Washington City Paper (August 11, 2017)

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housing: The apT. buildings akin To posh hoTels 8 food: CoConuT Club To open near union markeT 22 arts: a ConversaTion wiTh hirshhorn CuraTors 25

Golden Years As Merriweather Post Pavilion celebrates 50 years, we look back at its history and legacy. P. 12

By Matt Cohen

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INSIDE

24TH ANNUAL

12 Golden Years

SEPT 1 - 3

As Merriweather Post Pavilion celebrates 50 years, we look back at its history and legacy.

By Matt Cohen

Arts

distriCt Line

25 Curators’ Note: A conversation with the Hirshhorn Museum and Sculpture Garden’s two newest curators about new directions and projects for the cherished modern art museum.

27 Film: Zilberman on Wind River and Olszewski on Menashe 28 Speed Reads: Ottenberg on Poe: Stories and Poems

d.C. feed 22 Island Time: Coconut Club from Adam Greenberg to open near Union Market next year.

23 Real Life App-lications: Restaurant professionals on which dining apps are worth your time 23 ’Wiching Hour: The Positraction at Yang Market 23 Underserved: The CPR at BABA

REBELUTION

SEPT 3 5TH ST. AIN STAGE

3 DOORS DOWN

M

4 ChAtter 7 Dance Dance Evolution: D.C.’s biggest gay nightclub is set to close next year, but a new iteration may replace it.

8 Concrete Details: New D.C. apartment buildings increasingly feel like posh hotels that anticipate every need.

9 Loose Lips: Nadeau talks a good game on campaign reform.

10 The Indy List 11 Gear Prudence

SEPT 2 5TH ST. AIN STAGE

City List 31 City Lights: Catch SahBabii at U Street Music Hall on Thursday.

31 Music 36 Books 36 Galleries 37 Theater 37 Film

38 CLAssifieds diversions 39 Crossword

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CHATTER

Dan and Gone

In which readers reflect on old D.C.

Darrow MontgoMery

The reflex is nearly as guaranteed as the one that happens when a doctor takes a hammer to a patient’s knee. Get a group of people in D.C. talking about virtually any topic—restaurants, public transit, signage, or, perhaps most significantly, housing—and before long, opinions about gentrification will fly.

This time, it’s not the shiny new developments causing angst but instead what’s added to the city’s structures in the shadows. Many readers can’t see graffiti without thinking about gentrification and all the racial nuances it entails.

Or so it seems, judging from reader responses to the recent stories in our pages about the untimely death at age 47 of Danny Hogg, the seminal D.C. graffiti artist known by the moniker Cool “Disco” Dan. His signature tag appeared for years—and in some places still does—all over the landscape of D.C. “This is beyond sad,” miasmicpeace wrote on reddit in reply to a City Paper story about Hogg’s death from complications related to diabetes.

“Just below Chuck Brown in a gut punch of loss to Old School D.C. And the Chads and Caitlyns who make up the ‘New D.C.’ won’t bat an eye and continue thinking they have the cultural capital to dictate what this city is.”

He poked the bear.

“I agree with the first part of your post, but the second part is some serious dog whistle type stuff,” cruderudite replied. “Why did you have to take the dig at new people there? Seems tacky when talking about a guy’s death.”

The volley continued. “Because those ‘new people’ are destroying the cultural fabric of the District and play an active part in pushing residents like Cool ‘Disco’ Dan out,” came the rejoinder from miasmicpeace.

That’s when the inevitable happened.

“New people moving to D.C. didn’t kill this talented man,” cruderudite wrote. “Why don’t you do as I do, educate new residents about the local culture, rather than just disparaging them. Yeah gentrification has a lot of negatives, but many neighborhoods in D.C. prior to the late nineties were fairly dangerous and the city was broke. Change isn’t always perfect, but we can’t improve without it.” End of highlight reel.

— Zach Rausnitz and Liz Garrigan

1400 BLoCk of I StReet NW (ReaR), auGuSt 7

EDITORIAL

eDItoR: liz garrigan MaNaGING eDItoR: alexa Mills aRtS eDItoR: Matt Cohen fooD eDItoR: laura hayes CIty LIGHtS eDItoR: Caroline jones Staff WRIteR: andrew giaMbrone SeNIoR WRIteR: jeffrey anderson Staff pHotoGRapHeR: darrow MontgoMery INteRaCtIve NeWS DeveLopeR: zaCh rausnitz CReatIve DIReCtoR: stephanie rudig Copy eDItoR/pRoDuCtIoN aSSIStaNt: will warren CoNtRIButING WRIteRS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, j.f. Meils, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

ADvERTIsIng AnD OpERATIOns

puBLISHeR: eriC norwood SaLeS MaNaGeR: Melanie babb SeNIoR aCCouNt exeCutIveS: renee hiCks, arlene kaMinsky, aris williaMs aCCouNt exeCutIveS: Chip py, Chad Vale, brittany woodland SaLeS opeRatIoNS MaNaGeR: heather MCandrews DIReCtoR of MaRketING, eveNtS, aND BuSINeSS DeveLopMeNt: edgard izaguirre opeRatIoNS DIReCtoR: jeff boswell SeNIoR SaLeS opeRatIoN aND pRoDuCtIoN CooRDINatoR: jane MartinaChe puBLISHeR eMeRItuS: aMy austin

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CHIef exeCutIve offICeR: Chris ferrell CHIef opeRatING offICeR: blair johnson CHIef fINaNCIaL offICeR: bob Mahoney exeCutIve vICe pReSIDeNt: Mark bartel GRapHIC DeSIGNeRS: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

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Dance Dance Evolution D.C.’s biggest gay nightclub is set to close next year, but a new iteration may replace it.

By Andrew Giambrone The mourning came swiftly. When Town Danceboutique, the District’s largest LGBTQ nightclub, announced on June 27 that it would be shutting its doors next summer after a decade in business, gay men across D.C. lamented the news. Hundreds took to Facebook and Twitter to share memories of the times they’d spent bumping and grinding at the club, where drag shows, themed parties, and a hopping patio are mainstays in bustling Shaw.

The mourners were like a sprawling, extended family that had recently learned a loved one was terminally ill or moving far away. Some revealed that the club was among the first gay spaces they’d ever visited, the first place they’d made out with a stranger. Others said they found their eventual spouses and partners there. Many described Town, which opened on 8th Street NW near Florida Avenue in 2007 and spans more than 20,000 square feet across two floors, as a place to let loose after a draining day or week at work.

“When I was in college & deeply closeted at my school in Virginia, Town was one of th[e] few places I could go to truly be myself,” one Facebook commenter wrote. “I’ll be sure to come back sometime in the next year, and I hope you will be able to reopen or re-create elsewhere.”

That hope isn’t so farfetched. John Guggenmos, who owns the club along with Ed Bailey and Chachi Boyle, tells City Paper that the trio are “actively looking for” a new club space that could effectively replace Town, and are hoping to have an official announcement in the coming months. But the name, branding, size, and location of the establishment will likely be different, given that Town will have operated in its current space for more than 10 years—a rare feat for any club in a major city.

If a new, expansive gay club opens, it will buck a long trend. As Kate Rabinowtiz, founder of the website DataLensDC, has shown in interactive maps published by the D.C. Policy Center think tank, the number of

LGBTQ-specific businesses and spaces in the District are now at their lowest level since the 1970s. Dozens have shuttered with the mainstreaming of queer culture, the calming of social activism, and the development of D.C. into one of the most expensive cities in the U.S. And—with the decriminalization of LGBTQ sex, better education about HIV and AIDS, and marriage equality—more people are out of the closet.

Even in a historically progressive city like the District, though, many feel that there’s still a need for places that cater to the LGBTQ community and provide a sense of security. Some say this is especially necessary in the age of online dating sites and mobile hook-up apps.

“It’s important to keep those spaces and have them run by LGBTQ [people],” explains Robb Hudson, co-chair of the economic development committee for the neighborhood commission that contains Town. “Because for that 21, 25-year-old just coming out, it’s important to be able to walk into bar and feel that weight come off of your shoulders. Even in D.C., you can feel like you’re the only one.”

Town’s three owners are veteran-pioneers of D.C.’s gay nightlife scene, having owned almost a dozen bars and clubs over the past quarter-century, many of which have come and gone. In addition to Town, they also currently own Trade and Number Nine, two popular gay bars near 14th and P streets NW. Guggenmos says that the partners haven striven to keep their businesses “timely,” in part by increasing their presence on social media and hiring young staff.

“I do think it’s part of the evolution of the gay community that we aren’t in the warehouse districts anymore,” he says. It warmed his heart to witness people’s outpouring of support for Town after the closure was announced. “Although it is a business, you are still doing this for the community, and it does serve as that meeting place. So it will be the end of an era.”

When Town’s current landlord, an affiliate of the McLean-based Jefferson Apartment Group,

bought the property in May 2016 for a whopping $25 million, the owners said in a statement that Town was expected to remain at its present site “for years to come.” The company is not the first landlord Town has had, and with Shaw booming, area property values are skyrocketing.

Mixed-use redevelopments have gone up nearby, and more are planned around Howard University, which seeks to subsidize its overall operations by monetizing its real estate.

“There was no desire on our part to want to leave—none, zero,” Guggenmos explains. “It was a sheer contractual agreement, and they just exercised their rights. As cold as that sounds, I don’t begrudge them their right to try to maximize their property, because that’s what any owner would do.”

(Town’s owners had a previous opportunity to buy the property, he notes, but passed on it.)

Representatives from Jefferson Apartment Group did not respond to requests for comment. At the time of the sale, the Washington Business Journal reported that the company often builds apartments above retail, such as at one project in Shaw and another on 14th Street NW. Whatever replaces Town’s current home, the loss of the club will indelibly affect the surrounding area and D.C.’s LGBTQ scene writ large. Hudson calls the club an “anchor,” but says that he doesn’t see its closure as “the start of some sort of pandemic of gay bars and clubs being pushed out by development.” Hudson adds that though the commission hasn’t heard from Jefferson Apartment Group, its members look forward to working with the firm and hope that any new project to be built on the property will boost needed daytime foot traffic in the neighborhood.

Town is one of a handful of LGBTQ estab-

Darrow Montgomery

DistrictLine

lishments in Northwest and ranks among the top spots where gay men end up the later the night gets. On top of other venues that offer some LGBTQ events, gay establishments Uproar, The Dirty Goose, and Nellie’s Sports Bar are within walking distance of Town.

Doug Schantz, who opened Nellie’s as a “destination bar” in 2007—a few months before Town debuted—says Town’s closure will be a symbolic loss if not an economic one. Nellie’s is about 5,000 square feet and is celebrating its 10-year anniversary this month. Unlike Town’s proprietors, Schantz has owned the land under Nellie’s for several years. “We’re not going anywhere,” he says. “I didn’t want to be beholden to a landlord.”

Schantz says he’s “optimistic” about the future of queer spaces in the District, despite all the changes that have come to neighborhood.

“Those empty buildings are now a Warby Parker [eyewear store],” he quips of the project across 9th Street NW from Nellie’s. He says Town has been an excellent partner.

“If just 100 people decide to do both Town and Nellie’s on a given night, that’s great for me,” he notes. “You never know what your target [audience] is going to do, but what I hope will happen is that people will still think of this area as LGBT-friendly.”

CP

washingtoncitypaper.com august 11, 2017 7

DistrictLinE

Never Leave Me

New D.C. apartment buildings increasingly feel like posh hotels that anticipate every need.

One side effect of what seems to be a permanent building boom in D.C. is the steady drip, drip, drip of real-estate marketing into the collective consciousness. Phrases like “unparalleled lifestyle options” and “high-end finishes” once seemed strange. But now we’ve all seen so many developer ads that we’ve grown used to grandiose language and stock photos of multiracial models laughing over glasses of wine.

None of the developers’ terms of art sum up the new domestic ideal quite so well as “amenities.” The word “amenity” comes from the Latin amoenitas: delight, comfort, pleasantness.

For the past decade, urban developers have been busy embellishing their projects with game rooms and yoga studios, landscaped courtyards and dog runs. The developers hope these will appeal to millennials, who, they’ve read in countless articles, value memorable experiences and convenience over flashy displays of wealth. As the number of affluent young professionals in D.C. has risen amid tight housing supply, demand has been strong.

But this year D.C. may have finally reached amenity nirvana. Two new buildings in Northeast, The Apollo on H Street and Brookland Press (in a part of town most would call Brentwood), treat residents to a 24-hour smorgasbord of opportunities to socialize, exercise, sunbathe, drink, eat, and be entertained.

These are cruise ships that never leave port, with Peloton bikes instead of water aerobics.

The Apollo spreads across a full block of H Street between 6th and 7th NE. Replacing the old Murray’s supermarket and a self-storage facility, it combines 431 residential units with a Whole Foods and a WeWork coworking space.

(Three units are reserved for people making 50 percent of area median income, and 32 for people at 80 percent. In D.C., median income is about $109,000 for a family of four.) It is conceivable that a person could live in The Apollo, run her own business out of WeWork, shop at Whole Foods, and not leave for weeks on end.

And why would she? The roof of The Apollo has a resident penthouse with a show kitchen, lounge, and fireplace; an all-seasons conservatory that frames a view of the Capitol; a pool; an outdoor living room; and a movie screen facing an astroturf lawn. The three-story-high lobby opens onto a coffee bar, a branch of The Wydown. The gym is spacious and well-

concrete details

equipped enough to make a private gym membership redundant.

The Apollo’s architecture is by SK+I, a Bethesda firm responsible for many of the recent apartment complexes in greater D.C. It’s an attractive example of the modern-contextual style that’s become prevalent in D.C., with setbacks, a vertical glass projection, and different styles of brick breaking up the scale of what would otherwise look like a looming mass. But the interiors are what make The Apollo more than just a really nice apartment building. Its countless details form a curated, immersive environment akin to that of a restaurant or hotel—and that’s the point.

they hired Edit Lab at Streetsense, the studio behind acclaimed local restaurants like AllPurpose and The Dabney.

Designers Brian Miller, Lauren Winter, and their colleagues have brought a DanishModern-Meets-Gilded-Age aesthetic to the shared spaces, mixing streamlined furniture with old-fashioned tilework and oversized floral and geometric patterns. The rooftop conservatory, with a small fountain and hanging and potted plants, feels like the sunroom in a historic mansion. Good restaurant designers know how to engage your other senses while your taste buds respond to the food. The Apollo’s designers welcome your senses into the

The roof of The Apollo on H Street

Darrow Montgomery

By Amanda Kolson Hurley

For a while now, apartment builders have looked to “the hospitality sector” (read: hotels and resorts) for ways to make residents feel pampered. The developers at Insight Property Group had a related, but new, idea. Washington has become nationally known for its innovative restaurants, and design is a big part of the dining experience. What if they could translate that to an apartment building? So

8 august 11, 2017 washingtoncitypaper.com

building with the aroma of coffee, a dramatic lobby floor with a fan pattern in small white tiles, and inviting conversation and reading nooks along the balconies overhead.

A couple of miles north of H Street NE, Brookland Press lacks such interior richness.

But that’s about all it’s missing. Like The Apollo, this complex—which joins a renovated printing press to a brand-new building—offers

a resort’s-worth of diversions. A slick, lightfilled gym. A bocce court. A double-height resident lounge with a massive central fireplace.

A pet grooming center. And that’s before you even get up to the roof, which will have fire pits, grills, a bar, and a movie screen.

With 296 units (11 of them affordable), Brookland Press is the work of two architecture firms: Bethesda’s GTM Architects designed the new structure, called the Forge, and D.C.’s Eric Colbert and Associates adapted the old one, the Foundry. This divide-andconquer approach worked well, resulting in complementary wings that avoid a monolithic appearance. The architects had fun with the proximity to the Red Line (the bocce court runs alongside it, for example), and there are some interesting touches around the edges, like ground-floor units reached via metal catwalks over a sunken rock garden.

At both buildings, the apartments themselves feel like an afterthought. They’re clean and functional, with the same off-white or beige walls, wood-effect laminate, and stainless steel appliances. Of course, the idea is to let the tenants stamp their personalities on the place. But it’s odd that the common areas strive so hard to be Instagram stages, only for the apartments to be so plain. Will tenants personalize their units and nest in them? Or will they hang out in the sweet amenity spaces instead, and move on in a year or two? Probably the latter, in most cases.

Buildings blinged-out with amenities aren’t new in D.C., they’re just making a comeback.

Before World War II, the grande dame buildings up Connecticut and Massachusetts NW offered plentiful extras: ballrooms, barbershops, indoor pools, and sometimes dining rooms or restaurants. Now as then, the price of entry is steep. Studios at Brookland Press start at about $1,800, and at The Apollo, just below $2,000.

Two-bedroom apartments at The Apollo rent for upwards of $3,000. The question everyone asks is: Who can pay these rents? Not many people I know can, but they must be out there, since The Apollo is more than half leased.

Both of the buildings are close to public transit and have limited parking—big points in their favor. Brookland Press, however, risks becoming an island unto itself. The triangular site is hemmed in by the train tracks and Rhode Island Avenue NE, and the surrounding neighborhood isn’t affluent or hip. It’s unclear how often residents will patronize the businesses at Rhode Island Row instead of hopping on Metro to go farther afield.

Amenity-rich apartments are geared to footloose young professionals and downsizing Boomers. There’s nothing wrong with that.

But developers may be overlooking their ideal cohort: stressed-out parents of young children, who could take turns rushing downstairs for a quick workout or tote Junior to the pool when he gets cranky. Maybe as the millennial generation starts to have kids en masse, cooperative urban parenting will flourish here, for those who can afford it.

CP

DistrictLinE Do As I Say...

Nadeau talks a good game on campaign reform.

Summer F i l m FREE ADMISSION

Presented in connection with the exhibition Echoes of the Great War: American Experiences of World War I.

By Jeffrey Anderson EvEry incumbEnt Enjoys the advantage of being able to raise campaign cash in a hurry.

And though that ability is hard to resist, it comes at the risk of being branded an instrument of developers, corporations, and lobbyists.

Ward 1 Councilmember Brianne Nadeau has assumed that liability and then some, raking in roughly a third of her $190,000 in contributions from such monied interests since February while advocating for campaign finance reform.

Nadeau has received a maximum $500 contribution from dozens of D.C. developers and lobbyists and from corporations seeking to obtain or retain a toe-hold in D.C. In some cases, power brokers have bundled maximum contributions from wives, secretaries, and consultants.

Conventional wisdom is that the candidate who raises the most money is most likely to win the election, particularly as an incumbent. But Ward 1 is one of the most diverse and vibrant parts of the city, with constituents who have come to expect a high level of attentiveness to their everyday needs and also hold larger policy concerns about affordable housing, schools, and healthcare. And whether her supporters like it or not, Nadeau has yet to distinguish herself on the council in any significant way.

Sensing an appetite for change, three distinctly different challengers have emerged: a political newcomer who has worked in all three branches of government; a veteran advisory neighborhood commissioner and representative of the LGBTQ community; and an insurgent who, with an abundance of life experience and hutzpah, subjects Nadeau to withering criticism.

The one thing these candidates share is a belief that Nadeau, having herself unseated an incumbent—the powerful but flawed late Councilmember Jim Graham—has done little to advance Ward 1’s interests and instead has fallen comfortably into the lap of wealthy patrons. Which is an image she might find hard to shake.

Nadeau, whose 2014 campaign was the subject of a 2016 campaign finance audit that identified a laundry list of both minor and significant violations, did not return calls for comment.

After defeating Graham in the 2014 Democratic primary, Nadeau emerged as an outspoken proponent of campaign finance reform.

“Democracy is about everyone having a voice in government, not just special interests with deep pockets,” she said in December 2015, as she co-introduced the D.C. Fair Elections Act. (The public financing bill would match small campaign contributions to candidates who accept lower maximum contribution limits.)

Loose Lips

“This legislation will allow District residents to rise above big-money special interests in politics. I support this bill because matching small donations with public funds helps give more power and influence to the people.”

But those special interests are well-represented in her recent filing with the Office of Campaign Finance, which includes dozens of maximum $500 contributions from well-connected local and national business interests, often matched by contributions from family members, associates, and related entities.

In all, Nadeau pulled in more than $50,000 from developers, lawyers, lobbyists, and corporations such as AT&T, General Electric, and the National Association of Chain Drug Stores.

By contrast, former D.C. Superior Court magistrate judge Lori Parker has raised just $15,000— from individual donors—and Ward 1 ANC Member Kent Boese, Nadeau’s most well-known challenger, has raised slightly more than $12,000, $10,000 of which came out of his own pocket.

“Councilmember Nadeau portrays herself as a champion of campaign finance reform,” says Boese. “Yet when one examines her past and current fundraising activities, the excessive levels of corporate and out-of-state contributions demonstrate that her words often do not match her actions.”

Adds Parker: “Elections should not be won or lost based on who raises the most money from big corporations or special interests.

That is not what public service is about. I’m proud that my money is coming from people who know me and believe in my ability to bring strong leadership to the Ward.”

The most radical contrast with Nadeau is independent candidate Greg Boyd, a longtime Ward 1 resident and property owner, a former vocational and educational director with Second Genesis rehab facilities, a former DCPS teacher, a former stockbroker, and a former Marine who prides himself as a maverick who refuses to accept the status quo.

Boyd, who tweets prolifically as “Beltway Greg,” possesses a flair for critiquing D.C.’s payto-play culture, wasteful spending, and overall lack of financial sophistication. He describes Nadeau as “a show pony, a scripted, sculpted, focusgroup-tested politico” who is bought and sold by corporations and lobbyists. “It’s essentially legal bribery,” he says of the incumbent’s campaign fundraising activities. “They contribute, she allows them to rob, cheat, and steal from D.C. taxpayers. The worst part is I don’t even think she knows what’s occurring. Is she a hypocrite or is she ignorant? It’s a trick question, as the end result is the same either way.”

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Gear Prudence Gear Prudence: How bad is it, really, to buy bike stuff over the internet instead of at a local bike shop? And if it’s OK to buy over the internet, is it ever acceptable to go to a bike shop first to check it out in-person to make sure you like it?

—Buying Retail Or Warehouse?

Seems Equal Really Dear BROWSER: GP will never tell you that you can’t buy stuff over the internet, which facilitates worldwide commerce in a pretty spectacular way. Online marketplaces can get you things that might be impossible to procure locally, like basement-made bespoke handlebar bags from Portland or vintage Italian components for your museumworthy ride. And on occasion (though not as often as you might think), you can find some really good deals. But the second practice you mention—treating your local bike shop like a showroom and subsequently buying online—is a big no-no. And yeah, they know when you’re doing it.

“It is disheartening to spend 15 minutes with a customer discussing helmet fit and function only to have them thank you for your time and ask to snap a picture of the label,” says M. Loren Copsey, co-owner of The Daily Rider. Bike shops serve as a font of expertise on a complicated set of goods. Learning about new products and which ones are reliable, and imparting rider-specific advice, takes staff time. In this case, time really is money. Relying on fivestar reviews from randos on the internet is one thing (good luck!), but asking professionals for their opinions, letting them convince you, and then buying it on Amazon? This asks the bike shop to bear the costs of inventory, rent, and salary while capturing none of the upside.

You don’t have to buy something just because a salesperson was nice or informative, but you shouldn’t go into a retail experience with the express purpose of taking advantage of people you’re asking for help. That is extremely messed up.

Moreover, doing this can have real consequences. “People have started wanting ‘experiences’ in their retail and restaurant activity,” Copsey says. “Our neighbors include a coffee shop and a bookstore. People always say they want small retail in their neighborhoods, but it can go away if price is prioritized as the primary purchasing criterion.” Even if you don’t care about local retail generally, it’s worth caring about bike shops in particular. Bikes need servicing, and unless you’re doing all of your wrenching yourself, you’ll want professional mechanics nearby. Maintaining a good relationship with a mechanic you trust will help you in the long run.

—GP

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Email gearprudence@washcp.com. washingtoncitypaper.com august 11, 2017 11

Golden Years As Merriweather Post Pavilion celebrates 50 years, we look back at its history and legacy.

Joseph Schaefer

By Matt Cohen

Mad Decent Block Party, 2014

12 august 11, 2017 washingtoncitypaper.com

By all accounts, the concert was going as well as it could have. And then the rains came.

Durwood Settles was a 25-year-old concert booker in August of 1968, and he was a bit nervous to bring Jimi Hendrix to a new amphitheater in the planned community of Columbia, Maryland. Merriweather Post Pavilion had just opened the summer before—built and conceived as the summer home for the National Symphony Orchestra.

Settles had come from New York City, where he booked pop concerts at venues like Carnegie Hall. He wanted to bring pop acts to Merriweather but wasn’t quite sure how the community of Columbia would handle it. So before booking Hendrix and his band, Settles lined up Tiny Tim the month before to test the waters.

“I booked Tiny Tim mainly because I didn’t want to overreach,” Settles recalls.

“The whole approach was to be genteel about this. I didn’t want to blast the community with hard rockers.”

Never mind that the opener for that Tiny Tim show was Ted Nugent’s The Amboy Dukes, who were at the peak of their acid rock phase.

With the success of that show, Hendrix was set to perform the next month, and it would turn out to be one for the history books.

Hendrix and his band burned through the hits, with Jimi fighting the roars of thunder with feedback from his stack of Marshall amps. As it started to drizzle, Hendrix used his mic to coax the Merriweather staff to “let them in,” so those on the lawn were allowed into the pavilion.

But about three-quarters of the way through his set—just as he was finishing up his iconic take on “The Star-Spangled Banner,” believed to be the first time he played it live in front of an audience—the heavens opened, rain pummelled down, and the power went out, effectively ending the show early.

That would be the first and last time Hendrix would play at Merriweather. And it would also be the last show Settles booked there.

“I did the two pop shows that I wanted to do out there,” he says. “We had no idea what would have happened if Jimi Hendrix pulled out his lighter fluid and lit his guitar on fire,” he says. But by his measure it was a raging success, save for the power outage.

That Hendrix show is just one bit of lore from Merriweather Post Pavilion’s fabled history, which marks 50 years with its current season of shows. In the half-century of its existence, the famed amphitheater, situated amid 40 acres of serene, wooded land in the heart of Columbia, hasn’t just survived as a venue, it has also flourished as one of the country’s best outdoor concert spaces. It is cherished by both the artists who perform there and the tens of thousands of fans in the DMV who frequent it every summer.

But Merriweather is more than just the site of wild rock ’n’ roll history. It’s the heart and soul of Columbia. “I think it is critically important,” says Ian Kennedy, executive director of The Downtown Columbia Arts and Culture

Commission. “There are a few things that set Columbia apart from other small cities of our size … but I don’t know of any others that have a major outdoor concert venue and cultural institution that is nationally acclaimed right in the middle of their downtown.”

And it’s not just Merriweather’s tranquil setting and location that make it so special.

In the corporate world of concert booking, with Live Nation and AEG Presents accounting for a majority of large-scale concerts nationwide, Merriweather is thriving as an independent space—a testament to how a venue created with artists, fans, and community in mind can flourish.

But like any classic rock ’n’ roll story, Merriweather’s is one full of ups and downs.

Walking through the woods of Merriweather, it’s easy to see its history, literally. Concert posters of some of its most historic performances are tastefully tacked on trees surrounding the path to the main gate.

The Who and Led Zeppelin. Jimi Hendrix.

The Grateful Dead. Janis Joplin. It’s where Jackson Browne recorded songs that would go onto his hit 1977 album Running on Empty.

Where President Jimmy Carter joined Willie Nelson on stage during his campaign against Ronald Reagan and sang a duet of “Georgia on My Mind.” It’s the namesake of Animal Collective’s most popular album to date, 2009’s Merriweather Post Pavilion.

Of course, this is far from what James Rouse, a real estate developer and philanthropist, envisioned for the amphitheater when he first started the plans to build Merriweather Post Pavilion.

From the beginning, an outdoor performing arts venue was central to his vision for building Columbia, Maryland. So when The Rouse Company was developing the city, it was conceiving Merriweather too. He hired famed architects Frank Gehry and N. David O’Malley to design and build it and named it in honor of Marjorie Merriweather Post, heiress of the cereal company that ultimately became General Foods.

Rouse envisioned a cultural arts center that would be the jewel of the town, hosting orchestras, operas, ballets, and other fine arts programs. His vision for Merriweather was for it to become the permanent summer home of the National Symphony Orchestra.

But plans were already underway to build Wolf Trap, a similar, federally funded outdoor amphitheater, for the NSO on national park land in nearby Vienna, Virginia. Though the NSO graced the Merriweather stage during its inaugural season, Wolf Trap was set to be its future permanent summer stage.

The schedule for Merriweather’s first season in 1967 was exactly what Rouse had imagined, with the National Symphony Orchestra, a ballet, and the Russian Festival of Music and Dance all booked for the inaugural season. But it proved to be a financial disaster. So the next season Merriweather experimented with booking rock and pop acts like Judy Collins, Arlo Guthrie, Simon & Garfunkel, The Doors, and Joan Baez, in addition to Hendrix

Posters for Jimi Hendrix and Tiny Tim, 1968

washingtoncitypaper.com august 11, 2017 13

Courtesy of I.M.P.

Willie Nelson and President Jimmy Carter, 1980

son on one side of the fence and the fans on the other side. We took their $10, and one of our security staff or ushers would help them jump over the fence.”

In all, Parker estimates that about 25,000 people attended that Dead show, easily the biggest crowd the venue had hosted up to that point. “That’s the only time we ever had to do something like that,” she says.

It’s that kind of accommodation that’s solidified Merriweather’s reputation among artists as a preferred show venue.

But as the decades rolled on, Merriweather’s booking thinned out. And by the late ’90s, it was in rough shape, hosting fewer and fewer shows each summer, in dire need of renovation, and—most critically—unprofitable. ian kennedy and his family moved to Columbia when he was 15. “For me, I think the first concert I went to [at Merriweather] was in, like, 1989 or ’90,” he recalls. “It was an Earth Day concert they did there. I remember my dad brought me and my brother and sister, and we sat out on the lawn and had the typical Merriweather experience.”

As he got more into music as a teenager, Kennedy attended shows there more frequently “because it was five minutes away and because what else are you going to do in Columbia?”

Kennedy even got to play at Merriweath-

Gordon Snyder Photography

Gladys Knight and the Pips, 1970

and Tiny Tim. From then on, pop and rock concerts became the standard for Merriweather, which has hosted some of the best artists in the history of music.

“The challenges that we have, where you’re basically putting on a massive party at your house 40-plus times per summer, trying to make sure everybody is having a great time, and then getting all in order prior to sunrise, are the best challenges to have,” says Jean Parker, Merriweather’s general manager, who has worked there since 1977 and attended her first-ever concert there in 1972—the Beach Boys.

Parker recalls a Grateful Dead show in 1985—the last time the group performed at Merriweather—when the show sold out the day of the concert. “Back then, it was a bit harder to tell the world that a show had sold out,” she says. “You’d try to get a radio station to run the news, or get it on TV somehow, but day-of it really wasn’t easy.”

In addition to the ticket holders, more than 7,000 Deadheads, blissfully unaware that the show had sold out, showed up at Merriweather expecting to buy tickets at the gate. “We eventually decided to let them all in,” Parker recalls. “Lawn seats were $12.50 each, and we just rounded down to $10 for efficiency’s sake to not have to make change. So we set up makeshift box offices consisting of a staff per-

14 august 11, 2017 washingtoncitypaper.com

Courtesy of Jean Aker

Gordon Snyder Photography

Janis Joplin, 1969

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TALES FROM THE FRONT LINES Jean Parker, Merriweather Post Pavilion’s general manager, first started working at the venue in 1977, five years after her first visit there for a 1972 Beach Boys concert. Since then, Parker has seen it all—and has had to deal with her fair share of concert crises. Here, she shares some of her most memorable stories from 40 years on the job.

“When Depeche Mode played in ’94, the tour forgot to advance ground transportation. So I drove my family’s Dodge minivan to go pick up the band from their charter flight into Butler Aviation. They complained about the cheerios in the seats.”

“Back in the day, some artists would do multi-day runs. You know, Jackson Browne, Chicago, Barry Manilow, etc. Chicago’s tour manager Marty was a huge baseball fan. Since they’d already all loaded in and prepared after the first show, the second day was more laid back, so our crew and some of the tour would head over to a nearby softball field and play against each other. We’d bring coolers for drinks and provide snacks. I have this distinct memory of Jackson himself up at bat. We always tried to keep it on the down low, but once a tour bus showed up to the field, the cat was pretty much out of the bag. I don’t remember for sure, but I’d heard that the MPP team beat Jackson’s team, [the] stakes of which were rumored to be the fines from the prior night’s show.

“For one of these games, there were state-of-the-art TVs on the line—if the artist lost, they had to buy the TVs for the promoter, and if the promoter event staff team lost, then the promoter would deliver the goods.”

“When Andy Gibb, of The Bee Gees, came in 1977, it was the hottest ticket for teen girls. I’d never heard—even to this day—a crowd that loud and excited. It was really almost deafening. It was Gibb-mania!”

“Along those lines, Frankie Valli had that one song in 1978, “Grease,” which was actually written by Barry Gibb, interestingly enough. But when he played that year, he played that same song three times in one set, and the crowd went crazy every single time. I’ve never heard anything like that happen again since either.”

“In 1983, there’d been an awful lot of rain leading up to [Grateful Dead’s] show, and they were playing two nights back-toback. So the old footbridge, down by South Box, connecting the pavilion to the parking lot was washed away. The fans didn’t really mind. They’d just roll up their pants and wade through. But for the second day, that lawn was really looking worse for the wear. It may’ve well been one giant mudslide. And as we always do, we got creative trying to think of some quick and efficient solution operationally. … So we brought in helicopters and had them hover real low across the lawn so their rotors were just acting as large wind turbines to help dry out the mud. And it mostly worked! It wasn’t great, but it was certainly better than it would’ve been without them.”

“One of the times [Elton John] was performing at Merriweather, some package was being delivered backstage, and apparently there was nobody around to sign for it. By the time anyone had come back, Elton was signing for it himself! The poor delivery guy, not at all realizing who he was speaking to, leaned in to try to read the signature before giving up and asking, ‘What does that signature say?’”

“When Mikhail Baryshnikov came in August of ’91, there was a lot of rain. We had a sold-out pavilion and many on the lawn. We knew people would be dressed nicely, so in order to make it comfortable sitting on the lawn, we staked down and rolled out AstroTurf left over from a prior project on the entire lawn area so nobody would have to sit on the muddy ground. As they entered, we handed out free candy bars from a sponsorship we had with Nestle at the time along with large plastic sheets to help to further protect them from the muddy lawn areas.”

Courtesy of I.M.P.

er as a teenager—twice. His high school band performed in a battle of the bands on a stage in the back of the lawn, and he performed a song at his high school’s graduation, on Merriweather’s main stage. “It was always more than just a concert venue to me,” he says.

So in 2003, when The Rouse Company announced plans to develop the gravel parking lots that had long served the concert site, Kennedy was worried.

“When they first announced those plans, no one was talking about Merriweather, and a friend of mine and I sat at a Memorial Day cookout at his house. We had been reading the local paper and started asking each other like, ‘Well, what do you think this means for Merriweather? If they’re going to develop on those parking lots, what’s going to happen?’”

By that time, it was no secret that Merriweather was struggling. The Rouse Company had hired Clear Channel to handle booking, and it was evident that they were funneling most of the good shows to a nearby venue in Bristow, Virginia, it had just opened—Nissan Pavilion (currently known as Jiffy Lube Live).

As The Rouse Company—then in negotiations to be bought by what’s now known as the Howard Hughes Corporation—worked on plans to redevelop downtown Columbia, Merriweather wasn’t included. They put the venue up for sale, but with one major recommendation: Turn Merriweather Post Pavilion into a much smaller, enclosed concert hall.

Kennedy was a 25-year-old graduate student at the time of Merriweather’s uncertain future.

In his early twenties, he worked as a newspaper reporter covering Carroll County. “I didn’t have any organizing background, but I remembered how important it was … for people to use the media to amplify their voice,” he recalls. “We really just started out by, like, emailing reporters and saying, ‘Hey, there’s this development going on.

What does this mean for Merriweather?’”

He remembers the first public hearing for the parking lot development proposal in 2003—on the day of his 26th birthday. “The developer got up and said, ‘Merriweather Post is no longer profitable. To make it profitable is like try-

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ing to sell ice cubes to eskimos, so we are going to close it down. We are going to build a much smaller enclosed theater that’s much more focused on classical arts and less on contemporary music. And that’s our plan,’” he recalls.

Around the same time, a 28-year-old politician named Ken Ulman had just been elected to the Howard County Council. He wasn’t going to let his first year in office be marred by the demise of Merriweather, which was in his district.

“It was months into my term when The Rouse Company ... essentially announced that they were closing Merriweather,” Ulman recalls. “I remember vividly TV news interviewing people in the parking lot of Merriweather going into a show saying, ‘What do you think about the news of Merriweather closing?’ And I just remember thinking, ‘Merriweather’s not closing.’”

Ulman was also the chair of the zoning board at the time. The Rouse Company had a lot of development work for Columbia in the pipeline, and he made it clear to them that he would do everything possible to keep Merriweather going.

“I marched into The Rouse Company’s offices and said, ‘I can’t tell you to keep something open that is losing money every year, but what I can tell you is I just got this call from this gentleman who believes that he can turn it into a thriving venue again. I’d like you to give him a shot,’” Ulman recalls. “That was 14 years ago.” seth hurWitz kneW the odds were long when he placed that call to Ulman. But he had to try.

Hurwitz, who has made a name for himself in the D.C. area as the chairman of the local concert booking titan I.M.P. and the co-owner of the 9:30 Club and forthcoming venue The Anthem, knew how special Merriweather was and that he could tap into that legacy to make it prosper again. And he knew that he had a community behind him.

“At the time, the landlord wanted the place closed so they could build things on top of it like Home Depot,” Hurwitz recalls. “And the operator also had Nissan Pavilion and was shoveling as many dogs into the kennel as they could squeeze so it would close and leave their other place the last one on the island. The really crazy thing was that the neighbors [of Merriweather] were the kids of the people that used to try and close the place down when hippies urinated in their yard while camping for Dead shows,” Hurwitz says. “Only now now they were YIMBYS

… Yes In My Back Yard. … So, the powers that be said, ‘Fine, we’ll let your precious little indie promoter have it,’ thinking that would be the final nail in the coffin. Springtime For Hitler.”

With I.M.P. taking over operations and bookings for Merriweather, and the community outrage over the prospect of it closing, The Rouse Company relented and agreed to keep the doors open. Soon after, the Howard Hughes Corporation, which had purchased Rouse, struck a deal to redevelop all of downtown Columbia.

Impressed by his community-rallying efforts to help save Merriweather, Ulman hired Kennedy to join his council staff and work behind the scenes on the deal with the Howard Hughes Corporation to preserve the venue.

“The end result was a new massive plan for downtown Columbia passed in 2010, and as part of that master plan, it called for a full redevelopment of the venue, the creation of a new nonprofit organization that would at some point receive ownership of the venue from the Howard Hughes Corporation,” Kennedy says.

As such, the Downtown Columbia Arts and Culture Commission was founded in

Crowd for Country Joe, 1970

18 august 11, 2017 washingtoncitypaper.com

2013 to take over ownership of Merriweather Post Pavilion, with Kennedy at its helm as executive director.

In March of this year, Hurwitz’s I.M.P. signed a 40-year lease with the commission to operate Merriweather, which is three years into a five-year, $55 million renovation that so far has included an expansion of the stage, a complete renovation of backstage facilities— including two pools for touring artists—new box offices, bathrooms, and concessions.

“I remember going there to see all the cool ‘new wave’ stuff—Blondie, Elvis Costello, Devo,” Hurwitz recalls. “If someone told me then I’d be promoting either them or that venue back then, that would’ve been like telling Donald Trump he’d be president some day.

And what would the chances of that happening be?”

Before this summer, the last time Durwood Settles had stepped foot in Merriweather was in 1969 to see The Doors. Like many of the people who contributed to Merriweather’s legacy, he was invited to attend the venue’s 50th anniversary concert in July, which was head-

lined by Jackson Browne, Willie Nelson, and Father John Misty.

It was the first time in nearly 50 years that Settles had been to Merriweather. A lot has changed since then, but he says it’s maintained its essential character.

“It has the same feel as it had before,” he says. “Everywhere has changed and grown in the last 50 years. [Merriweather] really was and still is an idyllic place. I loved being able to bring Jimi Hendrix here.”

As a longtime Columbia resident, Kennedy knows how important Merriweather Post Pavilion is to the community. On any given night, Merriweather concerts can be heard throughout the town. Simply put, it’s the soundtrack of Columbia summers, and thanks to Kennedy, UIman, Hurwitz, and I.M.P., it’ll stay that way for decades to come.

“There was no mistake that when Jim Rouse built Columbia, one of the first buildings that he built was Merriweather Post Pavilion,” Kennedy says. “And the purpose that he built it for was to attract people to come visit and hopefully to come live in Columbia, and I think that purpose is as true today as it was 50 years ago.”

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BAR DECO - 717 6th St NW BEACON BAR AND GRILL - 1615 Rhode Island Ave NW BOUNDARY STONE - 116 Rhode Island Ave NW BOURBON - 2321 18th St NW

CANTINA MARINA - 600 Water St SW CITIZEN BURGER BAR - 1051 N Highland St, Arlington, VA THE COMMODORE - 1100 P St NW

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MR. HENRY’S RESTAURANT - 601 Pennsylvania Ave SE NANNY O’BRIEN’S - 3319 Connecticut Ave NW

BRICKSIDE FOOD & DRINK - 4866 Cordell Ave, Bethesda, MD

JUL 7 Y 231 30, 2 0

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OPEN ROAD GRILL- 8100 Lee Hwy, Falls Church, VA PORTNER BREWHOUSE - 5770 Dow Ave, Alexandria, VA REBELLION DC - 1836 18th St NW SIGN OF THE WHALE - 1825 M St NW SLASH RUN - 201 Upshur St NW SONGBYRD - 2475 18th St NW

THE SOVEREIGN - 1206 Wisconsin Ave NW STONEY’S LOGAN CIRCLE - 1433 P St NW

DC SLICES - Check out dcslices.com for locations.

THIRD EYE TAVERN - 1723 Connecticut Ave NW

DUFFY’S IRISH PUB - 2106 Vermont Ave NW

TD BURGER - 250 K St NE

FRANKLIN HALL - 348 Florida Ave NW

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GRAND CENTRAL - 2447 18th St NW

VENTNOR SPORTS CAFE - 2411 18th St NW

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VIA UMBRIA -1525 Wisconsin Ave NW

DCBurgerWeek.com

#DCBurgerWeek washingtoncitypaper.com august 11, 2017 21

DCFEED Island Time

Darrow Montgomery

Coconut Club from Adam Greenberg to open near Union Market next year.

By Laura Hayes “It’s lIke Urban Outfitters meets a Wes Anderson movie,” Chef Adam Greenberg says, as he gesticulates widely, his arms brandished with tattoos of food emojis. He’s describing Coconut Club, set to open near Union Market next spring with island-inspired small plates and tropical fresh juice cocktails that may well be served in glass disco balls or pineapples.

Greenberg hopes to paint the building owned by EDENS (540 Penn St. NE) pink— signaling that he wants customers to feel like they have escaped D.C. for spring break as they pass around pu pu platters in the 3,000square-foot restaurant that might even offer cabana seating.

“On vacation I feel carefree with no limits, no plans—just living life and experiencing culture,” Greenberg says. “How do you create that in a bubble in a restaurant is what I want to do, so that when you leave work on a shitty day you can feel a sense of escapism.”

The 37-year-old hopes the city’s young professionals will freely snap photos of neon signs while listening to reggae, hip-hop, and beachy

Young & hungrY

tunes from the likes of artist Odessa. “If I get a few noise complaints from people inside the restaurant, I’m not mad at it,” he says. “I want to move forward in asking, what do millennials want? I’m not living in my world. I’m living in their world.”

To straddle the line between cool and kitsch, Greenberg has hired Lauren Winter and Megan Capo of Edit Lab at Streetsense to handle design. Their work can also be seen at Tail Up Goat, Tiger Fork, Whaley’s, Daikaya, and other eye-catching restaurants. But one bit of aesthetic Greenberg is passionate about is Hawaiian scenes. That’s why he’ll be taking his iPhone-sized drone to Hawaii in September during a research and development trip, flying it over surfers and waterfalls to capture idyllic images.

Greenberg has an ambitious list of restaurants, bars, and poke places on his Oahu itinerary. The Aloha state is perhaps his biggest muse for the Coconut Club food menu, but don’t expect to see things like purple, starchy poi.

“I don’t want anyone from Hawaii to come and say, ‘They’ve bastardized this.’ I just want to cook food I really want to cook with an island influence,” he says.

The dinner menu will be split into small plates and shareable entrees. Greenberg en-

22 august 11, 2017 washingtoncitypaper.com

Compass Rose will soon have some local competition when it comes to serving Georgian food. Supra is set to open at 1205 11th St. NW in Shaw with several kinds of cheese-stuffed khachapuri bread, vegetarian small plates, and Georgian wine.

visions diners starting off with customizable seafood platters from the raw bar and large portions of overtly voguish poke served chipsand-dip style with nori crisps, cucumbers, and other vessels for scooping Hawaiian-style cubed raw fish.

Fresh off a visit to Yakitori Totto in New York, Greenberg says he will try his hand at the Japanese skewered meats, plus spam-fried rice, pork belly and pineapple, and a chickenbased ramen in the colder months. He’s also entertaining the idea of serving TGI Fridaysstyle appetizer samplers on Lazy Susans.

Larger plates will span rotisserie jerk chicken, whole grilled fish with escabeche (spicy, pickled vegetables), Kalua pork wrapped in banana leaves, and steak dressed in dark rum sauce.

For dessert, Greenberg is toying with coconut-milk-based soft-serve ice cream because he hasn’t found soft serve he enjoys locally. “Milk Bar is too sweet, overly sweet,” he says. “My wife and I drive 25 minutes to Falls Church to get Dairy Queen.”

Soft serve won’t be the only frozen offering if Greenberg executes on his hope to serve drinks that emulate poolside service on a cruise ship. “When you’re on a deck and you get a white coconut drink with a red swirl in it and pineapples in it, it’s cheesy, but I’m just in heaven,” he says. “It’s just so refreshing.”

Greenberg isn’t labeling the drink program as tiki, but rum will take the lead with drinks like a Painkiller and Mai Tai. He hopes to team up with a local juice company such as JRINK or Misfit Juicery for mixers because one thing Greenberg loves about D.C. is its collaborative nature.

Coconut Club could open just about anywhere, but there’s one moment that solidified the District as home for the chef: the 2015 Pride Parade. At the end of his nearly 10-year stint with Barteca Restaurant Group, Greenberg was asked to cook at the 14th Street NW location of Barcelona Wine Bar. The end of the parade route snakes its way past the scenester tapas restaurant.

“I got to see kids being held on their parents shoulders to see what world we should be living in,” he recalls, adding that he appreciated seeing people of all ages and races pushing the “love, peace, and togetherness” agenda.

“I need to be here.”

Greenberg’s road to owning his own restaurant started in his hometown of West Hartford, Connecticut, which he describes as a “very Vineyard Vine-ish, pleasantville type of town.” After a year at Syracuse University, he dropped out and returned home to start working at Max A Mia—a family friend’s restaurant in nearby Avon that opened in 1991.

He started by plating pre-made desserts before quickly moving through the various kitchen stations. Big-name Boston Chef Jamie Bissonnette was the sous chef there at the time, and Greenberg says he inspired him to become a chef.

Flashing forward a few decades, Bissonnette’s restaurant Little Donkey will inform how Greenberg draws up his eclectic menu at Coconut Club. He recently cooked out of the kitchen there to prepare for an industry popup. “You’re hearing verbal calls for fried chicken, biryani, tamales—it’s all over the map,” Greenberg says.

At age 19, he enrolled in culinary school at Johnson & Wales University and landed an externship at New York’s Gramercy Tavern. He stayed at the beloved dining room for a year and later worked as the sous chef at Providence Oyster Bar in Rhode Island.

Greenberg’s next big gig was with The Capital Grille. “I was being thoughtful about my trajectory and wanted to step out of the food world to go learn business,” he says of the move to the staid steakhouse that feels antithetical to Greenberg’s exuberant personality.

But that’s where he learned the most about hospitality. The Capital Grille, he explains, is laser-focused on the guest experience and teaches its employees core values that come with a fancy acronym: EDGE (Exceptionally Distinguished Guest Experience).

If Greenberg looks familiar, it’s because he’s been on the Food Network show Chopped three times, netting a hat trick of wins. But he’s careful not to let his small screen string of luck color his career.

“People in the industry are tired of it, but investors and regular people love it,” he says.

It doesn’t prove anything or make him a great chef, according to Greenberg, but it could help draw customers to his destination restaurant.

“If that’s the reason you come in, great.”

The nouveau Union Market district is still young, but Greenberg is encouraged by his neighbors’ successes and looks forward to being a part of the community. “You can pre-game at Cotton & Reed, go to Masseria for a tasting, and come to us for softserve or a drink,” he says. The chef will also look to hire deaf workers from the neighborhood, the home of Gallaudet University, and is enrolling in sign language classes.

“The challenge is there,” he says, because the neighborhood isn’t as dense as other parts of D.C. that have apartment complexes and Metro stops. “But the only way to go is up. I’m betting on myself. I’m betting on the neighborhood.” CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

DCFEED Grazer

what we ate this week: Crab cake sandwich with tomato and tartar sauce, $9.99, Stevensville Crab Shack in Maryland. Satisfaction level: 5 out of 5. what we’ll eat next week: Morgh qorma with chicken, tomatoes, yellow split peas, dried plums, and spices, $11, Lapis.

Excitement level: 4 out of 5.

There are so many apps that it’s hard to discern which are worth your time and, in some cases, your money. Fortunately, restaurant professionals in the D.C. area are helping to separate the wheat from the chaff. Below are some apps they recommend to make the lives of diners a little easier.

—Laura Hayes

Caroline Jones

Real Life App-lications ’WichingHour The Sandwich: The Positraction Where: Yang Market, 138 U St. NE Dark Sky ($3.99) Doi Moi general manager Aaron Keller has to make the tough call of whether or not to seat the restaurant’s patio when inclement weather threatens. Weather app Dark Sky’s next-level accuracy, including minute-by-minute rain predictions, helps him decide. Though Keller thinks it’s an improvement over the iPhone’s default weather app, it sometimes misses the sudden squalls that plague D.C. summers.

Deluxe Moon ($1.99) Compass Rose beverage and events director Maria Bastasch uses Deluxe Moon to alert her to when there’s a full moon or an eclipse, which some believe can make people anxious and emotional. “Even if people don’t buy into astrology, there is a different energy of the clientele,” she says. The app tells you everything from the stage of the moon to what time it rises and sets.

UnderServed

Kelly Magyarics

The best cocktail you’re not ordering

What: CPR, with chamomile-infused rakia, pear puree, ginger cordial, lemon juice, and Ambar bitters, garnished with candied ginger

Tunity (free) What if there was a cool hack to hear the audio of your game at a sports bar instead of whichever contest the bartenders have decided to blast at full volume? With the Tunity app, just scan a TV screen to get the audio on your phone. “It’s perfect for people who like to watch out-of-town teams,” says Ivy City Smokehouse’s John Rorapaugh. Just don’t forget to bring your headphones.

Where: BABA, 2901 Wilson Boulevard, Arlington; (703) 312-7978; baba.bar Price: $12 What You Should Be Drinking: No, nana hasn’t fallen and can’t get up. This drink at the cocktail den adjacent to Ambar in Clarendon (whose name is the Serbian word for “grandmother”) has nothing to do with first aid. Rather, the acronym refers to the three main ingredients in the cocktail created by bartender Danilo Simic. He infuses rakia (a traditional Balkan fruit brandy) with chamomile, and then shakes it with pear puree, ginger cordial, lemon juice, and Ambar bitters. The cocktail is served in vintage glassware that could have been pulled from granny’s cupboard, and

Waygo (free trial, then $6.99 per language) Traveling food fanatics can benefit from Waygo, which translates Chinese, Japanese, and Korean text into English instantly using a phone’s camera.

“Now I don’t miss out on specials at some of my favorite restaurants,” says Brookland’s Finest Chef Shannon Troncoso. There are some limitations— it doesn’t work well with stylized text or super fine print—but it’s handy whether you’re eating Korean in Annandale or globetrotting in Asia.

Gormaya Conversions ($1.99) Maybe you binge-watched The Great British Bake Off and want to try your hand at baking at home.

RareSweets owner Meredith Tomason recommends the hyper-accurate Gormaya Conversions Bake & Cook app.

Let it guide you through conversions of U.S. measurements to metric measurements or vice versa for more than 200 common baking ingredients.

garnished with candied ginger.

Why You Should Be Drinking It: BABA’s friendly servers, who hail from all over Eastern Europe, are great at educating guests about rakia. Still, it’s a spirit that remains pretty unfamiliar to most Americans, especially because it can be confused with raki— the aniseflavored Turkish spirit. This elixir is the perfect introduction. Chamomile softens the rakia, pear and lemon give fruit notes, bitters balance, and ginger in the cordial and the candied square on top add tingling spiciness. Sink into a plush couch and sip it with the signature beef and veal slider with gribick salsa, red cabbage, and coleslaw.

—Kelly Magyarics

Cost: $9.50 Stuffings: Turkey, havarti cheese, alfalfa sprouts, green apple, rosé mayo Bread: Sliced wheat bread Thickness: 3.5 inches Pros: While most deli counter sandwiches are pretty meager when it comes to meat, this one is piled high with moist turkey and leaves your belly full. The apples in the sandwich add an appealing crunch and a touch of sweetness.

Cons: We need to talk about rosé mayo. The combination of mayonnaise, wine, and a few drops of pink food coloring is not a refreshing, bright spread that reminds you of drinking outside. Rather, it’s a poor excuse to slather too much pink goop on bread and tastes sour and bitter, like mayonnaise that’s gone bad. Building the thing on sliced wheat bread that gets mushy from the mayo makes it even less appealing.

Sloppiness level (1 to 5): 4. Because the mayo is applied so thickly, it weeps through holes in the bread, leaving your hands covered in a sticky pink film. The untoasted bread isn’t strong enough to support all the stuffings, so the bottom starts to fall out as you eat, resulting in a messy pile of sandwich ingredients that you’re left to reassemble.

Overall score (1 to 5): 2. Yang Market’s idea of making a sandwich more interesting by creating a new spread is wellintentioned, but it fails because the spread is used too liberally and doesn’t play well with the other ingredients.

As one onlooker noted, “It looks like a sandwich your mom would make.” While the sandwich counter is a great addition for Eckington residents, this particular offering leaves a lot to be desired.

—Caroline Jones

washingtoncitypaper.com august 11, 2017 23

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CPArts

Curators’ Note

A conversation with the Hirshhorn Museum and Sculpture Garden’s two newest curators about new directions and projects for the cherished modern art museum.

On Sept. 17, the Hirshhorn Museum and Sculpture Garden is hosting a one-night-only concert to celebrate the work of Yoko Ono, the subject of the museum’s ongoing summer show, Yoko Ono: Four Works for Washington and the World. It’s a hell of a lineup: Lizzi Bougatsos (Gang Gang Dance), Kim Gordon (Sonic Youth), and Moor Mother will each play selections from Ono’s vast music and performance catalog.

The program is the work of Mark Beasley, a former curator for Documenta and Creative Time who—as the Hirshhorn’s new curator of media and performance—adds a new dimension to the National Mall. His appointment last December was followed by another bright new hire, Jarrett Gregory, a curator who worked most recently for the Los Angeles County Museum of Art and will focus on expanding the Hirshhorn’s international footprint. Washington City Paper sat down with Beasley and Gregory to talk about expanding horizons in contemporary art, Dischord Records, and the the limits of the Smithsonian Institution’s audience (or lack thereof ).

Washington City Paper: I saw the Pierre Huyghe show you curated for the Los Angeles County Museum of Art, Jarrett, and I’m curious about how you structure a show like that.

How do you consider the public? His work is difficult to wrap your head around—one piece, “Human,” comprises a live Ibizan hound with one leg painted pink. Another one features a live swarm of bees. For the audience who doesn’t know much more about art or LACMA than the lights out front (Chris Burden’s “Urban Light”)—do you give them handholds? Or is it only for the people who get it?

Jarrett Gregory: No, it’s not only for the people who get it.

Definitely not. What we did in that case was a brochure. I wanted to have as much information as people wanted, and also, if they didn’t want any, to not push anything on them. The idea with that show was that you could go in and experience it and spend as long as you wanted. It was constantly changing and evolving around you. It was pretty much a living entity. You could go in like that—or you had a floor plan and a checklist if you wanted to do it that way, and a brochure text as well.

I think it’s an unusual show. I don’t think people are prepared for—it’s not a common museum experience. Many people do feel really confused by it when they walk in, whether they know art or don’t. And the opposite is true, too: Some people who don’t necessarily have a background in art history get it immediately or love it immediately. I think it’s about breaking down the expectation that there’s something to get.

WCP: Museum exhibitions move with a periodic, steady calendar. They’re seasonal. I’m sure there’s a workflow cal-

endar somewhere here. Does performance need to follow that? Does it go by that same calendar of seasonal shows, or does it work independently?

Mark Beasley: It can be both. When I think about photography in the ’90s, when I was there in London, there was The Photographers’ Gallery, and that’s where you saw photographs. Five years after that opened, photographs were integrated alongside paintings and sculpture, and I feel like that’s the kind of movement for performance. It’s got a long history. It’s been 100 years since Futurism. A lot of these kind of movements and -isms happened by someone saying, “There’s this thing, it’s called performance, it’s very promiscuous, we can grab everything— we can grab dance, literature, music, and put it all together.”

It feels like now that conversation is coming home to the museum. It’s been happening out there for a long time. It feels like the museum has become a site to carry those ideas and think through the shape and form of [performance] as it moves. To answer your question, I think performance can be integrally related within a show. It’s something that can operate as a nomadic entity. If you look at this space here, there’s the plaza, the garden. There’s every kind of space within this building that artists

and bodies and sound and music can pass through. I like it because it’s fluid and takes on many forms.

WCP: How many international shows are you seeing in a year?

JG: This year? There’s so many. I’m going to the Venice Biennale. We’re going to Documenta and [Skulptur Projekte Münster] together. So at least those three.

WCP: I want to ask you both this question. Beyond the Venice Biennale, Documenta, the art fairs, the Whitney Biennial—where do you go to look for new work?

MB: Artists. Artists are my first resource. Speaking to other artists. One of the great things about moving to D.C. is that D.C. was in my head when I was 13, 14, 15. The music that was coming out of here changed my thinking around music, around DIY, around post-punk. Since being here, my two greatest pleasures have been meeting the two greatest Ians of D.C., Ian MacKaye and Ian Svenonius. Meeting with them and having that conversation and having them tell me what they’re listening to and getting excited about is phenomenal to me.

Somewhere else: Peter Nesbett of [the Washington Project for the Arts], who I’ve known a long time through [The Pew Center for Arts & Heritage]. As I’m thinking about it, it’s very social. People are sources, fonts. It’s both spaces and people.

JG: I guess I’d say something similar. For my research, in terms of travel, I usually go knowing at least one artist that I’m working with, and from there I ask for other artist recommendations, curators, things like that, and branch out to try to meet people through that network. The amazing thing about the art world is that that’s a global network, and it’s pretty open and welcoming. The most exciting works I’ve seen have been within that context, not things that have already been presented at other institutions, but going into a person’s studio based on a recommendation from a recommendation from a recommendation.

WCP: Who’s your favorite Dischord artist?

MB: I have to say Fugazi.

Darrow Montgomery

By Kriston Capps

Watch the music video for The North Country’s new single “E-Meditiation.” washingtoncitypaper.com/arts.

WCP: Do you have one?

JG: I’m learning a little bit, thanks to him.

Baby steps. Ask me in a year.

MB: [To Jarrett]: Say Minor Threat.

It’s fascinating—my big interest is music, and part of traveling is the joy of getting to go places like Bergen in Norway, where black metal comes from. You realize, of course, this is why this music is here. And here [in D.C.] it’s a bunch of kids whose parents are federal workers, they’re smart, and they’re looking at New York and saying, “I don’t want to do that—I want to look like me and stay here and make this incredible music.” I like it.

It’s great.

WCP:In many museums, you have your prints and drawings curator, a paintings curator, maybe a 20th cenwashingtoncitypaper.com august 11, 2017 25

CPArts

tury curator, maybe a photography curator. You don’t fit those roles. How do you conceive of the boundaries of what your job is?

JG: It seems to me that it starts with ideas. There are definitely people who have expertise in certain areas and are called upon to follow those. For example, Evelyn [Hankins] and Stéphane [Aquin] are very invested in the practice of painting. Part of my strength is international. That’s something we’ve talked a lot about, opening up the different perspectives you can experience when you come to the museum. Bringing in different international voices. But again, it really starts with ideas. I think the Hirshhorn is really exceptional because we’re not so limited, and we’ve been encouraged to propose according to whatever those ideas are.

MB: I’m not an art historian, so my take is somewhat different. I think art historians bring the information that they’ve gathered of the world and apply that to a work of art. As someone who came out of practice, I’m always asking art to speak to me. I want it to tell me things. Largely I’m led by what I see in new art, in what artists are looking at, and that leads me and my thinking.

WCP: It seems like there’s a fair bit of overlap between what you are both doing and what Stéphane, the chief curator, is doing. Is that fair to say?

JG: In a positive way, yeah. For example, just in our dynamic, I’ve learned a lot from Mark already. I did a lot of things with film at LACMA, so that’s a nice conversation that we can have together. In the future, I think that we’ll be hopefully proposing shows together. Overlap can be good.

WCP: How do you grade the Hirshhorn’s history in showing international art?

JG: As in grade it? Oh, that’s terrible, I wouldn’t give it a grade.

I think museums in general have struggled with this. The canon has always American and European, for the most part. What I love about the Hirshhorn is that it’s part of the Smithsonian [Institution]. So my colleagues are in the National Museum of African Art, we have lunch and talk about what’s going on right now in Nigeria or Ghana or Kenya. I can cross-check my notes with theirs. That’s incredible. The larger body of the Smithsonian is super resourceful and very inclusive.

WCP: What are you working on next?

MB: We have projects coming up with Theaster Gates, continuing the Processions series. There’s the Yoko Ono show culminating in the concert in the fall. There’s a video show, from the collection and new acquisitions, and it’s five different video installations. They all involve music, but they’re all parasitic in the sense that they take on different forms. So one’s a video lecture, one takes the form of a pop video, another one takes a look at the opera and explodes that. It’s recent acquisitions by Camille Henrot, Joanna Malinowska and C.T. Jasper, Hito Steyerl, and then work by Arthur Jafa and France Stark.

WCP: Yoko Ono has enjoyed such a career resurgence—not just in museums wanting to acquire and promote her work but in popular appreciation for her music, her writing, her performances, and ephemera. Can you name another artist who you believe deserves rediscovery?

JG: For me, a really seminal artist is Maria Nordman. She’s

somebody I’ve been thinking about a lot. She understands this dynamic between our inner worlds, the outside world, and our relationships with one another.

MB: I’ve got one. An artist from New York, who sadly recently passed on, named Robert Ashley, who’s the father, somewhat, of American opera. His key work was from the ’80s, called Perfect Lives. He was 80 when he passed, but he worked with everyone: John Cage, Meredith Monk. There wasn’t anyone he didn’t work with. He got a certain kind of play among an avant-garde scene, but he answered those old Europeans and came up with something that was very American, very vernacular, and led actually to the modern pop video to a certain extent. Robert’s somebody who could really benefit from being presented on a larger scale.

WCP: Have you had time to dig into the Hirshhorn’s collection? What are some surprises? Anything you’ve been delighted to find?

JG: We have amazing work by Steve McQueen, called “Bear,” that was a treasure to find. We’ve got some great little videos by Jimmie Durham of him stoning things with rocks. We’ve got a great David Hammonds. Senga Nengudi, acquired last year— wonderful sculpture.

MB: Joanna Malinowska and C.T. Jasper was an immediate discovery. To get them into the first show feels good.

WCP: Is there work that’s too hard for a general Smithsonian audience?

MB: No. JG: No. CP

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August 14-20

FilmShort SubjectS Wind River

Down winD Wind River

Directed by Taylor Sheridan Taylor Sheridan’S Wind River has a similar premise to Sicario, his 2015 screenwriting debut. Both films are about a female FBI Agent who enters a world of ruthless violence for which she is not prepared. But while Sicario introduced a promising new talent, Wind River inadvertently dismantles the reputation Sheridan cultivated for himself. In countless interviews, Sheridan posits himself as a tough, sensitive, ferociously apolitical screenwriter who makes smart thrillers with some social import. This film, his directorial debut, has similar aspirations, yet devolves into calculated exploitation.

Before we meet FBI Agent Jane Banner (Elizabeth Olsen), Sheridan spends some time with a hunter named Cory (Jeremy Renner).

Cory works in a remote, snow-caked region of Wyoming, where he wears all-white camouflage and a sniper rifle over his shoulder.

He sees some human footprints and tracks them until he finds the frozen body of a young Native American woman. The body is on the Wind River Reservation, giving the FBI jurisdiction over the homicide investigation. Jane recruits Cory to help her out, and he leads her through the community’s underbelly, where desperation and boredom lead to violence and drugs. The case has extra resonance for Cory, since he knew the victim and his child died under similar circumstances.

Sheridan is less sure of himself as a director than as a writer. He cannot decide between natural, handheld camera work and the gentle glides of a dolly shot. It is common for filmmakers to mix both techniques, depending on what the scene requires, yet here they seem chosen at random. Since Wind River includes

many scenes of travel, whether on a snowmobile or snow boots, Sheridan embellishes the investigation with music from Nick Cave and Warren Ellis, who dial down their confrontational style in favor of melodies that borrow heavily from Native American traditions.

There are also repeated verses from a poem, with lines that sound borrowed from a dreamcatcher greeting card. Sicario was set primarily in Mexico and the Southwest, but at least director Denis Villeneuve had the wherewithal to create a distinct soundscape, instead of appropriating the local culture.

The details of the case are admirably simple.

They are an opportunity for Sheridan to showcase his supporting actors, including Graham Greene, who previously appeared in 1992’s Thunderheart, another film about a FBI Agent investigating a murder on a reservation. The real standout is Gil Birmingham, who is intensely brooding as the dead girl’s father. Birmingham shares a scene with Renner where they discuss the nature of grief, and it has more emotional clarity than most murder mysteries. That empathy continues towards the first shoot out, where desperation guides the shooters more than survival. Renner emerges as the film’s moral center, counseling multiple people, and by the third of such scenes he is more like a patriarchal grief counselor, not a fleshedout character.

Wind River is engaging, if uninspired, at least until an ill-advised flashback sequence.

We already know the chronology of the murder: The victim was raped and ran barefoot in the snow before succumbing to the elements.

The flashback grimly depicts the rape, but not before adding Jon Bernthal (in a perfunctory cameo) as the victim’s soft-spoken, unfortunate boyfriend. Sheridan includes the flashback to provoke the audience—he wants us to be disturbed—and yet he does have the patience to let the scene settle.

Moments after the flashback, Sheridan pulls us into a frenzied, deadly shoot-out, where the

bodies fall faster than we can think. The juxtaposition does not add resonance to the flashback. It erases the rape scene. By the time the climax ends, it is clear the flashback adds little to solving the mystery. As a cynical provocation, Sheridan upends the goodwill he developed through patience and an attention to detail.

Throughout his hunt, Cory repeatedly calls the murder victim “a fighter.” He says this because, after escaping a dangerous situation, she ran for miles through the snow. Sheridan continues his feigned concern in a closing title card, where he adds that countless Native American women disappear. The unintentional irony is how this is lip service: The victim has little agency, and the majority of her screen time she is either in her lover’s arms, or assaulted. If Sheridan respected her bravery, he would focus more on her ordeal. Instead, Sheridan aspires for the same reserves of wisdom and self-respect as his hero. This is not thriller that raises social awareness; it’s another white savior fantasy, just in the package of a grim procedural.

—Alan Zilberman Wind River opens Friday at Landmark’s Bethesda Row Cinema.

oy Vey Menashe

Directed by Joshua Z Weinstein anyone who’S familiar with Hasidic Judaism will know that Menashe is a marvel. Not because it’s a good film, although it is. It’s because documentarian and first-time feature director Joshua Z Weinstein pulled off a near-miracle: He set and filmed his story within Brooklyn’s Hasidic community, an ultra-Orthodox people who isolate themselves from others and eschew anything from modern society that might sully them, including television and cinema. And Weinstein wasn’t asking them to, say, watch a movie. He asked them to be the movie.

The director shot in secret, and the film is one of very few performed entirely in Yiddish.

(Weinstein used a translator.) Reportedly, Weinstein had a difficult time casting, with actors he had hired abruptly changing their minds.

He kept the number of characters minimal and lucked out with his titular star: Menashe Lustig,

on whose life the story is largely based.

Menashe is the Homer Simpson of the Hasids. Chubby and in his 30s, he drinks too much, dresses sloppily, and screws up at his job at a grocer’s. (“It’s nothing but problems with you,” his manager says.) He always runs late and is behind on rent. And because he’s a widower, he’s not allowed to raise his young son, Rieuven (Ruben Nyborg), who instead resides with Menashe’s more successful, married, and outwardly hostile brother-in-law, Eizik (Yoel Weisshaus).

Torahic law dictates that Menashe must remarry before Rieuven can return home. But although he goes on a few matchmaker-set dates, Menashe isn’t all that crazy about the idea of taking another wife. So he frequently begs Eizik to have sympathy. Not an option: “The gentiles have broken homes, and so they have a broken society,” Eizik responds. Yet Menashe persuades the rabbi to let Rieuven stay with him for one week, culminating in a traditional memorial dinner for Menashe’s wife that he insists he can host in his small apartment, regarding it as a chance to prove he’s not as hapless as everyone thinks.

Throughout, Menashe is quiet and tender, but it’s especially so when father and son are together. Menashe is 75 percent good cop, goofing around with Rieuven, taking him for ice cream, and sprinting to get him to school on time after serving a breakfast of cake and soda because Rieuven couldn’t wake him. Yes, that is sweat Menashe on his brow; Weinstein ensures that Menashe’s inability to catch up in any area of his life is physically represented as well. Most of the time, he accepts the constant criticism of others with a hangdog demeanor. But he doesn’t stand for being overruled regarding his wife’s memorial dinner: “I am not the outsider here!” he yells.

Viewers who aren’t privy to ultra-Orthodox customs aren’t always given context, which makes scenes such as a group of men, including the rabbi, tossing back shots and singing somewhat curious. (This, Menashe does too well.) But there’s a universality to the rest that all will recognize: You’ve screwed up at work. You’ve embarrassed yourself after too many drinks. And, sadly, if you haven’t experienced it yourself, you know someone who’s gone through a custody battle. The reasons for separating parent and child are numerous. But Menashe shows that even though a father may eat, pray, and love differently, his bond with his son is something anyone can comprehend.

—Tricia Olszewski Menashe opens Friday at Landmark Bethesda Row and the Angelika Film Center.

washingtoncitypaper.com august 11, 2017 27

AJ CROCE AND ROBBIE FULKS IN CONCERT

Books Speed ReadS

TUESDAY, AUGUST 15

THE HAMILTON LIVE TICKETS AT WWW.THEHAMILTONLIVE.COM

HIRE AN INTERN.

CHANGE A LIFE. 43% of DC youth

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100% of Urban Alliance interns graduate from high school

To sponsor an intern, contact Jetheda Warren, jwarren@theurbanalliance.org, 202-459-4308 Urban Alliance empowers under-resourced youth to aspire, work, and succeed through paid internships, formal training, and mentoring. www.theurbanalliance.org *www.doublethenumbers.org

28 august 11, 2017 washingtoncitypaper.com

Illustrated Horror Poe: Stories and Poems Gareth Hinds Candlewick Press 120 pages $14

Horror fiction is rooted in hysteria: the narrator’s and the reader’s. That’s why it lends itself so fluidly to the graphic novel. From one “kapow” moment to the next, it never gives the reader a moment to relax. And this is what Gareth Hinds’ new graphic novel, Poe: Stories and Poems, does so successfully. The pictures wed the text, which has been adapted to graphic novel format. That Hinds pulls this off with the work of a master literary stylist like Edgar Allan Poe is an accomplishment. Meanwhile, the plot moves from one sensational frisson to the next, resembling a series of mountain peaks with very few valleys—in fact, more like a sort of mountain range.

The book opens with an adaptation of a slightly lesser known story, “The Masque of the Red Death,” which gains its unique horror from how this plague kills—its victims bleeding to death from their pores, especially in the face. The very first panel shows a blood-drenched corpse, which kickstarts the plot: To escape this horrible, gory death, Prince Prospero leads a thousand courtiers to a remote, secluded abbey. They lock them-

selves inside, and the fun begins, culminating in a masked ball, at which the mysterious, minatory, and terrifying Red Death himself makes an appearance, killing the prince and everyone else.

For Poe fans, “The Masque of the Red Death” is special, not marked by the same pitch of insanity in, say, “The Tell-Tale Heart” or the kind of cruelty in “The Cask of Amontillado” or “The Pit and the Pendulum.”

Though gruesome, it is less emotionally gripping, which is actually a point in its favor. Because this story can be read at leisure—less of a page-turner than others—the illustrator could conceivably narrate more freely. But interestingly, Hinds chooses to speed up the pictures, to restore the more typical Poe pace, to counter the relative slowness of “The Masque of the Red Death” and match its rhythm to that of Poe’s other stories. Before you know it, you’ve reached the illustrated portrait of the Red Death himself, the tale’s climax and turning point. Yet it doesn’t seem too soon. It works. Hinds has combined the text and visuals to give the story a new and engagingly different rhythm.

Hinds’ illustrations parallel Poe’s tempo in his rendering of “The Tell-Tale Heart.” As the tension builds in this murder drama, the images become increasingly frenzied, until they are finally resolved with the last serene drawing of the narrator in an insane asylum cell. This is Hinds’ own ending but a logical interpretation of Poe’s work. Quite discreetly, it is only presented visually. Until the end, the colors are garishly orange and yellow, befitting the narrator’s mad confession. But the last two pictures subdue the mood. They are brown and gray—muted colors that match the reality of a lunatic in a madhouse.

Other works Hinds illustrates here are “The Cask of Amontillado,” “Annabel Lee,” “The Pit and the Pendulum,” “The Bells,” and “The Raven.” The volume concludes with a somber sketch of Edgar Allan Poe’s Baltimore headstone and a raven perched on top. This last picture, understated and fitting, connects the stories of a writer who had a short and difficult life. But happily and crucially, the image does not invite us to psychologize about Poe, something there has been far too much of in the 167 years since his death. Instead, it identifies him as the supreme artist he was—as a sovereign writer who knew how to control his audience’s reactions to his tales of blood and horror., not as a man whose personal problems compelled him to depict madness, murder, and death.

—Eve Ottenberg

washingtoncitypaper.com august 11, 2017 29

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

JUST ANNOUNCED!

THE kILLERS ..................................................................... JANUARY 10, 2018 On Sale Friday, August 11 at 10am

THIS WEEK’S SHOWS

Kaleo w/ ZZ Ward & Wilder ............................................................................OCTOBER 14 Phoenix ........................................................................................................OCTOBER 16

THE CIRCUS LIFE PODCAST 4TH ANNIVERSARY CONCERT FEATURING

Party Like It’s • Justin Trawick and The Common Good •

Oh He Dead • Two Ton Twig • Soldiers of Suburbia ................................... F 11

AUGUST

SEPTEMBER cont.

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

The Afghan Whigs w/ Har Mar Superstar ..................Sa 9

LCD Soundsystem ...............................................................................OCTOBER 18 Zedd w/ Grey & Lophiile ..................................................................................OCTOBER 21 The War On Drugs w/ The Building .....................................................OCTOBER 23 The Head and the Heart w/ Phosphorescent ..................................OCTOBER 27 Primus with Clutch .................................................................................OCTOBER 28 The Shins w/ Baio ......................................................................................NOVEMBER 2 GRiZ ................................................................................................................NOVEMBER 4 Courtney Barnett & Kurt Vile (and The Sea Lice) ......................NOVEMBER 7 Grizzly Bear w/ serpentwithfeet .............................................................NOVEMBER 8 Tegan and Sara The Con 10th Anniversary Acoustic Tour ...................NOVEMBER 11

dded!

U STREET MUSIC HALL PRESENTS

Valentino Khan .....................Sa 19 Waxahatchee w/ Palehound & Outer Spaces .....M 21 Delta Rae w/ Lauren Jenkins ......................Th 24 AN EVENING WITH

The Chris Robinson Brotherhood ........................Sa 26 Washed Out w/ Dega ..............Th 31 SEPTEMBER

Pat Green w/ Casey Donahew ...Th 7 The Brian Jonestown Massacre w/ Dot Dash................F 8

First Night Sold Out! Second Night A

Nick Murphy (Chet Faker) w/ Charlotte Cardin & Heathered Pearls ........................M 11 Joseph w/ Bailen .......................W 13 Hot In Herre: 2000s Dance Party with DJs Will Eastman and Brian Billion .....................Sa 16

AEG PRESENTS

Odesza w/ Sofi Tukker & Louis Futon........................................................NOVEMBER 24

St. Vincent ...............................................................................................NOVEMBER 27 The National w/ This Is The Kit ...............................................................DECEMBER 5 O.A.R. .......................................................................................................... DECEMBER 16

BADBADNOTGOOD ...............Su 17 dded!

First Night Sold Out! Second Night A

Broken Social Scene w/ Belle Game .............................W 20 Aaron Watson w/ Gunnar and the Grizzly Boys ...F 22

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Added!

First Night Sold Out! Second Night

• theanthemdc.com

930.com

Merriweather Post Pavilion • Columbia, MD

THIS SUNDAY!

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

The best thing you could possibly put in your mouth

THIS TUESDAY! AN EVENING WITH

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

Santana ......................................................................................................... AUGUST 15

Sturgill Simpson w/ Fantastic Negrito ............................................ SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave .............................. SEPTEMBER 16 AN EVENING WITH

JUST ANNOUNCED! AEG PRESENTS

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

1215 U Street NW Washington, D.C.

WPOC SUNDAY IN THE COUNTRY FEATURING

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

Coyote Peterson ....................................................................... SAT SEPTEMBER 16

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

WESTBETH ENTERTAINMENT PRESENTS

DYLAN MORAN On Sale Friday, August 11 at noon ........................ SEPTEMBER 25

Ilana Glazer & Phoebe Robinson: YQY Comedy Tour ...NOVEMBER 14 Puddles Pity Party.............................................................................FRI NOVEMBER 17 ALL GOOD PRESENTS

THE

MAVERICKS ....................................................................SAT NOVEMBER 18

Verizon Center • Washington D.C. AEG PRESENTS

KATY

PERRY .............................................................................. SEPTEMBER 25 Ticketmaster

On Sale Friday, August 11 at 10am

Apocalyptica - Plays Metallica By Four Cellos .................................................... SEPTEMBER 9 Nathan For You - Sneak Peek and Q&A ........................................................... SEPTEMBER 10 STORY DISTRICT PRESENTS

I Did It For The Story: A Tribute to 20 Years of Storytelling ........ SEPTEMBER 23

The Script ..................................................................................................................OCTOBER 2 Paul Weller ..............................................................................................................OCTOBER 7 Matisyahu w/ Common Kings & Orphan ..................................................................OCTOBER 10 Blind Pilot w/ Charlie Cunningham .........................................................................OCTOBER 13

9:30 CLUB PRESENTS AT U STREET MUSIC HALL ALL GOOD PRESENTS White Ford Bronco: DC’s All ‘90s Band ........................ F AUG 11 The Werks & Passafire ................. Th 14

THE BIRCHMERE PRESENTS

Sahbabii ............................................. Th 17 Tei Shi ............................................F SEPT 8 Mondo Cozmo ................................... Tu 12 Sonder ................................................. W 13

Colin Hay w/ Chris Trapper ....................................................................................OCTOBER 21 Josh Ritter & The Royal City Band w/ Good Old War ....................................NOVEMBER 2 The Breeders ........................................................................................................NOVEMBER 4 AN EVENING WITH

Kevin Smith ..........................................................................................................NOVEMBER 5 JOHNNYSWIM .....................................................................................................NOVEMBER 15

MHD ...................................................... F 15 Astrid S w/ Jasmine Thompson ............ Sa 16 Gabrielle Aplin .................................. W 20 Coast Modern ..................................... F 22

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

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

30 august 11, 2017 washingtoncitypaper.com

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

930.com

CITYLIST

RAY WYLIE HUBBARD

Music 31 Books 36 Galleries 36 Theater 37 Film 37

Music

THU. AUG. 17 ~ 8:30PM & FRI. AUG. 18 ~ 9:30PM TIX: $22-$35

CITY LIGHTS: FRIDAY

FRIDAY RoCk

9:30 Club 815 V St. NW. (202) 265-0930. The Circus Life Podcast 4th Anniversary Concert with Party Like It’s, Justin Trawick and The Common Good, Oh He Dead, Two Ton Twig, Soldiers of Suburbia. 7 p.m. $18.

930.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Stephen Stills and Judy Collins. 7:30 p.m. Sold out. birchmere.com.

H

DC9 1940 9th St. NW. (202) 483-5000. Ki: Theory, Warbly Jets. 7 p.m. $12. dcnine.com.

8.15 8.17 8.18 8.19 8.22 8.25 8.26

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Wild Child, Blue Miracle. 8 p.m. $17. fillmoresilverspring.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Humble Fire, Nuex, Frenemies, Near Northeast. 9 p.m. $12. rockandrollhoteldc.com.

SongbyrD muSiC houSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Gordi. 8 p.m. $10–$12. songbyrddc.com.

8.28 8.29 8.31

u Street muSiC hall 1115 U St. NW. (202) 588-1889.

White Ford Bronco. 7 p.m. $22. ustreetmusichall.com.

WolF trap Filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Lyle Lovett & His Large Band. 8 p.m. $25–$55. wolftrap.org.

9.5 9.7 9.8 9.9 9.12 9.14 9.15 9.18 9.19 9.21 9.23

CountRY

gypSy Sally’S 3401 K St. NW. (202) 333-7700. Hoedown Showdown featuring Girls, Guns and Glory, The Highballers, Run Come See. 8:30 p.m. $12–$14. gypsysallys.com.

DJ nIGhtS

DC9 1940 9th St. NW. (202) 483-5000. Wig & Disco.

10:30 p.m. Free. dcnine.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Bae Bae K-Pop Dance Party. 10:30 p.m. $10. ustreetmusichall.com.

ElECtRonIC

FlaSh 645 Florida Ave. NW. (202) 827-8791. Martin Buttrich, Waajeed, Djebali, Jubilee. 8 p.m. $8–$15. flashdc.com.

Funk & R&B

amp by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Yellow Dubmarine. 8 p.m. $23–$28. ampbystrathmore.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Lea Delaria. 8 p.m.; 10 p.m. $50. bluesalley.com. kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Sharel Cassity & Elektra. 6 p.m.

Free. kennedy-center.org. tWinS Jazz 1344 U St. NW. (202) 234-0072. Durty Dub. 9 p.m.; 11 p.m. $15. twinsjazz.com.

WoRlD

gW liSner auDitorium 730 21st St. NW. (202) 9946800. Youssou N’Dour. 8 p.m. $55–$75. lisner.gwu.edu. national gallery oF art SCulpture garDen 4th Street and Constitution Avenue NW. (202) 7374215. Zili. 5 p.m. Free. nga.gov.

CESAR VEGA

Reggaeton-pop in the style of Luis Fonsi’s “Despacito” may be the dominant Latin sound of the moment, but twenty-something Peruvian singer Cesar Vega prefers an older genre: salsa. His salsa-singing father began playing legendary Puerto Rican vocalist Héctor Lavoe for him when he was 9 and young Vega was hooked. While he continued to listen to rap, Peruvian Afro-folk, and jazz through his childhood, he began studying classic salsa singers in earnest. On his debut album, Coverizando, Vega displays his knowledge on a set of danceable old-school covers. That may not be the best way to demonstrate one’s originality, but Vega insists in interviews that he is creating his own vocal flow. On “Hombre Casado,” he starts off singing melodically, but as the piano rhythms gather speed and bounciness, his cadence accelerates and he shows off his ability to chant rapid-fire lyrics. Vega’s voice sounds husky on “Yo No Soy Un Angel,” as he croons over percussive rhythms and high-pitched horn blasts. Despite the confession in that song’s title, Vega’s skilled enough to demonstrate the vitality and joy of this danceable style. Cesar Vega performs at 9 p.m. at El Boqueron II, 1330 East Gude Drive, Rockville. $35–$40. (301) 440-8194.

—Steve Kiviat

SAtuRDAY RoCk

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Stephen Stills and Judy Collins. 7:30 p.m. Sold out. birchmere.com.

blaCk Cat 1811 14th St. NW. (202) 667-4490. Run for Cover 2017. 8 p.m. $12. blackcatdc.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Magpie Salute. 9 p.m. $35. fillmoresilverspring.com.

9.29 9.30 10.10 10.12 10.13 10.24 10.25 10.27 10.28 10.31 11.3 11.9

H BELLA HARDY RAY WYLIE HUBBARD RAY WYLIE HUBBARD ROCK-A-SONICS FIRESIDE COLLECTIVE THE WOODSHEDDERS THE FLAMIN’ GROOVIES & THE STENTS SCOTT H. BIRAM & GALLOWS BOUND DALE WATSON & HIS LONE STARS WILD THE WATERS JENNI LYN ANDREW DUHON FORLORN STRANGERS SARAH POTENZA / PALEFACE ROD PICOTT SUNNY SWEENEY HAYES CARLL THE PLIMSOULS RE-SOULED THE RAILSPLITTERS THE BLASTERS & FLAT DUO JETS KYLE LACY & THE HARLEM RIVER NOISE DANGERMUFFIN JASON EADY ALBUM RELEASE SHOW! GREYHOUNDS WILD PONIES ‘GALAX’ RELEASE TOUR CASH’D OUT GURF MORLIX SLAID CLEAVES POSSESSED BY PAUL JAMES WHITNEY ROSE / NO GOOD SISTER, JOHN TRAIN THE WOGGLES & THE HALL MONITORS, JAKE STARR AND THE DELICIOUS FULLNESS SUNNY LEDFURD PERE UBU & JOHNNY DOWD

HILL COUNTRY BARBECUE MARKET

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

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

washingtoncitypaper.com august 11, 2017 31

Fri & Sat, Aug. 11 & 12 at Midnight!

555 11th Street NW Washington, DC 20004 • (202) 783-9494

UN T! CU FEATURING LIVE SHADOW CAST SONIC TRANSDUCERS!

gypSy Sally’S 3401 K St. NW. (202) 333-7700. The Believers, The Vegabonds. 8:30 p.m. $15. gypsysallys.com.

SongbyrD muSiC houSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Zoogma, Wax Future. 8 p.m. $13–$15. songbyrddc.com.

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. SSINGSSING. 6 p.m. Free. kennedy-center.org.

JAzz

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

Slothrust, Tancred. 8 p.m. $15. rockandrollhoteldc.com.

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

Juan De Marcos and the Afro Cuban All Stars. 8 p.m. $25–$35. thehamiltondc.com.

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

(703) 237-0300. Completely Unchained. 9 p.m. $15. thestatetheatre.com.

tWinS Jazz 1344 U St. NW. (202) 234-0072. Durty Dub. 9 p.m.; 11 p.m. $15. twinsjazz.com.

CountRY

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

washingtoncitypaper.com/ calendar

WolF trap Filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Mary Chapin Carpenter, Lucinda Williams. 7:30 p.m. $28–$60. wolftrap.org.

DJ nIGhtS DC9 1940 9th St. NW. (202) 483-5000. Poseurs : 35ish Anniversary Reunion Video Dance Party with DJ Mohawk Adam, DJ Michael Scruggs, and special guests. 9 p.m. $10. dcnine.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Mixtape with Matt Bailer, Tommy Cornelis, Keenan Orr. 10 p.m. $10. ustreetmusichall.com.

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Lea Delaria. 8 p.m.; 10 p.m. $50. bluesalley.com.

SunDAY RoCk

DC9 1940 9th St. NW. (202) 483-5000. Allday, Selina George. 8 p.m. $12. dcnine.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Social Distortion, Jade Jackson. 7:30 p.m. $41. fillmoresilverspring.com. merriWeather poSt pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Santana. 8 p.m. $55.50–$295. merriweathermusic.com.

ElECtRonIC

rhizome DC 6950 Maple St. NW. Kath Bloom, Kamyar Arsani, Friendship, Paper Balls Duo. 5 p.m. Free. rhizomedc.org.

FlaSh 645 Florida Ave. NW. (202) 827-8791. Jennifer Cardini, Sarah Myers, Arts & Sciences. 8 p.m. $8–$15.

Volac. 4 p.m. $10. flashdc.com.

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

(703) 237-0300. Rusted Root. 8 p.m. $25–$27. thestatetheatre.com.

CITY LIGHTS: SAtuRDAY

LES AMANTS DE MONTPARNASSE

The National Gallery of Art owns 12 portraits by the Italian artist Amadeo Modigliani, all of which are currently on view. Painted between 1916 and 1919, the faces in each image are distorted, with narrow noses and tiny, sharp mouths that, at first glance, don’t look very inviting. They are, however, great examples of modernism—Modigliani palled around Paris with masters like Picasso and Brancusi. He sold very few works during his lifetime and died penniless, of tubercular meningitis, at age 35. Interest in his paintings skyrocketed after his death, which in turn led to more research into his life. One lasting piece of Modigliani worship, the 1958 film Les Amants de Montparnasse, chronicles the final year of his life and screens this weekend at the NGA’s auditorium as part of a series dedicated to the French production comedy Gaumont. When the film ends, apply your new knowledge of the artist to his works, conveniently hung on the ground floor of the East Building. The film shows at 3 p.m. at the National Gallery of Art East Building Auditorium, 4th Street and Pennsylvania Avenue NW. Free. (202) 737-4215. nga.gov.

—Caroline Jones 32 august 11, 2017 washingtoncitypaper.com

washingtoncitypaper.com august 11, 2017 33

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

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

AUGUST SHOWS THU 10 SAT 12

SAT 12

RUN FOR COVER A GIRLS ROCK DC! BENEFIT SINGLEING LIVE PODCAST MUGGLE MONDAYS

BUTTERBEER & THE 6TH FILM

OLIVIA & THE MATES

FYOHNA THU 17 OAKHOUSE WED 16

FRI 18

BACCHAE (TAPE RELEASE)

SAT 19

RIGHT ROUND 80S ALT POP DANCE PARTY

SAT 19 SUN 20 WED 23

The Birchmere presents…

FRIDAY Aug 11, 8pm

BELLS & HUNTERS

MON 14 TUE 15

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

Tix @ Ticketmaster.com 800-745-3000

XENO AND OAKLANDER

A BENEFIT FOR HOUSE OF RUTH

YADDIYA (RECORD RELEASE)

SHEER MAG

FRI 25

THE GREATEST GENERATION

SAT 26

EIGHTIES MAYHEM

END OF SUMMER DANCE PARTY

SHEER MAG WED AUG 23

FRI SEPT 8 SHABAZZ PALACES

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

YOUSSOU N’ DOUR The Voice of Senegal

CITY LIGHTS: SunDAY se.

s at place of purcha

CANCELLED. Refund

e TBA

POSTPONED. New Dat

ROAMfest ’14

• Wash. DC Tickets: gwutickets.com | 202.994.6800

Aug 13 CHAD CALEK PRESENTS THE

sir noface lives tour FILM SCREENING and Q&A!

DUO SIERRA HULL BUMPER(JessJACKSONS & Chris) 20 JONNY LANG Clarence 23 BOB SCHNEIDER Bucaro Jalen 24 KING N’Gonda 26 KIM WATERS RICK 27 SHELBY LYNNE & ALLISON MOORER BRANTLEY 30 MARCIA BALL Kathryn 31 AMANDA SHIRES Rheault Sept 1 KENNY LATTIMORE 2 SQUIRREL NUT ZIPPERS 3 ASLEEP AT THE WHEEL 7 MATTHEW SWEET 17

with Tommy

8

Keene

THE MANHATTANS featuring

Gerald Alston

THE SELDOM SCENE & JONATHAN EDWARDS 10 HOT RIZE 12 BELLYDANCE EVOLUTION presents 9

Fantasm – Odyssey of Dreams

BIG BAD VOODOO DADDY Lowland 14 PENNY & SPARROW Hum 15 KARLA BONOFF 16 MAYSA 17 RALPHIE MAY 13

18&19

An Evening with

RANDY NEWMAN 20 BRAND X REUNION TOUR with THE JANE GETTER PREMONITION

21 22

34 august 11, 2017 washingtoncitypaper.com

VALERIE JUNE JOHN McCUTCHEON

SoCIAl DIStoRtIon

With Mike Ness’s trustworthy nasal snarl over a propulsive groove of generally furious noise leading the way, beloved Southern California punk band Social Distortion has built a diverse fan base over its nearly four decades of existence. “Well, it’s been ten years and a thousand tears/ And look at the mess I’m in,” Ness sings on “Ball and Chain, from Social D’s breakthrough 1990 self-titled album. These iconic first words were my introduction, on a mixtape, no less, to Ness’ gift for writing universal emotions so clearly, to tunes so catchy, with such driven introspection after his rough and seemingly hopeless start in life, that even a navel-gazing, nerdy girl from the suburbs could begin to understand what other people go through in this world. From the still-timely political message of “Don’t Drag Me Down” to a warning to make responsible decisions in the poetic “Gimme the Sweet and Lowdown” to the hard-earned happiness of “Highway 101,” the hard-charging band’s songs span seven studio albums (with an eighth reportedly in the works), countless mosh pits, and generations of kids who found comfort in the honesty Ness and company continue to deliver. Social Distortion performs with Jade Jackson at 7:30 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $41. (301) 960-9999. fillmoresilverspring.com.

—Diana Michele Yap WolF trap Filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Lifehouse, Switchfoot, Brynn Elliott.

7:30 p.m. $30–$55. wolftrap.org.

ClASSICAl kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. The 32nd International Young Artist Piano Competition. 6 p.m. Free. kennedy-center.org.

CountRY merriWeather poSt pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Lady Antebellum, Kelsea Ballerini, Brett Young. 7:30 p.m. $56.75– $119. merriweathermusic.com.

ElECtRonIC FlaSh 645 Florida Ave. NW. (202) 827-8791. MightyKat, Tara Brooks. 2 p.m. $8–$12. flashdc.com. rhizome DC 6950 Maple St. NW. Bordreuil & Rowden Duo, Paradise Garden, Mankind, Luke Stewart. 8 p.m. $10. rhizomedc.org.

hIp-hop SongbyrD muSiC houSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Bryce Vine. 8 p.m. $15–$18. songbyrddc.com.

JAzz

WoRlD

eaglebank arena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Gloria Trevi, Alejandra Guzmán. 7 p.m. $69–$153. eaglebankarena.com.

MonDAY RoCk

DC9 1940 9th St. NW. (202) 483-5000. Abrams, Jacuzzi Suit. 9 p.m. $10. dcnine.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Levi. 8 p.m.; 10 p.m. $20. bluesalley.com. kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. The United States Naval Academy Band Superintendent’s Combo. 6 p.m. Free. kennedy-center.org.

tuESDAY RoCk

blaCk Cat baCkStage 1811 14th St. NW. (202) 6674490. Olivia Mancini & The Mates, Lisa Said Project, Park Snakes. 7:30 p.m. $10. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. In The Valley Below, Flagship. 9 p.m. $15. dcnine.com.

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Lea Delaria. 8 p.m.; 10 p.m. $50. bluesalley.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Tesla, The Cringe, Voices of Extreme. 8 p.m. $35–$275. fillmoresilverspring.com.

tWinS Jazz 1344 U St. NW. (202) 234-0072. Carol Morgan. 8 p.m.; 10 p.m. $10. twinsjazz.com.

rhizome DC 6950 Maple St. NW. Samuel Hertz, Crue, Black Lodge. 8 p.m. $10. rhizomedc.org.

LIVE CAROLYN

CITY LIGHTS: MonDAY

UPCOMING PERFORMANCES

WONDERLAND W/ MARK WENNER’S

AU G U S T

BLUES WARRIORS

F 11

DUKE ELLINGTON ORCHESTRA

S 12

JOE CLAIR & FRIENDS COMEDY SHOW

THURSDAY AUGUST

ABBA THE CONCERT

TH 17

B.J. JANSEN & COMMON GROUND

AnnE hElEn pEtERSEn

Despite the internet being a forum for the free airing of ideas, women who dare express themselves on it are frequently met with vitriol, scorn, and harassment. It doesn’t matter if that woman is a film director, politician, or winning athlete: Some men feel it necessary to demean them just because they have two X chromosomes. In her latest book, Too Fat, Too Slutty, Too Loud: The Rise of Unruly Women, Buzzfeed writer and cultural critic Anne Helen Petersen explores the history of these creatures who, shockingly, dare to express their opinions and excel outside of traditional gender roles. Serena Williams doesn’t look like the lithe, blonde European women who traditionally win tennis championships, and Lena Dunham doesn’t have the kind of body some people like to see naked, so their achievements must mean nothing, right? A so-called “celebrity gossip expert,” Petersen relies on her knowledge of pop culture and history to create a book sure to impress the mouthy women who will discuss it with her at Politics & Prose. Anne Helen Petersen reads at 7 p.m. at Politics & Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Caroline Jones SongbyrD muSiC houSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Sydney Franklin, Luke James Shaffer. 8 p.m. $15. songbyrddc.com.

BluES

the hamilton 600 14th St. NW. (202) 787-1000. A.J. Croce and Robbie Fulks. 7:30 p.m. $15–$40. thehamiltondc.com.

Strathmore guDelSky ConCert gazebo 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Lindsay Lou & The Flatbellys. 7 p.m. Free. strathmore.org.

Funk & R&B

Funk & R&B

JAzz

hIp-hop

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Lauren White. 8 p.m.; 10 p.m. $20. bluesalley.com. kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Reginald Cyntje Group. 6 p.m.

Free. kennedy-center.org.

WEDnESDAY RoCk

blaCk Cat baCkStage 1811 14th St. NW. (202) 6674490. Fyohna, Nuex. 7:30 p.m. $10. blackcatdc.com. the hamilton 600 14th St. NW. (202) 787-1000.

The Roosevelts, Holy Ghost Tent Revival. 7:30 p.m. $12–$25. thehamiltondc.com. rhizome DC 6950 Maple St. NW. Judith Berkson, Double H Duo, The Millionraces. 7 p.m. Free. rhizomedc.org. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Mark Lanegan Band, Duke Garwood, Lyenn. 8 p.m. $27.50. rockandrollhoteldc.com.

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Zeshan B. 6 p.m. Free. kennedy-center.org. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Nyck Caution & Kirk Knight. 7 p.m. $12–$15. ustreetmusichall.com.

JAzz tWinS Jazz 1344 U St. NW. (202) 234-0072. Josh Irving. 8 p.m.; 10 p.m. $10. twinsjazz.com.

VoCAl blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Michelle Walker. 8 p.m.; 10 p.m. $22. bluesalley.com.

thuRSDAY RoCk

blaCk Cat baCkStage 1811 14th St. NW. (202) 6674490. Oak House, Easter Island, Collider. 7:30 p.m. $10. blackcatdc.com.

WED, AUG 16

THE ROOSEVELTS

W/ HOLY GHOST TENT REVIVAL THURS, AUG 17

WALTER TROUT W/ MATTHEW CURRY FRI, AUG 18

AN EVENING WITH GET

THE ADMIRALS

SU 20

W 23

THE LED OUT

SAT, AUG 19

PLUS HARDWAY CONNECTION

Folk gypSy Sally’S 3401 K St. NW. (202) 333-7700. By & By, Seneca. 8 p.m. $8. gypsysallys.com.

AJ CROCE AND ROBBIE FULKS

DUANE EUBANKS

S 19

12

TUES, AUG 15

DELFEAYO MARSALIS AND

F 18

AFRO-CUBAN SATURDAY AUGUST

AMY TOLIVER, ROBERT THOMPSON

W 16

& the

JUAN DE MARCOS

ALL STARS

(2SHOWS - 7/10PM)

SU 13

10

THE LONDON SOULS AND CON BRIO

STOKELY OF MINT CONDITION

WED, AUG 23

WALLY KINGS PRESENTS

DC LEGENDARY MUSICIANS SUMMER SOUL JAM BILLY JOEL TRIBUTE SHOW, THE STRANGER

KABAKA PYRAMID

W/ RAS SLICK & DUTTY BUS CREW THURS, AUG 24

DONAVON FRANKENREITER W/ SPECIAL GUEST MATT GRUNDY FRI & SAT, AUG 25 & 26

AN EVENING WITH

2 NIGHTS

RAMSEY LEWIS QUINTET SUN, AUG 27

TH 24

SHANICE

LIVE NATION PRESENTS PJ MORTON W/ MAJOR AND ASH

F 25

ROOT BOY SLIM ALL STARS

THURS, AUG 31

SU 27

KEITH BUSY’S “70’S BEST SHOW”

FRI, SEPT 1

BEAUSOLEIL AVEC MICHAEL DOUCET SELWYN BIRCHWOOD SAT, SEPT 2

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

KEVIN JACKSON BAND AND ANISSA HARGROVE THURS, SEPT 7

RHETT MILLER OF OLD 97’S

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

THEHAMILTONDC.COM washingtoncitypaper.com august 11, 2017 35

THE FAMOUS

MCDOOGALS

gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Moonrise Nation, Luray. 8:30 p.m. $10. gypsysallys. com. the hamilton 600 14th St. NW. (202) 787-1000.

Walter Trout, Matthew Curry. 7:30 p.m. $15–$39.75. thehamiltondc.com.

CITY LIGHTS: tuESDAY

kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Max Hatt / Edda Glass, JBird Shogren. 6 p.m. Free. kennedy-center.org. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Mystery Friends, Breakfast, Queue. 8 p.m. $12. rockandrollhoteldc.com.

BluES

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

(703) 237-0300. Albert Cummings. 8:30 p.m. $18–$22. thestatetheatre.com.

CountRY

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Sierra Hull, Bumper Jacksons Duo. 7:30 p.m. $25. birchmere.com.

ElECtRonIC

9:30 Club 815 V St. NW. (202) 265-0930. Bomba Estéreo. 7 p.m. Sold out. 930.com.

FlaSh 645 Florida Ave. NW. (202) 827-8791. Fehrplay, Matthias Tanzmann. 8 p.m. $8–$15. flashdc.com.

hIp-hop

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. SZA, Smino, Ravyn Lenae.

8 p.m. Sold out. fillmoresilverspring.com. hoWarD theatre 620 T St. NW. (202) 803-2899.

Residente. 9 p.m. $45–$65. thehowardtheatre.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Sahbabii. 7 p.m. $15. ustreetmusichall.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m.; 10 p.m. $25–$30. bluesalley.com. tWinS Jazz 1344 U St. NW. (202) 234-0072. John Thomas Quartet. 8 p.m.; 10 p.m. $10. twinsjazz.com.

Books HOME OF THE

ALL NUDE LAP DANCE

BACHELOR, FRATERNITY & BIRTHDAY PARTIES! BYOB! MCDOOGALS.COM 8025 FORT SMALLWOOD ROAD CURTIS BAY, MD 21226 ANNE ARUNDEL COUNTY

1-800- ALL- NUDE 18 TO ENTER 21 TO DRINK, ID REQUIRED

ALWAYS LOOKING FOR NEW TALENT

Suzy hanSen The Istanbul-based writer and New York Times Magazine contributor reads from Notes on a Foreign Country: An American Abroad in a PostAmerican World, her new book that looks at the ways Americans experience the world as outsiders. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 16, 7 p.m.

Free. (202) 364-1919. paul kingSnorth The former deputy editor of The Ecologist discusses his latest work. Confessions of a Recovering Environmentalist is a collection of essays about his travels around the world, and Beast, a novel about a man who is stalked by an unknown creature.

Politics & Prose. 5015 Connecticut Ave. NW. Aug. 11, 7 p.m. Free. (202) 364-1919. haroon moghul The author, a Muslim activist and second-generation immigrant, reads from his memoir, How to Be a Muslim: An American Story, and discusses his work with playwright Wajahat Ali. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 17, 7 p.m.

Free. (202) 364-1919. anne helen peterSen The Buzzfeed writer discusses Too Fat, Too Slutty, Too Loud: The Rise and Reign of the Unruly Woman, her new book about the ways in which women are perceived and criticized in contemporary culture. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 14, 7 p.m. Free. (202) 364-1919. robert Wright The scholar and author of The Moral Animal and The Evolution of God, discusses his latest book, Why Buddhism Is True: The Science and Philosophy of Meditation and Enlightenment. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 15, 7 p.m.

Free. (202) 364-1919.

Galleries

hemphill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. Closing: “35 Days.” Hemphill’s latest exhibit focuses on the contributions of local art-

36 august 11, 2017 washingtoncitypaper.com

REGInAlD CYntJE GRoup

Reginald Cyntje’s music, no matter what form it takes, has the ability to touch his audiences on a personal level. The Dominica-born, Virgin Islands-raised transplant to D.C. may be the city’s most evocative, imaginative composer in addition to being one of its undisputed masters on the trombone. Drawing on the musical and storytelling traditions of his upbringing and a healthy dose of American jazz, Cyntje’s compositions burst with more colors and flavors than a $25 downtown salad. This is especially true of his latest project, a cycle of protest songs called Rise of the Protestor. Between meditative ballads, second line-style dirges, and soft yet strong rallying cries, Cyntje gives color and voice to all of the paradoxes, conflicts, and complexities of life under our current political climate. But Cyntje and his music don’t exist solely to play politics.

They are choruses of life affirming joy, anger and sadness, boldly and profoundly human. The Reginald Cyntje Group performs at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Jackson Sinnenberg

CITY LIGHTS: WEDnESDAY

A LITTLE NIGHT MUSIC

“Send in the Clowns” is perhaps the greatest song ever written about lost opportunities. “Just when I’d stopped/ Opening doors/ Finally knowing the one that I wanted was yours/ Making my entrance again with my usual flair/ Sure of my lines/ No one is there,” the aging actress Desirée sings as she reflects on her many disappointments.

Artists as diverse as Judy Collins and Krusty the Clown have recorded Stephen Sondheim’s classic torch song, but starting this week, it’s presented in its original context when Signature Theatre opens its new production of A Little Night Music. Based on Ingmar Bergman’s 1955 comedy Smiles of a Summer Night, the show follows a group of dinner guests as they try to negotiate romantic relationships and achieve some semblance of happiness. Signature artistic director Eric Schaeffer leads this season opener and has assembled an all-star cast, including local favorites Will Gartshore, Tracy Lynn Olivera, and Helen Hayes Award winner Holly Twyford as Desirée. The musical runs Aug. 15 to Oct. 8 at Signature Theatre, 4200 Campbell Ave., Arlington. $68–$101. (703) 820-9771. sigtheatre.org.

—Caroline Jones

CITY LIGHTS: thuRSDAY

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

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

Film annabelle: Creation When a mourning dollmaker and his wife welcome a nun and children from an orphanage into their home, it seems like an act of generosity. Soon enough, however, the children become the target of the dollmaker’s possessed creation, Annabelle. David F. Sandberg directs this horror flick that stars Anthony LaPaglia, Stephanie Sigman, and Miranda Otto. (See washingtoncitypaper.com for venue information) brigSby bear A kidnapped man finally escapes his captors and sets about making a film version of the only TV show he’s ever seen in this absurdist comedy from Saturday Night Live’s Kyle Mooney. Starring Claire Danes and Mark Hamill. (See washingtoncitypaper.com for venue information)

Stephen King novel stars Matthew McConaughey and Idris Elba as foes locked in a perennial battle over the survival of the universe. It’s up to the last Gunslinger to save the world by bringing down the Man in Black and saving the Dark Tower. (See washingtoncitypaper.com for venue information)

SahBabii’s music is all about juxtaposition. The 20-year-old upstart from Atlanta, by way of Chicago, is another half-singing, half-rapping vocalist in the Young Thug mold. His light-hearted melodies belie his gun-toting, sexplicit lyrics, and his beats mix trap’s trunk-rattling bass with twinkling video game synthesizers. Call it hip-hop hypnagogia. And while he turns a phrase or two (“That Glock get to burning like gonorrhea/ That choppa sound off, onomatopoeia,” from “King of the Jungle,” is particularly evocative), his lyrics seem to exist to justify the melodies— not the other way around. He is destined to frustrate hip-hop purists who measure talent in metaphors, similes, and syllables per bar, but he knows how to set a mood: His breakthrough single, “Pull Up Wit Ah Stick,” is upbeat and euphoric, pairing lyrics about automatic rifles with coos and improvised bird calls, another juxtaposition from an artist whose sleepy songs exist somewhere between dreams and nightmares. SahBabii performs at 7 p.m. at U Street Music Hall, 1115 U St. NW. $15. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly ists, featuring pieces from a diverse ensemble that includes Sam Gilliam, Thomas Downey, and William Christenberry. June 24 to Aug. 11.

Theater

big FiSh Keegan Theatre closes out its season with the D.C. premiere of this musical based on the 2003 movie and 1998 book of the same name. It tells the story of Edward Bloom, a dying man room who reconnects with his adult son by telling gargantuan tales about his early life involving giants, circuses, and an ensemble of eccentric friends. Composed

by Andrew Lippa, Keegan’s production is directed

by Mark A. Rhea and Colin Smith. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Sept. 9. $45–$55. (202) 265-3767. keegantheatre.com. a little night muSiC Set in Sweden over the course of one magical night, this classic musical from Stephen Sondheim and Hugh Wheeler chronicles the love affairs of an aging actress, a married virgin, a student, and a count. Signature artistic director Eric Schaeffer leads this production that features favorite songs including “A Weekend in the Country” and “Send In the Clowns.” Signature Theatre. 4200 Campbell Ave., Arlington. To Oct. 8. $68–$101. (703) 8209771. sigtheatre.org. the mark oF Cain Synetic Theater presents another original production, this one designed to tell the

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

the glaSS CaStle Brie Larson stars in the film adaptation of author Jeannette Walls’ memoir about her difficult and impoverished upbringing in the American west, as she struggles to deal with an absent mother and an alcoholic father. Directed by Destin Daniel Cretton. (See washingtoncitypaper.com

*all shows 21+ AUGUST 10TH

NEW FACES OF DMV COMEDY COMPETITION: ANAUDIENCEVOTING SHOW AUGUST 12TH

PRIMETIME PASTIES:

PRIMETIME BROADCASTTHEMED BURLESQUE DOORS AT 8PM, SHOW AT 9PM

AUGUST 13TH

DR.SKETCHY’SANTI-ART SCHOOL C L A S S AT 3 P M

GRASSROOTS COMEDY OPEN MIC A T 7 P M AUGUST 14TH

DISTRICTTRIVIA AT 7 : 3 0 P M COMICSAND COCKTAILS SPONSORED BY FANTOM COMICS 6:30PM

PRETTY FUNNY MONDAY

for venue information) kiDnap Halle Berry plays a mother desperate to save her son in this thriller from director Luis Prieto. Co-starring Sage Correa and Jason George. (See washingtoncitypaper.com for venue information) menaShe Performed entirely in Yiddish, this quiet drama follows a widower who fights for custody of his son against the protestations of his community.

Directed by Joshua Z. Weinstein. (See washingtoncitypaper.com for venue information) the nut Job 2: nutty by nature The crazy squir-

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

rels from the 2014 animated film return in this sequel,

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

for venue information)

the WizarD oF hip After nearly 30 years, this musical coming-of-age tale from Thomas W. Jones II returns to MetroStage. As the central character tries to figure out what’s “hip,” he learns to find his place in the world as he explores issues related to class, gender, and race. MetroStage. 1201 N. Royal St., Alexandria. To Sept. 17. $55–$60. (703) 548-9044. metrostage.org.

WinD river In order to investigate a murder on a

which finds them facing off against a mayor who intends to turn their home into an amusement park.

Featuring the voices of Will Arnett, Katherine Heigl, and Maya Rudolph. (See washingtoncitypaper.com

2YEARANNIVERSARY SHOW!

D O O R S AT 7 P M , S H O W AT 8 P M AUGUST 15TH

CAPITAL LAUGHS OPEN MIC C O M E DY AT 8 : 3 0 P M AUGUST 16TH

DISTRICTTRIVIA AT 7 : 3 0 P M

AUGUST 17TH

AMERICAN DEITEASE:

A BURLESQUETRIBUTETO NEIL GAIMAN D O O R S AT 7 : 3 0 P M , S H O W AT 8 P M AUGUST 18TH

DCWEIRDO SHOW PRESENTS:

EX &VIOLINS!

D O O R S AT 8 P M , S H O W AT 9 P M AUGUST 19TH

BRAINY GIRL FOLLIES, D O O R S AT 7 P M , S H O W AT 8 P M

Step This documentary follows the step team from a high school in inner city Baltimore as its members compete and make their way through their final year of school. Directed by Amanda Lipitz. (See washingtoncitypaper.com for venue information)

AUGUST 21ST

DISTRICTTRIVIA AT 7 : 3 0 P M COMICSAND COCKTAILS SPONSORED BY FANTOM COMICS 6:30PM

Native American reservation, the FBI partners with a small-town game tracker in this mystery film from writer and director Taylor Sheridan. Starring Jeremy Renner, Julia Jones, and Kelsey Asbille. (See washingtoncitypaper.com for venue information)

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

DOORS AT 7PM, SHOW AT 8:30PM

the Dark toWer The latest film adaptation of a

SAhBABII

600 beers from around the world

AUGUST 22ND

CAPITAL LAUGHS OPEN MIC C O M E DY AT 8 : 3 0 P M

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

washingtoncitypaper.com august 11, 2017 37

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Legals During the 2017-2018 school year, Creative Minds International Public Charter School will participate in the National Schools Lunch Program (NSLP) in accordance with the Healthy Schools Act (HSA) in the District of Columbia.

The U.S. Department for Agriculture prohibits discrimination against its customers, employees, and applicants for employment on the basis of race, color, national origin, age, disability, sex, gender identity, religion, reprisal, and where applicable, political beliefs, marital status, familial or parental status, sexual orientation, or if all or part of an individual’s income is derived from any public assistance program, or protected genetic information in employment or in any program of activity conducted or funded by the Department. (Not all prohibited bases will apply to all programs and/or employment activities.)

If you wish to file a Civil Rights program complaint of discrimination, complete the USDA Program Discrimination Complaint form, found online at http://www.ascr. usda.gov/complaint_fi ling_cust. html, or at any USDA offi ce or call (866) 632-9992 to request the form.

You may also write a letter containing all of the information requested in the form. Send your completed complaint form or letter to us by mail at US Department of Agriculture, Director, Offi ce of Adjudication, 1400 Independence Avenue, SW, Washington, D.C. 20250-9410, by fax(202) 6907442 or email at program.intake@ usda.gov.

Individuals who are hearing impaired or have speech disabilities may contact USDA through the http://www.washingtFederal Relay Service at (800) 877-8339; or (800) 845-6136 oncitypaper.com/ (Spanish). USDA is an equal opportunity provider and employer.”

Also, the District of Columbia Human Rights Act, approved December 13, 1977 (DC Law 2-38; DC Offi cial Code §2-1402.11(2006), as amended) States the following: Pertinent section of DC Code § 2-1402.11: It shall be an unlawful discriminatory practice to do any of the following acts, wholly or partially for a discriminatory reason based upon the actual or perceived: race, color, religion, national origin, sex, age, marital status, personal appearance, sexual orientation, gender identity or expression, family responsibilities, genetic information, disability, matriculation, or political affiliation of any individual. To file a complaint alleging discrimination on one of these bases, please contact the District of Columbia’s Offi ce of Human Rights at (202) 727-3545 or ohr.dc.gov.

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38 August 11, 2017 washingtoncitypaper.com

Out with the old, In with the

program complaint of discrimination, complete the USDA Program Discrimination Complaint form, found online at http://www.ascr. usda.gov/complaint_fi ling_cust. html, or at any USDA offi ce or call (866) 632-9992 to request the form.

You may also write a letter containing all of the information requested in the form. Send your completed complaint form or letter to us by mail at US Department of Agriculture, Director, Offi ce of Adjudication, 1400 Independence Avenue, SW, Washington, D.C. 20250-9410, by fax(202) 6907442 or email at program.intake@ usda.gov.

Individuals who are hearing impaired or have speech disabilities may contact USDA through the Federal Relay Service Legals at (800) 877-8339; or (800) 845-6136 (Spanish). USDA is an equal opportunity provider and employer.”

Also, the District of Columbia Human Rights Act, approved December 13, 1977 (DC Law 2-38; DC Offi cial Code §2-1402.11(2006), as amended) States the following: Pertinent section of DC Code § 2-1402.11: It shall be an unlawful discriminatory practice to do any of the following acts, wholly or partially for a discriminatory reason based upon the actual or perceived: race, color, religion, national origin, sex, age, marital status, personal appearance, sexual orientation, gender identity or expression, family responsibilities, genetic information, disability, matriculation, or political affiliation of any individual. To file a complaint alleging discrimination on one of these bases, please contact the District of Columbia’s Offi ce of Human Rights at (202) 727-3545 or ohr.dc.gov.

Need an attorney? Free initial consultation. Criminal or civil.

Offi ce conveniently located to Farragut North Metro Station.

Call Law Offi ce of Effi e Forde, Esq. 202-508-1483.

E.L. Haynes Public Charter School PUBLIC NOTIFICATION National School Lunch Program Participant Euphemia L. Haynes Public Charter School strives to provide healthy and nutritious meals. To achieve this goal, we have partnered with the USDA and are participants in the National School Breakfast and Lunch programs.

In addition to the meals we serve with the National School Breakfast and Lunch programs we have a no junk food policy at our school and we are proud to say the snacks served to our students are healthy as well.

healthy and nutritious meals. To achieve this goal, we have partnered with the USDA and are participants in the National School Breakfast and Lunch programs.

In addition to the meals we serve with the National School Breakfast and Lunch programs we have a no junk food policy at our school and we are proud to say the snacks served to our students are healthy as well.

In accordance with Federal civil rights law and U.S. Department of Agriculture (USDA) civil rights regulations and policies, the USDA, its Agencies, offi ces, and employees, and institutions participating in or administering USDA programs are prohibited from discriminating based on Legals race, color, national origin, sex, religious creed, disability, age, political beliefs, or reprisal or retaliation for prior civil rights activity in any program or activity conducted or funded by USDA. Persons with disabilities who require alternative means of communication for program information (e.g. Braille, large print, audiotape, American Sign Language, etc.), should contact the Agency (State or local) where they applied for benefi ts. Individuals who are deaf, hard of hearing or have speech disabilities may contact USDA through the Federal Relay Service at (800) 877-8339.

Additionally, program information may be made available in languages other than English.

To file a program complaint of discrimination, complete the USDA Program Discrimination Complaint Form, (AD-3027) found online at: http://www.ascr. usda.gov/complaint_fi ling_cust. html, and at any USDA offi ce, or write a letter addressed to USDA and provide in the letter all of the information requested in the form.

To request a copy of the complaint form, call (866) 632-9992.

Submit your completed form or letter to USDA by: 810 1st Street NE, 9th Floor, Washington, DC 20002 • Phone: (202) 727-6436 TTY: 711 • osse.dc.gov (1) Mail: U.S. Department of Agriculture Offi ce of the Assistant Secretary for Civil Rights 1400 Independence Avenue, SW Washington, D.C. 20250-9410; (2) Fax: (202) 690-7442; or (3) Email: program. intake@usda.gov. This institution is an equal opportunity provider.

Also, the District of Columbia Human Rights Act, approved December 13, 1977 (DC Law 2-38; DC Offi cial Code §2-1402.11(2006), as amended) states the following: Pertinent section of DC Code § 2-1402.11: It shall be an unlawful discriminatory practice to do any of the following acts, wholly or partially for a discriminatory reason based upon the actual or perceived: race, color, religion, national origin, sex, age, marital http://www.washingtoncistatus, personal appearance, sextypaper.com/ ual orientation, gender identity or expression, family responsibilities, genetic information, disability, matriculation, or political affiliation of any individual. To file a complaint alleging discrimination on one of these bases, please contact the District of Columbia’s Offi ce of Human Rights at (202) 727-4559 or ohr@dc.gov.

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In accordance with Federal civil rights law and U.S. Department of Agriculture (USDA) civil rights regulations and policies, the USDA, its Agencies, offi ces, and employees, and institutions participating in or administering USDA programs are prohibited from discriminating based on race, color, national origin, sex, religious creed, disability, age, political beliefs, or reprisal or retaliation for prior civil rights activity in any program or activity conducted or funded by USDA. Persons with disabilities who require alternative means of communication for program information (e.g. Braille, large print, audiotape, American Sign Language, etc.), should contact the Agency (State or local) where they applied for benefi ts. Individuals who are deaf, hard of hearing or have speech disabilities may contact USDA through the Federal Relay Service at (800) 877-8339.

Additionally, program information may be made available in languages other than English.

To file a program complaint of discrimination, complete the USDA Program Discrimination Complaint Form, (AD-3027) found online at: http://www.ascr.http://www.washingtoncityusda.gov/complaint_fi ling_cust.paper.com/ html, and at any USDA offi ce, or write a letter addressed to USDA and provide in the letter all of the information requested in the form.

To request a copy of the complaint form, call (866) 632-9992.

Submit your completed form or letter to USDA by: 810 1st Street NE, 9th Floor, Washington, DC 20002 • Phone: (202) 727-6436 TTY: 711 • osse.dc.gov (1) Mail: U.S. Department of Agriculture Offi ce of the Assistant Secretary

Legals

Legals

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2017 WIL 538 2017 ADM 831

NOTICE! to all Municipalities.

Local and National Governments.

STATES. U.S. Agents. Attorney’s.

Corporations. Persons. Vessels.

Counties. Militaries. Courts.

United States of America. UNITED STATES. UNITED NATIONS. and to Territories in Possession of UNITED STATES. United States d/b/a Department of Home Land Security. United States Treasury Department. United Nations and United Nations Security Counsel.

Vatican. Indian tribes, Associated Bands and Clans. The following election to Occupy the Offi ce of Executor for GEORGE CHRISTOPHER DESROCHERS, Estate was held in the City of New York, County Bronx, State of New York on June 10th 1983. For which “I” George Christopher tribe Desrochers, an America National, A man standing on the land Amexem/North America Territory. I have now accepted the position of Instituted Executor,and Protectorate of the divine Estate gifted and granted me by the Divine Creator.

Therefore, I affirm and declare that I am not an Infant, I am of the age of majority as one who upon occupying this offi ce, will not be responsible for the payments of any debts or obligations of the United States of America and neither for any payments or Obligations of any debts for any United States Person/citizen.

Should anyone like to rebut this matter please email the Instituted Executor’s offi ce at the shown contact info below within 21 days of this Notice: Notice From the Offi ce of the Instituted Executor aka Protectorate.

By, George Christopher tribe Desrochers. Instituted Executor GeoDesrochersestate@gmx.com

Name of Decedent, Paula Keeney aka Paula Soroka Keeney aka Pauline Soroka Keeney Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Patricia K. Keating, whose address is 14115 Howard Road, Dayton, MD 21036 was appointed Personal Representative of the estate of Paula Keeney aka Paula Soroka Keeney aka Pauline Soroka Keeney who died on May 17, 2017, without a Will and will serve without 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 2/3/2018. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 2/3/2018, 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: 8/3/2017 Name of Newspaper and/or periodical: Washington City Paper/ Washington Daily Law Journal Name of Person Representative: Patricia K. Keating.

TRUE TEST copy Anne Meister Register of Wills Pub Dates: Aug 3, 10, 17.

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Houses for Rent

Capital Hill (1335 D Street, NE) home for rent. Newly renovated, 3 bdrm 2 baths, walk out basement.

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Rooms for Rent Capitol Hill Living: Furnished Rooms for short-term and longterm rental for $1,100! Near Metro, major bus lines and Union Station - visit website for details www.TheCurryEstate.com NE DC room for rent. $650/mo. utils included. $400 security deposit required Close to Metro and parking available. Use of kitchen, very clean. Seeking Professional.

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Condos for Rent Adams Morgan/Petworth First Month ‘s Rent free. 1BR with den condo, fully renovated, secure building, granite kitchen, new appliances, W/D, DW, CAC. Metro 1 block away, Safway across the st, assigned parking, $1775/mo.

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NBA star Gasol Poet Lazarus Church alcove Megamix of leftovers, say Presidente ___ International Airport (Argentine airport) Pops alternative Put a facial application on The Twilight Zone host?

Flirtatious girl Parisian subway Big game Chairman with a Little Red Book Calvary?

Mallet sport Winter ailment Thinness comparison Queen Sugar director DuVernay Supply with new weapons About-face on the road French restaurant for the criminally insane?

41 Tony Starks to Ghostface Killah, e.g.

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46 Game-playing computers, for short 47 Tim Tebow’s team 48 Warm greeting to a Canadian, eh?

52 Your and my 53 April 15th payment 54 Event featuring roping 57 Store in the overhead locker 59 Button on the Pope’s hat?

63 “Aeneid� setting 64 Roman historian 65 Turkish cabbage 66 A few 67 Strong urges 68 [The other copy editor didn’t know what he was doing]

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1 Melania, to Barron

Across

17 Pull a boner 21 Alison with 27 Grammys 24 Chunks of rock 25 Like a dream 26 Sacred ceremony 27 ___ John’s 28 Watch face shape 29 Place where men don’t go 33 Exclusive vacation spot 34 Muggles can’t do it 36 Hilarious comedy 37 Brings home 39 It may make you do something stupid 40 “My bad�

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62 Engage in some capers?

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Musicians Wanted Female vocalist sought by well-established special event variety cover band. Strong, versatile, in-tune vocals a must. 2 Tues evening rehearsals per month in Silver Spring/Aspen Hill area.

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Shining Stars Montessori Academy Public Charter School (SSMA) invites all interested and qualifi ed vendors to submit proposals for various services for the school year 2017-2018. This Request for Proposals (RFP) extends the submission date of the original Multiple Services RFP that was released in June 2017. Contractors who bidded on the the original RFP can resubmit their bid for this current RFP. Responses to this RFP are due no later than 5 PM, August 17, 2017. The RFP with bidding requirements and supporting documentation can be obtained at the following site: http://shiningstarspcs.org/images/pdf/career/ssma_ultipleservices_rfp.pdf No additional documents will be provided to bidders. Please click on the link above for all the information required to submit a bid.

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Miscellaneous NEW COOPERATIVE SHOP! THINGS FROM EGPYT AND BEYOND 240-725-6025 www.thingsfromegypt.com thingsfromegypt@yahoo.com SOUTH AFRICAN BAZAAR Craft Cooperative 202-341-0209 www.southafricanbazaarcraftcooperative.com southafricanba z a ar @hotmail. com

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