Washington City Paper (July 22, 2016)

CITYPAPER Washington

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By Andrew Giambrone Photos by Darrow Montgomery

4 Chatter DistriCt Line 6 8 9 15

Unobstructed View Savage Love Gear Prudence Buy D.C.

D.C. FeeD

17 Young & Hungry: The rise of the hobby jobby 19 Grazer: What you need to know about D.C.’s new cidery 19 Are You Gonna Eat That? The Commodore Public House & Kitchen’s County Fair Poutine 19 Underserved: Radiator’s Pedro Does Provence

arts

21 Trust Fall: Dance Place’s programs serve at-risk kids. Will D.C. continue to fund them?

25 Arts Desk: Another edition of Rank & Groove 25 One Track Mind: New Maryland Haitian konpa singing quartet Fa Wouch gets groovy on “I Feel Something.”

26 Sketches: Capps on “Dawn Black: fount of florid reluctance” and Devine on “Strange Landscapes” 27 Short Subjects: Gittell on Norman Lear: Just Another Version of You 28 Film: Olszewski on Absolutely Fabulous: The Movie and Equals

29 Speed Reads: Morrissey on Body Split: When Tongue Was Muscle / I Wanted Just To Be Soft 30 Discography: Kelly on Technophobia’s Flicker Out and Trombly on Pure Disgust’s self-titled debut

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City List

33 City Lights: Digable Planets, the original purveyors of hip-hop/jazz-fusion, comes to the 9:30 Club.

33 Music 39 Books 39 Galleries 40 Dance 40 Theater 41 Film

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42 CLassiFieDs Diversions 43 Crossword

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CHATTER Pup Piece Panned

In which reader comments go to the dogs

Darrow MontgoMery

There are The sweet, docile dog people, and then there are, well, the bitchy ones. Totally unrelated, Tyrusmanuel wasn’t so sanguine about our July 15 piece, “The Last Pupper,” about dining al fresco with pets, writing that “D.C. in general” is “very unfriendly toward dogs.” And he took issue with Andrew Giambrone’s depiction of D.C.’s growing dog parent community as “pet-loving yuppies and DINKs” (dual-income, no kids). “Was that really necessary?” he asked. But we got nothing but love from Wee Wee, the adorable 6-month-old rescue pig we pictured on last week’s cover. He—or perhaps a surrogate with opposable thumbs—is apparently grateful for the coverage, posting on his Facebook page (where he’s characterized as a “public figure”) a “big thanks” to Sarah Anne Hughes and City Paper photographer Darrow Montgomery. (At last count, that post had 482 likes.) Meanwhile, our own Emily Q. Hazzard has apparently put a feather in her cap with her “Gotta Hatch ’Em All” piece about the area’s khaki-vest-and-binocular birding brigade. @BirdingDC and others tweeted “great article” props (but were silent on Hazzard’s copious Pokemon Go references). Eater DC described Jessica Sidman’s July 15 farewell Young & Hungry column, “Meal Talk,” as a “must-read essay,” and OneMorrow penned appreciation for her unvarnished candor. “Your comments on the PR machine in DC are much needed and I encourage someone to write a more in depth look into this world. I’d love to know which DC restaurants, like Rose’s, that succeed on pure quality and those that throw money at PR firms.” Finally, in response to Matt Terl’s column arguing that Pigskins QB Kirk Cousins should be signed to a long-term deal, dblues56 wrote, “Repeat after me: K I R K C O U S I N S. Really? This is the best you guys can do? Mediocre QB at best. He will play just good enough to raise hopes then crush expectations.” Hey, sometimes you gotta throw long.

—Liz Garrigan Department of Corrections: “Gotta Catch ’Em All” (June 15) misstated the location of a vulture nest. It’s located at 11th and K streets NW, not 15th and K streets NW. Want to see your name in bold on this page? Send letters, gripes, clarification, or praise to editor@washingtoncitypaper.com.

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Get your Real Deal at realdeal.washingtoncitypaper.com 6 july 22, 2016 washingtoncitypaper.com

VIEW Are We Not Men? We Are Divas!

By Matt Terl Because City PaPer doesn’t use the local NFL team’s name, and because I find the styleguide-approved “Pigskins” substitute pretty silly, I tend to try to find other ways to refer to the local professional football franchise, such as “the local professional football franchise.”

But that’s neither fair nor precise. The local Arena Football League team, newly christened the Washington Valor, is professional.

But even before it showed up, there was another professional football team in town, wearing a version of the burgundy and gold… and actually winning playoff games.

The D.C. Divas went undefeated through the 2015 season and postseason, ultimately beating the Dallas Elite to claim the Women’s Football Alliance championship. The 2016 season hasn’t been quite as impressive, as the team has only won almost all its games as it heads into its second straight championship. Its only loss was to the Elite, in the season opener, and the teams play again for the championship on Saturday.

Veteran Divas’ QB Allyson Hamlin stepped up her performance in the postseason, completing 67 percent of her passes for 331 yards with six touchdowns and no interceptions. Given that she’s 39, these are the sort of late-career heroics that would inspire long, nauseating sonnets by ESPN’s talking heads—if, y’know, it were being done by a Peyton Manning or a Brett Favre.

I’d like to excoriate the general sports-watching public for ignoring this impressive, sustained period of dominance from a local team.

I’d like to point out that maybe when we panic about the endless curse on D.C. sports, we should pay more attention to things like this.

I’d like to triumphantly hold up the Divas as a cure for the relentless self-loathing and misery for which local fans are so often known.

But I can’t really do any of that, because I’ve never seen them play myself. And I really have no explanation for why.

By all accounts, this should be right in my wheelhouse: I like smaller-scale sporting events, where I can enjoy the game without the relentless are-you-not-entertained!? flop sweat you get at the major league level. I have a daughter who is mildly interested in men’s pro sports but will always make time to watch if there’s a women’s game on. I like D.C. sports, and I like football, and I also like teams that

win consistently and largely without drama, and it’s been tough to find that combination in this town for the last decade or so.

So why don’t I watch?

Part of it is the weird consensus reality of sports. The example I always fall back on are NFL preseason games, which we have all agreed are “meaningless” in contrast to regular season games, which we all know are “meaningful.”

But it scales up to all sports. NFL football, MLB baseball, NBA basketball, NHL hockey, top-level college sports… these are “real sports.” Golf and tennis are “real” if the right people are playing. Horse racing is real three times a year, even though I imagine there is actually very little concrete difference between the horses in those three races and the thousands of other ponies that are run year-round. So there’s that.

Part of it, though, makes me think about Ghostbusters.

A primer, for those of you lucky enough not to live on social media: When a Ghostbusters remake was announced with women in the lead roles, a bunch of whiny, scared, insecure males started making loud, frightened shrieking noises, which continued through the entire production and into the opening weekend. I do not agree with those people, at all. I think they are pretty much the worst.

But I can’t help but notice: I follow the local NFL squad closely. I plan to attend at least a couple of Valor games as soon as the team hits town. I have never seen the Divas. And, when I’m being honest with myself, I am terrified that somehow, for some reason, I’m subconsciously acting on the same horrible, Ghostbusters-y idea that women’s football isn’t “real” football.

I don’t consciously think that way. I don’t want to think that way. But I really can’t shake the feeling that the main difference between the Divas and the Valor isn’t that one team plays indoors.

There’s only one thing I can do about it at this point. It’s not much, and I can—and plan to—try to do more next season. But the Divas’ last game this year is Saturday’s championship. It’s in Pittsburgh, too far for me to attend on short notice, but it is being streamed on ESPN3. So what I will do is simple: I’m going to watch it, and I’m going to root for the D.C. squad to win the championship. Because that’s what I’d do for a “real” football game, and that’s what this is.

CP Follow Matt Terl on Twitter @Matt_Terl.

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SAVAGELOVE

I’m sorry if my English is bad. I’m writing from Germany, where I am being heartbroken and not knowing how to go on. I’ve been seeing a guy for a couple of months and slowly falling in love with him. “Peter” has always been very open to me about himself, his failed relationships, and his commitment issues. He talks frequently about his ex-boyfriend from five years ago and how being left created a deep fear of being left once again.

He also had a relationship that ended a year ago.

Yesterday he told me he’s still in love with the guy from one year ago but that his love is unrequited. He also told me that he values what we have but he can’t stop loving this other guy. And he can’t promise me that this will change. I am in love and heartbroken at the same time, hopeful and fearful, and unable to get up for the last couple of days. Deep down, I fear I will get hurt. I already am hurt. I’m falling for someone who’s not able to love me back, who’s stuck in the past, but who wishes to change that to let me into his life.

Should I stay and wait for Peter to get better, even if it hurts to know he’s in love with someone other than me? Or should I leave him as so many others have and hurt him?

–Healing Erotic Love Problem Means Everything Peter could be lying to you.

That’s probably not what you wanted or expected to hear, HELPME, and you’ll find some more hopeful/less cynical advice further down, I promise. But when a guy with “commitment issues” tells you he’s struggling with the emotional fallout of a relationship that ended five years ago and is still hopelessly in love with someone he hasn’t seen for a year… you have to entertain the possibility that he could be lying to you.

You always have to entertain that possibility—with new loves, old loves, blue loves.

When someone tells us they have “commitment issues,” we’re primed to hear this: “This boy is incapable of committing until healed (by a therapist, by a new love, by the passage of time).” But sometimes what they mean is this: “I have no interest in committing—not to you, not to anyone, not now, not ever.” But instead of owning up to that (because people who want to remain single are viewed as damaged?) or telling you he’s not seeking anything serious (because you might leave him, and he’s not done with your ass?), Peter invents/inflates a pair of past loves that render him incapable of loving you the way you deserve to be loved and blah blah blah and off the hook. Not a childman who won’t commit, but a victim who would commit if he could commit but—sob!— he can’t commit.

But, hey, maybe he’s telling you the truth.

Maybe he’s in love with Mr. One Year Ago. So tell him he can love you and love the other guy at the same time. Established gay throuples, stable straight poly quads, bi men with GFs

and BFs, married lesbians who U-Hauled an adorable baby dyke—there are examples everywhere you look these days of people in love with more than one romantic partner. I don’t see why a person can’t be in love with someone and still be in love with an ex—think of it as a sort of semi-posthumous/semi-poly relationship. You’ll be pioneers.

Give Peter permission to love his ex (pathetically and abstractly) while loving you too (intimately and tactilely), HELPME, and you might be able to love a commitment out of him.

–Dan Savage

Repeat after me: “My sister might be able to forgive her husband for sucking a dick, but she’ll never forgive him—or me—if that dick is mine.”

I’m a gay male in my late 20s. My little sister’s husband, “Peter,” is my age and bisexual. I’m not one of those gay men who think bi guys don’t exist. And I know bi guys are just as capable of being monogamous as other guys—which isn’t that comforting when you think about it—and I don’t have a problem with my bi brother-in-law being bi. More importantly, my sister doesn’t have a problem with it. But whenever I’m alone with Peter, however briefly, he starts telling me how much he misses dick. He wants to hear about the last “really great dick” I sucked and tells me he misses sucking dick. I smile and say dick is great for sure and make a halfhearted attempt to change the subject. The last time it happened was after my grandfather’s funeral.

I’m pretty sure Peter wants to suck my dick, and I’m tempted to let him. I know it’s a bad idea, but Peter is hot. This is torture. What should I do?

–Boy Is Lost Stop smiling, work harder to change the sub-

ject, avoid being alone in a room with Peter, and repeat after me: “My sister might be able to forgive her husband for sucking a dick, but she’ll never forgive him—or me—if that dick is mine.”

–Dan I’m a gay guy in an open relationship and I’m on Recon, a gay hookup/dating site for guys into leather/fetish/BDSM. My partner, who isn’t kinky, knows I have a profile there and it’s not a problem. Today I got a message from a new guy, and when we exchanged face pics, I saw that he looks exactly like “Peter,” my boyfriend’s best friend’s fiancé! I asked him if that was him, and he stopped responding. What should I do? My BF doesn’t want to know much about my extracurricular activities, but this could make our next double date extremely awkward. We see this other couple a fair amount, and even though I think this guy is good-looking, I would never sleep with him because of the social situation. On the other hand, if I’m wrong and they’re not the same person, bringing it up with them could make things awkward, especially since I’m pretty secretive about my kinks and have zero desire to discuss them with my BF’s friends.

–Requires Educated Consultation On Next Step

P.S. Additional information that might be relevant: Our engaged friends aren’t having sex, we’ve been told, and they’re making no moves toward actually planning a wedding.

Going silent after you asked, “Is that you, Peter?!?” is a pretty good indication that it was indeed Peter you were talking to. But while you know Peter was on Recon, RECONS, you don’t know exactly what he was doing there. Maybe he goes online to fantasize, swap pics, and jack off. Maybe Peter is on Recon with his fiancé’s blessing, just as you’re on Recon with your partner’s blessing (but, like you, he’s not comfortable discussing his kinks with friends).

Maybe their relationship/engagement is on the verge of collapse and your partner’s best friend’s fiancé is trying to line up a new relationship before pulling the plug on the one he’s in now.

Since you don’t know what’s going on in their relationship, RECONS, keep your mouth shut and refrain from making assumptions or judgments. And the next time you have to interact with Peter and his fiancé socially, slap a smile on your face and talk about the weather, the election, the estrogen-enhanced, better-than-the-original Ghostbusters reboot, the new season of Difficult People, Zika, the Olympics—basically anything other than Recon, kinks, and wedding plans.

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

Gear Prudence Gear Prudence: Cyclists love to cruise slowly toward red lights if they think it might turn green by the time they reach it. That way they never have to come to a complete stop. But shouldn’t there be a limit? If you’re 100 feet from the light and there are other people behind you, I think it’s rude to intentionally go as slow as possible. Prepare to get passive-aggressively passed. That’s OK, right?

—Go, Lingerer! I Demand Effort Dear GLIDE: Sure, pass away! Think of all the things you can do while you’re waiting at the red light with your foot down instead of casually cruising towards the intersection. You could sip some coffee, check your work email, examine your shoes for scuff marks, or tackle the big philosophical questions in life, like why prigs are constitutionally incapable of enjoying the simple pleasure of slowly gliding on a bicycle.

Pass if you must, but GP is with the laggards.

Why rush just to stop a hundred feet hence? It’s not like you’re getting there any faster. You’ll wait at the red light, and as it turns green and you push off, you’ll be passed by the chill rider.

Just imagine how frustrated you’ll feel then. But more than that, it’s not a race, so why not just sit back, relax, and enjoy? Oh, because Type-A D.C. nutjobs are incapable of relaxing for even the scant few seconds it takes to slowly roll to a green light and must instead make something as leisurely as a bike ride into some kind of fraught competition? Yes, there’s that. —GP

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Gear Prudence: It’s summer and it’s hot. I’m still biking to work and while I’m OK with the sweat, I’m experiencing certain maladies “down there” that are extremely uncomfortable. Without getting too graphic, let’s just say that it gets pretty tender and really, really hurts sometimes. Is this just a thing that’s going to happen if I keep biking in the summer heat?

—Seeking Obvious Remedy [Explicit] Dear SORE: It’s something that happens and can happen quite a lot, but fear not: Saddle sores needn’t bedevil you permanently or scare you away from the bike for the remainder of the summer. There’s no one solution to discomfort in your nether region, but there are certainly some things that you should consider if you wish to alleviate your issues. After all, cleanliness is next to godliness, so, you know, bathe occasionally. Also, think about your fabric choices. Cotton, for example, is bad. You might want to consider adjusting your seat—your bike seat—for height, horizontal placement, and its pitch. If you’re going long distances, there are chamois creams you can apply in advance to reduce friction. And finally, if things are really bad, take some time off of the bike. Seriously.

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By Andrew Giambrone RighT befoRe The world went dark, David thought it was all going to end.

The native Washingtonian had gotten high at a friend’s house with prescription painkillers and a street drug containing opioids. It wasn’t his first time: Now in his 50s, David started using narcotics recreationally when he was a senior at Dunbar High School. But the blend of substances he took a couple months ago produced a stronger effect than any marijuana, heroin, or methamphetamine he’d ever used.

“It was one of the scariest moments in my life because I never overdosed before,” says the Northwest resident, who asked to be identified only by his first name. “I never went out like that, and I’ve been using for a long time— over 25 years. I was unaware of my surroundings, I was incoherent, I didn’t know my head from my tail.”

“But,” he adds, “when they shot me with that Narcan, it brought me back to reality.”

David is referring to the brand name of a wonder drug whose chemical name is naloxone. An antidote or “antagonist,” it binds to opioid receptors in the brain, effectively blocking the effects of drugs like morphine and Oxycodone, which can depress respiration or shut down a person’s central nervous system. While naloxone may lead to withdrawals in users who are physically dependent on opioids, it has no risk of abuse itself.

Since his scare, David has participated in a pilot program the D.C. Department of Health quietly launched in April. Through it, he’s been given two naloxone doses that he stores in a “safe place” at home and occasionally keeps in his shoulderbag. “It’s quite handy: easy to carry, and to use,” he explains of the device used to administer the drug, both manufactured by Adapt Pharma. Were he to use opioids and feel a loss of consciousness coming, David could shoot the spray into one of his nostrils, and it would work within a minute, if properly done.

He could also administer it to someone else at risk of an overdose.

“I haven’t had to, thank goodness, but I know the fentanyl is on the streets,” David says, alluding to a synthetic drug that resembles heroin but can be up to 50 times more potent. Suppliers have increasingly adulterated dope with fentanyl in the past few years, unbeknownst to buyers down the distribution chain. That’s resulted in more opioid overdoses, even among experienced users.

Already, though, DOH’s potentially lifesaving pilot program appears to be a victim of its own success. On June 21 (after just two months), HIPS—a community-health nonprofit based on H Street NE—ran out of their supply of the antidote, which DOH had provided for free. This year, as fatal opioid overdoses are on course to exceed numbers from previous years, clients asking for intranasal naloxone are being told to wait. Despite the nonprofit requesting more during the third week of May and the first half of June, DOH didn’t confirm that it had initiated a resupply until June 13. Even then, HIPS staffers note, the details regarding when it would arrive were hazy.

“We were very frustrated by the holdup of getting naloxone into the hands of people where it can save their lives,” says Cyndee Clay, HIPS’ executive director. “We’re grateful for what [the government] has done, but we’re frustrated by the inability to make [the drug] easier to access.”

NaloxoNe has beeN around for almost as long as David has. Pharmacologists developed it in the 1960s, when a heroin epidemic hit U.S. cities hard, and users frequently ended up in emergency rooms. The antidote can enter the body in three main ways: intravenously, intramuscularly (with a needle or an autoinjector), or intranasally (with a spray). Its price has jumped amid a rash of opioid deaths.

Nationally, more than 28,000 people died from opioid abuse in 2014—a record, according to the Centers for Disease Control and

10 july 22, 2016 washingtoncitypaper.com

Prevention, and an increase of 14 percent from the year before. Deaths from opioid overdoses have quadrupled since 2000, and those stemming from heroin (in excess of 10,500) have tripled since 2010. In some places like Austin, Ind., which saw a rash of HIV infections last year, the abuse of prescription drugs has precipitated more prevalent syringe use.

In the District, new data from the Office of the Chief Medical Examiner shows that there were 83 opioid-related overdoses in 2014, 114 in 2015 (an increase of roughly 40 percent), and 47 in the first four months of 2016 alone.

March was especially pernicious: With 18 fatal overdoses, it was the deadliest month in five years.

David, who worked from age 16 until last year, is one face of D.C.’s opioid problem.

Based on a 65-day surveillance period conducted in 2015, the majority of the city’s heroin users are older than 50, with men outnumbering women four to one. Eighty percent of those studied were black, 15 percent white, and two percent Hispanic. One in five were recorded as having no fixed address, suggesting they were experiencing homelessness or unstable housing situations.

OCME’s stats, which cover Jan. 1, 2014 to April 30, 2016, indicate that Wards 7 and 8 have been disproportionately affected by overdoses, followed by Wards 5, 6, and 4. Ward 8 residents saw at least 50 drug deaths during that period.

“That paints a bit of a picture for you of who we’re talking about,” says Kaitlyn Boecker, an analyst at the Drug Policy Alliance, which has a D.C. office. “Frankly, it also paints a picture about why there haven’t been larger cries [for reform]. We need to take this problem seriously no matter who’s affected.”

Like many others who have overdosed, David believes his life was saved “in the nick of time.” The friend he’d taken drugs with immediately called for an ambulance when David passed out, allowing him to get treatment

at Prince George’s Hospital Center. D.C.’s “good samaritan” laws protect overdose witnesses with limited legal liability so they will be more likely to report emergencies.

Others haven’t been as fortunate. David says he knows at least 15 people who died this year from opioid overdoses, some involving fentanyl. He’s attended about 10 funerals so far in 2016.

“I was very close with several of them,” he says. “The last funeral I went to was one of my best friends, Mark, who was 56. It was so sad because they left him to die in an apartment building... It really hurt me so bad.”

ThaT was a little over a month ago. In April, DOH trained employees from HIPS and Family and Medical Counseling Services, which is based in Anacostia, to administer intranasal Narcan to their clients as part of the pilot program. Last year, a coalition of advocacy groups had pressed the department to develop what’s known as a “standing order.” This legal mechanism permits physicians to prescribe naloxone to third parties who are in a position to aid at-risk opioid users.

The rationale behind standing orders is that social service agencies and loved ones often know best when users need immediate medical attention. Emergency responders can be slow to arrive on the scene of an overdose, and the vicissitudes of addiction are such that users don’t reliably seek direct prescriptions from doctors. In 2015, D.C. Fire and Emergency Medical Services treated patients with naloxone 1,737 times, up from 1,523 in 2014. In the first half of 2016, FEMS used it 224 times a month on average, compared to 133 times a month on average in 2015.

Through the pilot, David got his Narcan from HIPS, where he volunteers weekly. Adapt Pharma sells the boxes for $75 per pack to government agencies, school districts, and health nonprofits, based on “public-interest pricing.”

DOH procured 250 boxes (or 500 doses) and

Darrow Montgomery

A sign at HIPS’ base of operations on H Street NE

washingtoncitypaper.com july 22, 2016 11

distributed 125 boxes each—at no cost—to HIPS and FMCS in the spring, explains Travis Gayles, a chief medical officer at DOH. Gayles authorized the necessary standing order for the program, which applies exclusively to these two organizations and only offers intranasal naloxone.

“It’s another frustration that they’re not looking at a standing order that encompasses all types of naloxone,” Clay says. “Injection works for our population, and it’s less expensive [than intranasal].”

According to Andrew Bell, a HIPS manager, the nonprofit’s outreach workers learned in June, by word of mouth, of 33 overdose deaths. But in the period that the group dispensed naloxone via the pilot, they reported more than a dozen successful opioid reversals.

“To say [it] would cause an incentive [for opioid abuse] is a really difficult conversation to have with a mother who just lost her child in an preventable death because [naloxone] wasn’t available,” Bell says.

Drug-related fatalities are often avoidable.

Adam Visconti, a family medicine resident enrolled in a joint Georgetown UniversityProvidence Hospital program, says working with opioid patients convinced him that naloxone was “safe and effective.” Visconti has been dispensing the drug for more than five years— first from his home city of San Francisco and now at a clinic in Maryland. There, a statewide

standing order lets physicians prescribe naloxone to third parties, provided that they are certified under an “overdose response program” introduced in 2014. Because the clinic is right across the border, Visconti encounters many Washingtonians.

“After Prince overdosed, I had a lot of people who were like, ‘What’s this naloxone thing?’” he recalls. But he can’t provide it to non-Maryland residents. “It’s unfortunate when I have to tell someone, ‘You live in D.C. as opposed to Maryland.’”

Some doctors are concerned about prescribing medication to people who are not their patients and whom they’ve never seen, Visconti says. But most of the drug’s doses aren’t selfadministered by overdose victims. That’s why Visconti testified in support of a bill proposed in February by Ward 7 Councilmember Yvette Alexander that would carve out liability protections for pharmacists and physicians who prescribe naloxone. Alexander’s Committee on Health and Human Services held a public hearing about the legislation in March but took no action before the Council’s summer recess. Attorney General Karl Racine also testified in favor of the bill.

“I haven’t seen people become more risky from prescribing naloxone,” Visconti says.

“From a humanistic perspective, you can’t help people—and get them better—if they’re dead. You could make the same argument

that wearing bike helmets encourages people to ride more recklessly.”

With six councilmembers provisionally signed on to the proposal, proponents are optimistic it will eventually pass. But a few expressed consternation that DOH seemed unwilling at the time to go all-in on expanding access to naloxone beyond the most at-risk users. “There is no clear evidence that broad availability to untrained individuals is the next necessary step in the District of Columbia,” Michael Kharfen, a senior deputy director at DOH, told lawmakers at the hearing. boeckeR, of The Drug Policy Alliance, characterizes DOH’s apparent timidity toward broadening Narcan availability as “mind-boggling.” She cites a 50-percent jump in naloxone use by D.C. EMTs between 2013 and 2014 as well as the presence of standing orders in most U.S. states as reasons to permit thirdparty prescriptions. More than 130 organizations at 644 sites across the country distributed naloxone kits to 150,000-plus laypeople between 1996 and 2014, according to a 2015 study, leading to at least 26,000 reversals of opioid overdoses.

“DOH could be more innovative and progressive with their adoption of reduction measures,” Boecker says. “And they could treat this as more of an emergency. I have had a feeling the ongoing death of drug users isn’t ris-

ing to the point of an emergency, as it absolutely should.”

In a June report on 2020 health goals, the District ranked “substance use” seventh on a list of 13 priority areas. (It placed “mental health and mental disorders” first, above “injury and violence prevention,” and “access to health services.”) Under this category, it identified drug deaths and hospitalizations as troubling developments. But nowhere in the report is naloxone mentioned.

Gayles says the agency’s pilot is patterned after Massachusetts’ rescue-kit program, noting that each jurisdiction “does it differently,” and D.C.’s epidemic “looks a little different than elsewhere.” He says DOH is restocking naloxone based on the first supply, but this time the agency will “order more kits to keep in-house as backup,” so there isn’t another lapse for its community-based partners.

New provisions procured for HIPS should arrive by the end of July, DOH told the nonprofit last week.

Diane Jones, director of special programs at FMCS, says her group hasn’t run out of intranasal Narcan (a few boxes were left on Monday), though it could soon. “We’re not at panic point yet,” she says, adding that the group is “on target” to meet client needs.

FMCS received its training and kits roughly one month after HIPS did, she says. It’s now tracking successful reversals.

Darrow Montgomery

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Darrow Montgomery

Maurice Abbey-Bey

Both groups were pleased when DOH informed them earlier this month that it was extending the pilot program for another three years, until 2019. Gayles says the decision was driven by the unexpectedly “high demand” for naloxone at its partner sites. “And that’s a good thing,” he notes. “If the word is out in the community, people are getting education on it.”

As the program progresses, Gayles says DOH will analyze best practices, and that the agency remains open to ideas about the best way to dispense naloxone. It’s also considering town-hall-style meetings on opioids and the signs of overdose. The agency is part of a multijurisdictional opioid task force along with OCME, the Metropolitan Police Department, the FBI, and other partners.

But activists worry that the extension of the pilot could stall more robust action, such as bringing other nonprofit and private partners into the fold, or backing needle- and injectoradministered doses. Some are concerned that gaps in supply will persist, despite assurances.

“When we couldn’t receive anymore, it was terrible,” recalls Maurice Abbey-Bey, a D.C. native who supervises the mobile syringe exchange at HIPS. “Deaths. ‘Such-andsuch sister died. You know Mike, that got the three children? He sit on the step and died.

Man, if I woulda had the Narcan, I could’ve saved him. I called the ambulance... but I could’ve saved him.’” if The TReNd in overdoses seen through April endures until the end of the year, 2016 would

surpass 2015 in fatal opioid overdoses. “A lot of mothers wearing black because of this, a lot of funerals,” Abbey-Bey says. “I’ve seen a lot of mothers crying, and it’s not just one group.”

“You can tell there’s a need for them to do more,” his colleague Alvin Wynn explains of the government’s obligation to mitigate the crisis. “[The deaths] are still occurring.”

Gayles acknowledges that overdoses have worsened year-over-year, in part because fentanyl and synthetic cannabinoids have penetrated supply chains. As for the prolonged pilot program’s budget, he says “there’s no monetary value per se,” although DOH has pledged to match needs.

“We have to reconfigure [our initial strategy of targeting those at the highest risk] to reach the most people and make it the most cost-effective,” Gayles says. “What [that] scale-up looks like—we don’t know quite yet, because this is a starting point.”

Asked whether the roll-out of the pilot so far has persuaded officials to issue a statewide standing order, Gayles responds, “I would say there’s no change in the current [DOH] position.”

In the meantime, many relatives and friends of opioid users in D.C. will have to wait. Some are grateful they have access to a drug that can mean the difference between life and death.

David, for one, says he’s “safe” with his supply of naloxone.

“Life is more important than getting high for the moment,” he reflects. “Life is much more important.”

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Hobby Jobby

Nine-to-fivers are picking up part-time restaurant work—but not because they need the money.

By Laura Hayes If a server or food runner drops off plates with an extra serving of exuberance, it could be because they’re a policy wonk, real estate agent, or financial planner whose happy place happens to be the dining room. A growing legion of professionals with day jobs are seeking (and being hired for) entry-level gigs at area restaurants. They’re donning aprons not for supplemental income but because they just want to be a part of a burgeoning dining scene. Many are so dedicated that they have to apply under-eye makeup before scooting to their desks just hours after closing down the bar.

“It’s challenging, but no more challenging than my friends who run marathons or who work very hard in professional organizations,” says Heather Messera, who yearned to be a part of the Rose’s Luxury team after dining there. “It’s just a very intense hobby.”

The 35-year-old started as a hostess in November 2013, when she was between jobs, but has stayed on despite being employed full-time doing policy work for a large nonprofit organization. She now dabbles at the molten-hot Barracks Row spot as a food runner.

“So many jobs in D.C., you’re kind of a cog in a wheel of a big machine, but in the restaurant industry, you have the ability to change someone’s day every five minutes,” Messera says. “That’s why I didn’t quit when I got a fulltime day job. It’s Rose’s, I can’t quit Rose’s.”

She says running food is meaningful because the position bridges kitchen and customer.

Shonna Burgoyne, a 37-year-old who develops financial reports for NASA as a NeoSystems Corp. employee, feels similar warm fuzzies for Kyirisan in Shaw, where she’s a weekend hostess. “I think it’s fun. I get to meet a lot of people and be a part of something—be a part of food, and things like the review,” Burgoyne says of Washington Post critic Tom Sietsema’s recent praise of the restaurant.

Restaurants like Rose’s Luxury and Kyirisan now have rock star status, thanks to social media and the proliferation of chef and bartender worship. Being a loyal diner is no lon-

Stephanie Rudig

Young & hungrY

ger satisfying enough for those who want to be a part of the party. For some, running food or tending bar is like playtime, while others have gotten hooked and left behind significant salaries in favor of full-time restaurant careers. What they have in common is that someone took a chance on them despite the fact that, in many cases, they lacked any relevant work experience.

According to the Restaurant Association

of Metropolitan Washington, one-third of all American workers get their start in the restaurant industry. But for those who pick up shift work for fun, it’s probably been a while since their high school table-bussing days. It’s worth wondering whether restaurants would take the same risk on people without college diplomas or impressive day jobs as they do on hobby jobbies with little to no hospitality experience.

For example, 5 1-year- old M a r g i e MacDonald, a loan production manager and real estate agent, was a pinch hitter during Restaurant Week last summer when Trummer’s on Main was in the weeds. Her son Ian MacDonald is a junior sous chef at the Clifton, Va. restaurant and recommended her to help relieve the overworked team.

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DCFEED let’s start her at the bottom polishing glassware and plates,” says Victoria Trummer, who co-owns the fine dining restaurant. In a year’s time, Margie MacDonald (everyone calls her “Mom”) has climbed the ladder to become dining room captain (think head waiter meets chief schmoozer).

Trummer says MacDonald didn’t receive an unfair advantage. “Degrees don’t mean much when it comes to hospitality,” she says. “We look for and hire on personalities. I think Margie’s experience and degree certainly show in her eloquence and professionalism, but without those qualities she would still have her passion and contagious positivity, which are the most important qualities.”

MacDonald generally begins work at 4:30 p.m.—after putting in at least seven and a half hours at her day job. “I’ll work when I get home from Trummer’s, whatever I need to do to, because I could be having the worst day in the world and then I walk into the restaurant and it’s my happy place,” she says.

Mary Cropper, a 28-year-old support services manager for Youth for Understanding, bartends at City Tap House downtown for kicks. But she’s taken steps to limit her time at the bar by working only Mondays and Thursdays because she’s aware others need the work more than she does. (While the D.C. metropolitan area’s 3.6 percent unemployment rate is well below the national average, there are still people in need of entry-level hospitality jobs.) “I don’t work weekends, and I did that on purpose because there are people where bartending is their full-time job, and those are the most lucrative shifts,” she says. “I bartend for the change of atmosphere.”

But it’s not all laughs with colleagues and reduced-price meals. Derek Brown of Columbia Room, Eat The Rich, Southern Efficiency, and Mockingbird Hill has advised many Washingtonians looking for tips on moonlighting. He’s worked in restaurants since he was 16. “People who do this for a living, we often start out as shiftless losers without a lot of other options,” he says. “I know that sounds damning, but a lot of us start that way.” Now 42, Brown says there are certain realities particular to the industry.

First, he says, the restaurant industry ranks No. 1 for substance abuse. Those who have had trouble controlling drinking or drug use should proceed with caution. “It’s too easy,” he says. “The lifestyle I did live, now I’m a dad and shit, is that of a petit rock star. You’re not praised, but sex, drugs, and alcohol are all over the industry.”

Applicants should also ask themselves whether they’re in a happy relationship and whether one partner supports the other’s de-

sire to work in a bar or restaurant. “Because of the access to alcohol, and because you’re dealing with a bevy of attractive people between 25 and 45 who tend to be good looking, friendly, and flirtatious, that can really fuck up your relationship very quickly,” Brown says. “You have to have physical stamina and impulse control.”

For his part, Brown hesitates to hire people with day jobs because of scheduling. “Our job is in real time, so if that person doesn’t show because of their other job, which becomes a priority since it’s their major means of making money, then all of a sudden everybody’s out,” he says. “There are special people who can do it and still maintain their jobs, but they’re unicorns. When you find them, they can be a great addition to lifers.”

“Lifers” is what he calls career hospitality workers. Sometimes he’ll meet someone and know they’re a “lifer” before they do. Among them was Lauren Paylor, a 24year-old bartender who rotates between Brown’s 7th Street bars. “She was in nursing school trying to figure it out, and I saw her personality and uniqueness,” Brown says.

“She would have stood out in any job, but she has a beautiful way of connecting with people.” Maketto, Jack Rose Dining Saloon, and Minibar are among other restaurants with at least one former-professionalturned-lifer on staff.

Most who moonlight in the food world do so as bartenders, food runners, or hosts because those jobs enjoy later start times, enabling smoother day-to-night transitions.

But there are exceptions. Carey Russell, for example, maintains a grueling balancing act as co-owner and general manager of forthcoming vegetable-centric restaurant Rooster & Owl, the name of which is a nod to the fact that the 29-year-old rises early to work as associate director of stewardship at Children’s National. Her husband, Yuan Tang, is the owl because he closes down the kitchen late at night.

Russell got her initial taste of the local food scene when she picked up shifts as a hostess at the now-shuttered Rogue 24, where Tang was cooking. Chef RJ Cooper brought her in and convinced her to give it a try. “I wouldn’t have done it if he hadn’t showed me that it’s about picking the right people, so I felt special,” Russell says.

She has advice for those thinking of picking up a hobby jobby. First, show an interest.

“That’s how we got most of our captains—people cold-called us,” she says. “You can really tell who has a passion for it.” Second, be fearless. “You gotta just do it. You’re going to spill a drink on someone, I guarantee it, but it’ll be OK. You’ll learn and get better.”

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

DCFEED Grazer

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Satisfaction level: 4 out of 5. what we’ll eat next week: Le Carnivore sandwich, $15, La Jambe.

Excitement level: 4 out of 5.

Cidery House Rules More Washingtonians will find themselves in front of cider now that Anxo Cidery & Pintxos Bar is open in Truxton Circle. The alcoholic drink, too often regarded as just “beer for the gluten-free crowd,” is often misunderstood. Anxo Beverage Director Tim Prendergast, who both curates the bar’s cider list and makes cider himself, demystifies the drink.

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Are You Gonna Eat That?

the heat. Weiss recommends washing it down with a 3 Stars IPA, which pairs well with salty dishes. While poutine purists may bristle at the liberties taken with this interpretation, this ain’t Quebec. I welcome the chef’s culinary touches to the humble-jumble dish and don’t miss the fries one bit.

Price: $13 What It Is: Chef Travis Weiss raises the poutine bar by swapping in a savory potato funnel cake for the traditional French fry foundation. The funnel cake itself stands out because it’s flavored with Right Proper beer, dry mustard, and Tabasco sauce. Weiss also adds potato starch for crunch and buttermilk for lightness before frying it in pieces instead of in one big disk, making it easier to eat than the state fair original. It comes topped with Virginia white cheddar cheese curds, duck confit, mushroom-brandy cream sauce, and arugula.

The best cocktail you’re not ordering

Where: Radiator, 1430 Rhode Island Ave. NW

It’s not beer.

Cider is almost exactly like wine, except that it’s made with apples instead of grapes. “Part of the problem is the majority of cider consumed in this country is packaged and sold like beer,” Prendergast says. Think Angry Orchard or Woodchuck being sold in 12 oz. bottles, or cider poured on draft at a beer bar. “In the rest of the world, it’s consumed more like wine in 750 ml bottles.”

It shouldn’t taste like apples Good cider very rarely tastes like apples. “A lot of the commercial, industrial, processed stuff that uses concentrate and lots of sugar tastes like apples or green apple Jolly Ranchers,” Prendergast says. Finer cider should taste of other fruit, and it should have earthy

UnderServed

savory, but a little heavy for this time of year unless it’s paired with a cold beer on The Commodore’s patio. Diners seem to agree, because the hearty appetizer remains popular despite

The Story: Weiss characterizes poutine as this year’s fried chicken sandwich—at least in D.C. Plus, he’s been toying with adding a savory funnel cake to the menu for a while. “I’d done [a savory blue cheese] funnel cake once for a tasting when I was applying for a job, and it went over really well,” he says. “I always kept it in the back of my mind to do again.” Did he get the job? “Yeah,” he says, laughing. “That’s when I applied for Mad Fox.” —Rina Rapuano

What You Should Be Drinking: The cocktail that gets the least customer love at Radiator inside Kimpton’s newly minted Mason & Rook Hotel may come as a surprise, considering there’s a drink that contains ricotta cheese on the menu.

Alas, it’s Pedro Does Provence with tequila, palo cortado sherry, lavender syrup, mezcal, and lemon bitters that gets overlooked. Head bartender Sarah Rosner explains that the “Pedro” part of the cocktail’s name comes from the tequila and splash of mezcal, while the lavender and lemon represent Provence in France— home to some of the world’s most impressive lavender fields. But the housemade lavender syrup and the lavender sprig served on the side with a tiny paperclip aren’t imported from overseas. Instead, both the garnish and the lavender used to make the syrup are often harvested from a garden that Rosner helps maintain at her apartment building.

Why You Should be Drinking It: Though Rosner says the unlikely combination of tequila, mezcal, and sherry often repels people, the mezcal and sherry combo are nevertheless becoming mainstream. “The one indicator I always find is when you don’t explain it, someone at the table explains it,” Rosner says. “That’s when things take the next step.” The Pedro Does Provence may be getting a little help from elsewhere in the restaurant community as Espita Mezcaleria is helping to demystify mezcal, just as Mockingbird Hill educated customers about sherry. Even those who avoid tequila due to taste or fuzzy memories can enjoy the cocktail because it’s gentle, herbaceous, and sweet, with just a wisp of smoke from the mezcal. The sherry may be the drink’s most valuable player because its nuttiness lingers on the palate. —Laura Hayes

washingtoncitypaper.com july 22, 2016 19

20 july 22, 2016 washingtoncitypaper.com

CPArts

If you see a car crushed by a boulder outside the Hirshhorn next month, don’t panic. It’s just art. washingtoncitypaper.com/arts

Trust Fall

Dance Place gives at-risk kids a safe space. Will the end of the D.C. Trust put its programs in danger?

Three years ago, Brian came to Dance Place as part of a District-sponsored summer youth employment program. Brian grew up without his father, and when he was 17, his mother died. Dance Place staff watched as his grief turned to anger. He became prone to outbursts, blowing up at everyone around him. His instructor struggled to get him to rehearse. But Brian kept coming to Dance Place, and it became a home to him.

“He got matched with us and never left,” says Founding Director Carla Perlo.

Like other D.C. youth, Brian was attracted by the organization’s efforts to welcome neighborhood teens. Seeing the many gaps in these disadvantaged students’ educations, organizations like Dance Place have gone beyond arts instruction, providing academic enrichment and lessons in practical skills. Since 1999, the city has supported these kinds of programs through the D.C. Children and Youth Investment Trust Corp., a public-private partnership created to award grants to nonprofits serving at-risk children, youth, and families. Two and a half miles away at the Dance Institute of Washington, another Trust grantee, students receive instruction in life skills, SAT prep, and employability training.

Now a high school graduate, Brian continues to come to Dance Place. He dances with an inter-generational company and worked as an usher at performances every Sunday during the past school year.

“I can truthfully say that this organization has saved that young man’s life,” says Perlo.

But in April, Dance Place and other arts nonprofits that depend on grants distributed by the D.C. Trust found out (via a Washington Post article) that it’s slated to shut down later this year, fueling anxiety about future funding.

The Trust has struggled with scandal and accusations of mismanagement in its 17-year history. It has been under a haze of suspicion since former D.C. Councilmember Harry Thomas Jr. pleaded guilty in 2012 to stealing more than $350,000 intended for a youth baseball organization. The Trust has raised “little to no” private funds over the past three years, says its Interim Director Angela Jones-Hackley.

Deputy Mayor for Health and Human Services Brenda Donald, who serves on the Trust’s board, says that after the January departure of Director Ed Davies, “we started uncovering a lot of financial mismanagement,” which Davies denies. When an outside accounting firm looked at the revenue streams, Donald says it became clear that the Trust was “structurally unsound” and lacked the funds to support core operations. With that information, the majority of the board voted to dissolve.

But the deputy mayor also agrees that the Trust was a victim of hard times, with an administrative structure built in years in which funding was more plentiful. While the Thom-

Photographs by Darrow Montgomery

By Emily Walz

Dance Place goes beyond arts instruction by offering academic support. as scandal caused a crisis of confidence in the early 2010s, Fannie Mae and Freddie Mac, two of the largest funders, had also dissolved, creating what she called a “perfect storm.” In its aftermath, the only funding for the Trust came from the city and a few smaller programmatic grants.

The last of the Trust grants will be administered by Sept.

30, at the close of the District’s fiscal year. Donald and Depu-

ty Mayor for Education Jennifer Niles have assured nonprofit beneficiaries that grants will be distributed and that a temporary system will be put in place while a long-term solution is developed, says Dance Place Grants Director Judy Estey.

“However, there’s been no follow-up and, quite frankly, there’s definitely skepticism on the part of nonprofits since the Continued page 24

washingtoncitypaper.com july 22, 2016 21

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CPArts government isn’t exactly known to move quickly and [seems] really under-informed about how to carry out grantmaking like this,” she says. Donald disputes that communication has been poor, but there’s nevertheless a fear that, as the District reassesses its current support for these arts programs—which one councilmember characterizes as a “bonus”—amid a steady downward trend in allocated resources, a loss of funding could be permanent.

Brian has been coming to Dance Place for three years.

on a recenT Wednesday afternoon, Dance Place was full of students and families. A dozen 3-, 4-, and 5-year-olds pranced happily about a mirrored studio in the youngest “creative movement” class.

Across the hall, older kids clustered in the Creative Education Center, a place for students from neighboring charter schools to come for homework help and life-skills instruction in addition to dance classes.

As a theater and performance space, Dance Place has an advantage: Its doors are open seven days a week, on afternoons, evenings, and weekends. “Literally when there’s nowhere else to be, particularly school, our doors are open,” says Estey. While its building has a recently renovated sheen, the organization has been at its Brookland address for 30 years. Location has been the heart of its community outreach effort.

As students wandered past, Perlo invited them in, gave them jobs, and convinced them to join creative movement dance classes that young men might otherwise have been unwilling to take.

Estey, a former dancer, calls herself a “bunhead.” Beyond her work hunting grants, she teaches ballet, tap, and modern dance. Demand is high—in recent years, she has gone from teaching a single class to juggling seven.

Dance Place currently receives a pair of grants—one worth $40,000, the other $44,000—from the Trust that targets lowincome black children and teens from Northeast neighborhoods. The first helps run the summer camp, providing full scholarships for students, and the second supports a junior staff program. Every year, several dozen teenagers join the junior staff, a program that intersperses life-skills seminars and arts electives with job shifts in the studio and in the office. For years, the program was relatively small, accommodating 15 students. Winning a grant from the Trust—worth $65,000 in the first year—allowed Dance Place to double the program’s size and expand its format. While its grants have shrunk in recent years, Dance Place counts itself lucky, as many other nonprofits, including D.C. Scores, testified this spring to far greater decreases in Trust funding.

Estey says Dance Place has lost funding before, but typically organizations give notice, allowing nonprofits to search for other grants and turn to their other funders for support. “I don’t have six months to raise additional money.”

Donald says the District has selected United Way of the Capital Region to administer grants in fiscal year 2017. As of this week, Estey says that information has not been officially communicated to grantees.

24 july 22, 2016 washingtoncitypaper.com

Now, nonprofits have just a few weeks to learn the eligibility requirements and funding levels of a whole new grantmaking organization. Then there’s the question of timing: The city’s new fiscal year begins in October, while schools start again in August. For fall programs, “I’m still facing September with none of those questions asked and no cash in place,” says Estey. Casting about for private funding, many of the Trust grantees will be aiming for the same foundations, putting them in competition for a pool of funding that has already shrunk in the post-recession years.

In aprIl, as representatives from D.C. nonprofits sat before her in a Council chamber, Ward 7’s Yvette Alexander suggested the District government sees arts programs that the Trust supports as a “plus” for children, an “added bonus.”

“I want to look at the services you provide as additional services for children’s enrichment,” Alexander, chair of the Committee on Health and Human Services, told nonprofit representatives.

Those representatives were quick to protest that their programs are not just nice to have, but crucial. “To us, that was so wrong,” Estey says. “Our programs are not a bonus” to the low-income families they serve.

Alexander did not return multiple requests for comment.

Estey found Alexander’s remarks telling; nonprofits are being pushed to find private funding sources or to undertake their own fundraising activities like bake sales. The members of the Council have good intentions and may be quick to condemn the problems with the Trust, but Estey says few seem to understand its strengths. She points to a three-year out-of-schooltime grant it awarded in late summer or early fall, which allowed Dance Place to plan years in advance.

In an op-ed, Alexander said there had been lax monitoring of grantees by the Trust between 2007 and 2012. But after the embezzlement scandal, fears of corruption blossomed, and regulation tightened. The Trust’s lingering bad reputation doesn’t square with the list of high-performing organizations currently on its roster.

“You have the cream of the crop sitting at that table,” says Estey, the result of an incredibly competitive grant application process and a tremendous degree of oversight of the grantees.

Current grantees describe the Trust’s rigorous reporting demands, noting that they’re required to provide photocopies of every penny spent and multiple forms of documentation. This makes for a burdensome pile of paperwork far beyond what most foundations require.

That level of oversight reflects an ongoing suspicion of the Trust. “It’s this distrust that in fact only affects the grantees,” says Estey.

While the latest round of mismanagement allegations were leveled against the Trust and its practices, not the grantees, Estey worries the nonprofits may be tarred with the same brush. Even though Donald is quick to say that the Trust’s dissolution is “not a sign that money is being squandered by the grantees,” suspicion of mismanagement tends to scare investors.

In this environment, Estey finds it hard to imagine how an organization formed to take the Trust’s place would avoid grappling with yet more red tape, more stipulations, and more suspicion, affecting its ability to administer grants.

Donald is open to the possibility that the new organization might not be a public-private partnership. It might be a newly created entity, or a chance for the District to partner with other credible entities that can use the city’s funds to leverage matching dollars. According to Donald, this is where everyone wants to go—a scenario in which there is more money to go around but also a shared responsibility for supporting the programs. “Everyone’s at the table to help us think that through, including the grantees,” she says.

Mapping the way forward is a group of more than 20 stakeholders, including Trust board members, District councilmembers, and nonprofit representatives. Donald says they want to make use of the people who know the history of the Trust and can speak to the lessons learned, but she imagines the new organization will be headed by a different leadership team. “At this point, no decisions have been made about the long-term future, and they won’t be made in isolation,” says Donald. perlo caTches BrIan on his way back from wrapping hulahoops. When asked why he’s stayed at Dance Place these past three years, he replies, “Because I love this place, and they treat us like family. And that’s what I love. And dance programs.”

To the staff at Dance Place, dancing is an integral part of their mission, but the first thing they aim to do is make youth feel welcome and safe. Without that, they stand no chance of winning them over.

Brian is wistful. It’s May, and with the years he’s already spent with Dance Place, he’ll soon age out of the junior staff program. “I’m about to be 19 soon,” he says, knowing this is the upper limit. “You have to start teaching,” Estey tells him.

He hesitates, but says he’ll look into it.

“I love Dance Place,” Brian adds, unprompted. “I’m going to miss it.”

CP

CPArts Arts Desk

Listen to a ripping new track from D.C.’s Birth (Defects). washingtoncitypaper.com/arts

One Track Mind

Fa Wouch

“I Feel Something” The first major exhibit of Quranic texts ever to come to the U.S. will open at the Sackler in the fall. Will the right freak out over it?

Probably.

And speaking of the Hirshhorn, they’re recruiting women guitarists for an upcoming show with Icelandic artist Ragnar Kjartansson.

Darrow Montgomery

If you see a car crushed by a giant boulder outside the Hirshhorn next month, don’t fret. It’s just art.

Fort Reno kicked off another season, this one dedicated to the late punk frontman John Stabb.

With CulturalDC selling Flashpoint, there will be no more art galleries in Gallery Place.

The History of D.C.’s murals are to be collected in a coffeetable book.

Famed go-go producer and manager Preston Blue has died.

Standout Track: No. 10, “I Feel Something,” from the new Maryland Haitian konpa singing quartet Fa Wouch’s debut album Pa Gen 2. Led by former Zepon member Jean Claude Vivens, Fa Wouch started as Vivens’ solo project in summer 2015, but soon after he recruited two other former Zepon singers to join him.

Not long after that, a fourth vocalist and various instrumentalists were added to the mix. This polished, sugary love song starts off with jazzy electric and acoustic guitar chords from co-songwriter Jean Gardy Hyppolite before singer Jacky Bois comes in with a yearning, soulful refrain.

Musical Motivation: Vivens says that he was excited by the 40th anniversary of Haitian group Magnum Band and approached guitarist/songwriter Hyppolite “looking for a song with their feeling.”

Hyppolite, who Vivens says “has a million and one songs in his hard drive” wrote the lyrics and music, with some help from Bois. “At first, the song was mostly guitars,” Vivens says, but after “the engineer at the mastering studio previewed the song,” he told Vivens that it “sounds too much like Magnum Band,” and suggested adding some keyboards to mix it up.

Friday Night Rituals: The album, with its mix of Creole and English-language love songs and upbeat dance party tracks, was recorded in Hyppolite’s basement home studio in Beltsville.

“This is where we meet regularly, especially on Fridays,” Vivens says. “We usually cook ribs, chicken, and Haitian food, and have friends over to sip fine wines and liqueurs.” But when it comes to recording days, it’s a ritualistic affair: “Only musicians are allowed in the studio that we affectionately call THE TEMPLE,” he says.

—Steve Kiviat Listen to “I Feel Something” at washingtoncitypaper.com/arts. washingtoncitypaper.com july 22, 2016 25

GalleriesSketcheS

Back to Black “Dawn Black: fount of florid reluctance”

At Curator’s Office through July 30 The dark cloud that looms over the glam figure at the center of “brut force” (2016), a watercolor and ink portrait by Dawn Black, could be overlooked as no more than that—an ominous gathering storm. Look closer, though, and figurative elements emerge within the maelstrom, the way they always do in clouds.

They materialize as treacherous, hooded figures bearing low-slung assault rifles. Dawn has

atmospheres. Black works on thick, toothless paper, which may give her more control, allowing for the kind of precision seen in “fount of florid reluctance”—in particular a jarring and gorgeous overlap of one woman’s oral dress and the bejeweled hilt of her sword. There are moments when Black lets her watercolors do their thing, but only moments. A series of black drawings on paper that show the shadowy silhouettes of women holding snakes, titled “first rebels descending” (2016), indulge in the possibilities of fluid pigment, but only a little.

While they are non-sequiturs in a show about unmoored allegories, Black’s “conceal projects: aesthetics” (2014) portraits are always welcome.

For this series, the artist draws portraits based on real but unlikely pageant winners: Ms. Pregnant Bikini, Ms. Klingon Empire, Miss Vaginaplastica.

“fount of florid reluctance,” by Dawn Black (2016) painted a clash-of-civilizations narrative, pitting an androgynous subject, who toasts the viewer with champagne, against the lurking menace of ISIS. Black’s third solo show at Curator’s Office, “fount of florid reluctance,” relishes in pointed juxtapositions and cultural crossroads. Her allegorical portraits draw from many different wells, from ancient fairy tales to couture fashion.

These drawings are morality tales without morals, stories laced with dread and dangers but lacking the necessary coherence and structure to serve as a warning.

The show’s titular work, for example, depicts a scene from a dream (or maybe a nightmare).

A 10-foot-long drawing in gouache, watercolor, and ink, “fount of florid reluctance” (2016) assembles sinister vaudevillains in hooknosed masks and Asian knights in floral burqas.

The women in Black’s illustration, wearing precariously stilted heels and dresses with daring slits, wouldn’t be out of place in an Alexander McQueen retrospective. The Baton Rougebased artist taps the same nerve centers: sex and death but also fantasy, mystery, and a passion for the antique Oriental. The masks and tails worn by these feminine fighters’ tormentors hail from closer to home, perhaps New Orleans.

Black lets these characters stand on their own, declining to give them any sort of setting or backdrop, which makes them all the more dreamlike. The floating formlessness of her drawings is important in terms of what it means to her mark-making. While she works in watercolors and ink, she isn’t one for stains and

(Pity the poor woman wearing the “Miss Faded Youth” sash: She is in fact third alternate Miss Faded Youth, meaning she possesses just slightly toomuchjoiedevivretoachieveherdream.)These fun, irreverent works celebrate the diversity of the concept of beauty and the marvels of pageantry.

Her larger and more dramatic drawings are looser—sometimes too loose. In “wonder wheel” (2015), a portrait of a blindfolded woman caught up in an oversized inflatable hamster wheel, the figure’s arm is grossly large relative to her body. Justice, perhaps, but out of scale?

Black may be bending proportion in order to land a metaphorical punch—the mistake is too egregious to account for otherwise—but the punch doesn’t connect.

Black is best at character building, which is why her singular portraits are so delightful. In the past, when those had more of a fantasy feel to them, they seemed to each stand for their own selfcontained world. Black’s latest show finds her universe-building. The results are occasionally gripping. “muse and mistress” (2015) appears to depict a Little Red Riding Hood-type character accompanied by Ignorance and Want, the emaciated children who lived underneath the robe of Dickens’s Ghost of Christmas Past; Ignorance appears here in a gimp suit. Elsewhere, though, it’s harder to trace the dimensions of Black’s narrative arc. Viewers may struggle to grasp some of her drawings, like a dream that threatens to slip away.

—Kriston Capps Saturdays noon to 6 p.m. and by appointment.

703 Edgewood St. NE. curatorsoffice.com.

26 july 22, 2016 washingtoncitypaper.com

scorched earth “Strange Landscapes”

At the Arlington Arts Center through Oct. 2 The hisTory of American painting is deeply connected to the landscape. Ever since the mid-19th century, when a group of disenchanted painters who would come to be known as the Hudson River School took to the wilderness, we’ve come to associate landscape in art with bucolic images. And for the most part, mass audiences still feel that way, correlating the landscape with paintings and photographs that pay homage to its sublimity.

But it’s so much more than that.

The Earth Art movement that began in the late 1960s and recent large-scale installations and video art like the Renwick’s “Wonder” or the Hirshhorn’s “Days of Endless Time” challenge experiences of land.

The most interesting works in “Strange Landscapes,” the Arlington Art Center’s latest exhibition, weds its subject to current issues within contemporary art—identity, history, social practice—and often imagines entirely new landscapes in order to explore the importance of those issues in building communities. Engulfing the space of one of the exhibition rooms is Jaimes Mayhew’s 12-foot-tall inflatable sculpture, “The Wave of Mutilation.” Inspired by the 1989 Pixies’ song, in which the song’s protagonist drives into the ocean to kiss mermaids and ride El Niño, Mayhew’s sculpture is a gesture of resistance to the ever-present fear of the rising waters around our coastal cities. Along the walls surrounding the sculpture are child-like illustrated maps, travel guides, and photographic postcards of Samesies Island, Mayhew’s utopia for transgender men. Replete with health care access, education, and housing, the imagined island becomes the foundation for both possibility and mythology.

Informed by the strategies of conceptual art, Katarina Jerinic’s “Beautification This Site” bridges performance, documentary practices, and social engagement. Jerinic became the custodian of a plot of land off the BrooklynQueens Expressway through the Department of Transportation’s Adopt-a-Highway program.

The artist’s laborious maintenance of the small, triangular piece of green is recorded in photos, video, aerial maps, and city documents. Souvenir postcards are available to viewers as though the site were the Grand Canyon—Jerinic’s inter-

rogation of discarded spaces, urban planning, and the gap between potential and futility.

The tension between bleakness and hope, loss and recovery are consistent throughout many of the works in “Strange Landscapes.”

Jacob Rivkin imbues his work with contradiction through media and process, using both analog and digital methods to render “Fortunate Isles: Landings,” a video filmed on the Bonneville Salt Flats of Utah and the cliffs of Newfoundland. Rivkin then filmed performers in chroma-key suits and, once superimposed into the original landscape film, he drew animated creatures over them. The pictorial effect pits fantasy against reality and—with the actual suits displayed in the space—emphasizes a fascination with land exploration.

Ariel Jackson also combines installation and video, projecting onto the same crafted forms she utilizes in her performance. In “B.A.M. aka

By Any Means Necessary,” she incorporates ambiguous actions and a collage of found images that communicate disenfranchisement as she narrates between imaginary geographic points.

Contextualized against trauma and Jackson’s personal experience of Hurricane Katrina, the land is tied to sociopolitical conditions that inform identity.

When most people think of “landscape art,” they still think of lavishly detailed paintings, and that’s not totally lost in the exhibition. Edgar Endress’s whimsical prints of different sizes mimic the illustrative cataloging of species in the Darwinian century. They combine unlikely botanical elements and unrecognizable animals into new fictive discoveries that simulate how colonizing people probably felt encountering such images. Alejandro Pintado explores landscape and memory through the history of painting, by copying historical images in charcoal on raw linen, then manipulating them in color with ambiguous, contemporary objects to collude past with present.

But the work that most challenges the traditional landscape aesthetic belongs to Matthew Mann, whose bold application of vibrant colors and complicated perspectives merge geometric structures with natural elements. The result is the recognition that man-made structures both interrupt our landscapes while structuring our visual experiences of them.

The landscape artists of the 19th century sought to escape the crowded industrial city into nature. In the present, we are overwhelmed by a progressively eminent sense of nature’s loss.

Viewers who still imagine nature as a means of escape—and seek its representation within the nostalgia of bucolic landscape painting—may be better served checking out the William Merritt Chase exhibition at the Phillips Collection.

But if you want to better comprehend how essential nature is to one’s place in community—and imagine new possibilities for defining both—you should head to Arlington.

—Erin Devine 3550 Wilson Blvd., Arlington. Free.

(703) 248-6800. arlingtonartscenter.org.

FilmShort SubjectS

Good Times Norman Lear: Just Another Version of You

Directed by Heidi Ewing and Rachel Grady Documentaries about figures who revolutionize their fields are rarely as groundbreaking as their subjects. Too often, the filmmakers let themselves be confined by convention: a chronological retelling of their subject’s life, talking heads to explain cultural context, and often a touching, introspective interview with the subjects themselves. Norman Lear: Just Another Version of You also sticks to this formula, but in this case, the cliches are appropriate. Lear was a trailblazing artist, but his genius was that he put his radical politics into the most conventional of forms, challenging his audience like they never had been before—and since.

If you were conscious in the 1970s, you know Norman Lear. At one point in that decade, six of the top 10 shows on television were either created or developed by him: All in the Family, Maude, Good Times, The Jeffersons, Mary Hartman, Mary Hartman, and Sanford and Son. The documentary examines several of these shows with an eye for Lear’s success in pushing the political boundaries of television. All in the Family depicted a pitched battle between the post-war generation and the counterculture. While it was immediately recognized for its provocative politics, the documentary hones in on its humanity, especially the honest and hilarious performance by Carroll O’Connor at its core. Norman Lear: Just Another Version of You is worth the price of admission for the clips from All in the Family alone.

Co-directors Heidi Ewing and Rachel Grady trot out some famous faces to add a little sizzle and lend credence to claims of Lear’s

tremendous legacy: Amy Poehler, George Clooney, Jon Stewart, and Russell Simmons all claim Lear as an influence. But Lear cuts such a magnetic on-screen presence that those mega-stars seem like second-generation copies of a true original. Even at 93 (and still working), Lear is agile, both physically and mentally, and he is equally comfortable cracking jokes and revealing deep sadness and regret.

Perhaps most relevant to our current political era was his determination to advance national discussions on race. According to Lear, Good Times was the first successful depiction of black Americans on television. It was an enormous hit, but he received criticism from within the black community— including a surprise visit from the Black Panthers—that the show reinforced stereotypes by highlighting only those black people who were economically struggling. They didn’t want Jimmie “Dyn-o-mite” Walker to be the face of black America. Lear listened and responded with The Jeffersons, about a rich black family who is perpetually mistaken for being poor.

It’s this ability to listen that separates Lear from most politically minded artists, especially those working in today’s era of walled-off partisanship. For All in the Family, Lear crafted a central character representing many positions that he himself abhorred. It’s like a government choosing the losing candidate to run a program he or she opposed. Lear forced himself to truly understand Archie and all of his backwards, bigoted positions, and in doing so, created a complex character that Americans could empathize with, even if they disagreed. Lear refused to dehumanize his political enemies. It’s a position that is sadly rare these days. How lucky we are that Lear, in his tenth decade of life, hasn’t given up yet.

—Noah Gittell Norman Lear: Just Another Version of You opens Friday at Landmark Bethesda Row. washingtoncitypaper.com july 22, 2016 27

Film

Rule of Flaw

In the film adaptation of Jennifer Saunders’ hit BBC sitcom, a lackluster story fails its vivacious actors, while the stiff acting in Drake Doremus’ latest brings down an absorbing premise.

Absolutely Fabulous: The Movie

Absolutely Fabulous: The Movie Directed by Mandie Fletcher

Equals

Directed by Drake Doremus

By Tricia Olszewski When Jennifer SaunderS was penning the script for Absolutely Fabulous: The Movie, the dark-haired Ab-Fabber apparently wasn’t thinking about anything outside her own (or the series’) bubble. Saunders, who also wrote the beloved series and plays the ever-sloshed, irresponsible Eddie, must have been aiming for the lightly transgressive when shaping the characters who are gay, transgender, or of color. And though the first two are merely stereotyped, the treatment of the black teenager in the film won’t go over well with the non-racist populace of Obama’s America.

Lola (Indeyarna Donaldson-Holness) is the 13-year-old daughter of the always-exasperated Saffy (Julia Sawalha), herself the daughter/minder of Eddie who was brought into the world in Ab Fab’s fifth season, and whose father is Ugandan. Among the indignities she’s dealt in the film is her great-grandmother (June Whitfield) shuddering when another character says, “We’re all black inside.” It’s a joke that Eddie and Patsy (Joanna Lumley, the more gifted physical comedian here) “gave [Lola] to housekeeping” at a hotel when they had better things to do. And, most egregious, when a white stylist (gay, of course) starts roughly tugging on Lola’s natural locks with the aim of straightening them out, she yelps and is told, “Take the pain, bitch.”

Take the pain, bitch. To a child.

Before you alarm the Hypersensitivity Police, let me say that Saunders fails Lola in general,

Equals

unsuccessfully drawing her as a logical character and instead playing puppeteer, having her make baffling decisions such as running off with Eddie and Patsy despite knowing that they’re just using her for her father’s credit cards. (They suddenly find themselves broke.) Lola initially seems to be very much Saffy’s daughter, but then the smart girl goes rogue.

On to the reason the trio runs off, or the rough sketch that is Saunders’ story: On the night of a high-profile fashion show, Eddie, a publicist, attempts to snag fresh free agent Kate Moss (playing herself). Instead, she bumps her into the River Thames. Now targeted by police and shunned by her society, Eddie and Patsy run off to the South of France to find a new world in which to indulge, first via Lola’s funds, but ultimately through various shenanigans.

Mandie Fletcher, who’s mostly worked in television, directs this misguided mess, which is full of fat jokes, fart jokes, and pratfalls that are less inspired than those that were taken at the series’ best. The bulk of the film is broad, with scenes of the duo getting high or Patsy self-injecting morning Botox passing for humor. If you’re attentive, there is verbal wit to be found, such as Eddie saying that she’s “practicing my mindlessness” or a character remarking, “The six finest words in the English language” after someone speaks in French.

But the audience may be too busy looking for the next guffaw to catch these sly gems.

While Saunders’ Eddie here does little more than moan about her bloat—repeatedly, with other characters taking potshots as well— Lumley continues to show off her comedic dexterity. Her face lends Patsy a fast-moving succession of entertaining expressions (particularly when she’s attempting to seduce a wealthy old dowager), and she’s allowed to be

28 july 22, 2016 washingtoncitypaper.com

just fabulous instead of self-degrading.

The appeal of the pair has always been that although they’re great at strategizing about getting the most from minimal effort, they’re also dim when it comes to reality. One of the film’s funniest moments comes when the card-happy Patsy can’t think of the word “cash,” instead gesturing and eventually coming up with “hand money.” But Ab Fab’s best drunken years are behind it, and this film— with a story that just kind of stops—is a poor and sobering attempt at a bone-throw to fans.

Take the pain, bitches. in the future, you don’t have to push Kate Moss into a river to get ostracized from society—you just gotta feel like doing it. Because if you have that or any other kind of desire, you’re a defect, and you need medical attention.

That’s the way it goes down in Equals, the world dreamed up and directed by Drake Doremus (Like Crazy), fleshed out in a script

by Nathan Parker (Moon). The title refers to the status of the people living in an emotionless utopia; they sleep, eat, and work, never bothered by the pesky urges we present-day humans have. Except when they are: In this reality, it’s called “switched-on syndrome,” and it develops in stages until you end up in a version of a mental ward and are encouraged to take your own life. Harsh way to kill the newly feelings’ buzz.

Many of this world’s inhabitants willingly go to the doctor to get diagnosed and treated when they first start feeling an emotional itch. But there are “hiders,” such as Nia (Kristen Stewart), whose tiny, out-of-the-ordinary gestures— clenched fists, quiet mumbling, hair-flipping (whoops, wrong movie)—catch the eye of Silas (Nicholas Hoult, X-Men: Apocalypse), whose attention she already had. Silas found himself in Stage 1 of this “debilitating condition”

(Stage 4 is “acute behavior chaos”) and promptly sought treatment. But the pills he was given apparently weren’t strong enough to quash lust.

The idea of emotions crippling intelligence certainly isn’t a novel one—see: Spock— but watching a society of Spocks, with errant Captain Kirks, is intermittently fascinating in Doremus’ film. Unsurprisingly, this is a world of clean lines and white everythings, the epitome of efficiency and order. Colors are muted, though nighttime is lent a moody blue (except when Nia and Silas are together, when for some reason it turns a mean red). And yes, they do get together, finally able to relieve themselves of the burden of emotional and physical control, despite Nia’s initial recoils and laughable exclamations such as “I’m so scared!”

Equals’ biggest problem, though, is Hoult.

Out of all the blank slates surrounding Nia, it’s difficult to understand why she fell for the blankest. Until they interact, all Silas does is stare at her; Stewart’s Nia, meanwhile, at least shows some emotional intelligence in her subtle side glances at various goings-on. Their heat isn’t allowed to go to 11—or maybe the actors just couldn’t take it there—leaving the overall film tepid until a late-chapter, sort of Romeo and Juliet development plays out. Meanwhile, Guy Pearce and Jacki Weaver are tossed roles so small you’ll be shocked to recognize them.

Another story that Equals recalls is Eternal Sunshine of the Spotless Mind: If you couldn’t be with the one you love, would you want to erase your memory of that person? Equals culminates with an open ending, presenting you with not only that question but another about the strength of love when everything in your system is trying to tamp it down.

Thanks to Hoult, this forbidden couple has a human tamper, too, bringing down with him a film that might have been elevated to more CP than simply interesting.

Absolutely Fabulous: The Movie opens Friday at Landmark E Street Cinema, Landmark Bethesda Row, and Angelika Film Center.

Equals opens Friday at Angelika Pop-Up.

Books Speed ReadS

Tongue TwisTers Body Split: When Tongue Was Muscle / I Wanted Just To Be Soft

By Sarah Tourjee and Temim Fruchter Anomalous Press As its nAme suggests, Body Split borrows from music’s collaborative split 7-inch model to produce a pair of distinct and complemen-

tary voices in poet Sarah Tourjee and D.C.based fiction writer (and former drummer in The Shondes) Temim Fruchter. The resulting collection is a first of its kind for Anomalous Press, and if the apparent success of Body Split is any indication, it may serve them well to encourage more cross-pollination among projects in the future.

Sarah Tourjee’s When Tongue Was Muscle is a testament to the poet’s lyrical range, as read through a series of anatomically inspired verse.

With such seemingly banal titles as “Vertebrae,” “Rib,” and “Blood Blister,” Tourjee offers little to mount expectation at first blush.

Forgoing the dynamic line breaks, punctuation, and stanzaic structure we’ve come to expect from contemporary poetry, Tourjee takes risks that would backfire in the hands of a lesser poet. When Tongue Was Muscle is everything one could ask for in a collection of poetry, which is to say it is an ever-expanding work of art, where blood is not only that, but also what “falls from the nose to prove that inside of you is color.”

The work of Body Split, for both Tourjee and Fruchter, is a meditative experience. Their observations are so tactile and exact that one can’t help but walk away from these poems

with a heightened sense of the world around them or, better still, an altogether fresh perspective. Consider this passage from Tourjee’s poem “Hand”: A hand, for instance, removed from its arm, becomes the/ hand’s whole body, wherein the digits become the arms or/ branch, and the nails just failing hands.

In three short lines, we are elevated from the body’s everyday experience to see our hands in a way that feels wholly original and unexpected. Adding yet another collaborative element are the occasional illustrations of Nick Francis Potter, whose starkly sketched appendages provide a perfect counterbalance to Tourjee’s intimate poetry.

By contrast, the work in Temim Fruchter’s I Wanted Just To Be Soft is perhaps a bit more episodic, though it follows many of the same thematic elements of When Tongue Was Muscle.

This thread of continuity allows each side of this joint collection to flow seamlessly into the next, no matter which side you turn to first. Fruchter’s work reflects a lyric interior that is also informed by Judaic history and culture, as in the opening lines of “On Missing”: “in Jewish tradition, the body is not an interim.

The body is a definite. The body is in no hurry.”

Like Tourjee, Fruchter’s work feels most at home in her imagination, with prose that finds easy comparison between the interdependent machineries of our bodies and those of a bustling city: I could try to be a city worth visiting. Maybe I would/ be formidable. Maybe I would even be impressive. I could/ wear a skyline pretty well, I thought. I imagined the/ sweeping ball gown skirts of my majestic bridges and the/ gem-studded necklaces of the lights of my nights...

The prose in this collection reads with a particular intimacy, in part because we see the speaker at her most vulnerable and insecure— the speaker is not afraid to expose her own interior monologue as she struggles to make sense of the wider world. It is such a familiar feeling and yet not always so easily expressed in the age of incendiary soundbites. Far from marginalizing, we should honor and take heed of our writers’ emotional vocabulary, if only to see its greater implementation during periods of despair.

—Sean Morrissey

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MusicDiscography

Lights Out Flicker Out

Technophobia Working Order Records There is someThing strangely familiar and comforting about Technophobia’s debut album Flicker Out—especially if you’ve ever gone long stretches wearing only black or stayed up late watching John Carpenter films just for the soundtracks.

As Technophobia, Katie and Stephen Petix craft darkwave dirges full of icy arpeggios and pneumatic death marches, their analog synthesizers and drum machines battling as Katie unleashes operatic vocals, incanting gothic poetry.

The duo’s music draws from the tried-and-true tropes of synthpop and industrial, connecting the dots between early Ministry and Pretty Hate Machine–era Nine Inch Nails to contemporaries like Cold Cave and Light Asylum.

Like its industrial forebears, the D.C. duo punctuates layers of synthesized, vocalized melodies and rhythms with dusty vocal samples. On Flicker Out, it borrows some dialogue from Logan’s Run and a clip of an ’80s newscaster recounting a “specter of violence,” but the most prominent sample source is a 1964 BBC adaptation of Jean-Paul Sartre’s No Exit starring Harold Pinter. Sartre’s existential masterpiece provides the perfect fodder for the album, where dialogue like “I’m a dead twig, ready for the burning,” “You can’t throttle thoughts with hands,” and—most famously—“Hell is other people” sets the stage for dark-hued songs about about loss, isolation, and shame.

While the album’s lush electronics err on the side of nostalgia, it rises beyond pure homage—due in part to Katie’s powerful vocals. At times, her voice sounds somewhere between Siouxsie Sioux and Grace Slick, especially on “The Principle,” which finds her alternating

between eerie spoken word and more fullthroated singing.

And the duo also has a knack for crafting smart pop songs, mostly by remembering that the original purveyors of these sounds were bringing doom and gloom to dance floors, not funerals. That’s especially evident on “Negative Space,” a single with a drum-machine beat that sounds like it’s straight out of the ’80s (think Skinny Puppy’s “Dig It” or Nine Inch Nails’ “Down In It”) but with a melody that’s timeless.

Near the end of Flicker Out, Technophobia turns its focus from the personal to the political. The lyrics of “Factory 1981” (“Let’s take the street/ Let’s break the stones/ Believe in pain/ Our time is now/ Your time to scream/ We are your shame”) calls for a revolution, and the album closes with a cover of The Cure’s “One Hundred Years.” The latter is heavy with the paranoia and fear of a post-apocalyptic war (“The soldiers close in under a yellow moon/ All shadows and deliverance/ Under a black flag”). Unfortunately, in making the nearlyseven-minute song its own, Technophobia excised some of the most poignant—and chilling—lyrics: “Stroking your hair as the patriots are shot/ Fighting for freedom on television/ Sharing the world with slaughtered pigs.”

Maybe that line was too real for an album that mostly sticks to symbolism and metaphor, particularly Technophobia’s recurrent theme of stone walls being torn asunder. Along with the existentialism of the Sartre dialogue, there is—perhaps unsurprisingly—a thread of nihilism throughout.

But even as Katie sings “Nothing/ No one/ Never is your name” on “The Principle,” there is a silver lining to the dark clouds of Flicker Out. The album is being released by non-profit label Working Order Records, which Stephen runs with friends Katherine Taylor and Kristy Lupejkis, and 100 percent of the proceeds from Flicker Out will be donated to Life Pieces To Masterpieces, a D.C. nonprofit that “uses artistic expression

30 july 22, 2016 washingtoncitypaper.com

to develop character and leadership, unlock potential, and prepare African American boys and young men to transform their lives and community.” In that way, Technophobia offers a more grown-up take on the dark music of days past: Katie and Stephen Petix don’t just want to tear this world down—they want to build up a better one.

—Chris Kelly

Breaking rage Pure Disgust Pure Disgust Katorga Works

in less Than 20 minutes, Pure Disgust’s self-titled full-length debut packs in the amount of righteous fury and technical prowess that many hardcore bands would be lucky to achieve over the course of an entire career.

Years of different communities of color mobilizing to protest acts of shocking state violence—against them and others—fuel vocalist Rob Watson’s lyrics, particularly on “Normalized Death” (“It happens day after day after day/ I’m not sure what more I can say”). Watson has a lot more to say, of course: about the systemic criminalization of children of color in “Pipeline,” or the subsequent conviction-bymedia in “Slander Me.” Watson delivers these messages with the fire and visceral energy befitting a matter of personal survival. It’s a message whose delivery is not that dissimilar from G.L.O.S.S.’s Trans Day of Revenge, the new EP from Pure Disgust’s West Coast summer tour mates. In both instances, the bands take the violence and severity inflicted on the marginalized and unflinchingly spits it right back. With the exception of an untitled minute-long instrumental, Watson is a commanding presence on every track, never obscured by the twin-guitar attack

and the band’s ferocious rhythm section.

But this is hardcore, and if you want people to come to your revolution, you have to be able to slam to it. There’s never a moment on Pure Disgust—lyrically or instrumentally—where inaction feels appropriate.

Pure Disgust’s blend of Oi! street punk and late-’80s hardcore will recall acts like New York’s Life’s Blood or the mid-aughts D.C. stompers 86 Mentality, the latter being a particularly huge influence on Pure Disgust and the participants in the scene’s New Wave of D.C. Hardcore. Ryan Abbott’s recording at Side Two records in Boston (a cornerstone of the city’s own very fertile punk and hardcore scene) provides the thundering drums, howling guitars, and driving bass the showcase they deserve, best exemplified in the breakdown a minute into “Slander Me.” You can almost hear a stampede of boot soles or see arms swinging in the rolling drums and bassline before Watson bellows “When will brown bodies get the respect they deserve?” as the guitars dive-bomb back in.

The album is no less impressive when it slows down. The guitar heroics on the ever-soslightly lower-tempo moments of “Lost Child” or “White Silence” can evoke British Heavy Metal’s New Wave as much as D.C. hardcore.

Luiso Ponce’s monochrome drawing of some unseen force crumbling D.C. landmarks into oblivion (evoking a combination of the iconic lightning bolt-striking-the-Capitol art on Bad Brains’ self-titled LP and Breakdown’s Running Scared) provides an accurate snapshot of how the album feels: Regardless of the pace or volume, nothing in the band’s path seems like it could possibly withstand the assault.

At least some members of Pure Disgust can be found playing every week in their innumerable other projects, or putting together shows for touring bands. It’s almost impossible to write a story on the state of hardcore in the District without mentioning at least one of them, and it doesn’t require a leap of imagination to suggest Pure Disgust’s LP will be a touchstone in the continuing D.C. hardcore canon. In its second release on New York label Katorga Works, Pure Disgust have affirmed its commitment not just to building the contemporary D.C. hardcore scene but keeping it on the map, and the album’s combination of thematic urgency and compelling songwriting will make it hard to ignore in any assessment of contemporary hardcore.

Given the album’s short running time ( this is a hardcore band, after all), it may be hard to listen to the band fade out in “White Silence” without wanting more. But then again, a fade out is the only way an album like this can appropriately end. The fight isn’t over, and Pure Disgust—as a band and as members of a thriving scene—seem like it’s only getting started.

What better way for Pure Disgust to go out than like it came in: still raging. —Dan Trombly Listen to Flicker Out and Pure Disgust at washingtoncitypaper.com/arts.

STORY TIME with a NATIONALS player!

T H E WOM EN OF

?

PLUMS

THURSDAY, JULY 21, 2016 7:00-9:00 PM HISTORIC LINCOLN THEATRE 1215 U Street, NW Washington DC 20009 Doors open at 6:00 PM | Free admission

dcarts.dc.gov | 202-724-5613

Anacostia Library 1800 Good Hope Rd. SE

Chevy Chase Library

Saturday, July 23 11:30 a.m.

5625 Connecticut Ave. NW

A theatrical adaption of the prize-winning book The Women of Plums by DC Poet Laureate Dolores Kendrick. Featuring poems written in the voices of slave women who relate lives of appalling deprivation in lyrical monologues, with dance, music and visual arts.

Presented by the DC Commission on the Arts and Humanities.

Northeast Library 300 7th St. NE

dclibrary.org/summerreading

Joe.

Meet

Bartender Joe Simms is Po Boy Jim’s artist in residence, a man of many talents. He can serve up a cocktail or a bowl of amazing gumbo, but his deep passion is painting and his portraits grace the restaurant walls (if they haven’t all sold!). Says Joe: “Coming to Po Boy Jim’s is like hanging with good friends in your own livingroom. Feels like home.”

Jump on the free DC Streetcar and stop by Po Boy Jim’s Bar & Grill at 709 H Street NE. There’s good food, local art and Joe will show you a mighty fine time.

Join the party! washingtoncitypaper.com july 22, 2016 31

I.M.P. PRESENTS Echostage • Washington, D.C.

JUST ANNOUNCED!

CHVRCHES ...........................................................................................OCTOBER 17 On Sale Friday, July 22 at Noon

THIS WEEK’S SHOWS

Brett Dennen w/ Esmé Patterson ................................................................ Th 21 No Scrubs: ‘90s Dance Party with DJs Will Eastman & Brian Billion . F 22 .

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Super Furry Animals w/ Chris Forsyth and The Solar Motel Band .......... Sa 23

Melanie Martinez .................................................................................. SEPTEMBER 22 Glass Animals ........................................................................................ SEPTEMBER 25 Die Antwoord ...............................................................................................OCTOBER 23 FOALS w/ Bear Hands & Kiev .........................................................................NOVEMBER 3 Grouplove w/ MUNA & Dilly Dally .................................................................NOVEMBER 9 2135 Queens Chapel Rd. NE • Ticketmaster

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Swans w/ Okkyung Lee ..................................................................................... Th 28 Femi Kuti and The Positive Force w/ DJ Diaspora .................................. F 29 Drop Electric & Tone w/ The Sea Life & Janel and Anthony ....................... Sa 30 AUGUST

Merriweather Post Pavilion • Columbia, MD THIS SATURDAY!

Brandi Carlile & Old Crow Medicine Show w/ Dawes ......................... JULY 23 SUMMER SPIRIT FESTIVAL FEATURING

BROODS w/ Jarryd James .................................................................................. M 1 Boris performing Pink w/ Earth ......................................................................Th 4 Us the Duo w/ Gardiner Sisters ..........................................................................F 5 Better Than Ezra ............................................................................................Su 7 Dr. Dog .................................................................................................W 10 & Th 11 L7 .......................................................................................................................... F 12 Belly .................................................................................................................. Sa 13 Honne w/ JONES ...............................................................................................Su 14 Toad the Wet Sprocket & Rusted Root w/ Daisie Ghost-Flower ............ F 19 White Ford Bronco: DC’s All-90s Band .................................................... Sa 20 The Bangles w/ Cardiac .................................................................................Su 21 Skye & Ross from Morcheeba ................................................................. Th 25 Hot in Herre: 2000s Dance Party with DJs Will Eastman & Brian Billion .F 26

Jill Scott • Erykah Badu • The Roots and more! ..........................AUGUST 6 & 7

Shinedown w/ Halestorm • Black Stone Cherry • Whiskey Myers ....................AUGUST 10 O.A.R. w/ Eric Hutchinson & The Hunts ..................................................................AUGUST 13

Train w/ Andy Grammer ...............................................................................................AUGUST 20 Miranda Lambert w/ Kip Moore & Brothers Osborne .....................................AUGUST 25

Trillectro

Owen Danoff (from NBC’s The Voice) FULL BAND • Oh He Dead • The Duskwhales • Gingerwolf • Nardo Lilly ...................................................Sa 27 FIERCE COLLABO PRESENTS

DNA After Dark - Hip Hop Choreographers Showcase 18+ to enter. ...........Su 28 Banks & Steelz (Paul Banks & RZA) ...........................................................W 31

Little Big Town • Rodney Atkins • Dustin Lynch and more! ................. OCTOBER 15 & 16 • For full lineups and more info, visit merriweathermusic.com • 930.com

1215 U Street NW Washington, D.C.

A conversation about her Patti Smith bestselling memoir, M Train ....................................OCTOBER 12 Ticket purchase comes with a paperback copy of M Train.

MELISSA ETHERIDGE : MEMPHIS ROCK & SOUL TOUR ............ OCTOBER 19 DYLAN MORAN ....................................................................................OCTOBER 20

ALL GOOD PRESENTS

The Claypool Lennon Delirium w/ Marco Benevento ..............................Th 1 Diggy Simmons ...............................................................................................Su 4 Television ..........................................................................................................Tu 6 of Montreal w/ Ruby the Rabbitfoot ...................................................................W 7 Dinosaur Jr. w/ Cloud Nothings .......................................................................Th 8 Echo & The Bunnymen ...................................................................................F 9 Marian Hill w/ Vérité & Shaed ........................................................................ Sa 10 Peaches ............................................................................................................Su 11 IRD NIGHT ADDED! FIRST TWO SHOWS SOLD OUT! TH

Young the Giant w/ Ra Ra Riot .......................................................................W 14

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case/lang/veirs (neko case/k.d. lang/laura veirs) w/ Andy Shauf ................... JULY 28 Garbage w/ Kristin Kontrol ................................................................................. AUGUST 3 Gad Elmaleh ................................................................................................ SEPTEMBER 1 The Gipsy Kings feat. Nicolas Reyes and Tonino Baliardo w/ Galen Weston Band .. SEPT 9 KT Tunstall w/ Conner Youngblood ............................................................SEPTEMBER 14 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

Jenny Lewis - Rabbit Fur Coat Anniversary Tour with The Watson Twins ... SEPT 18

IN CELEBRATION OF THE OPENING OF THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE

Preservation Hall Jazz Band ................................................................... SEPTEMBER 23

Peter Bjorn and John ............................................................................ SEPTEMBER 24 Ryan Bingham and Brian Fallon & The Crowes .......................... SEPTEMBER 28 Jake Bugg w/ Syd Arthur ............................................................................SEPTEMBER 29 AEG LIVE PRESENTS

Bianca Del Rio .............................................................................................OCTOBER 22

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Young Summer

The Hush Sound

w/ Indiginis & The Galaxy Electric .... F JUL 22 w/ Merriment & Falls.................... Sa AUG 6 Everything Everything LP ......................................................... Tu 26 w/ Night Kitchen .................................... M 8

Russ .................................................... Su 31 Juliette Lewis .................................... W 10 • Buy advance tickets at the 9:30 Club box office DAR Constitution Hall • Washington D.C.

Sturgill Simpson ........................................................................................................... OCTOBER 11 The Head and the Heart w/ Declan McKenna .................................................OCTOBER 22 Lindsey Stirling .............................................................................................................. OCTOBER 24

THE BYT BENTZEN BALL COMEDY FEST PRESENTS THE MOST VERY SPECIALEST EVENING WITH TIG NOTARO & FRIENDS FEATURING

Tig Notaro, Aparna Nancherla, and more! .......................................OCTOBER 27 BRIDGET EVERETT Pound It! ............................................................................OCTOBER 28 STUFF YOU SHOULD KNOW LIVE WITH JOSH AND CHUCK ...................OCTOBER 29

Henry Rollins Election Night Spoken Word ............................................NOVEMBER 8 The Naked And Famous w/ XYLØ ..........................................................NOVEMBER 15 Loretta Lynn ...............................................................................................NOVEMBER 19 Andra Day w/ Chloe x Halle ..........................................................................NOVEMBER 25 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

Ticketmaster

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

32 july 22, 2016 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D

Music 33 Books 39 Galleries 39 Dance 40 Theater 40

Serving

EVERYTHING from BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Music Friday rock

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Bacon Brothers, Ruby Boots.

7:30 p.m. $45. birchmere.com.

Dc9 1940 9th St. NW. (202) 483-5000. Lindsey Luff, Wylder, Jeremiah Creiglow. 6:30 p.m. $10. dcnine.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Tom Hamilton’s American Babies, Eat Yer Meat. 9 p.m. $10–$12. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Lera Lynn, Andrew Combs. 8 p.m. $15–$35. thehamiltondc.com. hill counTry BarBecue 410 7th St. NW. (202) 556-2050. Dead 27s. 9:30 p.m. Free. hillcountrywdc.com. ioTa cluB & café 2832 Wilson Blvd., Arlington.

(703) 522-8340. Cobra Collective, Soccer Team. 9 p.m. $10. iotaclubandcafe.com. rock & roll hoTel 1353 H St. NE. (202) 388-7625.

Trixie Whitley, Indigo Street. 8 p.m. $15. rockandrollhoteldc.com.

ThirD floor 4200 9th St. NW. (202) 783-3933. Lake Mallory, Gardener, Paper Balls, Luke Stewart.

7:30 p.m. $10. facebook.com/ThirdFloorDC.

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

10:30 pm - Close $5 Drafts & Rail Specials

u sTreeT music hall 1115 U St. NW. (202) 588-1889.

Young Summer, Indiginis, The Galaxy Electric. 7 p.m. $15. ustreetmusichall.com.

dJ Nights

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

Black caT 1811 14th St. NW. (202) 667-4490.

Beyonce vs. Rihanna Tribute/Dance Party. 9:30 p.m. $15. blackcatdc.com.

Dc9 1940 9th St. NW. (202) 483-5000. Liberation Dance Party with DJ Bill Spieler. 10:30 p.m. $5. dcnine.com.

classical

kenneDy cenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. NSO Summer Music Institute.

6 p.m. Free. kennedy-center.org.

World

naTional Gallery of arT sculpTure GarDen 4th Street and Constitution Avenue NW. (202) 737-4215. Incendio. 5 p.m. Free. nga.gov.

Jazz

BeThesDa Blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Landau Murphy Jr. 8 p.m. $25. bethesdabluesjazz.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Aaron L. Myers II. 8 p.m. Free. mrhenrysdc.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Thad Wilson Quartet with Kristin Callahan. 9 p.m.; 11 p.m. $15. twinsjazz.com.

2047 9th Street NW located next door to 9:30 club

ElEctroNic

flash 645 Florida Ave. NW. (202) 827-8791. Lucy, Navbox, Dansman, Kellam Matthews, Philip Goyette.

8 p.m. $8. flashdc.com. u sTreeT music hall 1115 U St. NW. (202) 588-1889.

Robag Wruhme, Throe. 10:30 p.m. $10. ustreetmusichall.com.

Film 41

CITY LIGHTS: Friday

EVita

“The U.S. and Russia were fighting over Argentina,” explained one audience member at Olney Theatre’s production of Evita, “and the Soviets had Che Guevara overthrow Juan Perón.” Anyone who sees Andrew Lloyd Webber’s musical about Eva Perón can be forgiven for any confusion they may leave with, given the liberties he and lyricist Tim Rice took with some details about Argentina’s sainted former first lady, starting with the fact that Eva and Che never met. The future guerrilla leader is Evita’s narrator and moral inquisitor. Olney’s production is toned down compared to the 1996 screen adaptation starring Madonna and Antonio Banderas, and downgrades Che to che (a colloquialism meaning “buddy,”) turning him into a kind of peevish everyman. The production retains Webber’s back-to-back musical numbers, and it’s packed with Freudian, Madonna-whore complex stuff as we follow Eva’s rise from (mostly made-up) tawdry origins to a beloved champion of the poor and Christian Dior. Evita remains a strangely puritanical indictment of a country that its creators and the rest of the U.K. knew little about and had less to do with, at least until they went to war a few years after the musical premiered. The musical runs June 23 to July 31 at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney. $23–$80. (301) 924-3400. olneytheatre.org.

—Mike Paarlberg

FuNk & r&B

rock & roll hoTel 1353 H St. NE. (202) 388-7625.

Sunbathers, Calm & Crisis, Queue. 8 p.m. $12. rockandrollhoteldc.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Jazz Funk Soul. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

dJ Nights

Black caT 1811 14th St. NW. (202) 667-4490. Cryfest: The Cure vs. The Smiths Dance Party. 9:30 p.m. $10. blackcatdc.com.

saturday rock

9:30 cluB 815 V St. NW. (202) 265-0930. Super Furry Animals, Chris Forsyth & The Solar Motel Band. 8 p.m. $25. 930.com.

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Bacon Brothers, Ruby Boots.

7:30 p.m. (Sold out) birchmere.com.

Black caT BacksTaGe 1811 14th St. NW. (202) 667-4490. Bae-Bae: A K-Pop Dance Night.

10 p.m. $5. blackcatdc.com. rock & roll hoTel 1353 H St. NE. (202) 388-7625.

DJs Rex Riot & Basscamp. 11:30 p.m. Free. rockandrollhoteldc.com.

caBarEt

sTaTe TheaTre 220 N. Washington St., Falls Church.

(703) 237-0300. The Carnivalesque Roadshow. 9 p.m. $20–$25. thestatetheatre.com.

Dc9 1940 9th St. NW. (202) 483-5000. Diane Coffee, Boulevards, Surf Harp. 9 p.m. $12. dcnine.com. fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. 311. 8:15 p.m. (Sold out) fillmoresilverspring.com.

classical

wolf Trap filene cenTer 1551 Trap Road, Vienna.

(703) 255-1900. National Symphony Orchestra performs Stravinsky’s The Firebird. 8:15 p.m. $20–$65. wolftrap.org.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Cactus Liquors, Half Step. 8:30 p.m. $12–$14. gypsysallys.com.

kenneDy cenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. NSO Summer Music Institute.

6 p.m. Free. kennedy-center.org.

lincoln TheaTre 1215 U St. NW. (202) 888-0050.

Bryan Ferry, LP. 8 p.m. (Sold out) thelincolndc.com. merriweaTher posT pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Brandi Carlile, Old Crow Medicine Show, Dawes. 6:30 p.m. $45–$75. merriweathermusic.com.

go-go

howarD TheaTre 620 T St. NW. (202) 803-2899.

Sugar Bear and E.U., Junkyard Band, Be’La Dona.

11 p.m. $20–$50. thehowardtheatre.com.

washingtoncitypaper.com july 22, 2016 33

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

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

Tix @ Ticketmaster.com 800-745-3000 SiriusXM presents

Sat. Nov. 26, 8pm.

Warner Theatre, Washington DC

Tickets on sale Fri. 7/29 at 10am through Ticketmaster.com/800-745-3000.

An Evening with

July 21

GRAHAM NASH

THIS PATH TONIGHT, TOUR 2016

RUBY THE BACON BROTHERS BOOTS 26 BWB featuring NORMAN BROWN, KIRK WHALUM, RICK BRAUN Donovan 28 SARAH JAROSZ Woods 30 SAMANTHA FISH

22,24

with special guest DAVY

KNOWLES

31 MAURA O’CONNELLL & KARAN CASEY

hip-hop

FuNk & r&B

World

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jazz Funk Soul. 8 p.m. (sold out); 10 p.m. $45–$50. bluesalley.com.

u sTreeT music hall 1115 U St. NW. (202) 588-1889.

BJ the Chicago Kid, Elhae, Tish Hyman, Reesa Renee.

7 p.m. $20. ustreetmusichall.com. warner TheaTre 513 13th St. NW. (202) 783-4000.

Valy. 7 p.m. $45–$150. warnertheatredc.com.

couNtry

hill counTry BarBecue 410 7th St. NW. (202) 556-2050. The Woodshedders. 9:30 p.m. Free. hillcountrywdc.com.

BeThesDa Blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. I&I Riddim Reggae Band.

8 p.m. $15. bethesdabluesjazz.com.

suNday rock

Jiffy luBe live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Dierks Bentley, Randy Houser, Cam, Tucker Beathard. 7 p.m. $32.25–$57. livenation.com.

amp By sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Jackie Greene. 8 p.m. $25–$35. ampbystrathmore.com.

BluEs

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Bacon Brothers, Ruby Boots.

7:30 p.m. $45. birchmere.com.

The hamilTon 600 14th St. NW. (202) 787-1000. Fast Eddie and the Slowpokes. 10:30 p.m. Free. thehamiltondc.com.

Jazz

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Kia Bennett. 8 p.m. Free. mrhenrysdc.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Thad Wilson Quartet with Kristin Callahan. 9 p.m.; 11 p.m. $15. twinsjazz.com.

ElEctroNic

echosTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Zion y Lennox. 9 p.m. $31. echostage.com.

Dc9 1940 9th St. NW. (202) 483-5000. Marissa Nadler, Wrekmeister Harmonies, Muscle and Marrow.

8 p.m. $13–$15. dcnine.com.

Galaxy huT 2711 Wilson Blvd., Arlington.

(703) 525-8646. Melt Like Clouds, Koshari. 9 p.m. $5. galaxyhut.com. ioTa cluB & café 2832 Wilson Blvd., Arlington.

(703) 522-8340. Nina Diaz, Scarlet Sails. 8:30 p.m. $12. iotaclubandcafe.com.

classical

flash 645 Florida Ave. NW. (202) 827-8791. Ben Seagren, DJ Kramer, Paul Geddes, Marko Peli. 8 p.m. $10–$15. flashdc.com.

kenneDy cenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. NSO Summer Music Institute.

6 p.m. Free. kennedy-center.org.

u sTreeT music hall 1115 U St. NW. (202) 588-1889.

Marvel Years, Choppy Oppy, Bill & Ed, Thomas Marlar.

10:30 p.m. $10. ustreetmusichall.com.

wolf Trap filene cenTer 1551 Trap Road, Vienna.

(703) 255-1900. National Symphony Orchestra with Pink Martini. 8:15 p.m. $30–$60. wolftrap.org.

Aug 3&4 5 6 7

THE HOT SARDINES TAB BENOIT BELL WILLIAM & The Total Package Band

CITY LIGHTS: saturday

ELIZABETH COOK Derek Hoke 12 LARRY GRAHAM & GRAHAM CENTRAL STATION

11

13 Sax And The City feat.

14

MARION MEADOWS & PAUL TAYLOR JUNIOR BROWN 18 Bonnie 19 PAUL THORN BAND Bishop 20 MARSHALL CRENSHAW’S Big Surprise!

“Tom Wilson’s World” An Evening with

23

DAVID CROSBY KEVIN COSTNER 24 & MODERN WEST 26 THE SMITHEREENS KIM WATERS 27 28 THE OAK RIDGE BOYS Anna & Sept 1 UNCLE EARL Elizabeth 2 THE MANHATTANS featuring

34 july 22, 2016 washingtoncitypaper.com

GERALD ALSTON

THE FIREBIRD

The traditional version of Stravinsky’s The Firebird uses a standard-issue Russian fairy tale ingredient list: a prince, a princess, a bird with magic feathers, and an evil sorcerer. Stir, and the story writes itself. Janni Younge’s reimagining is still a story propelled by dualities, but the focus has shifted from a generic good-versus-evil to a battle between creation and destruction, while puppeteers and contemporary African dancers replace the original ballerinas. In this new version, the prince becomes a character called “the Seeker;” the evil sorcerer is a series of beasts representing doubt and destruction; the maidens are refashioned as child-sized masks made to represent innocence; and the firebird is a dragon born from the fusion of opposites. Make no mistake about these puppets—they’re not hand-sized marionettes. The firebird dragon is 440 pounds of aluminum skeleton and intricate gadgetry and requires three people to execute its soaring maneuvers. Younge’s battle between passion and fear plays against the backdrop of postapartheid South Africa. Its concluding message isn’t quite the fairy tale happily ever after, but it speaks to the potential of transformation. The performance begins at 8:15 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $20–$65. (703) 255-1900. wolftrap.org.

—Emily Walz

washingtoncitypaper.com july 22, 2016 35

Hip-HOp

EchostagE 2135 Queens Chapel Road NE. (202) 503-2330. Cardi B, Swiftondemand, Josh X, Cashflow Harlem, Just Vlad. 6 p.m. $36.80. echostage.com. howard thEatrE 620 T St. NW. (202) 803-2899.

Joey Bada$$, Kirk Knight, CJ Fly, Jay IDK. 9 p.m. $29.50–$69.50. thehowardtheatre.com.

TH JULY 21 Surprise Attack • FR JULY 22 Three Quarter Squeegee SA JULY 23 Gypsy Soul Revival • MO JULY 25 SEHKRAFT OPEN MIC! (Hosted by Derek Evry) TU JULY 26 We Are The Nine WE JULY 27 The Mallett Brothers w/ These Wild Plains TH JULY 28 The Junior Bryce Band • FR JULY 29 Jameson Greene SA JULY 30 Covered with Jam • TH AUG 4 Jason Ager Trio w/ Micro Massive FR AUG 5 Excitable Boy w/ Dan Lipton • SA AUG 6 Justin Trawick and The Common Good SU AUG 7 Wylder / Feral Conservatives / Fellow Craft WE AUG 10 Gunsmoke & Cheap Perfume • FR AUG 12 Three Man Soul Machine SA AUG 13 Business 2 Consumer w/ The Kenny George Band • WE AUG 17 Big Lunch HAUS PARTIES TH AUG 18 Megan Jean & the KFB • FR AUG 19 Taylor Carson (Full Band) every Thursday.

SA AUG 20 The Golden Road Check website for details TH AUG 25 Bellas Bartok • FR AUG 26 Aztec Sun w/ Esso! Afrojam Funkbeat GOOD TO GO SA AUG 27 Wavos • TH SEPT. 1 Dirk Quinn Band • SU SEPT. 4 Evan Taylor Jones Brunch Sundays FR SEPT. 9 Dr. Yes from 11am - 3pm

U strEEt MUsic hall 1115 U St. NW. (202) 588-1889.

Vic Mensa, Joey Purp. 7 p.m. $27.50. ustreetmusichall.com.

COUNtRY

Bossa Bistro 2463 18th St NW. 202-667-0088.

Moose Jaw Bluegrass Band. 9 p.m. $5. bossadc.com.

BLUES

thE haMilton 600 14th St. NW. (202) 787-1000.

Tinsley Ellis, Bad Influence Band. 7:30 p.m. $15–$25. thehamiltondc.com.

JAzz TRIVIA NIGHTS w/ Geeks Who Drink starting in August every Tuesday

925 North Garfield St. | Arlington, VA | 703-841-5889 | sehkraftbrewing.com

twins Jazz 1344 U St. NW. (202) 234-0072. Jegna Tree-O. 8 p.m.; 10 p.m. $10. twinsjazz.com.

ELECtRONiC

Flash 645 Florida Ave. NW. (202) 827-8791. The Sidewalk Ends with Catz ‘n’ Dogz, Wolf + Lamb, Camea, DJ Three. Noon $20. flashdc.com.

FUNk & R&B

Hip-HOp

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

Zion I & Grouch & Eligh. 8 p.m. $16–$35. thehowardtheatre.com.

JAzz

BlUEs allEy 1073 Wisconsin Ave. NW. (202) 337-4141.

Dwayne Adell Trio. 8 p.m.; 10 p.m. $20. bluesalley.com.

ELECtRONiC

KEnnEdy cEntEr MillEnniUM stagE 2700 F St. NW. (202) 467-4600. The Hurd Ensemble. 6 p.m. Free. kennedy-center.org.

tUESDAY ROCk

dc9 1940 9th St. NW. (202) 483-5000. Chicano Batman, Maracuyeah. 9 p.m. $13–$15. dcnine.com.

JiFFy lUBE livE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Slipknot, Marilyn Manson, Of Mice &Men. 6:30 p.m. $29–$59. livenation.com.

KEnnEdy cEntEr MillEnniUM stagE 2700 F St. NW. (202) 467-4600. The Murder of Crows. 6 p.m.

Free. kennedy-center.org. lincoln thEatrE 1215 U St. NW. (202) 888-0050.

Ryan Adams, Amanda Shires. 8 p.m. (Sold out) thelincolndc.com.

BlUEs allEy 1073 Wisconsin Ave. NW. (202) 337-4141.

Jazz Funk Soul. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

U strEEt MUsic hall 1115 U St. NW. (202) 588-1889.

LP, Lauren Ruth Ward. 7 p.m. $15. ustreetmusichall.com.

MONDAY

vErizon cEntEr 601 F St. NW. (202) 628-3200.

Demi Lovato and Nick Jonas. 7 p.m. $29.95–$79.95. verizoncenter.com.

ROCk

dc9 1940 9th St. NW. (202) 483-5000. The Besnard Lakes, Great American Canyon Band. 9 p.m. $12–$14. dcnine.com.

Fort rEno 3800 Donaldson Place NW. (202) 355-6356. Cinema Hearts, American Television, The Mauls. 7 p.m. Free. fortreno.com. galaxy hUt 2711 Wilson Blvd., Arlington.

(703) 525-8646. The Caribbean, Trisloth. 9 p.m. $5. galaxyhut.com. lincoln thEatrE 1215 U St. NW. (202) 888-0050.

Bryan Ferry, LP. 8 p.m. $55–$75. thelincolndc.com.

wolF trap FilEnE cEntEr 1551 Trap Road, Vienna.

(703) 255-1900. Huey Lewis & The News, Jamie Kent.

8 p.m. $25–$50. wolftrap.org.

Hip-HOp

9:30 clUB 815 V St. NW. (202) 265-0930. Digable Planets, Camp Lo. 7 p.m. (Sold out) 930.com.

COUNtRY

gypsy sally’s 3401 K St. NW. (202) 333-7700. The Defibulators, The Weathervanes. 8 p.m. $10–$12. gypsysallys.com.

CITY LIGHTS: SUNDAY

MUSCLE AND MARROW

Love is wonderful. Love is pain. Love is happiness.

Love is suffering. Love is loss. That’s, in essence, the emotional panorama explored in Love, the brooding new album from Portland, Oregon duo Muscle and Marrow. It follows Kira Clark and Keith McGraw’s wonderfully dense and doom-y debut album, The Human Cry—one of 2014’s most striking records. The gloom isn’t gone on Love, but amplified, as Clark and McGraw give into their goth and industrial musical tendencies—akin to the operatic doom of Chelsea Wolfe and the sonic drone of Locrian—while continuing to investigate heavy themes. “The obvious, immediate emotion on this album is pain,” Clark told Bandcamp in a recent interview. “But it comes from different places.” And that’s the heart of Love—an intense interrogation of how wonderful and completely awful love can be. “To me, love and loss are completely connected,” Clark says. “You can’t have pain over losing something or someone without first loving it.” Muscle and Marrow performs with Marissa Nadler and Wrekmeister Harmonies at 8 p.m. at DC9, 1940 9th St. NW. $13–$15. (202) 483-5000. dcnine.com.

—Matt Cohen 36 july 22, 2016 washingtoncitypaper.com

washingtoncitypaper.com july 22, 2016 37

hill counTry BarBecue 410 7th St. NW. (202) 556-2050. Colonel Josh and the Honky Tonk Heroes.

8:30 p.m. Free. hillcountrywdc.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Angela Stribling. 8 p.m.; 10 p.m. $25. bluesalley.com.

Jazz

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

BeThesDa Blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. SE:UM, Youngjoo Song Trio. 8 p.m. $20. bethesdabluesjazz.com.

ElEctroNic

flash 645 Florida Ave. NW. (202) 827-8791. Weiss, Mina. 8 p.m. $10. flashdc.com.

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. BWB featuring Norman Brown, Kirk Whalum, and Rick Braun. 7:30 p.m. $49.50. birchmere.com.

howarD TheaTre 620 T St. NW. (202) 803-2899.

Brazilian Girls. 8 p.m. $25–$35. thehowardtheatre. com.

FuNk & r&B

SUN JULY 24TH

JOEY BADA$$ THU JULY 28TH

DMX

SUN JULY 31ST

MOUSEY THOMPSON'S JAMES BROWN EXPERIENCE

MON AUG 1ST

TODRICK HALL STRAIGHT OUTTA OZ TOUR

WED AUG 3RD

BLACKBEAR THU AUG 4TH

A FAT WRECK

A PUNK-U-MENTARY

SAT AUG 6TH

MAX MAJOR’S THINK AGAIN THU AUG 11TH

HERE COME THE MUMMIES SAT AUG 20TH

DRU HILL

SAT AUG 21ST & SUN 22ND

SAVION GLOVER SUN SEPT 11TH THE TEMPTATIONS REVIEW

SAT SEPT 17TH AMEL LARRIEUX FRI OCT 28TH & SAT 29TH

JEFFREY OSBORNE

BUY TICKETS AT THE BOX OFFICE OR ONLINE AT THEHOWARDTHEATRE.COM 202-803-2899

38 july 22, 2016 washingtoncitypaper.com

u sTreeT music hall 1115 U St. NW. (202) 588-1889.

Club cheval. 9 p.m. $15–$25. ustreetmusichall.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Brian Christopher. 8 p.m.; 10 p.m. $25. bluesalley.com.

thursday

WEdNEsday

rock

Black caT BacksTaGe 1811 14th St. NW. (202) 6674490. Tommy Stinson, Frankie Lee. 7:30 p.m. $15. blackcatdc.com.

rock

amp By sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Butch Trucks and the Freight Train Band. 8 p.m. $30–$40. ampbystrathmore.com.

forT reno 3800 Donaldson Place NW. (202) 3556356. Light Beams, Scanners, Mimi Loco and the Drama Queens. 7 p.m. Free. fortreno.com.

Black caT BacksTaGe 1811 14th St. NW. (202) 6674490. Hallelujah the Hills, Hartford Pussies, Alex Vans. 7:30 p.m. $10. blackcatdc.com.

hill counTry BarBecue 410 7th St. NW. (202) 556-2050. The Bobby Thompson Project. 8:30 p.m.

Free. hillcountrywdc.com.

Bossa BisTro 2463 18th St NW. 202-667-0088. Ben Hemming. 9:30 p.m. $5. bossadc.com.

rock & roll hoTel 1353 H St. NE. (202) 388-7625.

Quilt, Big Thief. 8 p.m. $15. rockandrollhoteldc.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Little Tybee, The Wild Reeds. 8 p.m. $10. gypsysallys.com.

opEra

sixTh & i hisToric synaGoGue 600 I St. NW. (202) 408-3100. Benjamin Clementine. 8 p.m. $25–$28. sixthandi.org. sTraThmore ouTDoors 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Aztec Sun. 7 p.m. Free. strathmore.org. wolf Trap filene cenTer 1551 Trap Road, Vienna.

(703) 255-1900. Jeff Beck, Buddy Guy. 8 p.m. $30–$65. wolftrap.org.

classical

The hamilTon 600 14th St. NW. (202) 787-1000.

Dead Winter Carpenters, Banditos. 7:30 p.m. $10–$15. thehamiltondc.com.

Jazz

BeThesDa Blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Virginia Music Adventures. 7:30 p.m. $15. bethesdabluesjazz.com.

hip-hop

howarD TheaTre 620 T St. NW. (202) 803-2899.

DMX, Fameschool. 9 p.m. $29.50–$65. thehowardtheatre.com.

World

Bossa BisTro 2463 18th St NW. 202-667-0088.

Cissa Paz. 10 p.m. $5. bossadc.com. fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Chino y Nacho, Guaco. 8 p.m. $47. fillmoresilverspring.com.

kenneDy cenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Corcoran Chamber Music Institute. 6 p.m. Free. kennedy-center.org.

couNtry

phillips collecTion 1600 21st St. NW. (202) 3872151. Vocal Colors with Wolf Trap Opera Company.

6:30 p.m. $8–$20. phillipscollection.org.

kenneDy cenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Rahim AlHaj Trio. 6 p.m. Free. kennedy-center.org.

couNtry

amp By sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Larry Campbell and Teresa Williams, The Honey Dewdrops. 8 p.m. $25–$35. ampbystrathmore.com.

CITY LIGHTS: MoNday

NicolE dENNis-BENN

Margot, the protagonist of Nicole Dennis-Benn’s debut novel Here Comes the Sun, learns at a young age to use her sexuality for survival, and does so to help send her younger sister, Thandi, to school.

Under the scorching Jamaican sun, Margot battles sexist ideals and attempts to gain financial security when a new hotel opens in Montego Bay. The development threatens to destroy her community but it also offers her a chance to acknowledge her forbidden love for another woman. Against her expertly crafted setting of sandy beaches and bright blue coastal seas, Dennis-Benn tells the story of women struggling for independence and ownership over their destinies. Here Comes the Sun is a vivid and intimate portrayal of lives woven together by adversity. Listeners at Politics & Prose can expect an active discussion of writing about places you know well when Dennis-Benn, born and raised in Kingston, Jamaica, appears in conversation with Marita Golden, co-founder of the Hurston/Wright Foundation. Nicole Dennis-Benn reads at 7 p.m. at Politics & Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Raye Weigel

CITY LIGHTS: tuEsday

digaBlE plaNEts

Another Digable Planets reunion tour isn’t newsworthy on its own—the hip-hop trio has been reunited and performing in some form or another since 2005—but the timing of this latest tour is apt. With artists like Kendrick Lamar, Kamasi Washington, and BJ the Chicago Kid gaining popularity and influence, it’s a perfect time to look back on the foundations of hip-hop and jazz fusion. Digable Planets weren’t the first or only group to combine thoughtful rhymes over cool jazz, but both of its albums—the breezy and upbeat Reachin’ (A New Refutation of Time and Space) and the more sober and political Blowout Comb—showed just how broad the style can be. Blowout Comb has aged particularly well.

Its dark, hazy beats and direct lyrics make it feel as relevant today as it did back in 1994. If “Rebirth of Slick (Cool Like Dat)” is the only song that comes to mind when thinking about Digable Planets, then now’s a good time to learn that the group’s influence extends beyond one-hit wonder status. Digable Planets performs with Camp Lo at 7 p.m. at 9:30 Club, 815 V St. NW. $25.

(202) 265-0930. 930.com.

—Justin Weber Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Sarah Jarosz, Donovan Woods.

7:30 p.m. $29.50. birchmere.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Jerrry Tolk and the Old Soul String Band. 8 p.m.

Free. mrhenrysdc.com.

BluEs

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Otis Taylor Band. 8 p.m.; 10 p.m. $27.50. bluesalley.com.

Jazz

BeThesDa Blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Molly Ringwald with Dave Damiani and No Vacancy Orchestra. 8 p.m. $35. bethesdabluesjazz.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Twins Jazz Orchestra. 8 p.m. $10. twinsjazz.com.

ElEctroNic

flash 645 Florida Ave. NW. (202) 827-8791. Jackmaster, Juan Zapata. 8 p.m. $5–$20. flashdc.com.

FuNk & r&B

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

Monophonics. 8:30 p.m. $12–$15. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Stooges Brass Band, The DJ Williams Projekt.

7:30 p.m. $15–$20. thehamiltondc.com.

Books

caroline anGell The author reads from her debut novel, All the Time in the World, which follows a young nanny as she struggles to help her employers through a tragedy while taking control of her own life.

Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. July 27, 6:30 p.m. Free. (202) 387-1400. nicole Dennis-Benn The author reads from her acclaimed debut novel, Here Comes the Sun, which follows a Jamaican woman as she attempts to support her sister and accept herself as her community is obliterated by development. Politics & Prose. 5015

Connecticut Ave. NW. July 25, 7 p.m. Free.

(202) 364-1919. linDa fairsTein The author, a former district attorney in Manhattan, discusses her new book, Killer Look, with fellow crime novelist Laura Lippman. Politics & Prose. 5015 Connecticut Ave. NW. July 28, 7 p.m.

Free. (202) 364-1919. sTuarT sTevens Stevens relied on his experience as a political consultant when writing his second novel, The Innocent Have Nothing to Fear, which he discusses with readers at the aptly named bookstore.

Politics & Prose. 5015 Connecticut Ave. NW. July 22, 7 p.m. Free. (202) 364-1919. michael TackeTT in The Baseball Whisperer, the author tells the story of a small town baseball coach who led players like Ozzie Smith and Von Hayes to the big leagues while encouraging countless other players. Politics & Prose. 5015 Connecticut Ave. NW. July 23, 3:30 p.m. Free. (202) 364-1919. pauls TouTonGhi The author discusses Dog Gone, his first nonfiction book, about a family’s search for their missing golden retriever and how their fight to reunite with their dog strengthened their bonds with each other. Politics & Prose. 5015 Connecticut Ave. NW. July 23, 1 p.m. Free. (202) 364-1919. paul viDich Vidish reads from An Honorable Man, the first volume in a planned series of thrillers about communism and the CIA. Politics & Prose. 5015 Connecticut Ave. NW. July 26, 7 p.m. Free. (202) 364-1919.

Galleries

civilian arT proJecTs 4718 14th St. NW. (202) 6073804. civilianartprojects.com. Opening: “Prince and Other Departed Legends.” Local artists, including Martine Workman, Adrian Loving, and Mei Mei Chang, pay tribute to many of the musical legends who died this year in this group show. July 15 to Aug. 6. cross mackenzie Gallery 1675 Wisconsin Ave. NW. (202) 337-7970. crossmackenzie.com. Ongoing: “Architects’ Drawings.” Architects and curators Mark McInturff and Dhiru Thadani highlight drawings from some of the world’s most interesting building plan-

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Is the Glass half full?

Is the Glass Dance half empty? how about half off!

ners in this exhibition presented in partnership with the National Building Museum. June 8 to July 30.

Jack ya BoDy Dance makers showcase Five emerging dancers and choreographers perform at this annual showcase, presented as part of the D.C. Hip-Hop Theater Festival. Dance Place. 3225 8th St. NE. July 22, 8 p.m.; July 23, 8 p.m. $15–$30. (202) 2691600. danceplace.org.

Theater

99: a rock opera A government employee tasked with overseeing a group of protesters in a city park struggles to accept his political values and romantic challenges in this rock opera inspired by the Occupy movement. Presented by local theater group DC Dogs, the production is produced and directed

by Jonathan Zuck. Silver Spring Black Box Theatre.

8641 Colesville Road, Silver Spring. To July 31. $15.

JumanJi On a dull day, Judy and Peter find a mysterious old board game. One live lion, an erupting volcano, and some destructive monkeys later, the children are plunged into an experience they’ll never forget.

Will they ever finish this mysterious magic game and claim Jumanji? Serge Seiden directs this performance for audiences of all ages adapted from Chris Van Allsburg’s classic picture book. Adventure Theatre MTC. 7300 MacArthur Blvd., Glen Echo. To Aug. 28. $19.50.

(301) 634-2270. adventuretheatre-mtc.org.

realdeal.washingtoncitypaper.com

The merchanT of venice Jonathan Pryce stars as Shylock in this production of the Bard’s classic comparison of tolerance and intolerance, originally presented at Shakespeare’s Globe in London in 2015.

Kennedy Center Eisenhower Theater. 2700 F St. NW. To July 30 $69–$120. (202) 467-4600. kennedy-center.org.

The phanTom of The opera The longest-running musical in Broadway history, which tells the story of a mysterious masked man who haunts a Paris theater, returns to the Kennedy Center in an all-new production that retains all the classic songs, including “Music of the Night” and “All I Ask of You.” Kennedy Center Opera House. 2700 F St. NW. To Aug. 20. $25–$149.

(202) 467-4600. kennedy-center.org. reDDer BlooD Dawn Ursula and Jenna Sokolowski star in this drama by Helen Pafumi about a woman who hears the voice of God and, when her life starts to crumble, finally considers listening. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To July 31. $20–$30. (703) 674-3177. thehubtheatre.org.

The seconD ciTy’s almosT accuraTe GuiDe To america The acclaimed Chicago-based comedy troupe presents a new show full of silly takes on U.S. history and thoughts on the way America sees itself in the world. Kennedy Center Theater Lab. 2700 F St. NW. To July 31. $49–$65. 202-467-4600. kennedy-center.org. washinGTon improv TheaTer presenTs summer camp Washington Improv Theater invites you to choose any bunk you want during Summer Camp—a five-week series of shows from its company ensembles and special guests from across the city. Summer Camp will also feature a reboot of Die! Die! Die!, an improvised slasher movie that’s much funnier (but even more dangerous) than Friday the 13th’s Camp Crystal Lake. Washington Improv Theater at Source.

1835 14th St. NW. To Aug. 6. $12–$30. (202) 204-7770. washingtonimprovtheater.com.

CITY LIGHTS: WEdNEsday

cluB chEVal

Club cheval is the Voltron of underground electronic music. The group is comprised of four French electronic music prodigies—Myd, Sam Tiba, Panteros666, and Canblaster—who have each had successful careers as DJs and producers in their own right, but their most magical music comes when they’re working together. Perhaps it’s because each member brings to the table different but complementary influences, be it French rap and electro, British rave nostalgia, or American R&B and hip-hop. Together, they connect dance music dots across the Atlantic Ocean and the English Channel as the successors to French predecessors Daft Punk and Justice. On stage, however, Club cheval most resembles a band from about 200 miles east of its Lille, France birthplace: Kraftwerk.

Like the German pioneers, Club cheval perform in matching outfits (sleek black turtlenecks rather than Kraftwerk’s shirt-and-tie minimalism) behind an array of synthesizers and drum machines.

But while the cartoon Voltron was billed as the “Defender of the Universe,” Club cheval is content to defend the dance floor. Club cheval performs at 9 p.m. at U Street Music Hall, 1115 U St. NW. $15–$25. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly 40 july 22, 2016 washingtoncitypaper.com

we know how you Die! Members of the Upright Citizens Brigade bring a brand-new improvised show to Woolly Mammoth in which they predict how your life will end. The results will be funny but they might not be pretty. Woolly Mammoth Theatre. 641 D St. NW. To July 31. $20–$75. (202) 393-3939. woollymammoth.net.

mike anD Dave neeD weDDinG DaTes When two brothers place an online ad seeking wedding dates, drinking contests, and other shenanigans. Starring Adam DeVine, Zac Efron, Anna Kendrick, and Aubrey

aBsoluTely faBulous: The movie Patsy and Edina are back and hiding in the South of France in this film adaptation of Jennifer Saunders and Joanna Lumley’s popular British sitcom. Directed by Mandie Fletcher. (See washingtoncitypaper.com for venue information) cafe socieTy Jesse Eisenberg and Kristen Stewart star in Woody Allen’s new comedy about a young man who gets wrapped up in the lives of socialites on both coasts. (See washingtoncitypaper.com for venue information) GhosTBusTers Melissa McCarthy, Kate McKinnon, Kristen Wiig, and Leslie Jones team up to fight ghouls in New York City in this reboot of the 1984 supernatural comedy. Directed by Paul Feig. (See washingtoncitypaper.com for venue information) ice aGe: collision course The animated animals from this popular film series return for a fifth go-round and this time, they have to prevent a meteor from striking Earth. Featuring the voices of Ray Romano, Queen Latifah, Jesse Tyler Ferguson, and Denis Leary. (See washingtoncitypaper.com for venue information) life, animaTeD A young man’s struggle with autism and his reconnection with the world through Disney animated films is chronicled in this documentary from director Roger Ross Williams. (See washingtoncitypaper.com for venue information)

UPCOMING PERFORMANCES

Plaza. (See washingtoncitypaper.com for venue information)

Film

LIVE

their scheme goes viral, leading to T.V. appearances,

nerve A teenage girl gets dragged into an online game of truth or dare and struggles to emerge from it in this psychological thriller from directors Henry Joost and Ariel Schulman. Starring Emma Roberts and Dave Franco. (See washingtoncitypaper.com for venue information) The secreT life of peTs Louis C.K., Kevin Hart, and Ellie Kemper voice animals and owners in this animated film that imagines what happens to pets when they’re out in the real world. (See washingtoncitypaper.com for venue information) sTar Trek BeyonD Kirk, Spock, Sulu, and Uhura travel through space again in the latest film from director Justin Lin. In this story, the USS Enterprise crew must take down a new enemy that threatens to destroy the Federation. (See washingtoncitypaper. com for venue information) Tulip fever A painter falls in love with a young woman when he is sent to document a 17th-century Dutch tulip festival in this costume drama from director Justin Chadwick. Starring Christoph Waltz, Alicia Vikander, and Cara Delevingne. (See washingtoncitypaper.com for venue information)

Film clips by Caroline Jones.

CITY LIGHTS: thursday

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

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

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

and

STEVE FORBERT

WILLY PORTER THURSDAY JULY

21

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FRIDAY

JULY 22

SUN, JULY 24

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THE DUSTBOWL REVIVAL W/ THE JUDY CHOPS SAT, JULY 30

RICH ROBINSON

Qualifications, background, and disposition of the ideal candidate for this position include:

Quilt

There’s a moment in the video for “Roller,” one of the grooviest songs on Quilt’s Plaza, in which singer Anna Fox Rochinski performs a low-key, choreographed dance scene in an empty living room. She’s wearing a burnt-sienna dress, the dancers around her are wearing black leotards and veils, and everyone seems to be enjoying it. The scene is an intentional crowd-pleaser, but Quilt’s tunes don’t deliver anything so directly fun on their own. It’s all good, though. The pleasures on Plaza, Quilt’s third release, run deep: Formed at Boston’s School of the Museum of Fine Arts, the band makes the most of its art-kid roots, building pop-rock songs that coolly rise and precisely resolve—often on riffs and hooks with ’90s indie edges (turn-of-the-century Imperial Teen, in particular, comes to mind). The production by Jarvis Taveniere (best known for working with Woods) is pristine, too. The net effect is a record that always feels intelligent but never gets pretentious. Quilt performs with Big Thief at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $15.

(202) 388-7625. rockandrollhoteldc.com.

—Joe Warminsky

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

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

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

No phone calls please.

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Contents: Adult . . . . . . . . . . . . . . . . . . . . . . .

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Invitation for Bid Food Service Management Services (Insert SFA’s name) Lee Montessori PCS is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/or CACFP supper meals to children enrolled at the school for the 2016-2017 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifications outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on July 22, 2016 date) from Erin Rowsey at 202-7799740 or erin@leemontessori.org

PAUL PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS (RFP)

PAUL PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS (RFP) Paul Public Charter School seeks bids for: Painting walls of hallways and stairwells.

For a copy of the full RFP and associated scope of work interested firms should contact: Rolando R. Campos at rcampos@ paulcharter.org or 202-378-2269.

Bids must be received by 12:00 PM, Monday, August 1st, 2016to the following location: Paul Public Charter School ATTN: Rolando R. Campos 5800 8th St NW Washington, DC 20011

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2016 ADM 000729

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2016 ADM 000746 Name of Decedent, Lee Ella C. Hoaney

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Legals Mechanics’ Lien: 2015 DODGE VIN# 2C3CDXBG6FH722229.

Sale to be held 8/1/16 at 11:45 a.m. on the premises of COLLISION AUTOBODY, 7229 LANDOVER RD, HYATTSVILLE, MD 20785.

Proposals will be accepted at 3025 4th Street, NE, Washington, DC 20017 on August 16, 2016, not later than 3 p.m.

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

Mechanics’ Lien: 2008 BMW VIN# WBAWL73508PX43534.

Sale to be held 8/1/16 at 12p.m. on the premises of COLLISION AUTOBODY, 7229 LANDOVER RD, HYATTSVILLE, MD 20785.

Paul Public Charter School seeks competitive bids for: Chromebooks (Branded HP, Dell, Acer etc.)

For a copy of the full RFP, interested firms should contact: Iftikhar Khan at: ikhan@paulcharter.org Bids must be received by 4:00 P.M. Monday, August 1st. Please submit bids electronically to ikhan@paulcharter.org Paul PCS reserves the right to cancel this RFP at any time.

Paul Public Charter School ATTN: Iftikhar Khan 5800 8th St. N.W. Washington, DC 20011 Achievement Prep PCS - Request for Proposals – Janitorial Services Achievement Prep PCS is seeking competitive bids for janitorial services at it’s redeveloped Wahler Place Elementary Campus.

Please find the full RFP specifi cations at www.achievementprep. org under News. Proposals must be received by 5:00PM on Monday, July 25, 2016. Please send proposals to bids@achievmentprep.org and include “RFP – Janitorial Services” in the heading.

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

Mechanics’ Lien: 2012 Honda VIN# 19XFB2F59CE093874. Sale to be held 8/1/16 at 11:30 a.m. on the premises of COLLISION AUTOBODY, 7229 LANDOVER RD, HYATTSVILLE, MD 20785.

Mechanics’ Lien: 2012 VOLKSVIN# 3VWDP7AJ4CM020716.

Sale to be held 8/1/16 at 10A.m. on the premises of ECARMA MOTORS, 8275 KNIGHTHOOD PL., WHITE PLAINS, MD 20695.

Mechanics’ Lien: 2014 INFI VIN# JN1BV7AR7EM701217. Sale to be held 8/1/16 at 11 a.m. on the premises of COLLISION AUTOBODY, 7229 LANDOVER RD, HYATTSVILLE, MD 20785.

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Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Deborah Ann Trudel, whose address is 2221 NE 35 Ct. Lighthouse Point, FL 33064 was appointed Personal Representative of the estate of Yevgenyi A. Scherban, who died on November 3, 1996, without a Will and will serve with Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 1/14/2017. Claims against the decedent shall be presented to the undersigned with a http://www.washingtoncicopy to the Register of Wills or to typaper.com/ the Register of Wills with a copy to the undersigned, on or before 1/14/2017, or be forever barred.

Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 7/14/2016 Name of Newspaper and/or periodical: Washington City Paper/ DWLR Name of Person Representative: Deborah Ann Trudel.

TRUE TEST copy Anne Meister Register of Wills Pub Dates: July 14, 21, 28.

FIND YOUR OUTLET. REPEAT OutRELAX, withUNWIND, theHEALTH/ old, In CLASSIFIEDS withMIND, theBODY new Post & SPIRIT

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Name and Address of Attorney, George A. Lambert, Esq, 1025 Connecticut Ave, NW #1000, Washington, DC 20036

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Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Susan Y. Bennett, whose address is 129-133 West 147th Street, #20L, New York, NY 10039 was appointed Personal Representative of the estate of Lee Ella C. Hoaney who died on 11/23/2015 with a Will and without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment (or to the probate of decedent’s Will) shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3rd Floor, Washington D.C. 20001, on or before 01/14/2017.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Will with a copy to the undersigned, on YOUR OUTLET.or forever orFIND before 01/14/2017, beRELAX, barred. UNWIND, Persons believed to be REPEAT heirs or legatees of the decedent CLASSIFIEDS HEALTH/ who do not receive a copy of this MIND,byBODY & SPIRIT notice mail within 25 days of itshttp://www.washingtonpublication shall so inform the Register of Wills, including name, citypaper.com/ address and relationship.

Date of first publication: 7/14/2016 Name of newspaper and/or periodical: DWLR Washington City Paper Personal Representative: Susan Y. Bennett TRUE TEST copy Anne Meister Register of Wills Pub Dates: July 14, 21, 28.

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Name of Decedent, Yevgenyi A. Scherban

Washington City Paper Classifieds

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

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

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1 Like some punk mohawks 6 ABA members 9 Pitcher’s milieu 14 ___ Picchu 15 Botanist Gray 16 Siesta buzz 17 His Twitter handle is @SHAQ 18 Did nothing 20 One who set up their iPhone to run Windows 95, say 21 Painter’s patron, perhaps 22 Takes all the pills, say 23 Malm dresser maker 25 50 minutes past 27 Happy Days character 30 Scrub spots, for short 31 Expression of disdain 34 Réunion loc.

35 ___-Grain (cereal brand) 37 Altoids containers 38 Hot dude 40 College in Brooklyn 42 Analyze poetry 43 Tarot dealer

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44 Combat company 46 It might be blown up on an action movie set 47 One-named Irish pop star 48 Vane dir.

49 Calls off the wedding 51 High tops 53 Simplicity 54 The Children author Leary 56 Number on an invoice 58 RR stops 62 2016 fad whose characters must be discovered in the game, just as you can do in this puzzle 64 Run out of ideas 65 Annoying problem 66 Sick as a dog 67 Gmail option 68 Winter weather 69 TTFN alternative 70 Garden store purchase

Down

1 Bad air day problem 2 Spot for a sun catcher

3 Slushie alternative 4 Casual pants 5 Bald guy Brynner 6 Russian country home 7 Arthur ___ Courage Award 8 Patron of impossible dreams 9 Narnia lion 10 Evidence for a lab 11 Ticket counters 12 Mad as hell 13 Pizza slices in Portsmouth?

19 Winemaker’s waste 21 Get ready for a long drive?

24 Family 26 Makes a decision (to) 27 Out of vogue 28 Many times over 29 What Alex Rodriguez isn’t, according to his detractors 30 Make a speech 32 Eel, in maki 33 This ___ Happening 36 Approaching Mach 1 39 Bat man, for short?

41 Pick up the bill 45 Elected officials 48 Dory’s neighbor 50 “Feel So High” singer FIND YOURZosia 52 Actress whoseRELAX, dad OUTLET. is a famous UNWIND, REPEAT playwright CLASSIFIEDS 53 Gay in the HEALTH/MIND, military, back BODY & SPIRIT in WWII http://www.washingt54 Google Play oncitypaper.com/ downloads 55 Christmastime 57 Homely 59 Bang on a QWERTY 60 “___ Lang Syne” 61 1974 CIA spoof 63 Night before 64 JAMA editors

LAST WEEK: MUSICAL ROUND Moving? Find A D R A G U P R I N I M B B U S B S O L I A B U S F E T A B R O I D L A P A D I D W H E E N O T E S C A M

G S U I T

Y E S M A A I M L L E T G U A S L S L E

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M P H L I N E A D O G N A T K A T E B U S H B O T V T R A Y M P E A E L L X H E A D S B E L E L L E S Out with the I L L R O A S T old, In with the K E E P S B U S Y new Post your E N T E S E A L listing with S E T O R Y E Washington E D I C T City Paper O N T H E B U S Classifieds A Y http://www.washingtonE R R A T A R A citypaper.com/ S E P T E T

Condos for Sale

Cleveland Park/Tilden Gardens Fabulous 2BR + Den, 1.5 BA apartment. Like a TREE HOUSE! Entire wing of building, 17 windows all with tree and garden views. Almost 1300 sq. feet of elegant space. Beautiful LR with decorative fireplace, huge Solarium/ Den, big formal DR. Oak floors, 9 foot ceilings, arches and more. 3 blocks to 2 Metros & shopping. $549,000. Terry Faust, Long & Foster, 202-744-3732 http://tour. homevisit.com/view/172872

Office/Commercial For Sale

Art, Media & Graphic Design Membership Communications Editor - deg’d, exp’d sought by Friends of the National Zoo in Washington, DC to draft/edit content. CL/R to FONZ, Attn: Kathleen Sizemore, PO Box 37012, MRC 5520, Washington, DC 200137012.

Business Opportunities PAID IN ADVANCE! Make $1000 A Week Mailing Brochures From Home! No Experience Required.

Helping home workers since 2001! Genuine Opportunity. Start Immediately! www.WorkingCentral.Net

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

Offi ce Space to Rent in Prime Location (17th & K Sts NW) FLOOR/AREA 12TH FLOOR: 1,500 RSF RATE: $3,600.OO/MONTH (Negotiable) AVAILABLE IMMEDIATELY For more information, contact Terry Kush at (202) 835-3323 Offices For Rent, DC Petworth & Cheverly, MD (parking in MD) for church services, recording studio /rehearsal space, etc. Wide range of uses. $800-$1850 rent. Call 202-355-2068 or 301-772-3341.

Apartments for Rent Short-term rental Columbia Heights up to one year, great for interns. Basement rental close to Metro, mall & restaurants, nonsmoking, W/D. Call or text message to 202-431-4386.

Roommates ALL AREAS: ROOMMATES. COM. Lonely? Bored? Broke?

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Rooms for Rent

Legal E.L. Haynes Public Charter School REQUEST FOR PROPOSALS HVAC Services E.L. Haynes Public Charter School (“ELH”) is seeking proposals from qualifi ed vendors to provide parts and service to replace leaking king valves on our Mitsubishi AC unit at our elementary school property, located at 4501 Kansas Avenue, NW. The contract will be assigned to a successful bidder who can provide the parts and service to complete these tasks.

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY &Proposals SPIRITare due via email to Kristin Yochum no later than 5:00 http://www.washingtonciPM on Friday, July 29, 2016. We typaper.com/ will notify the final vendor of se-

lection immediately and all work must be completed by August 5, 2016. The RFP with bidding requirements can be obtained by contacting: Kristin Yochum E.L. Haynes Public Charter School Phone: 202.667-4446 ext 3504 Email: kyochum@elhaynes.org

Computers Need help with your anti-virus problems on your Windows PC? I can also help you with other Windows Computer issues. Please Call Toney at 202-758-2355 for details.

Financial Services Are you in BIG trouble with the IRS? Stop wage & bank levies, liens & audits, unfiled tax returns, payroll issues, & resolve tax debt FAST. Call 844-753-1317

Bicycles/Scooters Folding Citizen Bike mint condition, never been driven, $175.

202-270-3434.

Garage/Yard/ Rummage/Estate Sales Flea Market every weekend 10am-4pm. 5615 Landover Rd. Cheverly, MD. 20784. Contact 202-355-2068 or 301-772-3341 for details.

FIND YOUR OUTLET. Miscellaneous RELAX, UNWIND, REPEAT CLASSIFIEDS Clearance saleHEALTH/ great bikes (Schwinn), $40. Also available art MIND, BODY & SPIRIT materials paints, easel, frames,

http://www.washingtoncanvas, stretchers, spray, etc. citypaper.com/ Some cheap, some free. Call Chester, 202-520-7164, call to come look at items.

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Data Integration Specialist w/ Carfax, Inc. (Centreville, VA) Support internal business intelligence operations: Interact w/ business users to gather functional & technical req’s, dvlp ETL designs, validate data for accurate data loads, work w/ subject matter experts to design the source to target design flow in business. Req’s Bachelor’s in IT, Electronic Eng’g or rel’d & Furnished rooms for rent $8005 yrs post-bachelors exp which $1,000 monthly starting August, must incl the following: ETL appli2016, all inclusive washer and cation design, dvlpmnt, maintedryer, Central air/heat, kitchen acnance, migration, enhancements cess located in Petworth, Wash& end-to-end delivery of data ington DC close to the metro. warehousing projects; dvlpmnt Contact Samantha 202.365.5085. & testing of Informatica PowerCenter mappings, workflows, Capitol Hill Living: Furnished reusable objects, SQL queries & Rooms for short-term and long- http://www.washingtoncityUnix shell scripts; performance term rental for $1,100! Near paper.com/ tuning at database & Informatica Metro, major bus lines and Union side; relational databases (Oracle, Station - visit website for details DB2); Waterfall & Agile SCRUM www.TheCurryEstate.com Methodologies; dimensional modeling using star & snowfl ake Administrative/Clerical/ schema. Must’ve Informatica Office PowerCenter Data Integration 9.x: Developer Specialist & Apache Film company, Forever Media, Hadoop Developer certifi cations. seeks admin asst. w/computer for All candidates subject to a full bookkeeping.Work remotely indebackground check. Send resumes pendently $400/month. to: Recruiting Director, CARFAX Contact for details at: www.essen5860 Trinity Pkwy, Ste. 600, Centialadministration.com. treville, VA 20120

Rooms for rent in Cheverly, Maryland and College Park.

Shared bath. Private entrance.

W/D. $650-$750/mo. including utilities, security deposit required. Two Blocks from Cheverly Metro. 202-355-2068, 301-7723341.

Miscellaneous Economist: Board of Governors of the Federal Reserve System seeks f/t Economists (Multiple openings) in Washington, D.C. to analyze & forecast developments in domestic & international economies & financial markets; analyze policy options for regulatory decisions; develop & maintain relevant economic data. Req PhD (or foreign equiv) in econ, fin, or rel discip; or be a PhD candidate (or foreign equiv) in econ, fin, or rel discip preparing to defend dissertation. Candidates must submit C.V., recent research paper, & 3 letters of rec by email to: BOGecon1@frb.gov. EOE.

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

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

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Musical Instruction/ Classes

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General

Learn about t-shirt printing in DC www.heatwaveshirts.com

Volunteer Services Butterfl y Pavilion/Insect Zoo Volunteers needed at the National Museum of Natural History!

Handle real arthropods! Talk to Museum Visitors! Training in September! Email NMNHVolunteer@si.edu to apply and interview today!

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

Twitter: @wacdtf Q?rius jr./Q?rius Volunteers needed at the National Museum of Natural History! Engage visitors with over 6,000 museum in these interactive spaces! Training in September! Email NMNHVolunteer@si.edu to apply now!

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Licensed Massage

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RELAXING SOOTHING MASSAGE People come to me for my gentleness and knowledge of the body.

I listen to your needs and present the massage appropriate for them. Reduce your stress, relax your mind, energize your body and restore your balance. Private http://www.washingtoffi ce in the Palisades. MacArthur oncitypaper.com/ Blvd., NW, DC. Outcalls welcome.

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http://www.washingtof-the-box, intuitive teacher in all oncitypaper.com/ styles classical, jazz, R&B, gospel, neo-soul etc. Sessions available @ my studio, your home or via Skype. Call 202-486-3741 or email dwight@dwightmcnair.com www.dwightmcnair.com Announcements URBAN FARM COMPANY SEEKING LAND PARTNERSHIP: Love & Carrots, DC’s top Urban Farm services company, is looking to lease/partner in available vacant land.

Potential benefi t of up to a 90% reduction in taxes to land owner.

In search of: 0.5 - 2 Acres, Water Access, Electricity Access. 202957-5683; garden@loveandcarrots.com

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Events DC & Washington City Paper’s

SUMMER

CINEMA SERIES Presented by RCN

Seating begins at 6:30 PM CARNEGIE LIBRARY EAST LAWN TUESDAYS July 19 Batman v Superman: Dawn of Justice July 26 Bridesmaids August 5 (Friday) Back to the Future

Movies begin at dusk

WEDNESDAYS

DC ARMORY MALL THURSDAYS

June 29 Star Wars: The Force Awakens

June 30 Creed

July 6 Jurassic World

July 7 Rudy

July 13 Minions

July 14 Happy Gillmore

July 20 Aladdin

July 21 Cool Runnings

July 27 The Good Dinosaur

July 28 A League of Their Own

GATEWAY

August 3 Love Under New Management: The Miki Howard Story

CITYPAPER WASHINGTON

Visit washingtoncitypaper.com/events for more information *Moviegoers are encouraged to bring a blanket Movies are subject to change.