Washington City Paper (September 16, 2016)

CITYPAPER Washington

District line: RancoR in michigan paRk 7 fooD: a toast to post pub 25 arts: uk music Films 31

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History, Major

A hundred years after it was first envisioned, the Smithsonian’s National Museum of African American History and Culture readies its grand debut. P.14

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2 september 16, 2016 washingtoncitypaper.com

INSIDE

14 History, Major A hundred years after it was first envisioned, the Smithsonian’s National Museum of African American History and Culture readies its grand debut.

Photographs by Darrow Montgomery

4 Chatter DistriCt Line

7 Housing Complex: The lines are drawn over a townhouse development in Michigan Park.

8 Loose Lips: Small stakes but big drama in ANC races 9 Unobstructed View 10 Potanist 11 Gear Prudence 12 Savage Love 13 Buy D.C.: Fall Flare

D.C. FeeD

25 Young & Hungry: The divey Post Pub turns 40.

28 Grazer: Conosci’s Kitchen is like a Top Chef challenge.

28 Underserved: Beehive from Trummer’s on Main 28 Brew in Town: Ocelot Three Lovers Triple IPA

arts

31 God Save the Scene: Olszewski on The Beatles: Eight Days a Week and London Road 33 Galleries: Capps on “Muriel Hasbun & Caroline Lacey: Calling to You” 34 Short Subjects: Gittell on Author: The JT Leroy Story

City List

37 Music 38 Theater 40 Film

38 CLassiFieDs Diversions 43 Crossword

ARTALLNIGHTDC.COM

“We are the black mecca of America.”

—Page 22 PRESENTED BY:

WITH FINANCIAL I N PA R T N E R S H I P W I T H :

SUPPORT FROM:

washingtoncitypaper.com september 16, 2016 3

CHATTER Yuengling My Bell City PaPer’s online readers have already shared in our delight at the recent letter writer who took to calligraphy to express outrage at writer Warren Rojas’ characterization of Yuengling as “shitty beer” (“United Swill of America,” Sept. 9). But we had to share it with readers of the deadNEAR ANNAPOLIS, tree version too. Penning his feelings IN CROWNSVILLE, MD from a seat by the beer tap at Capitol Hill’s Mr. Henry’s restaurant, Edward C. Moore alleges that we libeled a “reasonably priced” lager in favor of trendier beers. “Dear Madam,” he wrote via snail mail, “As I possess a vulgar tongue, I do not favor the qualities City Paper writers seek in beers: pretense, obscurity, expense, and trendiness. My taste, therefore, may be flawed. I am so as John pulls another $4 Yuengling for me, yours faithfully.” And we yours, Edward.

Meanwhile, the absence of Savage Love in last week’s print edition inspired at least one reader panic attack.

Tad Daley (@TheTadDaley) tweeted, “BAD: @wcp canceling @fakedansavage.

WORSE: It’s missing but @wcp doesn’t even tell its #readers why!” I took to tweetspace to explain that we will sometimes hold Savage in print for local content—but that he can always find it online. To which the inimitable Dan Savage him-

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self responded (with double-entendre aplomb), “Hold me, Liz! (Papers are tight these days & I support making me online-only when local/breaking demands it!)” laura Hayes’ column last week about enduring Dupont Circle restaurants (bistro Du Coin et al) being overlooked by diners seeking sexier fare (“Eastbound and Down,” Sept. 15) inspired copious online chatter. “AdMo and DuPont got lazy a long time ago. Shopworn,” ann Mcnulty wrote on Facebook. “Great piece!

I lived in Dupont for 10 years before moving to Bethesda, and now Old Town. I miss it,” Diana Zeitzer Stinger wrote. Finally, the knives are out for Metro GM paul Wiedefeld, whose plans to shelve late-night service were the subject of last week’s District Line (“Derailment in Progress,” Sept. 15). Marcus l. Murchison commented on Facebook, “Because Paul Wiedefeld is not the person for the job to lead Metro, they should have left this washed up Maryland Politico where he was at.” Ouch.

—liz garrigan Department of Corrections: A story last week (“The Other 9/11 Memorial”) incorrectly stated which side of the Pentagon the National 9/11 Pentagon Memorial is situated. It’s on the southwest side.

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DistrictLine Tomorrow’s History Today: This was the week the Adams Morgan plaza developer went back to the drawing board.

Up in Michigan Park

Neighbors are at odds over a plan to build dozens of townhouses behind St. Joseph’s seminary.

John Feeley, Jr., 62, still lives in the house where he grew up, a squat dwelling on a treelined street that sits several blocks south of Providence Hospital, in Northeast. A neighborhood commissioner for ANC 5B, Feeley says the area has remained “integrated and middle class” for as long as he can remember: government workers and families, though many employees of nearby Catholic University have moved away. These days, he sees more young parents there than before, which he ascribes to it being one of the still “barely affordable” corners of the city.

But Feeley is concerned that Michigan Park, just north of burgeoning Brookland, which saw its first million-dollar home sale last year, could lose its relative affordability as denser and more modern developments go up. At issue in particular is a proposed redevelopment surrounding the St. Joseph’s Seminary at 1200 Varnum St. NE, where the Josephite order trains budding Catholic priests. The fourstory structure debuted in 1930, and contains almost 104,000 square feet. Bethesda-based developer EYA plans to maintain the historic seminary, and build behind it 82 three- and four-bedroom townhouses that would total 184,000 square feet. Initially, EYA had proposed 150 to 180 townhouses across the site’s eight acres.

That was before receiving pushback from some Michigan Park residents, who felt that— despite EYA’s partnership with the religious group—the project on privately owned land would eliminate grassy patches that neighbors use for pick-up soccer games and the like. Feeley, whose ANC lies on the site’s south side, recalls “pretty heated” community meetings about EYA’s plans. He personally favors building “something middle-class people can afford” under current zoning.

“When developers come in and say, ‘It’s empty land,’ people are not sympathetic to that,” Feeley says. “It’s not about ‘smart growth,’ it’s about greed. It’s about upzoning

Housing Complex

in a neighborhood that doesn’t want to hear en to the internet with templates of emails about it… transforming our area where com- to elected officials, a “community survey” that spells out nearly 20 concerns with the munity members don’t want it.”

Both new and longtime Michigan Park res- previously proposed number of townhouses idents say almost universally that they moved (“check all that apply”), and a video depicting there for the neighborhood’s “suburban” feel the site’s open space on a sunny day. within the District. But proponents of the St. Joseph’s redevelSt. Joseph’s Seminary opment doubt the planned townhouses would be radically out of character with what now exists.

They praise EYA’s commitment to preserving the seminary itself, providing at least 2.5 acres of green space and facilitating public art programing. Additionally, EYA has designated 10 of the eventual units for sale as affordable, and the Josephites, who have struggled with funding and recruitment in recent years, are happy to sell some of their land.

Adrian Jordan, a neighborhood commissioner who’s lived in Michigan Park for five years and whose single-member district covers the site, says he’s pleased with EYA’s responsiveness to the community. He adds that extra family housing could produce investments in public safety, education, and retail—a diversity of which is sorely needed there, he says. “Anytime you put more families in a neighborhood, I think Its website also features pre-crafted tweets, you’re going to better the community.” To Jordan, a now-defunct basketball court with over- such as “We moved here because it was quiet” growth on the property looks positively “post- and “There’s nothing sacred about 150 townhomes in the Seminary’s backyard.” Most have apocalyptic.”

“It’s not like they’re taking everything down the hashtags #NoEYAinMP (that is, Michigan and building on it,” says Lavinia Wohlfarth, Park) and #NotAt12thAndAllison, referring to founder of the Brookland Community Devel- an intersection behind the seminary. (Group opment Corporation. Her group is “very in- members declined to speak on the record.)

There are also anxieties about whom the devested in the public art piece and the design of the community gardens” expected to occu- velopment will serve. Feeley argues the project “is for a different population: people who have py the site’s southern half.

Still, these kind of warm vibes haven’t si- more money than we have.” Residents, includlenced the loudest opposition. A group called ing those in his district, are worried about highNeighbors of St. Joseph’s Seminary has tak- er taxes, too, the commissioner adds.

While EYA could not provide potential prices for the townhouses, anticipated to be complete by fall 2018, project leaders say D.C. needs new homes designed for families. Although the Josephites’ land could support more density than was formally proposed to the D.C. Zoning Commission last month, they say they have struck “the right balance.”

“Neighbors, rightfully so, have concerns about change, and we respect that in every situation,” says EYA president Bob Yo u n g e n t o b , who notes the proposed project targets “young urban families” who want to stay in the District. “Our goal is to find a housing type that we believe is consistent and compatible with what’s happening around the neighborhood.”

Zoning officials will now review the planned unit development. It proposes to change the zoning for the property from R-2—which borders the site on three sides—to RA-1, which covers Providence Hospital directly to the west. A hearing for the parties’ case has yet to be scheduled. But the lines within Michigan Park have already been drawn.

“The reality is that this land is private property, and that the cash-strapped seminary is going to have to develop it,” 15-year resident Patrick Foley wrote to the D.C. Zoning Commission just last week. “I am a realist... Too often, the voices that are heard are the ones raised in protest.”

CP Darrow Montgomery

By Andrew Giambrone

Got a tip for Housing Complex? Send suggestions to agiambrone@washingtoncitypaper. com. Or call (202) 650-6925.

washingtoncitypaper.com september 16, 2016 7

DistrictLinE

The Silly Season Presented by USAA

Advisory Neighborhood Commissioners have small powers but large dramas

By Will Sommer For such a politics-centric year, District voters won’t have many real choices on the ballot come November. A vote for Donald Trump will come to nothing in the heavily Democratic District, while the State Board of Education and atlarge D.C. Council races have quieted down considerably thanks to some successful ballot signature defeats for challengers.

Fortunately (at least this time) for District voters, there are Advisory Neighborhood Commissions. Pointless except when they’re crucial to your life, ANCs are the last refuge of craziness in the city’s increasingly buttoned-up body politic.

Whether they’re using city-issued phones to call phone sex lines or just blocking liquor licenses, they’re always up to something. And now, thanks to legislation backed by At-Large Councilmember Anita Bonds, ANCs could soon enjoy stipends, more city resources, and more influence with the rest of the government. Below is LL’s roundup of some of November’s most combustible races:

Loose Lips

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adams morgan could get the District’s first ANC commissioner devoted to Ralph Nader. While Chris Otten is better known in D.C. for his 2006 Statehood Green mayoral run or for his efforts on behalf of Nader to quash public-private partnerships between developers, Otten says he has new plans for Adams Morgan.

To explain his candidacy to LL—via his nom de plume email account “Christof Rotten”— the stunt-prone neighborhood activist sent along a photo of himself dressed in a wig as Donald Trump and standing with Mayor Muriel Bowser. So there you go!

Also on the Otten agenda: saving trees and the much-hyped bank plaza at the intersection of 18th Street and Columbia Road NW. The latter’s aim might be complicated by the fact that the plaza, slated for development, is private property, but that hasn’t stopped him from challenging longtime ANC member Wilson Reynolds for the seat.

You might think that costing the Dis8 september 16, 2016 washingtoncitypaper.com

trict $58,000 over a deleted recording might be disqualifying for an ANC member. But apparently it’s not for Carolyn Steptoe, who’s back again and running for a Ward 5B ANC seat in Brookland just two years after a bit of a saga.

To hear Steptoe tell it, she thinks she handled the recording, which chronicled a particularly rowdy ANC fight over a liquor license, just fine. But when activists on the other side of the argument filed a Freedom of Information Act request for the recording, Steptoe refused to hand it over. After a lawsuit and a judge’s order finally pried the recorder away from Steptoe, the recording had been mysteriously deleted.

The flap eventually ended with a $58,000 judgment against the District, with most of the money going in fees to the attorney who had pressed the case over Steptoe’s deleted recording. Steptoe tried to move out of the Brookland area but, unable to sell her house, she’s now back and running against incumbent Rayseen Woodland.

“Judges do what they do,” Steptoe says.

it was the shove heard around Ward 8. In October 2014, with tensions high at an ANC meeting and one faction trying to leave to deny a quorum, Commissioner Mary Cuthbert approached ANC rival Joseph Johnson.

“I’m going to knock your ass back where you belong, you little motherfucker!” the elderly Cuthbert told the young man, before trying to pursue him.

“Who you gonna fuck with?” Cuthbert continued in the videotaped exchange, before shoving Johnson.

Not dissuaded by her videotaped scuffling, Cuthbert is running for office again. She did not respond to LL’s request for comment, but Cuthbert’s reputation for aggressively pursuing her foes hasn’t scared off 26-year-old Jonathan P. Steele, who’s running against Cuthbert and another challenger for her ANC8C seat.

Steele, who was inspired after watching presumptive Ward 8 Councilmember Trayon White defeat incumbent LaRuby May in June, says he hasn’t been on the end of any shoves from Cuthbert—at least not yet.

“She’s going to give it her all, so I’m going to give it my all too,” Steele says.

CP

UNOBSTRUCTED

VIEW

Patriotism at Play

By Matt Terl A little less than three hours before the kickoff of Monday night’s opener at FedEx Field, the field was mostly empty. A few players jogged, a handful of coaches and team representatives milled about, the ESPN studio show was set up on the sidelines, and a few fans had already made it in to watch. And over the loudspeaker the national anthem boomed, a full rehearsal run-through ahead of the evening’s official performance.

No one reacted. The people milling kept milling. The players who were stretching and skip-stepping just kept at it. Basically, no one noticed.

Which is striking, because in a stadium context, team and fan reactions to the anthem are heavily scrutinized. San Francisco 49ers backup quarterback Colin Kaepernick received criticism for remaining seated for the pregame anthem. He has since begun kneeling instead, a deliberate and carefully chosen critique of “a country that oppresses black people and people of color,” as he put it in a postgame interview.

Kaepernick’s demonstration has resulted in the best possible outcome: starting a conversation and engendering emotional responses from people on both sides of a heated debate.

Some athletes have staged similar protests— kneeling, locking arms, or raising their fists— in solidarity with Kaepernick. Others have responded emphatically that all of this is disrespectful to the flag and to the people who fight and die for it, and is grandstanding outside the purview of a football quarterback.

To his credit, Kaepernick has gone out of his way to emphasize his support for American troops and the sacrifices they make, and to separate that from the aspects of America that he is protesting. Similarly, a number of veterans have stepped forward to support Kaepernick’s right to make a statement with which they emphatically disagree.

The issue made its first major impact locally at the National Women’s Soccer League, with a showdown between Washington Spirit ownership and Seattle Reign midfielder (and longtime USWNT star) Megan Rapinoe. Rapinoe had previously stated her intention to kneel during the anthem in solidarity with Kaepernick. So Spirit owner Bill Lynch, a veteran, shifted the pregame schedule to play the anthem before the players emerged from their

locker rooms.

The protest has continued to spread throughout all levels of football, including Watkins Mill in Gaithersburg, and in the first week of the NFL regular season, individual players—in some cases whole teams—were emulating Kaepernick.

It’s a fascinating intersection of sports and politics, and even the most heated conversations about it explore the nature of free speech loyalty, the flag and what it represents, or the country and its ideals.

Meanwhile, the Wizards have unveiled new alternate uniforms—patriotic beauties, with stars down the sides of the jerseys and stripes down the sides of the pants. (These are aptly named the “Stars and Stripes” uniforms).

These were met with fire emojis and clapping gifs and generally uproarious support on social media.

According to the press release introducing them, they are intended to “pay honor to the men and women of the military.” That seems beyond reproach. But the release goes on to announce a “military series initiative” sponsored by defense contractor Leidos.

Leidos will donate tickets to veterans, support on-court recognition of those who have served in the armed forces, and will continue to participate in activities established under their existing partnership with the Wizards. There are undeniably positive aspects to these programs, but they also stink a bit of exploitation—patriotism-as-marketing and veteran-as-mascot.

It’s the inverse of the Kaepernick question: Where the player questions the country’s actions while still supporting the troops, this partnership seems to inch closer to the idea that supporting the country’s soldiers requires support of U.S. wars. This should be prompting the same kinds of debates and soul-searching that anthem-kneeling has. Instead, it’s largely become part of the background noise of sports.

At 7:10 in Landover Monday night, no one sat.

The home team not only stood, but also helped hold the enormous flag that covered the field.

There was a flyover by the 71st Fighter Training Squadron from Langley Air Force Base. A Navy SEAL who publicly claimed to have been the one to kill Osama Bin Laden stood at the coin toss as Washington’s honorary captain. None of those things is inherently right or wrong, but they should all elicit the same questions and start the same conversations.

CP washingtoncitypaper.com september 16, 2016 9

The

Potanist Property Virgin?

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Dear Potanist: I am a 50-something man who has not smoked pot since the late ’70s, but due to a recent health issue, I’m ready to start smoking again. The problem is that I don’t have a reliable source. In this day and age, is there any danger of getting weed that has been sprayed with toxic chemicals? I don’t want to add complications.

—Dear Don’t Panic it’s Organic If you don’t know the source of your weed, then there’s always a remote chance that some unsavory chemicals have been used on the plant. To be 100 percent certain, grow your own! It’s well worth the time and inconsequential start-up capital, and the therapeutic benefits of gardening are well known. The next best option would be to procure a medical card and acquire your herb from one of many dispensaries, which are under strict quality control. Either way, it’s high time you get a bag of organic chronic and breathe easy!

—The Potanist

we disagree on is my pot smoking.There are also my stoner buddies. He is not real fond of them either. Here’s the kicker: I met him four years ago as my first D.C. weed dealer! He hasn’t given me a straight ultimatum, but at this point he has made it pretty clear that he expects me to stop smoking weed if we get married. How do I get high and keep him happy? I love my partner but I also love my maryjane.

—Ms. High Grade Always good to hear from a “high-functioning” student. Allow us also to congratulate you on not only being a proud stoner but also getting your dealer to put a ring on it. As a disclaimer, The Potanist are weed experts and not qualified to dispense reliable advice on relationships. Having said that, isn’t the most important thing your health, happiness, education, and, last but not least, your spiritual well being? We are here to remind you that weed forms the foundation of all of the above!

We believe your life partner unconditional-

The Potanist are weed experts and not qualified to dispense reliable advice on relationships.

Dear Potanist: I am a 22-year-old senior at Georgetown University. I have been smoking maryjane daily since I was an AP student in high school and will likely finish college in the top of my class. I am so happy D.C. has legalized marijuana! The best part of my day is coming home from classes, dropping my books, and taking a giant bong rip. My parents have known about my cannabis use for years. After numerous attempts at curbing my habit, (eight broken bongs and numerous bags flushed down the commode), they got tired of busting me and said if I keep my grades up I could smoke as much as I wanted. No problem with school or parents—the issue I have now is that I live with my fiancée, and though I love him, he has been pressuring me to pull back on the pot. I know we are about to get married and settle down, but I’m not ready to quit! The only thing

ly loves and accepts who you are. If he truly loves you, then he will allow you to bloom into your own flower and at your own pace, rather than at his. If an ultimatum comes your way, you will be faced with a tough decision. The first time can be agonizing, but from experience we can say it gets easier after a couple more people pressure you to choose. We’re about twice your age and, sadly, we have both been in your position numerous times. We are both still single, but may we also add that we love a woman in search of a “higher” education. You did right to ask our advice. You have our email. Drop that zero and get with these heroes!

—TP Email your burning questions to potanist@washcp.com.

An Evening with

Gear Prudence

John Scofield

Gear Prudence: I’m pissed off. My bike was in disrepair and my friend, who said he was an “expert bike mechanic,” offered to give it a tune-up.

Cool, I thought, and figured I’d save a hundred bucks. Wrong! I got it back and it worked even worse than before. The bike shop said it would be a few hundred dollars to get the bike back into riding shape. I get that I shouldn’t have let my friend try to fix it, but think he should pay me back (at least partially) for messing up my bike.

That seems fair, right?

—Recently Erred, Pal Absolutely Injured Ride

“Country for Old Men” featuring Steve Swallow, Larry Goldings, & Bill Stewart

Sunday, September 25

Dear REPAIR: Where to start? Hindsight is 20/20, and had you known your friend wasn’t as good of a wrench as he claimed to be, you wouldn’t have let him touch your precious bike. Instead, you scrimped and chose a selfstyled expert amateur over an actual trained professional and are now living with the consequences. If your friend was a good one, presumably he would’ve copped to screwing up your bike when returning it, so maybe he’s as bad a friend as he is a mechanic. Or it’s not duplicity—it could be that he was simply ignorant of your bike’s true problems, and the trained hands at the shop adroitly identified the many pre-existing deficiencies beyond those your friend created. Ask your friend exactly what he did and find out if that’s what the shop is charging to fix.

As for the question of money, GP says you’re SOL. You could seek some recompense, but be willing to lose the friendship over it, especially if he thought he was doing you a favor. Take your lumps, learn your lesson, and don’t mix tune-ups with friendship again.

—GP Gear Prudence: I’m down on the Mall every weekend, and I always see groups of four and five tourists on Bikeshare riding together in packs. It got me thinking. It’s a gaggle of geese and a murder of crows, so is there a proper collective noun for Bikeshare riders?

—Needed A Moniker Earlier Dear NAME: So far as GP knows, there isn’t an official one, which leaves ample room for a new coinage. You can follow the animal trend, as you provided in your examples. How about a herd of Bikeshare? The shared bikes are slow, lumbering, and rumble along the pavement, but it seems more than a little insulting to insinuate riders are hooved and cud-chewing.

You could borrow from the world of sports and call them collectively The Big Red Machine, which is accurate insofar as the bikes are big red machines, but that seems off. So, the question is this: What do you call a group of shares?

There you have it. Henceforth, a group of Bikeshares shall be called a portfolio.

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

Email gearprudence@washcp.com.

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I’m a woman who watches porn—we do exist— and I have a mad crush on a male porn star named Small Hands. Unfortunately, his videos focus less on his handsome face and more on some girl’s ass. Do! Not! Want! Is there a way to ask a porn star to please make a few movies in a certain way? I would like to see some movies that feature less of her and more of him.

—Salivating About Male Performer’s Lovely Exterior “I work with anyone I get hired to work with. I don’t have just one costar,” says Small Hands, porn star, filmmaker, and composer. But the ass you’re referring to, SAMPLE, the ass Small Hands has been seen with most, is the one that belongs to his fiancée, Joanna Angel, the porn star/director/producer who pioneered the “alt porn” genre.

“I got into porn because I started dating her,” Small Hands told me after I read him your question. “I’ve been performing for three years, and my GF has been in the game for 12 years. She really put alt porn on the map—she was the first girl with tattoos to appear on the cover of Hustler magazine.” (Please note: “Alt porn” has nothing to do with “alt right.” The alt right is about racism, anti-Semitism, and orange fascists—and alt porn is about tattoos, piercings, and sexy fuckers.)

Regardless of whose ass it is, SAMPLE, you want to see less girl ass and more Small Hands face. Could he make that happen for you? “Plenty of performers have clips-for-sale stores on their websites, and some make custom video clips for fans,” Small Hands says.

“But I can’t provide special clips for this fan— as much as I would love to—because running our company and editing the films and composing music for them doesn’t leave us much time for anything else.”

If you want to watch porn that focuses more on guys, Small Hands recommends “porn for women” or “porn for couples.”

“I strongly dislike these terms, as I feel they are outdated, sexist, and stereotypical,” says Small Hands. “No one—man or woman— should tell a woman which kind of porn is for her and which kind isn’t. Any pornographic film that a woman finds arousing or entertaining is ‘porn for women.’ But these films do tend to give the guys a little more screen time.

Also, there’s always gay porn, which focuses 100 percent on men, so no worry about seeing a lady butt in those movies.”

While we’re on the subject of porn: If you look at Small Hands’ Twitter account—or the Twitter account of any porn performer working today—you’ll notice that most have “NO ON 60” as their avatar. Proposition 60 is a ballot measure in California that is ostensibly about protecting porn performers by requiring them to use condoms and mandates penalties

12 september 16, 2016 washingtoncitypaper.com

for companies and performers that don’t.

“It’s really meant to drive the porn industry out of California under the guise of performer safety,” says Small Hands. “Among the other problems with this thing is that it could make performers’ private information public. So it’s not really about our safety at all.”

The San Francisco Chronicle urged its readers to vote no on 60 in a recent editorial. “The initiative, however well intended, does not fully reflect the realities of the industry,” the editors wrote, citing industry-standard STI screenings, the growing number of people who self-produce porn, and the emergence of drug regimens (PrEP) that provide more protection against HIV infection than condoms.

But the biggest problem with Proposition 60 is how it could endanger porn performers.

Please note: “Alt porn” has nothing to do with “alt right.”

The alt right is about racism, anti-Semitism, and orange fascists—and alt porn is about tattoos, piercings, and sexy fuckers.

“The measure gives private parties the right to sue a porn producer if state health officials don’t take action, a proviso that invites legal bounty hunting,” the SF Chronicle continues. “Also performers, who often use screen names, could have their identities and addresses made public, a feature that invades privacy and could lead to harm from porn-addled stalkers.”

If you’re a reader who lives in California, please vote no on 60. If you’re a reader who doesn’t live in California, please encourage your friends and relatives living in California to vote no on 60. And if you’re an editor at the SF Chronicle, please retire the term “porn-addled stalkers.” (While some porn stars have indeed been stalked, porn doesn’t cause an otherwise healthy, non-abusive, and sane person to become a stalker.)

Before I let Small Hands get off the phone, I had to ask him about his nom de porn. How did “Small Hands” become his porn name? “I have tiny hands for a grown-ass man,” he says, “and Joanna makes fun of me for it. I wrote it down on the forms when I made my first films.

It’s kind of a dumb name, but you won’t forget it.”

Any advice for any, say, orange fascists out there who might be insecure about having tiny hands? “Never be ashamed about having smaller-than-average hands,” says Small Hands. “He should own it. And perspective is your friend, Donald. Put those tiny hands down next to your dick, and your dick is going to look bigger!”

—Dan Savage A woman I follow on Instagram—whose account is open for all to follow—shares highly sexualized images of herself daily: pictures of her at the beach, pictures of her when she’s just waking up, pictures of her in a towel after a shower. Via direct message, I politely inquired about purchasing a pair of her used panties. She sent me a very rude note in response and then blocked me. I find this hypocritical, considering the highly sexualized nature of the photos she posts. She reads your column, something I know because she posted a photo of one, and I am writing to you in hopes that you will scold this woman for being so hypocritically prudish and also ask her to unblock me.

—Personally Hurt Over This Occurrence She may be a reader, PHOTO, but you’re clearly not. Because I’m on her side, not yours, which any regular reader could have predicted. Someone sharing photos of themselves at the beach, in bed, out of the shower, etc., doesn’t entitle you to their panties any more than someone sharing photos from their colonoscopy entitles you to their turds.

There’s no shortage of women online selling their panties, PHOTO. Direct your inquiries to them.

—Dan I think you got things wrong with CUCKS, the man whose husband got upset when he reacted with excitement when his husband shared a fantasy about sleeping with another man. I think CUCKS’s husband got upset because he only wanted more attention. Maybe CUCKS’s husband fantasizes about cheating because he wants someone to want him intensely and he doesn’t feel his partner does. Telling his partner about his fantasy may have just been an attempt to get him to show some emotional intensity.

—Tuesday Morning Advice Columning If you’re correct, TMAC, I would advise CUCKS to dump his husband—because who wants to be with someone who plays those kinds of mind games? A person who lies about having a particular fantasy and then shames or guilts their partner for having the wrong reaction isn’t a person worth sharing fantasies with, much less a life.

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

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Darrow Montgomery

14 september 16, 2016 washingtoncitypaper.com

Founding Framer

Expectations are sky-high for the museum. Here’s how its founding director navigated the pressure.

By Jonetta Rose Barras Lonnie G. Bunch III, a bespectacled man with a neatly cut gray beard, is laughing about how he was seduced into taking the job of founding director of the National Museum of African American History and Culture—the latest and most anticipated addition to the massive Smithsonian Institution.

After all, when the Smithsonian approached him, he was happily ensconced at the Chicago Historical Society. His initial reluctance may have something to do with the sky-high expectations about the museum. Already, more 100,000 people have become dues-paying charter members—sight unseen. President Barack Obama is expected to participate in the official opening and dedication ceremony on Sept. 24.

“I’ve got 7,000 seats for 52,000 people,” Bunch confesses. The overflow crowd for the dedication will be invited to watch events on large outdoor screens placed around the National Mall. But already, the museum has had to conduct multiple distribution rounds of tickets for admission to the facility, using a timed pass process.

“It is a momentous occasion,” says James Early, who worked for three decades at the Smithsonian Institution, most recently as a senior manager at the Center for Folklife and Cultural Studies. “The history of black people has not been allowed in the public square.”

African-American Civil War veterans first proposed a museum in 1915. Congress didn’t authorize its creation until 1929. Still, nothing happened. In 1988, Rep. John Lewis reintroduced the idea, offering legislation annually until 2003, when the bill was finally approved and signed into law by President George W. Bush.

“This museum may well be the change agent,” says Joy Austin, executive director of the D.C. Humanities Council and a former director of the Association of African American Museums. “I know we’re going to cry. It’s not going to be easy, but a lot of truth is going to come out. I have a lot of hope for this museum.”

When the Smithsonian approached him, he demurred by telling officials they needed “somebody smarter than me,” but privately Bunch worried that some people were predicting the new facility would be “the best black museum in the world. I thought that was so limiting. I thought that was suggesting [our] culture wasn’t the culture that profoundly shaped all of America.”

Then, “the Smithsonian did a really smart thing,” Bunch recalls. They asked him to

“write up your ideas. When you ask a writer to write, well…The next thing I know, I am back here.’’ His wife also encouraged him, asking “Wouldn’t you be upset if this was not done in a way that you thought was important?”

When Bunch arrived in the nation’s capital, he had only two staffers, a few artifacts, and the challenge of raising at least $250 million from private donors as required in the federal legislation. “Except when I am sleeping, every hour of my day for the past 11 years has been spent thinking about this museum,” he says.

A seLf-effAcinG mAn with a ready, warm smile, Bunch doesn’t like talking about himself. He would rather cast a bright light on his associates. “I grew up in a family that said, ‘Never believe your clippings,’” he explains.

saying Jackie Robinson was the best baseball player. This guy said ‘No, it was Satchel Paige.’

I loved hearing those stories and wanted to be able to make them more important.”

Not every backyard was welcoming: Bunch recalls being 8 or 9 years old and playing with several kids. “The mother came out; we were lined up [in a way] she couldn’t see everybody.

She was giving out glasses of Kool-Aid. When she got to me, she said, ‘You can drink out of the hose.’

“I never forgot not just how much that hurt, the look on the other kids’ faces, as if they were better than me,” he says. “We were one of the few black families, so I learned a lot about race. I learned a lot about how to negotiate race.”

“I had my feet in two worlds: in the world of

“Except when I am sleeping, every hour of my day for the past 11 years has been spent thinking about this museum.”

“For me, it’s never about me. It’s about ‘Can I get the work done? Can I help other people do their work?’”

Nevertheless, Bunch’s personal and professional narratives make clear why the Smithsonian chased him down. He’s ideally suited to lead “The Museum,” as some are calling it.

“Lonnie is a well calibrated guy. He has a consciousness about elements and dimensions of himself. There is a no-nonsense dimension that helps get things done,” says Early, who has known Bunch since 1984.

Those attributes may have a lot to do with his upbringing. Bunch was reared in Belleville, New Jersey. The center of activity, however, was Newark, where he was born. “That’s where I got my hair cut. That’s where I went to church.” His yen for history began at family barbecues. As a kid, he’d watch older men gather together. He dreamed of one day joining the huddle. “I thought that’s where the secrets of the universe would be unveiled.” He eventually learned those men were “sharing and debating histories... I remember one uncle

white Belleville and in the African-American community,” Bunch explains. “In some ways, I always felt that gave me an obligation to bring people together.”

Those early experiences with racism helped drive him to succeed. A female classmate during his senior year of high school told him, “‘You’ll never graduate college.’ I wrote that on a piece of paper with her name and carried it in my wallet. Every time things were tough…

I would pull that out and I would say to myself I’m not going to let her win.”

He didn’t. Even now, however, there may be a part of him that is trying to prove her wrong.

As he finds himself reluctantly in the limelight, he’s never quite at ease. Like the recent Vanity Fair photoshoot he trekked up to New York for.

He found himself in a photographer’s studio in Tribeca, posing for a portrait. “I am so uncomfortable with this stuff. Some people are good at it. I’m not.” That feeling continued even after he saw the published photo.

“I saw it and I said this little colored kid from Belleville is in Vanity Fair.”

When he Left New Jersey, Bunch initially enrolled in Howard University. Then, he met a girl who attended American University, so he transferred. “She [ultimately] broke my heart.” He went on to receive his undergraduate and master’s degree in American history and African-American history. Following his parents, who were teachers, he expected to anchor his career in academia.

An empty wallet during his graduate years in the late 1970s altered those plans. He had been living on a monthly teaching assistant’s salary of $309, and found himself broke. An older returning student referred him to her husband, who worked at the Smithsonian. “Who works at the Smithsonian? It’s where you take dates ’cause it’s free,” Bunch told her.

The student’s husband was the director of science education. He introduced Bunch to the secretary of the Smithsonian. After that meeting, they offered him a position at the National Air and Space Museum. Bunch was a tad indignant. “Here I am, a 19th century historian of race and cities. I don’t even like to fly. I don’t know anything about space.”

The secretary hit him with a dose of reality: “Do you want to work? Do you want some money, and a chance to do something important?” Bunch became an education specialist and met his future wife there.

After brushing aside an initial opportunity to meet new interns, offering that “I was a scholar with work to do,” he returned a week later taking the scenic route through the office to be wowed by one of them: “Who is that woman?” She was an intern from George Washington University working on her master’s degree in museum education. “I went up to her and said let me share my years of knowledge; I had worked in the museum maybe five months. I wanted to impress her,” he says. She wasn’t impressed—although in November they will celebrate their 36th anniversary, and they have two daughters. “I was very lucky to find someone who is smart and willing to go on an adventure.”

His father’s advice also affected his career decisions. He told Bunch, “It’s okay to build your resume when you’re young.” Both his parents had worked at their respective jobs for 40 years. Nevertheless, his father’s advice replayed in Bunch’s mind when he was recruited in 1983 to be curator of history and program manager for the California African American Museum in Los Angeles.

There, Bunch’s talents as a creative curator and museum professional grabbed everyone’s attention. He proposed an exhibition

washingtoncitypaper.com september 16, 2016 15

unorthodox approaches to presenting information within the context of exhibitions. “I used to drive some of the people in the Smithsonian crazy. They would say, ‘Oh my God, Lonnie we’ve got this problem. I don’t know how we are going to do this.’ I would say, ‘I’ll figure it out.’”

By 1989, Bunch was back in the nation’s capital—this time at the Smithsonian’s National Museum of American History. “I thought I’d be there forever. I’m a curator. I’m doing all the work I love, I’m traveling the world. I ran this big project in Japan.” His father’s advice came back to him again.

“I had just done a big exhibit on American presidents with some colleagues, and I was really proud of it. I was 48 years old.” Along the way, he became associate director of curatorial affairs. “[But] I remember saying to myself, don’t coast,” says Bunch. In 2001, he became president of the Chicago Historical Society, one of the oldest museums in the country.

Bunch’s ascent in the museum world wasn’t

Darrow Montgomery

that would connect with the 1984 Olympic Games. “I thought, how hard could it be to do an exhibition on blacks in the Olympics?” There was very little scholarship on the topic, and he grappled with the challenge of holding together history that covered 1904 through 1950. The answer to his question came during a walk to the stadium, as he watched tracks for the field event being put down. He asked the workers whether they had ever laid tracks inside a building.

Until then, they hadn’t.

Austin was impressed that Bunch had created this historical and “new understanding” of African Americans in sports. But she was also amazed that he had used unprecedented technique within the exhibit to present the data. “He had tracks running through the museum.”

“What I’ve learned, which comes out of African-American culture, is that one of my great strengths is improvisation and a sense of nimbleness,” Bunch says, explaining his sometime

16 september 16, 2016 washingtoncitypaper.com

always golden, however. There have been moments that required “fighting for an issue or trying to get something done.

“What I realized is that ultimately, my goal was to win. If the fight had to do with an exhibition or how we are going to do this film, I realize that the key was to figure out what’s the best way to win, not what’s the best way that makes me feel good.

“I must admit the only thing that will get me angry is the lack of respect, and there were times in my career where I felt somebody was being disrespectful. I ended up going to the gym and beating the bags.”

Bunch’s office, Where he has planned the creation of one of the most important institutions in America’s history, is located on the 7th floor of a nondescript federal building on Maryland Avenue SW. His conference room is filled with various certificates and awards from organizations like PUSH (People United to Save Humanity, a nonprofit found-

ed by the Rev. Jesse Jackson), Friends of the Du Sable Museum, and the Mitchelville Preservation Project. On May 26, 2016, The Historical Society of Washington, D.C. named him Visionary Historian. Wherever he has gone, he has been lauded—treated, in some instances, with near-godlike reverence.

“I think he is phenomenal. He has done a great job being a visionary, cajoling and whatever else it takes to get this job done,” says Marta Reid Stewart. As founder of the Duke Ellington High School of the Arts museum studies program, she knows a little about operating without a blueprint.

Bunch has worked tirelessly in preparing for the museum’s debut. He traveled to Cuba, hoping to secure a ship that demonstrated the direct connection of the United States in the Caribbean slave trade. “Things didn’t quite work out,” says Early, who facilitated that trip. “Lonnie is very patient. He took the long view. I was told recently that George Washington University,” which is part of the Slave Wreck Project, “is in discussions now with the Cubans.” Bunch, with the help from GW and others, was able to secure parts of the Portuguese slave ship—São José Paquete de Africa—which had been in the waters off the coast of South Africa.

He and his team have also persuaded hundreds of ordinary people to donate their family heirlooms and other keepsakes. Philadelphia historian and collector Charles Blockson gladly turned over Harriett Tubman’s shawl and hymnal. Thus far, the Museum has a permanent collection of more than 36,000 historical and cultural artifacts.

Some of those materials have already appeared in published books and public exhibitions. “We’ve done things that explored the criminal justice system. We want to be able to have candid conversations about sexual violence, about race writ large,” he says.

“I have argued this museum is as much as about today and tomorrow as it is about yesterday. Part of the challenge of a history museum is that sometimes we forget to humanize history. We tell the big story, but you don’t see yourself,” says Bunch. “What you will see in this museum are a lot of individual stories…

I am trying to create a museum that will make America better.”

How will he measure his success? “That’s a hard one,” Bunch replies. For many African Americans, just opening the museum will represent an enormous victory. After all, the fight for it began more than 100 years ago.

Bunch recalled going to the museum building early one morning, as he has done on many occasions. It was a Sunday, six months ago. “There was this older black man. He was looking at the building and I was looking at the building. Then, all of a sudden, I saw him start to cry. I thought he was sick.

“I went over and said, ‘Excuse me sir are you okay?’ He said ‘I’m fine. I’m just moved because I didn’t believe I could ever see this building happen,’” Bunch recalls. “If I can help people believe and see their story in a way that is a story for all Americans, then I will feel good.”

CP

District of Culture The National Museum of African American History and Culture covers centuries of black history across the world, but it doesn’t forget to tell the story of D.C.

By Shilpa Jindia

Pulpit and chairs from the Metropolitan African Methodist Episcopal Church There’s a lot of history in the walls of this M Street NW church. The congregation was founded in 1838, and the building boasts the superlative of being one of D.C.’s oldest blackowned properties. Over the years, it’s opened its doors to some of the most prominent figures in African-American history: from Ida B. Wells and Booker T. Washington to President Barack Obama. This church was regularly at-

Courtesy of the Smithsonian

It’s no secret that the Smithsonian’s National Museum of African American History and Culture’s collection is expansive— nearly 37,000 objects, by the museum’s count. Among the tens of thousands of artifacts that compose its collection, there’s no shortage of pieces specific to history of black culture in D.C., which is really just the history of D.C. Mary Elliott, the co-curator of the museum’s “Slavery and Freedom” exhibition, tells City Paper that in curating for the museum, she brought experience with digging through her own family history that includes links to Booker T. Washington and the 1921 Tulsa race riot. The museum’s addition to the prestigious Smithsonian landscape squarely places the African-American story in the American capital, the site people equate with the creation of a nation.

Below are some of the D.C.-specific artifacts you can expect to see in the museum.

First edition Benjamin Banneker Almanac washingtoncitypaper.com september 16, 2016 17

Panel from Resurrection City Aquia Creek sandstone from a local quarry that was mined for the U.S. Capitol building. D.C.’s position as a wedge between the North and the South and the political powerhouse of a newly liberated nation marks it as an usual point of pain for African-American history. “We wanted people to know that D.C. played a pivotal role,” Elliott says. “This was where the decision-makers were, and every day, coffles of enslaved men would walk by the Capitol.”

Aquia Creek sandstone tended by Frederick Douglass and hosted both his and Rosa Parks’ funerals.

The Metropolitan AME’s roots extend back to the Free African Society, the first black mutual aid society in Philadelphia, which was established after the Revolutionary War in 1787. Elliott says that visitors may be surprised to learn about the number of African Americans who petitioned for their freedom in the 1700s, some successfully. “African Americans didn’t just docilely chore away in the fields,” she says. “They fought for freedom.” Churches have always played a prominent role in these efforts, not just providing a sanctuary, but “to really help people find their footing after freedom came,” Elliott says.

Aquia Creek sandstone Perhaps the most moving moment of Michelle Obama’s speech at this year’s Democratic National Convention was the emotion in her voice as she mentioned waking up every day “in a house built by slaves.” But the White House is far from the only D.C. landmark built by both free and enslaved African-American labor. The museum features

First edition Benjamin Banneker Almanac from 1793 Born in Maryland in 1731 to a free AfricanAmerican woman and a former slave, Benjamin Banneker boasted many talents, most of which were self-taught. But of the many things he was known for, his most notable accomplishment—at least to District locals—was assisting in the 1791 survey of the land that would become D.C. Through his work, Banneker developed a correspondence with then-Secretary of State Thomas Jefferson and gave him a copy of his almanac, “to show Jefferson that African-Americans are intellectuals and go beyond enslavement,” Elliott says.

18 september 16, 2016 washingtoncitypaper.com

Panel from Resurrection City The Civil Rights movement hit a pivotal moment in 1963 with the March on Washington for Jobs and Freedom, which helped push the momentum necessary for the passage of the 1964 Civil Rights Act. But the work of the movement did not end there. The Poor People’s Campaign carried on the struggle, with a renewed focus on economic freedom and justice, which had been brought to greater national attention by President Lyndon B. Johnson’s War on Poverty. Guided by Martin Luther King, Jr., the movement unfolded on the National Mall in May 1968 under the new leadership of Ralph Abernathy, after King was assassinated.

Protesters set up a shantytown on the Mall, occupying the ground between the memorials and the Capitol, until they were evicted six weeks later. The museum’s exhibition “A Changing America: 1968 and Beyond” features a wood panel from Resurrection City. “It has this great language calling out American Indians, African Americans, Latino, you name it, they go through all of

it,” Elliott says. “It has a phrase about how there will never be any walls built up. And you know how the language out there today is, ‘I’m going to build a wall,’—this one from the 1970s that’s been preserved actually talks about how there will never be any walls built up between people.”

Serving pieces from Wormley’s Hotel Much like it is today, Lafayette Square—the park that sits in front of the White House— was the center of political activity in D.C. in the 1800s. And at the other end of the park sat James Wormley’s hotel, which hosted many historic—and secret—meetings throughout its tenure. Opened in 1871 by James Wormley, the son of free African Americans, the hotel quickly developed a glowing reputation in the city for its fine, European-inspired dining and elegant rooms. Wormley remained politically engaged as well, successfully lobbying Congress for the creation of public schools for African Americans in D.C. The hotel not only attracted a steady stream of tourists but also catered to prominent politicians and presidents, commonly hosting meetings for legislators. The most historic was a pseudo-secret meeting in 1877—known as the “Wormley Compromise” or “Compromise of 1877”—to resolve the contested presidential election of 1876 between Samuel J. Tilden and Rutherford B. Hayes. The close popular vote depended on the electoral votes of three Southern states, ultimately resulting in the election of Rutherford and the end of Reconstruction. The hotel’s legacy long outlives the building, which was demolished in 1906.

CP

Serving pieces from Wormley’s Hotel

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My Corona

By Amanda Kolson Hurley Layers of bureaucracy can frustrate even the most politically savvy architects.

Danish architect Bjarke Ingels, who’s renovating the Smithsonian’s south campus, has called the Mall “the most heavily regulated piece of real estate on Earth.” He’s not wrong.

The years-long give-and-take with authorities shaped the final design of the National Museum of African American History and Culture in significant ways, changing plans and adding and subtracting features as the process progressed. Even details as minor as a security guard booth were carefully reviewed.

In the contest to design the NMAAHC seven years ago, Freelon Adjaye Bond/SmithGroup made it past a long list of 22 and eventually beat out five other finalists to win the commission of a lifetime. The international team of architects—led by London-based David Adjaye, Philip Freelon of North Carolina, and New York’s J. Max Bond Jr., who passed away soon after—prevailed not on the basis of a full building design but on an initial concept, as is typical in architectural competitions.

What made their concept so distinctive was the form of the museum’s upper section.

It was simple, yet vivid: identical tiers with their sides angled in and down, the top corners pointing to the sky. It looked like an upside-down pyramid or ziggurat.

Adjaye called it the corona, and explained that it was inspired by the shape of crowns found in the Yoruban art of Nigeria. This was the irreducible element in the concept they presented. Over the months that followed, the architects fleshed out the rest of the design while navigating a ropes course of agency reviews and meetings.

Two independent agencies, with members appointed by the president and the mayor, had final say over whether the design passed muster: the National Capital Planning Commission (NCPC) and the Commission of Fine Arts (CFA).

Per law, an exhaustive environmental impact study was conducted, and the museum’s design team also had to consult with the D.C. Historic Preservation Office, the National Park Service, and other bodies to avoid “adverse effects” on the older buildings and landscape around the building. Into this mix add the Smithsonian, the architects’ client, with its own priorities and budgetary concerns.

The artist’s renderings that were published around the world in 2009 showed only one of a few concepts that the Smithsonian seriously considered.

Looking at those news stories now, it’s easy to spot the difference between the building shown in them and the one on the Mall today. In the pictures, the corona rises from a large rectangular plinth, or podium.

That scheme, dubbed Plinth, was one of three options. The others were Plaza, which separated the museum into two buildings joined by a plaza; and Pavilion, which dis-

20 september 16, 2016 washingtoncitypaper.com

Photographs by Darrow Montgomery

The design evolution of the National Museum of African American History and Culture

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Darrow Montgomery

tilled the museum into the corona form and set it directly on the ground of the Mall. After outside consultation, the Smithsonian eventually opted for a version of the last— “Refined Pavilion.”

With no plinth, the corona had room for a third tier. This adds to the museum’s sculptural quality, and the tripartite composition relates well to the classical buildings that define Washington.

Lots of other things changed, too. From the beginning, members of NCPC and CFA and preservationists worried about the effect the museum would have on views up and down the Mall, and from the Mall to the Ellipse and vice versa. (Even so, a full 60 percent of the museum is underground.) The building was moved slightly southward, and the main entrance was moved a bit to the east.

The height was lowered, and each side of the cube was shortened by four feet. A marshy rain garden planned for the north side of the site was replaced by a mock creek that visitors would symbolically cross. That was value-engineered away and replaced by a low black granite wall.

The porch at the main entrance is a key feature, embodying the tradition of the porch in African-American culture. A pool faces it, and Adjaye and Freelon hope the combination of shade and water will produce a cooling microclimate effect. The porch got shorter and shallower during review, in deference to a setback line in the 1902 McMillan Plan.

This reduces its visual impact—and also the amount of shade it can provide on hot days.

More than any other element, though, reviewers scrutinized the corona. It is formed from metal panels with patterns based on decorative ironwork by black 19th century artisans. The initial idea had been to make the panels from bronze, but the technology was unproven, so the designers switched to aluminum coated with a bronze-colored finish.

Early mock-ups set off alarm bells at the CFA. “[P]utty-like, muddy, and dull” is how a CFA letter described the appearance of one coating tested in 2013. The commission urged the designers to use a coating with real bronze in it. (Ironically, Freelon himself is a CFA member and had to recuse himself during the discussions.)

After testing six options, the architects settled on a non-bronze finish, polyvinylidene fluoride (PVDF). CFA approved the choice with a reminder that “all aspects of this exceptionally prominent building and its detailing must be of the highest possible quality.” The panels that cover the museum give off different hues depending on the light.

But we’ll likely never know what effect real bronze would have added.

Design by committee is a pain, and it often produces timid architecture. Fortunately, that’s not what happened here. “The building had to go through that entire baptism,” Adjaye says. “What’s interesting is that it forced you to articulate ideas the whole way through. Every part of this building had to be explained. It forces the essentials to come to the fore.”

CP

History Meat

The African American Museum is the place to go to learn about the black experience, but for a history lesson on Chocolate City, visit Bernie at Ben’s Chili Bowl.

By Matt Cohen there’s A riGht way and a wrong way to eat a chili dog at Ben’s Chili Bowl. And if you happen upon the venerable U Street eatery on any given Saturday morning, Bernard Demczuk would be happy to demonstrate. Actually, he’ll do more than that. He’ll give you a 12page pamphlet explaining the methodology, philosophy, and politics of eating a chili dog.

And you should listen to Bernard. He’s amassed 42 years of chili-dog-eating practice and experience. He knows what he’s talking about.

But his knowledge doesn’t end there. In fact, Demczuk plays an important role for both Ben’s Chili Bowl and the U Street Corridor: He’s the restaurant’s official historian, a title immortalized on the wall behind the table-cum-office where he sits every Saturday morning during his weekly “office hours,” sometimes meeting with people from all walks of life in D.C., sometimes working on essays or organizing community meetings, but always perfecting his selfproclaimed “Dog Bite Method.”

22 september 16, 2016 washingtoncitypaper.com

With the opening of the Smithsonian’s National Museum of African American History and Culture next week, there’s renewed focus on its local significance: It matters that there’s a major black history museum opening in D.C., not just because it’s in the nation’s capital but because it’s a historically black city mostly built by slave labor.

“We are the black mecca of America,” Demczuk says. “No disrespect to Atlanta. No disrespect to Harlem, but we are the black mecca.”

At about 400,000 square feet with nearly 37,000 objects, the NMAAHC is a sprawling, awe-inspiring display of African-American history and culture, but it’ll only really scratch the surface of D.C. And that’s where Demczuk comes in.

If you want to see sweeping exhibitions that tell the story of the black experience, visit the museum. But if you want a history lesson about Chocolate City, simply visit Ben’s on a Saturday morning and ask for “Bernie.” Everyone there will point you to the white dude at the back corner table.

Born And rAised in Turner Station—a historically black community nestled in the southeast of Baltimore County—Demczuk first started going to Ben’s Chili Bowl as a student at the University of Maryland, and that’s how he got involved in the Civil Rights movement.

“I go to the University of Maryland and come down to U Street and hang out here,” he remembers, “and I learn about SNCC [Student Nonviolent Coordinating Committee] across the street and befriend Marion Barry and Johnny Wilson and Stokely Carmichael.”

Those friendships would help lead to a career in both political and community organizing.

In 1977, after grad school at American University, Demczuk took a job at the D.C. Jail as a correctional officer, in hopes of dramatically reforming prison policies. “I was very radical,” he says. “I was actually a revolutionary. I was part of that group that came out of Attica that believed that the revolution could be started inside the prisons.”

During his time at D.C. Jail, he formed an alliance of inmates, parents of inmates, and

fellow officers to “demand that the city give [more] staff and more training” to the jail.

They succeeded, but as a result, Demczuk says he was fired in 1980 for “being a danger to the institution.”

Fortunately, his demonstrating efforts did not go unnoticed: He was quickly hired by his union, the American Federation of Government Employees, where he worked until 1988 lobbying for better working conditions and more staff for prisons nationwide.

At the union, Demczuk amassed a Rolodex of political allies and friends and was tapped by Jesse Jackson in 1989 to help run his social development organization, the Rainbow/PUSH Coalition, which he did until Sharon Pratt Kelly took office as D.C. mayor in 1991.

Demczuk spent most of the ’90s working for Barry after his political comeback following his drug conviction. “He’s seen and been a part of the meetings that happened in the back of the restaurant,” says Nizam Ali, one of Ben’s children who runs the Chili Bowl today. “He knows the role that Ben’s had during that era.”

After Barry decided not to run for a fifth mayoral term, Demczuk was approached by former George Washington University President Stephen Trachtenberg in 1998 to work as the school’s assistant vice president for district relations—a position he’s held ever since.

Through it all, though, he’s remained loyal to Ben’s and the Ali family. So much so that Virginia Ali, wife of the late Ben Ali, considers him her “fourth son.” metA WiLLiAms WAs in first grade when Martin Luther King Jr. was assassinated in 1968. She didn’t exactly know what was going on, but she knew it wasn’t good. “My mother fainted when the news was announced,” she recalls. “She was carrying my baby brother and my stepfather had to catch him when she fainted.”

Williams, who grew up in the Greenway Apartments on A Street SE, just off of Minnesota Avenue, was too young to witness the devastating riots that followed, but she remembers the fear in her community. “I think the National Guard was rolling down Minnesota Avenue in our neighborhood,” she says.

“And there was a lot of rioting and burning around there.”

On a recent Saturday morning, Williams met with Demczuk to talk about fundraising strategies for the Thurgood Marshall College Fund, where she works. But the conversation shifts to the 1968 riots that ravaged the U Street corridor.

“I don’t call it a riot,” Demczuk says, “I call it a rebellion.”

In January of this year, Demczuk held a meeting with community leaders in the back of Ben’s to start planning a citywide 50th anniversary commemoration for the 1968 “rebellion.” It’s an important moment in D.C.’s history and one he hopes the city will properly observe.

It’s still two years away, but right now, Demczuk says he envisions the commemoration to include some kind of academic sym-

posium, an arts festival, a demonstration or occupation (“maybe an action that picks up on the Poor People’s Campaign,” he says), and a book of essays or oral history. Most of all, he wants it to pick up on “the theme of Dr. King’s three ‘-isms’: militarism, racism, and capitalism. From ’68 to 2018, we’re still struggling with these three ‘-isms,’” he says.

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

u street hAs changed dramatically since Demczuk first started hanging out at Ben’s Chili Bowl. The buildings that were once destroyed by riots have been replaced by glitzy apartment buildings with sleek, modern facades—a far cry from the architecture of D.C.’s yesteryear.

As the population in the District rapidly grows, and its demographics shift from Chocolate City to a younger, whiter D.C., Demczuk isn’t mournful. “I am not anti-gentrification, I am not anti-millennial,” he says. “I reject the word gentrification and I embrace millennials, but my fear is that as the city rapidly changes its demographics, it will lose its history and culture.”

That’s why he’s devoted his time to educating millennials—or anyone—about the history of black culture in D.C. He teaches courses about African-American history and culture at GW and School Without Walls, and gives specialized walking tours and lectures about the U Street Corridor to whoever’s interested.

“He’s there every single Saturday for anyone who wants to learn,” Ali says. “He knows so much about this community he cares deeply for.”

With newer nightlife establishments—like Marvin and The Brixton—and new apartment buildings like The Louis and The Ellington “swagger-jacking” the cultural history of U Street, Demczuk wants the city’s new, young residents to understand and respect the culture of the District.

As Williams puts it, “It’s important for people to understand—especially newcomers— the trajectory of black Washington, and why we feel as we do about this city.”

To best understand Demczuk and his role within Ben’s Chili Bowl, the U Street Corridor, and D.C., just consider his chili dog bite methodology and philosophy. “With gentrification, an influx of whites have flocked into Ben’s,” Demczuk writes. “Their numbers are significant, and with gentrification booming along the New U Corridor, hundreds more will be eating at Ben’s. With them come some very inexperienced, young people who just do not know how to eat a chili dog without making a complete mess of themselves.”

Demczuk isn’t nostalgic for how things used to be. He celebrates what Chocolate City once was and uses his academic knowledge to educate people about the city’s history and culture in hopes that they can better engage with the community that’s been here for decades. He’s not a white savior, or anything like that, though.

“I’m not an academic. I’m not a white philosopher trying to save the black world. I don’t believe in that,” he says. “I’m just the historian of Ben’s Chili Bowl.”

CP

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DCFEED

Dacha Beer Garden does more than pull drafts. Today marks the launch of Dacha Supper Club headed up

by James Beard-nominated Chef Quinten Frye.

Post Pub Dives Into 40

By Ruben Castaneda In the 1980s, the hookers who worked the downtown stroll outside the Post Pub attracted some of the tavern’s regulars, who would stand at the window facing L Street NW to gawk as the women paraded up and down the street in short tight skirts, skin-tight jeans, and even bikinis and lingerie.

Many of those gazers worked late-night shifts as mailers, bundling newspapers and loading them onto delivery trucks for the Washington Post, which until recently was located catty-corner from the L Street pub, between 15th Street and Vermont Avenue. Pub owner Bob Beaulieu asked the rubberneckers to stay away from the windows, where other patrons sat at tables to eat or drink. “They’d stand between the people who were eating,” he recalls.

When that didn’t work, Beaulieu solved the problem by installing a wooden bar underneath the windows that looked out onto L Street and placing stools beneath it. That allowed the guys to drink their beer and watch the nightly spectacle without disturbing other patrons.

The prostitutes, the old Post building, and many other businesses are now gone from the immediate neighborhood, but Post Pub stubbornly remains, virtually unchanged from the way it was—physically and atmospherically— in the 1970s and ’80s. Stepping into the bar today feels like going back in time. Indeed, little has changed since the days when I frequented it after arriving in D.C. to work as a night crime reporter for the Post. I wasn’t alone.

“Post Pub is the Fortress of Solitude for those of us bores who still remember when being a hack was a working-class job,” says Bill Myers, a former Washington Examiner reporter and frequent patron for whom Beaulieu even erected a plaque on one of the pub’s back booths. “I love a good bit of specialty foam on my organic whatever as much as the next guy, but sometimes it’s nice to be called ‘hon’ without the least bit of irony. It’s even nicer, occasionally, to order a good bit of the strong

Young & hungrY

stuff (medicinal purposes only, of course) without feeling like I’m taking some kind of exam, or a second mortgage. Bob has bravely defended the last bits of genuine Washington Bohemia, and may he reign forever.”

On Sept. 20, Beaulieu will celebrate his 40th anniversary as owner of Post Pub, which he purchased in 1976 and which was once known as the Post House Restaurant. The building that houses the bar was built in the 1860s, and over the decades the watering hole has maintained the ambiance of a divey but endearing neighborhood tavern.

“There’s nothing fancy here,” Beaulieu says. “It’s just a beer and a sandwich. If you’re looking for something fancy, you have to go someplace else.”

The pub’s booths are red Naugahyde, its tables Formica, and the spongy carpet (also red) looks like it dates from the ’70s, thanks to the beating it takes from beer and French fry spills.

One of the most notable modern upgrades is that the old-school jukebox that for decades stood past the end of the main bar is gone, replaced by a TouchTunes digital jukebox. “People can sit at their tables and use their cellphones to choose which songs they want to play,” Beaulieu says.

In the early 2000s, Beaulieu got rid of the cigarette machine that for years stood just inside the front door. When he bought the bar, it had one lonely black-and-white TV. Now, there are nine high-definition color TVs in the tavern’s two seating areas.

The menu hasn’t changed much—burgers, sandwiches, fries, salads, and a modest variety of entrees, such as the salmon, one of the pub’s more popular dishes.

The tavern’s retro feel is a major part of its appeal. “We get a lot of people in who are from

Darrow Montgommery

Endearingly seedy, one of the District’s last remaining old-school pubs endures.

out of town, from places like Cleveland and Buffalo,” Beaulieu says. “They say this place reminds them of their neighborhood tavern, and if they’re in town for a week or so, they keep coming back.”

At one point, Post employees accounted for a good chunk of his business, but that has dwindled over the years. “I get very few anymore,” he says. “They probably stumble out of their office to a food truck.”

Drinking habits have also changed. In decades past, Beaulieu and his staff would make two gallons of martinis, a gallon of Manhattans, and a gallon of whiskey sours every Mon-

day. Three-martini lunches were popular in those days, but “now, I might sell a dozen martinis a week.”

Both of the Post Pub’s busiest days over the course of four decades were tied to news events. The second-best day was Jan. 20, 2009, the day of President Barack Obama’s first inauguration. The busiest was on 9-11. “It was gridlocked on the street, nobody could go anywhere,” Beaulieu recalls. “We were packed all day and night.”

Beaulieu has no major plans to celebrate the four-decade milestone, other than to offer halfpriced burgers and domestic beers for $3. CP

washingtoncitypaper.com september 16, 2016 25

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Power and Politics have long dominated the national conversation about D.C., but as of late, District restaurants have stolen a piece of the limelight—in an election year, no less. And while most scrutinizing Cap City are focusing their attention on November, those in the restaurant industry are looking at October instead, when the first D.C. Michelin Guide drops. “It’ll help people see D.C. as a food city, not just a political city, which is great for our community,” says Scott Drewno, the executive chef at The Source.

Washington is only the fourth U.S. city to get the Eiffel Tower–sized feather in its cap, joining the culinary powerhouses of New York, Chicago, and San Francisco. The 116-yearold international guide uses secret inspectors to grant restaurants one, two, or three stars, in addition to awarding bang-for-your-buck restaurants with Bib Gourmands.

“The reason we chose Washington was the continuing evolution of its culinary scene,” says Pete Selleck, Michelin North American chairman and president. “It’s always been very good here, but now it’s the best it’s ever been.”

D.C. was, until recently, a culinary underdog because of its relatively small size, but it has gotten big-time attention in the national food spotlight thanks to major magazine mentions. It’s largely local chefs’ and restaurant owners’ collaborative spirit that got us here.

As they say, a rising tide lifts all boats. “[Michelin] is a testament to the culinary and hospitality community—that they chose to come to D.C. because of what we’re doing here has to do with the fact that we all work together,” Drewno says.

Del Campo Chef Victor Albisu agrees.

“We’re always been very supportive of each other,” he says. “We take time out of our days to go and support and highlight the food of our friends. We never say no to each other.”

Indeed. Chef collaborations and culinary charity events are weekly—if not daily—occurrences, and restaurant staffers are quick to congratulate colleagues. When Bon Appétit named Bad Saint the second best new restaurant in America, for example, the restaurant’s page shared the good news on Facebook, gaining 118 shares and 602 likes, largely offered up by other members of the restaurant industry.

But when Michelin makes its debut on Oct. 13, will D.C. be able to hold tight to its kumbaya spirit? Or will the competition for stars cause relationships to splinter quicker than the cast

of Survivor upon arrival to the island? There’s nothing to worry about, say a number of area chefs who have experience at Michelin-starred restaurants.

“There’s no reason to be scared of it, no reason to do anything but embrace it, grow, and be better,” says Albisu, who trained at a threestar restaurant in Paris. He doesn’t think the city will suddenly go Cutthroat Kitchen. “The established chefs of the city, we are who we are and we support each other,” he says. “Maybe down the road when a younger, more aggressive crop comes up, but I don’t think it’ll be an overnight thing.”

Hazel Chef Rob Rubba worked for Michelin-starred restaurants in Las Vegas and Chicago. He cautions those new to Michelin to remember it’s “you against a guide,” not you against your peers.

“Don’t view being a chef and having a restaurant as competition,” he says. “The beauty of this city is that it’s not like ‘oh fuck him, he just opened up, we have to put him out of business.’

We all want to succeed here, do great here—if having a three-star restaurant in D.C. brings more people through your doors? Awesome.”

Rubba was at L20 in Chicago when the city’s first guide came out. While L20 received three stars, Rubba noticed changes at the onestar level. “There are pros and cons for smaller restaurants that are doing really great food,” he explains. “They get that one star and they don’t really understand that sometimes that’s just a great honor to have and people’s attitudes change a little bit because they want more,” he says.

Chef Ed Scarpone of CityCenterDC’s DBGB Kitchen + Bar agrees that the guide will have an impact. “Moving forward, some chefs are going to get two or one and not more, and they’ll refine service, the way things are plated, and try to get more,” says the chef who worked at the one-star Café Boulud in New York. “It’s going to do nothing but good—but it’s going to make some people crazy because it’s stressful.”

Stressful is an understatement. Because Michelin stars are desperately coveted, visits from inspectors pile on immense pressure.

There are too many stories about starred chefs leaving cooking, but even more frightening, self-harming or committing suicide—Bernard Loiseau was widely believed to have killed himself over the intense pressures of his career. The potential for anxieties mean it’s critical for the chef community to remain supportive come October and beyond.

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washingtoncitypaper.com september 16, 2016 27

DCFEED

what we drank last week: Hai Baller with Mizu Schochu, Suntory Whisky Toki, Fuji apple soda, and a burdock chip, $14, Dram & Grain.

Satisfaction level: 5 out of 5.

Grazer

what we’ll eat next week: Pappardelle with woodroasted mushrooms and nasturtium, $24, Centrolina.

Excitement level 4 out of 5.

Conosci’s Kitchen is Like a Top Chef Challenge BrewinTown See what Michael Schlow can do with a toaster oven

Ocelot Three Lovers Triple IPA

By Laura Hayes

Where in Town: Meridian Pint, 3400 11th St. NW

Chef Michael Schlow got his first taste of doing a lot with a little when he was on Top Chef Masters, cooking with only a microwave, toaster oven, and hot plate for a dorm room challenge. The kitchen at Conosci, the posh restaurant next to Alta

Strada accessed through a velvet-curtained tunnel, doesn’t have much more in terms of cooking equipment. The restaurant was originally a crudo bar with limited cooked dishes, but Schlow and team are retooling the concept to include an expanded menu. Three dishes demonstrate how creative he can get with just a toaster oven, induction burner, and rice cooker.

Price: $8/12 oz.

Risotto with local crab, uni, green onions, and chiles ($18):

Giant sweet shrimp carpaccio with sea salt, basil, and lardo toast ($18):

Schlow uses an induction burner to prepare the risotto, which is flavored primarily with shellfish stock, miso paste, light soy sauce, and chiles. Maryland lump crab and an oversized tongue of Santa Barbara sea urchin make the dish decadent.

Schlow uses a toaster oven to crisp up crostini, laying a thin slice of lardo on the bread to melt at the last minute before topping it with a raw sweet shrimp that’s marinated for eight minutes in yuzu and togarashi. Topping the simplistic dish is sea salt, olive oil, and micro basil.

Mushrooms with green onion compote and hazelnut frico chips ($13):

Photographs by Laura Hayes

Using an induction burner, Schlow sears off a mix of four to six varieties of mushrooms. Next, he hits them with a mushroom “juice” and a ginger scallion compote, both of which he warms in the toaster oven.

While Schlow admits he bakes the Parmesan-hazelnut frico chips next door at Alta Strada, he only does so because of the volume required. A toaster oven would otherwise suffice.

Conosci, 465 K St. NW; (202) 629-4662; conoscidc.com

UnderServed The best cocktail you’re not ordering

What: Beehive, with Uncle Val’s Botanical Gin, saffron honey syrup, lemon, broken lemon vinaigrette, and honeycomb Where: Trummer’s on Main, 7134 Main St., Clifton; (703) 266-1623; trummersonmain.com Price: $22 What You Should Be Drinking: Saffron is the ingredient that gives paella its signature bright yellow color and hardto-define flavor that leans sweet and floral. Co-owner and mixologist Stefan Trummer steeps the prized (and pricey) fine threads in honey and water to make a sweetening agent that’s also

subtly earthy. He combines the syrup with lemon juice and Uncle Val’s Botanical Gin, a delicate gin from Sonoma, California, whose botanical formula includes juniper, lemon, sage, lavender, and cucumber. Trummer also makes a broken lemon vinaigrette—so named because it’s gently stirred rather than whipped or emulsified—from a mixture of lemon juice and zest, sugar, eggs, and butter that’s boiled, cooled, and stirred with olive oil. The drink is shaken, strained, and garnished with skewered honeycomb and a drizzle of more broken vinaigrette.

Why You Should Be Drinking It: Unlike the Prohibition-era cocktail, the Bee’s Knees, which utilized lemon and honey to hide the sting of bathtub gin, the Bee-

28 september 16, 2016 washingtoncitypaper.com

hive is all about showing off fresh citrus and light, bright flavors. “I love the use of honey and wanted to create a beautiful cocktail…[that] incorporates as many floral components as possible,” Trummer says. The gin is complex, saffron gives it florality, and honey lends sweetness and a creamy texture that are both tempered by the lemon.

“The honeycomb adds a fragrance—you smell it every time you take a sip—and the broken vinaigrette adds more citrus and aroma.” Find the drink on the “reserve” section of Trummer’s inventive cocktail menu among other splurge drinks with rare, expensive ingredients, and consider sipping it while nibbling on parmesan popcorn or Rappahannock oysters.

—Kelly Magyarics

Name That Tune: Ocelot Brewing Company Founder Adrien Widman is passionate about two things: music and beer.

His brewery, which opened in spring 2015, is a blend of both. For starters, the brewery shares its name with a Phish song, and many of the beers Widman and head brewer Mike McCarthy brew are inspired by (and borrow their names from) their favorite songs.

Staff and customers are known to recommend tunes too. Additionally, Ocelot’s tasting room, located just west of Dulles International Airport, regularly hosts live bands and even features a massive white-tiled wall, dubbed “The Barrel Wall,” that pays homage to Pink Floyd’s iconic 1979 album cover.

Triple Threat: More than half of Ocelot’s 80 creations to date are hop-focused IPAs, and almost a third are 8 percent alcohol or higher. The brewery’s latest offering, Three Lovers Triple IPA, is both. Named for a lyric in the Jane’s Addiction song “Three Days,” the brew is aptly made with three malts (Pilsner, Carapils, and Maris Otter) and three hops (Amarillo, Simcoe, and Mosaic). Discerning palates may detect notes of grapefruit, tangerine, orange, mango, or pine, but this delicious IPA has an impressively unified flavor—the result of 10 days of conditioning before its release. Luscious fruit and strong malt characters are balanced by a dry, satisfyingly bitter finish, making the concoction dangerously drinkable for its 11.5 percent alcohol. Like most Ocelot brews, Three Lovers is rare and limited in supply, so get it while you can.

The best bets for scoring a sip in D.C. are at Meridian Pint, ChurchKey, and Sixth Engine.

—Tammy Tuck

FULL BAR & COCKTAIL MENU HAPPY HOUR SPECIALS 4:30-7 P.M. MON-FRI

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Over 120 Beers, Wines & Schnapps p $1,000 in prizes for fingerhalkn & fUn Contests p live mUsiC on the main stage featUring:

texas Chainsaw horns / liqUid a / edelweiss Band

p great german food & mUCh more!

Tickets starting at only $25! www.dcoktoberfest.com

Run the 5k or Beer Mile!

Entry fee is only $59

www.dasBeerrun.com Tickets are non-refunadable & subject to tax. Show is rain or shine.

Please drink responsibly. Advance tickets close 9/21/16.

washingtoncitypaper.com september 16, 2016 29

FREE SIMULCAST! PRIZES! MUSIC! FUN! Wolfgang Amadeus Mozart/Lorenzo da Ponte

THE MARRIAGE OF FIGARO Saturday, Sep. 24 at 7 p.m.

Nationals Park Gates open at 5 p.m.

More information at OperaInTheOutfield.org M&M’S® Opera in the Outfield will take place rain or shine!

Arrive early for family fun!

M&M’S® Ms. Brown l Photo Ops with Characters in Costume l Dress-up Trunk Crafts Table l Face Painting l Open Playground l Living Statue of Babe Ruth

Performances from Duke Ellington School Vocal Music students and Savoy Elementary School dance ensemble The Warner Bros. cartoon “What’s Opera, Doc?” Chances to Win Amazing Prizes from Tickets to Kennedy Center Performances to a Walk-on Role in WNO’s The Daughter of the Regiment!

And Much More!

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.

M&M’S® Opera in the Outfield is brought to you by the M&M’S® and AMERICAN HERITAGE™ Chocolate Brands.

Additional support is provided by Michael F. and Noémi K. Neidorff and the Centene Charitable Foundation.

This event is presented in partnership with the Washington Nationals.

WNO’s Presenting Sponsor

30 september 16, 2016 washingtoncitypaper.com

PHOTOS BY SCOTT SUCHMAN

Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello.

CPArts

Chip Py “Funks Up the Grass” on his Locally Grown YouTube series. washingtoncitypaper.com/arts

God Save the Scene

A documentary about Liverpool’s most famous music group and a weirdly cheery musical about a London tragedy show how music and British culture are intertwined.

The Beatles: Eight Days a Week—The Touring Years

The Beatles: Eight Days a Week—The Touring Years

Directed by Ron Howard

London Road

Directed by Rufus Norris

By Tricia Olszewski There once was a time when the members of The Beatles believed they would never make it big. They would go in circles, getting depressed and pumping themselves back up. They were determined but realistic.

We all know what happened with that.

In a departure from his usual feature work, Ron Howard dove into documentary filmmaking to stitch together The Beatles: Eight Days a Week—The Touring Years. Rare and previously unseen fan and archival footage of Paul, John, George, and Ringo from 1963 to ’66 compose the film, with commentary from McCartney and Starr as well as older video of the late Harrison punctuating the performances and interviews from more than five decades ago.

The result is a treat. “By the end, it got quite complicated, but at the beginning, things were really simple,” McCartney now says of the remarkably short 10 years the band was together. The early shows—actually, all of the shows—are lively and engaging, the Fab Four having nearly as much fun as their shrieking, mostly female fan base. McCartney comments that for some reason, young women would go crazy when the singers would vigorously shake their heads, such as during the “hand” part of “I want to hold your hand!” And the footage backs that up.

The interviews are just as entertaining, with the teenage guys acting like stand-up comedians, rarely taking questions seriously and proving lightning-quick with witty answers. McCartney said, “It wasn’t culture. It was a good laugh”—in other words, the joyfulness one feels when your hobby first becomes your career. When he claims that they “partied” whenever a single or album hit No. 1, Howard follows the comment with a photo of the four having a pillow fight.

Eight Days a Week is more thbuan just a concert film, however.

Whoopi Goldberg is one of the outsiders who provides some insight into the phenomenon that was Beatlemania. “They were The Beatles. They were colorless,” she says, still giddy at the memory of seeing them live. In Jacksonville, the group integrated the Gator Bowl for the first time, refusing to play shows at venues that segregated audiences. McCartney recalls regard-

film

London Road

ing segregation as “mad” and “stupid”: “You can’t treat other human beings like animals,” he says. Larry Kane, a DJ who was embedded with the band on one of its early tours, remarks

that the four were “very sensitive to other people’s feelings”— undoubtedly why McCartney and Lennon were able to easily write close to 300 songs, many of which are as popular today washingtoncitypaper.com september 16, 2016 31

CPArts as they were when they first dominated the charts.

As history attests, however, Beatlemania took its toll on the jubilant young men. The hysteria first frustrated Lennon, who claimed that the song “Help!” was autobiographical. Of course, he later also claimed that The Beatles were bigger than Christ; by 1966, McCartney says, “[Touring] felt dangerous.” At its Shea Stadium gig in August of that year—playing in front of 56,000 fainting fans and ushering in the era of arena concerts— Starr says he had to watch his bandmates’ feet and swaying hips during the performance to know where they were in a song because they couldn’t hear themselves. Harrison said that their existence turned into a “freak show,” adding that “music no longer mattered.”

Despite this unraveling, however, Howard ends the documentary buoyantly, following The Beatles’ return to the studio (where the band practically reinvented themselves) and capping the film with the group’s famous rooftop performance.

There, they were long-haired and decked out in fur coats, the sight quite a departure from the innocent teen moptops in suits that they once were. But true fans knew what to do: Let it be.

In 2006, The bodies of five prostitutes were found in the rural English town of Ipswich. Tight-knit neighbors on London Road were in a tizzy; some heartbroken about the women’s deaths, all panicked that there was a murderer among them. When a man on their street was arrested, residents stayed glued to their televisions for news about the trial and tried to regroup as a friendly neighborhood. London Road tells their story.

And it’s a musical.

What may sound like the worst idea since Pete Best pissed off The Beatles originated on the National Theatre stage in 2011, directed by the same helmer of the film, Rufus Norris. (Book and lyrics by Alecky Blythe; music and lyrics by Adam Cork.)

And although it didn’t inspire audience hysterics, it did garner critical acclaim.

The cinematic version of London Road, in turn, isn’t quite the tone-deaf atrocity it promises to be. The film’s opening text informs you that residents and prostitutes were interviewed over three years and that what follows is what they said, “exactly how they said it.” Well, not exactly—one imagines that no one broke out into song during the exchanges (especially not news anchors).

Though Tom Hardy and Olivia Colman have roles (the former an unfortunately tiny one), this is an ensemble piece in which very few characters get names. Instead, these are anonymous neighbors in their homes—or hookers milling about outdoors—commenting about the murders and how they changed the atmosphere of the community. Set pieces also take place at markets and on the street as the residents cautiously go about their days as if nothing happened.

These people don’t always sing, and no one ever really belts out a number. The musical’s makers were fairly clever in the way they handled the interview copy; the melodies are lighthanded (sometimes only a notch above talking) and lyrics are overlapped and repeated. The result, along with some minimal choreography, is a syncopated, visually arresting history.

And, indeed, not even the stammers were edited out: “Everyone is very, very nervous. Um. And unsure of everything. Basi-

cally” goes one line. Another has two identically dressed girls singing, “I’m just going to, like, cry,” with a nervous teen laugh punctuating the statement.

Much of it is remarkably catchy, and not all doom and gloom as you might expect. There’s even dry humor: At the beginning, a camera is trained on a rotund older man, who stares gapemouthed at the unseen interviewer for a bit before prompting, “OK. Ask away!” Another resident comments, “Police say what you should and shouldn’t do. But they never said, ‘Don’t be a prostitute and don’t get into strangers’ cars.’” (No melodies are assigned to these lines.)

As the latter reflection suggests, some neighbors aren’t all that bothered by the crimes, complaining that the “foulmouthed slags” had already ruined their community when they first showed up. Colman’s Julie even fantasizes that she might shake the killer’s hand if given the opportunity, for eliminating the seediness that her teenagers had been exposed to.

London Road does slow to a crawl at times, and occasionally it’s hard to get past its inherent weirdness. But when the characters’ movements are dancelike—in one scene, police tape is laced across the street like streamers—and their songs rhythmic, you may just be mesmerized, with choruses such as “You automatically think it could be him!” worming their way into your ear as stubbornly as any Fab Four hit.

CP The Beatles: Eight Days a Week—The Touring Years opens Friday at The AFI Silver and The Avalon.

London Road opens Friday at the Angelika Pop-Up.

WEEKEND FOOD & DRINK Events DC and the Restaurant Association Metropolitan Washington (RAMW) along with its members are proud to celebrate the tradition of the college football experience and honor the heritage and excellence of Historically Black Colleges and Universities during the 6th annual AT&T Nation’s Football Classic® weekend from September 15-18, 2016. The football game features Hampton University vs. Howard University at RFK Stadium on Saturday, September 17, 2016. For a complete list of events, please visit www.NationsFootballClassic.com.

Keep up with all the action and follow @RAMWdc & @NationsClassic online for extended happy hours, drink specials, and deals on food all weekend long!

Is the Glass half full?

Is the Glass half empty? how about half off! realdeal.washingtoncitypaper.com

32 september 16, 2016 washingtoncitypaper.com

galleries

Calling to Who?

A new photo show’s content is important, but the narrative will be lost on its viewers.

“Muriel Hasbun & Caroline Lacey: Calling to You” At Civilian Art Projects to Oct. 22

By Kriston Capps Civil war would seem to be an unlikely backdrop for establishing an art gallery.

Yet when Janine Janowski launched Galería el Laberinto in San Salvador in 1977 during the runup to the war, she found that conflict brought people by her shop—foreign reporters, the Red Cross—who took an interest in the modern art she showed. According to her daughter Muriel Hasbun, the San Salvador gallery thrived even as the nation suffered.

The Salvadoran Civil War is only part of the background that viewers need to understand in order to take in “Calling to You,” a photo show by Hasbun and Caroline Lacey at Civilian Art Projects. The other conflict viewers need to know about is the collapse of the Corcoran Gallery of Art and College of Art + Design, where Hasbun taught photography and other subjects from 1995 through this year.

Lacey, a recent Corcoran graduate and one of Hasbun’s students, was vocal in her opposition to Corcoran trustees’ decision to dissolve the institution. The two are culture war veterans.

Now, Hasbun and Lacey are collaborating on Hasbun’s latest effort, laberinto projects, which is the source of this photo show. Since Janowski’s death in 2012, Hasbun has been occupied with the legacy of el Laberinto, archiving the work that her mother owned and documenting the many shows by top-tier Salvadoran artists that she hosted. Lacey lives full-time in San Salvador for the time being. “Calling to You” is a photography show about building legacy and exploring grief— although it may be tough for viewers to necessarily see that.

“Janine, Homage (José Nicolás), 2013.01.16, El Congo” (2015) is a photo by Hasbun of a rich blue bust of Janowski, a testament to what the gallerist meant to artists working in San Salvador. It’s displayed side by side with “Homage (Rothko), 2014. 01.22, El Congo” (2015), a more mysterious print of a stony ochre surface.

El Congo refers to the lake house outside San Salvador where Janowski lived, a place that emerges in both Hasbun and Lacey’s photographs.

All these facts of the show are impossible for a viewer to glean just by looking at the works. (I spoke with the artists at a viewing.) It’s hard to say what an audience is sup-

posed to necessarily take away from Hasbun’s work, which is both deeply personal and rooted in El Salvador’s contemporary art scene. “Blue (Martorell), 2012.11.08, El Congo” (2015), for example, shows a shadow of a chair—a picture that Hasbun says references the kind of image favored by one of the Salvadoran artists that Janowski collected. There are glimpses of Hasbun’s mother throughout, from a photo of her lips (“Janine, 2011.12.11, San Salvador/Washington, D.C.”) to one of wisps of her silvery hair (“Janine, 2012.01.03, San Salvador”). But in most of her photos, there seems to be something unseen or unsaid, just offscreen. Hasbun favors brittle colors and fragile textures—film, glass, and reflections show up in a lot of her pictures.

Lacey’s photos are tonally distinct, much airier, but they otherwise follow faithfully in Hasbun’s footsteps.

Her work includes several shots from the former Corcoran museum, including tightly cropped snaps of an Edward Hopper painting (“A Storm Is Coming (Hopper)”) and another one of an appendage from a painting by Jean-Baptiste-Camille Corot (“Repose, Corot, 1890. Vinyl Reprint. NGA, 2014.”) Like Hasbun, Lacey thinks like an archivist (she is Hasbun’s partner in laberinto projects.) Janowski’s estate and el Laberinto’s legacy are the subjects of several of her photos, but these photos tell only snippets of stories, hinting at family lore. Longtime D.C. viewers will find a more accessible entry to Lacey’s work through her Corcoran shots, which are familiar to anyone who spent time at the museum (and haunting, perhaps, for those who watched its demise). “Museum Purchase, the William A. Clark Fund” (2016), a photo of a backside of a framed painting or photograph from the Corcoran’s collection, puts it plainly: The Corcoran’s trustees turned their backs on the museum.

The intersection between Salvador- “Janine, Homage (José Nicolás),” by Muriel Hasbun (2015) an and D.C. contemporary art is a narrow one. Hasbun and Lacey shared the loss the Corcoran mess, based on the show alone. ally—and the narrative is going to be lost on of the Corcoran and now are sorting through The photos represent only a small part of a viewers.

CP what Hasbun’s mother built together. No much larger effort, but viewers might feel one who sees “Calling to You” will be able to excluded from a private conversation. Nar- 4718 14th St. NW. Free. (202) 607-3804. make heads or tails of el Laberinto, or even rative drives the show—twin narratives, re- civilianartprojects.com. washingtoncitypaper.com september 16, 2016 33

FilmShort SubjectS

KRAMERBOOKS

UPCOMING EVENTS

SEPTEMBER TH 15 F

16

NICK COLIONNE THE BEAT HOTEL

PLUS RHODES TAVERN TROUBADORS Mon. 9/19 at 6:30pm We Gon’ Be Alright Jeff Chang

in conversation with Ruth Tam. Producer at the Kojo Nmandi Show

These provocative & powerful essays take an incisive look at the recent tragedies that have shaken our country.

Tues. 9/20 at 6:30pm Little Nothing Marisa Silver

SU 18 W 21

TH 22 F

23

in conversation with Bethanne Patrick

An outcast girl becomes a hunted woman whose ultimate survival depends on the most startling transfiguration of them all.

Wed. 9/21 at 6:30pm Shelter in Place Alexander Maksik A stylish literary novel about the hereditary nature of mental illness, the fleeting intensity of youth, the obligations of family, and the dramatic consequences of love.

Tues. 9/27 at 6:30pm Just Around Midnight: Rock & Roll and the Racial Imagination Jack Hamilton A look at the racial categories that oversimplified the ‘60s revolution, providing a deep appreciation of the twists & turns that kept the music alive.

Thurs. 9/29 at 6:30pm TV (The Book) Alan Sepinwall & Matt Zoller Seitz

in conversation with Linda Holmes of NPR’s Monkey See

Using a complex, obsessively allencompassing scoring system, Sepinwall and Seitz have identified and ranked the 100 best scripted TV shows in American history.

1517 CONNECTICUT AVE. NW 202.387.1700 // KRAMERS.COM

SU 25 T

27

W 28 TH 29 F

30

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 STEVE OLIVER LUTHER RE-LIVES SARAH DASH

JUST ANNOUNCED

MELBA MOORE 10/12 MIRIAMM TURNS BETHESDA BLUES & JAZZ PINK 10/14 MORRIS DAY AND THE TIME

SU 10/2 W

F

2 SHOWS

W 10/19 MIKE PHILLIPS 7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

34 september 16, 2016 washingtoncitypaper.com

Nom de Gloom Author: The JT Leroy Story Directed by Jeff Feuerzeig

To call someThing a “hoax” or someone a “fraud” may be an accurate description, but it’s also an act of minimization. Deceptions can be unmasked, but those words only describe the act of deceiving, not the abundance of psychological, social, and cultural forces that motivate the deception. When best-selling wunderkind Jeremy “Terminator” Leroy was revealed to be a creation of Laura Albert, an adult woman from Brooklyn, in 2006, journalists who had been duped by her lie dubbed it a hoax. Ten years later, documentarian Jeff Feuerzeig (The Devil and Daniel Johnston) has teamed up with Albert herself on Author: The JT Leroy Story, which reveals a more complete picture of a very complicated woman.

The film opens strong, swiftly establishing its subject’s popularity and talent. Celebrities like Winona Ryder, Madonna, and Courtney Love embraced Leroy’s writing, and Albert, who twisted her voice into a childish Southern drawl, recorded their phone conversations, which are played in the film. Feuerzeig follows with a bit of Leroy’s sparkling prose, brought to life in crudely effective animations based on Albert’s journal drawings from her time in a group home for abused children.

If you’re getting confused with the names, don’t worry. That’s the point, and the film diligently details how she pulled off this magic trick. After the first book was published under her nom de plume, the media requests for Leroy start to pile up. Albert pays her sister-in-law, Savannah, to act as Leroy in public, and she creates another identity for herself—Speedie, Leroy’s brash British friend—to

handle all the bookings and revel in the sudden celebrity attention. Bono invites her backstage to give her career advice. Actors Michael Pitt and Asia Argento have actual love affairs with Leroy (that is, Savannah). Albert gets jealous, and starts to self-sabotage by telling a few select people the truth. It’s a crucial error, as the best plate-spinners know to end the show before their balance starts to fail.

Still, most of the movie proceeds not with dread but with genuine delight at her gamesmanship. There is hypocrisy in this, as Author succumbs to the same weakness it accuses Albert of. It derides the need for attention that drove Albert, but it trades on those same impulses. Consider the recorded phone call between Albert and Courtney Love, who pauses to snort a line of cocaine. There is no storybased reason to leave that moment in, but Feuerzeig knew it would dazzle. While there is much to like in Author, it’s troubling to think that fans of TMZ might get their rocks off watching it.

On the whole, it succeeds for the questions it asks, not the ones it cheaply answers. Why was everyone—the publishing world, celebrities, film directors—so quick to believe this story? And what value does her acclaimed literature have now that we know the whole story? Perhaps most impressive is that the film remains inquisitive about Albert herself right to the end. It gives her a mouthpiece to tell her story, but each shot of her holds a second or two too long, creating tension and implicitly asking us to question her tale. Towards the end of the film, she puts it neatly: “My goal is I wanted to be a healthy human being, and everything came out of that desire,” she says. But she says it in JT’s voice, and by then we know better than to believe it. Sometimes lies reveal more than truth.

—Noah Gittell Author: The JT Leroy Story opens Friday at E Street Cinema.

$10 BURGER & BEER MON-FRI 4 P M -7 P M

TRIVIA EVERY M O N D AY & W E D N E S D AY

$3 PBR & NATTY BOH ALL DAY EVERY DAY

M AKE Y OUR M USICAL D REAMS C OME T RUE 600 beers from around the world

Fall Foliage Weekends October 7-23

Downstairs: good food, great beer: $3 PBR & Natty Boh’s all day every day *all shows 21+

SEPTEMBER 15TH

SPECIFIC IGNORE DOORS AT 7PM

Jumping Rocks Photography

UNDERGROUND COMEDY SHOW STARTS AT 8:30PM SEPTEMBER 16TH

DC WEIRDO SHOW PRESENTS:

I (HEART) NYC!

DOORS AT 8PM SHOW AT 9PM

• Fridays at 7 pm • Saturdays at 7 pm • Sundays at 2 pm

Thanksgiving, New Year’s Eve & New Year’s Day Concerts

SEPTEMBER 17TH

CARRY ON MY WAYWARD BRA:A BURLESQUE SALUTE TO SUPERNATURAL DOORS AT 8PM SHOW AT 9PM SEPTEMBER 18TH

ALL’S FAIR IN LOVE AND WAR with Aaron Berofsky October 21

THE LAND OF OPPORTUNITY with Juliette Kang November 24

PRETTY BOI DRAG BRUCH DOORS AT 2:00PM

ALEXX DOLL SIDE SHOW

DOORS AT 7PM SHOW AT 8PM SEPTEMBER 19TH

DISTRICT TRIVIA STARTS AT 730PM

SEPTEMBER 20TH

LAST RESORT COMEDY

NIGHT MUSIC: LATE-NIGHT SANDWICH with Rachel Young New Year’s Eve

DOORS AT 8PM SHOW AT 830PM SEPTEMBER 21ST

DISTRICT TRIVIA STARTS AT 730PM

SEPTEMBER 22ND

UNDERGROUND COMEDY SHOW STARTS AT 8:30PM SEPTEMBER 23RD

SOUR TAP TAKEOVER (12 TAPS 30+ BOTTLES) STARTING AT 4PM

STARR STRUCK COMEDY DOORS AT 7PM

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

FEATURING

Garth Newel Piano Quartet Isaac Melamed, Jeannette Fang, Evelyn Grau and Teresa Ling

Hot Springs, VA • 540.839.5018 • GarthNewel.org

washingtoncitypaper.com september 16, 2016 35

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

Melanie Martinez .................................................................................. SEPTEMBER 22 Glass Animals w/ Pumarosa .................................................................. SEPTEMBER 25

THIS WEEK’S SHOWS

NIGHT ADDED!

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

Built To Spill w/ Hop Along & Alex G ........................................................... Su 18 Okkervil River w/ Landlady .......................................................................... M 19

FIRST NIGHT SOLD OUT! SECOND

CHVRCHES w/ Potty Mouth ...........................................................................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 2135 Queens Chapel Rd. NE • Ticketmaster

SEPTEMBER

Blind Pilot w/ River Whyless Early Show! 6pm Doors ........................................... F 23

Merriweather Post Pavilion • Columbia, MD

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 TRUTV PRESENTS

Adam Ruins Everything Live! with Adam Conover This is a seated show. . M 26 Yuna w/ Ńÿłø ..................................................................................................... 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

WPOC WEEKEND IN THE COUNTRY FEATURING

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

GET A DEAL!

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

DAR Constitution Hall • Washington D.C.

Lindsey Stirling w/ Shawn Hook .................................................................OCTOBER 24 Ticketmaster

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 U STREET MUSIC HALL PRESENTS

Flight Facilities .............................................................................................W 12 DJ Shadow ...................................................................................................... Th 13 Teenage Fanclub w/ Skylar Gudasz ............................................................... F 14

1215 U Street NW Washington, D.C. 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 w/ Jimmy Carter and Joey Williams of The Blind Boys of Alabama & Dupont Brass Band . SEPT 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 & 9pm Doors.

ALL GOOD PRESENTS

Yonder Mountain String Band w/ Billy Strings ...................................... Sa 15 Local Natives w/ Charlotte Day Wilson .......................................................... M 17 Jack Garratt w/ Brasstracks .......................................................................... Tu 18 Foy Vance w/ Trevor Sensor ............................................................................W 19 Saint Motel w/ Hippo Campus & Weathers ..................................................... Th 20

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

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

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 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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL The Album Leaf w/ Rituals of Mine ...........................W SEP 14 Lucky Chops w/ Lawrence ................. 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

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 Mike Gordon ................................................................................................NOVEMBER 29 • 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!

36 september 16, 2016 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D

Music 37 Theater 38

Film 40

Serving

EVERYTHING from BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Music Friday rock

9:30 Club 815 V St. NW. (202) 265-0930. Cherub, Frenship, Boo Seeka. 8 p.m. $23. 930.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Offspring, Reagan Youth. 8:30 p.m. (Sold out) fillmoresilverspring.com.

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

Cody Canada and The Departed, with Mike McClure.

8 p.m. $15–$25. thehamiltondc.com. roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

White Ford Bronco. 9 p.m. $22.50–$25. rockandrollhoteldc.com.

World

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

Celtic Thunder–Legacy. 8 p.m. $43–$73. warnertheatredc.com. beTheSda blueS and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Beat Hotel, The Rhodes Tavern Troubadors. 8 p.m. $15. bethesdabluesjazz.com. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Eliane Elias. 8 p.m.; 10 p.m. $50–$60. bluesalley.com.

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

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

ElEctronic

FlaSh 645 Florida Ave. NW. (202) 827-8791. Heidi, Sarah Myers, George K. 8 p.m. $5–$8. flashdc.com.

Saturday rock

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Matthew Sweet, Laura Tsaggaris.

7:30 p.m. $29.50. birchmere.com. dC9 1940 9th St. NW. (202) 483-5000. Rocky Votolato, Chris Staples. 6:30 p.m. $13–$15. dcnine.com. eaglebank arena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Newsboys, Hawk Nelson, Ryan Stevenson. 6 p.m. $25–$45. eaglebankarena.com.

opEra

kennedy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Pablo Fagundes. 6 p.m. Free. kennedy-center.org.

aTlaS perForming arTS CenTer 1333 H St. NE. (202) 399-7993. Who’s The Boss? La Serva Padrona and Trial By Jury. 7 p.m. $22–$42. atlasarts.org.

Jazz blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Eliane Elias. 8 p.m.; 10 p.m. $50–$60. bluesalley.com. mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Maija Rejman. 8 p.m. Free. mrhenrysdc.com.

ElEctronic FlaSh 645 Florida Ave. NW. (202) 827-8791. Lights Out: Efdemin. 8 p.m. $5–$12. flashdc.com. u STreeT muSiC hall 1115 U St. NW. (202) 588-1889.

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

Funk & r&B

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Rare Essence, Ethan Spalding, Paperhaus. 8 p.m. $20. fillmoresilverspring.com.

JiFFy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Farm Aid. Noon $49.50–$189.50. livenation.com.

Sunday

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

Jenny Lewis, The Watson Twins, EZTV. 8 p.m. (Sold out) thelincolndc.com.

verizon CenTer 601 F St. NW. (202) 628-3200. AC/ DC. 8 p.m. $75–$140. verizoncenter.com.

opEra

located next door to 9:30 club

World

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Rare Essence, Ethan Spalding, Paperhaus. 8 p.m. $20. fillmoresilverspring.com.

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

Lucky Chops, Lawerence. 7 p.m. $17. ustreetmusichall.com.

2047 9th Street NW

Jenny Lewis at Lincoln Theatre, Sept. 17 and 18

Jazz

aTlaS perForming arTS CenTer 1333 H St. NE. (202) 399-7993. Who’s The Boss? La Serva Padrona and Trial By Jury. 3 p.m. $22–$42. atlasarts.org.

Hip-Hop

ComeT ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Mikki Blanco. 10 p.m. $14. cometpingpong.com.

World boSSa biSTro 2463 18th St NW. 202-667-0088. Juliana Galdeano. 9 p.m. $5. bossadc.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Armaan Malik. 6 p.m. $51. fillmoresilverspring.com.

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

Damian “Jr. Gong” Marley. 8 p.m. $36–$46. thehamiltondc.com.

Jazz amp by STraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Sullivan Fortner Trio. 8 p.m. $30–$40. ampbystrathmore.com. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Eliane Elias. 8 p.m.; 10 p.m. $50–$60. bluesalley.com.

Monday

rock

9:30 Club 815 V St. NW. (202) 265-0930. Built To Spill, Hop Along, Alex G. 7 p.m. $25.00. 930.com. dC9 1940 9th St. NW. (202) 483-5000. Cymbals Eat Guitars, Field Mouse, Wildhoney. 8:30 p.m. $12–$14. dcnine.com. galaxy huT 2711 Wilson Blvd., Arlington. (703) 5258646. Gulley Jimson quartet, Rambling Shadows.

9 p.m. $5. galaxyhut.com. kennedy CenTer millennium STage 2700 F St. NW. (202) 467-4600. The Out of Water eXperience.

6 p.m. Free. kennedy-center.org. linColn TheaTre 1215 U St. NW. (202) 888-0050.

Jenny Lewis, The Watson Twins, EZTV. 8 p.m. (Sold out) thelincolndc.com.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Okkervil River, Landlady. 7 p.m. $25. 930.com. dC9 1940 9th St. NW. (202) 483-5000. Mystic Braves, The Radiographers. 9 p.m. $12. dcnine.com.

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

(703) 237-0300. Trapt, Saliva, Saving Abel, Alien Ant Farm, Crazy Town, 12 Stones, Tantric. 6:30 p.m. $37. thestatetheatre.com.

ElEctronic galaxy huT 2711 Wilson Blvd., Arlington. (703) 5258646. Loop 2.4.3, Dominic Fragman. 9 p.m. $5. galaxyhut.com.

washingtoncitypaper.com september 16, 2016 37

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

OCT. 1

SATURDAY

TICKETS ON SALE NOW! OCT. 2 SUNDAY

tuESday rock

dC9 1940 9th St. NW. (202) 483-5000. Morgan Delt, Mass Gothic. 9 p.m. $12. dcnine.com.

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

Terry Bozzio. 8 p.m. $20–$25. thehamiltondc.com. muSiC CenTer aT STraThmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Brian Wilson Presents Pet Sounds. 8 p.m. $45–$165. strathmore.org.

Folk

UNION MARKET

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

amp by STraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Julian Lage, Lau. 8 p.m. $25–$35. ampbystrathmore.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Soulcial Hour. 8 p.m.; 10 p.m. $20. bluesalley.com. hoWard TheaTre 620 T St. NW. (202) 803-2899.

Stanley Clarke. 8 p.m. $37.50–$75. thehowardtheatre.com.

WEdnESday rock

9:30 Club 815 V St. NW. (202) 265-0930. Lush, Tamaryn. 7 p.m. $35. 930.com. blaCk CaT baCkSTage 1811 14th St. NW. (202) 6674490. Adam Green, Outer Spaces. 7:30 p.m. $15. blackcatdc.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Gojira. 8 p.m. $27.50. fillmoresilverspring.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Lynne Fiddmont. 8 p.m.; 10 p.m. $25. bluesalley.com. kennedy CenTer millennium STage 2700 F St. NW. (202) 467-4600. J.A.S.S. Quartet. 6 p.m. Free. kennedy-center.org.

tHurSday rock

dC9 1940 9th St. NW. (202) 483-5000. The Deslondes, Mechanical River. 9 p.m. $12. dcnine.com. eChoSTage 2135 Queens Chapel Road NE. (202) 503-2330. Melanie Martinez. 7 p.m. $35. echostage.com.

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

Anais Mitchell, John Gallagher Jr. 7:30 p.m. $15–$20. thehamiltondc.com.

country

mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Moose Jaw. 8 p.m. Free. mrhenrysdc.com.

“Calling to You” at Civilian Art Projects, to Oct. 22

38 september 16, 2016 washingtoncitypaper.com

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Ayers. 8 p.m.; 10 p.m. $40–$45. bluesalley.com. kennedy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Queen Esther. 6 p.m. Free. kennedy-center.org.

Theater

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. broWnSville Song (b-Side For Tray) When a young man’s life is tragically cut short, his family and friends in his Brooklyn neighborhood work together to celebrate him and move forward. Theater Alliance opens its 14th season with this new drama from playwright Kimber Lee. Anacostia Playhouse. 2020 Shannon Place SE. To Oct. 9. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

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

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

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

Tix @ Ticketmaster.com 800-745-3000

O. THE PROCLAIMERS Jenny EUGE GROOVE 16 Laura 17 MATTHEW SWEET Tsaggaris 18 GARY PUCKETT & UNION GAP 21 THE MARSHALL TUCKER BAND 22 THE SMITH SISTERS

Sept 15

SAT SEPT 17TH AMEL LARRIEUX SAT SEPT 24TH

RACHEL YAMAGATA

SAT SEPT 24TH

DJ ?UESTLOVE TUE SEPT 27TH PETE ROCK & CL SMOOTH

UPCOMING SHOWS FRI | 9/16 | 7:30 PM ARC IRIS, SUPERHUMAN HAPPINESS FRI | 9/16 | 11 PM CUBAN DANCE NIGHT

WED SEPT 28TH PETER CINCOTTI

SAT | 9/17 | 7:30 PM FLASHBAND: SHOW + OPEN JAM

FRI SEPT 30TH

THR | 9/22 | 7:30 PORTALS, NAG CHAMPA, APRIL +VISTA, THE CORNEL WEST THEORY

CAMEO SUN OCT 2ND

YACHT ROCK REVIVAL

FRI | 9/23 | 10PM RITMOS RAROS

MON OCT 3RD

SUN | 9/25 | 5 PM UPSTART FEST: THE QUEERS AND MORE

JACOB COLLIER & GHOST NOTE W/ MONO NEON

FRI OCT 7TH

TOM ODELL SAT OCT 8TH

WALTER BEASLEY

TUE OCT 11TH

BUIKA

THU OCT 13TH

BLONDE REDHEAD

FRI OCT 14TH

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

THR | 10/6 | 8PM FIREKID SUN | 10/18 | 8PM OMNI

‘35TH ANNIVERSARY SHOW!’ with AL PETTEWAY

23

MAYSA & HER FUNK SOUL SYMPHONY

24

OWEN LAITH AL-SAADI DANOFF

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

SEPTEMBER SHOWS THU 15 FRI 16

FRI 16

FROM THE VAG SAT 17

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

SUN 18

27

BILLY BRAGG & JOE HENRY

29 30

SHINE A LIGHT TOUR

LUNA PB A’NGELA WINBUSH ritta hilliPs

Oct 1 WMAL Free Speech Forum w/Chris Plante, Brian Wilson,

Larry O’Connor, Mark Levin

2&3

EL DeBARGE

4&5

An Evening with

LYLE LOVETT

6

AND

ROBERT EARL KEEN

DAVID BROMBERG’S BIG BAND

MOUSETRAP

AN INDIE-POP DANCE PARTY

POSTCARDS

25 From “O Brother, Where Art Thou?” feat.

GOD IS AN ASTRONAUT

SAT 17 LADY PARTS JUSTICE PRESENTS:

‘25/50 Silver & Gold Celebration!’ w/FRANK McCOMB

SOGGY BOTTOM BOYS

WHISKEY SHIVERS

PRIMITIVE!

60S ROCK’N’ROLL DANCE PARTY

TENEMENT

ADAM GREEN THU 22 HUMBLE FIRE WED 21

FRI 23

AZTEC SUN

ALANNA ROYALE

SAT 24 PRESENTED IN CELEBRATION WITH THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY & CULTURE OPENING:

THU 29 TUE 4 FRI 7

DEATH

THE BIRD AND THE BEE

BAND OF SKULLS DIARRHEA PLANET

“Bucket List Birthday Bash!”

with special guests Larry Campbell & Teresa Williams

funky METERS 7come11 8&9 The Whispers Sam 11 RICHARD THOMPSON (Solo Acoustic) Amidon Purple 12 Asleep At The Wheel Hulls 14&15 ERIC ROBERSON w/D Maurice KEIKO MATSUI 16 17 CHICK COREA ELEKTRIC BAND 7

18

The Return of

SQUIRREL NUT ZIPPERS Spend an evening in concert with

GLADYS KNIGHT Sat. Oct. 22, 8 pm Tickets on sale now through Ticketmaster.com 800-745-3000, or at the Warner Theatre Box Ofc.

FRI SEPT 16

GOD IS AN ASTRONAUT

SAT SEPT 24

DEATH

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

washingtoncitypaper.com september 16, 2016 39

“A STUNNER. DON’T MISS IT!

LIVE

An all-out amazing blend of comedy and tragedy.”

UPCOMING PERFORMANCES

-David Fear, Rolling Stone

CODY CANADA

and the DEPARTED

“STYLISH AND CLEVER.

A unique take on Jewish legend that feels refreshingly new.”

-Brian Tallerico, RogerEbert.com

W/ MIKE McCLURE FRIDAY SEPT

“A MODERN GHOST STORY

16

haunted by the Holocaust.”

-Manohla Dargis, The New York Times

AN EVENING WITH

MARY

FAHL

A film by Marcin Wrona

FORMERLY OF OCTOBER PROJECT

SATURDAY

SEPT 17

SUN, SEPT 18

SOLD OUT

DOCTOR DREAD PRESENTS

DAMIAN “JR. GONG” MARLEY TUES, SEPT 20

AN EVENING WITH TERRY

Charming the Destroyer at Flashpoint Mead Theatre Lab, to Oct. 2

Mead Theatre Lab. 916 G St. NW. To Oct. 2. $10–$21.

(202) 315-1305. culturaldc.org.

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

(703) 854-1856. 1ststagetysons.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.

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.

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.

BOZZIO

THURS, SEPT 22

ANAIS MITCHELL

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 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.

W/ JOHN GALLAGHER JR. FRI, SEPT 23

JON McLAUGHLIN

W/ MARC SCIBILIA AND BRAD RAY

STARTS FRIDAY, SEPTEMBER 16

THEHAMILTONDC.COM

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The gulF Two women intending to spend a day relaxing on the water find themselves in a sticky situation after their boat’s motor breaks and they get trapped in the Gulf of Mexico. Signature Theatre presents the world premiere of this comedy from playwright Audrey Cefaly about what happens when nature derails your plans. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 6. $40–$89.

(703) 820-9771. sigtheatre.org.

Ronnie

Steve

AE: (circle one:) Carrie Jane Maria

Josh

Tim

Confirmation #:

VOLUNTEER! http://legacy.washingtoncitypaper.com/ craftybastards/volunteer/

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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.

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.

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. 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

SnoWden Joseph Gordon-Levitt stars as the man who helped expose government surveillance programs when he leaked documents from the NSA in this biopic from director Oliver Stone. (See washingtoncitypaper.com for venue information) bridgeT JoneS’ baby Renee Zellweger returns to the role of the perpetually single British woman, now in her 40s, who finds herself torn between two potential baby daddies. Directed by Sharon Maguire. (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) 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) Film picks by Caroline Jones

SHARLTO CHARLIE RICHARD ANNA JOHN MARGO COPLEY DAY JENKINS KENDRICK KRASINSKI MARTINDALE

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“Reminds us that . ...can be FRI 9/16 2 COL. (4.666) X 2.49 CS . Moviegoers of a certain age will be ” ALL.HLS.0916.WCP unable to resist this unexpected glimpse #1 of Jeannette Catsoulis, THE NEW YORK TIMES

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AVALON THEATRE AFI SILVER THEATRE 5612 CONNECTICUT AVE. NW, WASHINGTON, D.C. 202-966-6000 • WWW.THEAVALON.ORG

8633 COLESVILLE ROAD, SILVER SPRING, MD 301-495-6700 • WWW.AFI.COM/SILVER

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Out with the old, In with Affordable, stylish one-bedthe new Postroom your apartment for rent near the listing with Washington Catholic University/Brookland Office/Commercial area. Conveniently located 7 minFor Sale Classifieds City Paper utes from Brookland, Fort Totten,

and Takoma Park metro stations Seeking partners for 5000sqft on the “Red Line” and the Georgia buildinghttp://www.washingtoncitypaper.com/ in Cheverly, MD reAvenue/ Petworth Metro Stations cording studio with video space on the “ Green” line. inside and out, rehearsal space • This clean, neoand meeting rooms, parking for classical 700 square foot, 1950’s 16 vehicles, private yard in rear, apartment features an upgraded handicap accessiblity. Near kitchen, a large master bedroom, New National Harbor MGM Hoplenty of closet space, beautiful tel. Also Avail offices in NW DC/ hardwood floors, central heat and Petworth area. $1200 -$2500 a/c, natural light, and some added rent, utils incl. Call 202-355value features. The perfect home 2068 or 301-772-3341. just awaiting your personal touch and minimalist lifestyle.

• Located minutes from Capitol Hill, Monroe Street Market, Bus Boys & Poets, Walmart, and YES Gourmet; walking distance to area hospitals, restaurants, shops, and entertainment. On-street parking available.

• Requirements – – $45.00 application fee via certifi ed check or U.S. Postal Money Order Only – Valid government issued photo ID – Three most recent paystubs – Three professional references • A must-see. Call http://www.washingt(202) 415-2388 to schedule an oncitypaper.com/ appointment today. This affordable commuter dream-come-true will not be available for long.

• Monthly rent $1600 plus utilities (first month’s rent and deposit; 12-month lease). Special rent promotions apply with lease until October 1, 2016.

• Utilities Not Included • Non-smoking; No pets

Duplexes/Townhouses For Rent

SOUTHWEST. 4 BR, 3 BA, Townhouse. Open Sat 9/10 12:303pm. Avail Oct. 1st. 3-Levels, Hardwood floors, 3 FULL Baths, Washer/Dryer, Lg Closets, 3 Balconies, Fenced Slate Patio. Walk to WtrFrnt Metro. Close to Shopping, Restaurants, Navyyard, Cap. Hill. $3400. 301-318-0808.

Roommates

Rooms for Rent

Miscellaneous

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.

Utilities included for $675/month WiFi ready Call Linda 240-893-2929 or email lindajeune10@gmail.com

Deputy Director, Global Commodities (Population Services International, Washington, DC).

Manage all international purchasing activity related to the NGOi programs globally including all health commodity acquisitions for family planning and public health programs. This position is responsible for global management including risk management, sourcing strategy development, supplier selection, contract negotiations, supplier relationship management, branding strategies, reduction of total cost of ownership and day-to-day execution. The position will develop the strategic objectives and compliance standards for global policies; identifi cation of region-specifi c opportunities and challenges; coordinate resources to support global initiatives in developing countries. Requirements: Bachelor’s in Bus. Admin., Logistics, or Finance and 60 months experience in global health commodity purchasing/supply chain management, or international FIND YOUR OUTLET. manufacturing of healthcare products procurement of global RELAX,orUNWIND, REPEAT health commodity; demonstrated CLASSIFIEDS experience withHEALTH/ international contracts including International MIND, BODY & SPIRIT Chamber of Commerce (INCO) http://www.washingtonterms of trade; experience with citypaper.com/ the Lawson Purchasing Model or other enterprise-wide systems; a strong understanding of supply chain activities; ability to draft moderate-to-complex, routine, and non-routine contractual instruments; strong working knowledge of USAID, CDC, and Federal Acquisition Regulations including DCAA audits; a knowledge of commercial contracting including international supply terms; and excellent negotiation skills.

International travel to developing countries is required (20%).

Submit cv/res to Tamara Brown at recruitment2016@psi.org include DDGC, Proc. Dept. in subj. line.

Rooms for rent in Cheverly, Maryland and College Park.

Shared bath. Private entrance.

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

Capitol Hill Living: Furnished Rooms for short-term and longterm rental for $1,100! Near Metro, major bus lines and Union Station - visit website for details www.TheCurryEstate.com

Adams Morgan -Huge furnished room in 3 bedroom home: w/d, ac/gas, 2 bathrooms, internet, cable. non-smoker, no pets, utilities included, number of bus lines, 3 metros nearby. Available now, $1300 a month (plus one month’s deposit).

Call 202 412-9011

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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.

Furnished rooms for rent $800$1,000 monthly starting August, 2016, all inclusive washer and dryer, Central air/heat, kitchen access located in Petworth, Washington DC close to the metro.

Contact Samantha 202.365.5085.

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Attention Art History/Arts Management/Fine Arts majors, The Phillips Collection is currently seeking Museum Assistants. To view the full position posting and apply online, visit www.phillipscollection.org/about

General

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NIGHTCLUB: DANCERS up to $1,000 nightly. after 7pm mcdoogals 1 800 ALL NUDE

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Salon Nestled among Georgetown’s sophisticated shops & boutiques, this upscale salon is in need of a Full/Part time receptionist. Outgoing personality & pleasant phone voice is a must. Position available immediately.

Email resume to jamie@salonilo.com.

Personal Services

Indian Spiritual healer & Psychic - Pandit MAHINDRA Guruji is expert in Palm readings, face & photo reading Solutions available to all kind of problems like Love, Marriage, Husband - wife relationship problems, Job, Money, Health, Depression, Education, court cases.

Pandit Guruji is an Expert in Removing and destroying Black Magic, Evil spirits &Generation Curse, Evil eye power and he provides protection to you and your family.

Call for appointment-240-643-9718 Or 240-821-2150 Www.mahindraguruji.com

FIND YOUR OUTLET. RELAX, UNWIND, Garage/Yard/ REPEAT Rummage/Estate Sales CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT

200+ family yard sale - Sept 24 1250 Constitution Ave. NE, Sept.

24 from 9 a.m. to 1 p.m. Sale items include clothes, toys, baby gear, housewares, and more. Rain (inside) or shine (inside and outside) Flea Market every weekend 10am-4pm.

5615 Landover Rd. http://www.washingtCheverly, MD. 20784. Contact oncitypaper.com/ 202-355-2068 or 301-772-3341 for details.

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

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By Brendan Emmett OUTLET. RELAX, 25 Enterprise figure 1 2 3 4 5 UNWIND, 6 7 REPEAT 8 9 10 11 12 13 26 Strait of Hormuz CLASSIFIEDS 14 15 16 country HEALTH/MIND, 32 Button frantically BODY & SPIRIT 18 17 pushed in http://www.washingtoncitypaper.com/ 20

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1 Have difficulty swallowing 4 Bates Motel channel 9 Singer Lenya 14 Teachers 16 “Dream Lover” singer Bobby 17 Flock tender’s jails?

19 Nostalgic time 20 Skate park feature 21 Seminoles’ sch.

22 Website that has a Bing bar 23 Corny tar?

27 Constitution Article that defines treason 28 Altdorf’s locale 29 French director Clément 30 Medic 31 Only 33 Stone massage place 35 Eskimo formally endorses?

40 Form W-9 issuer 41 Farmer’s yield 42 Green pref.

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44 Crimebuster, for short 47 Burning anger OutActress withTyler the 48 old,Dummies In withwho the 49 never leave new Post your their house? listing with 54 It’s a free Washington country City Paper 55 In the open 56 One regularly Classifieds on Snapchat http://www.washingtoncitypaper.com/ 57 Fool 58 Rowing machine area?

64 Scottish earl 65 “That’ll do” 66 Comic Wanda 67 Building wing 68 Cryptology org.

Down

1 Some blenders 2 Stick-toitiveness?

3 Picasso anti-war masterpiece 4 Relaxing sound 5 Polished off 6 Negative word

Miscellaneous SEXY*NEW*YOU ht tp: // shops.zindigo.com / LUST

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

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a crash 33 Goal 34 See figures?

26 36 Drew Brees’ number 29 37 Redheaded Viking 34 38 Fantasy world belief 38 39 39 Art box tool 43 Eggs in labs 42 43 44 1881 Ibsen play 48 45 Rudely Out with the old, In bombastic 54 with newLimited Post 46the Capital operator your listing with 57 50 Football City feints Washington 51 ___ Lay Dying 62 63 Paper Classifieds 52 Intellectual grp. http://www.washingtoncity53 Brain, e.g. paper.com/ 57 Cabbage machine 68 59 The only 60 Instance, for example: Abbr.

7 Rapper with 61 Storm dir. the 2015 album 62 Orange is the Compton New Black 8 College star Laverne application part 63 Every Student 9 Parkinson’s drug Succeeds 10 Furniture wood Act grp.

11 Little nothing 12 Affixes with string 13 Guarantee 15 Balancing pro: Abbr.

18 It may come with cramping 22 Central23 “I fail to see the ___ in that!”

24 Wonderfilled cookies 21

THE ANISSA HARGROVE EXTRAVAGANZA FEATURING GRAMMY AWARD WINNER, GLORIA GAYNOR “I WILL SURVIVE” FOR ONE NIGHT ONLY AT THE BETHESDA JAZZ AND BLUES SUPPER CLUB THURSDAY,OCTOBER 27TH 8PM 7719 WISCONSIN AVENUE BETHESDA MD

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Out withOCTOBER the old, THURSDAY, 27TH. TICKETS SALE NOW AT In withONthe new W W W. B E T H E S D A B L UESPost yourhttps://anissalisting JAZZ.COM with Washington hargrovemusic.com City Paper

GetClassifieds your own internet radio stations or talk show and Non-profi ts wehttp://www.washingtcan help with grantwriting, oncitypaper.com/ websites, information technology, and organizational management at (202) 436-9763 if not available leave a message or wnpfm101. com

Announcements Get Out the Vote (GOTV) Commercial Casting call for extras to be in a political satire commercial; filmed in Washington DC. Looking for all races, ethnicity and gender: Hispanic, African-American, White, Asian, American Indian, Middle Eastern, etc..

18 or older is preferred. If you fit either one of these descriptions please email a head shots with your contact information. If you don’t have a head shot, an unedited selfie will do.

You will receive film credit for the commercial. The Casting Call is on Saturday, September 10th from 3:00pm - 4:00pm at 1413 H St NE, Wash, DC 20002.

Filming on Sunday, September 11th from 5pm - 7:00pm.

This is a non-paying gig for two hours.

Events Comic Book & Sports Card Show Saturday Sept. 24 10am-3pm Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 The 6,000 sq ft Hall will be full of dealers with vintage to present day comic books, nonsports cards from the 1880’s to the present including Pokemon, Magic etc Pop Toys, super Heroes jewelry, Pulps and a selection of rock & roll LP’s Plus sports cards of all types 1950’s to the present and sports memorabilia & hobby supplies Adult Adm. $3; 18 & under Free; shoffpromotions.com

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*** COMIC CON *** Sunday Sept. 25 10am-4pm Frederick Md. COMIC CON Frederick Maryland. Holiday Inn 5400 Holiday Dr 21703 ( next to Francis Scott Key Mall) Ballroom packed full of dealers with a wide selection of Gold, Silver, Bronze & Modern Age Comic Books, Hobby supplies, Nonsports cards including Pokemon,Magic etc, Pop Toys, super Heroes jewelry, Pulps, Plus select area Artists & writers in our Artists Alley. http://www.washingtCosplay Welcome . A Fun Family oncitypaper.com/ Experience Adult Adm. $3 , 18 & under Free; shoffpromotions.com

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

Twitter: @wacdtf

Counseling Pregnant? Considering Adoption? Call us first. Living expenses, housing, medical, and continued support afterwards. Choose adoptive family of your choice.

Call 24/7. 877-362-2401.

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Struggling with DRUGS or ALCOHOL? Addicted to PILLS? Talk to someone who cares. Call The Addiction Hope & Help Line for a free assessment. 800-978-6674

Licensed Massage & Spas

A Touch of Class ,Serving Rockville, Bethesda and Potomac. Call Alexis now! (301)655-0598

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Email contact info to info@dcconsciouscafe.com.

W W J D O B O E W A I L N O A P H I S L A T K E N T M A D E E T S L R O S I E M P T F A I T I N T L S I Z E

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L O Out with the old, In with E S B S the new Post your listing A L I T with Washington City H O N Y Paper Classifieds

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Find out more about the Metro D.C. Local of the Socialist Party USA! h t t p s : // w w w. f a c e b o o k . c o m / MetroDCSP/ AshWolfson@gmail.com

Events DC Scholars Public Charter School Board of Trustees Meeting. 09/21/16. 4:00pm - 6:30 pm at DC Scholars Public Charter School, 5601 E Capitol St SE, Washington, DC 20019

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ADVERTISING SALES

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

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

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

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

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We offer product training, a competitive http://www washingtcompensation package comprised of a base salary oncitypaper.com/ plus commissions, and a full array of benefits including medical/dental/life/disability insurance, a 401K plan, and paid time off including holidays.

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

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

No phone calls please.

washingtoncitypaper.com September 16, 2016 43

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