Washington City Paper (September 9, 2016)

CITYPAPER Washington

Free Volume 36, No. 37 WashingtonCityPaper.com sept 9–15, 2016

Room and

Ignored Bugs, rodents, peeling lead paint.

Officials say D.C. landlords are trying to force out Latino tenants, raising rents amid deplorable conditions. P. 14

By Morgan Baskin Photographs By Darrow Montgomery

District line: metro backlash ramps up 7 food: Don’t forget dupont 19 arts: all hail sneaks 23

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2 september 9, 2016 washingtoncitypaper.com

INSIDE 14 ROOM AND IGNORED

Officials accuse D.C. landlords of trying to force out Latino tenants.

By Morgan Baskin Photographs by Darrow Montgomery

4 Chatter DistriCt Line

7 Derailment in Progress: Metro faces backlash for its late-night service plan 9 Concrete Details: Revisiting the Pentagon’s 9/11 memorial 10 Housing Complex: Homeless teens find refuge in a pilot program 11 Gear Prudence 12 Unobstructed View 13 Buy D.C.: Made in America

D.C. FeeD

19 Young & Hungry: Hey, remember Dupont Circle?

21 Grazer: Criminally bad restaurant websites 21 Hangover Helper: The Breakfast Bomb from Buttercream Bakeshop 21 ’Wiching Hour: Tchoup’s Special

arts

23 Perpetual Motion: Freshly signed to Merge Records, Sneaks’ Eva Moolchan is poised to keep things moving on and up.

26 Short Subecjts: Cohen on Sully and Olszewski on White Girl 28 Speed Reads: Salih on Here I Am

City List

31 City Lights: The 16th annual Sonic Circuits Festival.

31 Music 32 Books 34 Galleries 35 Theater 37 Film

38 CLassiFieDs Diversions 39 Crossword

“I’m high-key into dancing.”

—Page 23 washingtoncitypaper.com september 9, 2016 3

CHATTER Tomb of the Unknown

In which readers mourn a man the criminal justice system had thrown away and forgotten.

TIME TRAVEL TO

Maryland Renaissance Festival

Our readers tOOk to the comments in droves to express their dismay and sorrow at our story about Franklin Frye, the man who spent almost his entire adult life in St. Elizabeths Hospital—dying under lock and key, in fact—for a minor NEAR ANNAPOLIS, theft (by Jim McElhatton, Sept. 2).

IN CROWNSVILLE, MD Frank Matt (@fxmatt4) tweeted, “The institutional failures that led to Franklin Frye dying in custody are appalling. RIP, Franklin.”

Reader Life 3, presumably one of Frye’s siblings, wrote, “This was my brothers story and I’m so great full for the guy who wrote this life story. It’s sad how my big brother was never able to share some of this life with me. I’m now 57 years old I remember the story’s of how my father was around that time. My father was a kind hearted person that was raze by a very evil father that tired him to the bed and beat him. My grandfather I never met was a mean white and Indian mix that use to beat my grandmother until she left in. My family story should be put in a book to share with the world. So much I want to say and can’t do it with a short blog . I’m

Saturdays and Sundays through October 23rd 10 am - 7 pm Rain or Shine

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going to miss and thank God for my brother. It is what it is and someone need to pay for this mess of messing someone life like this.

He never stole the neck less and the police never went after the real person after knowing who did it sad so, so sad.

Love and miss you big brother we love you but God love you more.”

While we can’t say for certain that the reader is a relative of Frye’s, the sentiment stands. But not every reader was sympathetic.

There are some among us who so profoundly fear the general spectre of criminality that permanently locking away a man for a minor infraction seems like an acceptable cost of public safety—whatever that means.

Chris Lee wrote on Facebook that Frye’s case is “One example of a mistake vs how many examples of cold blooded predators?” And sadly, there’s no cure for cold-blooded inhumanity.

—emily Q. hazzard Want to see your name bold on this page? Send letters, gripes, clarifications, or praise to editor@ washingtoncitypaper.com.

stiv

publisher emeritus: Amy Austin publisher: Eric norwood editor: liz gArrigAn managing editor: Emily q. hAzzArd arts editor: mAtt cohEn food editor: lAurA hAyEs politics editor: will sommEr city lights editor: cArolinE jonEs staff writer: AndrEw giAmbronE staff photographer: dArrow montgomEry interactive news developer: zAch rAusnitz creative director: jAndos rothstEin art director: stEphAniE rudig contributing writers: jEffrEy AndErson, jonEttA rosE bArrAs, morgAn bAskin, VAncE brinklEy, EricA brucE, kriston cApps, rubEn cAstAnEdA, justin cook, shAun courtnEy, rilEy croghAn, jEffry cudlin, Erin dEVinE, mAtt dunn, tim EbnEr, jAkE EmEn, noAh gittEll, ElEnA goukAssiAn, sArAh AnnE hughEs, AmAndA kolson hurlEy, louis jAcobson, rAchAEl johnson, chris kElly, AmritA khAlid, stEVE kiViAt, chris klimEk, ron knox, Allison kowAlski, john krizEl, jEromE lAngston, Amy lyons, christinE mAcdonAld, kElly mAgyArics, nEVin mArtEll, kEith mAthiAs, mAEVE mcdErmott, trAVis mitchEll, quinn myErs, triciA olszEwski, EVE ottEnbErg, mikE pAArlbErg, bEth shook, mAtt tErl, dAn trombly, tAmmy tuck, nAtAliE VillAcortA, kAArin VEmbAr, Emily wAlz, joE wArminsky, AlonA wArtofsky, justin wEbEr, michAEl j. wEst, AlEx ziElinski, AlAn zilbErmAn intern: noA rosinplotz sales manager: mElAniE bAbb senior account executives: ArlEnE kAminsky, AliciA mErritt, Aris williAms account executives: stu kElly, christy sittEr, chAd VAlE sales operations manager: hEAthEr mcAndrEws director of marketing and events: sArA dick business development associate: EdgArd izAguirrE operations director: jEff boswEll senior sales operation and production coordinator: jAnE mArtinAchE graphic designers: kAty bArrEtt-AllEy, Amy gomoljAk, AbbiE lEAli, liz loEwEnstEin, mElAniE mAys southcomm: chief executive officer: chris fErrEll chief operating officer: blAir johnson executive vice president: mArk bArtEl local advertising: (202) 332-2100 fax: (202) 618-3959, Ads@wAshingtoncitypApEr.com vol. 36, no. 37 sept 9–15, 2016 wAshington city pApEr is publishEd EVEry wEEk And is locAtEd At 1400 EyE st. nw, suitE 900, wAshington, d.c. 20005. cAlEndAr submissions ArE wElcomEd; thEy must bE rEcEiVEd 10 dAys bEforE publicAtion. u.s. subscriptions ArE AVAilAblE for $250 pEr yEAr. issuE will ArriVE sEVErAl dAys AftEr publicAtion. bAck issuEs of thE pAst fiVE wEEks ArE AVAilAblE At thE officE for $1 ($5 for oldEr issuEs). bAck issuEs ArE AVAilAblE by mAil for $5. mAkE chEcks pAyAblE to wAshington city pApEr or cAll for morE options. © 2016 All rights rEsErVEd. no pArt of this publicAtion mAy bE rEproducEd without thE writtEn pErmission of thE Editor.

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DistrictLine Derailment in Progress

By Liz Garrigan Jacob Weisman, a 26-year-old line cook at Daikaya who also pulls some shifts at Bantam King, can’t afford to take an Uber home to Greenbelt, Maryland, when his night ends. And there’s no good bus route for him, either.

Already, Daikaya has reduced weekend hours to close at 11 p.m. so employees and patrons can still take Metro home before the train’s midnight closure during SafeTrack repair work. The notion that Metro would make the change permanent—and also end service at 10 p.m. on Sundays, as Metro general manager Paul Wiedefeld has proposed—strikes Weisman as an assault on the city and the people it serves.

“It’s a huge deal,” he says. “For me personally, there’s not really a bus that goes directly to my place. I think there are three separate buses, and I don’t think they run where I need them to. And calling a car, if there’s a deal, maybe it’ll be $10. But during surge times, it could be upwards of $50 to $65.”

Like thousands of other service workers in and around D.C., Weisman is an hourly employee. While he says he does alright, he’s not rolling in discretionary income. “There are lot of people who make less than I do,” he says.

“It’s the nature of the industry.”

It is this crucial population, and the vibrant D.C. entertainment and cultural life it serves, that stands to lose the most from an enduring curtailment of late-night rail service, which ran until 3 a.m. on weekends before SafeTrack began. The topic will be the subject of a widely watched Washington Metropolitan Area Transit Authority committee meeting this week, during which Metro management will formally ask for authorization to hold a public hearing about a set of three options for reducing service permanently.

The introduction this week (via a transit committee meeting agenda) of three earlyclosure scenarios suggests the agency sees the writing on the wall, namely that its board of directors and the public are strongly opposed to permanently diminished service that disproportionately impacts low-income riders. The multiple options are no doubt intended to help make an unpopular idea more palatable.

Among the options is Wiedefeld’s July proposal to run Metro until midnight Monday through Saturday and until 10 p.m.

Sunday. Another proposes 11:30 p.m. closures Monday through Thursday and Sunday and midnight Friday and Saturday. And the final one envisions 11:30 p.m. closures Monday through Thursday, 1 a.m. on Friday and Saturday, and 11 p.m. Sunday.

But even the simple request for a public hearing is unlikely to be met with certain or unanimous approval. “I don’t think it’s a sure thing that it will get out of committee,” says Leif Dormsjo, director of the District Department of Transportation, who has a seat on the board but not on the committee in question. “The change here is something that has taken a lot of people by surprise.”

More broadly, the safety-versus-service debate that will follow in the days and months ahead will demand that Metro, city officials, and residents consider whether it’s the kind of draconian cutback the District could or should make, and what such a reduction would say about the city’s priorities.

“That’s a big service change,” says Jon Orcutt, a transportation expert for the New York–based foundation TransitCenter. “So that’s much more in the vein of [deciding] what kind of city Washington wants to be. And Washington probably has a hard time answering that question. It is a world capital, but is it a cosmopolitan center in the way that London and New York are?”

Jack Evans, the outspoken Ward 2 D.C.

Darrow Montgomery

As an insurgency grows, doors aren’t closing just yet on late-night Metrorail service.

Councilmember and chairman of the transit authority, knows how he’d like to answer that question. “If you want to be a big-league city, you’ve got to act like a big-league city,” he says. He’s unreservedly opposed to ending late-night service beyond the SafeTrack period.

“I don’t support the idea,” he says. “I’m speaking as Jack Evans, board member. My sense from the rest of the board is that most people don’t like the idea either.”

Like business groups, entertainment venues, and people like Weisman, Evans is most concerned about wage earners whose

work is fundamental to the District’s economy and who have little choice in transportation. “The people who work late nights to keep our city and our region running, those are the people we’re trying to accommodate,” he says.

Virtually no one challenges the idea that Metro needs more track time to address a range of embarrassing—and deadly—safety problems that have plagued the system and fueled a crisis in confidence and falling ridership. The deliberation and dissent will involve the intricacies of how to do it without violating

washingtoncitypaper.com september 9, 2016 7

DistrictLinE collective concerns about access to an essential urban service.

“While we are a voice of the business community, part of us is caring for people who support that community,” says Neil Albert, president and executive director of the Downtown Business Improvement District. “We are pushing back on Metro’s plan because it doesn’t really address people who need it most, people who are working low-paying jobs in the service industry.”

Among the ideas to mitigate service impact are to work on track segments according to a staggered and more sophisticated plan, and to close or reduce service along parts of rail lines temporarily to avoid a widespread wallop for riders.

“It’s got to be a creative answer, and Metro is not creative,” Evans says. “We need to get more track time, and we have to get creative.”

There is, of course, ongoing dysfunction in the way Metro is funded that will need to be addressed eventually—among them is the absence of a dedicated revenue source, such a 1 percent sales tax that Evans has advocated for years—to help bankroll operations and capital improvements.

“It’s like every day you open the closet and

something falls on your head,” Evans says.

“This system is a wreck. We have a 1970s system, and we’re trying to run it in 2016.”

Wiedefeld, who was appointed to man-

ings. But the goal here, again, is to get more access.”

Other potential considerations would be to institute some form of transport voucher sys-

“That’s a big service change. So that’s much more in the vein of deciding what kind of city Washington wants to be.” age the system late last year in the hope that he could spearhead a turnaround, knows that the proverbial pasta isn’t sticking to the wall. He seems to be bracing himself for a protracted debate. “We want to listen to the people,” he says. “I’ve heard a number of them. Everything from bus to could you do earlier closing during midweek, later open-

tem for service workers, something tried in other markets and that would potentially be cheaper than running trains in early-morning hours.

“There are ways to get around this,” says Adie Tomer, a fellow at the Brookings Institution’s Metropolitan Policy Program. “It strikes me that in this digitally rich era, trans-

ferring those subsidies that we would pay to operate late-night service at a loss to the individual workers—some kind of voucher system—could be an option.”

Whatever the ultimate solution, the hospitality and service industries are poised for an insurgency to avoid an entertainment apocalypse.

In the face of weekend cutbacks, Black Cat co-founder Dante Ferrando says the rock club has already moved Friday and Saturday night openings from 9 p.m. to 8 p.m. That’s not necessarily a huge hit to the club’s business, but Sunday is another issue entirely.

“Ten o’clock is just ridiculous,” he says. “It’s just giving up on using Metro completely for nighttime business.”

Rock & Roll Hotel booker Steve Lambert says the idea poses a risk to the entire city. “It sounds really boring to me, you know? You want to have this thriving metropolitan life, but you can only have it ’til 10 p.m.”

As for Jacob Weisman, he’d be picketing if he had any time between shifts. “We’re all too busy, to be perfectly honest.”

CP Andrew Giambrone and Will Sommer contributed reporting.

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8 september 9, 2016 washingtoncitypaper.com

Silent Grove

The quiet Pentagon memorial for 9/11 victims turns 8 this week.

By Amanda Kolson Hurley Those new To the D.C. area—or even longtimers—may not know that we have our own 9/11 memorial, smaller and less dramatic in gesture than the black hole in Lower Manhattan, but no less affecting in its own way. The National 9/11 Pentagon Memorial sits on the eastern side of the Pentagon, yards from where terrorists flew a jet into the building on the sunny morning of Sept. 11, 2001, killing 184 people and changing the course of world events.

Wedged awkwardly between the Pentagon and a swirl of I-395 ramps, the elegant and understated memorial opened eight years ago.

It conveys the scale of personal losses suffered, if not the global repercussions of the plane’s impact. And it’s obviously an appropriate place to reflect on this week’s 15th anniversary of the terror attack.

But that requires getting there, and good luck with that. The approach by car is confusing, with irregular signs that instruct drivers to double back on themselves, then leaving them adrift in a vast sea of Pentagon parking. Take Metro instead. Either way, the approach to the memorial is strange: With acres of parked cars on one side, there’s a line of waist-high security planters on the other, beyond which lie a buffer zone and the Pentagon. I’m not really complaining—the sense of unease fits. After all, this kind of hyper-securitized landscape, with signs telling visitors that taking photographs is forbidden, is a major legacy of 9/11.

At the memorial itself (where photography is allowed), a grove of trees stands in a field of multicolored gravel, and benches are set in angled rows. There are 184 benches, one for each victim, and the angle of the rows follows the trajectory of American Airlines Flight 77.

The benches, made from stainless steel and a warm-hued granite, rise out of the ground and cantilever over small linear pools. Victims’ names are inscribed in the metal. The rows ascend by age: An “age wall” displays a series of years, and benches in each row memorialize victims born the same year. So they are densest in the 1940s, ’50s and ’60s, and thin out at the ends. The most heartbreaking benches are near the sparse entrance, for child victims such as Dana Falkenberg (b. 1998) and Bernard C. Brown II (b. 1990).

This landscape is abstract, visually restrained, and, except for dates and names, almost wordless. It has none of the bombast of the World War II Memorial and is much more of a piece with Maya Lin’s Vietnam Veterans Memorial.

The design was plucked from more than 1,000 submissions in an open competition.

Echoing how Lin was chosen to design the Vietnam memorial when she was still an undergraduate, the winners, Julie Beckman and Keith Kaseman, were a couple fresh out of architecture school, and drew up their entry in the small studio apartment they shared. Al-

ished granite, like headstones, and sitting on them feels wrong. Instead, people sit on the low walls around the memorial, and the benches remain hauntingly empty. The plants seem healthy and well cared for. Eight years on, the crepe myrtles are maturing and will turn a vivid red in the fall. Lights in the pools and under the benches make the whole grove glow at night.

The Pentagon Memorial won’t be off the beaten track for much longer. There are plans to build a three-story visitor center nearby, inside the loop of a highway ramp. Exhibits will recount what happened on Sept. 11, cel-

though they were novices, the design they produced is clear, resonant, and functional.

Apart from a few aspects that seem overdetermined—for instance, the height of the age wall, in inches, corresponds to victims’ ages— the logic reveals itself as you walk around the outer path. An early worry about this design had been the combination of gravel and dozens of small pools: Wouldn’t they end up full of rocks? On a recent visit, most pools had just a few pebbles in them, and blossoms from the crepe myrtle trees floated on some, which was pretty. The form of the benches nods to the Air Force Memorial up the road. It is unmistakably plane-like. Beckman and Kaseman took what was an agent of destruction and reclaimed it as a symbol of hope.

No one sits on the benches. They are pol-

ebrate the lives of victims, and describe “how the United States and governments around the world are working to help prevent another 9/11,” according to the Pentagon Memorial Fund’s website.

As 9/11 crosses the line from recent tragedy to historical event, it’s inevitable that future visitors will need more context to understand it. There is also a need for better basic facilities at the site, like real bathrooms (not portacabins) and a shaded place to get refreshments.

The view of the memorial from the top of the visitors center ought to be memorable.

Still, there’s a risk of the center overshadowing and over-explaining this delicate memorial. Go there now, try to block out the rush of traffic, and sit with your own thoughts while you can.

CP

Darrow Montgomery

ConCrete Details

washingtoncitypaper.com september 9, 2016 9

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A church downtown hosts a new weekly drop-in center for homeless youth.

By Andrew Giambrone

Kristi Whitfield is fairly adept at chess, but last month, she admits, she “got trounced $500 cash back several times” by a young man who was once from the DCSEU. a middle-school champ and has since aged out of foster care.

“My victory was that he beat me in more moves than he predicted,” Whitfield says, with a laugh. “That was my bragging rights.”

Whitfield, the Downtown Business Improvement District’s public space operations Connect at dcseu.com or director, faced off with her opponent at a new 855-MY-DCSEU drop-in center for homeless teens and young adults. It’s a pilot program being hosted at the First Congregational United Church of Christ, at 945 G St. NW, each Monday evening unI LR I TA RI TA YC★ A N GLU GEAG M RM YC P ★IM CP AIM PLU I★ N GLU G GEAG E M I LM I TA YI L★ A N G ★G G★AG til mid-November.

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housing complex

get it out so they can even start thinking about breaking this huge problem down into pieces they can solve.”

The First Congregational drop-in center is open every Monday from roughly 6 p.m. to 9 p.m. So far, the groups have screened blockbuster action flicks like Batman v Superman (a “huge hit,” Lieber says) and supplied games like Uno and cards. To get the word out, Sasha Bruce trained BID and church staff on outreach, with an eye toward homeless youth.

Many of them feel isolated and long for contact, Sasha Bruce founder Deborah Shore explains.

Though the pilot itself is still young, organizers say success will be measured by the number of youth who continue to come. Ultimately, says Downtown BID executive director Neil Albert, it will also depend on connecting youth to housing, employment, and other opportunities. Albert, a former deputy mayor of Adrian Fenty, says the center is “a labor of love.” He saw a need for it downtown, where homelessness is most visible.

“We’re hoping the pilot grows into something we can implement year-round,” he says.

“What we need to do for next summer, and after, is figure out the true cost and how to fundraise for it.”

Part of that money could come through the church. Rev. James D. Ross II, who oversees the drop-in center for First Congregational, says an offering to be collected this month will go toward Sasha Bruce for program support. Members have also expressed interest in volunteering. Ross notes that the number of early participants shows the “huge need” for more services, adding that the pilot furnishes a model for organizations to facilitate similar activities on other nights.

“Young people, regardless of their situation, yearn for the same things: a sense of belonging, a sense of community, a sense of support,” the reverend says.

Some may simply want to recall moments of life buried by time, like playing a game of chess.

“It made me feel hopeful that the space, even on the first night, was offering what we wanted, which was a respite,” Whitfield says. “Somewhere you can come in, feel your age, and just eat pizza. Where you aren’t a ‘homeless person,’ or a ‘vulnerable person,’ or a ‘transient person.’” CP Got a tip for Housing Complex? Send suggestions to agiambrone@washingtoncitypaper. com. Or call (202) 650-6928.

Gear Prudence Gear Prudence: I almost exclusively rely on my bike to get me places, and I’ve been commuting by bike for the last few years. I recently scored a job interview at a firm where I’ve always wanted to work and when I told my husband, after telling me he was proud of me, his first question was ‘you’re not going to bike to the interview, are you?’ Um, how else would I get there?! Apparently, he thinks that it’s unprofessional, and that if I bike to the interview, I will come off as very unprofessional and never got the job. It never occurred to me not to bike, but now I’m worried that he’s right. What should I do?

—Judgmental Of Biking Dear JOB: Countless people bike to work, but this presupposes they have jobs in the first place. To get a job, you’ll likely have to interview, and a key component of the interview is presentation. GP suspects this is why your husband anticipates a problem with biking. Maybe he thinks when you take off your helmet, you’ll present an unruly bouffant that suggests dereliction of diligence or disrespect. Or you’ll arrive a sopping mess of sweat and grime. Or he imagines some anti-bike boss will instantaneously dismiss you as unfit when he sees you wrestle your bike around a street sign with your U-lock. And while these things could happen, your husband’s overly negative attitude has failed to consider the many benefits of biking to an interview.

The first is predictability. By and large, when you bike places, it’s a consistent trip time. Traffic is less likely to waylay you, nor will you be stuck underground on a train mysteriously stopped between stations. Secondly, if you bike, you’re more likely to arrive feeling your best. You won’t be as stressed and you’ll have released some endorphins thanks to the moderate exercise. Thirdly, your biking will provide some great ammo for the interview itself. What’s your biggest weakness? I bike too much. Where do you see yourself in five years? Biking in southern France. Do you have any questions about this job? Yes, do you have showers here? You ask that showers question without the bike excuse and it’s just weird. If the job has anything to do with sustainability or health, certainly cycling to the interview will recommend you. In a competitive job market, you’ll want differentiation, and nothing will be quite as differentiating as being the person who (inadvertently?) wears a helmet during the interview.

Ultimately, though, GP urges caution. Aim to be maximally kempt. Even if you don’t bike to the interview, you can always bike the first day of your new job.

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

Email gearprudence@washcp.com.

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Bog Rolling

By Matt Terl I’m goIng to get my personal bias out of the way up front here, not just because it’s the responsible thing to do, but because the reasons for it illustrate the point of this column: I consider Dan Steinberg, creator of the Washington Post’s DC Sports Bog, to be a friend. I know him because I used to write an obscure blog about the local NFL team. He not only linked to the posts I sent him, but he was instrumental in helping me land my first professional blogging gig. I’ve also contributed to the Bog on a couple of occasions. End of disclosure.

The Bog turns 10 this month, which seems almost unbelievable to me. I have this insipid, and recurring, thought experiment in which I look at a piece of pop culture ephemera and try to establish its age relative to one of its antecedents. So, for example, Weezer’s Pinkerton album is as old now as Rush’s 2112 was when Pinkerton was released. I do this all the time, with everything. My wife hates it.

Although this is a little inexact, the Bog is now just a bit older than former Post sportswriter Tony Kornheiser’s 1997 Pulitzer nomination in the category of “Distinguished Commentary.”

There’s something significant to me about that timespan. By the time Steinberg launched the Bog, Kornheiser’s Pulitzer submission package was largely forgotten, and he had reestablished himself as a national talking head.

That year, in fact, he would begin a doomed stint as an analyst on Monday Night Football.

Meanwhile, in the decade since the Bog launched, it has redefined sports coverage, in more than one way. The idea of a single-author blog posting multiple items every day covering the esoteric, personal, quirky side of local sports was groundbreaking at the time. For a while, it felt like the sportswriting equivalent of Brian Eno’s observation about the Velvet Underground’s first record: Not everyone read the Bog, but everyone who did started a blog.

And once they did, Steinberg would find a way to give their musings some daylight if they had any merit at all. When your readers are primarily family and a few loyal friends, the traffic that ensues from a Washington Post link is game-changing.

The Bog championed egalitarianism in

other ways, too. Steinberg made the most of his press access to ask the kinds of hair- and sock-focused questions fans wondered about but that no beat reporter took the time to ask.

He also regularly eschewed press access, often writing about games via their broadcasts— and thereby covering the broadcasters and the commercials too. That, in turn, led to what is now commonplace but seemed unusual at the time: using radio interviews as firsthand sources, transcribing player comments and bringing them to web (and, eventually, print) readers who couldn’t be bothered with sportstalk.

The D.C. sports scene often seemed disproportionately visible in the national media in the early 2010s, and the Bog was a major part of the reason why. In other markets, a player or an ex-player gets on the local Jack and the Donkey Morning Yap, says something doltish, and a few thousand people hear it. Here, the comments would be transcribed, analyzed (or snarked on), and posted, often within an hour.

And there are enough media types among the Bog readership that these kinds of posts—or at least the comments within—not only would go viral but would end up driving the afternoon’s national sports news cycle.

It made for a perfect media ecosystem, content growing from content growing from content, and it certainly didn’t hurt that local teams had no shortage of inane things to say.

The spike has diminished somewhat, in part because the local NFL team no longer commits behavioral felonies every hour on the hour, but also because the Bog model has flourished and spread to the point that the transcriptions of illadvised radio interviews no longer come exclusively from this market.

Through it all, though, Steinberg (and morerecently Scott Allen and the Bog’s many other contributors and editors) have kept the focus determinedly local, occasionally providing voice for fan protests (as in 2009’s “Burgundy Revolution” and “Signgate”) and always emphasizing any cross-franchise connections and friendships.

A decade is long enough to make the Bog an institution, part of a symbiotic cycle with the region’s tortured sports psyche and an established point of view. It earned that status in the most natural way possible: by being reliable, egalitarian, and local.

CP

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Room and IgnoRed

Bugs, rodents, peeling lead paint. officials say d.C. landlords are trying to force out Latino tenants, raising rents amid deplorable conditions.

By Morgan Baskin Photographs by Darrow Montgomery Jose Hernandez fled from El Salvador to D.C. in 1988, seeking political asylum from the civil war that would ultimately claim over 75,000 civilian lives. He lived here for two years before moving into a rent-controlled apartment on Park Road NW in Mount Pleasant. In 1990, he says, his 89-year-old building was filled with people like him: Spanish-speaking immigrants, many of them day laborers.

He paid $425 monthly in rent.

A permanent U.S. resident, he lived in the building happily for over a decade and a half before an infestation began in late 2006.

It happened gradually, then suddenly: Cockroaches, rats, and bedbugs all swarmed his apartment unit. Although Hernandez immediately (and repeatedly) reported the infestation, his landlord didn’t respond to requests for an exterminator. Just months before, in October of 2006, his landlord increased Hernandez’s rent to $822 a month, and he was never given notices of those increases in Spanish.

Exhausted from fighting over what was then the third rent increase in as many years, Hernandez, now 67, decided to stop paying rent until his complaints were addressed. After three months, his landlord took him to court in 2007 seeking to evict him and his wife Victoria. During the litigation, Hernandez says that his landlord told him that the management company would “fix the property if [he] agreed to pay the increased rent” of $719.

Hernandez won his case, but management issues persisted. Five years later, in 2012, his landlord tried to increase his rent by 8.57 percent—about 5 percent higher than the 3.6 percent ceiling allowable under the law that year for seniors like Hernandez. The landlord was relying on a little-known vehicle called a 70% voluntary agreement, which allows landlords to raise a building’s rent ceiling (typically for vacant units) with the consent of at least 70 percent of the tenants. It’s usually justified with the promise that management will use the additional funds for repairs and mainte-

nance. Hernandez, who was not among the agreement’s signatories, was nevertheless subject to the increases, and had to file a tenant petition to lower his rent ceiling.

Other Latino tenants, unable to afford the new rent, began to move out. Hernandez estimates that the building has gone from about 90 percent to 5 percent Latino in the 17 years since he moved in.

The premise of the agreement—that tenants can only obtain legally required standards of building maintenance by paying more rent— is something Joel Cohn, legislative director of D.C.’s Office of the Tenant Advocate, calls “horrible,” “offensive,” and “a joke.”

Today, Hernandez claims that the building’s elevator has ongoing mechanical problems; that the floorboards in his apartment unit have loosened and shifted; and that, despite requests for an inspection from the D.C. Department of Energy and the Environment, his building is still covered in lead paint. (Neither Hernandez’s landlord nor the building’s management company responded to requests for comment. A spokeswoman from DOEE says the agency has no record of Hernandez’s inspection request).

Sitting in the Columbia Heights offices of the Central American Resource Center, known by the acronym CARECEN, Hernandez is wearing the wide-brimmed cowboy hat of the calgador. Through a translator, he says that the 50-unit building dozens of Latino immigrants once called home has become increasingly whitewashed. He tells a story of calculated manipulation, discrimination, and malice. He talks of his struggle to understand his legal rights and rent changes, his frustration with living in an unsafe apartment despite regularly advocating for himself, and his belief that his landlord considers him an undesirable tenant.

His story highlights what is perhaps a broader and more sinister motive on the part of some local management companies: to drive Latino res-

14 september 9, 2016 washingtoncitypaper.com

idents living in rent-controlled units out of their buildings so that they can refurbish their apartments and rent them at higher prices.

During a July hearing held by the D.C. Department of Housing and Community Development, CARECEN executive director Abel Nuñez said Latino tenants are being “disproportionately impacted” by housing problems.

A former CARECEN volunteer testified that the “abuses and mistreatments” of Spanishspeaking immigrants are “distinctive.”

Another CARECEN client, Bernabe Martinez-Blanco, filed a discrimination suit in August with D.C.’s Office of Human Rights after claiming that his landlord verbally abused Latino residents, screaming at him, his wife, 86-year-old mother, and two young children after they requested she address insect, mold, and water problems in their Park View apartment.

City Paper reviewed hundreds of pages of these residents’ tenant petitions, D.C. Superior Court claims, eviction notices, and Office of Human Rights cases, which point to a disturbing trend of systematic negligence and abuse of immigrant tenants.

These charges are best demonstrated by Martinez-Blanco’s eviction warning notice, which his landlord served him in April after what he claims were fabricated allegations of excessive noise and illegally living with his mother. It was the only one of his dozens of housing notices that was translated into Spanish.

THe area surrounding Hernandez’s apartment building is idyllic, lined with great sprawling trees, brick buildings, and regal white columns. But the apartment itself betrays many signs of decay. Inside Hernandez’s studio, white paint is flaking from door frames and window sills, revealing decades of layers of what is most likely lead-based paint.

(For buildings built before 1978, DOEE presumes there is lead-based paint.) There is no proper ventilation for the kitchen stove, causing cooking odors to remain stagnant in the

apartment. Power outlets protrude awkwardly from the wall. The air-conditioning unit has been taped over because it’s not properly insulated. The floors are buckling. These are the conditions that remain after an initial round of repairs were made in 2007.

From the outside, passersby would never guess that the interior is crumbling.

It’s a popular neighborhood for Spanish-speaking immigrants. One-third of the city’s Latino population lives in burgeoning neighborhoods like Columbia Heights and Mount Pleasant, a stone’s throw away from the trendy Thip Khao, The Coupe, Red Derby and Wonderland Ballroom. Half of Columbia Height’s residents are Latino, and Ward 1 Councilmember Brianne Nadeau characterizes it as the city’s “most diverse” Ward. Hernandez’s $685 rent is a fraction of the average price of apartments in Columbia Heights, which on the much higher end can run upwards of $4,000.

An Urban Institute study dedicated exclusively to examining the growth of the city’s Latino community argued that average rent prices between 2000 and 2007 “increased more for Latinos than for other racial/ethnic groups, possibly due to the fact that Latinos tended to live in the neighborhoods experiencing the hottest housing boom.” The rush to build residential units in those neighborhoods, coupled with more commercial development, “has also highlighted growing tensions between Mt. Pleasant’s existing Latino and African-American communities and the new residents,” the same study concluded.

A separate 2011 report from the organization estimates that there are more than 13,000 rent-controlled units in Ward 1, which includes Columbia Heights, Park View, and Mount Pleasant. If still accurate, that would make it the D.C. ward most populated with rent-controlled apartments. And that no doubt is a rub for property development and management companies, which have been flocking to the

area to cash in on housing demand from highearning professionals.

Though there are rent-control protections, Cohn says there are myriad ways around them.

Of the five housing provider petitions used to increase the rent ceiling for rent-controlled

units, the most frequently invoked is the aforementioned 70% voluntary agreement.

A spokeswoman for the D.C. Department of Housing and Community Development says an average of 20 have been filed annually for the past 10 years, which, Cohn says, “doesn’t

sound like a lot, but has a humongous impact on the number of rent-controlled units in the city. It becomes staggering when the numbers are compounded year after year. It’s a serious erosion of meaningful rent control.”

And so the question isn’t whether high-

er-income residents are moving into neighborhoods like Columbia Heights and Mount Pleasant as rent increases and amenities multiply. We know they are. Instead, the question is whether there is a methodical and intentional attempt to price out rent-control tenants in

Jose and Victoria Hernandez in their apartment

washingtoncitypaper.com september 9, 2016 15

those areas.

“Yes,” Cohn says without hesitation. “It sure appears as though there’s an intention to make life as difficult as possible for these tenants, to get them out of the building so that the landlord can [make apartment] upgrades and get higher-paying tenants in.” iT’s a paTTern CARECEN’s housing director, Anabell Martinez, recognizes: buyout offers, slowed response time to maintenance requests, an influx of new tenants as old ones grow tired of having their patience tested.

Then come the breaking points.

It’s what happened to Martinez-Blanco.

Four years ago, as Hernandez was filing a tenant petition against his landlord, MartinezBlanco began to experience maintenance issues that seemed never-ending. The most pressing concerns included an infestation of bedbugs, cockroaches, and rats; peeling and cracked paint on the walls and ceiling; leaky pipes that created foul odors throughout the apartment; a gaping hole in the wall through which pests entered; moldy walls and kitchen cabinets; rotting floors; two broken stove burners; and residual powder from a fumigation that exacerbated his son’s asthma.

All of Martinez-Blanco’s maintenance requests went unanswered. Then, in 2013, the rent increases began.

When he first moved into his Park View home in 2001, he paid $825 a month for his two-bed, one-den apartment. But the increases launched Martinez-Blanco’s monthly payments from $825 to $1,173. Two years, two rent increases, and zero responses to maintenance requests later, Martinez-Blanco began paying $1,255 per month starting in November of last year.

Then, in 2014, property management company UIP came to him with buyout offers. The initial one was $5,000. About 10 of the building’s tenants accepted it. When other residents refused to take the money, the management company offered a second round at $10,000. About 15 residents accepted that offer. Martinez-Blanco says most of the 25 residents were Latino. Shortly thereafter, Borger Management acquired the building (though it’s not listed on Borger’s website). Arianna Royster, the company’s director of residential management, writes via email that the buyout offer “was NOT in exchange for not performing maintenance.”

Documents obtained by City Paper show that Martinez-Blanco is still dealing with many housing code violations a full four years after first reporting them. He has submitted at least three maintenance requests in 2016 alone.

Martinez-Blanco, noticing that tenants in his building are changing, is convinced his landlord is trying to push him out. He’s seeking a $50,000 settlement against Borger in his tenant petition. For her part, Nadeau—who sits on the D.C. Council’s housing and community development committee—says she wasn’t aware of complaints made against either Martinez-Blanco or Hernandez’s buildings.

“These issues were not confined to our apartment—many units in our hall and across our building faced the same issues,” Martinez-

Blanco wrote in his tenant petition, filed in June. “Many of those tenants chose to accept buyouts from the management company and relocate rather than go through the difficult process of securing repairs.

Their units were then rehabilitated and rented at much higher rates.”

Martinez-Blanco says he’s experienced “countless degrading” incidents with his landlord, noting in his tenant petition that she “is haughty and condescending around us, but patient and respectful around the tenants in the newer, more expensive units. We feel discriminated against.”

He says she has verbally threatened eviction, shouted at his wife, and insulted the family. (His landlord did not return a request for comment.)

The condescending behavior, coupled with a lack of response to maintenance issues, led him to file an Office of Human Rights discrimination claim that named both his landlord and the management company, Borger.

“I am a human being,” Martinez-Blanco writes in the claim. “I want to live in a better condition environment.”

Royster contends that when the company took over from UIP in 2014, it went through “pages of violations” and responded to them all. It is “absolutely not [Borger’s] practice” to ignore maintenance requests “for any reason,” she writes, and acknowledges that the company wouldn’t have been legally allowed to raise the rent if the unit violated housing codes.

Martinez-Blanco’s claim “comes as a complete shock,” she adds, and notes that Borger has “scheduled painting” in the unit. Martinez, the CARECEN housing director, says Borger is “one of the worst” companies she and her clients deal with. According to D.C. Superior Court records, Borger is currently embroiled in seven open lawsuits, three of which are civil suits filed against the company.

While Martinez-Blanco’s landlord has not substantively addressed the infestation or broken appliances, she has painted over old, peeling sections of the wall and portions of mold, presumably so that she has documented “proof ” of having addressed his claims before they head to their Sept. 9 Office of Human Rights intake hearing—which is when an officer will decide whether his discrimination case has any merit. Until then, he has told his landlord to stop painting.

“I don’t want it looking better than it is,” he says. even Hernandez, wHo has been a CARECEN client for nearly a decade and a resident of the city for almost 30 years, struggles to understand his rights as a tenant. He says that for young people immigrating to the city—or even seniors who don’t speak English fluently—just asking their landlords for a maintenance request, or figuring out how to pay rent, can be extraordinarily difficult without legal advice (which is expensive) or a translator (which is

16 september 9, 2016 washingtoncitypaper.com

tough to find).

Hernandez says that those who signed his building’s voluntary agreement in 2012 had no idea what they were approving since they couldn’t actually read the document, and couldn’t afford their rent after it took effect.

“In this community [...] we don’t have any idea what these changes mean for us,” he says.

“It’s definitely easier to pull one over on non-English-speaking tenants, and on those who don’t understand what they’re giving up when they sign the voluntary agreements,” Cohn says.

Martinez admits that even she has difficulty completely understanding the 70% agreement that’s being so commonly used to displace residents. Not only does it impact new tenants who never signed it, it also doesn’t have a legal limit on potential rent increases, though Cohn says there “ought to be … the sky’s the limit.” In the 2012 proposed rent adjustment schedule for units in Hernandez’s building, some tenants faced up to a 125 percent increase in rent. And there is no provision in the agreement that requires landlords to present tenants with a copy in their native language, a huge problem for non-Englishspeaking immigrants like Hernandez, who densely populate the city.

“The only person who wins with that agreement is the landlord,” Martinez says. “There is no benefit to the tenant.”

A report from the Office of the Tenant Advocate, which provides residents with housing counseling services, shows that the agency handled cases from about 10,760 tenants in fiscal year 2015 alone. Ward 1 “continues to be the Ward that produces more OTA clients than any other,” it says. Ward 1, along with Wards 6 and 8, each had about 90 housing code complaints. Ward 1 also saw the highest number of complaints regarding lease issues, evictions, subleasing, and security deposits.

These numbers come from a city that has stricter tenant protections than is required by

the federal Fair Housing Act. In the District, it’s illegal to discriminate based on age, personal appearance, family responsibilities, or marital status (among other protected traits), which goes further than the federal requirements.

Despite being disproportionately victimized, Latinos are not at all a population overly inclined to file complaints.

CARECEN—the only organization in the city that provides free individual housing counseling services for this specific population—is able to assist just 400 clients during a busy year. Yet housing director Anabell Martinez estimates that about 30 percent of those are undocumented immigrants who refuse to formally report housing problems for fear they’ll be deported. The number of immigrants filing housing code violations, then, is likely significantly underreported.

And for those who do report these violations, proving that landlords are acting on discriminatory impulses is difficult.

“You sound like a lawyer,” Martinez says when asked if it’s difficult to provide concrete proof of discrimination. “We don’t like to discourage tenants from filing discrimination suits.”

Despite the inherent difficulty in legally proving discrimination—who’s to say definitively what motivates a landlord’s refusal to address maintenance issues?—the number of such cases filed at OHR is increasing exponentially, more than doubling from 30 in 2011 to 65 in 2015. About half of those cases are resolved in early stages of mediation before escalating any further, though a spokeswoman for the agency says it doesn’t collect data about how many of those discrimination claims are filed by tenants against their landlords. (Due to the nature of the complaints, the OHR would neither enumerate nor confirm the existence of discrimination claims filed against Bernstein or Borger.) inside His aparTmenT early one September morning, Hernandez sits with his wife of 40 years on the edge of their full bed. It’s covered in a hot pink blanket and sits just footsteps away from the front door.

A Spanish news channel fills the room with soft ambient noise, and framed illustrations of a smiling Jesus hang in every room. It’s tidy but cluttered with the tchotchkes collected through life, and here, it’s appropriate to recall Nadeau’s words: that D.C. is “a sanctuary for people fleeing violence.” Hernandez tried to make this place a safe haven for his family.

He talks of his six children, three boys and three girls, and of his 11 grandchildren, the youngest of whom are twins. As he speaks, his fingers run along the doorframe, idly chipping away at the peeling paint.

CP

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Eastbound and Down

By Laura Hayes I have a confession to make: Despite my best efforts, there are some restaurants in the District where I have yet to dine after eight years of living and working here. That’s why, whenever there’s a lull in the gauntlet of new restaurant openings, I pause to take stock of what I’ve missed. It turns out, I’ve long neglected Dupont Circle. Which got me thinking—why is that?

D.C. diners, myself included, have turned our collective attention east—towards the 14th Street Corridor, Shaw, Bloomingdale, and the Atlas District— casting Dupont in the shadows. There, restaurants that have been operating for 10, 20, even 40 years, are hanging on despite myriad factors working against them.

One of the most neglected strips of restaurants is at the north end of the circle on Connecticut Avenue, home to Mourayo, La Tomate, Bistro Bistro, Madrid Restaurant, Bistrot Du Coin, and Alero. “It’s become a forgotten corner,” says Natalina Koropoulos, the owner of both Mourayo and La Tomate, which opened in 2004 and 1987, respectively. She says Dupont, Georgetown, and Cleveland Park have been pummeled the hardest by the competition from other neighborhoods. “Most of the restaurants don’t have anybody at nine o’clock,” she continues. “They say whatever goes down comes up, but I don’t know when that’s going to happen.”

A Friday night visit to Koropoulos’ Mourayo finds one dormant dining room and one full dining room outfitted in faux portholes and Chihuly-like colorful ceramic wall hangings.

There isn’t a millennial in sight, gabbing about the new cidery that opened in Truxton Circle or the line at Bad Saint. Rather, groups of older diners pour Greek wine for each other and slice into lamb chops. It’s fun to swipe warm pita triangles in a trilogy of Greek dips, and the butternut squash keftedes also please. Business isn’t booming, but there’s a beat.

Bill McLeod, the executive director of Historic Dupont Circle Main Streets, is pleased to see D.C. revitalizing, but agrees with Koropoulos that Dupont dining is struggling.

Young & hungrY

“The downside is these longtime businesses have kind of been forgotten. They’re not the first choice anymore because people want to go visit what’s new,” McLeod says.

McLeod says Dupont Circle’s “intimate boutique” restaurants have a much smaller footprint than restaurants on 14th Street or in Shaw because they occupy Victorian row homes. In comparison, restaurants like Le Diplomate, Provision No. 14, Espita, and Convivial sprawl.

“Big mega restaurants are definitely the trend, but trends come and go,” he says.

Competition from enticing new dining neighborhoods isn’t the only challenge Dupont restaurants face. “Our nights end a lot earlier,” says Scion Restaurant owner Joanne Liu, because fewer people go out in Dupont than they used to. Ever since the craft beer–focused restaurant opened in 2009, Liu’s strategy has been to attract a neighborhood crowd by dangling specials like $6 burgers on Tuesdays. But the neighborhood population is dwindling.

“We’ve lost some [customers] through the years because people only have one- or twoyear leases; that actually makes a big difference,” Liu says. “People are starting to not choose Dupont as a place to live.” She says when leases come up for renewal, Dupont denizens are fleeing to trendier neighborhoods.

“As much as we love being where we are, unless people visit our area it will be tougher.”

Darrow Montgommery

Dupont Circle restaurants count on regulars to survive competition from neighborhoods to the east.

Dupont restaurants also rely on tourists and convention-goers, but those populations are diminishing too, according to Koropoulos. “The trend I’ve seen in the neighborhood since 2009 is that we’ve lost a lot of hotels that used to have conventions,” she says. “We’ve lost them to the Convention Center.”

Since the new Marriott Marquis is next door, conference attendees stay there for convenience instead of fanning out to smaller hotels. Marriott is also behind the Gaylord

National Harbor Resort, another conferencehosting behemoth that Koropoulos says is pulling would-be diners away.

The hits keep coming. Sit-down Dupont restaurants are seeing lunch business dwindle. Since 2009, Koropoulos says, “The number of people that come into work has not increased because there are no new buildings, so the pie is becoming bigger and bigger.”

Liu shuts down lunch service at Scion in the summer and notes that across the street,

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Urbana stopped serving weekday lunch altogether. “A lot of the fast casuals have come in to take advantage of daytime lunch hours,” Liu says. Lunch at Scion “takes an hour, so if you don’t have an hour, it’s easier to grab something quick” by going elsewhere. “Not having that lunch shift hurts.”

Pesce, on the same strip of P Street NW, does stay open during lunch. Régine Palladin owns the veteran restaurant of more than 20 years. If you recognize that name, it’s because she’s the widow of famed French Chef JeanLouis Palladin, who opened Jean-Louis at the Watergate nearly 40 years ago.

A Friday lunch reveals a full, sunny front dining room but an empty bar and back dining room. A shame given what’s coming out of the kitchen: a textbook sear on butterfish that perhaps only Eric Ripert could best at Le Bernardin; tuna tartare with all the right accents; and a gourmand take on popcorn shrimp. Pesce’s fish arrives daily, which is why they use chalkboards instead of menus and sometimes run out of menu items.

ico after selling the restaurant to her son, but she would be proud of the service provided by experienced waiter Marco Miletti.

Branda says Miletti goes above and beyond for guests. “There’s a guy who came in every Monday and Tuesday, he tells Marco what he wants for dinner that night and [Marco will] go to Whole Foods to get the ingredients for whatever he wants,” Branda explains.

That’s the magic of Dupont Circle’s underthe-radar restaurants—they put the customer first, positioning themselves to cultivate a loyal following while new-restaurant-checklist-diners are busy ticking off the latest and greatest “chef-driven” concepts. “Our controlling principle is we’re here for you, not the other way around,” Branda says. It’s a mantra he repeats at pre-shift meetings. “As long as your staff remembers that, you’ll be fine.”

Consistency in terms of service, price, and cuisine are key. Bistrot Du Coin co-owner Michel Verdon has found success by keeping prices low and food consistent, despite rising rent costs. “After 16 years, we still fill up ev-

Pesce fights on, but the influx of fast casual eateries like Cava Grill, Beefsteak, The Little Beet, and Little Sesame is another blow to more formal dining establishments because they attract time-strapped diners with speed without sacrificing quality.

While quick bite eateries are du moment, Dupont’s also lacking the kind of flashy new restaurants that draw critics and the accompanying foot traffic—save for a stretch of 17th Street that’s home to tastemakers like Little Serow, Komi, and Sushi Taro. On that street sits Floriana, a 40-year-old Italian bistro known for its family-recipe lasagna that got its start on Wisconsin Avenue before settling into its location off Dupont Circle.

The last review Floriana received from the Washington Post’s Tom Sietsema was in November 2011, but general manager James Branda says the restaurants they share the block with attract enough of a crowd to put Floriana on the map. “The most common thing we hear is ‘I’ve been walking past this place for years, why didn’t I come sooner?’”

The atmosphere was jubilant during a Wednesday evening meal—the patio was full of girlfriends and couples glugging halfprice rosé and twirling pasta. The caprese salad featured the summer’s best tomatoes and two pasta dishes—short rib ravioli and blobby gnocchi studded with sausage, chorizo, and corn—satisfied. The restaurant’s namesake, Floriana Nestore, may have retired to Mex-

ery night,” he says. “If you give good food at a fair price and try to be in the middle—not at the top, not at the bottom—diners will come back for consistency.”

The French bistro’s dining room is full of people merrily clinking glasses of inexpensive bubbly during a Tuesday night dinner.

At a neighboring table, two twenty-somethings take their seats and are enamored before a server even touches their table. “I love the feel of this. The vibe is very good,” says a woman with a ring in her nose. “I’m going to come back here already.”

Is Bistrot Du Coin perfect? No. There are a few abandoned seafood shells on the floor; there’s no sear on a greyish steak; and the dining room feels eerie because dim yellow lights cast a filter that looks like iPhone night mode.

But the mussels are divine, the twice-fried frites are addictive, and the restaurant’s earnest fight to keep costs down is appreciated.

“Our pour is almost six ounces,” boasts the bargain wines-by-the-glass list.

About the competition, Verdon says, “There’s room for everybody, that’s one of the reasons I came to D.C.” Maybe, he theorizes, 14th Street’s boom is a blessing in disguise. “It’s going to take some businesses out, but c’est la vie, you have to make yourselves better and make everybody happy.”

CP

“I’ve been walking past this place for years, why didn’t I come sooner?”

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

DCFEED Grazer

what we ate last week: Maryland crab cakes with Singapore chili sauce and carrot slaw, $15, DBGB Kitchen and Bar. Satisfaction level 4 out of 5. what we’ll eat next week: The Messy with pastrami, sauerkraut, Comte, and Thousand Island, $14, Smoked & Stacked. Excitement level: 5 out of 5

Put these Links in the CLink

Not all restaurant websites are created equal. Some entice with sexy food photos and simplicity, while others can be prohibitive enough to turn off potential diners. From blaring music to the dreaded PDF, these sites could use a little rehab.

—Laura Hayes The crime: Interrupting a killer Spotify session with music built into a website that even Kevin Mitnick couldn’t turn off.

The culprits: A Baked Joint, Claudia’s The crime: Seizure-inducing flash that shows one picture every second, creating anxiety that there will be a memory test.

The culprit: ChurchKey The crime: No prices on the menus.

The rent is too damn high to take a chance.

The culprit: Tadich Grill The crime: On the “contact us” page, offering an e-mail contact form instead of an e-mail address. Those are as effective as a message in a bottle.

The culprits: Rasika, Agua 301, Agora, Belga Café, Cafe of India

’WichingHour

The Sandwich: Tchoup’s Special Where: Tchoup’s Market, 3301 Georgia Ave. NW Price: $15 Stuffings: Fried catfish, celeriac remoulade, Crystal hot sauce, lettuce, tomato Bread: White po’ boy bread from New Orleans’ Leidenheimer Baking Company

Thickness: 3.5 inches Pros: Chef Alex McCoy’s Louisiana-inspired restaurant offers a plethora of savory sandwiches, but its namesake offering really captures the spirit of the Bayou. Breaded and fried catfish is soft and flaky inside but boasts a crisp and salty crust, tasting indulgent but not too heavy. A liberal dressing of Louisiana’s own vinegary Crystal hot sauce adds some sourness to the sandwich that otherwise tastes plain.

Cons: The celeriac remoulade, a traditional condiment served with this type of sandwich, has no taste. Something slightly bitter would give the sandwich an improved depth of flavor. Shredded iceberg lettuce is also material to this sort of sandwich, but since it comes in

Hangover Helper

The crime: Forwarding to a Facebook page. You thought you were headed to a URL, but ended up on the social media site that you swore off after a very public breakup.

The culprit: Lyman’s Tavern The crime: A site that’s cluttered with distractions because the restaurant is trying its hand at blogging.

The culprits: Lincoln, Cuba Libre The crime: Forcing the oh-so-painful PDF menu download, which is especially annoying on a phone.

The culprits: Blue Duck Tavern, Drift on 7th, Acqua Al 2, Kinship, Bucks Fishing and Camping, Slate Wine Bar + Bistro, Pennsylvania 6 The crime: Bragging about who has dined at your restaurant. Will they respect your privacy or will you too end up on the site?

The culprit: Mari Vanna

a heap it dulls the rest of the Tchoup’s Special.

Sloppiness level (1 to 5): 2. Flying in special po’ boy bread from Louisiana is the key to keeping this sandwich nearly free of mess because the pillowy roll perfectly contains the fillings. Some lettuce and a few pieces of delicate catfish might fall out, but just put them back in the roll and keep eating.

Overall score (1 to 5): 3.5. As a neighborhood bar and restaurant, Tchoup’s succeeds already, but its signature sandwich needs a bit more polish to justify its $15 price tag. Adding more flavor, whether in the form of a sauce or something pickled, would truly make this sandwich “special,” like it’s name.

—Caroline Jones

The Dish: The Breakfast Bomb Where to Get It: Buttercream Bakeshop, 1250 9th St. NW Price: $4.50 What It Is: Think of this as the “all-inclusive breakfast sandwich,” says Colleen Gillespie, general manager at Buttercream Bakeshop. Gillespie and chef/ owner Tiffany MacIsaac churn out several batches of breakfast bombs each day for the hungry (and hungover) masses.

That’s because the savory ingredients are tucked inside soft, easy-to-chew milk bread. One cut into this pastry, and you can immediately see the three layers of melted cheddar cheese, scrambled eggs, and breakfast sausage.

How it Tastes: The pastry tastes almost like a flaky, buttery croissant with a gooey core of sausage, egg, and cheese. For the truly hungover, it’s best to pair the breakfast bomb with a large cup of Compass Coffee, served in house.

Why It Helps: The breakfast bomb is the cure for the weekday hangover—like when an office happy hour turns into a liquid dinner, and then suddenly it’s 11 p.m. and you’re eyeing that cute coworker in the corner. Fear not because this outside-in breakfast sandwich is here to help. It’s affordable and ready to eat in three minutes or less, Gillespie says. It’s also portable and it comes in a variety of flavors—recently they had a spicy breakfast bomb with pepper jack cheese, jalapeño, and spicy sausage, as well as a ham, egg, and cheese version.

“That one kind of tasted like a hot pocket,” Gillespie says of the latter. “No matter which one you choose, it’s sure to destroy a hangover. After all, it’s called a breakfast bomb.”

—Tim Ebner

washingtoncitypaper.com september 9, 2016 21

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Perpetual Motion

Freshly signed to Merge Records, Sneaks’ Eva Moolchan is poised to keep things moving on and up.

What moves eva Moolchan? Well, that’s just the thing. It’s the idea of movement itself.

“I love [the sport] gymnastics because it’s constantly moving. I am low-key into movement,” Moolchan says. Then she pauses, reassessing. “Not low-key.

High-key. I’m highkey into dancing.” Yet dance moves themselves don’t matter to her, so long as moves are being made at all. “I have my own way,” she says. “Even if it’s a weird rhythm, it’s still a rhythm. You’re still moving.”

At 21, Moolchan doesn’t care if she’s particularly “good” at dancing in the traditional sense.

Put a microphone in her hand, though, and she becomes Sneaks—a musical force who slinks about onstage like a specter suddenly made sentient by the irresistible rhythms.

When performing live, she pumps up crowds with the same feverish energy of an MC, fluidly weaving through the clutter of equipment and enticing the crowd to come closer “if you dare,” as she suggested to revelers present at her performance at Charm City’s local DIY haunt Myspace last year. Yet the agitated movements Moolchan is most known for these days involve meaty, chugging basslines with the accompaniment of a drum machine she programs herself into a steady pitter-patter. It’s those kinds of singular rhythms that propelled her from the taste-making local label Sister Polygon to the long-standing indie titan Merge Records.

After several stints in D.C. bands, including Young Trynas, Moolchan put her solo musings into digital memory last year with the release of her first full-length, Gymnastics. The album, which whirs with skittering mantras about sinners, true killers, and thrillers, is a limber display of the young musician’s preternatural sense of rhythm. The 10-song effort clocks in at a taut 14 minutes, and the universes it manages to traverse doesn’t just show a masterful exercise in restraint: It effectively causes listeners to go through a kind of emotional spectrum, from curious to provoked to hungry. A punk album of this brevity hasn’t

music

ruptured a crater in the status quo since Descendents’ Milo Goes to College (and that one was even on the longer side, standing at just over 22 minutes).

Gymnastics Was first released on tape through Sister Polygon in 2015, then via France’s Danger Records later that year (on Bandcamp, the French label aptly filed it under “Messmerizing [sic] minimal, pounding bass, Post Punk spoken word! You need it!”). Katie Alice Greer, vocalist in D.C. quartet Priests, co-founder of Sister Polygon, and friend of Moolchan’s says she urged her to release the tape so that her songs could reach a wider audience. “We were like ‘Dude, let us put this out on Sister Polygon,’ because we were head over heels for the songs,” she says. “And other people were too. I think the whole tape front and back is perfect.” Gymnastics soon tumbled into the right ears: Moolchan says she received an email from Merge in her inbox last year, and now, Merge has reissued Gymnastics on vinyl and CD. She has plans to release new music on the label early next year.

Moolchan conceptualized Gymnastics while studying at Baltimore’s Maryland Institute College of Art. She remembers the album “came together pretty fluidly,” though it was at a time when her life had slowed down from its usual speed. “Some people call it sadness, some people call it depression, whatever,” she says. “When things slow down, I tend to notice things more that you wouldn’t notice when life is much more fast-paced. So I think I was just … notating repetitive imagery, symbols, things kicking in, and then making something else out of it.”

The likes of Gymnastics’ throttling standout “X.T.Y.” can provide a glimpse of what was perhaps whirring through Moolchan’s mind at the time, and the kinds of emotions she was expunging. “Anxiety, you take the best of me,” she deadpans on the song, “You turn me inside out and then you ruin me.” Here, Moolchan hits the rare place of sounding confrontational toward anxiety and as though she’s also internalized the emotion, made peace with it (and herself ) in the process.

Contrast that with “New Taste,” where

Darrow Montgomery

By Paula Mejia

Moolchan fully takes on the role of an observer and spins poetry out of the mundane around her. “Coffee cup, loose change, don’t hurt, Friday, card game, store sign, quinoa, trash can, yogurt, church bell, cold cut, eyedrops, new shirt, old shirt, Orson Welles,” she notes carefully, not unlike an inventory or the things comprising a Harper’s Index entry.

Moolchan says she rarely plays “New Taste” live though, because “it does bring back those feelings and I don’t want to revisit,” she says, adding: “I don’t want to ruin it for other people by saying that, though.”

While Moolchan consciously draws from the post-punk pirouettes of bands like the Athens, Georgia, genre maestros Pylon and New York City’s Bush Tetras, Gymnastics sticks its landing because she made it a priority to harness the movement in her life within the songs,

especially on the drum machine. Take, for instance, the track “No Problem,” which harnesses repetition and rhythm: Sneaks’ notso-secret weapons. For 44 tense seconds, Moolchan draws out those two words, “no” and “problem,” until their meaning evolves from a reassuring motto into something stripped entirely of meaning.

“Gymnastics was definitely rhythm-based, syllable-based,” she says. “I was really drawn to the most simple beat on [the drum machine] because it was the pace I was at in life, and that was the rhythm that I was in.”

“You can tell that she’s imagined the whole thing,” says Mary Timony, the frontwoman of Ex Hex and Helium who recorded Moolchan’s Merge debut in her Glover Park studio along with the help of Jonah Takagi (who

washingtoncitypaper.com september 9, 2016 23

CPArts produced Ex Hex’s Rips). “She’s one of those people that’s like ‘wow, thank God you got into this because you’re so talented,’” Timony says of Moolchan. “I don’t know if talented is the right word. Gifted. She’s got art in her brain.

Her brain is making beautiful stuff.”

She started making beautiful stuff early on.

Moolchan was given her first guitar at age two by her father, also a musician. “I was really fortunate to have a dad who was … proactive and pushing me to be creative and like that at a young age,” she says. Her mother, who is Ethiopian, is an accountant and “as far from music as you can get,” according to Moolchan.

Growing up in Silver Spring, her house reverberated with the sounds of Jimi Hendrix, Spanish guitar music, and world music compilations, especially those combined African drum rhythms with vocal samplings.

Later on, Moolchan learned her main instrument, bass, by watching YouTube videos of “straight-up Chili Peppers songs” as well as classic rock numbers.

One gets the sense while talking to Moolchan—who is inquisitive and incisive in conversation—that it took her some time to find people who shared the same kind of connection that she did with music, particularly punk.

“I went to this international school in D.C. and

basically all the students were [kids of] diplomats, so you’d make friends there for two years then they’d leave,” she says, noting that the experience was a bit “transient and dystopian.”

A high school friend who stuck, though, was musician Francy Graham, who took guitar lessons with Timony and now performs in Chain and the Gang. Together, Moolchan and Graham started going to shows together. That’s how they met Greer, someone that Moolchan considers to be a mentor in D.C. The two friends also started a duo named Shitstains, a pummeling project that featured Graham on the drums and Moolchan on guitars and vocals. “When I met [Moolchan], she was like … very quiet but not necessarily shy,” Greer says. “Just like, gave off a very intensely thoughtful vibe. It always seemed like she was taking in all of what was going on around her.”

Four years ago, Graham and Moolchan joined Greer, Priests drummer and Gauche multi-instrumentalist Daniele Daniele and Laurie Spector (of Hothead and Gauche) in the short-lived “clusterfuck of noise” project Blood. “I mean, we’re all still in our twenties and this was even four years ago and we were a little bit younger,” Greer says. “But them being 18 or 19, it definitely felt like every sound

24 september 9, 2016 washingtoncitypaper.com

we were making was like … the first sound, you know?” Around the same time, Sneaks was beginning to coalesce. And while a short stint with the punk band Young Trynas followed, “Eva made it clear that she thought Young Trynas was cool, but she wanted to do her own thing and focus on Sneaks,” Greer says.

While Moolchan says the vibe of performing with friends is electric, she prefers solo writing. “It doesn’t have to get distorted or distilled in a way; I can just write it,” she says.

“There’s no confirmation, no changes, straight from the heart, boom, it’s out. For me it’s even scarier when I have to change my message or I have to change it to be appropriate to someone else’s values, you know?” in her solo work, Sneaks rhapsodizes about a universal human concern: anxiety. Yet she doesn’t let the herky-jerky emotion, which has historically also been a tenant of post-punk as a genre, dominate the music. Instead, she uses its gravity to propel it forward, pushing it further than its boundaries allowed. “It’s getting the anxiety to fuel the vehicle for the songs, which I think gives it its energy,” Greer says.

Moolchan says the new songs she’s preparing for her Merge debut are a huge shift away from Gymnastics, though, mostly be-

cause she challenged herself to experiment with more instruments than just the bass and drum machine. “The approach was discovery,” she says. “Like, what happens when I try this instrument? Do I like it? Can I find myself in this instrument?”

The new songs are informed by listening to hip-hop her ears have picked up in local clubs as well as cars driving by in Baltimore, too. “I think she’s going to go in a really awesome direction, and I think her songs are so ripe for somebody remixing them, especially on the new record,” Timony says. Moolchan also says the new songs are more personal than on Gymnastics, which she said depicted her as “a little more eccentric” than she is in the everyday.

“I think [the new songs are] coming from the same place but the way things are expressed are different, and there are different conclusions to things,” she says.

Even when she’s at her most personal, good luck getting Sneaks to reveal all of her cards.

“She kind of has almost a spy personality,” Greer says. “It’s something I really appreciate about Eva’s style: She is guarding something, like any kind of artist is guarding something and trying to cultivate something. But she takes her work really seriously.”

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FilmShort SubjectS Sully

Wings of Misfire Sully

Directed by Clint Eastwood In case you haven’t gotten the memo, fall is here. Confused? Let me break it down for you: No longer is the temperature or calendar our cue for the change in seasons. It’s now dictated by consumerism and culture: Pumpkin-spiced everything creeps onto grocery store shelves, and autumnal imagery is adumbrated every which way.

But the real signifier of fall is the year’s first prestige movie: the first film (usually) directed by an Oscar-nominated/winning director, (usually) starring an Oscar-nominated/winning actor, and (usually) about a real-life person or event, dramatically reinterpreted for the cinema.

Enter Sully. Directed by Oscar-winning director Clint Eastwood and starring Oscar-winning actor Tom Hanks, Sully is the dramatic retelling of the 2009 “Miracle on the Hudson” incident, wherein a US Airways flight from New York’s LaGuardia Airport made an emergency water landing on the Hudson River shortly after takeoff, after experiencing dual engine failure.

At the time, the airplane’s pilot, Captain Chesley “Sully” Sullenberger, was hailed as a hero for his skilled water landing in which all 155 passengers survived—a “miracle,” if you believe in such a thing. But with Sully, Eastwood explores what went on behind closed doors after the incident: Was landing in the Hudson really the best choice of action? Could he have made it to a nearby airport as the National Transportation Safety Board’s simulations suggest?

The film takes place in the days immediately following the landing by Sully and First Officer Jeff Skiles (a gloriously mustachioed Aaron Eckhart). Sully is dazed by narrowly

White Girl

avoiding a catastrophe and overwhelmed from all the media attention he’s getting.

In between grueling interrogations by the NTSB and media appearances, he is plagued by worst-case-scenario, what-could-havehappened visions—probably suffering from a mild case of PTSD. He’s stopped and recognized everywhere he goes—on the streets, in a cab, in a bar— by strangers thanking him for avoiding what could have been New York’s worst disaster since 9/11. But Sully doesn’t feel very heroic: “I was just doing my job,” is his default response, usually delivered with a maudlin timbre.

Sully is at its best when it’s in full dramatic reenactment mode, and at its most eye-rolling when it shifts to emotional handwringing.

Eastwood, a skilled if not heavy-handed director, films the sequence of Flight 1549’s water landing—the film’s undeniable centerpiece— with enough tension to inch butts to the edge of seats, even though we all know how it ends.

But the scenes in between the action—of Sully questioning his actions after long-winded NTSB interviews, phoning his wife (an endlessly harried Laura Linney) reassuring her that he’s fine, or running the frigid streets of New York City in the middle of night because he can’t sleep—is what seriously drags down Eastwood’s film.

These are the arcs that guide Sully, but unfortunately, they’re nowhere near weighty enough to give the film dramatic tension. Instead, Eastwood wastes an otherwise stellar cast (which features, to disappointing effect, the likes of Anna Gunn, Mike O’Malley, Michael Rapaport, and Sam Huntington, among other familiar faces) on too much procedural ho-hum.

As far as Oscar-baiting prestige films go, Sully is… fine. It’s certainly not as objectionable as many of Eastwood’s late-career fare (American Sniper, J. Edgar, Gran Torino), but it’s too slight to be criticized too harshly. Actually, Sully would’ve made a fine PBS special.

—Matt Cohen Sully opens Friday at theaters everywhere.

26 september 9, 2016 washingtoncitypaper.com

reality CheCk White Girl

Directed by Elizabeth Wood The TITle of Elizabeth Wood’s White Girl undoubtedly refers to the color of its antiheroine’s skin. But it’s also reflective of a naivete— here not quite the same as innocence—that’s still bubblewrapped by the young woman’s humble Oklahoma origins as well as her comfortable relationship with privilege when she moves to a dangerous part of Queens the summer before college.

Not long after Leah (Morgan Saylor, Being Charlie) and her roommate, Katie (India Menuez), pull up their moving van to their decrepit corner, Leah’s flirting with the boys from the block. The pair decompress after hauling their furniture up a walk-up with some bong hits and beer. And when they run out of weed, Leah runs out to the boys to try to score some more.

She’s turned down by Blue (Brian Marc), who tries to school the wide-eyed wild child that she can’t just approach strangers and ask for drugs. But at the same time they’re both turned on, and soon enough, Blue is in her apartment and his friends are climbing up her fire escape. Katie, who seems to have a modicum of sense, isn’t pleased, but hey, drugs are drugs.

Writer-director Wood’s first feature feels like a just-as-thorny cousin to last year’s searing James White. With nearly as much snorting as there is dialogue and the roommates’ penchant for clubs, the film is often engulfed in a pulsating haze at night that’s contrasted by the harshness of reality and daylight when the partying’s over. Leah interns at a magazine, her short skirts apparently signaling to her supervisor (Justin Bartha, cast against type

but sufficiently skeezy) that she likes a good time. The same message is picked up by an attorney, George (Chris Noth), whom Leah cluelessly retains when Blue is arrested for a sale he didn’t quite make. His fees are a shock to her, and his own sense of entitlement when she can’t pay is revolting.

Yet Leah still spends those days before classes start drunk, stoned, and ever sniffing to keep going, never seeming to learn that she should keep her wits about her considering the situations in which she places herself.

She goes to great lengths to rescue Blue, even though her attachment to him isn’t as strong as the love he professes for her. And why not: Anyone with any sense wouldn’t sacrifice her bank account to land a lawyer for someone she barely knows or try to sell a brick of his coke so he doesn’t get in more trouble with his dealer while locked up. But her appearance protects her again and again: Even George admits that cases like Blue’s are helped when they have witnesses “who look like you.”

Saylor is alternately stiff and extraordinary here, not so great at playing the sober innocent but an ace at the blurry motions of someone who’s extremely wasted. A disturbing fight in a club has Leah laughing: “That was crazy!” she howls after her posse is tossed back on the street. Yet, like many people her age, she thinks she’s smarter than she actually is: “I always figure it out,” Leah tells Blue during a visitation.

And with George admitting that American justice is a “fucked-up system,” maybe she can, though to the detriment of her self-worth.

Wood caps all of Leah’s chaos with a brilliantly subtle final scene that contrasts the world she’s been occupying with the one more appropriately her speed—at least if she doesn’t want to end up in jail or worse.

Like ice water to the face, this fresh reality sobers her up quick.

—Tricia Olszewski White Girl opens Friday at the Angelika PopUp and Angelika Film Center.

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The Marriage of Figaro Sep. 22–Oct. 2 | Opera House Major support for WNO is provided by Jacqueline Badger Mars.

David and Alice Rubenstein are the Presenting Underwriters of WNO. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

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Books Speed ReadS

Tribe by Fire Here I Am

By Jonathan Safran Foer Farrar, Straus and Giroux, pp. 592

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The personal, as the 1960s student movement slogan has it, is political. And in Jonathan Safran Foer’s new novel, Here I Am, it’s a maxim that holds special resonance for Jewish people.

At the center of Foer’s novel, his first in 11 years, is a lengthy, late-evening conversation between Jacob Bloch, the book’s resident Washingtonian, and his cousin Tamir, visiting from Israel. They drink beer. They core an apple and get high. They do the one thing you’re not supposed to do with family: talk politics. Tamir interrogates Jacob’s allegiance to Israel in a way that manages to be tense, awkward, and funny all at once—everything you’d expect from a candid stroll through the minefield of identity politics.

An extreme geopolitical conceit sparks this familial battle of ideals: A major earthquake tears through Israel, prompting disease, panic, a lack of aid to Palestinian victims, and a coalition of Arab states mobilizing to destroy Israel in its moment of weakness. But the international crisis facing the State of Israel seems to pale in comparison to the domestic crisis facing the State of Bloch.

Residents of Cleveland Park, the Bloch tribe comprises Jacob, a writer; Julia, an architect; and their three children, Benjy, Max, and Sam (precocious in that almost-too-cute way Foer’s young characters usually are). There’s also the incontinent dog Argus; Jacob’s father, a hardline Zionist and controversial blogger; Jacob’s great-grandfather Isaac, a survivor of Nazi Europe; and the aforementioned Israeli relatives.

Jacob and Julia’s marriage crumbles under the weight of sexual dissatisfaction, and Sam’s impending bar mitzvah is marred by juvenile antics at Hebrew school. And the Jewish homeland teeters on the edge of collapse.

Foer, following in the serio-comic tradition of literary patriarchs like Philip Roth and Saul Bellow, seems more invested in the destruction (and survival) of the modern Jewish American family than the destruction (and survival) of the Jewish state. Here I Am is a wholeheartedly Jewish novel, in that its concerns are specific to the anxieties of American Jews, who live in relative comfort while their international cousins live in perpetual turmoil.

Which is not to say the book’s concerns aren’t ultimately universal. In a sense, it’s about every family. It’s about personal sacrifice, existential dissatisfaction, and generational duty. It’s about how to grieve at fu-

nerals. How to stand up for one’s personal beliefs. How to decide when to put down a sick animal. How to save (or quit) a marriage. How to masturbate if you’re in your teens. How to sext with coworkers if you’re in your forties.

Which brings us to the comedy. Here I Am is, as they say in the review industry, uproariously funny. There’s a delightful banter to the dialogue; at times, the narrative is so speechheavy it reads like a script. But the greatest moments are those in which the tangled history of persecution and prejudice is played for pressure-relieving laughs. In one scene, the Bloch family tunes in to news of the international crisis on (what else?) NPR. Tamir, newly arrived from Israel, starts to take stock of where his family is. One of his sons may have been called in to active duty. And his daughter, Jacob asks? “She’s fine,” Tamir says. “She’s in Auschwitz.” He quickly clarifies: on a school trip.

Foer is infamous for his sentimentality in the wake of historical trauma (see his 9/11 novel, Extremely Loud and Incredibly Close). Is all this peace, love, and understanding too much for a story in which the Dome of the Rock is set on fire and the Wailing Wall crumbles? It depends on how sensitive you are to somewhat saccharine scenes of family life.

Here I Am, like Extremely Loud and Incredibly Close, is a work about homeland security.

Not an abstract political homeland but the personal homeland of our everyday life; the land of spouses, children, and pets. When disaster strikes, when war looms, they’re the ones who help us survive.

Victory, as another 20th-century American slogan has it, starts at home. —Zak M. Salih Jonathan Safran Foer will discuss Here I Am at Sixth & I on Sept. 12 at 7 p.m. Tickets at sixthandi.org.

Steven Reineke, conductor The NSO joins renowned comedy troupe The Second City and Whose Line Is It Anyway? star Colin Mochrie for original comedy, new music, and works by Mozart and more in this satirical look at the symphony’s repertoire, composers, and even its audience!

starring Colin Mochrie The Second City

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Tickets also available at the Box Office.

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

washingtoncitypaper.com september 9, 2016 29

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

THIS SATURDAY!

The Lumineers

w/ BØRNS & Rayland Baxter ....... SEPTEMBER 10

SURPRISE! AT THE CLUB!

WPOC WEEKEND IN THE COUNTRY FEATURING

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

GREEN DAY

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OCTOBER 3 On Sale Friday, September 9 at 10am

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

THIS WEEK’S SHOWS

Echostage • Washington, D.C.

Marian Hill w/ Vérité & Shaed Early Show! 6pm Doors ..................................... Sa 10 MIXTAPE 8 Year Anniversary Party with DJs Matt Bailer & Shea Van Horn

Late Show! 11pm Doors ......................................................................................... Sa 10 Peaches w/ Cakes Da Killa ............................................................................ Su 11

SEPTEMBER

Angel Olsen w/ Alex Cameron ....................................................................... Th 15 Cherub w/ Frenship & Boo Seeka ...................................................................... F 16 R.I.P. 2Pac - 20 Years of West Coast Hip-Hop -

A Dance Party with DJ lil’e ............................................................................ Sa 17

Melanie Martinez .................................................................................. SEPTEMBER 22 Glass Animals w/ Pumarosa .................................................................. 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 w/ BROODS ....................................................NOVEMBER 17

Built To Spill w/ Hop Along & Alex G .............................................................Su 18 Okkervil River w/ Landlady ............................................................................ M 19 Lush w/ Tamaryn ...............................................................................................W 21 Blind Pilot w/ River Whyless Early Show! 6pm Doors ........................................... F 23 ALL GOOD PRESENTS

The Revivalists w/ The Temperance Movement Late Show! 10pm Doors ........... F 23 George Clinton and Parliament Funkadelic ...................................... Sa 24 Princess featuring Maya Rudolph and Gretchen Lieberum ...................Su 25

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Gordon ..........................................................................NOVEMBER 29 On Sale Friday, September 9 at 10am

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 The Temper Trap w/ Coast Modern ...............................................................Th 6 U STREET MUSIC HALL PRESENTS

Neon Indian & Classixx .................................................................................F 7 The Faint w/ Gang of Four ................................................................................. Sa 8 U STREET MUSIC HALL PRESENTS

What So Not w/ Tunji Ige • Michael Christmas • Jarreau Vandal .................. M 10

MANY MORE SHOWS ON SALE!

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THIS FRIDAY!

The Gipsy Kings feat. Nicolas Reyes and Tonino Baliardo w/ Galen Weston Band .. SEPT 9

THIS TUESDAY!

Blood Orange .............................................................................................SEPTEMBER 13

THIS WEDNESDAY!

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 Jim Norton- Mouthful of Shame Tour ..................................................FRI, OCTOBER 7 Two Shows - Live taping! 6pm & 10pm Doors.

Patti Smith - in conversation with 9:30 Club co-owner Seth Hurwitz 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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL The Album Leaf w/ Rituals of Mine W SEP 14 Lucky Chops...................................... Sa 17 Selah Sue w/ Polly A ............................ F 23 IAMX w/ Cellars ..................................... F 30

Kula Shaker w/ The Beginner’s Mynd .Su OCT 2

Levellers w/ ROM .................................. M 3 Quantic Live ........................................ Tu 4 How to Dress Well w/ Ex Reyes ......... Th 6

• Buy advance tickets at the 9:30 Club box office DAR Constitution Hall • Washington D.C.

Lindsey Stirling .............................................................................................................. OCTOBER 24 Ticketmaster

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

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

A UHF LIVE COMMENTARY FEATURING

“Weird Al” Yankovic, Malcolm Gladwell, Dave Hill, and more! .OCTOBER 30

Henry Rollins Election Night Spoken Word ............................................NOVEMBER 8 Chris Isaak ...................................................................................................NOVEMBER 12 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!

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!

30 september 9, 2016 washingtoncitypaper.com

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Music rock

ClariCe Smith Performing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

The CooLots. 8 p.m. Free. theclarice.umd.edu. fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Blackberry Smoke, Stolen Rhodes. 8 p.m. $27.50. fillmoresilverspring.com. the hamilton 600 14th St. NW. (202) 787-1000. Bad Influence Band. 10:30 p.m. Free. thehamiltondc.com. hill Country BarBeCue 410 7th St. NW. (202) 556-2050. Rock-A-Sonics. 9:30 p.m. Free. hillcountrywdc.com. logan fringe artS SPaCe 1358 Florida Ave. NE. (202) 737-7230. Sonic Circuits Festival. 7:30 p.m. $20. capitalfringe.org.

Wolf traP filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Bryan Adams. 8 p.m. $42–$72. wolftrap.org.

classical

ClariCe Smith Performing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

TEMPO 72-Hour Composition Project featuring Dale Trumbore. 6:30 p.m. Free. theclarice.umd.edu.

Club

FREE SCHAEFERS

World

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

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

ClariCe Smith Performing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

The Orthobox. 6 p.m. Free. theclarice.umd.edu. martin luther King Jr. memorial liBrary 901 G St. NW. (202) 727-0321. Kino Musica. noon Free. dclibrary.org/mlk. muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Angélique Kidjo. 8 p.m. $28–$78. strathmore.org.

country

gyPSy Sally’S 3401 K St. NW. (202) 333-7700. The Ron Holloway Band & Old Soul Revival. 8:30 p.m. $15. gypsysallys.com.

Jazz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Power Trio: Dennis Chambers, Bob Franceschini, and Tom Kennedy. 8 p.m.; 10 p.m. $25–$30. bluesalley.com. mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Kevin Cordt. 8 p.m. Free. mrhenrysdc.com.

ElEctronic

ClariCe Smith Performing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

Todo Mas. 7 p.m. Free. theclarice.umd.edu.

saturday rock

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

CITY LIGHTS: Friday

Friday

Hip-Hop

TO GET A

Film 37

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Specials, The Far East. 8:30 p.m. $35. fillmoresilverspring.com.

Hip-Hop

hoWard theatre 620 T St. NW. (202) 803-2899.

AraabMuzik, Savage Patch. 11 p.m. $20–$23. thehowardtheatre.com.

sonic circuits FEstiVal

Over the years, D.C.’s underground music scene has ebbed and flowed. It’s natural: The city changes, people move away, and the music scene evolves because of that. But for the past couple of decades, the District’s weirdest musical corner—the experimental music scene—has not only endured, it’s thrived thanks to Sonic Circuits, the area’s preeminent promoter for experimental music. With its flagship festival—now in its 16th year—Sonic Circuits has helped the region become known as much for its outer sounds as it has for punk and go-go. This year’s festival is no exception. Taking place over the course of three evenings at the Logan Fringe Arts Space, this year’s festival features some of the most innovative, forward-thinking musicians and sound artists in the world. The festival kicks off Friday with a stacked bill featuring the gorgeous and haunting theremin drones of Pamelia Stickney, sound artist Byron Westbrook, experimental spiritual group Spires That In The Sunset Rise, The Lost Civilizations experimental music project, and the duo of Sandy Gordon and Derek Baron. And it doesn’t end there: The rest of the weekend features some of the District’s finest—and weirdest—including The Anthony Pirog Quartet, Weed Tree, Janel Leppin, Chester Hawkins, and Eames Armstrong. The festival runs Sept. 9 to Sept. 11 at Logan Fringe Arts Space, 1358 Florida Ave. NE. $10–$50. dc-soniccircuits.com.

—Matt Cohen

Jazz BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Power Trio: Dennis Chambers, Bob Franceschini, and Tom Kennedy. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

ElEctronic flaSh 645 Florida Ave. NW. (202) 827-8791. Nick Curly, Edo, Chadwick. 8 p.m. $5–$12. flashdc.com.

Funk & r&B

sunday rock dC9 1940 9th St. NW. (202) 483-5000. Lvl Up, All Dogs, Foozle. 7:30 p.m. $12–$14. dcnine.com. muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Culture Club. 8 p.m. $65–$165. strathmore.org.

Carter Barron amPhitheatre 4850 Colorado Ave. NW. (202) 426-0486. “Rock The City” benefit concert. 7 p.m. $25. nps.gov.

Wolf traP filene Center 1551 Trap Road, Vienna.

hoWard theatre 620 T St. NW. (202) 803-2899.

Teedra Moses. 8 p.m. $25–$50. thehowardtheatre. com.

Jazz

Wolf traP filene Center 1551 Trap Road, Vienna. (703) 255-1900. Leon Bridges, Lianne La Havas. 8 p.m. $29.50–$55. wolftrap.org.

4141. The Power Trio: Dennis Chambers, Bob France-

(703) 255-1900. Weird Al Yankovic. 8 p.m. $40–$65. wolftrap.org.

BlueS alley 1073 Wisconsin Ave. NW. (202) 337schini, and Tom Kennedy. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

washingtoncitypaper.com september 9, 2016 31

A RT S & C RA F T S FA I R

TICKETS ON SALE NOW!

Monday

Hip-Hop

galaxy hut 2711 Wilson Blvd., Arlington. (703) 5258646. Woodgrove, Sunghosts. 9 p.m. $5. galaxyhut.com.

country

rock

Warner theatre 513 13th St. NW. (202) 783-4000.

Little Feat. 8 p.m. $33–$53. warnertheatredc.com.

BlaCK Cat BaCKStage 1811 14th St. NW. (202) 6674490. Whiskey Shivers, Dear Creek. 7:30 p.m. $12. blackcatdc.com.

tuEsday

hill Country BarBeCue 410 7th St. NW. (202) 556-2050. The Rizdales. 8:30 p.m. Free. hillcountrywdc.com.

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

Leyla McCalla, Jessica Rotter. 7:30 p.m. $12–$17. thehamiltondc.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Eliane Elias. 8 p.m.; 10 p.m. $50–$60. bluesalley.com.

Folk

OCT. 1

SATURDAY

OCT. 2 SUNDAY

UNION MARKET

$6 ADVANCE ADMISSION* FREE FOR KIDS 10 AND UNDER * PRICE SUBJECT TO CHANGE

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. KB, Blanca. 8 p.m. $22. fillmoresilverspring.com.

WEdnEsday opEra

atlaS Performing artS Center 1333 H St. NE. (202) 399-7993. Who’s The Boss? La Serva Padrona and Trial By Jury. 7:30 p.m. $22–$42. atlasarts.org.

Hip-Hop

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Schoolboy Q, Joey Bada$$, A Boogie Wit Da Hoodie. 7 p.m. $45. fillmoresilverspring.com.

Funk & r&B

gyPSy Sally’S 3401 K St. NW. (202) 333-7700. Paul Cebar Tomorrow Sound. 8 p.m. $15. gypsysallys.com.

tHursday rock

9:30 CluB 815 V St. NW. (202) 265-0930. Angel Olsen, Alex Cameron. 7 p.m. $20. 930.com. dC9 1940 9th St. NW. (202) 483-5000. Wolves In The Throne Room, Cobalt, Cloud Rat. 8 p.m. $15. dcnine. com. roCK & roll hotel 1353 H St. NE. (202) 388-7625.

Allah-Las, Tops. 8:30 p.m. $12–$15. rockandrollhoteldc.com.

dJ nigHts

flaSh 645 Florida Ave. NW. (202) 827-8791. Chris Liebing, DJ Lisa Frank. 8 p.m. $5–$20. flashdc.com.

Jazz

ElEctronic

flaSh 645 Florida Ave. NW. (202) 827-8791. Chris Liebing, DJ Lisa Frank. 8 p.m. $5–$20. flashdc.com.

Funk & r&B

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

Speakers of the House. 10:30 p.m. Free. thehamiltondc.com.

Books

niCholSon BaKer The novelist discusses his work as a temporary public school teacher in his new nonfiction book, Substitute: Going to School with a Thousand Kids. Politics & Prose. 5015 Connecticut Ave. NW. Sept. 9 7 p.m. Free. (202) 364-1919.

Jennifer Chiaverini Author of Fates and Traitors: A Novel of John Wilkes Booth holds a conversation about who Booth really was and her writing of the novel. S. Dillon Ripley Center. 1100 Jefferson Dr. SW. Sept. 15 6:45 p.m. $20-30. (202) 633-3030.

Joe ConaSon The veteran journalist discusses Bill Clinton’s life after his time in the White House, as told in Man of the World: The Further Endeavors of Bill Clinton. Politics & Prose. 5015 Connecticut Ave. NW. Sept. 15 7 p.m. Free. (202) 364-1919.

Ceil luCaS Former linguistics professor discusses her memoir, How I Got Here, about her youth in Guatemala and Italy. One More Page Books. 2200

CITY LIGHTS: saturday

tHE spEcials

In the late 1970s, Coventry, Englandbased band The Specials melded the pre-reggae Jamaican sound of ska from the late ‘50s and early ‘60s with punk rock. More frenetic than reggae, more rhythmically bouncy than punk, the ensemble’s songbook of originals and covers made room for soulful horns, alternately melodic or shouted choruses, and keyboard embellishments. Led by songwriter Jerry Dammers, the group was known for its “rude boy” aesthetic—porkpie hats, skinny ties, and mohair suits—and its political involvement with anti-racism causes. But by the release of its second album, the group began having conflicts. Various members left and the band broke up by 1984. Dammers expanded The Specials’ sonic template during these years of upheaval with striking cuts like the eerie “Ghost Town” and the South African pop-influenced “Free Nelson Mandela.” After reuniting and breaking up several times since the ‘90s, the current incarnation now only includes three longtime members—singer Terry Hall, guitarist Lynval Golding, and bassist Horace Panter. This trio and a collection of newer members should still bring back the band’s vitality with the energy of “Do the Dog,” the lilt of “Message to You Rudy,” and the melancholy of “Doesn’t Make it Alright.” The Specials perform with The Far East at 8:30 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $35. (301) 960-9999. fillmoresilverspring.com.

—Steve Kiviat 32 september 9, 2016 washingtoncitypaper.com

CITY LIGHTS: sunday

SEPTEMBER

JD WILKES / DEX ROMWEBER

MIKE PETERS

TH 8

SUNDAY, SEPT. 11 ~ 8:30PM TIX: $12/$15

OF THE ALARM

culturE cluB

That all the members of Culture Club would survive to celebrate the band’s 35th anniversary, let alone want to tour the world together, comes as something of a shock to anyone who’s seen the episode of Behind the Music detailing the band’s quick rise and catastrophic fall. From rampant drug use to an illicit affair between lead singer Boy George and drummer Jon Moss, every story made it seem like band’s days were numbered. Even earlier attempts at reunions sputtered, derailed by side interests like George’s disastrous Broadway musical Taboo. With age comes maturity and now George, Moss, and founding members Mikey Craig and Roy Hay, all in their mid-50s, have gotten clean and are ready once again to serenade listeners with the blue-eyed soul strains of “Karma Chameleon” and “Do You Really Want to Hurt Me?” At this point, the music won’t sound as exciting as it did back in 1984—you already know the songs and androgynous performers are increasingly visible—but for those craving nostalgia and the desire to dance in Strathmore’s aisles, this reunion is worth checking out. Culture Club performs with Groves at 8 p.m. at the Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. $65–$165. (301) 581-5100. strathmore. org.

—Caroline Jones N. Westmoreland Street, No. 101, Arlington. Sept. 15 7 p.m. Free. (703) 300-9746. ian mCeWan The acclaimed novelist discusses his latest novel, Nutshell, a murder mystery told from the perspective of an unborn fetus. McEwan appears with author and professor Richard McCann. Sixth & I Historic Synagogue. 600 I St. NW. Sept. 15 7 p.m. $17–$40. (202) 408-3100. meg medina, hannah BarnaBy, KriSten-Paige madonia Three young adult authors discuss their latest works. Event is for ages 15 and up. Politics & Prose. 5015 Connecticut Ave. NW. Sept. 15 7 p.m. Free.

(202) 364-1919. ann PatChett Novelist discusses her latest book, Commonwealth, about the impact of an unexpected romance on two families. Kenmore Middle School.

200 South Carlin Springs Road, Arlington. Sept. 15 7 p.m. Free. (703) 228-6800. aPril ryan The only black woman reporter covering urban issues from the White House, which she’s done since the days of President Bill Clinton, discusses her book, The Presidency in Black and White. Silver Spring Library. 8901 Colesville Road, Silver Spring.

Sept. 15 7 p.m. Free. (240) 773-9420.

BarBara Saffir Author Barbara Saffir discusses and signs copies of her book Walking Washington, D.C., a guide to exploring the District on foot. TenleyFriendship Library. 4450 Wisconsin Ave. NW. Sept. 11 2 p.m. Free. (202) 727-1488.

Jonathan Safran foer The celebrated author reads from his latest book, Here I Am, a novel that

F

RAHSAAN PATTERSON

9

2 SHOWS 7PM AND 10PM

S

10

SU 11

JOE CLAIR & FRIENDS COMEDY SHOW 2 SHOWS 7PM AND 10PM COCO MONTOYA

PLUS CATHY PONTON KING

TH 15 F

16

NICK COLIONNE THE BEAT HOTEL

PLUS RHODES TAVERN TROUBADORS

SU 18 W 21

TH 22 F

23

SU 25 T

27

A DRAG SALUTE TO THE DIVAS LIL ED’ & HIS BLUES IMPERIALS + GUY DAVIS MARCUS JOHNSON THE THIRLLA IN VANILLA – KING SOUL VS. SOUL CRACKERS BANDA MAGDA THE LEGENDARY COUNT BASIE ORCHESTRA

JUST ANNOUNCED SU 2 W 12

F

14

MELBA MOORE MIRIAMM TURNS BETHESDA BLUES & JAZZ PINK MORRIS DAY AND THE TIME 2 SHOWS

W 19

MIKE PHILLIPS

H

Sean Watkins {Nickel Creek guitarist}

Sat, Sept 10

Secret Society Thu, Sept 15

Sullivan Fortner Trio {Sophisticated jazz pianist}

Sun, Sept 18

Julian Lage & Lau {Guitar God + Folk’s finest}

9.8 9.9 9.10 9.11 9.15 9.16 9.17 9.20 9.22 9.23 9.24 9.27 9.29

Tues, Sept 20

9.30

Raul Midón

H

{Jazz, soul, singer, guitarist}

Fri, Sept 23

Shocked & Amazed presents

Strange for Hire {Sideshow, vaudeville & more} Sat, Sept 24

Dan Zanes {Kids pajama jam party} Sun, Sept 25

Maria Muldaur

10.1 10.3 10.4 10.6 10.7 10.11 10.13 10.20 10.21 10.28 10.29 11.3 11.5 11.17 12.4

{“Midnight at the Oasis”} Wed, Sept 28

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com

11810 Grand Park Ave, N. Bethesda, MD Red Line–White Flint Metro

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

www.AMPbyStrathmore.com

H THE HIGHBALLERS ROCK-A-SONICS HUMAN COUNTRY JUKEBOX JD WILKES / DEX ROMWEBER THE RIZDALES THE CURRYS KITI GARTNER & THE DECIETS OLD SALT UNION PANSY DIVISION THE CONGRESS (ALBUM RELEASE SHOW) BARRENCE WHITFIELD & THE SAVAGES REED TURCHI & THE CATERWAULS MARTI BROM & THE LUSTRE KINGS THE HOWLIN’ BROTHERS

H GANGSTAGRASS KEVIN GORDON & TOM RHODES SLAID CLEAVES TERI JOYCE & THE TAGALONGS WILD PONIES PETER CASE THE UPPER CRUST / HICKOIDS / GRANNIES THE LOWEST PAIR HOOTEN HALLERS FOLK SOUL REVIVAL BOB SCHNEIDER / BONNIE BISHOP THE WHISKEY GENTRY THE BLASTERS / THE DELTA BOMBERS JAIME WYATT SLIM CESSNA’S AUTO CLUB

HILL COUNTRY BARBECUE MARKET

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

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

washingtoncitypaper.com september 9, 2016 33

1811 14TH ST NW

www.blackcatdc.com

explores religion, relationships, and family roles.

Safran Foer appears in conversation with The Atlantic’s Jeffrey Goldberg. Sixth & I Historic Synagogue.

600 I St. NW. Sept. 12 7 p.m. $20–$45. (202) 408-3100.

National Museum of African-American History and Culture with this exhibition of work by two significant African-American modernist sculptor and painter.

Sept. 14 to Oct. 29.

amor toWleS The author of Rules of Civility reads from his new novel, A Gentleman in Moscow, the story of a Russian aristocrat who is placed under house arrest following the Bolshevik Revolution. Politics & Prose. 5015 Connecticut Ave. NW. Sept. 10 3:30 p.m. Free. (202) 364-1919.

honfleur gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Ongoing: “10th Anniversary East of the River Exhibition.” Artists who work, live, or have roots in Wards 7 and 8 showcase their work at this annual exhibition. This year’s showcased artists include Mei Mei Chang, Wesley Clark, and Deborah Terry. July 29 to Sept. 16.

@blackcatdc

SEPTEMBER SHOWS THU 8 FRI 9

SAT SEPT 10TH

ARAABMUZIK

PRIESTS & DIÄT

THE 9 SHOWCASE

SUN SEPT 11TH

A SINGER SONGWRITER EVENT

SWATCHES

THE TEMPTATIONS REVIEW FT. DENNIS EDWARDS

SAT 10

HEAVY ROTATION

TUE SEPT 13TH

SUN 11

BLACK CAT 23RD

MOLOTOV

SUPER! SILVER! HAZE!

SAT SEPT 17TH AMEL LARRIEUX

FRI 9 SAT 10

TUE 13

PHAROH HAQQ’S URBAN HITS

BY MINK & NOT ALONE HIP HOP VINYL ALL NIGHT LONG

ANNIVERSARY PARTY

HALEY BONAR THU 15 WHISKEY SHIVERS WED 14

FRI 16

TUE SEPT 20TH STANLEY CLARKE

GOD IS AN ASTRONAUT

SAT SEPT 24TH

RACHEL YAMAGATA

SAT 17 LADY PARTS JUSTICE PRESENTS:

POSTCARDS FROM THE VAG

SUN 18 WED 21 FRI 23

DJ ?UESTLOVE

ADAM GREEN

MON SEPT 26TH DINA MARTINA TUE SEPT 27TH PETE ROCK & CL SMOOTH WED SEPT 28TH PETER CINCOTTI

AZTEC SUN

ALANNA ROYALE

FRI SEPT 16

FRI SEPT 30TH

CAMEO

GOD IS AN ASTRONAUT

SUN OCT 2ND

YACHT ROCK REVIVAL

MON OCT 3RD

SAT SEPT 24

JACOB COLLIER & GHOST NOTE W/ MONO NEON

DEATH

TAKE METRO!

TO BUY TICKETS VISIT TICKETFLY.COM

CroSS maCKenzie gallery 1675 Wisconsin Ave. NW. (202) 337-7970. crossmackenzie.com. Opening: “Cindy Kane.” The painter presents a variety of pieces from her ongoing “Birds” series. Sept. 2 to Sept. 30. dC artS Center 2438 18th St. NW. (202) 462-7833. dcartscenter.org. Opening: “Public Displays of Privacy.” Local artists Nakeya Brown, Adrienne Gaither, Danielle Smith and Khadijah Wilson present a series of works that reflect on issues of identity and memory as they relate to black womanhood. Brown’s photographs focus on ideals of beauty, Wilson’s installation physically binds individuals together, Gaither uses paint and digital manipulation to illustrate familial conflicts, and Smith uses her brush to capture delicate moments of joy and pain. Sept. 9 to Oct. 16. goethe-inStitut WaShington 1990 K St. NW, Suite 03. (202) 847-4700. goethe.de/washington. Opening: “2,000 Miles: Divided Land, Common Humanity.” German artists Daniel Schwarz and Stefan Falke consider the outdated ramifications of a border wall between Mexico and the United States in this exhibition co-presented with the Mexican Cultural Institute. Schwarz presents two 1,000-inchlong accordion books to represent the physical barrier between the two nations and Falke displays images from his photography project “La Frontera: Artists along the U.S.-Mexican Border.” Sept. 14 to Nov. 4. hemPhill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. Opening: “Elizabeth Catlett & Benny Andrews.” Hemphill celebrates the opening of the

Studio gallery 2108 R St. NW. (202) 232-8734. studiogallerydc.com. Opening: “Multiverse.” Lisa Allen presents a series of black and white film photos developed in a way that gives the images an other worldly feel. Aug. 31 to Sept. 24. Opening: “Magic Chef.” Photographer Carolee Jakes presents a series of photos and prints inspired by an image captured through a hotel window. Aug. 31 to Sept. 24. Opening: “Spirit of the Mountain.” Artist Freda Lee-McCann adds to traditional Chinese landscape paintings by incorporating thumbprint images and ancient poems written in traditional calligraphy. Aug. 31 to Sept. 24. torPedo faCtory art Center 105 N. Union St., Alexandria. (703) 838-4565. torpedofactory.org.

Opening: “The Art of Politics.” Painter Michael Fischerkeller applies a street art aesthetic to this series of works exploring the intersection of art and contemporary political issues. Sept. 7 to Oct. 2. Ongoing: “Never Forget.” Photographer Alan Sislen reflects on the 15th anniversary of the September 11th attacks in this series of images that chronicle the journey from grief and sorrow to renewal. Sept. 6 to Sept.

16. Opening: “Impressive Expressions: Patterning in Clay.” Members of the Kiln Club display their delicate-

SAT SEPT 24TH

TENEMENT

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

Galleries

montPelier artS Center 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. Opening: “Steven Williams.” The mixed-media artist combines influences from science fiction and found objects in his colorful pieces. Sept. 3 to Sept. 25. Opening: “Allen Linder.” Linder, a former sculptor who has turned to drawing, showcases a series of ink works on paper.

Sept. 3 to Oct. 30. Opening: “Home, Again.” The 28th annual P.G. County Juried Exhibition highlights works focused on the idea of home. Participating artists, all residents of the county, use new techniques and materials to reflect on the themes of nostalgia and place. Sept. 9 to Oct. 30.

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

34 september 9, 2016 washingtoncitypaper.com

CITY LIGHTS: Monday

Visions and rEVisions

As the Renwick settles into its postrenovation groove, its biennial Invitational returns to the gallery. Now in its seventh edition, the exhibition showcases work from four emerging craft artists. From sculptures made of ornately carved wood and bone to sleek, transparent glass, there is a diversity of media on display, but a unity of theme: All four deal with fragility, decay, and the beauty of things on the brink. Jennifer Trask’s sculptures—some of them designed as jewelry—combine bone, teeth, and antlers with gold leaf and centuries-old Italian gilt wood fragments. Kristen Morgin’s “anti-monuments” are built of terra cruda—unfired clay—glommed on to wire and wood skeletons in the shape of things like hot rods and Beethoven’s pianoforte. Once painted, the delicate, dry clay looks more like wood abandoned to rot. Without care, her pieces would soon turn to dust. Steven Young Lee works with clay in a very different way, baking it beyond its melting point. His pieces resemble ceramic vessels from several world traditions, familiar because of the way they have crumpled and folded over themselves. Instead of shattering into pieces, these broken jars and vases slump and slouch. Norwood Viviano relies on glass and steel to tell stories of urbanity, population, and industry. Though the materials seem solid, industrial, dependable, here too, there is fragility and decay. Each of these approaches expands the way in which we think about material culture. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Jan. 8 at the Renwick Gallery, Pennsylvania Avenue and 17th Street NW. Free. (202) 633-7970. Renwick. americanart.si.edu.

—Emily Walz

---------CITY LIGHTS: tuEsday

Blood orangE

Before the release of his third album under the Blood Orange alias, Dev Hynes took to Instagram to dedicate the album to “everyone told they’re not black enough, too black, too queer, not queer the right way, the under appreciated.”

Freetown Sound is a love letter to these marginalized voices that finds Hynes exploring the intersectionality of identity, with songs about race, sexuality, immigration, and religion set to his usual blend of retro R&B and dance pop. But while 2013’s Cupid Deluxe too often felt like leftovers from his song-for-hire practice, Freetown Sound is a much more cohesive statement, nostalgic not just for the sound of New York in the ‘80s and early ‘90s, but for the spirit of the city itself. As always, Hynes weaves in female voices (Debbie Harry and Carly Rae Jepsen among them) but also dabbles in mixed media, embedding poetry by Ashlee Haze, clips of interviews with writer Ta-Nehisi Coates and rapper Vince Staples, and dialogue from Jennie Livingston’s iconic drag ball documentary Paris Is Burning in this personal-is-political tapestry. Blood Orange performs at 8 p.m. at the Lincoln Theatre, 1215 U St. NW. $35. (202) 888-0050. thelincolndc.com.

—Chris Kelly ly scored and decorated pottery in this group show.

Sept. 5 to Oct. 2. Opening: “Explorations, Part 2.”

Potomac Fiber Arts members create scenes from the Amazon, Mount Everest, the north and south poles, and other planets in this group show. Aug. 30 to Oct. 2. Opening: “A (Mis)Perceived Physique: Bodyscapes

by Three Women Artists.” Artists Carolina Mayorga, Allana Clarke, and Lauren Kalman investigate the way women’s bodies have been represented in art over time in this group show curated by Kayleigh Bryant-Greenwell. Sept. 3 to Oct. 16. viSartS 155 Gibbs St., Rockville. (301) 315-8200. visartsatrockville.org. Opening: “Noise, Body, Music.”

Musicians and visual artists collaborate to explain how our personalities and lives are in this exhibition featuring work by Michael Schiffer & Nate Alex Lewis, Farrah Skeiky, FK Alexander, Antibody Corporation, and Fire-Toolz. Sept. 7 to Oct. 16. vivid SolutionS gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Ongoing: “Feminicity.” Olivia Tripp Morrow creates abstract sculptures using wire and textiles donated by women in this exhibit that explores female identity and experience. Presented as part of IMMERSION, an ongoing art installation in locations throughout Historic Anacostia. July 29 to Sept. 16.

Theater

alumni Play CommiSSionS: manifeSting UMD theatre alumni explore the possibilities of how identities manifest externally in short 15-minute plays that deliver a big impact. Led by rising D.C. playwrights Joe Graf, Sam Mauceri, and Sisi Reid, these commissions are wholly written, directed, stage managed and acted by UMD alumni. Clarice Smith Performing Arts Center. Stadium Drive and Route 193, College Park.

To Sept. 9; To Sept. 9; To Sept. 10 Free. (301) 405-2787. theclarice.umd.edu. angelS in ameriCa Round House Theatre and Olney Theatre Center collaborate to bring both parts of Tony Kushner’s monumental work about a group of New Yorkers in the early days of the AIDS epidemic.

Combining fantasy elements with history, the play is presented in two parts and will be performed in repertory. Round House Theatre Bethesda. 4545 EastWest Highway, Bethesda. To Oct. 30 $36–$56. (240) 644-1100. roundhousetheatre.org. a Bid to Save the World Living in a world without dying, two young people investigate the strange phenomenon known as death and a wealthy person

seeks to buy peace. Director Lee Liebeskind helms this production of Erin Bregman’s dark drama. Rorschach Theatre at Atlas Performing Arts Center. 1333 H St. NE. To Oct. 2 $30. (202) 399-7993. rorschachtheatre.com.

BlaCKBerry daze In the aftermath of World War I, an alluring young man transfixes a small Virginia town and changes the lives of three women living there. Local favorites TC Carson and Roz White star in this musical adapted from the novel by Ruth P. Watson. MetroStage. 1201 N. Royal St., Alexandria. To Oct. 9 $55–$60. (703) 548-9044. metrostage.org.

CervanteS: el último QuiJote (the laSt Quixote) Cervantes has died in the street and a intoxicated man insists that the person who killed him is the renowned poet Lope de Vega. This same man recounts the secrets Cervantes shared with him, revealing the most tempestuous periods in the great writer’s life and the ferocious creativity of his final years. Performed in Spanish with English surtitles.

GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 2 $22–$45. (202) 234-7174. galatheatre.org.

Charming the deStroyer (QueStionaBle ChoiCeS in the SearCh for the SuBlime) Storyteller Ritija Gupta chronicles her adventures as she seeks a further understanding of faith and grace in this engaging evening that jumps from the Western Wall to the Vatican to Charleston’s Emanuel AME Church. Gupta also describes her personal fasts and trips to India as she explores her heritage. Flashpoint Mead Theatre Lab. 916 G St. NW. To Oct. 2 $10–$21.

(202) 315-1305. culturaldc.org.

Cloud 9 Colonial Africa and 1970s London intersect in this engaging drama from acclaimed playwright Caryl Churchill. As characters try to understand the ways they define themselves, the forces of gender and politics cause them to reconsider their places in the world. Studio Theatre. 1501 14th St. NW. To Oct. 16 $20–$85. (202) 332-3300. studiotheatre.org.

ColleCtive rage: a Play in 5 BooPS Five women named Betty interact in this absurd romantic comedy from playwright Jen Silverman. From fixing trucks to playing the role of a dutiful wife, the characters represent a broad spectrum of jobs and identities. Woolly Mammoth Theatre. 641 D St. NW. To Oct. 9 $20–$69.

(202) 393-3939. woollymammoth.net.

Come from aWay This new musical tells the heartwarming true story of how a small Canadian town cared for 6,579 airline passengers stranded there following the September 11th attacks. When 38 planes were diverted to its doorstep, the town of Gander doubled in size, playing host to an international community of strangers and offering food, shelter and friendship. Featuring a rousing score of folk and rock music, the production honors the better angels of

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our nature, revealing hope and humanity in a time of darkness. Ford’s Theatre. 511 10th St. NW. To Oct. 9 $20–$73. (202) 347-4833. fords.org. the diary of anne franK Adapted from the widely read journal of the young Jewish girl hiding in Amsterdam during World War II, this gripping drama follows the Frank family and their friends as they watch the world collapse and their safety becomes even more endangered. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 23 $35–$70.

(301) 924-3400. olneytheatre.org. i Call my BrotherS Swedish playwright Jonas Hassen Khemiri turned a New York Times column about the 2010 Stockholm bombing into this searing play about a man who, in the aftermath of the attacks, wanders the city hoping not to attract attention based on the color of his skin. Forum Producing Artistic Director Michael Dove directs this piece in its D.C. premiere. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To Oct. 1 $33–$38. (301) 588-8279. forum-theatre.org.

Jelly’S laSt Jam Jazz pianist Mark G. Meadows plays the title role in this musical biography of pioneering jazz artist Jelly Roll Morton, portraying the highs and lows of his career and personal life. Signature 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 Sept. 11 $40–$79. (703) 820-9771. sigtheatre.org. the laSt SChWartz The Schwartz family has been on their last legs since Papa died a year ago. Norma’s husband isn’t speaking to her, Herb and Bonnie are having baby troubles, and Simon wants to be an astronaut. Throw a sexy wanna-be Hollywood starlet into the mix, and you’ve got the recipe for a yahrzeit gone perfectly wrong. Theater J Artistic Director Adam Immerwahr makes his D.C. directorial debut in this absurd and thoughtful comedy with a whole lot of heart. Theater J. 1529 16th St. NW. To Oct. 2 $27–$57. (202) 777-3210. theaterj.org. loBBy hero A security guard and his tightly wound supervisor become participants in a criminal investigation in this drama that examines how race, identity, and gender influences our moral choices. Alex

Levy, 1st Stage Artistic and Managing Director, leads this production of Kenneth Lonergan’s play. 1st Stage.

1524 Spring Hill Road, McLean. To Oct. 8 $15–$30.

(703) 854-1856. 1ststagetysons.org. the other PlaCe As a middle-aged woman feels her life is falling apart in the midst of failing health and an impending divorce, she realizes that everything is not as it seems and she begins to piece together the puzzle of her life. Joseph W. Ritsch directs this regional premiere of Shar White’s drama.

Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To Sept. 25 $15–$40.

(443) 518-1500. repstage.org. rePort to an aCademy Scena Theater presents Franz Kafka’s dark drama about a captured ape who ensures his survival by imitating his human companions and ultimately presents his work to a collection of scientists. Atlas Performing Arts Center. 1333 H St. NE. To Sept. 25 $20–$35. (202) 399-7993. atlasarts.org. romeo & Juliet Shakespeare Theatre Company opens its 2016-2017 season with the classic tale of star-crossed lovers whose relationship sends the lives of their feuding families into chaos. Andrew Veenstra and Ayana Workman star as the title characters in this production directed by Alan Paul. Lansburgh Theatre. 450 7th St. NW. To Nov. 6 $44–$114.

(202) 547-1122. shakespearetheatre.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 Sept. 25 $10–$60. (202) 399-7993. atlasarts.org.

SenSe and SenSiBility The Dashwood sisters and their desire for love and companionship remains as timeless as ever in this stage adaptation of Jane Austen’s first novel. Local favorite Erin Weaver joins firsttime Folger player Maggie McDowell in this production directed by Eric Tucker. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Oct. 30 $30–$75. (202) 544-7077. folger.edu.

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CITY LIGHTS: WEdnEsday

tHE gulF

If you want to resolve the tension between two characters, put them in a confined space and cut off the power. It could be an elevator, a subway, or a broken-down car, just so long as neither person can walk out.

In her new play, The Gulf, playwright Audrey Cefaly chooses to stick her characters, Betty and Kendra, in a fishing boat on the Alabama Delta. The original purpose of their trip is a search for redfish but it soon turns into an analysis of their dying relationship.

As Betty pushes Kendra to make more of her life and Kendra pushes back, both women realize that they have no path forward. Cefaly, a native of Alabama’s Gulf Coast, imbues her characters with plenty of humanity. Neither Betty nor Kendra is wrong, both are just rooted in their beliefs and in this confining environment, they have to confront reality. After earlier versions of the script won national playwriting contests, expect Signature’s world premiere to find even more meaning in Cefaly’s dark, thoughtful work. The play runs Sept. 13 to Nov. 6 at Signature Theatre, 4200 Campbell Ave., Arlington. $40–$89. (703) 820-9771. sigtheatre.org.

—Caroline Jones

urinetoWn A lovestruck young man challenges a powerful corporation set on banning the use of private toilets during a massive water shortage in this lively musical from Mark Hollman and Greg Kotis.

Founding Artistic Director Allison Arkell Stockman directs a cast of 15 and an orchestra of five. Constellation Theatre at Source. 1835 14th St. NW. To Oct. 9 $25–$55. (202) 204-7741. constellationtheatre.org. you have made a Story on my SKin Performer and playwright Rachel Hynes explores the narratives built into our bodies in this interactive piece that combines personal stories with poems, songs, and art history. Flashpoint Mead Theatre Lab. 916 G St. NW. To Oct. 1 $10–$25. (202) 315-1305. culturaldc.org.

Film

the light BetWeen oCeanS A lighthouse keeper and his wife living in Australia in the years following World War I adopt an abandoned baby and raise her as their own. As she grows, a chance encounter with a mysterious woman leads the family to question their connection to her and their child. Alicia Vikander, Michael Fassbender, and Rachel Weisz star in this historical drama based on the novel by M.L. Stedman. (See washingtoncitypaper.com for venue information) Sully Tom Hanks stars as Captain Chesley “Sully” Sullenberger, the US Airways pilot who landed a plane in the Hudson River, in this dramatic adaptation of the event directed by Clint Eastwood. Co-starring Laura Linney, Aaron Eckhart, and Anna Gunn. (See washingtoncitypaper.com for venue information)

the 9th life of louiS drax A psychologist becomes wrapped up in his study of a boy recovering from a near-fatal accident in this scientific thriller from director Alexandre Aja. Starring Jamie Dornan and Aaron Paul. (See washingtoncitypaper.com for venue information) morgan An engineered human child, built in a lab, attacks one of the scientists who built her and a corporate troubleshooter must decide whether to terminate Morgan’s life in this spooky technological thriller. Starring Kate Mara, Jennifer Jason Leigh, and Toby Jones. (See washingtoncitypaper.com for venue information) the Wild life A wise-cracking parrot retells the story of Robinson Crusoe and how he came to be stranded on an island in this animated flick directed

by Vincent Kesteloot and Ben Stassen. (See washingtoncitypaper.com for venue information) KiCKS After getting his prized pair of sneakers stolen, a young California man and his friends must take off after the thieves, resulting in a day-long journey through Oakland. Written and directed by Justin Tipping. (See washingtoncitypaper.com for venue information) the hollarS John Krasinski makes his directorial debut with this comedy about a young man who is forced to return home after his mother is diagnosed with a brain tumor at the same time he prepares to become a father. Starring Richard Jenkins, Margo Martindale,and Anna Kendrick. (See washingtoncitypaper.com for venue information)

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ian McEWan

“Here I am upside-down in a woman.” So begins Ian McEwan’s latest novel, Nutshell, told from an improbable perspective: a fetus. Given the fantastical nature of the story, we easily suspend our disbelief a step further, accepting the narrator’s erudition—an intellect well beyond his years obtained merely by listening to his mother, the radio, and podcasts. Speaking of iambic pentameter and Montaigne, of his penchant for Pinot Noir and fondness for Ulysses, the third-trimester male soliloquizes with that author’s poeticism in utero. His inability to see the world amplifies his other senses. The restrictive nature of this point of view reveals McEwan’s gift for language. Sensory details and arresting images abound in a narrative almost overflowing with lyricism. As the fetus tries to make sense of the world he is about to enter—of “who he’s in” and “what he’s in for”—he overhears his deceitful mother and banal uncle concocting a murderous scheme. Their target? His father. Besides the narrator’s meandering philosophizing, the plot of Hamlet unfolds in a modern setting, giving structure to McEwan’s comically surreal and artfully imagined book. Ian McEwan speaks at 7 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $17–$40. (202) 408-3100. sixthandi.org. —Victoria Gaffney

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Apartments for Rent

Affordable, stylish one-bedroom apartment for rent near the Catholic University/Brookland area. Conveniently located 7 minutes from Brookland, Fort Totten, and Takoma Park metro stations on the “Red Line” and the Georgia Avenue/ Petworth Metro Stations on the “ Green” line.

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Short-term Furnished Room along H St. NE Corridor- Capitol Hill. On busline and within walking distance of Union Station. Utilities included, kitchen access, and W/D onsite. Visit TheCurryEstate. com for more details Cost:$1,100 month.

Fully furnished room for rent in Brentwood, MD. Blocks outside of NE DC, easy access to West Hyattsville metro (green line), bus to Rhode Island metro (red line), and University of Maryland.

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