDDERS STEALIN’ THE DEAL

8.1 8.4 8.5 8.15 8.17 8.18 8.19 8.22 8.24 8.26 8.28 8.29 8.31 9.7 9.9 9.12 9.14 9.15 9.19 9.21 9.22 9.23 9.29 10.10 10.12 10.13 10.24 10.25 10.27 10.31

WHISKERMAN NIKKI HILL ANGELA PERLEY & THE HOWLIN’ MOONS BELLA HARDY RAY WYLIE HUBBARD RAY WYLIE HUBBARD ROCK-A-SONICS FIRESIDE COLLECTIVE THE YAYHOOS THE FLAMIN’ GROOVIES & THE STENTS SCOTT H. BIRAM & GALLOWS BOUND DALE WATSON & HIS LONE STARS WILD THE WATERS ANDREW DUHON SARAH POTENZA / PALEFACE ROD PICOTT SUNNY SWEENEY HAYES CARLL THE RAILSPLITTERS THE BLASTERS & FLAT DUO JETS DAN BAIRD & HOMEMADE SIN KYLE LACY AND THE HARLEM RIVER NOISE DANGERMUFFIN GREYHOUNDS WILD PONIES ‘GALAX’ RELEASE TOUR CASH’D OUT GURF MORLIX SLAID CLEAVES POSSESSED BY PAUL JAMES THE WOGGLES / ALSO FEATURING: THE HALL MONITORS, JAKE STARR AND THE DELICIOUS FULLNESS

HILL COUNTRY BARBECUE MARKET

rock

dc9 1940 9th St. NW. (202) 483-5000. Night Birds, The Love Songs, Psychic Subcreatures. 6:30 p.m. $10–$12. dcnine.com.

aMP By strathMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. NRBQ. 8 p.m. $30–$40. ampbystrathmore.com.

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

gyPsy sally’s 3401 K St. NW. (202) 333-7700. 5-877 Cornell REVISITED: A Grateful Dead Dance Party. 8:30 p.m. Free. gypsysallys.com.

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com july 14, 2017 33

Merriweather Post Pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Merriweather 50th Anniversary Concert featuring Jackson Browne, Willie Nelson & Family, Father John Misty, Grace Potter. 6 p.m. $55–$125. merriweathermusic.com.

dc9 1940 9th St. NW. (202) 483-5000. Peach Pit with DJ Matt Bailer. 10:30 p.m. $5–$8. dcnine.com.

rock & roll hotel 1353 H St. NE. (202) 388-7625. White Ford Bronco. 8 p.m.; 11:30 p.m. $25. rockandrollhoteldc.com.

ElEctronic

songByrd Music house and record cafe 2477 18th St. NW. (202) 450-2917. Nassau, Louis Weeks, Keeper. 8 p.m. $10–$12. songbyrddc.com. u street Music hall 1115 U St. NW. (202) 588-1889. Myles Parrish. 7 p.m. $15. ustreetmusichall.com.

classical

kennedy center MillenniuM stage 2700 F St. NW. (202) 467-4600. National Symphony Orchestra’s Summer Music Institute. 6 p.m. Free. kennedy-center.org.

country

the haMilton 600 14th St. NW. (202) 787-1000. Town Mountain, I Draw Slow. 8 p.m. $12–$17. thehamiltondc.com.

dJ nights

Black cat Backstage 1811 14th St. NW. (202) 6674490. Common People with DJ Lil’e. 9:30 p.m. $7. blackcatdc.com.

state theatre 220 N. Washington St., Falls Church. (703) 237-0300. Saved by the ‘90s: A Party with the Bayside Tigers. 9 p.m. $17–$20. thestatetheatre.com. echostage 2135 Queens Chapel Road NE. (202) 503-2330. Nero, Feed Me, No Mana. 9 p.m. $25–$35. echostage.com. flash 645 Florida Ave. NW. (202) 827-8791. Dom Dolla, Deemo, Garves. 4 p.m. $10. Distrikt of Columbia. 8 p.m. $8–$15. flashdc.com. u street Music hall 1115 U St. NW. (202) 588-1889. Deep Sugar DC with Ultra Naté & Lisa Moody, Wayne Davis. 10:30 p.m. $10. ustreetmusichall.com.

Funk & r&B

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Eric Roberson. 8 p.m. $49.50. bethesdabluesjazz.com. Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. howard theatre 620 T St. NW. (202) 803-2899. Reggae Fest with Elephant Man. 10 p.m. $20–$25. thehowardtheatre.com.

“Wildly imAginAtive, impeccAbly executed.”

Jose Llana and Laura Michelle Kelly in Rodgers & Hammerstein’s The King and I. Photo by Matthew Murphy

CITY LIGHTS: saturday

san francisco chronicle

July 18–August 20 | Opera House kennedy-center.org | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

Theater at the Kennedy Center is made possible by

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

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

34 july 14, 2017 washingtoncitypaper.com

Kennedy Center Theater Season Sponsor

triBu Baharu

The high-pitched guitar fingerwork of Bogotá, Colombia, dance band Tribu Baharu draws more from speedy Congolese rumba then it does from Latin America and Caribbean stylings. The ensemble plays champeta, a music style whose original practitioners, Colombians of African descent living in Cartagena and Barranquilla, heard records brought into these port towns from the continent. One doesn’t have to know all the ethnomusicology behind the band’s style to recognize the clever way they deliver it, however. Baharu, which formed in 2009, adeptly melds its guitars with frenetic bass, keyboard, drum set, and conga rhythms. Vocalists build on this celebratory feeling with a mix of chanted and sung lyrics. Live shows get even more energetic when the singers shake their bodies and incorporate moves done while lying down on the stage. As Colombia’s 207th Independence Day approaches on July 20th, look forward to a boisterous evening of song and dance. Tribu Baharu performs with La Colombopercutiva at 7 p.m. at Tropicalia, 2001 14th St. NW. $12–$15. (202) 629-4535. tropicaliadc.com. —Steve Kiviat

TICKETS ON SALE NOW! PLUS u

DIANA ROSS

CARMINA BURANA | NSO

ARETHA FRANKLIN

GEORGE THOROGOOD & THE DESTROYERS 38 SPECIAL

CMT’S NASHVILLE IN CONCERT

CLARE BOWEN, CHRIS CARMACK, CHARLES ESTEN, AND JONATHAN JACKSON

JUL 14

JUL 15

JUL 18 + 19

PUNCH BROTHERS

BLONDIE & GARBAGE

LA LA LAND IN CONCERT | NSO

JURASSIC PARK™ – IN CONCERT | NSO

CHICK COREA ELEKTRIC BAND BÉLA FLECK & THE FLECKTONES

GOO GOO DOLLS

I’M WITH HER DEAP VALLY

PUCCINI’S TOSCA

WOLF TRAP OPERA NATIONAL SYMPHONY ORCHESTRA

THE TENORS

NATIONAL SYMPHONY ORCHESTRA

MAMMA MIA!

FAREWELL TOUR

STEVEN REINEKE, CONDUCTOR

GRANT GERSHON, CONDUCTOR

PHILLIP PHILLIPS u

ASIAN YOUTH ORCHESTRA WITH SARAH CHANG

DASHBOARD CONFESSIONAL

LYLE LOVETT & HIS LARGE BAND

MARY CHAPIN CARPENTER LUCINDA WILLIAMS

LIFEHOUSE SWITCHFOOT

THE ALL-AMERICAN REJECTS

BRYNN ELLIOTT

JUL 21 PJ HARVEY

WITH SPECIAL GUEST

ANACOSTIA’S UNION TEMPLE BAPTIST CHURCH CHOIR

JUL 22 THE LEGEND OF ZELDA: SYMPHONY OF THE GODDESSES NATIONAL SYMPHONY ORCHESTRA

JUL 23 REBELUTION

NAHKO AND MEDICINE FOR THE PEOPLE COLLIE BUDDZ HIRIE

PILOBOLUS MAXIMUS

MAZE FEATURING FRANKIE BEVERLY THE O’JAYS

DAVID SEDARIS

THE BEACH BOYS

AND MANY MORE!

KELLY CORCORAN, CONDUCTOR

PREMIER SPONSOR 2017 SUMMER SEASON

washingtoncitypaper.com july 14, 2017 35

CITY LIGHTS: sunday

D.C.’s awesomest events calendar. washingtoncitypaper.com

washingtoncitypaper.com/ calendar

BITCH SESH liVE

Ever find yourself alone on the couch, binging Bravo reality shows but wishing you had some fantastically funny, snarky, wine-swilling gal pals to keep you company? If the answer is “yes” or you’re currently too busy drinking Ramona Singer pinot grigio or Skinnygirl sangria to respond, then get thee to a live recording of Bitch Sesh. For the uninitiated, Casey Wilson and Danielle Schneider, stars of the brilliant Real Housewives spoof Hotwives of Orlando, host a Real Housewives-centric podcast that is so much more than a recap show. The pair also share hilarious Hollywood stories and basically invite you into their friendship every episode. There’s no doubt these two will bring some bawdy humor and a raucous good time to the 9:30 Club and its bar to dish on everything from NeNe’s potential return to Real Housewives of Atlanta to whether you can still refer to the Countess as a Countess. Perhaps they’ll even dive into the drama currently surrounding tax evading Potomac housewife Karen Huger. The shows begin at 2 p.m. and 6 p.m. at 9:30 Club, 815 V St. NW. $39.50. (202) 265-0930. 930.com. —Diana Metzger

Jazz

twins Jazz 1344 U St. NW. (202) 234-0072. Alex Snydman Trio. 9 p.m.; 11 p.m. $15. twinsjazz.com.

Vocal

wolf traP filene center 1551 Trap Road, Vienna. (703) 255-1900. The Tenors. 8:15 p.m. $35–$75. wolftrap.org.

World

troPicalia 2001 14th St. NW. (202) 629-4535. Tribu Baharú, La Colombopercutiva. 7 p.m. $12–$15. tropicaliadc.com.

sunday rock

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Gary Puckett & The Union Gap Band. 7:30 p.m. $35. birchmere.com. Black cat Backstage 1811 14th St. NW. (202) 6674490. The Kickbacks, Junior Astronomers. 7:30 p.m. $12–$15. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Bloodclot, Negative Approach, Bust Off. 7:30 p.m. $18. dcnine.com. Merriweather Post Pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Vans Warped Tour. 11 a.m. $29–$52. merriweathermusic.com.

classical

kennedy center MillenniuM stage 2700 F St. NW. (202) 467-4600. National Symphony Orchestra’s

36 july 14, 2017 washingtoncitypaper.com

Summer Music Institute. 6 p.m. Free. kennedy-center.org.

country

Jiffy luBe live 7800 Cellar Door Drive, Bristow. (703) 754-6400. Zac Brown Band, Darrell Scott. 7 p.m. Sold out. livenation.com.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Rodriguez Jr., Solomon Sanchez, Sarah Myers, Tony Smooth & DJ Bazza. 2 p.m. $8–$12. flashdc.com.

Funk & r&B

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. A Tribute to the Music of Aretha Franklin, Chaka Khan, and Gladys Knight. 7:30 p.m. $30. bethesdabluesjazz.com. Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

Jazz

twins Jazz 1344 U St. NW. (202) 234-0072. Kuba Cichocki’s Audubon Lab Experiment. 8 p.m.; 10 p.m. $10. twinsjazz.com.

Monday rock

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Zombies, Don DiLego. 7:30 p.m. $55. birchmere.com.

washingtoncitypaper.com july 14, 2017 37

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

1811 14TH ST NW

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

www.blackcatdc.com

CHAKA

KHAN

@blackcatdc

JULY SHOWS THU 13

WITCH TAINT

In Concert! Fri. Nov. 24, 8 pm Warner Theatre, Wash DC

THE BLACK METAL DIALOGUES LIVE!

Tix on sale Fri. 7/14 at 10am through Ticketmaster.com/800-745-3000

ROYAL HEADACHE THE REMEMBERABLES

Kato KASEY CHAMBERS Garrett 15 SOUTHSIDE JOHNNY & The Asbury Jukes 16 GARY PUCKETT & The Union Gap

RENT PARTY

THE RADIOGRAPHERS COOL BABY

FRI 15

COMMON PEOPLE

SUN 16

THE KICKBACK

FRI 14

WILDHONEY SAT 15

90S ALT POP/HIP HOP DANCE PARTY

ALBUM RELEASE PARTY

MON 17 MUGGLE MONDAYS BUTTERBEER & THE 3RD FILM TUE 18

COUNT VASELINE

TWO INCH ASTRONAUT WESTERN STAR

THU 20

WYLDER & SKOUT

FRI 21

VENN & BOTTLED UP

SAT 22

THE 9: SONGWRITER SERIES

MON 24 THU 27

ALGIERS

CYMBALS EAT GUITARS

July

THE ZOMBIES

Don DiLego

FREDERICKS SAWYER w/Gabriel Wolfchild & The Northern Light, Haley Johnson

Jocelyn & Arndt ROGER CLYNE & THE PEACEMAKERS Chris JEFFREY OSBORNE 21 23 PURE PRAIRIE LEAGUE & ATLANTA RHYTHM SECTION BILLY BRAGG 24 with

SONIA (from disappear fear)

Play TOAD THE WET SPROCKET Beta 28,29 &30 THE BACON BROTHERS 31 NIKKI LANE Steelism Aug 4 GORDON LIGHTFOOT

26& 27

LITTLE RIVER BAND THE FIXX 7 8 GENE WEEN does BILLY JOEL

w/ The Paul Green Rock Academy

FRI JUL 14 ROYAL HEADACHE

CHRISETTE MICHELE

CHAD CALEK PRESENTS THE

sir noface lives tour FILM SCREENING and Q&A!

DUO SIERRA HULL BUMPER(JessJACKSONS & Chris) 20 JONNY LANG 23 BOB SCHNEIDER KING 24

RENT PARTY SAT JUL 15

TAKE METRO!

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

CITY LIGHTS: Monday

The Birchmere presents… FRIDAY Aug 11, 8pm

TO BUY TICKETS VISIT TICKETFLY.COM 38 july 14, 2017 washingtoncitypaper.com

YOUSSOU N’ DOUR The Voice of Senegal

• Wash.

DC Tickets: gwutickets.com | 202.994.6800

gorillaz

While you won’t hear the words “Donald Trump” on Humanz—the President’s name has been censored off the fifth album by British “virtual band” Gorillaz—the type of political chaos that he represents looms over the proceedings. As Damon Albarn, Jamie Hewlett, and their collaborators bound between angular hip-house, neon electro-funk, industrial dancehall, and various other permutations on their first album since 2011, the paranoia and claustrophobia of everyday dystopia lurks in every corner. Even if what Vince Staples raps on “Ascension”—“the sky’s falling, baby / Drop that ass ’fore it crash”—is true, Gorillaz is here to help you through the darkness: “All the world is out of your hands,” moans R&B legend Mavis Staples on “Let Me Out.” “You got to die a little if you wanna live.” While most of the star-studded guest list won’t be at Merriweather Post Pavilion (save for Vince Staples and Danny Brown), expect to hear their voices and to see Hewlett’s iconic illustrations of fictitious band members 2-D, Murdoc Niccals, Noodle, and Russel Hobb come to life. Gorillaz performs with Vince Staples and Danny Brown at 7:30 p.m. at Merriweather Post Pavilion, 10475 Little Patuxent Parkway, Columbia. $49.25–$199. (410) 715-5550. merriweathermusic.com. —Chris Kelly fort reno 3800 Donaldson Place NW. (202) 3556356. Teen Mortgage, Dissonance, Tubefreaks. 7 p.m. Free. fortreno.com. Merriweather Post Pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Gorillaz, Vince Staples, Danny Brown. 7:30 p.m. $49.25–$199. merriweathermusic.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Dave Detwiler & The White House Band. 8 p.m.; 10 p.m. $20. bluesalley.com.

tuEsday rock

WEdnEsday rock

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Sawyer Fredericks, Gabriel Wolfchild and the Northern Light, Haley Johnsen. 7:30 p.m. $25. birchmere.com. Black cat Backstage 1811 14th St. NW. (202) 6674490. Honey. 7:30 p.m. $10. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Ultimate Painting, Dot Dash. 9 p.m. $10–$12. dcnine.com. gyPsy sally’s 3401 K St. NW. (202) 333-7700. The Nightowls, The Xtet featuring Abby Schaffer. 8 p.m. $12–$14. gypsysallys.com.

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Steve Earle & the Dukes, The Mastersons. 7:30 p.m. $59.50. birchmere.com.

Jiffy luBe live 7800 Cellar Door Drive, Bristow. (703) 754-6400. Rod Stewart, Cyndi Lauper. 8 p.m. $30–$170. livenation.com.

Black cat Backstage 1811 14th St. NW. (202) 6674490. Count Vaseline, Two Inch Astronaut, Western Star. 7:30 p.m. $10. blackcatdc.com.

country

gyPsy sally’s 3401 K St. NW. (202) 333-7700. Amy Black: A Memphis Music Revue. 8 p.m. $10–$12. gypsysallys.com. rock & roll hotel 1353 H St. NE. (202) 388-7625. Dragonforce, Once Human. 8 p.m. $25. rockandrollhoteldc.com.

Funk & r&B

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Earth, Wind & Fire Tribute Band. 8 p.m. $20. bluesalley.com. howard theatre 620 T St. NW. (202) 803-2899. Beres Hammond. 8 p.m. $39.50–$65. thehowardtheatre.com.

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Whitey Morgan, Colter Wall, Tony Martinez. 8 p.m. $22–$77. fillmoresilverspring.com. strathMore gudelsky concert gazeBo 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Look Homeward. 7 p.m. Free. strathmore.org.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Party Pupils, Toon Squad, Noce. 10 p.m. $10. flashdc.com.

Funk & r&B

howard theatre 620 T St. NW. (202) 803-2899. Beres Hammond. 8 p.m.; 8 p.m. $39.50–$65. thehowardtheatre.com.

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

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

CITY LIGHTS: tuEsday

J U LY F 14 JULIA NIXON SINGS

SONGS OF BURT BACHARACH/HAL DAVID

600 beers from around the world

W/ DAVE YLVISAKER DOZEN

Downstairs: good food, great beer: all day every day

S 15 ERIC ROBERSON SU 16 A TRIBUTE TO THE MUSIC OF

*all shows 21+

ARETHA FRANKLIN, CHAKA KHAN & GLADYS KNIGHT W 19 THE FIX F 21 THE CHI-LITES

J U LY 1 3 T H

OMARTERRELL LIVE COMEDY SHOW DOORSAT 7PM,SHOWAT 8PM

FT. MARSHALL THOMPSON

S 22 JOE CLAIR & FRIENDS

dragonForcE

DragonForce make music as thrilling, epic, and bombastically bromidic as its name suggests. The five-piece British power metal group are descendants of the Ronnie James Dio school of heavy metal songcraft. Think dungeons, dragons, doomsday, and dozens of other Stranger Things fantasies set to soaring, Valhalla vocals, shredding guitar solos, and energized, overdriven beerhall sing a-long melodies. Mix in a little European folk and classical influence and you get the over-the-top, internationally beloved sounds of power metal. If this all seems ridiculous, don’t worry: The band is in on it too. While metalheads around the world hail DragonForce as heavyweights of speed or power metal, the members like to call themselves “Nintendo metal.” Guitarists Herman Li and Sam Totman have a habit of sneaking homages to classic video game soundtracks into their blistering guitar solos, upping the nerd factor even more. DragonForce are fast, furious, and a whole lot of fun to head bang to. Get ready to ride the 8-bit lightning through the fire and the flames. Dragonforce performs with Once Human at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $25. (202) 388-7625. rockandrollhoteldc.com. —Jackson Sinnenberg

hip-hop

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Fix. 8 p.m. $20. bethesdabluesjazz.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Nestor Torres. 8 p.m.; 10 p.m. $25. bluesalley.com. twins Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m.; 10 p.m. $22. twinsjazz.com.

thursday rock

BirchMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Roger Clyne & the Peacemakers, Jocelyn & Chris Arndt. 7:30 p.m. $25. birchmere.com. Black cat Backstage 1811 14th St. NW. (202) 6674490. Wylder, Skout. 7:30 p.m. $12. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. The Van Pelt, Positive No, Washers. 9 p.m. $12. dcnine.com. fort reno 3800 Donaldson Place NW. (202) 3556356. Bitter Medicine, The Southern Ocean, Data Recovery Project. 7 p.m. Free. fortreno.com.

u street Music hall 1115 U St. NW. (202) 588-1889. The Hip Abduction. 6:30 p.m. $15. ustreetmusichall.com.

COMEDY SHOW (7/10PM) SU 23 A TRIBUTE TO THE MUSIC OF MARVIN GAYE & TEDDY PENDERGRASS TH 27 ANTHONY DAVID

kennedy center concert hall 2700 F St. NW. (202) 467-4600. Jane Krakowski and Tituss Burgess with the NSO Pops. 8 p.m. Sold out. kennedy-center.org.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Skeptical. 9 p.m. $8–$12. flashdc.com. songByrd Music house and record cafe 2477 18th St. NW. (202) 450-2917. Phora. 8 p.m. $11–$80. songbyrddc.com.

gospEl

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Hillsong, Free. 7 p.m. $22.95–$99.95. fillmoresilverspring.com.

Jazz

gyPsy sally’s 3401 K St. NW. (202) 333-7700. Moogatu, LITZ. 8 p.m. $10–$12. gypsysallys.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Poncho Sanchez. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

the haMilton 600 14th St. NW. (202) 787-1000. Particle. 7:30 p.m. $12–$17. thehamiltondc.com.

twins Jazz 1344 U St. NW. (202) 234-0072. Twins Jazz Orchestra. 10:30 p.m. $22. twinsjazz.com.

DOORSAT 7PM,SHOWAT 8:30PM J U LY 1 5 T H

JUSTASS LEAGUEVS. XXX MEN:DCVS.MARVEL BURLESQUETRIBUTE

PRESENTED BY MAKI ROLLE’S CHOP SHOP DOORSAT 8PM,SHOWAT 9PM

W/SPECIAL GUEST GORDON CHAMBERS

F 28 SUTTLE S 29 SUGAR BEAR’S BIRTHDAY

J U LY 1 6 T H

SCIENCE COMEDY

CELEBRATION W/ EU

PRESENTED BY KASHA PATEL DOORSAT 6PM,SHOWAT 7PM

SU 30 SECRET SOCIETY AU G U S T W 2 GENO MARRIOTT &

J U LY 1 7 T H

DISTRICTTRIVIA AT 7:30PM COMICSAND COCKTAILS

THE SPIRIT OF JAZZ

TH 3

GIRLFRIEND IN A COMA & N.E.W. ATHENS

D&D & KARLA PRODUCTIONS PRESENTS

wolf traP filene center 1551 Trap Road, Vienna. (703) 255-1900. The Moody Blues. 8 p.m. $45–$115. wolftrap.org.

caBarEt

J U LY 1 4 T H

BROKEN DIAMONDS COMEDY COMPETITION

SU 6

SPONSORED BY FANTOM COMICS,6:30PM J U LY 1 8 T H

CAPITAL LAUGHS

FREE OPEN MIC COMEDYAT 8:30PM J U LY 1 9 T H

OBANFEST CELEBRATING 15TH ANNIVERSARY A DRAG SALUTE TO DIVAS : DREAMGIRLS TWISTED (3/8PM)

DISTRICTTRIVIA AT 7:30PM SMASHED:A FREE NERDYAND DIRTY COMEDYAND STORYTELLING DOORSAT 7PM,SHOWAT 8PM J U LY 2 0 T H

CHRISTMAS INJULY BEERTAPPING

JUST ANNOUNCED! FRI, 8/25 ROOT BOY SLIM

J U LY 2 1 S T

ALL STARS

THE DCWEIRDO SHOW DOORSAT 8PM,SHOWAT 9PM

http://igg.me/at/bethesdablues

J U LY 2 2 N D

7719 Wisconsin Ave., Bethesda, MD

THE CHEEKY MONKEY SIDESHOW

(240) 330-4500

www. BethesdaBluesJazz.com

DOORSAT 8PM,SHOWAT 9PM

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

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

washingtoncitypaper.com july 14, 2017 39

Vienna. To July 19 $25–$75. (703) 255-1900. wolftrap.org.

LIVE

CITY LIGHTS: WEdnEsday

UPCOMING PERFORMANCES

LES NUBIANS

night seasons A 93-year-old woman reflects on her long life, wondering if outliving her family and friends is a punishment or a gift, in this Horton Foote drama directed by Jack Sbarbori. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To Aug. 13 $15–$30. (301) 816-1023. quotidiantheatre.org.

UP CLOSE & PERSONAL TOUR

W/ SAHEL

FRIDAY JULY

an octoroon Woolly Mammoth reunites the cast and creative team of Branden Jacobs-Jenkins’ spin on 19th century racial melodrama, which first showed at the theater in 2016. As the drama unfurls, a white man falls in love with the part-black owner of the estate, a swindler tries to win the man for himself, and the whole property might be foreclosed on. Woolly Mammoth Theatre. 641 D St. NW. To Aug. 6 $20–$74. (202) 393-3939. woollymammoth.net.

TOWN

MOUNTAIN

and

I DRAW SLOW SATURDAY JULY

the originalist Arena Stage brings back this drama about late Supreme Court Justice Antonin Scalia, as he mentors a young, liberal clerk working in his office. Directed by Molly Smith, this production once again stars local favorite Edward Gero. Arena Stage. 1101 6th St. SW. To Aug. 6 $66–$101. (202) 488-3300. arenastage.org.

THURS, JULY 20

PARTICLE

FRI, JULY 21

rodgers & haMMerstein’s the king and i The touring production of the award-winning musical tells the story of Anna Leonowens and the king of Siam and the relationship that developed between them when she was hired to teach his wives and children about the western world. Kennedy Center Opera House. 2700 F St. NW. To Aug. 20 $49–$159. (202) 467-4600. kennedy-center.org.

LARRY CAMPBELL & TERESA WILLIAMS SAT, JULY 22

SONNY LANDRETH

W/ SPECIAL GUEST TORONZO CANNON SUN, JULY 23

THE STEPPIN STONES TUES, JULY 25

OKKERVIL RIVER W/ JESSE HALE MOORE THURS, JULY 27

PETER HIMMELMAN FRI, JULY 28

AN EVENING WITH

LIVE AT THE FILLMORE THE DEFINITIVE TRIBUTE TO

THE ORIGINAL ALLMAN BROTHERS BAND SAT, JULY 29

daVid dalEy

Constructing voting districts to favor one party over another has been around as long as politicians have been responsible for drawing their own districts. David Daley’s new book, Ratf *cked, focuses on the most recent and most successful gerrymanders, 2010’s Redistricting Majority Project or REDMAP. Population growth and demographic shifts will always eventually render any gerrymandered advantage moot, but Daley, former editor in chief of Salon, shows that the districts that resulted from REDMAP are holding strong and leading to large and impactful advantages for the GOP. Daley takes it beyond math and funny shapes by actually driving the borders of these districts and showing how they carve up communities. He speaks to the mapmakers and shows that the fatal flaw in redistricting is human. The lasting impression, if you’re a progressive or lover of fair and equal elections, is frustration at just how easy it was and how unprepared Democrats were and, perhaps, continue to be. Ratf *cked should be required reading for any person participating in a democracy. David Daley reads at 6:30 p.m. at Kramerbooks, 1517 Connecticut Ave. NW. Free. (202) 387-1400. kramers.com. —Justin Weber

AN EVENING WITH InGRATITUDE:

A TRIBUTE TO EARTH, WIND, & FIRE chronicling the District’s chronic homelessness problem. June 16 to Aug. 5.

SUN, JULY 30

ENTER THE HAGGIS TUES, AUG 1

LIVE DEAD ’69 W/ HOLLY BOWLING WED, AUG 2

MIDNIGHT NORTH

W/ HOLLY BOWLING

THURS, AUG 3

CRIS JACOBS, JOHN GINTY & FRIENDS FRI, AUG 4

HONEY ISLAND SWAMP BAND

THEHAMILTONDC.COM

the Mark of cain Synetic Theater presents another original production, this one designed to tell the story of human history from the perspective of Cain, the world’s first recorded criminal. Directed and conceived by Paata Tsikurishvili, this blood drenched drama forces audiences to determine who is guilty in each situation. Synetic Theater at Crystal City. 1800 South Bell St. , Arlington. To Aug. 13 $10–$60. (866) 811-4111. synetictheater.org.

Galleries

heMPhill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. Ongoing: “35 Days.” Hemphill’s latest exhibit focuses on the contributions of local artists, featuring pieces from a diverse ensemble that includes Sam Gilliam, Thomas Downey, and William Christenberry. June 24 to Aug. 11. honfleur gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Ongoing: “11th Annual East of the River Exhibition.” Artists Asha Elana Casey, Sheila Crider, and Amber Robles-Gordon present multimedia pieces based around themes of spirituality, identity, and repetition at this exhibition sponsored by the Anacostia BID and 11th Street Bridge Park. June 16 to Aug. 5. vivid solutions gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Ongoing: “City Under Siege.” For his first solo show, photographer Vincent Brown presents a series of images

40 july 14, 2017 washingtoncitypaper.com

Theater

the sound of Music Local favorite Nicholas Rodriguez stars as Captain Von Trapp in this touring production of the beloved musical that includes classic songs like “Do-Re-Mi,” “Edelweiss,” and “Climb Every Mountain.” Kennedy Center Opera House. 2700 F St. NW. To July 16 $49–$169. (202) 467-4600. kennedy-center.org. wig out! In this boy-meets-boy tale, a chance meeting on the subway takes a man into the underground world of drag ball culture. Written by Tarell Alvin McCraney, co-writer of Moonlight, this warm drama about finding your community incorporates the influences of Jay-Z, Ovid, and Destiny’s Child. Studio Theatre. 1501 14th St. NW. To Aug. 6 $20–$54. (202) 3323300. studiotheatre.org.

Film

the B-side Acclaimed documentary director Errol Morris focuses on photographer Elsa Dorfman, one of the last artists creating portraits using 20x24 instant film, in this new film. (See washingtoncitypaper.com for venue information) city of ghosts This new documentary follows the work of activists who ban together when their homeland is overtaken by ISIS and risk their lives to share news with the rest of the world. Directed by Matthew Heineman. (See washingtoncitypaper.com for venue information)

caBaret The classic musical set in a Weimar Germany nightclub returns to the Kennedy Center to celebrate the 50th anniversary of the Roundabout Theater Company, which produced this revival. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Aug. 6 $59–$149. (202) 467-4600. kennedy-center.org.

a ghost story After dying suddenly, a man returns to his suburban home to try and connect with his grieving wife. David Lowery writes and directs this intricate rumination on death, grief, and what we leave behind. (See washingtoncitypaper.com for venue information)

caPital fringe festival The long-running arts festival sets up in locations around the H Street Corridor for another summer, presenting plays about everything from the occupation of Gaza to author Dorothy Parker. Logan Fringe Arts Space. 1358 Florida Ave. NE. To July 30 $17. (202) 737-7230. capitalfringe.org.

the Journey The complex relationship between Northern Irish enemies Ian Paisley of the Democratic Unionist Party and Martin McGuinness of Sinn Fein is chronicled in this intense drama from director Nick Hamm. (See washingtoncitypaper.com for venue information)

MaMMa Mia! The popular musical about a bride-tobe who searches for her biological father while singing the songs of ABBA bids farewell to audiences with a final tour. Wolf Trap Filene Center. 1551 Trap Road,

sPider-Man: hoMecoMing In the latest iteration of the Spider-Man series, young Peter Parker tries to balance his obligations as a high school student and as a crime fighter as a new enemy emerges. Starring Tom Holland, Michael Keaton, and Robert

CITY LIGHTS: thursday

Luce Unplugged COMMUNITY SHOWCASE | Friday, July 14, 6–8 p.m.

Explore thousands of artworks while listening to DC’s Escape-ism and the Irreversible Entanglements. Free tasting with Port City Brewing, additional beer, wine, and snacks available at the bar. Presented with the Washington City Paper. 8th and G Streets, NW | Washington DC | AmericanArt.si.edu

O U R C U S T O M E R S H AV E R E TA I N E D

independence, grace JanE krakoWski and tituss BurgEss

Tituss Burgess and Jane Krakowski have memorably paired up on the set of Unbreakable Kimmy Schmidt, playing the unquenchable primadonna Titus Andromedon and confused socialite Jacqueline Voorhees. Now the two are reuniting for a night of comedy and music with the NSO Pops. If you’ve spent any time watching them steal scenes from Ellie Kemper, or if you’re a fan of Krakowski’s breakout role as Jenna Maroney on 30 Rock, you already know that the pair have some serious vocal chops. Although their characters are insecure wannabe stars who will break into song if given half a chance, these Broadway vets are likely to take on songs with a bit more heft than Jenna’s signature song, “Muffin Top.” At an appearance in New York this past spring, they surprised an audience full of musical theater nerds with a reenactment of Judy Garland and Barbra Streisand’s classic duet, “Get Happy”/“Happy Days Are Here Again” after Burgess delivered a bold take on “Poor Unfortunate Souls” from The Little Mermaid. Expect the kind of diva showdown of which their signature characters could only dream. Jane Krakowski and Tituss Burgess perform at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $29–$99. (202) 467-4600. kennedy-center.org. —Anya van Wagtendonk Downey Jr. (See washingtoncitypaper.com for venue information)

Steve Zahn. (See washingtoncitypaper.com for venue information)

war for the Planet of the aPes In this third entry in the Planet of the Apes reboot, humans and apes have spent the past three years in conflict and prepare for a final confrontation that will determine both of their fates. Starring Woody Harrelson, Amiah Miller, and the animated bodies of Andy Serkis and

wish uPon When a teenage girl receives a magical music box that grants her wishes, she think it’s the greatest thing she’s ever owned until she realizes that it comes with deathly consequences. Ryan Phillippe and Joey King star in this thriller from director John R. Leonetti. (See washingtoncitypaper.com for venue information)

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Classified Ads Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office: 734 15th Street, NW Suite 400 Washington, D.C. 20005. Commercial Ads rates start at $20 for up to 6 lines in print and online; additional print lines start at $2.50/ line (vary by section). Your print ad placement will include web placement plus up to 10 photos online. Premium options available for both print and web may vary.

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Legals CITY ARTS & PREP PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS City Arts and Prep seeks proposals for “Chief Operation Offi cer” (COO). Prospective vendors shall submit one electronic submission via email. Proposals shall be received no later than 5:00 pm, Tuesday, July 18, 2017. For full RFP and to submit proposals please email bids@cityartspcs. org. NOTICE OF REQUEST FOR PROPOSALS Thurgood Marshall Academy seeks temp agencies to provide substitute teachers or aides. RFP on the Employment Opportunities page of www.thurgoodmarshallacademy.org. Bids (file size less than 5MB) due to dschlossman@ tmapchs.org by 7/27/2017.

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Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm. You may contact the Classifieds Rep by e-mailing classifieds@washingtoncitypaper. com or calling 202-650-6926. For more information please visit www.washingtoncitypaper.com

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Rooms for Rent Fully furnished apartment for rent in Brentwood, MD. Blocks outside of NE DC, easy access to West Hyattsville metro (green line), bus to Rhode Island metro (red line), and University of Maryland. Utilities included for $690/month WiFi and cable ready Call Linda 240-893-2929 or email lindajeune10@gmail.com Fully furnished room for rent in Brentwood, MD. Blocks outside of NE DC, easy access to West Hyattsville metro (green line), bus to Rhode Island metro (red line), and University of Maryland. Utilities included for $675/month WiFi and cable ready Call Linda 240-893-2929 or email lindajeune10@gmail.com Capitol Hill Living: Furnished Rooms for short-term and longterm rental for $1,100! Near Metro, major bus lines and Union Station - visit website for details www.TheCurryEstate.com

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Comic Book & Sports Card Show SUNDAY JULY 23 10am-3pm, the Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 will be full of dealers selling their collectibles such as: Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards from the 1880’s to the present and Magic and Pokemon cards too, POP and other Toys, and Hobby Supplies for all your collecting needs PLUS Sports Cards-vintage to the present : Baseball, Football, Basketball and Hockey and sports collectibles and memorabilia of all types. Easy Access and Free Parking shoffpromotions.com

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