Washington City Paper (August 18, 2017)

CITYPAPER Washington

Free Volume 37, no. 33 WAshingtoncitypAper.com Aug. 18-24, 2017

housing: WhAt Will replAce WArd 4’s hebreW home? 7 politics: chArters get A free ride off teAchers’ union 8 arts: keegAn hooks A big fish 23

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INSIDE

12 The Beerissue Five stories about the brewers, musicians, and bros who keep the D.C. beer industry going

By City Paper staff and contributors

Art by Stephanie Rudig

4 Chatter

34 Classifieds

distriCt line

diversions

7 Housing Complex: The former Hebrew Home in Ward 4 presents a rare opportunity for D.C. What will replace it?

8 Loose Lips: Charter schools are getting a free ride off the backs of unionized public school teachers.

9 Gear Prudence 10 Savage Love

35 Crossword

11 The Indy List

arts 21 The Strangest Yard: One new play considers the ways athletes are profiled; another pays tribute to a king of the comics.

23 Curtains: Jones on Big Fish at Keegan Theatre 24 Film: Gittell on Columbus and Olszewski on Logan Lucky and In This Corner of the World

City list 27 City Lights: Xeno & Oaklander play melancholy electronic music Saturday at Black Cat. 27 Music 31 Books 32 Galleries 32 Theater 32 Film

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His favorite word is “actually,” and since most of his sentences start that way, it’s easy to walk away before the condescension begins in earnest.

—Page 18

AUG 22

THE BEACH BOYS

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washingtoncitypaper.com august 18, 2017 3

CHATTER Food Fight

In which readers express many feelings over alcohol sales at their local Safeway

noted Darrell Totman. And Annie Singer’s comment best summarized the most common “no” reasoning among readers: “The community doesn’t need it (3 liquor stores within a block) and Safeway doesn’t deserve to make more money—at the expense of the local economy.”

Commenters on City Paper’s website strayed from the main issue to offer their general advice on related topics. Pallandre, for example, set the alcohol issue aside to deal with the food issue: “Join a CSA!” this commenter recommended. “Spiritual Foods is the best, if there are enough of you it might be possible for you to get a drop off right in Dupont Circle. And Meadowbreeze too, they are amazing although I don’t know what the law is in DC about raw dairy.”

The pro-liquor-license contingent favored Twitter over Facebook and were able to make their points in far fewer than 140 characters. “People in DuPont [sic] circle are insane,” tweeted @JSwiftTWS, an editor at The Weekly Standard. “People in Dupont are trying to deny Safeway its liquor license for the worst reasons I’ve ever read,” wrote @morganrscarboro.

— Alexa Mills

ReadeRs had moRe to say about the Dupont Circle Safeway’s efforts to win a liquor license than any other topic presented by City Paper last week. Housing reporter Andrew Giambrone departed from his usual beat to examine the issue (“Angry Dupont Circle Neighbors Plan Town Hall Over ‘Soviet’ Safeway Liquor License,” Aug. 10). Readers were divided on the question of whether this grocery store should be allowed to sell alcohol, but the nays were by far more creative in their reasoning. (The Safeway store in question earned the nickname “Soviet” for its lackluster offerings.)

“Nothing will help the Soviet Safeway of DC. Even after moving back to Canada this place haunts my news feed and my dreams,” wrote Christina Stack on Facebook. “They can barely keep themselves stocked with the fairly limited selection they have now. Maybe they ought to stay focused with that,” added Zach Bernstein. A Safeway fan had a more loving reason to keep alcohol off its shelves: “This Safeway has improved a lot in the last few years. But it is so tiny that giving space to beer and wine is a ridiculous thought. We already have to make special trips to other stores for things we want,”

EDITORIAL

eDiTor: AlexA mills MAnAGinG eDiTor: cAroline jones ArTS eDiTor: mAtt cohen fooD eDiTor: lAurA hAyes 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

loCAl ADverTiSinG: (202) 650-6937 fAx: (202) 618-3959, Ads@wAshingtoncitypAper.com Find a staFF directory with contact inFormation at washingtoncitypaper.com vol. 37, no. 33 AuG. 18-24, 2017 wAshington city pAper is published eVery week And is locAted At 734 15th st. nw, suite 400, wAshington, d.c. 20005. cAlendAr submissions Are welcomed; they must be receiVed 10 dAys before publicAtion. u.s. subscriptions Are AVAilAble for $250 per yeAr. issue will ArriVe seVerAl dAys After publicAtion. bAck issues of the pAst fiVe weeks Are AVAilAble At the office for $1 ($5 for older issues). bAck issues Are AVAilAble by mAil for $5. mAke checks pAyAble to wAshington city pAper or cAll for more options. © 2017 All rights reserVed. no pArt of this publicAtion mAy be reproduced without the written permission of the editor.

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DistrictLine The former Hebrew Home in Ward 4 presents a rare development opportunity for D.C. What will replace it?

By Andrew Giambrone To The greaT displeasure of neighbors and housing advocates, the 86,000-square-foot building at 1125 Spring Road NW has sat vacant since 2009. The property operated as a home for elderly Jews from 1925 to 1969, and then as a mental health facility for the city’s homeless until it closed.

Now the former Hebrew Home for the Aged may become a landmark affordable housing project.

That is, depending on what Mayor Muriel Bowser’s administration decides to do with the site. The mayor’s office is currently sitting on proposals from seven development teams that bid on a 2016 city solicitation.

A coalition of social justice activists is making a last-minute push to have the building transformed into a development principally composed of affordable apartments. They say the building—lined with Stars of David along its facade—and the 5,000-square-foot ex-Robeson School building next door offer a chance to deliver on D.C.’s promises of creating homes for low-income families.

But the administration still has not made a final announcement for the 3.3-acre site, which is in a prime location for development near the Georgia Avenue–Petworth Metro station and new housing and businesses that have emerged in recent years. In part, that’s due to the fact that Deputy Mayor Brian Kenner’s office took over the project in 2015 from the D.C. Housing Authority and D.C.’s Department of General Services. The administration has conducted community meetings through a Bowser initiative where residents give input on city development ventures. Some neighbors and advocates, though, say the process has dragged on frustratingly.

“I certainly think it has taken longer than it should and I think there’s been a lack of clarity about how the input from these meetings are being used,” says Lauren Spokane, who lives one block from the property. “It would be very disappointing at the end of the day if this

housing complex

turns out to be a PR stunt and it’s just working the way it always has, which is the mayor decides what happens.” (Under the District’s charter, the executive branch has the power to dispose of city-owned land.)

Having bought a house in the neighborhood a couple of years ago, Spokane says she wants the former Hebrew Home to be developed into as much affordable housing as possible because the land is public and low-income families are being displaced from D.C. “I think it’s important to honor the folks who have been here for a long time, before people like me started coming in and gentrifying the neighborhood.”

Located in her home ward, the project represents an interesting case study for Bowser, who has frequently touted her efforts to build and maintain affordable housing—such as investing $100 million each year in D.C.’s main affordable housing fund and launching a $10 million preservation fund. She has also made significant progress on aiding the city’s homeless and building new shelters.

Nevertheless, when she was the Ward 4 councilmember, Bowser opposed the Hebrew Home building becoming a homeless shelter, saying the ward already had an outsized number of facilities for the homeless. At a community meeting in August 2014 where residents debated what level of affordability was appropriate for the site, she said she supported “a continuum of housing in every development.” Later, in a 2015 interview with DCist, Bowser stated she agreed the project had “taken too long.”

Advocates like Sarah Novick, a D.C. organizer with the progressive, faith-based non-

One is spearheaded by Mission First Housing Group, UrbanMatters Development Partners, and Lock7 Development. It would produce 224 units of housing, of which about 45 would be priced at 30 percent of AMI ($33,000 for a family of four), 100 at 50 percent of AMI ($55,000 for a family of four), and 30 at 60 percent of AMI ($66,000 for a family of four). Most of the rest would be market-rate.

The second is led by Victory Housing and Brinshore Development, and would feature 187 units. About 50 units would be for households earning up to 30 percent of AMI, 70 units for those earning up to 50 percent of AMI, and 30 for those earning up to 60 percent of AMI. While both proposals hearken back to the original Hebrew Home by including designated senior apartments, the two advisory neighborhood commissions that include or abut the

Hebrew Home’s future “soon,” but could not give specifics. She points to Bowser’s “OurRFP” (or “requests for proposals”) initiative as an unprecedented means of getting development deals done with residents’ input. “The purpose was definitely to engage the community and get their involvement,” she says. “We want that on the front end of the discussion rather than after the deal has been done.”

The nonprofit groups involved have coalesced around the two proposals that would create the most affordable housing and have the deepest levels of affordability, although the plans would need to be exempted from density rules and also receive approval from historic preservation officials. The structure is designated as historic, so its exterior can be renovated yet must be preserved. The adjacent school building can be demolished.

Both favored proposals feature nearly 80 percent affordable housing out of the total unit counts.

site voted last month to support the Victory/ Brinshore proposal as their top choice because of its mix of incomes and parking spots.

Bowser’s administration has used the OurRFP model for other major development projects across the city, with varied reaction from residents. For the Crummell School, a historic and vacant building that once served black students in Ivy City, some advocates were dismayed when officials didn’t pick an all-affordable housing proposal involving a community land trust last November.

Likewise, residents interested in the Hebrew Home project want the city to both hear and acknowledge them.

“This is public land that should be used for for public benefit to put a check on the market forces that are pushing people out and to make sure folks are able to stay in this community,” Spokane says. “If they go with something else, especially if it’s very different, it will be disappointing.”

CP

Darrow Montgomery

Mazel Tough

profit Jews United for Justice, say the project has high stakes, both for the neighborhood and the District at large. “We want to see deeply affordable apartments for the service workers and retail workers who are making minimum wage and live in the area,” Novick explains, adding that “I don’t get the sense that has been a priority of the District.”

Specifically, Novick is advocating for housing available to households who earn no more than 30 percent of the area median income, or roughly $33,000 per year for a family of four.

JUFJ was one of a dozen advocacy groups that sent Bowser and other city officials a letter last month calling for density, transparency, and government subsidies for the project. And in June, the Washington Interfaith Network made similar requests in its own letter to D.C. leaders.

Chanda Washington, a spokesperson for Kenner’s office, says the administration expects to make an announcement about the

washingtoncitypaper.com august 18, 2017 7

DistrictLinE Teacher Appreciation

Darrow Montgomery/File

Charter schools are getting a free ride off the backs of unionized public school teachers.

By Jeffrey Anderson By most accounts, the proposed contract agreement between D.C. Public Schools and the Washington Teachers’ Union is a win-win for all concerned.

Mayor Muriel Bowser, eyeing a potential electionyear challenge from predecessor Vince Gray, who couldn’t reach a deal with the teachers, stands to gain an endorsement and campaign support from the city’s educators.

DCPS Chancellor Antwan Wilson, a relative newcomer who inherits a school district rife with inequality and teacher discontent, distinguishes himself from the heralded but divisive Kaya Henderson.

WTU President Liz Davis delivers to some 4,000 members a tentative agreement that, after five years of tears-and-blood negotiations, they’d be crazy to pass up.

But the real winners, should this contract be finalized? Charter schools.

The contract, which would be the first one proposed since 2010, delivers to teachers a 9

Loose Lips

percent salary increase over three years, with 4 percent on the front end to be paid retroactive to last October. WTU members, who enjoy among the highest starting salaries in the country, will vote it up or down in the next 10 days. If approved, and then ratified by the D.C. Council, the $61 million, three-year contract will also allocate an additional $51 million to charter schools thanks to federal law that requires equal funding for operational costs in the two separate public school sectors.

It’s a rosy deal for stakeholders who favor school choice and teacher accountability. “We are seeing a commitment to progress that comes at the beginning of the school year, which creates a sense of stability for teachers,” says Catharine Bellinger, director of the D.C. branch of Democrats for Education Reform, a political action group. “We’re happy our teachers will be the highest paid and most rigorously evaluated in the country, which will make us a magnet for the best talent.”

Adds Irene Holtzman, executive director of FOCUS (Friends of Choice in Urban Schools): “I’m a former DCPS teacher, and I know that human capital is the biggest driver

8 august 18, 2017 washingtoncitypaper.com

of success. When we put additional resources into pay and benefits and improvements to [teaching] services, it’s a win-win. It shows we are valuing all children in the city equally.”

Loose Lips, however, is inclined to dwell upon that language of equality. Under the proposed contract, the same proportion of funds that DCPS allocates to teachers’ salaries goes to charter schools as well—but without any requirement that the charters spend the extra budget money on teachers. Such is the effect of the per-pupil formula that gets applied to public school funding, with each child getting the same share per year. According to the federal School Reform Act, this formula also applies to charters.

Except D.C. doesn’t always allocate funds through the per-pupil formula. In fact, DCPS has argued in court that it does not have to.

In a lawsuit over equitable funding, charter schools are claiming that they are due an amount equal to the value of services provided to DCPS by the D.C. Department of General Services, which maintains the city’s public schools—but not charters—free of cost. In order to head off such claims in the future, the

D.C. Council would have to pass a law that explicitly allows certain expenditures to take place outside the formula.

Economist Yesim Taylor, executive director of the D.C. Policy Center, finds this framework absurd. “Why are charters getting a raise?” she says. “Is there a policy reason for this? Does it make sense that education funding [for charters] is based not on policy but on [DCPS’s] ability to negotiate contracts?”

WTU President Liz Davis is in no mood to argue, much less worry about how the city plans to pay more than $110 million for what amounts to a $61 million raise for its own teachers. And who can blame her? She just scored a potential deal for a union that recently signed up 400 new members who will be eligible for those raises. “I’m not interested in how they’re going to fund it. I want to know that they can,” she says.

Besides, as charters have no obligation to spend their $51 million on teachers, those teachers might appreciate the power of collective bargaining. “Because charters are being capitalized without lifting a finger, we hope they will respect the need of their teachers to organize,” says Davis, who regards the proposed contract as a sign that Chancellor Wilson, unlike his predecessor, is interested in a dialogue with the WTU. “He has indicated that he wants a more collaborative relationship,” she says. “I trust that to be the case until we see otherwise.”

While Holtzman and other charter advocates defend the funding arrangement, Taylor is not alone in questioning whether the contract makes for good fiscal policy or will improve the learning and teaching environment in D.C. For instance, no one is talking about the cost of teacher pensions or, for that matter, other classes of employees who are due for new contracts.

Budget expert Mary Levy cautions that the city, flush with cash, better hope the good times continue. She notes that contracts with other unionized DCPS employees, including custodians, principals, and clerical staff, expire in September, and that salary increases dating back to 2013 for more than 20,000 union and non-union citywide employees expire this year. “It’s nice as long as the money is there,” she says.

For Levy and traditional education advocates, if not teachers themselves, money is only part of the equation. For the last 10 years, stakeholders have complained that Henderson, and before her Michelle Rhee, wielded student performance on standardized tests like a sword of Damocles over teachers’ heads.

“Teachers say it’s not about salary, and that’s why some of them make a lot of money and leave anyway,” says Levy. “But we can’t keep replacing them with the dream of having all exceptional teachers. We need to work with who we have.”

CP

Gear Prudence Gear Prudence: I keep running into a problem with drivers: They wait for me at stop signs. I arrive a few seconds after the driver, so I stop.

The driver stares at me expecting me to go, or gives me the little go-ahead wave. I give the goahead wave back either way. Then the driver returns my stare. Like many cyclists, I can track stand on my bike for at least a few seconds before putting my foot on the ground, so perhaps some drivers take this as a sign that I’m about to go.

But I tried the experiment of dismounting the bike entirely, and the driver still just stared!

How do I make it clear that they shouldn’t wait?

—Drivers Often Need To Waste An Individual’s Time Dear DONTWAIT: The law and custom at stop signs is that the first to come is the first to go.

This is true when it’s two drivers, two cyclists, or any other combination. Their reticence might derive from confusion (thinking bikes have different laws), deference (attempting to be obliging), or from an abundance of caution (many cyclists aren’t nearly as law-abiding as you are).

But regardless of the why, firmly placing a foot down is a sure signal that you’re going to wait.

Shouting “Just go already!” is another option, but that’s far less tactful. All things considered, a slight delay is still considerably better than a collision, so maybe just chalk this up as one of those funny quirks of intermodal interaction and accept it.

—GP Gear Prudence: I bike a lot. My friends bike casually. They’ll ask me if it’s OK to bike somewhere new, such as a bar on the other side of town. My answer is almost always: “Yes, of course.

It’s only a few miles away and there are bike lanes.”

But then they do it and yell at me because it was a horrible experience, they got too sweaty, drivers were mean, and bike lanes were blocked. But these things aren’t my fault! Should I just stop helping?

—Answers Deemed Valueless; I Concede Entirely Dear ADVICE: You’re missing the point.

They’re not asking you for the obvious, so you’re better off providing insight based on your accumulated expertise. An app can tell them how far away a place is and whether there are bike lanes, but an app won’t offer information on what it feels like to bike there. Of course there are going to be things you can’t control (weather, traffic, the disposition of strangers piloting automobiles in a frustrating urban context), but use this as an opportunity to guide your friends toward the best possible (and least stressful) biking experience. Give them options. If there are hazards or tough spots, tell them! Warn them about hills. Help in a real way and you’ll get way less guff.

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

Email gearprudence@washcp.com.

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SAVAGELOVE

I’ve been wondering: Since there are lesbians out there who occasionally crave cock, does the reverse also happen? Are there gay men who occasionally crave pussy?

—This Possible?

There are gay men who watch football—hell, I have it on good authority that some gay men play football, TP. So anything is possible. (Also, there are lots of lesbian-identified bisexual women out there, a smaller number of gay-identified bisexual men, and a tiny handful of bisexual-identified football fans.)

—Dan Savage I’ve been seeing a lot of articles in the media about men “dropping out of the dating-and-marriage game,” and the conclusions always point to porn as the culprit. This seems like a simplistic explanation. Do you have an opinion on the effect of porn on men?

—Pondering Porn I dropped out of the forming-opinions-aboutporn game—far too busy consuming porn these days, PP. It’s the only way to keep myself sane here in Trumpsylvania.

—DS

I’m a 26-year-old woman. I started dating a fantastic guy a month ago, blah blah blah, we’ve already talked about marriage. The problem is that his dick isn’t up to par size-wise or staying hardwise. He was aware of this before I came along, and it made him an enthusiastic and skilled oral performer to make up for it. So for now everything’s great, plenty of orgasms, and we’re loveydovey. But eventually I’ll need that filled-up feeling and I’ll have to ask for some dildo/extender/ strap-on action. The question is when to ask. He’s a secure guy, and we’ve both been honest about our flaws. If I wait too long to ask, it might make him think I’ve been faking the whole time. And if I ask too soon, I could scare him off or make his performance anxiety worse! How do I know when the right time is?

—Half Full If you were talking about marriage after a month, HF, odds are good this relationship is doomed anyway. So go ahead and ask for dildo/extender/strap-on action now. Don’t say, “Circling back to your subpar dick, darling, I’m gonna need some compensatory dildo action soon.” Instead say, “I’m into penetration toys, and I’m looking forward to getting into them with you—getting them into me, getting them into you. Anything you want to put on the menu, darling?”

—DS Two friends can hook up with a girl or two girls from a bar and have a threesome or a foursome.

But can two brothers—with opposite sexual preferences—hook up with a girl and a guy from a bar? Would this be considered wrong? No touching between siblings would occur.

—Basic Bros 10 august 18, 2017 washingtoncitypaper.com

There are lots of lesbian-identified bisexual women out there, a smaller number of gay-identified bisexual men, and a tiny handful of bisexualidentified football fans.

It would be considered wrong by some—but those people aren’t you, your brother, or the girl and guy you hope to pick up together. Personally, BB, I can barely get an erection if one of my siblings is in the same zip code; I can’t imagine getting one with a sibling in the same room. But if you’re comfortable doing opposite sexual preference-y things in close proximity to your brother, go for it.

—DS I am a bisexual man and recently divorced my wife of 30 years. I am currently seeing a very beautiful lady. I satisfy my bisexual desires by going to sex clubs and I always practice safe sex. I don’t have an issue, I just wanted to tell you I remember one time when you had a column about two guys performing fellatio on another man at the same time.

I found it to be such a turn-on and even fantasized I was doing it to you. Hope that doesn’t offend you.

—Loving Life Um, thanks for sharing?

—DS

I’m having an extremely difficult time getting intimate with my boyfriend of four years. I’m in recovery for an eating disorder, and part of my treatment is Prozac. It’s working great and helping me make healthier choices. However, the Prozac is severely affecting my sex drive. I have little to no desire to have sex. And when we do have sex, I rarely orgasm. This is frustrating and, frankly, harmful to my recovery process. I’m already dealing with my shitty eating disorder telling me that I’m fat, ugly, and not good enough for anyone, anything, or

even a decent meal. Now it’s taking sex away from me, too? I also feel terrible for my boyfriend, who is endlessly patient and understanding but wants to have sex. I’ve suggested opening up the relationship for his sake, but he doesn’t want to do that. I feel guilty and sad and frustrated. Any thoughts?

—Prozac Lover/Healer If the benefits of Prozac (helping you make better choices and aiding your recovery process) are canceled out by the side effects (leaving you so sexually frustrated, it’s harming your recovery process), PLH, you should talk to your doctor about other options—other drugs you could try or a lower dose of Prozac.

If you doctor dismisses your concerns about the sexual side effects of the drug they’ve got you on, get a new doctor.

—DS I have only one concern about Donald Trump getting impeached: Do we get Mike Pence? Is he not just as bad? Or worse? On a more personal note: I don’t think I’ve gotten a good night’s sleep since Trump got elected. I wake up every morning next to an avid, Fox News– watching Trump supporter. I’m married longterm (35 years!) to a man who pulled a political 180. This is about to make me crazy.

Really. I’m not kidding. Do you have any suggestions for me? I don’t want to DTMFA. Although after a most nauseating discussion over dinner, I did actually give it some thought.

—Liberal Grandma Mike Pence, as awful as he is, oscillates within a predictable band of Republican awfulness. The reason no one is getting any sleep these days—not even folks who don’t wake up next to Trump supporters—is because no one can predict what Trump will do next. Not even Trump. That’s what makes his presidency such an existential nightmare.

As for your husband, LG, your choices are binary and rather stark: Either you divorce his ass and spare yourself the grief of listening to his bullshit, or you stay put, learn to tune out his bullshit, and cancel out his vote in 2018 and 2020.

—DS

What’s the best dating site for a slightly cynical, tattooed, forty-something woman looking for a guy?

—Tattooed Lady It depends on the kind of guy you want. Closet case? ChristianMingle. Fuck boy? Tinder.

Trump voter? Farmers Only. Compulsive masturbator? Craigslist. Unfuckable loser who is now and will always be a socially maladapted virgin? Return of Kings.

—DS Email your Savage Love questions to mail@savagelove.net.

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signalfinancialfcu.org washingtoncitypaper.com august 18, 2017 11

Mike McGarvey and Dave Coleman

3 Stars founders reflect on five years in the local beer biz.

Darrow Montgomery

By Laura Hayes

For a complete list of D.C. Beer Week events, please visit dcbeerweek.net.

12 august 18, 2017 washingtoncitypaper.com

It’s two days before their big party, and the founders of 3 Stars Brewing Company are a little unkempt. Mike McGarvey’s fingernails look like he just clawed out of a sinkhole. It turns out he was fixing a broken forklift critical to the brewery’s operations. His partner, Dave Coleman, is sweaty and has specks of spray paint in his dark beard. He was working on a technicolor mural that had to be finished in time for the brewery’s five-year anniversary bash.

Despite hiring a dozen full-time employees over the past half decade, the duo is still as hands-on as the day they brewed their first beer in August 2012 at 6400 Chillum Pl. NW. Since that moment, they’ve emerged as one of the biggest players in the local beer scene.

They’ve also springboarded to a national presence: 3 Stars beer is available in D.C., Maryland, Virginia, New York, Boston, and Miami and will be in more cities and states soon. At this critical juncture, Coleman and McGarvey pause to reminisce about how far they’ve come.

When 3 Stars debuted it wasn’t the only brewery in town. DC Brau, Chocolate City, Port City, and Mad Fox were already making beer in the area. But the local suds scene was still burgeoning. “From my background at The Big Hunt, this town was ready for local beer for so long that when breweries started opening everyone was really supportive,” Coleman says. “It was young and growing; it was like a newborn child—bright and cheerful.”

From the start, 3 Stars focused on differenti-

ating itself from what others were doing. “DC Brau established themselves as an IPA and hoppy brewery, so we were doing more Belgian beers, higher ABV beers, and malt-forward beers,” McGarvey says.

3 Stars launched with a triplet of beers that are still available today: Peppercorn Saison (a Belgian-style farmhouse ale), Southern Belle (an imperial brown ale), and Pandemic Porter (an American imperial porter). Nearly 100 cool and quirky beers later, Peppercorn Saison remains the biggest seller.

“As we got a feel for people’s palates we started adding things to the portfolio,” McGarvey says.

Coleman adds, “We both got more into IPAs and Double IPAs and the market was also doing that.” After expanding their bitter profile with beers like Two to the Dome, they moved on to the next challenge: sour beers.

“Sours were something we wanted to do in 2012, but it requires capital, structure, and process and we didn’t have the bandwidth,” Coleman says. It wasn’t until 2015 that 3 Stars could devote space on the brewery floor to a sour room they call the “Funkerdome.” The tucked away space that has a disco ball on the ceiling holds fermenters and wine and whiskey barrels containing beers that age for anywhere from six months to three years.

The same year held another major milestone for the brewery. 3 Stars started working with a mobile canner, which allowed them to get their beer onto shelves at grocery stores and places that didn’t have draft lines. “It opened up a lot of accounts for us, but at the same time that was

a big awakening—holy shit we’re going to need a bigger boat,” Coleman says.

To better meet the demand for canned 3 Stars beers, the brewery brought on its own canning line in 2016. “It makes us a lot more flexible, especially when it comes to one-off and speciality beers.” These often include chef or restaurant collaborations, an area where the brewery has the market cornered.

“We’ve always taken a culinary approach to making beer,” Coleman explains. Consider the Trouble in Paradise wild ale brewed with mango and guava, the Lime Basil Saison, or Ebony & Ivory, which calls for brewing Southern Belle with vanilla beans and cocoa nibs.

This chefy creativity positioned the brewery to partner with chef-driven restaurants.

So many chefs have asked 3 Stars to create a special beer bearing their restaurant’s name that the brewery has become selective.

They’ve created beers for Daikaya and City Tap House, for example, and are preparing one to be served at Mike Isabella Concepts restaurants. It’s a session saison with grains of paradise, coriander, and orange peel.

Fast-forward to 2017 and the modern 3 Stars brewery has a new tasting room called the “Urban Farmhouse,” a home-brew shop, and new machinery that can produce three times as much beer as their old gear. They’ll soon expand into the 7,000-square-foot building next door that used to be a church. It will hold additional fermentation tanks and also a fast-casual restaurant from a notable area chef.

The ethos of the local beer scene has shifted significantly since Coleman and McGarvey first started. For one, consumers are far more astute.

“Education is a huge part of any consumable industry including food, sushi, and steak,” Coleman says. “The more people know, the more the supplier has to stay on its game.”

McGarvey theorizes that with the more educated consumer comes the less cantankerous beer drinker complaining about the price of a pint. “As it relates to some of these double IPAs, some of the price sensitivity has changed,” he says. “You get into these more complex beers and there’s a little more appreciation for how much time they take to make.”

Other facets of present day include snugglier camaraderie in an increasingly diverse local brewer community.

“I see increased diversity in terms of who you have working and what people are producing,” Coleman says. “It’s kind of screwed up that when you look around it’s all bearded white guys. It should be girls, minorities, it should be open to everyone.” A sign the needle is moving: Four of the nine people that run the DC Brewer’s Guild (DCBG) are women, including the guild’s executive director Kathy Rizzo.

McGarvey notes that the D.C. beer scene is a lot closer than it was before, especially with the creation of DCBG, whose mission is unification. “There was natural friction when we all started up at the same time,” he says. “That’s quieted down now because we all have our own things going on, our own personas. We coexist in a really tight space but we’re all thriving.”

Coleman agrees. “We went from, ‘We’re trying to win’ to ‘Let’s all win.’”

CP

A beer crawl for baseball fans

By Matt Terl The Nationals are proud of their beer program, and justifiably so. What started with a single “District Drafts” vendor cart in the 2013 season has blossomed into eight stands spread around the stadium serving local beer.

Each stand has four taps, and 30 of those 32 taps are dedicated to beers from six major local breweries: 3 Stars, Port City, DC Brau, Mad Fox, Old Ox, and Atlas Brew Works. The other two taps are reserved for a beer from one of four smaller-scale local breweries: Right Proper, Fair Winds, Heritage, and Hellbender. That selection also rotates by homestand. The

mix of breweries varies by location, and which beer a brewery offers rotates with each homestand.

And that doesn’t count the dedicated concessions for beers from ex-micro breweries like Virginia’s Devil’s Backbone, Long Island’s Blue Point Brewing, or Chicago’s Goose Island. Or the beers sold at the gluten-free stand. Then there’s the usual assortment of macro-brews, along with the occasional Victory or Flying Dog. This ever-changing variety makes it tough to say conclusively what to drink at Nats Park, but here’s a three-stop stadium beer crawl for fans who don’t mind leaving their seats in the name of a good brew.

Devil’s Backbone Left Field Lodge They’ve sold out to Anheuser-Busch InBev and don’t quite have the same market recognition as some of the true locals. What they do have at Nats Park is an extensive selection of their seasonal beers, including a few that are generally only available at their pilot brewery in Virginia. The Left Field Lodge is one of several spots that sells Earned Run Ale (E.R.A.), introduced in partnership with the Nats this season.

It achieves its stated goal of being easy-drinking on a hot summer day.

Their space up on the edge of the upper deck behind section 301 includes plenty of seating. If you grab the farthest picnic table from home plate, you’re rewarded with a terrific view straight down the third baseline.

Section 317 Most of the Base Line Brews offer just what the name implies: a more basic assortment of beers—your Bud, Bud Light, Michelob Ultras, an assortment of cans, and a wild-card or two.

The Base Line Brews at Section 317 is quietly home to one of a small number of taps of Atlas Brew Works’ 1500 Lager and DC Brau’s by-now-iconic The Public Ale, as well as cans of Omission glutenfree beer. The 1500 in particular is an easy-drinking session beer, perfect for baseball games even if it doesn’t have the E.R.A.’s “officially designed for the stadium” bone fides.

This pavilion offers quite a few standing tables and puts you high above home plate, with the entirety of the diamond spread out below you. It also offers a roof, in case your stadium beer tour is interrupted by inclement weather.

Section 223 The porch next to Section 223 puts you on the first baseline in shallow right field. It also puts you right next to one of the two District Drafts stands with a rotating smaller-brewery tap. (The other is at Section 129.) At a recent test visit, the “extra” beer was a Hellbender Belgian Blonde, crisp and refreshing even if that yeasty, dry Belgian characteristic tastes weird in a plastic stadium cup.

There are several standing tables with a view of the game, and another on the opposite side with a genuinely lovely view of the river. There’s even an oversized novelty chair sponsored by a soft drink company that you could take over in a pinch.

Special mention also to the folks who staff the District Draft stands. They may not have waxed mustaches or tattoos of winged corkscrews, but they’re able to answer basic questions about each offering, which is pretty impressive given the size of the workforce and regular turnover of the taps.

washingtoncitypaper.com august 18, 2017 13

Stephanie Rudig

For many area brewers, the inspiration for their wildest beers comes from what they listen to.

By Matt Cohen Before the drone-metal band Sunn O))) performed at 9:30 Club in March, with their towering wall of amps rattling the innards of every person in the crowd, they had some beer. And before that, they made some beer.

Specifically, Sunn O)))’s Greg Anderson visited Right Proper Brewing Company’s production house in Brookland to help put the finishing touches on “Soused,” a collaboration between Right Proper, Richmond, Va.’s Stone Brewing, and Sperryville, Va.’s Pen Druid Brewing. The beer was named after and inspired by Sunn O)))’s 2014 collaborative album with ’60s pop singer turned avantgarde musician Scott Walker.

For those who aren’t that, er, tapped into the world of craft brewing, musicians and brewers making a beer inspired by an album might seem like a strange collaboration.

But for all those involved, it makes sense.

“Soused” is just one example of what has be-

come an indisputable trend in the D.C. region and the wider craft brewing world: the intertwined relationship between suds and sound.

With “Soused,” Right Proper’s head brewer Nathan Zeender says, “it wasn’t like a flavor-interpretation of this Scott Walker [and Sunn O)))] song,” but rather using ingredients that speak to the dense, solemn, and sparse tone of album. In this case, it involved a traditional Nordic yeast.

Close to 20 of Right Proper’s beers over the years are directly inspired by Zeender’s musical tastes, which he says tend to skew toward “meditative droning music, jazz, and a spattering of other stuff.” The “Ornette” and the “Duke” take their names from significant jazz musicians. The “Invisible City of Bladensburg,” influenced by the music of guitarist John Fahey, and the “Bee’s Made Honey in the Lion’s Skull,” inspired by the instrumental group Earth, are a little more esoteric.

14 august 18, 2017 washingtoncitypaper.com

Elsewhere in the D.C. area, craft breweries are working with bands as a way of further cementing the relationship between beer and music. “Music and beer are both forms of art,” says Brandon Skall, co-owner of DC Brau, which has partnered with both local metal mainstay Darkest Hour and local ska heroes The Pietasters on different beers.

“You’re both operating in the constructs of your environment… creating your own songs, it’s not that different from creating your own beer.”

The environment that Skall speaks of isn’t limited to a specific beer. It can impact an entire brewery’s identity, like at Atlas Brew Works. “With Atlas, our whole sort of design aesthetic is steampunk, with the idea that that’s very much a mix of art and science, as is the brewing process,” says Justin Cox, CEO and founder of Atlas.

Last summer, instead of creating a single summer beer, Cox says Atlas instead decid-

ed to make a series of beers for the season.

“We were kind of thinking of flavor profiles and concepts for beer, and we ended up kind of having a music theme for the naming of beers,” he says. They ended up with three beers: the “Should I Stay or Should I Gose,” the “Rye, Rye My Darling,” and the D.C. punk-inspired “Dance of Days” pale ale.

“We’re always trying to think of some clever, punny names for our beers,” Cox says, “but there was a lot of those bands being played in the brewery at the time, and I think that kind of sparked our juices on the naming front.”

Like Right Proper’s “Soused,” Atlas developed a metal-themed beer earlier this year, for Decibel Magazine’s Metal & Beer Fest in Philadelphia, using ingredients specifically suited for a black saison. “We called [it] HaSaWoDo, which is short for ‘Hail Satan Worship Doom,’” Cox says. “We wanted something that was kind of light and airy, as some metal can be, but also—we made it black, that’s super metal. And it was 6.66 percent ABV.” While brewing requires a lot of science and hands-on craftsmanship, Right Proper’s Zeender says, it is a process that thrives on instinct and experimentation, much like composing a song. In that sense, tipplers and concertgoers can start to understand the similar work that goes into making beer and music.

Or, that logic could be complete bullshit.

“There’s no real good logic as to how the connection is made,” Zeender says, “but I’m inspired by the music in the act of brewing.”

CP

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By Michael Stein

Beer is big in D.C. It feels like beer is bigger than it’s ever been. But it’s not. One hundred years ago the District’s beer industry dwarfed what the city has today.

According to the Brewers Association, in 2016 D.C.’s breweries produced 29,502 barrels—equivalent to 59,004 half-barrel kegs. (Brewers Association economist Bart Watson says some breweries’ numbers were estimated since they weren’t provided.)

Compare those numbers to 1916 when D.C. produced 122,285 barrels, equivalent to 244,570 half-barrel kegs, according to the 1917 edition of Tovey’s Official Brewers’ and Maltsters’ Directory of North and South America, available from the New York Public Library.

Author and beer historian Garrett Peck even writes in his treatise The Washington Brewery at Navy Yard that brewers were once the second largest employer in the city after the federal government. These large numbers are in part due to the fact that Anheuser-Busch, Pabst, and Schlitz all had bottling plants in the area.

The longer you’ve lived in this city, the more likely you’ve been in a store, school, or theater that used to be a brewery. D.C. had breweries and bottlers in all four quadrants. Take the following four addresses, three of them in the District and one just across the river in Alexandria. Each used to be the site of a brewery. On one of the sites, the original brewery building still stands.

Robert Portner’s Tivoli Brewery Modern occupant: Trader Joe’s (and others) Modern address: 612 N St. Asaph St., Alexandria Historic Address: St. Asaph, Pendleton, Washington & Wythe Streets, Alexandria Why it matters: According to Peck’s Capital Beer: A Heady History of Brewing in Washington, D.C., Alexandria remained adamantly wet while the rest of Virginia went dry. Robert Portner was Alexandria’s largest employer and he hired both black and white laborers. At the height of his brewing empire in the late 19th to early 20th century, he had a $140,000 payroll—that number in 1913 would be more than $3,000,000 by today’s standards.

In 1877 Portner rolled out the Tivoli brand.

Not only would he call his beer Tivoli Cream Ale, but he would brand his brewery with his beer’s brand name. “TIVOLI” is “I LOV IT” spelled backwards, according to Portner’s great-great granddaughters, Catherine and Margaret Portner.

Tivoli Brewery included two bottling plants as well as an ice plant, additional buildings, yards, and a railroad line that ran right through the complex on Washington Street.

Portner’s great-great granddaughters opened Portner’s Brewhouse in March 2017, a century after Tivoli closed. The new location is at 5770 Dow Ave., Alexandria, a few miles from the historic brewery site. They serve Tivoli Cream Ale year-round. Enjoy it with German meatballs, Schnitzel, or the bratwurst platter.

16 august 18, 2017 washingtoncitypaper.com

ported for work in the brewery nine days before his death. He died in 1945 at the age of 102.

The Historic Jos. Schlitz Brewing Co.’s bottling plant Modern occupant: DC Public Library Operations Center/Department of General Services Modern address: 1709 3rd St. NE Historic address: 3rd Street & Randolph Place, NE Why it matters: While Anheuser-Busch, Pabst, and Schlitz all had bottling plants before prohibition, Schlitz’s is the only structure that still stands today. The D.C. Government, not Schlitz, now owns the building.

On the corner of 3rd and R Streets NE, you will see a sign that reads DC Public Library Opera-

The Historic Heurich Brewing Company

Mike Cianciosi

Four places that used to be breweries

The Historic Chr. Heurich Brewing Company Modern occupant: The John F. Kennedy Center for the Performing Arts Modern Address: 2700 F St. NW Historic Address: 25th, 26th, D & Water Streets NW Why it matters: Christian Heurich arrived in America an orphaned immigrant and built a legacy that’s memorialized at the Heurich House Museum at 1307 New Hampshire Ave. NW. He owned several breweries in D.C. before building his final, largest brewery at today’s Kennedy Center. His beers even earned medals in Belgium and France.

A widower twice before the birth of his first child, his career went on for decades. He last re-

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C J S D

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Washington Brewing Company Modern occupant: Stuart-Hobson Middle School Modern address: 410 E St. NE Historic address: 4th and F Streets NE Why it matters: The Stuart-Hobson Middle School site was once home to the Washington Brewing Company and, according to Garrett Peck, a massive 1,000-seat beer garden called The Alhambra from 1889 to 1917. It was a beer garden under different ownership in the mid 1880s as well.

According to advertisements in the Evening Star and Washington Times newspapers, the Washington Brewing Company made several beers, but in 1895 they rolled out Ruby Lager, their new brand. An ad from 1897 stated, “Physicians recommend it especially for nursing mothers and convalescents.”

A Washington Post article from 1926 described the land below the brewery as a “maze of subterranean vaults somewhat similar to the tomb of King Tut or the catacombs of Rome.”

CP

Advertisement for Washington Brewing Company

Attend enough beer events in the District and you start to see a lot of the same people. Most of these familiar faces belong to men, generally between ages 25 and 40, and some of them fill recognizable archetypes. Here are the kinds of bros you see at a typical D.C. beer event so you know how best to avoid them.

—Alan Zilberman

Stephanie Rudig

tions Center, providing temporary housing for library overflow. When Schlitz became the world’s largest brewery in 1902, it had already operated a bottling plant for 12 years at 615 D St. SW, a block from L’Enfant Plaza. In 1909, it moved to the Eckington neighborhood, at 3rd Street and Randolph Place NE. In 1917, the year D.C. went dry, Schlitz had to lay off 70 employees.

Next time you’re heading south on the Metropolitan Branch Trail, look right at Randolph Place NE before you hit R Street NE and remember that this four-story building was built on beer.

The Beer-Splainer

The Bootlicker

The D.C. Beer Dad

This is the most common type of beer bro. You’ve probably encountered his type already: When you order a chocolate stout, he’s overly eager to clarify that it does not actually taste like chocolate. His favorite word is “actually,” and since most of his sentences start that way, it’s easy to walk away before the condescension begins in earnest.

He might remind you of Beer-Splainer, except you find him at larger-scale beer events like SAVOR. He is always standing at the front of a line, chatting with a brewer about their latest releases. He desperately wants to impress the brewer, who is probably bored to tears, so he will probably ignore you. The bad news is that the Bootlicker always holds up the line when you just want another damn amber.

This is the most benign bro of the bunch. He will show up at 3 Stars, DC Brau, and other breweries right when they open, with his patient wife and indifferent children. He wants to get a beer before other bros fill the space and usually sticks to low ABV options like a session IPA. The kid’s got a play date later, so a mild buzz is all he can get.

The Anti-IPA Guy

The One-Upper

This person sneers at anyone who orders a boozy, bitter ale in earnest, as if hopheads represent the only trend in beer culture.

The apotheosis of the anti-IPA trend is Slate’s article against them, and this guy will bring it up, even though it is hopelessly out of date. We’ve all moved on to sours, buddy, and 3 Stars’ Two to the Dome’s new formula isn’t all that great anyhow.

We’ve saved the worst D.C. beer bro for last. He will ask something like, “What have you tried lately?” only to use your answer as a chance to discuss his latest conquest.

“You made it to Alchemist? They’re pretty good, but they’ve got nothing on Russian River. I go to Philly every month to pick up a case of Pliny.” This endless dirge will continue long after your eyes roll into the back of your head.

18 august 18, 2017 washingtoncitypaper.com

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Check your angst over drinking seasonal beers too early

By Aaron Morrissey

which we consume it are ever-malleable. It’s what helps make beer a representation of our culture, not just a commodity. The time to drink certain styles of beer is increasingly “anytime” despite the fact that producers are well aware some people still think they should release certain seasonal offerings at certain times.

“It’s a good thing that people feel strongly about your beer that they really want to drink it at certain times,” explains Chris Van Orden, manager of marketing and beer strategy at Port City Brewing Company, whose Oktoberfest release—delicious as it may be—can be an easy target for seasonal scorn.

“But an amber lager can be drunk anytime,” he adds.

Of course, that’s little comfort to breweries like Great Lakes—one of the best producers of traditional lager styles in the country, whose brewers likely needed a stiff drink after attempting to explain over social media last year why they decided to release their marzen early.

“I think some people feel strongly about

Stephanie Rudig

As the dog days of summer crest upon the beer world, a familiar collective roar gathers volume.

That’s right, it’s once again time for the seemingly perpetual beer complaint of late summer and early autumn: Beers like marzens—various takes on Oktoberfest offerings—are being released earlier than many believe they should.

A beer-soaked city like D.C. is, as you might expect, not immune from such grumbles.

“We all know that no one actually wants to drink these beers when it’s 95 degrees out,” The Washington Post opined last summer.

Asked about their thoughts on the practice of starting fall early in the beer aisle, 64 percent of ARLnow’s readers said that they “hate it.”

The horror: having to drink good beer mere weeks before we’re supposed to.

But here’s something to consider: If it’s such an issue, where’s the uproar the rest of the year?

Saisons were originally brewed in winter and

stored to be consumed in the summer months— today, you can find dozens of saisons year-round made by dozens of breweries at dozens of D.C. bars. Typically, maibocks were only released in late spring. Now, there are dozens of helles-style lagers available to the consumer at any point during the year. Are imperial stouts really meant to be consumed anytime when the humidity outside outpaces the heat barrel-aging provides?

Let’s go even further back. In the pre-refrigeration age, many lagers and ales were simply not made at all in warm weather due to the heat’s effects on fermentation. Even ancient Egyptians carved things into walls that outlined when they thought it was proper to drink certain styles.

Does this stop anyone from ordering a saison at ChurchKey, sipping a refreshing lager on the Jack Rose Dining Saloon rooftop, or buying a bottle of a wonderful fruited ale at Whole Foods? Does it cause anyone to complain that these experiences are diminished for being seasonally inappropriate?

The production of beer and the ways in

Oktoberfest in particular because they associate the style directly with a festival that takes place at a particular time—late September,” explains Van Orden. But does the seasonal sound and fury signify anything when it comes to people’s purchases?

“Breweries have figured out that it’s beneficial to release these beers early and try to corner the market, or else they wouldn’t do it,” says Jace Gonnerman, beer director at Meridian Pint, Brookland Pint, and Smoke & Barrel, who says he tries to merge seasonal appropriateness with a desire to pour “glorious” styles like festbiers. “I imagine the average consumer doesn’t really care,” Gonnerman adds.

But beer isn’t produced in a vacuum. Whether to release a beer “on time” or not is often a false choice. For brewers of a certain size— many of which lead the burgeoning D.C. beer scene— the decision is often either to release a beer earlier than some might like, or don’t release it at all.

From conception to release, the runway for any given once-per-year beer is strikingly long—as much as 12 months—and in an increasingly competitive seasonal market where less than 9 percent of marzen sales occur after Halloween, that means taking every step to make sure a beer gets enough market share to make that significant investment worth it.

“The reason that we have to release Oktoberfest in August is because retailers want it for an allotted amount of time,” Van Orden explains. “We want to brew enough that it’s worth it for everybody and people can feel confident they can find it.”

CP

20 august 18, 2017 washingtoncitypaper.com

CPArts

Listen to “Macross,” a new Birth (Defects) track from their forthcoming box set. washingtoncitypaper.com/arts

The Strangest Yard A gridiron treatise against profiling and a profile of a king Whipping, or The Football Hamlet

Whipping, or The Football Hamlet

Written and directed by Kathleen Akerley At Catholic University’s Hartke Theatre to September 10

King Kirby

By Crystal Skillman & Fred Van Lente Directed by Keith Cassidy At Greenbelt Arts Center, closed on August 13

By Chris Klimek The appariTion ThaT floats through Whipping, or The Football Hamlet is not that of a fatally poisoned monarch nagging his slacker son to avenge him, but rather one of a famous former quarterback—one more given to alliteration than to dad jokes, though his name is Old Ham. Played with dire convic-

tion by Justin Weaks, he materializes in the first quarter of a matchup between the New Yorick Jets and the Seattle Handsaws to warn his brooding young successor against mistaking privilege for freedom. Watching him, I thought of Colin Kaepernick but also of Dave Chappelle.

The kid to whom he’s delivering his admonition is the dashing Kamau Mitchell, in the sullied flesh. But Weaks’ ghost is one of more than a dozen characters who appears only via prerecorded video, an economical means by which writer/director/choreographer/videographer Kathleen Akerley has expanded her live-on-stage cast of a half-dozen to a company of more than 20—among them, several ringers who’d likely be too busy or expensive to be had any other way.

Besides Old Ham, the video complement includes two different sets of color commentators, as well as advertisements for apocalypse insurance and the identity-shrinking medication Simplifica.

As halftime—intermission— approaches, one of those two sets of headset-wearing talking heads breaks down the dramaturgical stats: “Seventeen Hamlet lines quoted correctly, if wildly out of context, and 11 perverted somewhere in the line, deliberately misquoted.” This follows a debate over whether the playwright has done right by paring away so many of Hamlet’s recognizable goalposts, including its most famous monologue. (It’s Not To Be, folks.)

“You waste time stating the obvious when you’re doing absurdism,” says Vince Eisenson.

“You need to state the obvious when doing absurdism, to prevent the audience from thinking about how much they hate you,” replies Gerrad Taylor.

Clearly, Akerley is both artist and critic.

Of the many floggings referenced in the title of her dense, occasionally incomprehensible, but ultimately rewarding meditation on race and representation, the lashings she’s sometimes endured from people paid to explain— to reduce—her plays are the gentlest. Akerley bristles at the prospect of being, to quote an ancient TV show that seems congruent with her sensibilities, “pushed, filed, stamped, indexed, briefed, debriefed or numbered” (Hey! Football players wear numbers!), as an artist or as a person. The question of Whipping, voiced by three of its characters, is not “To be or not to be,” but “Who do I marginalize?” That a play with so unimpeachably worthy and didactic an agenda manages by a safe margin to be more enjoyable than insufferable counts as a coup. Maybe it’s all the puns.

Some of Whipping’s pleasures, like the really quite substantial distance Akerley is willing to travel to for a not-so-substantial joke, will speak to a self-selecting audience of dorks who consider a wildly lopsided ratio of setup-to-punchline to be funny all by itself. (Hi!) Other elements will likely appeal more universally: Her actors are energetic and convincing, with Mitchell and William Hayes (as “Free Safety,” one of Ham’s opponents washingtoncitypaper.com august 18, 2017 21

CPArts

on the field) radiating easy athleticism along with sensitivity. (I just said this about one of the actors in another Hamlet-inspired show, but Mitchell would be great in a conventional Hamlet, by which I mean one that uses the script for Hamlet.)

Emily Whitworth, as a sideline reporter, has a big job to do as the only woman on stage (the video-cast is more balanced) in a piece about representation. The way she modulates the register of her voice when she’s “reporting” on camera versus when she’s interrogating her own prejudices is as disciplined and specific as any actor on any stage in this town. Several slow-motion interludes give her the opportunity to put her dance training to work, too. Seamus Miller plays Beer Man, who hawks $5 cans of Miller Lite and increasingly sour jokes in the show’s prologue, then sticks around as the embodiment of what our president calls “the forgotten man.” And Ryan Tumulty is all exhausted virtue as the coach.

The video element really is integral here, and its production values are strong, ducking the budget patina these enhancements often seem to have even when made by theaters with deeper pockets than Akerley’s got. And its performers are all game: Weaks is haunting in his few minutes onscreen. Chris Davenport and Matthew Pauli are droll as a pair of commentators whose delivery reminds us that cadence and inflection sometimes count for more than word choice—in sports and in Shakespeare. You also get a leopard-printed Jenna Berk as a bubbly game show contestant playing Kiss, Marry, Kill with the players onstage as the candidates. All this stuff is fair recompense for a couple of set pieces in Act Two that sailed right over my head.

I don’t begrudge Akerley for that, though. In its second decade, her company, Longacre Lea, has evolved from a place for her to di-

rect the work of the metaphysical pranksters she so loves—Pinter, Stoppard—to a platform for her own work as a playwright. That’s a good thing. I don’t understand everything she says, but I understand enough to know her voice isn’t marginal. It’s original.

MosT coMics fans know at least the rough outlines of the story of Jack Kirby (née Jacob Kurtzberg), the artist who, in the early 1960s, created or co-created (with Stan Lee, née Stanley Lieber) a staggering number of Marvel Comics characters as beloved by kids born in the 2000s as they were by the boomers. All three of Marvel’s key super-teams, The Fantastic Four, The Avengers, and The X-Men, were designed, if not created,

by Kirby when he was in his mid-40s. The “Marvel method” of scripting, wherein Stan would give Jack just a few paragraphs of synopsis to turn into 22 drawn pages over which Stan would then apply dialogue, allowed for much more authorial ambiguity than the full-script method, wherein the writer would tell the artist exactly how many panels to draw on each page.

But like Superman creators Jerry Siegel and Joe Shuster before him, Kirby was the victim of predatory contracts that made publishers, not artists, the owners of the intellectual property the artists created. Kirby got screwed. He defected from Marvel to rival imprint DC Comics in the 1970s, creating comics even weirder and grander and more personal—albeit less popular— than his Marvel work had been. Stan stayed put, happily cultivating an identity as Marvel’s public ambassador and mascot long after he stopped writing—though just how much writing he’d ever done was something Kirby, who died in 1994, bitterly challenged in the last years of his life.

When Kirby discovered in the 1980s that pages he’d drawn

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for a modest per-page rate were being sold to collectors for many times what he’d been paid when he turned them in, he began a long public campaign to have his original pages returned to him. (He eventually got back about a tenth of what he’d drawn, the stuff that no one had deemed worth stealing and/or selling.) Every popular creator of the time rallied to his side. The publicity gave Marvel a black eye and ultimately, slowly made the self-proclaimed “House of Ideas” offer terms that made it a more attractive place for top talent to work. It came too late to do Kirby any good.

He might’ve been a visionary, but he saw himself as a workhorse—a guy who always cited his mortgage and his family as his motivation, not some siren call of the muse. That’s a mystery that gets unpacked and explored in King Kirby, a portrait of the man, and of his contentious 30-year relationship with Lee,

by Crystal Skillman and Fred Van Lente first staged in 2014.

(Van Lente is a writer who’s done most of his work in comics.)

Director Keith Cassidy found a copy of the script in Manhattan’s Drama Book Shop and got Off the Quill to support a brief, just-concluded run at the Greenbelt Arts Center—one strong enough to make me wish for one of D.C.’s better-funded companies to revive it.

They’d probably try to get Ed Gero to play Kirby, or coax Rick Foucheaux out of retirement. But I say keep Off the Quill’s sober, hulking Kirby—Josh Mooney—and keep their alliterating, equivocating Lee—Erik Harrison—too. They’re talented newcomers who deserve a bigger stage.

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TheaTerCurtain Calls Big Fish

Book by John August Music and lyrics by Andrew Lippa Directed by Mark A. Rhea and Colin Smith At Keegan Theatre to Sept. 9

A musicAl feAturing giants and mermaids, epic love stories, and complicated relationships between parents and children sounds like the latest direct-to-Broadway project from Disney. Andrew Lippa’s Big Fish includes all of those things but it’s distinctly different from the Little Mermaids and Aladdins that attract tourists in New York. The warm and whimsical story of a tall tale-telling salesman and his straightlaced son who tries to figure out what about his father’s life is true makes its D.C. debut at Keegan Theatre.

It’s an energetic production that suggests the show, which ran for less than 100 performances on Broadway in 2013, will have a long life in schools and on smaller stages.

Based on the 2003 Tim Burton film and the 1998 Daniel Wallace novel, the musical focuses on Edward Bloom (Dan Van Why), a resident of rural Alabama who, on the rare occasions he’s home for bedtime, tells elaborate stories about his past. Will (Ricky Drummond), his Type A, tightly wound son doesn’t care for them, nor does he believe what he’s told, leading to tension between the men.

When the play opens at Will’s wedding, their lives are on divergent paths: Edward’s nears its end while Will prepares to welcome a son of his own. Only Sandra (Eleanor Todd), the indefatigable matriarch of the Bloom clan, can soothe them, and does she ever. Todd breathes empathy and strength into every one of her character’s lines, causing the audience to wonder, ever so briefly, whether the show is really meant to be about her.

To succeed, Big Fish relies on a deep ensemble of character actors who can fully embody the werewolves, circus performers, and eccentric Southerners Edward encounters throughout his life, and Keegan has found an

exemplary group. As circus empresario Amos Calloway, Patrick M. Doneghy leads a gang of merry misfits who guide young Edward to Sandra while also using him as free labor. He radiates showmanship from the top of his top hat to the bottom of his tails. The performer who steals the most scenes also portrays the show’s most eccentric character: Karl, the giant Edward lures out of a cave and befriends, played with aplomb by the lean and lanky Grant Saunders.

Decked out in a long wig, fake beard, and platform shoes that would make the Spice Girls jealous, he dances circles around the rest of the cast while miraculously maintaining his balance.

Just as important in a magical show like this one are the design aspects that help audiences imagine the world the characters inhabit.

Here, it starts with costume designer Debra Kim Sivigny who, along with hair and makeup designer Craig Miller, transforms ensemble members into sea creatures, acrobats, small town students, and wedding guests in any given scene. The Keegan’s beautifully renovated space is small, so instead of cluttering the stage with excess scenery, directors Mark A. Rhea and Colin Smith rely on projections to set each scene. Some of these images feel a little too obvious and don’t quite keep up with the action, but solutions like these make the production all the more lively.

Might this kind of musical be too warm and fuzzy? It’s not quite on the level of a phone commercial that reminds you to call your parents, but it does lean heavily on the themes of familial love and legacy you can find in The Lion King. Edward, Will, and Sandra all get a sweet ballad in which they plead their cases and explain their thinking; together, these songs sound repetitive, especially when a happy ending is presumed for all characters.

Then again, for those theatergoers searching for a moment of escapism, this is the show we need to cheer our weary souls. Its first and final song, “Be the Hero,” implores the characters and audiences to take control of their lives and seize their collective destinies. For two and a half hours on Church Street NW, audiences can pretend that heroes, be they giants, doctors, or ordinary salesmen from Alabama, still exist.

—Caroline Jones

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FilmShort SubjectS mors abound. But considering that Soderbergh has often served as his own cinematographer and editor under pseudonyms, he seems the more likely culprit, his sabbatical perhaps having fomented his writerly side.

Regardless of who penned Logan Lucky, it’s quintessential Soderbergh: smart, funny, and a fizzy good time, even when you have to take the movie at its word that each cog in its stick-up wheel is necessary for the con (and oh-so-easy to pull off ). The thieves at the heart of the heist are the Logan brothers, optimistic Jimmy (Channing Tatum) and hangdog Clyde (Adam Driver), with some assistance from smack-talkin’ sister Mellie (Riley Keough). While Clyde, who lost part of an arm in Iraq yet still glumly bartends with or without his prosthetic, is convinced that the family is cursed, Jimmy is making plans to make them rich, even posting the “Top Ten Rules for Robbing a Bank” in his kitchen. He doesn’t want to knock off a bank, though. Jimmy wants to rob the Charlotte Motor Speedway.

They gather their helpers, the most important of whom is Joe Bang (Daniel Craig, here as Southern as a mint julep). But as Joe

Columbus

Towering expecTaTions Columbus

Directed by Kogonada Writer/director Kogonada (one name only, like Rihanna) was working on his dissertation on the films of Japanese master Yasujiro Ozu when he decided he wanted to become a filmmaker himself. The transition did not come quickly. First, he made a series of popular video essays about classic filmmakers like Stanley Kubrick and Wes Anderson. Now, finally, is his directorial debut, Columbus, which seems to reflect his inner turmoil. It’s an impressive, calculating film about a pair of loners torn between academia and the real world.

In his first significant dramatic role, John Cho (Harold and Kumar Go to White Castle, Star Trek) plays Jin, a South Korean office worker who travels to Columbus, Indiana after his architect father falls ill. While he waits for him to recuperate, Jin strikes up a friendship with Casey (Haley Lu Richardson), a recent high school graduate who is hanging around town taking care of her mother, a recovering addict, instead of going to college like her friends. Casey is interested in architecture but not sure if she wants to study. Jin’s father was a leader in his field, but Jin never cared about it.

It’s a friendship made in movie heaven. They start by sharing cigarettes, but soon Casey is driving Jin around town, showing him the

most beautiful buildings in Columbus.

If nothing else, you will leave Columbus with a new understanding of the little-known midwestern town that’s a haven for fine architecture. Kogonada puts the beauty of its buildings on full display. Hard lines and rounded edges are foregrounded. Each shot feels meticulously composed, with even his actors used as props in his grand design. When Cho and Richardson are in a two-shot, you can feel them holding still for fear of ruining the perfect geometry.

It’s not an ideal scenario to move an audience to passion, but Kogonada’s restraint often pays off in unexpected ways. Keeping his camera and his actors still, the small moments of humanity that pass between them often have the thrilling impulse of improvisation. In one scene, Casey gets the giggles at Jin’s phrasing when he asks about her mother’s drug addiction (“Does your mother do meth?”), and the moment somehow strikes a tiny universal chord. In such a controlled environment, every speck of freedom feels euphoric.

It’s a shame, however, that such moments are so rare. Too often, Kogonada lets the perfect be the enemy of the good, idealizing the friendship between Jin and Casey so greatly that it fails to have any real impact. For example, any chance of romance between the two of them seems remote, and although the possibility is raised late in the film, it feels secondary. There is something refreshing about seeing two people connect in a purely platonic way, with no expectation of a future together, but it also removes any real stakes. When Jin and Casey have their first fight late in the second act, are our hearts supposed to break a little? More likely, it will be met with a shrug

24 august 18, 2017 washingtoncitypaper.com

of indifference at a relationship that always seemed ephemeral.

Instead, Columbus finds comfort in the permanence of buildings. Jin waxes poetic at one point about the healing power of architecture, that buildings are designed not for functionality but to offer sanctuary from the harsh world outside. To Kogonada, Columbus is such a building, an enclosed space where we can contemplate our station and maybe make a fleeting connection, not quite alive but still rich with meaning.

—Noah Gittell

Logan Lucky

Columbus opens Friday at E Street Cinema.

Dumb Luck Logan Lucky

Directed by Steven Soderbergh Had an Ocean’s Eleven heist taken place during one of the races in Talladega Nights, the result would look a lot like Logan Lucky. Steven Soderbergh has returned from a four-year motion-picture retirement to once again show us that when it comes to crafting robberies of high stakes—even ones involving the lower classes—he remains the slickest of them all.

But the greatest trick the director ever pulled was convincing the world that his scripter exists. “Rebecca Blunt” is credited with the screenplay, but there’s no evidence that she’s a real person aside from emails exchanged with a few cast members. Allegedly, Blunt lives in the U.K. and is too busy working on another script to help promote the film. But she’s also allegedly Soderbergh himself, or perhaps his wife, Jules Asner. Ru-

points out to the brothers, “I. Am. In. Car. Ce. Ra. Ted.” No worries; they’ve got a plan for that. For the technical side of things, they secure a pair of hillbillies you wouldn’t trust to smash a beer can on their foreheads; when the heist needs to be moved up a week, and therefore take place during the Coca-Cola 600 instead of during a less busy and secured event, one of them says, “This whole thing changed dramastically.”

The redneck humor continues throughout the film with crazy crack timing from all the players, down to a little old lady who the brothers had pulled over to allow Mellie’s car to race by. How they knew that Grandma would be driving a purple car is anybody’s guess, as is

In This Corner of the World opens Friday at the Angelika Film Center.

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dandelion. The anime’s slightly muted watercolor palette recalls a Whistler painting; its soft lines reflect the femininity of its 18year-old main character.

It’s not, in other words, the style you’d expect from a film that tells the story of the United States’ bombing of Hiroshima.

This story, which writer-director Sunao Katabuchi adapted from the same-titled manga, is told from the Japanese side, however, and devotes most of its two-hour-plus run time to routine domesticity instead of warfare. The film jumps through the years in its portrayal of Suzu (Rena Nounen), who’s 18 and married when the attack occurs. We first meet her in 1933; then ’35, ’38, ’40, and so on. It’s a tumble of an adolescence that at once proceeds so quickly you’ll have trouble keeping the characters straight but also feels fully realized by the time the In This Corner film is over. of the World It’s best to focus on Suzu and the peace that’s increasingly disturbed in her hometown of Hiroshima and adopted city of Kure.

We’re told Suzu, who’s always sketching whatever is in front of her, is a “daydreamer,” and indeed she has little memory of the events that took her from her family home. A young man, Shusaku (Yoshimasa Hosoya), has come from another town to ask for her hand in marriage; she’s never met him, and although she’s told it’s OK to turn him down, she accepts anyway for reasons that aren’t clear. But on the train, she wonders: “Was I always daydreaming? I don’t know when or how all this happened.” That’s a pretty good summation of life passing you by, although a feeling that was likely more often experienced by teenagers in the ’40s than ones today.

From this time until the bomb drops, there’s even more frequent time-hopping and more confusing characters populating Suzu’s life. It’s hard to distinguish, for example, between her husband and a suitor, while her in-laws remain a largely unidentified clan. For a while, it’s not even clear that she did get married. Suzu’s most defined relationship is with Harumi (Natsuki Inaba), her husband’s little sister, a girl who giggles and plays and doesn’t really need an introduction—at least once you determine that she’s not Suzu’s child. When the aerial warfare over both Kure and Hiroshima escalate, the two expoint, Mellie asks Joe, “Think we’re destined perience a tragedy that’s more immediate and to repeat the past?” In Soderbergh’s case, let’s poignant than what Suzu knows is waiting for hope the answer is yes. —Tricia Olszewski her back home after the A-bomb is dropped.

In This Corner of the World feels leisurely in its exploration of family, grief, remorse, and Logan Lucky opens Friday at theaters everywhere. resilience, but by the time the credits roll, it’s clear that Katabuchi has crafted a gorgeous epic of a devastating time. You can read about the number of deaths that the bomb caused directly or indirectly but never grasp the sense that the film gives you: that relatable, everyday people suffered or were lost, which hits home In This Corner of the World harder than any statistic. —Tricia Olszewski Directed by Sunao Katabuchi the function of a cake that Mellie has delivered to a bank teller. Like with a good horror flick, however, the ride is best if you trust and don’t verify.

Tatum and Driver are maybe the most personable they’ve ever been—nah, Magic Mike is the former’s jewel—playing characters whose looks and speech belie razor-sharp brains.

Scattered among the cast are Seth MacFarlane (if you can recognize him), Katherine Waterston, Katie Holmes, and, unfortunately, Hilary Swank. If Logan Lucky has a fault, it’s that it’s slow to build (yet still entertaining) and seemingly anticlimactic, with Swank’s federal agent distractingly showing up around the time you expect credits to roll. A name actress was unnecessary here; worse, her performance is weirdly robotic. But be patient, because Mr./ Ms. X has a bit more of the story to tell. At one

SigTheatre.org | 703 820 9771 washingtoncitypaper.com august 18, 2017 25

26 august 18, 2017 washingtoncitypaper.com

CITYLIST

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

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

Tix @ Ticketmaster.com 800-745-3000 Aug

DUO SIERRA HULL BUMPER(JessJACKSONS & Chris) Z 20 JONNY LANG C 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

ane arney

Music 27 Books 31 Galleries 32 Theater 32 Film 32

Music

CITY LIGHTS: FRIDAY

FRIDAY RocK

9:30 Club 815 V St. NW. (202) 265-0930. The Districts, Sam Evian, Soccer Mommy. 8 p.m. $20.

930.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Bacchae, Ear, Keeper. 8 p.m. $10. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Nina Diaz, Company Calls. 7 p.m. $10–$12. dcnine.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. Valley Queen, Sarah Shook & The Disarmers, The War & Treaty. 8:30 p.m. $12. gypsysallys.com.

with Tommy

the hamilton 600 14th St. NW. (202) 787-1000. Get The Led Out. 8 p.m. $25–$34.75. thehamiltondc.com.

DJ NIGhTs

8

DC9 1940 9th St. NW. (202) 483-5000. Liberation Dance Party with DJ Bill Spieler. 10:30 p.m. Free. dcnine.com.

9

Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Pop That: A 2000 & Now Dance Party with Mathias & Friends. 8:30 p.m. $6–$12. fillmoresilverspring.com.

ELEcTRoNIc Flash 645 Florida Ave. NW. (202) 827-8791. Andrew Weatherall. 8 p.m. $8–$15. flashdc.com. u street musiC hall 1115 U St. NW. (202) 588-1889.

A Night At The U Street Disco with Jellybean Benitez, Sam Burns. 10 p.m. $10. ustreetmusichall.com.

FUNK & R&B birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brian Culbertson. 7:30 p.m. Sold out. birchmere.com. howarD theatre 620 T St. NW. (202) 803-2899.

Dru Hill. 8 p.m. $39.50–$80. thehowardtheatre.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Lee Fields & The Expressions, Aztec Sun. 9 p.m. $25. rockandrollhoteldc.com. songbyrD musiC house anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. The Prince and Michael Jackson Experience. 9 p.m. $10–$15. songbyrddc.com. wolF trap Filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Maze Featuring Frankie Beverly, The O’Jays. 8 p.m. $35–$85. wolftrap.org.

MAZE FEATURING FRANKIE BEVERLY

Raised in Philadelphia, vocalist Frankie Beverly moved his group Raw Soul to the Bay area in 1971, where Marvin Gaye helped them get a record deal and encouraged a name change to Maze. With Beverly singing Gaye-inspired lead vocals and the instrumentalists adding funky rhythms, the ensemble established their polished and danceable sound by the late 1970s. The band reached the top of U.S. R&B charts with songs like 1985’s “Back in Stride” and earned a reputation for its energetic live shows. In contrast, co-headliners The O’Jays formed in Canton, Ohio, but have been associated with Philadelphia and the so-called “Philly sound” since they began working with the production and songwriting team of Gamble and Huff. Mixing the rugged yet soulful vocals of leader Eddie Levert with the more lustrous tones of his colleagues, The O’Jays have had pop success with songs like “Back Stabbers” and the classic “Love Train.” Both Beverly and Levert are now in their 70s, but these two road warriors should make their current vocal ranges work with their bandmates in a manner that will please audiences whether they’re dancing on the lawn or applauding from the pavilion. Maze featuring Frankie Beverly and The O’Jays perform at 8 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $35–$85. (703) 25-1900. wolftrap.org.

—Steve Kiviat

sATURDAY

hIp-hop

RocK

the hamilton 600 14th St. NW. (202) 787-1000. The London Souls, Con Brio. 8 p.m. $15–$20. thehamiltondc.com.

kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. The Lucky So & So’s. 6 p.m. Free. kennedy-center.org.

blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Xeno and Oaklander, Technophobia, Void Vision, Ships in the Night. 9:30 p.m. $10. blackcatdc.com.

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

Redline Graffiti, Jenna Camille, Crue. 8 p.m. $12. rockandrollhoteldc.com.

JAZZ blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

DC9 1940 9th St. NW. (202) 483-5000. Brick + Mortar, The Moms, Den-Mate. 6:30 p.m. $12. dcnine.com.

national gallery oF art sCulpture garDen 4th Street and Constitution Avenue NW. (202) 7374215. Davina and the Vagabonds. 5 p.m. Free. nga.gov.

Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. A BandHouse Gigs Tribute to the British Invasion Part 2: 1967–73. 7:30 p.m. $27. fillmoresilverspring.com.

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

gypsy sally’s 3401 K St. NW. (202) 333-7700. Footwerk, Juxt. 9 p.m. $10–$12. gypsysallys.com.

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

(703) 237-0300. On the Border. 9 p.m. $12–$15. thestatetheatre.com.

DJ NIGhTs blaCk Cat 1811 14th St. NW. (202) 667-4490. Right Round Up! with DJ Lil’e. 9:30 p.m. $10. blackcatdc.com.

ELEcTRoNIc 9:30 Club 815 V St. NW. (202) 265-0930. Valentino Khan. 9 p.m. $20. 930.com.

Keene

THE MANHATTANS featuring

Gerald Alston

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

VALERIE JUNE 22 JOHN McCUTCHEON 23 RED MOLLY 24 AVERY*SUNSHINE 26 CHRIS HILLMAN & HERB PEDERSON with JOHN JORGENSON 21

27

JESSE COOK

Beyond Borders Tour 2017

washingtoncitypaper.com august 18, 2017 27

Flash 645 Florida Ave. NW. (202) 827-8791. Sebastian Mullaert, Navbox & Friends. 8 p.m. $8–$15. flashdc.com.

sUNDAY

u street musiC hall 1115 U St. NW. (202) 588-1889.

Juan Maclean, Philip Goyette, Trev-ski. 10 p.m. $10. ustreetmusichall.com.

wolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. The Beach Boys. 3 p.m. $35–$85. wolftrap.org.

FoLK musiC Center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Uke & Guitar Summit. 6:30 p.m. $15. strathmore.org.

RocK

BLUEs

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jonny Lang. 7:30 p.m. $69.50. birchmere.com.

FUNK & R&B

ELEcTRoNIc

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brian Culbertson. 7:30 p.m. Sold out. birchmere.com.

Flash 645 Florida Ave. NW. (202) 827-8791. Jonas Rathsman. 2 p.m. $8–$12. flashdc.com.

FoLK

hIp-hop

musiC Center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Uke & Guitar Summit. 6:30 p.m. $15. strathmore.org.

songbyrD musiC house anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. EMI. 8 p.m. $12–$15. songbyrddc.com.

JAZZ blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m.; 10 p.m. $25–$30. bluesalley.com. kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Charles Covington. 6 p.m. Free. kennedy-center.org. twins Jazz 1344 U St. NW. (202) 234-0072. Tosin Beats. 9 p.m.; 11 p.m. $15. twinsjazz.com.

hIp-hop

blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Yaddiya, Foots x Coles, Obii Say. 7:30 p.m. $10. blackcatdc.com.

Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. YFN Lucci, Q Da Fool. 8 p.m. $35–$60. fillmoresilverspring.com.

JAZZ

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

CITY LIGHTS: sATURDAY

XENo & oAKLANDER

A few years ago, Xeno & Oaklander told The Wild their greatest wish was to soundtrack “David Lynch’s Twin Peaks II (were it to be made).” Unfortunately, Lynch didn’t make their wish come true—his longtime collaborator Angelo Badalamenti composed the music for this year’s Twin Peaks: The Return—but the Brooklyn duo would be a great choice to perform at the Roadhouse, like Nine Inch Nails and Chromatics before them. Together, Liz Wendelbo and Sean McBride craft minimal, melancholy darkwave with an orchestra of analog synthesizers and instruments.

And while their music seems best suited for goth nightclubs, they aren’t all doom and gloom.

Their show at the Black Cat Backstage is a benefit for House of Ruth, a nonprofit that provides services for women and children who are victims of domestic abuse. They’ll be joined by a trio of acts that explore similar synths and shadows—D.C.’s Technophobia, Philly’s Void Vision, and Charlottesville’s Ships in the Night—any of which would be at home in Twin Peaks. Xeno & Oaklander perform with Technophobia,Void Vision, and Ships in the Night at 9 p.m. at the Black Cat Backstage, 1811 14th St. NW. $10. (202) 667-4490. blackcatdc.com.

—Chris Kelly Washington DC City Paper 08-10-17.indd 1

28 august 18, 2017 washingtoncitypaper.com

7/10/17 9:39 AM

washingtoncitypaper.com august 18, 2017 29

TATTOO PARADISE ADAMS MORGAN, DC 2444 18th St. NW Washington DC 20009 202.232.6699

WHEATON, MD

2518 W. University Blvd.

Wheaton, MD 20902 301.949.0118

THE ONLY TATTOO SHOP IN ADAMS MORGAN THAT MATTERS

tattooparadisedc.com myspace.com/tattooparadise

FOLLOW

CITY LIGHTS: sUNDAY

ALIF LAILA

Alif Laila may be the D.C. area’s greatest master of the intimidating and inspiring sitar. A renowned live performer, Laila is also something of a proud rebel. She’s one of the few women in the boys’ club of Hindustani classical music, and she can give the boys a run for her money. Laila, a Bangladeshborn transplant to the region, is no flashy virtuoso, preferring to demonstrate her craft in her interpretations of the ragas, melodic modes that give each piece its framework. Her subtle but significant manipulations of tone and rhythm, and her hypnotic control over her instrument, captivate audiences. She tries to pass along these lessons to her students at Sitar Niketan, the music school she founded and runs in Bethesda, where she teaches both young and old, amateur and aspiring professional, the way of this ancient instrument. She puts her full artistic range on display at the Kennedy Center’s Millennium Stage, performing under projections of her own paintings—watercolor interpretations of the emotional content of the ragas. Students of Sitar Niketan join her for a masterclass before the formal show. Alif Laila performs at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Jackson Sinnenberg twins Jazz 1344 U St. NW. (202) 234-0072. Deborah Davis. 8 p.m.; 10 p.m. $10. twinsjazz.com.

WoRLD kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Alif Laila & Sitar Niketan. 6 p.m.

Free. kennedy-center.org.

MoNDAY RocK

9:30 Club 815 V St. NW. (202) 265-0930. Waxahatchee, Palehound, Outer Spaces. 7 p.m. $20.

930.com.

DC9 1940 9th St. NW. (202) 483-5000. No Small Children, The Love Loads, The Dusty Stars. 8:30 p.m. $10. dcnine.com.

TUEsDAY RocK

RocK

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Bob Schneider, Clarence Bucaro.

7:30 p.m. $29.50. birchmere.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Sheer Mag, Haram, Rashomon. 7:30 p.m. $15. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Surf Curse, Lala Lala, Teen Mortgage. 9 p.m. $12–$14. dcnine.com.

JiFFy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Deep Purple, Alice Cooper. 6:30 p.m. $33–$200. livenation.com. wolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. WAR, Los Lonely Boys. 8 p.m. $30–$65. wolftrap.org.

cLAssIcAL kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Levine Music. 6 p.m. Free. kennedy-center.org.

u street musiC hall 1115 U St. NW. (202) 588-1889.

Lewis Brice, Celeste Kellogg. 7 p.m. $15–$20. ustreetmusichall.com.

ELEcTRoNIc

wolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. Kenny Loggins. 8 p.m. $35–$70. wolftrap.org.

u street musiC hall 1115 U St. NW. (202) 588-1889.

Nicola Cruz, Quantic. 10 p.m. $12. ustreetmusichall.com.

coUNTRY

FoLK

gypsy sally’s 3401 K St. NW. (202) 333-7700. Wade Bowen, Annie Stokes. 8 p.m. $16–$19. gypsysallys.com.

FUNK & R&B birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Anthony Hamilton. 7:30 p.m. $89.50. birchmere.com.

30 august 18, 2017 washingtoncitypaper.com

WEDNEsDAY

Flash 645 Florida Ave. NW. (202) 827-8791. GANZ. 10 p.m. $10. flashdc.com.

strathmore guDelsky ConCert gazebo 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Strathmore Uke Orchestra. 7 p.m. Free. strathmore.org.

FUNK & R&B the hamilton 600 14th St. NW. (202) 787-1000.

Kabaka Pyramid, Ras Slick & Dutty Bus Crew, DJ King Selassie Sound. 7:30 p.m. $20–$30. thehamiltondc.com.

CITY LIGHTS: MoNDAY

1811 14TH ST NW

www.blackcatdc.com

AU G U S T

@blackcatdc

AUGUST SHOWS

THE ADMIRALS

F 18

PLUS HARDWAY CONNECTION

S 19 SU 20

WAXAhATchEE

W 23

The breakup album is a pop music staple for a reason. What is more real and more raw than music made in the wake of heartbreak? The best examples of the genre deftly turn the specific into the general, transforming the artist’s catharsis into something that can be felt by a wide audience. That’s exactly what singer-songwriter Katie Crutchfield has done on her fourth album as Waxahatchee, Out in the Storm. After exploring ennui on 2015’s Ivy Tripp, Crutchfield focused on the lessons learned from what press materials call “the dissolution of a noxious relationship.” And what a noxious relationship it was: Crutchfield gives zero fucks while elucidating her ex’s flaws—his condescension, his criticism—and turning them into gaslighting anthems about losing one’s self to a toxic partner. Lyrically, Out in the Storm stays fixed on the breakup, but Crutchfield and company find different ways to express things musically, balancing rock ’n’ roll romps like “Never Been Wrong,” “Silver,” and “No Question” with somber slow-burners like “Recite Remorse,” “A Little More,” and “Fade.” The result is breakup album that is as real and raw as it gets. Waxahatchee performs with Palehound and Outer Spaces at 7 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com.

—Chris Kelly

hIp-hop

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Lil Yachty. 7 p.m. $36.25–$99. echostage.com.

JAZZ

songbyrD musiC house anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. The Mattson2. 8 p.m. $15–$18. songbyrddc.com. twins Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m.; 10 p.m. $10. twinsjazz.com.

ThURsDAY RocK

DC9 1940 9th St. NW. (202) 483-5000. All Get Out, Ratboys, Wild Pink. 8 p.m. $12. dcnine.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. Steal Your Peach, Revelator Hill. 8:30 p.m. $10. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000.

Donavon Frankenreiter, Matt Grundy. 7:30 p.m. $20–$25. thehamiltondc.com. kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Rachael Kilgour & Wilder Adkins.

6 p.m. Free. kennedy-center.org. songbyrD musiC house anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. KUR, Drama, Coop Poppy. 8 p.m. $15–$18. songbyrddc.com.

FoLK

9:30 Club 815 V St. NW. (202) 265-0930. Delta Rae, Lauren Jenkins. 7 p.m. $25. 930.com.

FUNK & R&B

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. King. 7:30 p.m. $29.50. birchmere.com.

TH 24 F 25 SU 27 TH 31

JAZZ

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Cyrus Chestnut Trio. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. twins Jazz 1344 U St. NW. (202) 234-0072. Twins Jazz Orchestra. 8:30 p.m.; 10:30 p.m. $22. twinsjazz.com.

Books

angela p. DoDson The author of Remember the Ladies: Celebrating Those Who Fought for Freedom at the Ballot Box discusses her work with USA Today’s Carol Richards. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 18 7 p.m. Free. (202) 364-1919. politics-prose.com. ibram X. kenDi Kendi discusses his National Book Award-winning study Stamped From the Beginning: The Definitive History of Racist Ideas in America, which argues that racism in America grew out of specific policies instead of emotional responses. He appears in conversation with Wesley Lowery of The Washington Post. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 23 7 p.m. Free. (202) 364-1919. politics-prose.com. kamila shamsie In Home Fire, Shamsie tells the story of a woman torn between her familial obligations and desire to seek out better opportunities for herself in the United States. When the son of a prominent political figure becomes involved in her life, things take an even more serious turn. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 24 7 p.m. Free.

(202) 364-1919. politics-prose.com.

Joe tone In Bones: Brothers, Horses, Cartels, and the Borderland Dream, Tone, a former Dallas Observer editor, looks at life on both sides of the U.S.-Mexi-

STOKELY OF MINT CONDITION DC LEGENDARY MUSICIANS SUMMER SOUL JAM BILLY JOEL TRIBUTE SHOW, THE STRANGER SHANICE ROOT BOY SLIM ALL STARS KEITH BUSY’S “70’S BEST SHOW” MARCH FOURTH, PLUS DJ COBRAWOLFSHARK SEPTEMBER

F1 S2

SU 3

CLONES OF FUNK JEFF BRADSHAW B-DAY CELEBRATION FEAT. ALGEBRA BLESSETT & GLEN LEWIS OHIO PLAYERS, LABOR DAY WEEKEND PARTY 2 SHOWS 7/10PM

OAKHOUSE

FRI 18

BACCHAE (TAPE RELEASE)

SAT 19

RIGHT ROUND 80S ALT POP DANCE PARTY

SAT 19

XENO AND OAKLANDER

EASTER ISLAND + COLLIDER EAR + KEEPER

TECHNOPHOBIA / VOID VISION / SHIPS IN THE NIGHT

A BENEFIT FOR HOUSE OF RUTH SUN 20

YADDIYA (RECORD RELEASE) FOOTS X COLES + OBIISAY

MON 21

MUGGLE MONDAYS

BUTTERBEER & THE 7TH FILM

WED 23

FRI 25

SAT 26

SHEER MAG HARAM + RASHOMON THE GREATEST GENERATION EIGHTIES MAYHEM

END OF SUMMER DANCE PARTY

SUN 27 UNITED AGAINST ISLAMOPHOBIA FEAT. DROP ELECTRIC THU 31

DRUNK EDUCATION

SHEER MAG WED AUG 23

PABLO CRUISE

F8

THU 17

JUST ANNOUNCED S 9/30

ROY BUCHANAN TRIBUTE

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

(240) 330-4500

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

FRI SEPT 8 SHABAZZ PALACES

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com august 18, 2017 31

co border and how the fates of two brothers radically differ when one works to support his family while the other leads a drug cartel. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 21 7 p.m. Free. (202) 364-1919. politics-prose.com.

WALTER

TROUT W/ MATTHEW CURRY

THURSDAY AUGUST

17

AN EVENING WITH

GET THE

LED OUT

FRIDAY AUGUST

18

THE LONDON SOULS AND CON BRIO WED, AUG 23

WALLY KINGS PRESENTS

KABAKA PYRAMID

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

DONAVON FRANKENREITER W/ SPECIAL GUEST MATT GRUNDY AN EVENING WITH

Galleries

arlington arts Center 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter. org. Ongoing: “Only the Bridge Matters Now.” Multimedia artist Carey Averbrook examines the Bolivian community in Northern Virginia in this exhibit, which focuses on their connection to the Valle Alto and the traditions, items, and metaphorical bridges that span the distance between those places. June 24 to Sept. 3.

DC arts Center 2438 18th St. NW. (202) 4627833. dcartscenter.org. Ongoing: “1460 Wallmountables.” The popular exhibit, which invites DC Arts Center members and local artists, professional and amateur, to display their own work on every gallery wall, returns for its 28th edition. July 21 to Sept. 10. honFleur gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Opening: “Black Magic: Afro Pasts/Afro Futures.” Curator Niama Safia Sandy brings together seven different artists from across the Black Diaspora in this exhibit based around the idea of magical realism. Featuring paintings, sculptures, and photographs, this exhibit requires artists and viewers to think about the shared past of people of African descent. Aug. 19 to Oct. 7.

SAT, AUG 19

FRI & SAT, AUG 25 & 26

CITY LIGHTS: TUEsDAY

2 NIGHTS

viviD solutions gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Opening: “Black Dolls.” Drawing inspiration form the work of poet Léon-Gontran Damas, French Guianese photographer Mirtho Linguet presents this show of politically charged images of women. Linguet draws on themes of female objectification and the global impact of white supremacy in this deeply emotional exhibit. Aug. 18 to Oct. 7.

RAMSEY LEWIS QUINTET SUN, AUG 27

LIVE NATION PRESENTS PJ MORTON W/ MAJOR AND ASH THURS, AUG 31

BEAUSOLEIL AVEC MICHAEL DOUCET FRI, SEPT 1

SELWYN BIRCHWOOD SAT, SEPT 2

KEVIN JACKSON BAND AND ANISSA HARGROVE THURS, SEPT 7

RHETT MILLER OF OLD 97’S W/ ANTHONY D’AMATO FRI, SEPT 8

THE JAMES BROWN DANCE PARTY

THE FUNKIEST ALL-STAR TRIBUTE IN SHOW BUSINESS SAT, SEPT 9

LUTHER RE-LIVES

W/ DREW OLIVIA TILLMAN SUN, SEPT 10

AN EVENING WITH BRASS-A-HOLICS

THEHAMILTONDC.COM

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. 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. 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.

32 august 18, 2017 washingtoncitypaper.com

UKE AND GUITAR sUMMIT

“Oo-koo-leh-leh,” says my mom. My parents were born and raised in Hawaii. I’ve taken up the ukulele to get in touch with my roots, and I’m strangely terrible at it. But the uke is so friendly, folksy, and versatile that it’s no surprise D.C. boasts a community of players numerous enough to support Strathmore’s ninth annual Uke & Guitar Summit. The five-day festival includes morning classes divided by skill level and afternoon choose-your-own classes that, on Aug. 22, will include jazz blues progressions in the key of F and how to arrange cover songs on ukulele. The concluding free Uke Fest concert on Aug. 23 features this year’s notable instructors—like Benny Chong, Craig Chee, and Maureen Andary (pictured)—and the well-rehearsed Strathmore Uke Orchestra. Just now, I picked up my concert-sized ukulele and, after glancing at the internet to remind myself of this song’s very few chords, quietly played and sang Daniel Johnston’s “Worried Shoes.” With a calypso strum. The songs I know aren’t the local music my extended family would recognize, like “Ke Kali Nei Au.” But someday—on four strings and a prayer—I may get there. The summit runs Aug.19 to 23 at the Mansion at Strathmore, 10701 Rockville Pike, North Bethesda. $400. (301) 581-5100. strathmore.org.

—Diana Michele Yap

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)

the hitman’s boDyguarD Ryan Reynolds and Samuel L. Jackson team up in this action comedy that finds the world’s top bodyguard (Reynolds) assigned to escort a hitman to testify at the International Criminal Court. Hijinks ensue as they try to combat their differences and make it to their final destination.

Directed by Patrick Hughes. (See washingtoncitypaper.com for venue information) the nut Job 2: nutty by nature The crazy squirrels from the 2014 animated film return in this sequel, 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 for venue information)

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 for venue information)

the trip to spain Rob Brydon and Steve Coogan make their way through the hills and valleys of Spain in their third episodic travel comedy. Featuring plenty of jokes and shots of incredible food, the largely improvised film is directed by Michael Winterbottom. (See washingtoncitypaper.com for venue information)

gooD time In order to save his brother who’s being held at Riker’s Island following a bank robbery gone bad, a young man must go to extremes in this intense crime drama from directors Ben and Joshua Safdie.

Starring Robert Pattinson and Jennifer Jason Leigh.

(See washingtoncitypaper.com for venue information)

winD river In order to investigate a murder on a 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)

JOHN CHO

HALEY LU RICHARDSON

PARKER POSEY

CITY LIGHTS: WEDNEsDAY

shEER MAG

It feels strange to call Need to Feel Your Love Sheer Mag’s debut record. While technically it’s the Philadelphia rockers’ first proper LP, their EPs and their bracing live sets have been a vital part of the past three summers.

Need to Feel Your Love continues the group’s reclamation of ’70s hard rock. The driving, carefree guitars and punchy choruses are instantly familiar, but the frivolous sex and drugs have been replaced with a modern anxiety, defiance, and smarts. “If you don’t give us the ballot, expect the bayonet,” frontwoman Tina Halladay threatens on “Expect the Bayonet,” the only song about gerrymandering guaranteed to get a crowd jumping.

Halladay is the fuel that sends Sheer Mag into the upper atmosphere. Her voices growls, spits, and tears before cutting into the high notes like a diva in a street fight. While she is most often pummeling her rivals, Hallady has the range to reveal her own wounds on somber songs like “(Say Goodbye to) Sophie Scholl.” Watching somebody so powerful and honest is invigorating. If you need your fire stoked, Sheer Mag will provide the gasoline and get you ready for the days ahead. Sheer Mag performs with Haram and Rashomon at 7:30 p.m. at Black Cat, 1811 14th St. NW. $15.(202) 667-4490. blackcatdc.com.

—Justin Weber

C O L U M B U S

“A MASTERPIECE.” – The New Republic

“REMARKABLE.” – Vanity Fair

“VISIONARY.” – The New Yorker

columbusthemovie.com

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KING

The female R&B trio, when properly assembled, can do amazing things with harmonies. Think of TLC or Destiny’s Child and the ways their voices meld on songs like “Unpretty” or “Survivor.”

A new entry into this subgenre is KING, a Los Angeles-based ensemble featuring twins Amber and Paris Strother and Anita Bias. Their dream pop-influenced compositions layer delicate vocals on top of silky, undulating waves of synths and moody, affecting lyrics. On the somber “Love Song,” they sing, to an unknown lover, “Not far, not far from here/I’ll wait for you, my dear/And we’ll dance, who cares what we dance for,” expressing a deeply seated desire for freedom in just over 20 words. This level of thoughtful musicianship earned the women a 2017 Grammy nomination for Best Urban Contemporary Performance, the first ever for an independent ensemble. While the mood they create on certain songs might feel right in a tiny, underground club, the fact that they’re playing at the Birchmere means more listeners will be able to see the group dynamics up close. KING performs with Jalen N’Gonda at 7:30 p.m. at The Birchmere, 3701 Mount Vernon Ave., Alexandria. $29.50. (703) 549-7500. birchmere.com.

—Caroline Jones washingtoncitypaper.com august 18, 2017 33

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

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

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CITYPAPER

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS Washington Latin Public CharterHEALTH/MIND, School is currently operating inBODY the National Lunch Pro&School SPIRIT gram at 5200 2nd Street, NW and

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34 August 18, 2017 washingtoncitypaper.com

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CHANGE A LIFE HIRE AN INTERN INTERN 202-459-4308 To sponsor A an intern, CHANGE LIFE CHANGE AALIFE LIFE CHANGE .. .

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2017 ADM 973 Estate of: JAMETTA W. MARTIN Deceased.

Notice of Standard Probate (For estates of decedents dying on or after July 1, 1995) Notice is hereby given that a petition has been filed in this court

by HAROLD GREGORY MARTIN for standard probate, including the appointment of one or more personal representatives. Unless a responsive pleading in the form of a complaint or an objection in accordance with Superior Court Probate Division Rule 407 is filed in this Court within 30 days from the date of first publication of this notice, the Court may take the action hereinafter set forth. Admit to probate the will dated April 23, 2014 exhibited with the petion upon proof satisfactory to the Court of due execution by affidavit of the witnesses or otherwise.

Date of first publication: 8/17/2017 Name of newspaper and/or periodical: Washington Times Washington City Paper Personal Representative: http://www.washingtonciJudith H Mullen typaper.com/ TRUE TEST copy Anne Meister Register of Wills Clerk of the Probate Division Pub Dates: August 17, 24, 31.

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http://www.washingtwill serve all children a nutritional oncitypaper.com/ meal and will not discriminate.

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, disability, age, 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) http://www.washingtonfound online at: http://www.ascr. citypaper.com/ usda.gov/complaint_fi ling_cust.http://www.washingtoncityhtml, and at any USDA offi ce, orpaper.com/ 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: (1) Mail: U.S. Department of Agriculture Offi ce of the Assistant Secretary for Civil Rights 1400 Independence Avenue, SW Washhttp://www.washingtonington, D.C. 20250-9410; citypaper.com/

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Legals 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

Washington Latin Public Charter School is currently operating in the National School Lunch Program at 5200 2nd Street, NW and will serve all children a nutritional meal and will not discriminate.

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 Legals from discriminating based on race, color, national origin, sex, disability, age, 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: (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. Individuals who http://www.washingtareoncitypaper.com/ deaf, hard of hearing or have speech disabilities may contact USDA through the Federal Relay Service 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 § http://www.washingtonci2-1402.11: typaper.com/ 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) 727-4559 or ohr@dc.gov.

This institution is an equal opportunity provider. Individuals who are deaf, hard of hearing or have speech disabilities may contact USDA through the Federal Relay Service 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, Legals 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) 727-4559 or ohr@dc.gov.

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INVITATION FOR BID Food Distributor: Bread Items Mundo Verde Public Charter School is advertising the opportunity to bid on the delivery of Bread Items to children enrolled at the school for the 2017-2018 school year with a possible extension of (2) one year renewals. All items must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifi cations outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on August 18, 2017 from Kelsey Weisgerber at 202-750-7060 or kweisgerber@mundoverdepcs.org.

Proposals will be accepted at 30 P Street NW, Washington, DC 2001 until September 11, 2017 at 3:30 P.M. All bids not addressing all areas as outlined in the IFB will not be considered.

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47 Frat type Proposals will be accepted at 30 49 Mosquitoes P Street NW, Washington, DC 2001 until September 11, 2017 at and baby 3:30 P.M. brothers, e.g.

All bids not addressing all areas FIND YOUR OUTLET. 50 â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m ___ for it!â&#x20AC;? as outlined in the IFB will not be RELAX, UNWIND, considered.

51 Actor who REPEAT CLASSIFIEDS played Stringer ApartmentsBODY for Rent HEALTH/MIND, on The Wire BRAND NEW LUXURY APART& MENTS SPIRIT 53 Thornfield Hall FOR RENT http://www.washingtoncigoverness LOCATION: typaper.com/ -20 Florida Avenue, NE 55 Dude from Dallas -3 blocks from NoMa-Gallaudet 56 â&#x20AC;&#x153;___ up or Metro Station (Red Line) -3 blocks to Harris Teeter, CVS shut upâ&#x20AC;? and other restaurants 57 Bowling org.

FEATURES: -Rent per month $1,650-$2,300 58 Pencil holder -Large Units as well as -Stainless Steel Kitchen Applieyeglasses ances -Granite Kitchen Countertops holder 0 0 $ 5 2 1 , 1 * ( / 6 7 ( 8 5 5 0 5 $ 6 ( * 2 $ , 6 / & 2 5 7 ( 5 , 1 < 1 6

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. $650 security deposit required Close to Metro and parking available. Use of kitchen, very clean. Seeking Professional.

Call 301/237-8932.

Accounting/Finance Accountant: Bipartisan Policy Center, Inc. seeks f/t Senior Staff Accountant in Washington, DC to perform accounting + payroll functions. Reqâ&#x20AC;&#x2122;s Bachelorâ&#x20AC;&#x2122;s degree or frgn equiv degree in Acctng, Fin, or rel discipline +2 yrs non-profi t acctng exp & 2 yrs exp using MS Excel, including pivot tables & functions. Send resume to jobs@bipartisanpolicy.org and reference 16-942.

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

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

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Miscellaneous Flyer Distributors Needed Monday-Friday and weekends.

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

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$ 3 6 ( 7 5 , ; 0 , 1 ; 0 $ 2 5 $ , 1 Condos for Rent , / $1900 - Large L-Shaped effi ciency-studio for rent, available 7 8 5 1 beginning Sep. 1st. Fully fur( 5 , ( nished, 24Hr Desk/Security, roof Out the In topwith swimming pool,old, all utilities * 2 7 included in the rent.

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

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.

Great pay! jim@freshairmusic. com

Upcoming Shows

Big Mo Presents 1 Year Anniversary All White Party @ Club Heaven & Hell 2327 18th Street NW WDC (Adams Morgan Area) August 17th 9pm-2am Hosted by: Black Ink Crew Mz. Donna & Ernest El Ladies free b4 10pm after $20 for VIP or more Details contact 240.701.3592 https://www.bigmoradioshow.com/upcoming-events/

Announcements Comic Book & Sports Card Show Shoff Promotions SUNDAY AUGUST 27 10am-3pm, Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 Awesome Selection of collectibles such as: Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards from the 1880â&#x20AC;&#x2122;s toFIND the YOUR presentOUTLET. and Magic and Pokemon cards too, POP and othUNWIND, erRELAX, Super Heroes Toys, REPEAT and Hobby Supplies CLASSIFIEDS HEALTH/ PLUS Sports Cards-vintage MIND, BODY & SPIRIT to the present : Baseball, Football, http://www.washingtonBasketball and Hockey and sports collectibles and memcitypaper.com/ orabilia of all types. Admission $3; 12 & under Free. Easy Access and Free Parking INFO: shoffpromotions.com

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Comic Book & Sports Card Show Shoff Promotions SUNDAY AUGUST 27 10am-3pm, Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 Awesome Selection of collectibles such as: Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards from the 1880â&#x20AC;&#x2122;s to the present and Magic and Pokemon cards too, POP and other Super Heroes Toys, and Hobby Supplies PLUS Sports Cards-vintage to the present : Baseball, Football, Basketball and Hockey and sports collectibles and memorabilia of all types. Admission $3; 12 & under Free. Easy Access and Free Parking INFO: shoffpromotions.com

Volunteer Services Volunteer with Smithsonian National Museum of Natural History. August 3, 2017 we will be opening a new exhibit Narwhal: Revealing an Arctic legend and are currently in the process of recruiting volunteers to educate visitors in this exhibit and the Sant ocean hall. Trainings in September. Email NMNHVolunteer@si.edu for further information.

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

Twitter: @wacdtf Volunteer with Smithsonian National Museum of Natural History! We are currently recruiting volunteers to work with our School Programs. Trainings in September. Email NMNHVolunteer@si.edu for more information.

Counseling MAKE THE CALL TO START GETTING CLEAN TODAY. Free 24/7 Helpline for alcohol & drug addiction treatment. Get help! It is time to take your life back! Call Now: 855-732-4139 Pregnant? Considering Adoption? Call us first. Living expenses, housing, medical, and continued support afterwards. Choose adoptive family of your choice.

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oncitypaper.com/ Womenâ&#x20AC;&#x2122;s Anger Salon Saturday, August 19th, 11am-5pm What might happen if we learned to embrace our anger? More joy, reduced pain, healthy relationships. www.LightThePhoenix.com/ Events https://www.youtube. com/watch?v=7vIwJeDDuq4

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