Washington City Paper (August 19, 2016)

CITYPAPER Washington

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Art

Blanche d.C.’s #museums have embraced #big #splashy social media-friendly #exhibitions. but is that good for #art? p.14

By Kriston Capps Photos by Darrow Montgomery

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INSIDE

14 art blanche Are D.C. museums having too much #fun?

By Kriston Capps Photographs by Darrow Montgomery

4 Chatter DistriCt Line

7 Board to Death: D.C. somehow manages to field a State Board of Education race that’s worth watching.

8 Unobstructed View 10 Buy D.C. 11 Gear Prudence 12 Savage Love

D.C. FeeD

18 Young & Hungry: A rabbi, a student, and a consultant start a food truck.

20 Grazer: Sauce-O-Meter 23 Are You Gonna Eat That?

Alligator baby back ribs 23 Underserved: All Purpose’s Black Manhattan

arts

21 Theater: Klimek on Jelly’s Last Jam and The Lonesome West 24 Film: Gittell on Lo and Behold and Ben-Hur

City List

27 City Lights: Rock & Roll Hotel celebrates its 10-year anniversary with concerts by Lower Dens and Downtown Boys.

27 Music 31 Books 31 Theater 33 Film

34 CLassiFieDs Diversions 35 Crossword

“I won’t even entertain the possibility that this guy will get elected.” —Page 7

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CHATTER

Poor One Out

In which readers blame other people for a neighborhood’s problems.

Darrow MontgoMery

ReadeR Response to Andrew Giambrone’s reported feature about the decline of Columbia Heights (“Withering Heights,” Aug. 12) revealed mixed feelings, but a lot of it could be summed up thusly: “Poor people ruin everything!”

Let the record show: doug524 commented that “‘Affordable housing’ aka the ghetto is the root cause of the problem.”

ProfChris had another thinly veiled screed laid out over about a thousand words in our comments section: “The white people have come in almost as a proxy for the old black professional and middle classes. ... There’s also a crucible cooking the left-behind, the undereducated: the trash, violence, drug dealing, public drunkeness or high on the painkiller du jour, dysfunctional/anti-social behavior & culture, even renewed trick-turning in certain alleys or houses, are the symptoms…. the only practical alternative is to plan for more gentrification to push them away or out....” Take that, you poors! Readers were also passionate about Robin Eberhardt’s piece detailing—and mocking—outrage over redevelopment of the bank plaza in Adams Morgan (“Plaza-ble Deniability,” Aug. 12).

Mike Tabor, who owns the farm that hosts the weekly farmers market there, took umbrage at our characterization of community members “event squatting” on the plaza. The market “started in 1973 when the open space was a dirt parking lot and the community was fighting a proposal to locate a gas station at the corner,” he wrote to CP. “The community stopped that from happening and a bank purchased the property.”

He noted that the farmers market was officially designated through a D.C. Council act. Neighborhood activist Chris Otten criticized the piece for “rehashing ... negative rhetoric and … inaccurate or misleading statements from [developer Monty Hoffman’s] salivating mind.” In particular, Otten and others protested the planned 2,500 square feet of new plaza included in a compromise plan, claiming that figure is inflated.

It’s more like “600 square feet,” he said, but we couldn’t verify that figure. Otten also challenged our use of the word “alleged” before our mention of bank redlining. We don’t question that the horrendous historical practice happened in the neighborhood, but the site’s former bank denied it, and our research found no official finding of its guilt in particular. OK, what’s a “salivating mind”?

—Emily Q. Hazzard Send letter, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

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Tomorrow’s History Today: This was the week Police Chief Cathy Lanier announced she’s resigning next month to run the NFL’s security operation.

DistrictLine Board to Death

November’s most competitive race doesn’t even matter—or does it?

Standing in the cavernous lobby of Ward 8’s new Rocketship Rise Academy charter school, Jacque Patterson has a lot on his mind. The head of District operations for the California-based high-tech charter chain, Patterson is charged with launching the school in just a few weeks.

But he has more than that to think about.

In November, he’ll face nine-year incumbent Mary Lord and potentially two other candidates for an at-large, citywide spot on the District’s State Board of Education. And Patterson, who lost a bruising 2012 D.C. Council run against Marion Barry, isn’t afraid to take on this incumbent either.

“I don’t think she understands the urgency of urban education,” he says of Lord.

Conventional wis dom among the city’s political class suggests that the State Board of Education, left virtually toothless after the 2007 mayoral takeover of schools, isn’t worth much. But contrary to such chatter, this might be the rare SBOE race that actually matters. With the Democratic D.C. Council candidates guaranteed to win their seats and Independent David Grosso facing only token opposition to his own at-large re-election campaign, Patterson’s run against Lord will be the race to watch on November’s ballot.

Created in the aftermath of then-Mayor Adrian Fenty’s 2007 takeover of D.C. Public Schools, SBOE replaced the old Board of Education, which had significantly more power over the District’s public schools. But Lord, who took office shortly after mayoral control of the schools began, disputes the idea that the board doesn’t wield influence beyond its ability to affect curriculum requirements.

In a typically wonky analogy, Lord compares the current incarnation of the board to the NCAA setting the rules for college athletics.

“We don’t get credit for the Ws and Ls on the scoreboard, but we make the rules of the game,” Lord says, presumably of “wins” and “losses.”

Maybe all that Lord and Patterson can agree on is that the SBOE doesn’t have to be powerless. Patterson wants to take on a more activist role on the body, using his voter base to cud-

aborted at-large campaign of Jimmy Calomiris, who backed out of the race after LL reported on his past assault conviction and cocaine use.

Patterson is pulling in huge money for what is typically a little-watched race, having already raised more than $32,000. Lord, on the other hand, had raised a comparatively puny $5,000 as of Aug. 10.

“I was pretty blown away by the initial filings,” Lord says. “I’m no politician, right?”

whole lot of walking-around money pretending to be this champion of children when his day job is peddling influence,” Lord says.

She suggests that Patterson’s position at the Rocketship school could create conflicts of interest and “influence peddling 101,” though SBOE doesn’t have control over charters. Lord compares Patterson’s job at the school and would-be role on the board to Vincent Orange, who resigned from the Council under pressure Monday after trying to hold both his legislative seat and the top job at the D.C. Jacque Patterson Chamber of Commerce.

“If you like what Orange pulled on the Council, you’ll love this one,” she says.

She says Patterson is just running to set himself up for a future D.C. Council run. (Not a bad move, after former SBOE member Trayon White’s successful June primary race for the Ward 8 Council seat.)

Patterson has his own criticisms of the incumbent, complaining that Lord, who lives in Ward 1, is ignoring struggling schools east of the Anacostia River.

“I don’t think that she goes into those types of communities,” Patterson says.

After countless visits to the homes of potential Rocketship students, Patterson is well-positioned to say he can do the job better.

Lord counters that she has a recent receipt from Congress Patterson has won the support of Brookings Heights landmark restaurant Player’s Lounge Institution budget wonk and former D.C. Fi- that proves otherwise. And anyway, she says if nancial Control Board member Alice Rivlin, Patterson wants to help areas east of the river who gave the maximum $500 contribution to so much, maybe he should run for a board seat his campaign. there instead of citywide.

“She’s not just giving because I’m a smiling “I won’t even entertain the possibility that face,” Patterson says. this guy will get elected.”

CP Facing the fight of her not-so-political career, Lord is happy to throw some elbows. Got a tip for LL? Send suggestions to lips@wash“What I’m not for is somebody who’s got a ingtoncitypaper.com. Or call (202) 650-6925.

Darrow Montgomery

By Will Sommer

gel councilmembers into action on schools.

(Whether that will actually work at city hall, of course, remains to be seen).

“It’s like saying ‘The Pentagon has power, the State Department has no power,’” Lord says, refuting criticism of the body as virtually pointless. “They just have different powers.”

In any case, Patterson wants in. He’s hired District Political, the firm behind David Garber’s losing at-large D.C. Council bid and the

washingtoncitypaper.com august 19, 2016 7

UNOBSTRUCTED

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One meaningless preseasOn game is in the books. ESPN is making their analysts chug Red Bull and stay up around the clock. People are buying already outdated print magazines.

And websites everywhere are publishing articles about third- and fourth-string running backs. We have officially reached “Fantasy Football Draft Season” on the NFL calendar.

Nothing on the NFL calendar elicits more authoritative-sounding advice based on less actual expertise than fantasy football. Fantasy draft gurus make the real draft gurus look like Shirley Povich, and those guys are borderline useless.

Still, any site or publication with any kind of focus on sports at all will publish a guide to your fantasy draft, and we here at City Paper would hate to leave our loyal sports readership heading into their fantasy drafts unadvised.

(You might think that I am less qualified than the other fantasy football experts out there, the ones who bring you breathless daily podcasts and lengthy player ranking lists, but I assure you that I too have a pulse and the ability to type words on a computer, and have also won at least one fantasy league championship in the last decade or so.)

So here, then, is the Official City Paper 2016 Authoritative Guide To Dominating Your Fantasy Football Draft While Maintaining A Healthy Outlook On Life And Also Just Generally Being A Better Person.

1) Do no advance draft preparation beyond reading this column. Literally nothing. Maybe, if you have the sort of job in which you need to kill a few hours on the internet, go ahead and read some lists of players. Maybe try to know who went where in free agency or whatever. Then, on the day of the draft, find a site to review and see who has suffered significant injuries. Then don’t draft the injured people. Whatever website you’re using for your league management will have the players ranked, and those ratings won’t be any worse than whatever you might find else-

where, with the added advantage of your not having wasted hours of your life. Instead, use those hours constructively. Take up a(nother) hobby, or reconnect with old friends.

2) If you must read expert fantasy football columns, ignore all of their advice. Or, more accurately, find experts who support what you already want to do. Thanks to the overwhelming volume of fantasy football content, every single strategy you might consider has already been tested, debunked, un-debunked, formalized with an officialsounding name, and built into an app that costs between three and five dollars. All of them are equally likely to work, so you might as well just go ahead and find someone who confirms what you already want to do. That way when other people at your draft make fun of you, you can shut them down and bolster your own self-esteem by casually explaining that you’re just leveraging the Quadruple Ace Tight End strategy or whatever.

3) On draft day, focus on the actual people you know, not the imaginary players on your team. Really, the only reason to play fantasy football instead of the state lottery or some other, more expedient form of casual gambling is to keep in touch with friends. Make the most of that, even if only through sarcasm and casual cruelty. Remember, time spent actively belittling your friend’s pick has more personal value than time spent trying to decide between two equally matched options at running back.

4) Basically, embrace the fact that this game is driven entirely by luck. There is a reason all the experts are wrong most of the time and that none of the copious advice actually gives anyone a distinct advantage: It’s because this game applies an arbitrary secondary scoring system onto an existing game that no one can predict, with an oddly shaped ball that could cost you eight points with a single unfortunate bounce. Accept that. Don’t be the owner wondering why the universe is against you, or claiming that luck has somehow undermined your skill. It’s all luck, and the more thoroughly you embrace that, the happier you will be with your season. When you get frustrated, use it as an excuse to send a cranky email to one of your league mates—remember, building those relationships is the real point of this game!

5) Don’t draft a kicker before the last round. This is the one bit of actual fantasy football advice that is 100% undeniably correct.

CP Follow Matt Terl on Twitter @Matt_Terl.

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Gear Prudence

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Gear Prudence: I just moved to the eighth floor of a big apartment building. This means I have to take my bike on the elevator every day. I’ve definitely been on there with other people, and even though there’s plenty of room, I still get dirty looks. But realistically, I’m not supposed to wait until the elevator’s empty to ride it with my bike, right? If there’s enough room, shouldn’t these people just stop hating bikes and get over it?

—Living In Faulty Tower Dear LIFT: Generally speaking, bike haters should get over it, both in this and in all contexts.

But GP hasn’t seen sufficient evidence that it’s the bike that they hate. Maybe it’s you! Do you play loud music late at night? Do you reek of cologne? Is your bag festooned with buttons endorsing odious political views? You can blame a bike for a lot of things, but not everything.

That said, if riding the elevator with a bike really is causing neighbor trouble, you have a couple of options to forestall it. Before boarding, ask the other elevator occupants if they’re OK with it. Bikes, after all, can be kind of gunky, but GP suspects the overwhelming majority of residents are quite reasonable and more than willing to oblige. Say “sorry” and “thank you” as appropriate and maybe even too much. And make sure your bike doesn’t come anywhere close to touching a fellow occupant or blocking the buttons or door. If it looks cramped, don’t cram in.

That’s a jerk move.

—Gear Prudence Gear Prudence: I’m an avid whistler. I love whistling and I especially love whistling during my bike commute. But the other day, I was whistling a tune, as I do, and another bike commuter told me to stop because “it is very annoying!” So rude! Shouldn’t I get to whistle as much as I want?

—Bicyclist Loves Own Whistle Dear BLOW: Sure, whistle away. Whistle until you’re out of breath. Whistle so much that passersby think it’s a factory shift change or a train is about to enter a tunnel. Just put your lips together and blow (through stop signs). Whistling while bike commuting accomplishes a few things: It entertains you, in entertains those around you (assuming you’re musical enough to carry a tune), and it develops lung capacity, which in turn makes you a stronger cyclist, capable of riding farther and whistling louder with each successive jaunt. GP suspects the other bike commuter wasn’t so much annoyed with the noise as jealous of your ability to push air from your mouth to emit a high-pitched, likely sharp racket. Next time (if ever) you’re criticized for whistling, stop. Just sing the song you were whistling instead. Be sure to butcher the lyrics and remain woefully off-key. That’ll show him.

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

Email gearprudence@washcp.com.

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DEAR READERS: I’m on vacation for three weeks—but you won’t be reading old columns in my absence, and you won’t be reading columns by anyone who isn’t Dan Savage. You’ll be reading new columns, all of them written by Dan Savage, none of them written by me.

Our second guest Dan Savage is 32 years old, single, and living in London. He got his professional start working in promotions at the legendary London nightclub G-A-Y. He’s now 10 years into a career in theater arts marketing and currently works for some of the West End’s biggest hit musicals. Dan has never written a sexadvice column before, but he occasionally gets angry tweets that were meant for me.

A quick word about qualifications: Advice is defined as “an opinion about what could or should be done.” We’re all entitled to our opinions—but only Dan Savage, theatrical marketing exec, is entitled to share his opinions in my column this week. Take it away, Dan! —Dan Savage I’m an early-30s bi woman. As I have more relationships, I have started to see a pattern: I find sex much hotter when there is some degree of confusion or forbidden-ness. So relationship sex can get boring quickly. I know there’s not necessarily a good answer for why, but any suggestions on what to do about this? I want to have great sex with a partner for life! Maybe my expectations about good sex in a long-term relationship are unrealistic? I know it’s not always going to be crazy passion, but how can I sustain amazing sex in a relationship?

—Passion Fades From This

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A problem you and I share! The fun is in the chase, the excitement of someone new, and that first time. You may return for a second or maybe a third time—but then what or who is next? Often, this is regardless of whatever feelings may have started to develop.

For those who don’t understand, just imagine we’re talking about food. You like food. You like lots of different types of food. Right now, your favorite food is hot dogs. But you don’t want to eat that every day. Occasionally, you might want an all-you-can-eat sushi buffet.

I believe the secret to a good relationship— besides love and passion—is keeping it downright dirty! It’s about keeping that spark alive.

If the fun starts to fade, spice it up with toys, games, risky locations, additional people, rubber dog masks—you can’t know what will excite you both until you give it a try! But that’s the key, that you both like it.

There are millions of people all over the world in long-term relationships that on the face of it maintain a fun and healthy sex life— can it really be that hard? Or maybe long-term relationships aren’t for you, PFFT! —Dan

12 august 19, 2016 washingtoncitypaper.com

If the fun starts to fade, spice it up with toys, games, risky locations, additional people, rubber dog masks...

I am a 65-year-old male new to gay relationships.

I placed a listing on SilverDaddies and have had a LOT of responses from great young guys. I have met only one guy so far. He is 23 and says he has had only a few girlfriends and has not had any gay experiences. He is so passionate. Very oral.

Long kissing sessions, and he puts his tongue EVERYWHERE. Very submissive and insatiable. Of course I use condoms. I asked him what he gets out of this. He said he gets an intensity he can’t explain over pleasing an older man that he doesn’t get from sex with a female. Being a sub makes him rock hard, and with a woman, he has to be the performer. He considers himself straight, since he is attracted only to older men and is only a bottom.

In any case, he will be back at grad school soon, and I will no doubt have another partner. I have never had an STD. I don’t want to get one now. I talked to a clinic over the phone about getting the HPV vaccine, and they thought it was funny and would not do it. I will be seeing young guys who are sexually active, so I think I should be able to get this vaccine. I do not want cold sores or warts or whatever at my age.

—This Old Pop I think it’s great—if you don’t mind me saying—that in your advanced years you are able to embark on this new sexual adventure and experimentation, TOP! And you have a hot 23year-old visiting you for regular sex—something a lot of people much younger than you would kill for!

As long as you are safe and wear a condom,

you shouldn’t put too much stress on yourself regarding STIs. Maybe just don’t go around picking up boys off street corners who look like they need a good wash.

My personal opinion is this guy maybe isn’t being as honest with you as you’d have hoped. A 23-year-old straight guy, in his first homosexual encounter, being “very oral” and “only a bottom” and putting “his tongue everywhere”—that sounds to me like someone who knows what he’s doing. My experience of first times is generally a quick fumble and an even quicker ejaculation.

Regardless, he is soon to leave, TOP, and you will find a new sexual partner. Advice from a YoungTOP to an OldTOP: Go with the flow and be safe, but most of all enjoy it! (And to older gay gentlemen who think you can’t get any: TOP is! You can!)

—Dan I am 39 years old and my husband is 51. We have been together nine years and married four. This morning, he was jacking off on my arse during foreplay and watching porn on his phone, which is not unusual. The problem is when I looked to see what he was watching (we often watch porn together), he got a little mad. I let it go, but when he got in the shower, I looked at his phone and saw that he was watching gay porn. MEN. I don’t think I have a problem with that, but it kind of threw me. Should I be worried that he is secretly on the down low? Or does he just like to look at gay porn occasionally? When I’m giving him a blowjob, he also enjoys me licking his arse. I don’t know how to confront him with what I have seen on his phone?

—Perspiring Over Relationship Now People look at all sorts of things online and are turned on by others. Man-on-man porn clearly does it for your man, or maybe this was the first time that he’d looked. Either way, the fact that he was doing this secretly while humped over your naked body and jacking off onto your arse is wrong. And he knows that: He hid the phone!

Rather than confronting him and creating a massive issue, why not suggest that you watch gay porn together. See what happens? If he is hiding the fact that he’s gay or bi, I’d be surprised that he’d blatantly flaunt it like this. Perhaps he wanted you to catch him? He wants you to know what else he’s into but doesn’t know how to tell you?

Although it’s rarely spoken about, a lot of straight men like the odd finger or tongue in the bum. It’s not a sign of homosexuality!

Maybe this could be taken further? You could go all out and strap one on and dominate him like a bitch!

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

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“Icebergs”

Art

Blanche D.C.’s #museums have embraced #big #splashy social media–friendly #exhibitions. But is that good for #art?

By @kristoncapps #photos by @Darrow_M 14 august 19, 2016 washingtoncitypaper.com

The view from the platform in “Icebergs,” the summer blockbuster show at the National Building Museum, is two-fold. The perch is a cutaway erected in scaffolding in one of the exhibit’s titular floating icebergs. From this vantage point, viewers can look down over the “water line,” a thin blue mesh net hanging 20 feet high off the ground to represent the surface of an ocean. Visitors can also look up to better see the floating icebergs’ peaks, one of which rises nearly 60 feet up inside the historic Great Hall.

It’s just a bonus that the “Icebergs” platform is the best hideout from Mom. “Come down or you have to stay here tonight,” a woman standing at ground level shouts to a rugrat lurking inside the icebergenclosed look-out. Foiled. “You’ll have to find a place to sleep.”

“No!” the little girl returns. In an architectural playground, she has found her Fortress of Solitude.

“Come down!”

“It’s an amazing place!” the girl pronounces, before scampering off to one of the slides built as an exit for this particular ’berg.

Glowing reviews from unlikely sources abound these days for the Building Museum, an institution that has elbowed its way into the cultural conversation with its summer folly series. “Icebergs,” a massive installation of suspended pentahedrons and octahedrons, is the third of these follies, designed

by James Corner Field Operations, the auteur of New York’s celebrated High Line as well as Cleveland’s recently debuted Public Square.

The show features more than 30 of the floating crystals inside the cavernous atrium, sculptural installations that viewers will take in from below, above, and within.

“Icebergs” is wordy for a summer-splash show: The installation is filled with factoids about icebergs and their bulkier cousins, glaciers. But while these may be shrinking, D.C. exhibits are expanding. The summer series is the latest in a trend of escalating gestures at museums on and off the National Mall designed to lure viewers in record numbers.

“We’re blessed with this amazing Great Hall,” says Chase W. Rynd, director of the National Building Museum. “We realized that this was an asset we had that we weren’t fully utilizing during the entire year, and summer especially, we weren’t using. Why not take advantage of something that not very many other people have?”

Hand out heaping scoops of ice cream, and people will stick around for a side of broccoli: That’s the theory. According to the Building Museum, it’s working. Shows that run alongside the summer blockbusters have seen an uptick in attendance during the summers. At the rate they’re growing, these spectacles can create their own momentum. The Building Museum is already considering launching a winter series.

Of all the local spectacles mounted over the last five years or so, the splashiest was “Wonder,” the show that reintroduced the Renwick Gallery to viewers in November 2015 after a two-year renovation. How could you have

missed it? More people saw “Wonder” than live in the District of Columbia. There was also “SONG1,” a 360-degree music and video installation projected onto the surface of the Hirshhorn Museum and Sculpture Garden in 2012. Only the Building Museum, though, has made its big installations a running series.

Rynd might rather see viewers experience “Icebergs” from the second- and third-floor balconies running along the perimeter of the atrium. This is where attendees can also access the other exhibits on view at the Building Museum, shows that don’t typically draw exultations of frenzied joy from children. No one snaps a Tinder-worthy selfie with the revolutionary landscape work of Wolfgang Oehme and James van Sweden.

painting survey at the Hirshhorn, a thoughtful Oehme, van Sweden profile at the Building Museum, or the entire permanent collection of the Renwick Gallery.

Quieter shows aren’t going anywhere; in fact, museum directors say that more people are seeing them than ever before, thanks to the louder stuff. But there may be other concerns for D.C. museums, which seem prone to spectacles lately. With even larger examples looming on the calendar, it’s worth asking: Are D.C. museums having too much fun?

Two years before “Icebergs” came “The Maze,” a labyrinthine wooden structure designed by the Bjarke Ingels Group, a hotshot architecture firm that also enjoyed a thorough-

“Wonder”

D.C. is not alone in grappling with the question of whether visitor expectations and social media are shaping museums in profound ways. Art-world spectacles run the gamut, from Carsten Höller’s tubular slides (on view for a second time in London) to Cai Guo Qiang’s firework displays to Paul McCarthy’s massive inflatable butt-plug, which angry Parisians deflated after its public debut in 2014.

Spectacles are a global aesthetic trend. They reflect the social and economic change seen in major world currents—from the fall of the Berlin Wall to the crash of the Great Recession.

Even the butt-plug.

Locally, if there’s a concern about museums serving too many sweets and not enough vegetables, it’s that exhibits that are low on nutrition—meaning shows that lack scholarship, quietude, or the possibility of an anti-social experience—will crowd out shows of substance. Such as an elegant Blinky Palermo

going mid-career survey at the Building Museum. It was a hit. “The Maze” opened the way for an even bigger sequel, Snarkitecture’s “The Beach,” one of the biggest museum exhibits in D.C. history, by at least two standards—visitor numbers and Instagram snaps.

“Our audiences have been growing and growing and growing,” Rynd says. “It’s hitting an audience that we wanted to appeal to more broadly. It’s using our space in a way that we never used it before. And it is also helping people to discover us, either local or national.”

Essentially: Go big or go home. But for museums, it might be closer to: Go big and go home. There is very little risk to museums in mounting physically and materially ambitious shows. This lesson isn’t obvious on its face, since blockbusters cost more money to mount and new art isn’t a guaranteed fundraiser in the same way that, say, a Frida Kahlo or Norman Rockwell show is. But the proof

is in the attendance rolls: Each spectacle supported by D.C. museums has proven to be a bigger hit than the last.

“SONG1” drew more than 200,000 viewers to the Hirshhorn, according to museum estimates. Like visitors strolling through the museum’s sculpture garden, couples picnicking on the lawn don’t count toward official attendance, which is measured by clicks at the door. But throughout the entirety of the work’s three-month run, museum attendance surged.

While annual attendance hovered around the 200,000 mark for the years 2009–2011, visitorship hit a high of almost 284,000 for 2012.

The Building Museum has also done numbers. BIG’s “Maze” drew some 50,000 people over the course of its summer 2014 run. “The Beach” brought a tsunami of visitors, pulling in more than 183,000 people from July 2 to Sept. 5, 2015, and setting a record for museum attendance. The Building Museum considers that show an exception. “Icebergs” is more in keeping with internal projections, drawing in 40,000 viewers to date.

The one to beat, though, is Renwick’s “Wonder.” This spectacle—or really, series of sculptural installations, some rendered at larger scales than others—pulled in about 732,000 viewers over its eight-month run. Annual attendance before the renovation was about 150,000, according to the museum. Possibly viewers were drawn in by news reports and the garish LED signs that now hang outside the Second Empire building, but in all likelihood, it was digital word-of-mouth. According to the museum, posts on Twitter and Instagram tagged with #RenwickGallery, #Renwick, and so on registered 240 million impressions.

So yes, “Wonder” was a big deal for the museum.

“There are incalculable benefits when a place that has long been almost invisible in Washington’s crowded museum scene suddenly is one of the hottest destinations in town,” says Elizabeth “Betsy” Broun, the longtime director of the Smithsonian American Art Museum and Renwick Gallery. “Yes, it helps with funding appeals when potential supporters say ‘Wow, the Renwick!’ instead of ‘Where’s the Renwick?’”

These shows are a big deal for D.C., too.

Rynd says that the Building Museum and its neighbors, the National Portrait Gallery and the Smithsonian American Art Museum, are working with the D.C. Business Improvement District on a cultural campaign aimed at tourists. It’s an effort to lure visitors away from the National Mall and toward other outposts in the city—to convince visitors to stick around for an extra day.

“The Mall can keep you really busy for two days,” Rynd says. “The Mall can keep you busy for months, obviously, but if you only have two or three days, you can stay on that Mall and have an amazing experience and never discover another part of Washington, D.C.” Dupont Underground is another extension of the city’s cultural infrastructure. The underground trolley platform–cum–art venue drew more than 5,600 attendees with “Raise/ Raze,” an exhibit by architects Hou de Sousa

washingtoncitypaper.com august 19, 2016 15

“Wonder”

that recycled the balls from “The Beach” into stackable cubes a la Minecraft. (The show, which ran from April 30 to June 1, might’ve drawn far more viewers had the D.C. Department of Consumer and Regulatory Affairs allowed it; capacity for the venue was restricted to 49 people at a time.)

D.C. missed a major opportunity to add to the ranks of its off-the-Mall cultural institutions when Mayor Muriel Bowser whiffed on bringing one to the historic Franklin School in downtown. Bowser’s predecessor, Mayor Vincent Gray, struck a deal with businessman and art collector Dani Levinas in 2014 to turn the historic building into the home of the Institute for Contemporary Expression—a contemporary-art center that would have mounted “Wonder”-like shows on the regular.

But in February 2015, Mayor Bowser abruptly scrapped Gray’s agreement with ICE, citing a lack of funding for the institution. It was a hollow excuse: As the deal had not yet been for-

mally approved by the D.C. Council, Levinas had not yet launched a capital campaign. In any case, internal communications obtained by City Paper in 2015 through the Freedom of Information Act show that the Office of the Deputy Mayor for Planning and Economic Development was aware that Levinas had already raised $3 million toward a $15 million goal.

In June, Levinas was elected chair of the board of the Phillips Collection, maybe the one D.C. modern art museum that has never mounted a spectacle. The fate of the Adolf Cluss–designed Franklin School, which has historic preservation status inside and out and has been abandoned since 2008, is uncertain.

Given the success of “Wonder,” a program such as ICE still seems like the best use of the Franklin School, especially as it is a public use that could potentially spill out into Franklin Square, an eyesore of a city park.

For its part, the Renwick Gallery, a museum devoted to craft and making, doesn’t in-

16 august 19, 2016 washingtoncitypaper.com

tend to cede the audience it has won over with contemporary art.

“The success of ‘Wonder’ has led to conversations with contemporary artists about ambitious future projects; it’s now a place where more artists want to show their work,” Broun says by email. “We’ve even had overtures about intriguing overseas collaborations, so we know the impact goes well beyond our shores.” museums mounT monumenTal artworks and installations in part because viewers appreciate novelty and interactivity. The numbers bear that out. But contemporary art spaces are also simply accommodating the work that the artists are making. And those artworks are getting larger.

“Artists are thinking on a much larger scale than they ever have before,” says Melissa Chiu, director of the Hirshhorn. “You need only look at their studios.”

The growing studio ambitions of blue-chip sculptors, installation artists, and architects reflects the aesthetic evolution of those practices. But the leap in scale can also be explained by tectonic shifts in society over the last 40 years, from the implosion of the auto industry and manufacturing sector in the U.S. to the collapse of the Iron Curtain. After the fall of the Berlin Wall in 1989, for example, artists rushed to claim cheap rents in Kreuzberg and other neighborhoods that had been crushed by communism—much as they had once flocked to a failing Manhattan after World War II. At the same time artists were starting to stretch their legs in cities like Berlin (or, more recently, in Shanghai), contemporary art museums the world over were rehabilitating fallow warehouse spaces as white-cube art centers. MASSMoCA in North Adams, Massachusetts; SITE Santa Fe in New Mexico; MoMA P.S.1 in Queens, New York—all of these and more reflect an ambition to turn former industrial space into au courant art hubs. Dupont Underground and the High Line are related examples of adaptive reuse and tactical urbanism.

Joanna Woronkowicz, a professor in the School of Public and Environmental Affairs at Indiana University Bloomington, has worked to document the cultural side of the building boom in the U.S. between 1994 and 2008. According to her work, from 2000 to 2002 (a heady time for cultural and performing arts organizations), 87 percent of metro statistical areas with a population of 2 million or more started at least one new cultural building project. Small towns got in on the act, too: Almost one-third of MSAs of 500,000 people or fewer also initiated a new cultural building of some kind.

“When museums, especially those devoted exclusively to contemporary art, began to inhabit larger spaces, especially post-industrial spaces, then scale became a whole other phenomenon,” Chiu says. “This has led artists to think much more ambitiously about largescale sculptural and interactive work. I think it’s as much about the artists’ own ambition and the spaces they have to play with.”

At times, contemporary art reflects these conditions precisely. See, for example, Tara Donovan’s “Untitled,” one of the nine gallery-sized sculptural works in “Wonder” (which closed in July). The piece featured index cards stacked in enormous piles resembling massive termite mounds. It was assembled painstakingly by assistants, no doubt debt-strapped graduate students and young artist netherworlders. In subtle ways, Donovan’s work shows how global resources pile up for economic elites. An artist armed with the concept alone couldn’t pull off work at Donovan’s scale. Spectacle requires support.

“SONG1” seemed to reflect a world-is-flat perspective on artwork and art-making. Doug Aitken’s wraparound video installation, which was projected onto the cylindrical surface of the Hirshhorn to awestruck audiences in 2012, featured Gen X heroes (Tilda Swinton; John Doe of the legendary L.A. punk band X) alongside Millennial stars (Devendra Banhart; Beck)

crooning a standard beloved by Baby Boomers (“I Only Have Eyes for You,” as performed by The Flamingoes). The scale of the thing was mesmerizing. The piece itself was familiar—a brand, like an Apple commercial.

The world has come full circle since the 1990s: Now, in its formerly bohemian cities, artists can hardly afford studio space at all. The market for contemporary art has exploded, and some of the most radical gestures mounted by galleries double as their most precious commodities. But with studios disappearing, the artists who are able to indulge in work at the scale of spectacle are even more elite. MFA-enabled artists who can compete at this level—those who aren’t affected by the housing shortage or strapped with student debt—are rewarded with limitless possibility.

Spectacle is an economic condition of art.

Rynd says that the Building Museum turned to gestures as a result of the Great Recession.

Foundation, grant, and donor support had all dried up in the wake of the economic crisis; the museum needed a splashy, big-ticketed event.

In 2011, the museum turned to mini-golf, inviting local architecture firms to design and build holes (for which the firms also secured corporate sponsorships). “Icebergs”—tickets for which cost $16 for adults who aren’t museum members—has its roots in those popular mini-golf courses.

“I’m going to be perfectly honest,” Rynd says. “One [of the factors] was financial.”

The hirshhorn is planning what is likely to be the biggest spectacle so far: a Yayoi Kusama survey, which opens in February 2017. The show of the Japanese artist’s psychedelic work will no doubt draw the crowds. This survey will showcase major installations by Kusama, including “Infinity Mirror Room—Phalli’s Field” (1965), a time-and-space–bending installation, and “The Obliteration Room” (2002), an all-white room that viewers will “obliterate” with colored dot stickers. Selfie heaven.

Kusama is the perfect dish, an artist whose work delights (polka-dotted pumpkins!) but also satisfies. Maintaining the viewing conditions set by the artists will be a challenge for the museum, since demand will be crushingly high, and Kusama meant for some of her environments to be experienced alone. the Hirshhorn will try to manage with timed tickets and other strategies.

For all the photos that will be ’grammed in her “Infinity Mirror Room,” Kusama’s piece is arguably aggressively anti-social. That makes showing it in a contemporary context worthwhile. She made the piece decades before viewers had any way of sharing their experiences with hundreds or thousands or millions of followers. Arguably, it is not the same piece anymore. It no longer confronts viewers, making them feel small and alone in the face of cosmic indifference.

But Kusama in all her glory will never beat out the Rain Room, a trick of engineering by Random International. People lined up for blocks outside the Museum of Modern Art to get into the Rain Room in 2013—sometimes

waiting in the rain in order to navigate a room that is about not getting rained on. Pre-order tickets for viewings at the Los Angeles County Museum of Art are sold out through early October.

Surely those museums saw upticks in attendance from Rain Roomers who wandered into other art exhibitions. People queued up outside the building means more foot traffic through the doors—always a plus. And museum boards, donors, and members are no doubt pleased to see high-water marks for attendance. Even though the Rain Room has nothing whatsoever to do with art.

The drawback to spectacles is that they do the marketing for themselves, a factor felt most keenly by the shows that do not sell themselves well at all—the Blinky Palermos, the Oehme van Swedens. Not only is marketing for the Rain Room practically free, it’s a show that pays out dividends. Hard art shows do not garner millions or thousands or even tens of shares on social me“Icebergs” dia without coordinated, expensive, difficult public-education campaigns. Beyond a bare minimum to get the early word out, “The Beach” doesn’t have to promote itself any more than the actual beach does. The return on investment is plain.

And hard art shows aren’t competing with shallow art shows or hardly art shows; they’re competing with Pokémon Go or the Olympics or any other number of things people could be doing with their time. Museum spectacles, meanwhile, are competing with things like the Rain Room or Dîner en Blanc, public sensations that lack even the pretense of meaning or substance. Museums have to be more than just another thing to do. Museums are the only place to find hard art—whether that’s Ming Dynasty porcelains or Eva Hesse sculptures or Robert Mapplethorpe photographs. Rain Rooms make that art harder to see, harder to find. Not just for museum viewers but for museum boards and directors.

Museums are houses for the few. They are there for crowds looking for entertainment or air conditioning, sure. But they were made for viewers seeking specific enlightenment.

D.C. museums are betting that spectacles are a way to convert crowds into viewers. That’s the simple answer to spectacles: Trust the viewers.

“Discernment comes with a set of values,” Chiu says. “If people are willing to experience culture, they often start in one place and end up in another.”

CP

“Icebergs”

washingtoncitypaper.com august 19, 2016 17

DCFEED

Award-Winning Chef Michel Richard passed away last Saturday at age 68. He elevated D.C.’s dining scene with restaurants like Citronelle and Central.

So a Rabbi Walks Into a Food Truck...

By Caroline Jones When GeorGe WashinGton University eliminated Nosh, the kosher deli in its J Street dining complex in summer 2012, Rabbi Yudi Steiner suddenly found himself with dozens more mouths to feed—especially since GW’s student body ranks as the fifth most Jewish among private universities in the U.S., according to a 2015 survey by Hillel, a Jewish college organization.

Steiner is the co-director of a religious group for Jewish students on campus called Jewish Colonials Chabad. He has hosted Shabbat dinners every Friday since coming to GW in 2008, but that only provides one meal per week to students keeping kosher. Eventually Steiner and his wife started inviting students into their home for an additional weekly dinner.

The rabbi encouraged students to speak out in support of more kosher food options and, when an alumnus offered funding, he considered launching a concept of his own. “I wasn’t in a position to open up a restaurant—I’m a rabbi,” Steiner says. “But a kosher food truck seemed like it was a manageable endeavor.”

The idea isn’t unprecedented: Sixth & I Historic Synagogue operated a kosher sandwich truck for a brief period in 2011 with help from Good Stuff Eatery’s Spike Mendelsohn. Still, Steiner couldn’t devote enough attention to launching a food truck to bring the project to fruition, so the idea was tabled until an enterprising student arrived on campus in fall 2015.

During the week-long celebration of Sukkot, a Jewish holiday during which observers pray and eat in a temporary outdoor structure called a sukkah, the conversation turned to campus dining, and freshman Carly Meisel joined the kvetch session. A native of Newton, Massachusetts, Meisel spent much of her freshman year subsisting on pre-packaged

Young & hungrY

hummus and microwaved spaghetti squash and sweet potato.

When Steiner shared his vision for kosher dining on wheels, Meisel became determined to make it happen.

By the winter, the pair had written a business plan and started fundraising. They were motivated by the knowledge that “every day we don’t have a food truck and don’t have a kosher option, there are Jews eating unkosher food,” Meisel says. Soon, Brooklyn Sandwich Co. was born. After months of research and recipe testing, the truck officially hit the streets on July 5, serving fare like pulled brisket sandwiches, pastrami, curried chicken wraps, and knishes.

It could be the start to a solution. Even though 30 percent of GW’s student body identifies as Jewish, maintaining a kosher option on campus has been a continual struggle. In a 2012 interview with The Hatchet, Senior Associate Vice President Ed Schonfeld cited a lack of patrons as a reason behind the shuttering of Nosh. Many Jewish students don’t keep kosher, some work around restrictions by eating vegetarian, and only a small portion of the community observes the strictest rules on a daily basis, say Steiner, Schonfeld, and others. Additionally, the cost of kosher ingredients and additional labor had become untenable for the university, especially when students could spend some of their meal plan at the local Whole Foods Market, where kosher options are more abun-

18 august 19, 2016 washingtoncitypaper.com

Darrow Montgomery

The debut of D.C.’s only kosher dining on wheels sheds light on the city’s limited options for observant eaters.

dant. The university’s quick fix was to replace Nosh with a small fridge from which students could grab pre-made sandwiches and wraps that were certified kosher. The school’s Jewish organizations served kosher snacks at gatherings throughout the week. But while the fellowship is fun, these gatherings are not enough, according to Meisel. “There’s no such thing as letting a Jew who keeps ko-

sher go hungry,” she says.

In a college setting, it’s easy enough to abide by the simpler kosher laws such as not mixing meat and dairy and avoiding shellfish, but the most observant Jews keep what’s called glatt kosher. According to Steiner, glatt kosher is the strictest because all ingredients, from the oil used for cooking to the meat served, must be declared kosher by a

koshering agency. In addition, all fruits and vegetables must be examined by a certified supervisor called a mashgiach, who checks for the presence of bugs.

In order to set up a glatt kosher food truck, Meisel and Steiner not only had to figure out how to start a business from scratch, but to do so according to strict standards. They turned to Dylan Kough for help navigating the D.C. food truck scene. Kough operates two Smoking Kow BBQ trucks and started a food truck consulting firm last winter. While the rabbi handled the religious aspects, Kough focused on the bigger picture, like choosing a concept. When the team approached Kough, they initially didn’t want to serve typical Jewish food like reubens, but he convinced them to lean into their culinary traditions. “You have a built-in identity for building a kosher food truck,” Kough says. “Why would you do something else?”

Preparing the food also proved challenging. When the mashgiach declared that the synagogue kitchen where the team prepared food wasn’t quite kosher enough, they had to cover surfaces with two layers of aluminum foil while another rabbi took a blowtorch to the stove and oven to purify it.

As far as sourcing, many purveyors buy their ingredients in bulk from stores like Restaurant Depot to keep costs down, but buying kosher ingredients naturally costs more. Kough purchases brisket for about $2.50 a pound for his barbecue food trucks. The kosher version of the same meat costs Brooklyn Sandwich Co. $6 a pound. The truck’s pretzel rolls, baked in Brooklyn, get delivered every Tuesday and have to last a week.

The additional costs and resources required to operate a kosher business is one of the reasons why so few exist in D.C. proper.

Char Bar, a family-style restaurant serving sandwiches and salads in Foggy Bottom, is the only kosher sit-down spot in the District.

Soupergirl, the vegan soup company, has a production kitchen and cafe on Carroll Street NW in Takoma and a small storefront on M Street NW south of Dupont Circle.

For Soupergirl owner Sara Polon, the decision to become a kosher business was at first accidental because she initially cooked in a synagogue kitchen. As a person who personally kept kosher, Polon decided to make the kitchen at the Takoma location certified kosher as well. “I wanted my food to be available to everyone, and I know that a lot of kosher people just miss out on some of D.C.’s great food because it’s not kosher,” she says.

This means she has to employ a mashgiach who checks all the vegetables and makes sure the kitchen is operating appropriately. It also

means the business has to be extra careful about people bringing in outside food, which is against kosher laws as well as D.C. health code. It also closes every week for the Sabbath. “I think people think because we’re vegan, it’s really easy, but it’s still really involved,” she says. “I could not imagine doing this with meat.”

Meanwhile, D.C.’s interest in traditional Jewish deli fare continues to grow. Bullfrog Bagels, which sold out regularly at popups before setting up shop inside The Star & Shamrock—H Street NE’s Jewish deli meets Irish pub—does steady business, as do both locations of DGS Delicatessen. Neither business offers kosher fare.

DGS owner Nick Wiseman says his decision not to follow kosher laws came down to matters of tradition and creativity. Although he grew up Jewish, Wiseman says, “it wasn’t part of our experience,” pointing out that many classic deli items are not actually kosher. That didn’t stop guests from calling to ask during the first three months of operations. “We’ve always been pretty transparent about that never being the intent of the restaurant,” Wiseman says. By not keeping it kosher, Wiseman can more easily experiment with curing his own meat and seafood and can offer customers a more refined take on classic sandwiches and matzo ball soup.

The demand for deli fare has made Brooklyn Sandwich Co. a popular lunch destination for both kosher and non-kosher eaters.

It sold out regularly during its first two weeks of service and, according to Kough, regularly brings in $1,200 to $1,300 in sales on any given day. He says most food trucks setting up in the Farragut and L’Enfant areas of town would call $1,000 a good day. Still, with its increased operating costs, surpassing the break-even point quickly will be challenging. After everyone gets paid, the remaining proceeds are funneled back to support Jewish Colonials Chabad’s programming.

When the school year begins in September, Meisel and Steiner hope to park the truck on GW’s campus two days a week.

“We’re hoping that this truck will bring the Jewish community at GW together,” Meisel says. “It’s something we can all stand behind.” While they’re still working with university officials to figure out if students will be able to use their meal plans to purchase food from the truck, both are pleased kosher students won’t be limited to the sad offerings of one small fridge when they arrive in Foggy Bottom.

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

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DCFEED

what we ate last week: Tuna steamed bun with rice pearls, sesame seeds, tobiko, and spicy poke sauce, $12, Yona. Satisfaction level 2 out of 5.

Grazer

what we’ll eat next week: Nahm wanh lotsong with panda rice and bean noodles, coconut milk soup, palm sugar, and ice, $9, Thip Khao.

Excitement level: 4 out of 5

Sauce-O-Meter

UnderServed

How the week’s food happenings measure up

The best cocktail you’re not ordering

LAME SAUCE

MUMBO SAUCE

What: Black Manhattan with Four Roses Yellow Label bourbon, Amaro Averna, and Angostura bitters, garnished with a Luxardo maraschino cherry Where: All Purpose, 1250 9th St. NW; (202) 840-6174; allpurposedc.com

Jandos Rothstein

People are bringing fake service dogs into bars and restaurants.

DCRA is calling Smoked & Stacked fast food, which is keeping it from opening (and us from pastrami).

Price: $11 Poste’s replacement is called “Dirty Habit.”

Servers’ verbal menu tours are longer than ever: One at Whaley’s clocked in at 3:38.

Weekend dessert cart Les Glacés de Diplomate serves cool treats like cantaloupe sorbet and raw honey glacé.

Sakerum will serve a $39 cocktail.

The heirloom tomato gazpacho at Estadio is summer perfection.

Trump’s D.C. hotel will serve wine in crystal spoons.

Are You Gonna Eat That?

The Dish: Alligator Baby Back Ribs Where to Get It: BOE Restaurant & Bar, 777 Ninth St. NW; (202) 393-1400; boewdc.com Price: $14

Declaration in Shaw is adding outdoor patio seating.

Bindaas, Rasika’s Indian street food spinoff, is now open in Cleveland Park.

—Laura Hayes

What It Is: Alligator baby back ribs—as in, ribs that come from baby alligators.

They’re braised with Indian spices and aromatic vegetables, fried to order, and tossed in a swirl of house-made sweet soy sauce and BBQ sauce that Chef Rony Garcia likens to a General Tso’s glaze. An order comes with five or so ribs, plus sliced jalapeños, crispy shallots, and a Japanese spice blend called shichimi.

What It Tastes Like: Perhaps it was the power of suggestion, but the meat itself tastes like a lean and clean pork rib.

The addictive glaze is sticky and sweet, with the jalapeños adding a welcome spice and the shichimi bringing complexity to the party. And while it packs Asian influences, the glaze would be fa-

20 august 19, 2016 washingtoncitypaper.com

miliar enough to BBQ sauce obsessives.

The overall effect is a win. I can’t say the same for BOE’s “Balls on Fire,” as I only managed two bites of the sliced, fried bull testicles—and not because of the gross-out factor. They had an unpleasant flavor and texture.

The Story: BOE is the reincarnation of the restaurant formerly known as Oya Restaurant & Lounge, which the owners closed and reopened in January. Garcia says the owners wanted to feature a few dishes on the menu that would jumpstart a conversation among diners both for their unusual proteins—unusual around these parts, anyway—and their flavors. Garcia says they sell a lot during happy hour since they sell best as bar snacks.

—Rina Rapuano

What You Should Be Drinking: The genesis of the amaro-based version of the Manhattan is somewhat up for debate: a few bars in New York as well as Bourbon & Branch in San Francisco claim to have mixed it first. All Purpose general manager Jared Barker wanted to add it to his classic cocktail-leaning menu at Mike Friedman’s new pizza restaurant in Shaw. He played around with different combinations of whiskey and amaro, keeping in mind the spicy, sweet, bitter, and herbal tones of each, until he found the right synergistic balance. Four Roses Yellow Label bourbon is stirred with Amaro Averna and Angostura bitters, then served up in a coupe glass and garnished with a Luxardo cherry.

“For the uninitiated, standard Manhattan drinker this drink can be a bit jarring,” he admits. ”It’s a bit of a change up—but a really easy change up that’s not crazy bitter.”

Why You Should Be Drinking It: Four Roses Yellow Label is a versatile, middleof-the-road mixing bourbon that’s not too “wonky,” Barker says. Subbing in Averna instead of the usual sweet vermouth tones down sweetness and ramps up bitterness—but in an accessible, mild way.

“The flavor profile is much more earthy and herbaceous rather than sweet,” he explains. “The bitterness of Averna is tamed by the rich, caramel flavors of the bourbon.” The New York–Italy marriage of flavors might not be for everyone, but it’s an easy gateway into the multi-layered deliciousness of amaro. “This drink is boozy but approachable. Whiskey drinkers find comfort in the familiar flavors but get to experience an even darker side of the flavor spectrum.” The cocktail’s herbal notes help wash down Friedman’s housemade orange-fennel salami.

—Kelly Magyarics

Darrow Montgomery/File

CPArts

Celebrate the second annual Chuck Brown Day this weekend. washingtoncitypaper.com/arts

Disturbing Behavior

New productions at Signature and Keegan center on their protagonist’s ill-fated actions.

Jelly’s Last Jam

Book by George C. Wolfe Music by Jelly Roll Morton Lyrics by Susan Birkenhead Musical adaption & additional music by Luther Henderson Directed by Matthew Gardiner At Signature Theatre to Sept. 11

Jelly’s Last Jam

The Lonesome West

By Martin McDonagh Directed by Mark A. Rhea At the Keegan Theatre to Aug. 27

By Chris Klimek O.J. SimpSOn waS not the first African-American celebrity to declare, “I’m not black, I’m O.J.!” So to speak.

The pioneering jazz musician Ferdinand Joseph LaMothe, better known as Jelly Roll Morton, was born to Creole parents in New Orleans sometime between 1884 and 1890. As his gifts as a pianist, composer, arranger, and self-promoter brought him renown—first while touring in the South, then in Prohibition-era Chicago—the light-skinned Morton bragged of his French ancestry and denied the rest. Perhaps this tragic flaw was in some way calcified by the grandmother who, upon discovering that the teenage Morton had a job playing music in a “sporting house”—the sport being the one where men pay for sex—kicked him out of her home and permanently severed ties with him.

It is the reductive habit of too many music biopics or bioplays to locate their subjects’ imperfections in a single, traumatic early-life occurrence. Whatever it was that compelled Morton to forsake his black identity, that denial is the central conflict in Jelly’s Last Jam, a celebrated but rarely revived musical that hit Broadway in 1992. Susan Birkenhead added lyrics to Morton’s instrumental compositions; George C. Wolfe, who would go on to direct Tony Kushner’s landmark two-part epic Angels in America the following year, wrote the book. Gregory Hines won a Tony Award in the title role. Hines, of course, was a virtuoso dancer/choreographer and a strong singer and actor—not a pianist.

Director Matthew Gardiner’s energetic new production of Jelly’s Last Jam has taken a similarly risky approach to casting: He’s found a virtuoso piano player and singer who isn’t quite so marvelous an actor.

In defense of Mark G. Meadows—the 27-year-old D.C.born jazz artist who had to be persuaded to take on the show’s title role—he’s never done musical theater before.

THEATER

At all. He’s a natural performer, likeable and relaxed; he’d be fine in a less pivotal part. But he lacks the sheer force of personality to inhabit Morton, a man whose other grave sin, in Wolfe’s telling, was that of pride. While no one denies Morton was a seminal figure in the evolution of jazz, his Kanye-esque claim to have invented the genre all by himself complicated his legacy. Jazz historian Floyd Levin said Morton carried business cards proclaiming himself the “Originator of Jazz and Stomps,” along with a diamond in every pocket of his suit. (Inevitably, there are latter-day musicologists who insist that reports of Morton’s exaggerations are, well, exaggerated.)

Anyway, to see the kind of room-filling presence the role requires, we needn’t look far. Felicia Boswell has performed on Broadway as Josephine Baker, in Wolfe’s well-received Shuffle Along, which closed less than a month ago. She also played Diana Ross in Motown. It’s little wonder she steals the show as Morton’s on-again, off-again lover Anita. She gets her closest competition from Cleavant Derricks as Chimney Man, an otherworldly figure in a top hat and tails who, like the Ghost of Christmas Past, forces the freshly deceased

Morton to revisit episodes from his life where he hurt people. Besides Anita, those Morton wronged include Jack the Bear (Guy Lockard), a loyal pal from Morton’s early touring years who later learned how jealous and cruel his old companion could be.

The tap-dancing so central to the Broadway production (which is all I remember from seeing it on a high school trip in 1993; it was my first Broadway show) has here been transferred from Morton to five members of the ensemble.

Daniel Conway’s set design is superb, transforming Signature’s versatile “Max” space into an elegant, low-lit Jazz Age nightclub, wherein a coiling ramp extends far into the floor. With 18 cast members and 18 numbers, the show has exuberance enough to power through the deficiencies of the material, by which I mean not Morton’s music, but Wolfe’s less-than-persuasive effort to shape a narrative of sin and redemption around it. (His book won a Drama Desk Award and was nominated for a Tony, so your mileage may vary.)

Jelly’s Last Jam looks and sounds terrific, but there remains a stubborn wispiness to the story, like a scene or two is missing from its oddly brief second act. On what basis does washingtoncitypaper.com august 19, 2016 21

CPArts The Lonesome West

Wolfe imagine that Morton repented at the gates of Heaven?

The soul singers who’d begin to emerge about 15 years after Morton was stabbed to death in 1941 articulate in music the tension between the flesh and the spirit. But the nickname “Jelly Roll” came from slang for a specific part of a woman.

It wasn’t her soul.

TwenTy yearS have passed since Martin McDonagh burst onto the London theater scene fully formed, more Noel Gallagher than Noël Coward. He collected the Most Promising

22 august 19, 2016 washingtoncitypaper.com

Newcomer prize at the London Evening Standard Theatre Awards in late 1996, and he made sure the story got covered by telling Sean Connery to “fuck off, mate” at the ceremony. A few months later he had four plays running simultaneously in London, a feat The Guardian said only William Shakespeare could match.

McDonagh’s sardonic chamber pieces remain so popular that everyone wants a piece of him. Locally, his bloody oeuvre has not been confined to D.C.’s several companies specializing in plays from Ireland; Studio, Forum, Constellation, Round House, and Signature have all performed his work in the last decade, too.

The Irish-focused Keegan Theatre’s sublime new production of The Lonesome West affirms yet again the behavioral insight that makes McDonagh’s casually hard-hearted work so hard to dismiss. First appearing in 1997, it was the third in a trilogy of grim comedies McDonagh set in the remote Connemara village of Leenane, where confinement and poverty drive the residents—the ones he writes about anyway—to suicide or violence.

In this one, profoundly unmarriageable adult brothers Coleman and Valene have just buried their father. Coleman shot the old man, supposedly by accident, though only their bewil-

dered pastor, Father Welsh (Chris Stezin, in a haunted performance), truly buys that excuse. Valene appears to own most of the contents of their shared farmhouse (vividly designed

by Matthew J. Keenan, the Dublin native who also plays the charming but profoundly selfish Coleman), particularly the tacky collection of religious figurines, which he expects will secure his place in heaven. He also pays for the hooch, a vilesounding potato-derived moonshine called Poteen. It’s supplied by a girl called, um, Girleen (Sarah Chapin), who doubles down on sarcasm to conceal a tiny crush on Father Welsh.

It’s not exactly a crowded field, and ineffectual though he is, he at least tries to be decent.

As the endlessly victimized meeker brother Valene, Bradley Foster Smith fully earns our sympathy and pity.

Only Keenan’s Coleman seems to have no earthly source for his spite, though McDonagh and Coleman leave us plenty of space to ponder it.

The songs played over the scene changes (The Cranberries, Vanilla Ice) help us remember the piece is set in 1993, before Ireland’s mid-’90s economic turnaround. Whether that windfall found its way to Leenane is questionable; whether it did much for Coleman or Valene is dubious. Like Father Welsh’s limp entreaties to them to be kind to one another, it was probCP ably too little, too late.

4200 Campbell Ave., Arlington. $40–$94. (703) 820-9771. sigtheatre.org.

1742 Church St. NW. $35–$45. (202) 265-3767. keegantheatre.com.

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Film

The Human Contradiction Werner Herzog’s new documentary interrogates the humanity of the internet, while a remake of one of mankind’s oldest stories lacks any trace of humanity.

Lo and Behold, Reveries of the Connected World Directed by Werner Herzog

Ben-Hur

Directed by Timur Bekmambetov

By Noah Gittell Aside from michAel Moore, no documentarian is featured as prominently within their own work as Werner Herzog. The director’s face and voice are frequently onscreen, and what an impression they make. The former is as devoid of expression as a Greek bust, and the latter is so deadly serious that it crosses over into comedy. Spouting metaphysical musings in a thick German accent, Herzog is like an alien dropped into human form, sent on a mission of mercy to unravel the mysteries of our world.

His comfort with life’s uncertainties allows him to crawl deep into his dread and tickle the most ferocious beasts. Lo and Behold, Reveries of the Connected World is not the first movie to try to figure out what the internet means to our world. It sure won’t be the last. But it is the only one directed by the inimitable Herzog (Grizzly Man, Cave of Forgotten Dreams), who finds angles of terror and delight undiscovered by the rest of the natural world.

He starts at the beginning, with a tour of the UCLA research room in which the internet was created in the late ’60s. His elderly, boisterous tour guide speaks of the first communication between servers in celebratory terms, even comparing it to the moment Columbus discovered America. Over the course of Lo and Behold, Herzog finds the sinister meaning in that comparison. He may take a detour into the internet’s more hopeful applications—there is a pleasant interview with a scientist who harnessed the gaming community to finish the design of a cancer treatment—but he remains ultimately committed to man’s seemingly Sisyphean war with his darker impulses.

Some of his interview subjects have been harmed by the internet in ways that seem unimaginable. There is the family who was emailed photos of their daughter’s decapitated body after she was killed in a car crash because an EMT worker shared the pictures around to a few friends (who themselves shared it with a few friends, and so on). When the girl’s mother calls the internet the actu-

al Antichrist, only the most staunch atheist could dare question her suffering by disagreeing. Similarly affecting is a small community of people who suffer from a hyper-sensitivity to radio weaves; once cell phones became popular in the mid-1990s, they were struck with severe pain and nausea before finally finding a small area of land where cell phones have been forbidden. Their lives are extremely limited there, but the afflicted are able to live without pain.

Despite the dark subject matter, Herzog infuses every frame with his ardent humanity.

As he queries mathematicians, computer scientists, and even Elon Musk about their theories on the future of the internet, he often cracks wise from behind the camera. He asks a computer scientist if he loves his robot, and the young man, responding to Herzog’s earnestness in kind, admits that he does. In another scene, he tells Musk that he would like to be the first person to travel to Mars—“I would be your candidate,” he drolly intones—and we can’t tell if Herzog is being playful or seriously interested in returning to his home planet.

His bizarre questions often elicit surprising responses from thinkers who seem prepared only to rehash their previously published thoughts on the matter. “Does the internet dream?” he asks, prompting several of his subjects into moments of speechless stupor before they begin to wrap their minds around his. It’s a remarkable achievement.

Through his unique artistic lens, Herzog has gotten these professional dreamers to think differently and consider questions that had somehow eluded them. Their answers compose a film that is as imaginative and entertaining as any effects-laden Hollywood blockbuster. It’s a thing to behold. if herzog tAckles the mysteries of the universe in poetry, the new remake of Ben-Hur is writing in prose. To explain its failures, it would be easy to point to its lackluster script and wooden performances, but the real problem is spiritual. If you’re going to remake a film that is American canon—like the 1959 original—you need a damn good reason to do so. The filmmakers of this stagnant remake display all the technical tools needed to achieve greatness, but they lack that most basic of functions: a reason why this story needs to be retold.

Maybe you somehow managed to avoid the Charlton Heston version, so here is the run-down. Judah Ben-Hur (Jack Huston)

24 august 19, 2016 washingtoncitypaper.com

and Messala (Toby Kebbell) are adopted brothers who are separated first by religion (Judah is an Israelite and Messala a Roman), and then by state. Messala storms off in a huff one day to join the Roman Army, and when he returns three years later, politics have changed.

Lo and Behold, Reveries of Judah gets wrongfulthe Connected World ly accused by plotting to murder Pontius Pilate (played by a Russell Crowe look-alike named Pilou Asbæk) and is sentenced to a lifetime of hard labor in a warship’s galley.

This set-up is laborious and taxing, revealing a maddening miscalculation by the filmmakers. There are no wide shots that Ben-Hur would indicate context (one senses that money was being saved for later sequences), startling POV shot—as well as dramatic twists with the human drama filmed in a series of that are enhanced by Judah’s limited perspecclose-ups. But director Timur Bekmambetov tive. We only see the battle from inside the gal(Wanted, Abraham Lincoln: Vampire Hunter) ley, which makes every blow frighteningly undoesn’t have the actors to pull off the needed expected. It’s nail-biting action the likes of intensity. As Judah, Huston possesses neither which we have not seen this year. the emotional intensity to ground the story nor So what we have is a talking heads docthe range to believably pull of the emotional umentary that encapsulates the full scope of transformation. Halfway through the film, he human existence, and a $100 million swordsunexpectedly shifts into a low growl, as if he’s and-sandals epic that, apart from a pair of given up on Ben-Hur altogether and is audi- imaginative action scenes, feels like secondtioning to be the next Batman. rate cable TV (surprising no one, its co-proDespite the pedestrian staging and poor ducer is best known for creating Survivor). If casting (Morgan Freeman shows up as—wait you parse that comparison, there is possibly a for it—a wise mentor figure!), Ben-Hur man- lesson for Hollywood executives to learn, or ages to put together one great action sequence. maybe even some universal truth, a mystery It’s not the climactic race, which is a little too that only an existential detective like Hermessy and incoherent to be impactful. After zog could unravel. Fortunately, the lesson for five years in the galley, during which Judah moviegoers is much simpler: See Lo and Betransforms into a hardened slave, his fleet is hold, and skip Ben-Hur, for a terrifying future ambushed by Greek warships. As the ship is is more entertaining than the distant past. CP attacked from afar and then boarded by enemy soldiers, Bekmambetov stages the struggle Lo and Behold, Reveries of the Connected as an effort to keep order amidst deadly cha- World opens Friday at E Street Cinema. os. There are unforgettable visual images—a man on fire beating a drum and an effectively Ben-Hur opens Friday at theaters everywhere.

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2016 SUMMER SEASON

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I.M.P. PRESENTS Merriweather Post Pavilion • Columbia, MD

train

THIS SATURDAY!

w/ Andy Grammer ..........................................................................AUGUST 20

THIS WEEK’S SHOWS

Toad the Wet Sprocket & Rusted Root w/ Daisie Ghost-Flower .......... F 19 White Ford Bronco: DC’s All-90s Band .................................................. Sa 20 The Bangles w/ Cardiac ............................................................................... Su 21

MIRANDA LAMBERT w/ Kip Moore & Brothers Osborne ................AUGUST 25 Trillectro

feat.

Kid Cudi • Rae Sremmurd • Goldlink and more! .................... AUGUST 27

The Lumineers w/ BØRNS & Rayland Baxter ............................................. SEPTEMBER 10 WPOC WEEKEND IN THE COUNTRY FEATURING

Little Big Town • Rodney Atkins • Dustin Lynch and more! .................OCTOBER 15 & 16

AUGUST

GET A DEAL!

Skye & Ross from Morcheeba ................................................................. Th 25 Hot in Herre: 2000s Dance Party with DJs Will Eastman & Brian Billion .F 26

Weekend in the Country 4-pack: Two lawn tickets to each show - save $45!

• For full lineups and more info, visit merriweathermusic.com • 930.com

THE CIRCUS LIFE PODCAST THIRD ANNIVERSARY CONCERT FEATURING

Echostage • Washington, D.C.

Justin Trawick and The Common Good • Louisa Hall •

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

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

The Claypool Lennon Delirium w/ Marco Benevento ..............................Th 1 Diggy Simmons ...............................................................................................Su 4 Television w/ Chris Stamey ...............................................................................Tu 6 of Montreal w/ Ruby the Rabbitfoot ...................................................................W 7 Dinosaur Jr. w/ Cloud Nothings .......................................................................Th 8 Marian Hill w/ Vérité & Shaed ........................................................................ Sa 10 Peaches ............................................................................................................Su 11 Angel Olsen w/ Alex Cameron ....................................................................... Th 15 Cherub w/ Frenship & Boo Seeka ...................................................................... F 16 Built To Spill w/ Hop Along & Alex G .............................................................Su 18 Okkervil River w/ Landlady ............................................................................ M 19 Lush w/ Tamaryn ...............................................................................................W 21 Blind Pilot Early Show! 6pm Doors ........................................................................ F 23 ALL GOOD PRESENTS

The Revivalists w/ The Temperance Movement Late Show! 10pm Doors ........... F 23 Princess featuring Maya Rudolph and Gretchen Lieberum ...................Su 25 TRUTV PRESENTS

Adam Ruins Everything Live! with Adam Conover This is a seated show. . M 26 Yuna................................................................................................................... Tu 27 Buzzcocks w/ Residuels ..................................................................................W 28 Bob Moses w/ No Regular Play & Weval ........................................................ Th 29 U STREET MUSIC HALL PRESENTS

Bakermat & Sam Feldt ............................................................................... F 30 OCTOBER

The Growlers ................................................................................................... Sa 1 Warpaint w/ Facial ............................................................................................Tu 4

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

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

Melanie Martinez .................................................................................. SEPTEMBER 22 Glass Animals ........................................................................................ SEPTEMBER 25 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

CHVRCHES ....................................................................................................OCTOBER 18 Die Antwoord ...............................................................................................OCTOBER 23 FOALS w/ Bear Hands & Kiev .........................................................................NOVEMBER 3 Grouplove w/ MUNA & Dilly Dally .................................................................NOVEMBER 9 Good Charlotte & The Story So Far

w/ Four Year Strong & Big Jesus ....................................................................NOVEMBER 15

Two Door Cinema Club ........................................................................NOVEMBER 17 2135 Queens Chapel Rd. NE • Ticketmaster

1215 U Street NW Washington, D.C. JUST ANNOUNCED!

JIM NORTON .................................................................... FRIDAY, OCTOBER 7 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

Norah Jones ...................................................................................DECEMBER 4 Both shows On Sale Friday, August 19 at 10am

Gad Elmaleh ................................................................................................ SEPTEMBER 1 The Gipsy Kings feat. Nicolas Reyes and Tonino Baliardo w/ Galen Weston Band .. SEPT 9 Blood Orange .............................................................................................SEPTEMBER 13 KT Tunstall w/ Conner Youngblood ............................................................SEPTEMBER 14 IN CELEBRATION OF THE OPENING OF THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE

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

Peter Bjorn and John w/ City of the Sun & Cleopold .............................. SEPTEMBER 24 Ryan Bingham and Brian Fallon & The Crowes w/ Paul Cauthen . SEPTEMBER 28 Jake Bugg w/ Syd Arthur ............................................................................SEPTEMBER 29 Patti Smith A conversation about her bestselling memoir, M Train ................ OCTOBER 12 Ticket purchase comes with a paperback copy of M Train.

Melissa Etheridge: MEmphis Rock & Soul Tour ............................................ OCTOBER 19 WESTBETH ENTERTAINMENT PRESENTS

Dylan Moran ................................................................................................. OCTOBER 20

AEG LIVE PRESENTS

Bianca Del Rio .............................................................................................OCTOBER 22 THE BYT BENTZEN BALL COMEDY FEST PRESENTS THE MOST VERY SPECIALEST EVENING WITH TIG NOTARO & FRIENDS FEATURING

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Butch Walker w/ The Wind and The Wave Julien Baker w/ Grayling .................... M 12 & Suzanne Santo ........................... W AUG 24 The Album Leaf w/ Sister Crayon ...... W 14

Bibi Bourelly ..................................F SEP 2 Lucky Chops...................................... Sa 17 Wifisfuneral w/ Danny Towers • HÆLOS All 3/28 tickets honored. .............. Th 22 Ski Mask the Slump God........................... Sa 3 Selah Sue w/ Polly A ............................ F 23 • Buy advance tickets at the 9:30 Club box office

DAR Constitution Hall • Washington D.C.

Tig Notaro, Aparna Nancherla, and more! .......................................OCTOBER 27 BRIDGET EVERETT Pound It! ............................................................................OCTOBER 28

STUFF YOU SHOULD KNOW LIVE WITH JOSH AND CHUCK ...................OCTOBER 29

Henry Rollins Election Night Spoken Word ............................................NOVEMBER 8 The Naked And Famous w/ XYLØ & The Chain Gang of 1974 .................NOVEMBER 15 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

Ingrid Michaelson .....................................................................................NOVEMBER 22 Andra Day w/ Chloe x Halle ..........................................................................NOVEMBER 25 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

The Head and the Heart w/ Declan McKenna .................................................OCTOBER 22 Lindsey Stirling .............................................................................................................. OCTOBER 24 Ticketmaster

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

26 august 19, 2016 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D

Music 27 Books 31 Theater 31

Serving

EVERYTHING from BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

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

Music rock

9:30 Club 815 V St. NW. (202) 265-0930. Toad the Wet Sprocket, Rusted Root, Daisie Ghost Flower.

8 p.m. $35. 930.com.

ACre 121 1400 Irving St. NW. (202) 328-0121. Under Great Lights, Kasey Williams. 10 p.m. Free. acre121.com. blACk CAt 1811 14th St. NW. (202) 667-4490. The Julie Ruin, Olivia Neutron-John, Sneaks. 8 p.m. $20. blackcatdc.com.

Comet Ping Pong 5037 Connecticut Ave. NW. (202) 364-0404. Loud Boyz, Pie Face Girls. 10 p.m. $12. cometpingpong.com. eAglebAnk ArenA 4500 Patriot Circle, Fairfax. (703) 993-3000. Prophets of Rage. 7 p.m. $20–$69.50. eaglebankarena.com. the hAmilton 600 14th St. NW. (202) 787-1000. Animal Liberation Orchestra, The Hip Abduction. 8 p.m. $18–$26. Lloyd Dobler Effect. 10:30 p.m. Free. thehamiltondc.com. iotA Club & CAfé 2832 Wilson Blvd., Arlington. (703) 522-8340. Pleasure Train, Tuelo and her Cousins.

8:30 p.m. $12. iotaclubandcafe.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

The Beanstalk Library, The Fire Tonight, The NRIs. 9 p.m. $12. rockandrollhoteldc.com.

dJ Nights

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

10:30 p.m. $5. dcnine.com. howArD theAtre 620 T St. NW. (202) 803-2899.

In Search Of... A Neptunes Dance Party with Mathias. and Friends. 11 p.m. $10–$15. thehowardtheatre.com.

hip-hop

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

Drake. 6:30 p.m. $49.50–$179.50. verizoncenter.com.

World

hill Center At the olD nAVAl hosPitAl 921 Pennsylvania Ave. SE. (202) 549-4172. Liberian Women’s Chorus for Change. 7 p.m. $12–$15. hillcenterdc.org.

liBEriaN WoMEN’s chorus For chaNgE

While some knowledge of the languages the Liberian Women’s Chorus for Change use while performing is helpful when trying to understand its detailed songs about the immigrant experience, listeners who aren’t well-versed in these dialects can still appreciate the ensemble’s use of harmony and hypnotic dancing. Joined onstage by percussionists pounding out polyrhythmic beats, the group—composed of refugees now based in Philadelphia—lament about hard times and celebrate moments of joy through music. Group leader Fatu Gayflor, known as the “golden voice of Liberia,” initially developed her talents at a Liberian national arts village at age 12.

Arrangements came together in the refugee camps where singers lived before coming to the United States. These strong, skilled survivors entertain and educate audiences with Liberian carols that reflect themes both personal and universal. The Liberian Women’s Chorus for Change performs at 7 p.m. at the Hill Center at the Old Naval Hospital, 921 Pennsylvania Ave. SE. $12–$15.

(202) 549-4172. hillcenterdc.org.

—Steve Kiviat

nAtionAl gAllery of Art sCulPture gArDen 4th Street and Constitution Avenue NW. (202) 7374215. Sin Miedo. 5 p.m. Free. nga.gov.

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

Mark Sherry. 10 p.m. $15. ustreetmusichall.com.

couNtry

FuNk & r&B

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Paul Thorn Band, Bonnie Bishop.

7:30 p.m. $29.50. birchmere.com.

Jazz

wolf trAP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Jazz at Lincoln Center Orchestra with Wynton Marsalis. 8 p.m. $25–$50. wolftrap.org.

located next door to 9:30 club

CITY LIGHTS: Friday

Friday

kenneDy Center millennium stAge 2700 F St. NW. (202) 467-4600. Bohemian Caverns Jazz Orchestra. 6 p.m. Free. kennedy-center.org.

2047 9th Street NW

Film 33

ElEctroNic

bethesDA blues AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Bruce In The USA. 8 p.m. $25–$30. bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Marshall Crenshaw. 7:30 p.m. $25. birchmere.com.

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

Nappy Riddem, Nesta, Pressing Strings. 9 p.m. $10–$12. gypsysallys.com. howArD theAtre 620 T St. NW. (202) 803-2899.

Big Sam’s Funky Nation. 8 p.m. $15–$30. thehowardtheatre.com. musiC Center At strAthmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. UB40, Ali Campbell, Astro, Mickey Virtue. 8 p.m. $30–$75. strathmore.org.

blACk CAt 1811 14th St. NW. (202) 667-4490. Black Masala, M.H. and his Orchestra, The Shadow Girl Sound Collective. 8 p.m. $12. blackcatdc.com. gyPsy sAlly’s 3401 K St. NW. (202) 333-7700. The Gladstones, Mark Roebuck Band. 8 p.m. $12. gypsysallys.com. the hAmilton 600 14th St. NW. (202) 787-1000.

Sol Roots. 10:30 p.m. Free. Get the Led Out. 8 p.m. $25–$34.75. thehamiltondc.com.

eChostAge 2135 Queens Chapel Road NE. (202) 503-2330. Dash Berlin, Pierce Fulton, Adam Scott.

9 p.m. $30. echostage.com.

saturday

merriweAther Post PAVilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Train, Andy Grammer. 7:30 p.m. $45–$75. merriweathermusic.com.

flAsh 645 Florida Ave. NW. (202) 827-8791. Nico Stojan, Marcus Marr, Andy Warren. 8 p.m. $8. flashdc.com.

9:30 Club 815 V St. NW. (202) 265-0930. White Ford Bronco. 8 p.m. $22. 930.com.

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

Prinze George, Higher Education. 8 p.m. $12. rockandrollhoteldc.com.

rock

washingtoncitypaper.com august 19, 2016 27

gospEl

ven beer hea han t is closer nk i you th 200 seat

en beer gard

g taps 10 rotatin n eer garde

proom eb 2-level ta end in th ery week v e ic s u live m

CArter bArron AmPhitheAtre 4850 Colorado Ave. NW. (202) 426-0486. Lahla-Hadiya, Dave Bass.

7 p.m. $25. musicatthemonument.com.

Vocal

sixth & i historiC synAgogue 600 I St. NW. (202) 408-3100. Rickie Lee Jones. 8 p.m. $35–$106.50. sixthandi.org.

dJ Nights

blACk CAt bACkstAge 1811 14th St. NW. (202) 6674490. The Wag with DJ Mark Zimin. 9:30 p.m. $5. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Peach Pit. 10:30 p.m. $5–$8. dcnine.com. howArD theAtre 620 T St. NW. (202) 803-2899.

New York Night Train Soul Clap and Dance Off featuring DJ Jonathan Toubin. 11 p.m. $7–$10. thehowardtheatre.com.

hip-hop full schedule at denizensbrewingco.com

steps from the silver spring metro

@denizensbrewing RD

open 7 days a week

1115 east-west hwy, silver spring, md, (301) 557-9818

howArD theAtre 620 T St. NW. (202) 803-2899.

Dru Hill. 8 p.m. $37.50–$60. thehowardtheatre.com.

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

Drake. 6:30 p.m. $49.50–$179.50. verizoncenter.com.

World

kenneDy Center millennium stAge 2700 F St. NW. (202) 467-4600. La Fiesta Zakke. 6 p.m. Free. kennedy-center.org.

couNtry

hill Country bArbeCue 410 7th St. NW. (202) 556-2050. Kiti Gartner and the Deceits. 9:30 p.m.

Free. hillcountrywdc.com.

ElEctroNic

flAsh 645 Florida Ave. NW. (202) 827-8791. Sarah Myers, Juan Zapata, Feroun, Heather Femia. 8 p.m. $7. flashdc.com.

u street musiC hAll 1115 U St. NW. (202) 5881889. DJ Lisa Frank, Rush Plus, Jett Chandon. 10 p.m. $5. ustreetmusichall.com.

FuNk & r&B

fillmore silVer sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Chrisette Michele.

8 p.m. $37.25–$107.25. fillmoresilverspring.com.

suNday rock

9:30 Club 815 V St. NW. (202) 265-0930. The Bangles, Cardiac. 7 p.m. $35. 930.com. the hAmilton 600 14th St. NW. (202) 787-1000.

Melodime, The Delta Saints. 7:30 p.m. $15–$20. thehamiltondc.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Ex Hex, Flasher, Simon Doom. 8 p.m. $25. rockandrollhoteldc.com.

gospEl

howArD theAtre 620 T St. NW. (202) 803-2899.

Sunday Gospel Brunch with The World Famous Harlem Gospel Choir. 1:30 p.m. $20–$40. thehowardtheatre.com.

Vocal

iotA Club & CAfé 2832 Wilson Blvd., Arlington.

(703) 522-8340. Jarreau Williams. 7:30 p.m. $10. iotaclubandcafe.com. wolf trAP filene Center 1551 Trap Road, Vienna. (703) 255-1900. Kristin Chenoweth. 8 p.m. $25–$65. wolftrap.org.

hip-hop

kenneDy Center millennium stAge 2700 F St. NW. (202) 467-4600. The Great Mindz. 6 p.m. Free. kennedy-center.org.

CITY LIGHTS: saturday

aFricaN diaspora iNtErNatioNal FilM FEstiVal

Reinaldo Barroso-Spech and his wife Diarah N’Daw-Spech founded the African Diaspora International Film Festival on the premise that education through film could bring communities of color together, reimagine what’s possible in black cinema, and provide a space for international directors to tell stories from the African Diaspora. One opening night film, BaddDDD Sonia Sanchez tells the story of the poet, activist, spoken word artist, and formative player in the Black Arts Movement of the ’60s, revealing how writing can be both artistic and political. The following night, a group of films showcases the long history of opposition in the Caribbean, including The Price of Memory (pictured), which documents how Jamaican Rastafari sought reparations for the enduring impact of slavery. Talks between artists and filmmakers after the screenings establish an open dialogue and make the often exclusive—even discriminatory—medium of film more accessible to viewers of all backgrounds, bringing innovative films often relegated to the periphery of the cinema world into the limelight. The African Diaspora International Film Festival runs Aug. 19 to 21 at the Marvin Center at George Washington University, 800 21st St. NW. $10– $50. (212) 864-1760. nyadiff.org.

—Victoria Gaffney

28 august 19, 2016 washingtoncitypaper.com

washingtoncitypaper.com august 19, 2016 29

---------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

JUNIOR BROWN Bonnie 19 PAUL THORN BAND Bishop 20 MARSHALL CRENSHAW’S Big Surprise!

Aug 18

“Tom Wilson’s World” An Evening with

23

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

GERALD ALSTON

“Twin Twang Rides Again”

3

& TOO FUN BILL KIRCHEN/AUSTIN DELONE MUCH and TOM PRINCIPATO BAND Amy 4 SAWYER FREDERICKS Vachal

MO’Fire

9

featuring

IN GRATITUDE: A Tribute to Earth, Wind & Fire Motown & More: A Tribute to Motown & Soul Legends 10 THE SELDOM SCENE & JONATHAN EDWARDS HAL KETCHUM 11 Jenny 15 THE PROCLAIMERS O. EUGE GROOVE 16 17 MATTHEW SWEET 18 GARY PUCKETT & UNION GAP 21 THE MARSHALL TUCKER BAND 22 THE SMITH SISTERS ‘35TH ANNIVERSARY SHOW!’ with AL PETTEWAY

23

MAYSA & HER FUNK SOUL SYMPHONY ‘25/50 Silver & Gold Celebration!’

LAITH AL-SAADI 25 SOGGY BOTTOM BOYS

24

Dan Tyminski, Barry Bales, Rob Block, Stuart Duncan, Mike Compton, Pat Enright

feat.

27

BILLY BRAGG & JOE HENRY

30 august 19, 2016 washingtoncitypaper.com

SHINE A LIGHT TOUR

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

Lil Yachty. 7 p.m. (Sold out) ustreetmusichall.com.

Jazz

bethesDA blues AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Unit 3 Deep. 8 p.m. $25. bethesdabluesjazz.com. twins JAzz 1344 U St. NW. (202) 234-0072. Jegna Tree-O. 8 p.m.; 10 p.m. $10. twinsjazz.com.

ElEctroNic

sounDCheCk 1420 K St. NW. (202) 789-5429.

Laidback Luke. 10 p.m. $25. soundcheckdc.com.

MoNday rock

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

Lower Dens, Cigarette. 8 p.m. $18. rockandrollhoteldc.com. wolf trAP filene Center 1551 Trap Road, Vienna. (703) 255-1900. NEEDTOBREATHE, Mat Kearney, John Mark McMillan, Welshly Arms. 7 p.m. $27–$55. wolftrap.org.

World

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

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

FuNk & r&B

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

Gallant, Eryn Allen Kane. 7 p.m. (Sold out) ustreetmusichall.com.

WEdNEsday rock

9:30 Club 815 V St. NW. (202) 265-0930. ZZ Top. 7 p.m. (Sold out). 930.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kevin Costner & Modern West, Sara Beck. 7:30 p.m. $89.50. birchmere.com. u street musiC hAll 1115 U St. NW. (202) 5881889. Butch Walker, The Wind and the Wave, Suzanne Santo. 7 p.m. $25. ustreetmusichall.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Downtown Boys, Big Hush, Bad Moves. 8 p.m. $15. rockandrollhoteldc.com. sounDCheCk 1420 K St. NW. (202) 789-5429. Midnight Tyrannosaurus. 10 p.m. $12. soundcheckdc.com. wArner theAtre 513 13th St. NW. (202) 783-4000.

Seal. 8 p.m. $47.50–$87.50. warnertheatredc.com.

Jazz

classical

tuEsday

World

birChmere 3701 Mount Vernon Ave., Alexandria.

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

wolf trAP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Ricky Martin. 8 p.m. $45–$125. wolftrap.org.

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

TItus Andronicus, Two Inch Astronaut. 8 p.m. $25. rockandrollhoteldc.com.

Jazz

blues Alley 1073 Wisconsin Ave. NW. (202) 3374141. Ameen Saleem and the Groove Lab with Mavis Swann Poole. 8 p.m.; 10 p.m. $22.50. bluesalley.com.

rock

wArner theAtre 513 13th St. NW. (202) 783-4000.

Steven Tyler. 8 p.m. $84–$148. warnertheatredc.com. wolf trAP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Goo Goo Dolls, Collective Soul, Tribe Society. 7:30 p.m. $32–$55. wolftrap.org.

couNtry

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

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

Jazz

blues Alley 1073 Wisconsin Ave. NW. (202) 3374141. Changamire. 8 p.m. $20. bluesalley.com.

kenneDy Center millennium stAge 2700 F St. NW. (202) 467-4600. 54th International Conference of Symphony and Opera Musicians Concert. 6 p.m.

Free. kennedy-center.org. bossA bistro 2463 18th St NW. 202-667-0088.

Tribu Baharú. 9:30 p.m. $10. bossadc.com.

strAthmore outDoors 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Sammy Miller and the Congregation. 7 p.m. Free. strathmore.org. twins JAzz 1344 U St. NW. (202) 234-0072. The Radiohead Jazz Project. 8 p.m.; 10 p.m. $10. twinsjazz.com.

ElEctroNic

flAsh 645 Florida Ave. NW. (202) 827-8791. CID. 8 p.m. $10. flashdc.com.

FuNk & r&B

bethesDA blues AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Anton & Leadhead, Bobby Felder and His Blue Notes. 8 p.m. $20. bethesdabluesjazz.com.

CITY LIGHTS: suNday

thE BaNglEs

It’s been 28 years since The Bangles released “Eternal Flame,” providing generations of women with a ballad perfect for both school dances and karaoke bars.

But despite their ongoing success (“Walk Like an Egyptian” still fills dance floors), it’s easy to forget that the group only released three albums between 1984 and 1988 before disbanding. In the intervening years, founding members Susanna Hoffs and Vicki and Debbie Peterson contributed a song to the Austin Powers: The Spy Who Shagged Me soundtrack, appeared on an early episode of Gilmore Girls, and released two additional albums that received minimal attention. Still, the demand for The Bangles, now three 50-something L.A. moms, is high. In support of the CD version of its retrospective collection Ladies and Gentlemen, The Bangles, the band is on the road again, headlining many of the same clubs it played in its heyday. Sure, they’ll play some new stuff, but the classics form the core of the set list. Checking them out on Sunday night is a surefire way to make your Monday less manic. The Bangles perform with Cardiac at 7 p.m. at 9:30 Club, 815 V St. NW. $35. (202) 265-0930. 930.com.

—Caroline Jones

CITY LIGHTS: MoNday

loWEr dENs

Though only three years elapsed between Lower Dens’ second album Nootropics and third album Escape From Evil—which came out in early 2015—the Baltimore band’s sound leapfrogged a decade during the hiatus. Nootropics recalls shaggy-haired psych rock from the ’70s, while Escape From Evil is clean-shaven new wave beamed straight out of the ’80s. But the band doesn’t just find sonic inspiration in synth pop; it also channels the genre’s dark, paranoid state of mind. The record includes such emoesque song titles as “Non Grata” and “Suckers Shangri-La” and on the standout cut “To Die in L.A.,” vocalist Jana Hunter sings “I’m not crying/ I’m just glad to be alive,” as a Eurythmics-like keyboard phrase plays behind her. Take this opportunity to see the band at Rock & Roll Hotel before its members retreat back into the studio and inevitably become ’90s slackers on their next release. Lower Dens performs with Cigarette at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $18. (202) 388-7625. rockandrollhoteldc.com.

—Dean Essner blues Alley 1073 Wisconsin Ave. NW. (202) 3374141. Alyson Williams. 8 p.m.; 10 p.m. $25. bluesalley.com. howArD theAtre 620 T St. NW. (202) 803-2899.

Jesse Royal. 8 p.m. $16–$20. thehowardtheatre.com.

thursday rock

9:30 Club 815 V St. NW. (202) 265-0930. Skye & Ross. 7 p.m. $27.50. 930.com. blACk CAt bACkstAge 1811 14th St. NW. (202) 6674490. Wing Dam, Go Cozy, Hand Grenade Job. 7:30 p.m. $10. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Band of Us. 9 p.m. $8. dcnine.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Trash Talk, Nappynappa, Sir E.U. 8 p.m. $15. rockandrollhoteldc.com.

FuNk & r&B

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

Books

kAreem AbDul-JAbAr The basketball icon and cultural ambassador shares his thoughts on the future of America from his perspective as a Muslim and African-American in his new book, Writings on the Wall: Searching for a New Equality Beyond Black and White. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 24, 7 p.m. Free. (202) 364-1919.

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

JESSE ROYAL

SIZZLA

Jazz

bethesDA blues AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Kenny Lattimore. 7 p.m.; 10 p.m. $45–$60. bethesdabluesjazz.com. blues Alley 1073 Wisconsin Ave. NW. (202) 3374141. Andre Ward. 8 p.m.; 10 p.m. $25. bluesalley.com. twins JAzz 1344 U St. NW. (202) 234-0072. Twins Jazz Orchestra. 8 p.m.; 10 p.m. $10. twinsjazz.com.

ElEctroNic

sounDCheCk 1420 K St. NW. (202) 789-5429. Fedde Le Grand. 10 p.m. $25. soundcheckdc.com.

Theater

hAnD to goD A Christian puppet ministry working at a Texas church is overwhelmed by a possessed, demonic puppet in this silly comedy from playwright

ELENA & LOS FULANOS

THE JULIE RUIN DIVA BURLESQUE (21+)

BLACK MASALA

HOGWARTS HAPPY HOUR

WING DAM

FRI 26

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DARK & STORMY

MUSIC FOR 70 GUITARS

ELECTRO / RETRO / DANCE

SAT 27 FYM PRODUCTIONS PRESENTS:

EIGHTIES MAYHEM

TUE SEPT 6TH

RICHARD BONA

SAT 27

4USOCIAL DANCE PARTY

SUN 28 FILM SCREENING:

WED SEPT 7TH

EXOTIC!

A FILM BY AMY KC ODEN

KASSAV

MON 29

THE ESCAPE ARTIST

BENT KNEE

THU SEPT 8TH UNCLE ACID AND THE DEADBEATS

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MOUSETRAP

CELEBRATE THE LIFE & LEGACY OF

SAT SEPT 10TH TEEDRA MOSES

MOLOTOV

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

Freestate Blues Review. 8 p.m. $10–$12. gypsysallys.com.

THU 25

THU SEPT 1ST

imbolo mbue Mbue reads from her debut novel, Behold the Dreamers, the story of two Cameroonian immigrants to New York who find themselves at a crossroads when their employer, a Lehman Brothers executive, loses his job, putting the futures of all characters in jeopardy. Busboys and Poets 14th & V. 2021 14th St. NW. Aug. 23, 6:30 p.m. Free. (202) 3877638.

John strAusbAugh In City of Sedition: The History of New York City During the Civil War, the author, a historian focusing on the legacy of Gotham, explains how and why the city raised more money for the Union Army than any other place. Politics & Prose.

5015 Connecticut Ave. NW. Aug. 19, 7 p.m. Free. (202) 364-1919.

TUE 23

A FAT WRECK

THE TEMPTATIONS REVIEW FT. DENNIS EDWARDS

BluEs

SAT 20

A PUNK-U-MENTARY

wolf trAP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Ricky Martin. 8 p.m. $45–$125. wolftrap.org.

merriweAther Post PAVilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Miranda Lambert, Kip Moore, Brothers Osborne. 7:30 p.m. $45–$125. merriweathermusic.com.

FRI 19

WED AUG 31ST

DAViD CAy Johnston The USA Today columnist reads from his latest book, The Making of Donald Trump, in which he breaks down the past of the Republican presidential nominee. Politics & Prose.

5015 Connecticut Ave. NW. Aug. 25, 7 p.m. Free. (202) 364-1919.

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

Love Canon, The Woodshedders. 7:30 p.m. $15–$20. thehamiltondc.com.

FRI 19

ORISHAS

World

couNtry

THU 18

THU AUG 26TH

elizAbeth Cobbs Drawing on the success of everyone’s favorite musical, Cobbs reads from her new book, The Hamilton Affair, which focuses on the relationship between Alexander Hamilton and his wife, Elizabeth Schuyler. Politics & Prose. 5015 Connecticut Ave. NW. Aug. 22, 7 p.m. Free. (202) 364-1919.

wArner theAtre 513 13th St. NW. (202) 783-4000.

Cultures of China. 7:15 p.m. $25–$60. warnertheatredc.com.

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CITY LIGHTS: tuEsday

shaoliN Jazz

During the silent film era, it was common for a pianist, organist, or guitarist to accompany a screening and provide the music in real time.

While advances in technology made the need for this obsolete, the idea of live soundtracks is still a romantic one. Orchestras searching for new audiences now screen classics like E.T. and play along with them. (Just ask the National Symphony Orchestra who, this summer, accompanied screenings of Raiders of the Lost Ark and Star Trek: Into Darkness.) Here in D.C., Shaolin Jazz takes things a step further by remixing soundtracks to classic kung fu movies live with their monthly Can I Kick It? series. DJ 2-Tone Jones uses soul, hip-hop, and funk tracks to transform old films into something made for today’s remix culture. This month’s selection is 1979’s The Fearless Young Boxer, a.k.a Method Man. As you’ve guessed by know, it is the namesake for Method Man of Wu-Tang Clan. The film itself is as stereotypical as it gets—little story and plenty of choreographed action that hasn’t aged well—providing a perfect blank canvas for DJ 2-Tone Jones to work his magic. The event begins at 6 p.m. at Songbyrd Music House and Record Cafe, 2477 18th St. NW. Free. (202) 450-2917. songbyrddc.com.

—Justin Weber

NETSCOUT PRESENTS

THURS, AUG 25

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CITY LIGHTS: WEdNEsday

doWNtoWN Boys

If you missed out on the unbridled energy of What Cheer? Brigade at Comet Ping Pong a few weeks ago, don’t worry. Rock & Roll Hotel’s 10th anniversary party has got you covered. Co-founded by What Cheer?

Brigade’s former tubist, Downtown Boys bring the same untamed exuberance to the stage. Breakneck tempos, lyrics hurled like projectiles, and a ragged saxophone that sounds like it could cut through two-by-fours make listening to the Downtown Boys a visceral experience. Political protest music can too often rely only on words to bring attention to issues. Downtown Boys want to shake people awake with its music, too. For example, the video for their 2015 song “Wave of History” is an animated lesson on slavery, consumerism, and feminism. Just singing about capitalism, fascism, bro culture, white hegemony, and the prisonindustrial complex leads to preaching to the choir. The Providence-based group knows that if more people are going to feel something, they have to break through the folded arms and get people to dance. Downtown Boys performs with Big Hush and Bad Moves at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $15. (202) 388-7625. rockandrollhoteldc.com.

—Justin Weber Robert Askins. Studio Theatre. 1501 14th St. NW. To Aug. 28. $20–$65. (202) 332-3300. studiotheatre.org.

Jelly’s lAst JAm Jazz pianist Mark G. Meadows

ART APPROVED plays the title role in this musical biography of pioneering jazz artist Jelly Roll Morton, portraying the Josh AE APPROVED highs and lows of his career and personal life. SigTim CLIENT APPROVED nature Theatre favorite Matthew Gardiner directs

this lively production that features songs like “That’s How You Jazz” and “Good Ole New York.” Signature Theatre. 4200 Campbell Ave., Arlington. To Sep. 11. $40–$79. (703) 820-9771. sigtheatre.org.

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

Will they ever finish this mysterious magic game and claim Jumanji? Serge Seiden directs this performance

for audiences of all ages adapted from Chris Van Allsburg’s classic picture book. Adventure Theatre MTC. 7300 MacArthur Blvd., Glen Echo. To Aug. 28. $19.50.

(301) 634-2270. adventuretheatre-mtc.org. the lonesome west Martin McDonagh’s 1997 play follows two contemptuous brothers who recently lost their father—the result of a presumed accident for which one of the two sons was responsible. Relentlessly bickering over their inheritance and other petty matters, the pair takes turns inciting each other into fits of fury over trivial offenses and perceived injustices. Riddled with self-effacing humor, brotherly ridicule, and unapologetic profanity, McDonagh paints a hilarious and macabre portrait of two siblings in the boondocks of western Ireland whose unfettered derision may destroy them. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Aug. 27. $35–$45. (202) 265-3767. keegantheatre.com.

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

(202) 467-4600. kennedy-center.org. sAtChmo At the wAlDorf Louis Armstrong recounts his monumental career as a professional musician and his experiences working during the civil rights movement in this acclaimed off-Broadway show that’s presented at Atlas by Mosaic Theater Company of DC. Atlas Performing Arts Center.

1333 H St. NE. To Sep. 25. $10–$60. (202) 399-7993. atlasarts.org. the temPest Shakespeare Theatre Company revives Ethan McSweeney’s popular production of Shakespeare’s take on power and magic on a tropical island for its annual Free For All. Affiliated artists Patrick Page and Edward Gero star as Prospero and Alonso. Sidney Harman Hall. 610 F St. NW. To Aug. 28.

Free. (202) 547-1122. shakespearetheatre.org.

Film

florenCe foster Jenkins Based on the true story of the titular New York socialite, Meryl Streep’s latest film follows Jenkins as her terrible singing in venues throughout the city turns her into an amusing attraction. Co-starring Hugh Grant, Simon Helberg, and Nina Ariadna. (See washingtoncitypaper.com for venue information) kubo AnD the two strings A young boy must settle an old vendetta by tracking down a suit of armor once worn by his late Samurai warrior father in this animated adventure from director Travis Knight. Featuring the voices of Charlize Theron, Ralph

Fiennes, and George Takei. (See washingtoncitypaper.com for venue information) ben-hur Timur Bekmambetov reimagines the classic 1959 film about a man who attempts to free his family by winning a chariot race in ancient Rome as a more action-packed adventure starring Morgan Freeman and Jack Huston. (See washingtoncitypaper. com for venue information) hell or high wAter Two brothers in rural Texas come up with a dastardly scheme to save their family’s property in this drama from director David Mackenzie. Starring Chris Pine and Ben Foster. (See washingtoncitypaper.com for venue information) wAr Dogs Writer-director Todd Phillips draws inspiration from the story of two men who won a $300 million contract from the Pentagon to arm U.S. allies in Afghanistan. Starring Jonah Hill and Miles Teller. (See washingtoncitypaper.com for venue information)

CIGARETTE SMOKERS NEEDED Daily cigarette smokers needed for psychology research at American University. Must be 18 or older. Monetary compensation will be provided.

If interested in participating, please contact: 202-885-1732 or LVstudyau@gmail.com

ON WALL STREET, ALL PLAYERS ARE NOT CREATED EQUAL

“BRACING, WITTY AND SUSPENSEFUL. A SWIFT, CLEAR AND EXCITING STORY.”

Pete’s DrAgon In its latest remake, Disney brings back the tale of a young boy who befriends a friendly green dragon, turning it from a musical to a straight drama set in the Pacific Northwest. Starring Bryce Dallas Howard, Robert Redford, and Oakes Fegley.

(See washingtoncitypaper.com for venue information) sAusAge PArty Seth Rogan, Kristen Wiig, and Edward Norton provide the voices in this crude animated comedy about a hot dog and his other grocery store pals who suddenly discover what happens when they’re bought and taken home. Directed by Greg Tiernan and Conrad Vernon. (See washingtoncitypaper.com for venue information) equity An investment banker discovers a massive corruption scandal and must untangle the web of lies in this financial thriller starring Anna Gunn. Directed

by Meera Menon. (See washingtoncitypaper.com for venue information)

-A.O. Scott, THE NEW YORK TIMES

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CITY LIGHTS: thursday

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thE crossrhodEs

In the early years of this millennium, R&B singer Raheem DeVaughn and poet and vocalist Wes Felton—both the sons of jazz musicians—led a local group called The Crossrhodes, which meshed lush neo-soul crooning with socially conscious hip-hop word flow. The pair eventually went their separate ways, reuniting for one-off gigs every so often. DeVaughn released a series of solo albums that, like the music of Marvin Gaye, alternated between tales of passion and war. Felton also released work that blended his rap-inflected approach and his political beliefs.

Now Felton and DeVaughn are back together and preparing to release a new album. Their voices lock together on tracks like 2004’s “I Woke Up,” when DeVaughn wails while Felton simultaneously chants the title phrase over and over. Despite Felton’s vocal chops, on cuts like these it’s impossible not to focus on DeVaughn’s sparkling range and timbre. For proof, look at a recent video of the duo performing “Ultimate Supreme” at the Birchmere. DeVaughn grabs the spotlight with his yearning falsetto as Felton spits verses, trying to his best to be the yang to his colleague’s yin. The Crossrhodes perfors at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Steve Kiviat

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Name of Decedent, Hubert W. Joy Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Ruth F. Weiner, whose address is 2926 Porter St. NW #106 Washington, DC 20008 was appointed Personal Representative of the estate of Hubert W. Joy who died on June 10, 2016 with a Will and will serve without Court supervision.

All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment (or to the probate of decedent’s Will) shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3” Floor, Washington, D.C. 20001, on or before 2/4/17.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before 2/4/17, 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 first publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 8/4/16.

Personal Representative: Ruth F. Weiner. TRUE TEST COPY /s/ http://www.washingtANNE MEISTER Register of Wills. oncitypaper.com/ Name of Newspapers: DWLR, http://www.washingtWASHINGTON CITY PAPER. Pub Dates: Aug. 4, 11, 18, 2016. oncitypaper.com/

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Forest, VA 24551 was appointed against its customers, employees, com for more details Cost:$1,100 and applicants for employment on Personal Representative of the month. estate of Thelma Chen who died the basis of race, color, national on March 10, 2016 with a Will origin, age, disability, sex, gender Business Opportunities identity, religion, reprisal, and and will serve without Court supervision. where applicable, political beliefs, marital status, familial or parental All unknown heirs and heirs status, sexual orientation, or if all whose whereabouts are unknown or part of an individual’s income shall enter their appearance in is derived from any public assisthis proceeding. Objections to Has the good life passed you tance program, or protected gesuch appointment (or to the probuy? Still waiting for that good bate of decedent’s Will) shall be netic information in employment job? flip homes, cars, and buy or in any program of activity confiled With the Register of Wills, property for taxes. you can too. ducted or funded by the DepartD.C., Building A, 515 5th Street, www.thefantasticflip.com N.W., 3” Floor, Washington, D.C. ment.http://www.washingtoncitypaper.com/ (Not all prohibited bases will apply to all programs and/or 20001, on or before 2/18/17.

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IND YOUR OUTLET. RELAX, NWIND, REPEAT CLASSIFIEDS EALTH/MIND, BODY & SPIRIT

Legals

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Out with the old, In with the new

34 August 19, 2016 washingtoncitypaper.com

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Out with the old, In with the new Post your listing with Washington City FIND YOUR OUTLET. Paper RELAX,Classifieds UNWIND,

Neighborhood Garage Sale at ASPEN LEAF CT. BOWIE, MD 20716. Saturday and Sunday, August 20-21 from 8am-2pm. Selling furniture, brand new clothing and much more.

Furniture & Home Liquidation, everything for sale. Furniture, kitchen stuff and much more. Please call for prices.

202-577-4919.

Miscellaneous “Foreign Service Agent,” Teen Book Ages 12-19, by Sidney Gelb. www.barnesandnoble.com, 1-800-843-2665. Order today!

“Kids Story Book Two,”Ages 9-12. by Sidney Gelb. www.barnesandnoble.com, 1-800-8432665. Order today!

FINDCars/Trucks/SUVs YOUR OUTLET. RELAX, UNWIND, Musical Instruction/ REPEAT Classes CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT

CASH FOR CARS: Any Car/ Truck 2000-2015, Running or Not! Top Dollar For Used/Damaged. Free Nationwide Towing!

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Voice, Piano/Keyboards-Unoncitypaper.com/ FIND YOUR OUTLET. leash your unique voice with outRELAX, UNWIND, REPEAT of-the-box, intuitive teacher in all styles classical, jazz, R&B, gosCLASSIFIEDS HEALTH/ pel, neo-soul etc. Sessions availMIND, BODY & SPIRIT able @ my studio, your home or http://www.washingtonvia Skype. Call 202-486-3741 or email dwight@dwightmcnair.com citypaper.com/ www.dwightmcnair.com

Bands/DJs for Hire

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Free estimates. Free boxes. Best rates in town! Call 24 hours, 202607-6156 - offi ce.

with the old, In Moving? Out withOut the with new Post the Find A Helping FIND YOUR yourMoving? listing with old, with City Find In A Helping OUTLET. Hand Today Washington Moving?

Find A MOVING? Paper Classifieds the Handnew Today RELAX, Helping Hand Today UNWIND, Post your REPEAT listing with Out with the old, CLASSIFIEDS FIND YOUR OUTLET. RELAX, Washington In with the new Post your listing OutHEALTH/ with the old, In with Washington UNWIND, REPEAT CLASSIFIEDS City Paper the new Post City Paper MIND, BODY Out with the with Classifieds withBODYClassifieds & SPIRIT old, In withHEALTH/MIND, the your &listing SPIRIT Washington City ALL AREAS: ROOMMATES. COM. Lonely? Bored? Broke?

Find the perfect roommate to compliment your personality and lifestyles at Roommates.com!

Rooms for Rent

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Garage/Yard/ Rummage/Estate Sales

Furnished rooms for rent $800$1,000 monthly starting August,http://www.washingtoncity2016, all inclusive washer andpaper.com/ dryer, Central air/heat, kitchen access located in Petworth, Washington DC close to the metro.

Contact Samantha 202.365.5085.

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DJ DC SOUL man. Hiphop, reggae, go-go, oldies, etc. Clubs, caberets, weddings, etc. Contact the DC Soul Hot Line at 202/2861773 or email me at dc1soulman@live.com.

Hand Today FIND YOUR

Upcoming Shows

Get your own internet radio stations or talk show and Non-profi ts we can help with grantwriting, websites, information technology, and organizational management atOut (202) with 436-9763 if not available the old, leave a message or wnpfm101.

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OUTLET. Moving?

RELAX, UNWIND, Find A Post your listing REPEAT with Washington Events Helping CLASSIFIEDS City Paper Classifieds HEALTH/ Hand http://www.washingtoncitypaper.com/ MIND, BODY Today & SPIRIT

KLM Day & Health Fair, Sat Aug 13th, Largo High School, 505 Largo Road, Largo MD, 1p - 7p, free, over 80 vendors, food, craft, health, live performances, free school backpacks an haircuts, www.bkthr.com?

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Events

Information session on Saturday morning, September 10th about domestic, academic, gap year programs.

Higher Education Org currently has programs available for eligible applicants interested in public history, business and/or teacher education. Application process is rigorous and highly selective.

Please visit educatehigher. org/information-sessions. html to RSVP. Information session location and time details made available upon confirmation of attendance.

Visit educatehigher.org for more information.

General CARLOS ROSARIO CHARTER SCHOOL

PUBLIC

NOTICE OF SOLE SOURCE CONTRACT Achieve3000 is an online software product that we use to help students improve their reading comprehension. It created differentiated lessons based on student lexile scores. This company is the only one that makes this software and we have used it now for about 5 years. The subscription is renewed annually. This year, we expanded the number of licenses due to the expanded use by teachers at the school. Please contact Karen Clay, IT Director via email kclay@carlosrosario.org with questions.

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Are you Metro-Smart?

Do you think you’re travelling smart enough in the metro when multiple routes are available?

Come and prove it: finish this online route choice test at www.dcmapview.com/x… we are a group of metro enthusiasts wanting understand your travel behavior in trying to improve our metro.

Please do not hesitate to contact us at johnnyxu999@gmail.com

Butterfl y Pavilion/Insect Zoo Volunteers needed at the Nationalhttp://www.washingtMuseum of Natural History!

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

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

Twitter: @wacdtf

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theory concept) Marriagedestroying get-together X Gamers pop them Irish actor Stephen “Love Sneakin’ Up On You” singer Gangster Bugsy Red wine choice Many, many, many Gangster’s patterns Total gas Dancing alongside at the Jellicle Ball?

“Ain’t happening” King Harald’s land Sax register Like a good reporter Eric Cartman’s desire Accomplishment

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1 Pear variety 2 The Brian Jonestown Massacre founder Newcombe

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Out with the 35 old, In with 38 the new 41Post your listing with Washington 47 48 City Paper 52 53 Classifieds

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Out with the old, In with the new Post your listing with Washington City Paper Classifieds 1 Bootsy Collins’s instrument 5 Scared into submission 10 With 35-Across, caviar source 14 “___ the next one” 15 Where babies grow up 16 Words With Friends piece 17 Cheat celebrities?

19 Current with 20 Station employee 21 Manipulative type 22 Mark of distinction 24 Less cluttered 26 Sprint, e.g.

27 Drug sold in sheets 28 Got into birthday presents enthusiastically 31 In a bashful way 34 You might skip it at a lake 35 See 10-Across 36 Easter egg coloring brand 37 Inky stains 38 12 pack items 39 Sudden onset?

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13 Collision reminder 18 Showing balls 23 On the safe side 25 “___ I’m saying is ...”

26 White canine 28 Sport car coverings 29 Big stretches 30 Selfprogramming thermostat 31 Gush (forth) 32 Amsterdam purchase 33 Publishing genre for youthful readers that’s NOT funny?

34 Crappy weather 37 Rushing the quarterback, say 38 Climber’s peak 40 Arrested Development actress Shawkat 41 This decade 43 Off-color 44 Went ballistic 46 One of many at a festival 47 Sociologist Durkheim 48 Many, many, many 49 Have nothing to do with 50 Corny laugh 51 Big parcel 53 Whiskey serving 56 Neither partner 57 WWII female flier

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3 “Shiny Happy People” singer (and I’ll bet he regrets recording it almost daily) 4 Man of tomorrow 5 Talked like a sailor 6 Playful animal 7 Android ___ (smart watch OS) 8 Go wrong 9 Makes out 10 Coat on the wall 11 Laser shot from Drake?

12 Psoriasis soother

LAST WEEK: RED HEADS S T E W

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

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Moving? Find A Helping Hand Today

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ACCOUNT EXECUTIVE – ADVERTISING SALES

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Washington Find A Helping Moving?

City Paper Find A Helping Classifieds Hand Today Hand Today http://www.washingtoncifor an outside sales position responsible for selling typaper.com/

and servicing our advertising and media partner clients across our complete line of marketing http://www.washingtonsolutions including print advertising in Washington citypaper.com/ City Paper, digital/online advertising on washingtoncitypaper.com and across our Digital Ad Network, as well as event sponsorship sales.

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

You must have the ability to engage, enhance, and grow direct relationships with potential clients and identify their advertising and marketing needs. You must be able to prepare and present custom sales presentations with research and sound solutions for those needs. You must think creatively for Out withconstant the old, clients and be consistent with conducting the new follow-up. Extensive in-personIn&with telephone Postfocus yourwilllisting Out with the old, In Your major prospecting is required.

Washington be onnew developing new businesswith through new with the Post City Paper customer acquisition and selling new marketing Classifieds your listing with solutions to existing customer accounts. Account http://www.washingtWashington Executives, City on a weekly basis, oncitypaper.com/ perform in person to a minimum of 10-20 executive level decision Papercalls Classifieds makers and/or small business owners and must http://www.washingtoncitypaper.com/ be able to communicate Washington City Papers value proposition that is solution-based and differentiates us from any competitors. Account Executive will be responsible for attaining sales goals and must communicate progress on goals and the strategies and tactics used to reach revenue targets to Washington City Paper management.

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

• Two years of business to business and outside customer sales experience • Experience developing new territories & categories including lead generation and cold calling • Ability to carry and deliver on a sales budget • Strong verbal and written communication skills • Able to work both independently and in a team environment • Energetic, self-motivated, possessing an entrepreneurial spirit and strong work ethic • Organized, detail and results oriented with professional presentation abilities • Willing to embrace new technology and social media • MS Office suite proficiency - prior experience with a CMR/CMS software application • Be driven to succeed, tech savvy, and a world class listener http://www.washingtoncitypaper.com/ • Enjoy cultivating relationships with area businesses

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FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT We offer product training, a competitive compensation package comprised of a base salary plus commissions, and a full array of benefits including medical/dental/life/disability insurance, a 401K plan, and paid time off including holidays.

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

MOVING? FIND A HELPING HAND TODAY For consideration please send an introduction letter and resume to Melanie Babb at mbabb@washingtoncitypaper.com.

No phone calls please.

Out with the old, In with the new Post your listing washingtoncitypaper.com August 19, 2016 35 with Washington City Paper Classifieds http://www.washingtoncitypaper.com/

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