Washington City Paper (September 28, 2018)

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Housing: Gas leaks in GeorGetown 5 sports: a reGion rich in Girls’ hoops stars 6 Food: Get your lunch at walter reed 14

The long-introverted Glenstone museum has made a successful first pass at extroversion with its enchanting expansion. P. 8

By Kriston Capps

Photographs by Darrow Montgomery

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INSIDE COVER StORy: OUtSIDER ARt

8

Glenstone’s massive expansion takes viewers away from the Mall and into the wilds of Montgomery County.

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DIStRICt LINE 5 housing complex: Following explosions in Massachusetts, Georgetown residents worry even more about gas main leaks.

SpORtS 6 home grown: Female basketball players raised in the D.C. area command attention and audiences.

7 gear prudence

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EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes sports editor: Kelyn soong city lights editor: KAylA rAndAll housing coMplex reporter: morgAn BAsKin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: john Anderson, VAnce BrinKley, Kriston cApps, chAd clArK, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim eBner, cAsey emBert, jAKe emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA Kolson hurley, louis jAcoBson, rAchAel johnson, chris Kelly, steVe KiViAt, chris KlimeK, priyA Konings, julyssA lopez, Amy lyons, neVin mArtell, Keith mAthiAs, pABlo mAurer, j.f. meils, BriAn murphy, triciA olszewsKi, eVe ottenBerg, miKe pAArlBerg, pAt pAduA, justin peters, reBeccA j. ritzel, ABid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn tromBly, KAArin VemBAr, emily wAlz, joe wArminsKy, AlonA wArtofsKy, justin weBer, michAel j. west, diAnA yAp, AlAn zilBermAn

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“We wanted to create a different type of experience than another wing of the National Gallery that would have millions of visitors coming.”

—P. 8

LELAnD InvEsTmEnT cORp. owner: mArK d. ein

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DistrictLine Neighbors Fuming

By Morgan Baskin Edward SEgal documEntS the leaks obsessively.

The Georgetown resident has lived in his neighborhood off and on for 17 years. He is, by his own admission, protective of it. So whenever he sees a gas crew working on a leak in his neighborhood, he starts taking photos, sorting them by date and cross streets into their own folder on Google Drive.

Now he has two years’ worth of files. He has photos of fire trucks and police officers, gas crews and worried neighbors, neon orange cones and fresh asphalt, and “NO PARKING” signs. They pepper the eastern half of Georgetown, in clusters around 28th and Dumbarton streets NW, 29th and O streets NW, 29th and Dumbarton streets NW. A public relations man by trade, he runs a website enumerating the leaks and his conversations with local officials about them: GeorgetownGasLeaksAndRepairs dot wordpress dot com. He meticulously recounts conversations with Advisory Neighborhood Commissioners and utility officials.

In total, Segal has documented 25 instances of gas leaks or other gas utility work in a span of 29 months, all in a radius of four blocks around his home, and seven of them on the 2800 block of O Street NW alone. The most recent of these leaks, on Sept. 15, was so intense that resident Evan Sheres could hear the gas leaking from its main line.

When it comes to finding leaks, sometimes Segal can smell the gas. But mostly it’s accidental––he sees workers while he’s out walking his dog, Charlie. Imagine, he asks, if he were looking for leaks? “I’d love to be able to have the gas company do a thorough audit of the last 20 years and find out the true nature of health of our gas systems,” Segal says.

In 2014, an environmental scientist and ecologist at Duke University tried to do just that, driving across 1,500 miles of roadways in D.C. with methane detection equipment to gauge the structural integrity of the city’s gas infrastructure. Robert Jackson, the research-

housing complex

er, found about 6,000 natural gas leaks across the city.

It’s not a surprise for a city with aging pipes: About 409 miles of the city’s gas mains are castor wroughtiron, which are “among those pipelines that pose the highest risk” of deteriorating, according to the federal Department of Transportation. Washington Gas has been in the process of replacing these mains for years.

And the recent series of natural gas explosions from old pipes across Massachusetts’ Merrimack Valley did little to comfort Segal and his neighbors about the consequences of constantly patching corroding gas mains that need to be fully replaced.

“It’s annoying to feel unsafe, because we’re not the experts,” Segal says. “We all have to put a lot of faith and trust that the utility company is telling us the truth. With every new incident of a gas leak, my faith and trust is being chipped away by their own activity. We don’t have gas meters or detection equipment.”

Washington Gas Light Co., D.C.’s gas company, did not comment on Jackson’s 2014 report at the time. In response to City Paper’s questions about this study and broader concerns about transparency between the company and residents, a spokesperson from Washington Gas says that it has “received a few calls with reports of natural gas odor from customers in Georgetown in and around that area. We responded immediately to make necessary repairs where needed. All of the repairs have either occurred already or are scheduled to take place soon.”

The spokesperson added that Washington Gas uses a door hanger insert to “notify resi-

Darrow Montgomery

Georgetown residents watch with frustration as gas mains leak noxious air in their neighborhood.

dents in the neighborhoods when we are conducting leak repair service” as well as provides contact information for the crew supervisor for people who have questions about repair work.

“We will continue to be responsive when responding to odor calls and are committed to ensuring safety,” the spokesperson says.

One incident in particular disturbs Segal. In March 2017, he says, he had a gas leak directly in front of his house. Washington Gas employees began a repair, but the project stalled for about three weeks. “When I contacted the gas company to ask when the work would be completed, they said they had no record of the work being done in the first place,” he says. “It wasn’t until a gas company worker knocked on my door and asked what was going on with it that it was fixed.”

This is Segal’s sticking point: There’s no efficient way to track maintenance requests, gas leaks, or other emergency repairs. He describes conversations with Washington Gas employees as fruitless and says that from its executives, “All I get is boilerplate, their commitment to safety,” he says.

He points to other jurisdictions, like Massachusetts, where legislatures have passed robust environmental safety laws that require gas companies to use a grading system for leaks and provide information about the location of gas leaks. And New York’s conEdison has an interactive web page that categoriz-

es gas leaks by borough and severity, allowing users to submit their ZIP code or address to see where leaks have been reported.

(Washington Gas does have a searchable map that shows ongoing WGL service projects, but it does not appear to flag gas leaks, and as of press time, there aren’t any advisories listed in Georgetown.)

Segal sent City Paper a document outlining seven measures he’d like to see Washington Gas take to increase transparency, including better engaging with Advisory Neighborhood Commissions to update residents about repairs.

His neighbors, many of whom have lived in the neighborhood for decades, agree.

Rose Mendoza, 73, first lived in Georgetown when she was in her 20s and moved back to the neighborhood about 15 years ago. “I always sort of note, oh yeah, this is still going on.

It’s so constant—it certainly is constant, and we certainly don’t hear anything from the city about it,” she says.

Her continuous proximity to the repair work has even become a running joke in her family. “I moved from Glover Park because they started tearing up the streets over there, and then they started doing it here,” she laughs.

“There’s yellow danger tape all over the place, trucks, people screaming all over 29th Street, dumpsters all over the place. You can’t compare it to a war zone, but one is tempted to,” she says, then pauses. “That was irreverent.”

Her “main complaint” is a perceived lack of transparency: She never knows what the crews are working on, or why, or when they’ll be done. “I always sort of hear, or you read something in the news or whatever—neighborhood papers—that the pipes are all deteriorating. But it would be useful to know if there’s a plan to fix them,” she says.

“It’s just a giant nuisance,” she sighs.

Another of their neighbors, 79-year-old Nola Klamberg, lives on the 2800 block of O Street NW. She’s lived in the eastern part of Georgetown for the better part of 40 years and says Washington Gas “keeps coming back every few months and doing something. I can’t figure out why it can’t finally get resolved, you know what I’m saying? I can’t figure out why the city has so much trouble getting this problem solved.”

And Segal, as ever, is right there with her.

“I’ve never had as much sense of connecting with a community as I’ve had here,” he says. “It’s part of the magic of living in Washington. The people are friendly, they’re concerned, and increasingly they’re outraged over [Washington Gas’] conduct and lack of accountability. I’m going to keep fighting for our community until this is resolved.”

CP

washingtoncitypaper.com september 28, 2018 5

Home Grown The Mystics’ success directs attention to the region’s talented girls’ basketball players.

Keith Allison/flickr

Tierra Ruffin-Pratt

By Monica McNutt The D.C. region is known for producing basketball talent. For years, sportstalkers like WOLAM’s Butch McAdams have suggested that the area’s reputation for quality youth basketball is a reason the Wizards have struggled to find a loyal fan base. Because local fans are used to seeing talented basketball players develop, they don’t want to watch bad basketball.

“This area deserves good basketball. The basketball IQ here is so high from both players and fans,” McAdams says. “Look at the history.”

McAdams references Hall of Fame players like Elgin Baylor, who played at Spingarn High School, and Adrian Dantley, who attended DeMatha Catholic High School. That tradition of basketball excellence is reflected on current NBA rosters, in D.C. area natives like Michael Beasley, Markelle Fultz, Quinn Cook, Victor Oladipo, and Kevin Durant.

For a while, this conversation focused solely on the men. The recent triumphs of the Washington Mystics, who made their first WNBA Finals appearance earlier this month, have started to shift the focus toward the region’s

basketball

talented female players.

“This area wants good basketball whether it’s men’s or women’s,” says McAdams, a D.C. native and former high school basketball coach.

Three current Mystics played basketball at area high schools: Monique Currie attended Bullis School in Potomac, Tianna Hawkins went to Riverdale Baptist School in Upper Marlboro, and Tierra Ruffin-Pratt played at T.C. Williams High School in Alexandria. The local talent pool expands if you include Kristi Toliver of Harrisonburg, Virginia, whose legendary career at the University of Maryland includes the program’s only national championship title.

“We won championships the two years that I played [at Riverdale Baptist],” Hawkins says of her high school career. “Girls that I went to school with in high school, we all went Division I. There’s just a lot of competition here. A lot of players have come out of the area. … It’s just a lot of talent.”

While Hawkins was competing for Riverdale Baptist, her future teammate, Ruffin-Pratt, was establishing herself as a dominant force on the other side of the Beltway at T.C. Williams.

At that time, current Mystics game analyst Christy Winters Scott was an assistant coach at Georgetown.

6 september 28, 2018 washingtoncitypaper.com

TonyTheTiger/Wikimedia

SPORTS

Wizards rookie Troy Brown Jr. and his teammates are ready to prove doubters wrong. “I’m used to being the underdog in most situations,” Brown says. “That’s how it’s always been for me.” washingtoncitypaper.com/sports

“I remember going to see Tierra play, sitting there with [former University of Virginia head coach] Debbie Ryan, [current University of North Carolina at Chapel Hill head coach] Sylvia Hatchell,” Winters Scott recalls. “She had 38 points in a junior varsity game.”

Winters Scott played basketball at South Lakes High School in Reston, and then for the University of Maryland. After her playing career ended, she held coaching positions at Maryland, Georgetown, and George Mason before starting as an analyst with the Mystics. The current South Lakes girls’ basketball coach has a unique perspective on the rise of women’s basketball in this area.

The talent “has always been here,” Winters Scott says. “Speaking as a recruiter in this area, I coached for 10 years on the college level. I didn’t want to leave the area. … There were just so many teams and now AAU teams.”

The rise of AAU basketball, an amateur league that many of the country’s elite young players compete in, and social media have given young female players a bigger platform.

Ruffin-Pratt spent much of her time on the AAU circuit with the renowned Boo Williams organization based in the Hampton, Virginia area. “I played with some of the top players that went Division I. Every player that played with Boo when I played went D1,” she says. “I played with Monica Wright, Kaili McLaren, Jessica Breland, Lynetta Kizer, Sugar Rodgers.”

Four of those five players are currently on WNBA rosters. Wright, who played for Forest Park High School in Woodbridge, and McLaren, who played for Our Lady of Good Counsel in Montgomery County, were both Washington Post All-Met selections in high school, a recognition given to the best athletes in the paper’s coverage area.

Other former All-Met selections on current WNBA rosters include Marissa Coleman of the New York Liberty, Lindsay Allen of the Las Vegas Aces, and Jasmine Thomas of the Connecticut Sun. This summer, threetime NBA champion Steph Curry invited two of the best girls’ high school basketball players to his camp. One of them, Azzi Fudd, is a sophomore at St. John’s College High School in Northwest D.C. “You would be foolish not to recruit in this area,” says current Riverdale Baptist girls’ basketball coach Mike Bozeman. Former players and 2018 graduates Shakira Austin and Honesty Scott-Grayson were ranked in the Top 20 of the 2018 HoopGurlz Recruiting Rankings on ESPN.com and are now student-athletes at Maryland and Baylor University, respectively.

Kaylah Ivey, a junior guard at Riverdale

Baptist, has followed the Mystics over the course of her basketball career and believes that their success will continue to influence the next generation of female basketball players.

“That’s the highest level, the WNBA,” she says. “I feel like when girls watch them and see how well they play together and how good they are it will motivate us to want to be like them.”

Ivey, who is eyeing a Division I scholarship, believes that female basketball players are still underappreciated. She cites dunking as a reason why the boys’ game is more popular.

“People still don’t pay the girls as much attention as the boys,” she says. “I think right now it’s starting to change, to be more about the talent and competitiveness.”

Social media has been a game changer for some of these girls, Bozeman says. There’s a much higher level of exposure now compared to when he was coaching at Bishop McNamara, a formidable girls’ basketball power in the Washington Catholic Athletic Conference, in the first decade of this century.

“The talent has always been here. When we were competing in the WCAC, we had some squads, I would even say the quality of player was higher then, but the game overall is on a higher level of exposure now because of social media,” he says.

The WNBA has taken notice. In May 2017, the league announced a partnership with Twitter to live stream 20 games per season for the next three seasons. According to Forbes, WNBA viewership was up 36 percent in adults age 18 to 49 two months into the 2018 season compared to last year.

But as powerful as social media may be in the larger picture of growing the game, Bozeman warns college coaches against falling into lazy recruiting practices, using various internet platforms as opposed to taking flights to find gems.

He has a word of caution for players, too.

“Social media is another avenue of exposure, but it’s also a distraction as well,” he says. “Athletes will spend more time trying to get things on their social media rather than go and watch players and improve.”

Whether it’s on Twitter or at the Entertainment and Sports Arena, the Mystics are back on the map as a standard of high quality women’s basketball. When Ivey puts on her jersey, she knows that she’s playing in the same gyms where Ruffin-Pratt, Currie, Hawkins, and other local legends crafted their skills. This knowledge fuels her.

“I just think maybe one day I can be in the same position because they were in the same position as us,” she says. “Maybe one day I can be them.”

CP

18 19

Gear Prudence Gear Prudence: If you could add, change, or delete one D.C. law or regulation to make cycling better, what would it be? For me, it would be legalizing the Idaho Stop (or treating stop signs like yield signs when no cars are there).

—Which Highly Anticipated Theoretical Improvement Fascinates?

Gear Prudence: Like most people, I like pizza. Like some people, I ride a bike. But I’ve never biked home a whole pizza. It seems doable, but can I do it without any special equipment and without getting hot melted cheese all over my bike and/or the street? —Man Attempts Riding Gooey Hot Entree Right Into The Apartment Dear MARGHERITA: You could probably balance the pie on the handlebars, and if you don’t go too fast and don’t mind having only one hand on the brakes, you’d probably make it home with pizza, bike, and rider intact. This strategy limits your ability to react to various hazards (bumps, negligent drivers, voracious and ambitious rats), increases the likelihood of pepperoni-smelling bar tape, and only requires balance and bravado rather than additional equipment.

If you determine that this method is too risky, you don’t need to invest in a hot bag (like the pros use) unless you’re going a long way and want to ensure your pizza remains piping hot. A rack or basket and some bungee cords should be enough to secure your slices, assuming the cardboard is sufficiently stout and the tension not too tight. If the pizza is especially greasy, give the rack a quick wipe after you get home. Science has yet to prove if mozzarella juice is an effective chain lubricant, so you can just toss the paper towels afterward.

—GP

Gregory Wooddell, Cameron Folmar, Liam Craig, and Tom Story in the Shakespeare Theatre Company’s The School for Lies. Photo by Scott Suchman.

Dear WHATIF: There’s little doubt in GP’s mind that a stop-as-yield law would help, but since that would mostly just codify widespread existing practice, its impact would be limited. It would help people who bike now, but would it really persuade more people to ride? If you really want D.C. to dramatically improve things for bicyclists, you need to be much bolder.

The best way to help cycling isn’t to directly help it at all, but rather to institute congestion pricing—charging people a fee to drive in certain parts of the city—and use the money to fund better transit. What prevents most people from getting around by bike is the lack of dedicated safe space for cycling. The reason there’s no space for bikes is the absolute dominance of cars (moving and parked) on our roads. Challenging that primacy and shifting people traveling long distances to efficient transit is a prerequisite for better biking. As pricing reduces car trips, road space can be easily reallocated.

With more room and less worries about getting run over, you would see an immediate dramatic uptick in short-distance bicycling.

—GP

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AND MANY MORE! washingtoncitypaper.com september 28, 2018 7

OUTSIDER ART The long-introverted Glenstone museum has made a successful first pass at extroversion with its enchanting expansion.

By Kriston Capps

Photographs by Darrow Montgomery

When Glenstone’s neW expansion opens in October, it will instantly light up the global map of contemporary art destinations. Marked by extraordinary works by Michael Heizer, Robert Gober, Lygia Pape, On Kawara, and other mainstays in postwar art, the new Pavilions building is a temple to contemporary expression. Glenstone boasts one of the most significant collections in the region, and its new museum building, designed by architect Thomas Phifer and

built for $219 million, provides a sublime viewing experience. Arranged around a central aquatic courtyard, each pavilion offers an exquisite experience with art, assembling elements of light, shadow, space, and most importantly, retreat.

Glenstone may also be the most reluctant museum in America. The Potomac, Maryland, institution is the work of billionaire collectors Mitchell and Emily Wei Rales, who first launched the family collection and private

8 september 28, 2018 washingtoncitypaper.com

foundation on the grounds of a former foxhunting estate some 15 years ago. For much of that time, it was inaccessible to viewers—and not merely by dint of its privileged location in Potomac, one of the area’s most affluent suburbs. Allowing only a trickle of visitors since its 2006 opening, the museum has looked more like an adjunct of the collectors’ home, which also shares the Glenstone campus.

With its new jewelbox building—and with

some prompting, perhaps, from a Senate Finance Committee inquiry—Glenstone appears ready to meet the audience that the museum’s monumental tilt has always demanded.

“We are not at the end, and we are not at the beginning,” says Mitch Rales. “We need another 15 years to get the model right.”

Phifer’s building comprises 26,000 blocks of cast concrete, meticulously stacked and arranged down to the millimeter. The architects poured the cement in different seasons to allow for natural variation in the moisture within the concrete, allowing for softer or darker gray bricks. The museum appears to be physically retreating into a meadow, in large part due to the natural reclamation work by PWP Landscape Architecture (and also because the Raleses keep buying up adjacent properties).

Fastidious attention to detail extends to the museum program itself. Glenstone skips explanatory wall text, for example, employing flesh-and-blood explainers who stand ready to give an oral thesis on even the most inaccessible works (and also mind the galleries).

These fellows dress in identical gray smocks

designed by Aï Bihr, a former design director at Uniqlo. The look is drone chic. But the jobs are bonafide, paying, entry-level positions, held by a diverse and friendly staff.

When viewers arrive, they walk a short distance along a meadow path to a cedar-lined arrival hall. From there they can follow trails to find a flower-mound sculpture by Jeff Koons, earthwork huts by Andy Goldsworthy, a sound installation by Cardiff & Miller—or simply marvel at the deciduous woodland. Along the path are new plantings of wildflowers and native grasses, lined up in military-precise symmetrical rows, that reveal the founders’ impossibly meticulous vision for Glenstone.

Stem by stem, the Raleses are planning every detail of the museum’s sylvan backdrop—a forested meadow to make art sing.

In December 2015, the Senate Finance Committee issued a letter to nearly a dozen museums and art foundations across the country. Among the recipients were the Brant Foundation, Rubell Family Collection, Linda Pace Foundation, and The Broad—most of them fairly new art palaces

built by collectors to show off their collections.

Several had built splashy expansions within recent years. Signed by Utah Republican Sen. Orrin Hatch, the letter sought detailed information on operations, from museum hours to total vis-

itors to property tax and title figures. Glenstone got caught in the dragnet. “[R]ecent reports have raised the possibility that some private foundations are operating museums that offer minimal benefit to the pub-

lic while enabling donors to reap substantial tax advantages,” the letter reads. “Such an arrangement would be inconsistent with the letter and intent of the 501(c)(3) tax exemption.”

Hatch appeared to be signing on with an emerging criticism that some private or family art collections were built with an elite audience in mind, or no audience at all. At issue was a question of private inurement: whether these institutions were receiving tax benefits designed to promote philanthropic activity without doing the basics, like making art available to the public. Basically, the Senate was sniffing around to determine whether these private art collections were just tax shelters.

Two of Hatch’s targets are based here: the Kreeger Museum, a family art collection located in the former Philip Johnson–designed residence of David and Carmen Kreeger, and Glenstone.

The Kreeger already had a long museum record under its belt. Just two years prior to the inquiry, the Kreeger had celebrated its 20th anniversary as a museum by hosting a show, organized by curator Sarah Tanguy, to highlight the museum’s holdings of D.C. area artists, from Sam Gilliam to Kendall Buster to Renee Stout. Crucially, the Kreeger could point to robust educational programs, such as a long-running docent unit geared toward people with Alzheimer’s disease. Visits cost a suggested donation of $10, with no reservation required and decent weekly hours; the Kreegers themselves had long since passed, although their children still served as trustees.

Glenstone, in contrast, had just opened its first-ever exhibition of work by a single artist (Fred Sandback) in 2015. The museum was only beginning to assemble and advertise special exhibitions. (Today, Mitch Rales refers to the original, Charles Gwathmey–designed Glenstone building as a “starter museum.”)

But for years, it only opened its doors a crack to the public. When City Paper’s Angela Valdez tried to visit the museum in 2008, she was turned away as a member of the media. I wasn’t able to see Glenstone, either, back then or a few years later, in 2011. At least one art reporter I know was asked to sign a non-disclosure agreement to see the collection, and rumors of that were common.

Friendliness to the media is hardly a measure of a museum’s fitness, but Glenstone also forbade photography for the few visitors who walked through its doors (and still does inside).

Traffic numbers tell a similar story. The Kreeger, tucked away in D.C.’s tony (and transitremote) Foxhall neighborhood, enjoyed a modest 15,000 visitors a year in 2013 and 2014. For the same two-year period, Glenstone had 17,000 visitors total. Granted, it’s further out from the population center. But by any other measure, Glenstone was already a behemoth: a foundation with some $800 million in assets at the time.

A museum with a Koons parked right out front.

“Tax-exempt museums should focus on providing a public good and not the art of skirting around the tax code,” Hatch said in 2015.

“While more information is needed to ensure compliance with the tax code, one thing is clear: Under the law, these organizations have a duty to promote the public interest, not those

washingtoncitypaper.com september 28, 2018 9

Mitchell Rales

of well-off benefactors, plain and simple.”

Asked if the Senate probe pushed the museum to change its ways, Mitch Rales says, “Not in the least.” He adds, “Glenstone has been a canvas that has been and will continue to be painted. It has been in the works for 15 years now. I think we need another 15 years to really finish and complete the subject matter.”

The museum is now open to the public, with scheduled (free) reservations four days a week.

“That will eventually be five or six, once we get our sea legs,” says Rales, who made his fortune primarily through corporate acquisitions. Glenstone is preparing to receive more than 400 visitors a day, which will boost its attendance by an order of magnitude. Fifteen years in, its assets totaling well over $1 billion (per public records), Glenstone is starting to look like a museum—an extremely well-funded and very cautious one.

“We learned a valuable lesson from going to Crystal Bridges,” Mitch Rales says, referring to the American art museum in Bentonville, Arkansas. “They expected about 70,000 visitors the first year. They got 700,000. They had people waiting in lines waiting outside the cafe to get a cup of coffee for an hour. We want to try to avoid some of those types of scenarios. I think you’ll see us continue to broaden our horizons, open up more and more, and find that sweet spot without diluting that experience of slow-art engagement.”

The museum can boast of another achievement: It’s now kind of accessible by public transit. The museum lobbied Montgomery County for a limited-service stop on a new Ride On bus route between Potomac and the Rockville Metro Station. Now there are between seven and nine stops daily on the 301 line at Gallery Road, a short hike from the wonders of Glenstone.

“We pushed and pushed and pushed and pushed for it,” says Emily Rales. “It’s just not easy to get here.”

When the national Gallery of Art’s East Building reopened after a three-year renovation in 2016, one of its most visible features was the big blue chicken on its roof. Katharina Fritsch’s ultramarine “Hahn/Cock” is one of D.C.’s favorite new sculptures and photoops. It belongs to the Raleses.

“I suspect we’ll never get it back,” Mitch

Rales says of the rooster, which is on long-term loan. “It’s become a little bit of an icon.”

Rales is a trustee and former chair of the National Gallery, and the Raleses are generous donors to this museum and many others, including the Hirshhorn Museum and Sculpture Garden. Although he demurs on the point, he may be one of few Washingtonians in history in a position to build at the scale of an Andrew Mellon, the National Gallery’s founder. Tax records for both institutions show that Glenstone holds more in assets than the National Gallery ($1.4 billion to $1.2 billion).

Building a third wing of the National Gallery would be a tall order—harder, even, than carving a sprawling meadow sculpture garden out of McMansion country. But the sheer scope of the new Pavilions museum raises the question: Wouldn’t

10 september 28, 2018 washingtoncitypaper.com

Emily Wei Rales

a Glenstone be better off on the National Mall?

“We wanted to create a different type of experience than another wing of the National Gallery that would have millions of visitors coming—not that there’s anything wrong with that,” Rales says. “We wanted to create an environment where people could truly engage, slow down, and look at the art.”

Other barons have built new museums on controversy. To assemble her encyclopedic American art museum, Crystal Bridges, Walmart heiress Alice Walton looked to cash-strapped libraries and universities, including historically black and women’s colleges, for vital art holdings. Walton made offers these non-art institutions couldn’t refuse. The practice fueled local critiques that she was building a museum at the expense of historic American art collections. When she

tried to buy a beloved 1875 painting by Thomas Eakins from Thomas Jefferson University, the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts fought her off by raising funds—even taking out a loan—to keep the painting in its historical home town. Crystal Bridges, which also has more than $1 billion in assets, came at it the big-box way: The museum quickly racked up more than a million visitors, but it did so by cannibalizing smaller institutions and moving local gems to the historical home of Walmart, four hours away from even Little Rock.

(For his part, Mellon launched the National Gallery’s collection with a 1931 purchase of 21 European masterpieces; the sale helped Josef Stalin pay for the first Five-Year Plan.)

The Raleses’ museum doesn’t raise the same ethical hackles. Instead, it opens a whole dif-

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EVA HESSE “Several” (1965) Glenstone’s permanent collection gallery is a procession of career highlight-reel works (and a few missteps: a Jackson Pollock painting feels like checking off a box). One minimalist gallery, though, could almost serve as a mission state-

Ron Amstutz

CY TWOMBLY “Cycnus” (1978) With its pavilion devoted to Cy Twombly, Glenstone tips its hat to the Menil Collection, one of its closest museum peers anywhere, without stepping on its toes. Houston’s Menil has a world-class Twombly gallery, and another space devoted to his ethereal abstract paintings would have been so duplicative as to be nearly insulting. (That’s never stopped anyone from building another Rothko room, but anyway.) Glenstone opted instead for Twombly’s lesser-known sculptures, which will make it a

12 september 28, 2018 washingtoncitypaper.com

MARTIN PURYEAR Big Phrygian (2010–2014) While much of Glenstone’s collection empha-

Tim Nighswander/Imaging4art.com

Ron Amstutz Ron Amstutz

CHARLES RAY “Baled Truck” (2014) In D.C., Charles Ray is most famous for a work he never finished. Frank Gehry picked the sculptor to depict Dwight D. Eisenhower in statuary for his forthcoming Ike Memorial— before conservative critics glommed onto Ray’s bare-footed boy design and made it the centerpiece of a manufactured outrage. Ray’s “The New Beetle” (2006), on view in his pavilion at Glenstone, made for an easy target: It’s a life-size vision of a naked boy playing with a toy Volkswagon bug. Corruption is at the root of Ray’s work, but not the way the culture warriors think. “Baled Truck” is a key example.

It’s a re-creation—carved from solid stainless steel by machine—of a crushed pick-up truck.

The fraying dream of the middle class is what makes Ray’s work unsettling.

sizes chilly themes, there’s room for narrative and craft here, too. Martin Puryear’s “Big Phrygian” is an oversized creation of a Phrygian cap, a symbol for liberty during the French Revolution. Puryear, who is African-American, has said that he adopted the symbol after seeing an engraving of a black citizen wearing one.

The piece is made from cedar; Puryear is one of the nation’s best living craftsmen. The sculpture occupies a place of pride, in a corner passageway that both flatters and reflects the high craft of Phifer’s architecture.

DAVID HAMMONS How Ya Like Me Now? (1988) One of only a few pieces on view at Glenstone that reflects black experience directly, David Hammons’ “How Ya Like Me Now” was savaged upon its 1988 debut in D.C. Installed at the Washington Project for the Arts, the painting—which depicts a blond-haired, blue-eyed, white-skinned Jesse Jackson, underneath the spray-painted lyric by Kool Moe Dee—was attacked by a group of black onlookers. (Who may have reacted less to the content of the work than the fact that it was being installed by white gallerists.) Every problem that underscores this confrontation is still urgent in the art world today.

Iwan Baan

PIPILOTTI RIST “Ever Is Over All” (1997) Best known today as the inspiration for Beyoncé’s “Hold Up” video, Pipilotti Rist’s video, “Ever Is Over All,” is a delightful departure from a dark time in art. In an era when Matthew Barney’s labyrinthine video installations and the Young British Artists’ adult themes dominated the late ’90s scene, Rist offered up breezy violence and kaleidoscopic abstraction as a kind of gleefully manic self-portrait. Where Bey yielded a baseball bat, Rist smashed cars using a long-stemmed flower. The empowering don’t-fuck-with-me vibe is the same; the VHS-looking warp of post-painterly video abstraction is all Rist’s.

RONI HORN “Water Double, v. 3” (2013–2016) Roni Horn is an example for how Glenstone aims to do museuming differently: by following fewer artists, giving them longer runways, and collecting them in depth. She is one of the few photographers that the Raleses appear to have taken a shine to (if their collection is any tell). Horn’s photography is only one aspect of her sometimes-inscrutable practice, which includes sculpture, text, and lots and lots of repetition. Her work in the Pavilions building passageway comprise two solid-cast glass drums.

These eyeball-boulders refract light in a mindbending way—a smirking take on the lens.

credit

ment for the broader enterprise. Featuring work by three artists—Eva Hesse, Richard Serra, and Lynda Benglis—the room is cool, dark, feminine, and aggressive, a shrine to process and formalism. On view are three works by Hesse (a rarity, since she died at 34): “Several” (1965), “Constant” (1967), and “Sans II” (1968). This ample trio of biomorphic, seductive minimalist painting-slash-sculptures could anchor any gallery by themselves; alongside mighty contributions by Benglis and Serra, it’s almost overwhelming.

Courtesy Pipilotti Rist

LYGIA PAPE “Livro do Tempo I (Book of Time I)” (1961) Part painting, part mosaic, and part detailed calendar, “Livro do Tempo I” comprises a series of 365 sculptures installed on a single wall in a dedicated pavilion. The Brazilian artist’s variations on a theme, with each panel rendered in primal shapes and primary colors, are typical of her sense of rhythm, playfulness, and repetition. This work operates as a single all-over painting—one to be taken in from the pavilion entrance—but rewards close looking like nothing else on view. It teases out how a year is a sum of so many days without feeling didactic. Pape works across genres in minimalism, from installation to performance, and with any luck her wilder pieces will one day be at Glenstone.

Ron Amstutz

Ron Amstutz

COLLECTION HIGHLIGHTS

destination for fans. Five white-painted pieces see his loose scribbly lines expand into space.

A different Twombly room could’ve been a blunder; this one reaches for must-see status.

MICHAEL HEIZER “Compression Line” (1968) One of two monumental works by Michael Heizer on display, “Compression Line” is a gash carved deep in the landscape. For the piece, the artist excavated a long line in the soil, then filled it with a deep, empty trough made of weathered steel. Finally, the artist packed all the excavated earth back into the landscape along the sides of the trough, creating enough pressure to fold the sculpture like a sealed envelope. Heizer’s “Collapse”—a set of massive weathered steel beams standing in a steel container buried in the earth—gets its own pavilion at Glenstone. But the building plinth where viewers can see “Compression Line” is an unparalleled convergence of art, architecture, and landscape.

ferent box of thorny questions about art—debates that Emily Rales is prepared to tackle. She runs operations at Glenstone; her acute eye has shaped its collection. She describes their collecting philosophy with a reference to Arden Reed’s book, Slow Art. At Glenstone, visitors should leave their problems at the door, the Raleses say, and enter a space in nature suitable for reflection and contemplation. It’s a notion of the sublime, recrafted for an experience tailored to the scale and scope of postwar and 21st century art.

But it is a narrow and carefully crafted sublime. Even the aquatic gardens must grow just so. As landscape architect Adam Greenspan explains, the courtyard features underwater planters built into ribbed dividers, essentially potted cells that allow the museum to change the depth of the substrate anywhere in the pond. This way, tall-growing irises never interfere with courtyard views, where the museum prefers lily pads to grow. Glenstone reasserts the primacy of the museum, and really, of the collector, at a time when artists are turning institutions upside down.

The audacity of Glenstone is its site. At 230 acres and growing, the grounds command a vast chunk of suburbs that the Raleses are converting from subdevelopment to forested meadow, by planting native (albeit extremely curated) trees and wildflowers. One of the museum’s new pavilions is a reading room, complete with a bench designed by Martin Puryear, and a glass-paneled view of the emerging landscape. This terraforming serves a singular vision for how contemporary art should be seen.

Over the next 15 years, that vision will change.

A conservation lab is “something we overlooked,” Emily Rales says. (Glenstone employs a full-time art conservator, plus conservation fellows.) If and when the museum builds again, it will likely mean more administrative space. But as artists engaged in performance, social practice, and other new media come onto the collectors’ radar, Glenstone may need to build new facilities—even new typologies—to suit this work.

Even conservation is a field in flux.

The vision driving Glenstone’s expansion is principled, noble, maybe even transcendental.

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Glenstone’s collection centers around sculpture, painting, and installation, with little in the way of photography or video, and nothing in terms of performance or art produced digitally. While their collection includes artists of color, there’s little to suggest the modes of identity, postcolonialism, intersectionality, or social justice driving artists today. That’s also a result of the Raleses’ philosophy. As collectors, they wait and watch: They don’t buy work by artists before they’ve been exhibiting at the museum level for 15 years. Emily Rales says that this means they focus on artists in their 40s or 50s at their youngest and collect artists well into their 80s or beyond.

“Because of our 15-year rule, that eliminates a number of those [new] media—for the time being,” she says. The Raleses pass on the youngblood painters that feverish investors stalk at art fairs. “To date, we don’t own any performance art. We have a sound piece, by [Cardiff & Miller], that is a different kind of work that I would say 10 years ago we never would have dreamed of owning, and now we do. We’re certainly pushing into those arenas that are less tangible and more amorphous.”

It’s also ultimately conservative. New modes of art, from hip-hop to street art to social intervention, don’t have a home in a forest—although maybe they just haven’t found a place there yet.

It’s true that a stunning mise-en-scène by Robert Gober, a moody room-sized installation, would be hard for the Hirshhorn or the East Building to acquire. But the city is its own vital context for art.

A few of the works at Glenstone look self-conscious about being so far removed.

It’s easier to say what Glenstone isn’t than what it is. Glenstone is not a public space. Glenstone is not a black box. Glenstone is not a 21st century archive. Glenstone is not promoting equity, addressing inequality, or solving accessibility—not yet anyhow. For much of its first dozen years, Glenstone was not a museum at all. But Glenstone is evolving.

“For us, that’s what it’s about here: giving space to these artists to be remembered in perpetuity, in a way that just can’t be done in certain places today,” Mitch Rales says. “We can commit space, as a private institution, that’s extremely difficult for a public institution to do.”

CP

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washingtoncitypaper.com september 28, 2018 13

Schlow Restaurant Group

DCFEED

Restaurateur Michael Schlow is bringing a neighborhood sushi restaurant to Mt. Vernon Triangle in October. Nama is going into the former Conosci space next to Alta Strada.

What the Doctors Order How one hospital chef ensures patients and staff at Walter Reed National Military Medical Center are well-fed.

By Laura Hayes On a recent Friday, people are lined up like they would be at a famous Texas barbecue joint, waiting with bated breath and hoping the food doesn’t run out before they have a chance to try it. On offer? A spread of colorful Caribbean staples—caramelized plantains with crispy edges, spicy black beans, juicy Cuban pork, chicken in a marinade that makes your eyes water with heat and tang, lime cilantro rice, and fresh mango salsa.

A lunch plate so full it’ll spoil your dinner costs a mere $5 because Café 8901 charges 35 cents per ounce for its weighed food. No one is looking to turn a profit—the restaurant is really a cafeteria inside Walter Reed National Military Medical Center. Located in Bethesda, WRNMMC is America’s largest military medical campus, predominantly serving active duty service members and their families.

Café 8901 only dishes out Caribbean food on Fridays from 11 a.m. to 2 p.m. Some employees come in on their day off just for lunch, while others tightly pack takeout containers so their families can also try the tropical cuisine. All share a paranoia that fellow diners will drain the deep metal pans before lunch ends.

There’s no such turnout for other specialty days—not even Taco Tuesday.

I had to meet the chef who’s turning something mass-produced into something magical.

Waiting in a back office inside the cafeteria’s sprawling kitchen, where the clash and bang of cauldron-sized pots and pans are the soundtrack, I expect to meet a Trinidadian woman or maybe a Dominican man.

Instead Ted Stolk, a towering Dutchman in a chef ’s coat, greets me. He’s the senior food service supervisor at the hospital, and Caribbean Day was his idea. The church-going family man with a gentle soul and obsession with from-scratch cooking has worked in restaurants since he was 15. “I was a waiter, and after two years my boss pulled me into the kitchen and I never left,” he says.

Laura Hayes

young & hungry

Stolk spent much of his career with Marriott and came to the U.S. with the company in 1989 after more than six years in Amsterdam. He remained with the hotel until 1998 and briefly worked for Adam’s Mark Hotels & Resorts. In January 2001 he accepted a position as the chef of the National Gallery of Art but lost the contract the same year and joined the staff at the original Walter Reed Army Medical Center in the District as a contractor in October 2001.

14 september 28, 2018 washingtoncitypaper.com

“The [Iraq] war was just starting, and they had some deployment money they wanted to spend,” he says. “They wanted to teach cooks how to cook food that wasn’t governmentstyle cooking. … If we have soldiers and sailors that are going out and putting their lives on the line for us, the least we can do is provide them with a meal when they come home missing arms and legs.”

Stolk became an American citizen and federal employee in 2004 and worked at Walter

Reed Army Medical Center until 2011, when the hospital ceased operations and merged with the National Naval Medical Center to form WRNMMC. From March 2013 through July 2013, Stolk ran his operation out of trailers while the hospital fully remodeled its cafeteria and kitchen.

The 60-year-old clocks in at 4:45 a.m.

Mondays through Fridays to lead a massive operation that demands 150 employees to feed 4,000 people a day across breakfast,

DCFEED lunch, and dinner. The same kitchen is responsible for another 300 to 400 daily meals for patients. Chasing after everything and everyone, Stolk says he walks 18,000 steps a day.

In addition to the rotating “international bar,” Café 8901 has a “fit and flavorful” station serving low-fat, low-sodium dishes of 550 calories or less; a main line with two entrees and accompanying starches and vegetables; a pizza station; a deli station; a salad bar; and various other options.

Stolk and his team make almost everything from scratch, from the pizza dough and pizza sauce to the hummus, and they only work with fresh fruits and vegetables. “I have seven people that are only doing produce all day,” Stolk says. They have a designated prep room off the main cooking area where they chop and peel.

When he debuted Caribbean Day, Stolk had no idea it would have such cosmic pull. “They line up and I can’t put my finger on why,” he says. “Caribbean food is simple food but they’re lining up.”

Even though Caribbean Day takes place on Fridays, cooks start marinating the pork on Wednesdays. On Thursdays, they cook it low and slow until the meat falls apart. They use pork loin instead of pork shoulder to cut down on fat content, yet it remains moist.

Navy corpsman HM3 Kevin Tamayo works at nearby Uniformed Services University of the Health Sciences but comes to Walter Reed to eat on Caribbean Day. “It’s yummy and spicy,” he says. “Around here is expensive and this food is inexpensive, so if I have a day off I come in here and eat up and get on with my day.”

Dental assistant Samantha Head and pediatric nurse practitioner Naomi Osborne only eat at Café 8901 when Caribbean food is served. “The way it’s cooked, the flavoring of it—I can mix it all together and it’s a good meal,” Osborne says. “I always come no later than noon because there are times they run out.” Head adds, “It has that spicy kick to it and it’s well-seasoned.

This is the hottest thing on Fridays. I always take some home to my family. Fridays I’m not cooking.”

Stolk is quick to flash his recipes that call for a gargantuan amount of ingredients such as 80 pounds of chicken tenders and 25 cloves of garlic. “There are no secrets here,” he says, noting that he draws inspiration from cookbooks and online recipes to ensure he’s on trend.

“We’re not stuck in the ’80s or ’90s anymore with food,” he says. “For an operation like this, I think that is a pretty big accomplishment because we came a long way.”

But Stolk’s greatest source of pride is the meals his team delivers directly to patients.

“It’s something I started with my background at Marriott,” he says. “We call it room service. It’s like a five-star hotel.” Patients dial the kitchen from their rooms, placing an order off a menu tailored to their dietary needs.

Every dish is made to order, just like at a restaurant, and sent to the patient’s room within 45 minutes.

“It started as something nobody wanted to touch in the armed forces, so we had to get our own funding,” Stolk says. He kicked off room service 15 years ago at the original Walter Reed. “When we did it, we brought in the chief dietician of the Army and showed him what we were doing,” he says. “And now it’s standard.”

Dietary considerations and food safety are paramount at hospital dining facilities.

“When the [Iraq] war started and we had all the amputees here, that was my passion, my mission,” Stolk recalls. Now that there are fewer troops overseas, Stolk says the focus of the hospital is going toward cancer treatment and cancer research.

“Every month we get inspected by the Army and Navy,” Stolk says. “They spend five hours in my kitchen checking everything out.

We’re in the highest risk category in the hospital because of compromised immune systems. We do cancer treatments, so we don’t take any chances. Every day one of the first things I do is check my email to see if there are any recalls.”

Next on Stolk’s wishlist is a teaching kitchen. If he can find funding for his passion project, he aspires to develop a hospital program where doctors, nurses, and nutrition services collaborate to help staff and patients learn about healthy cooking.

So far dreaming big has worked for Stolk.

Bringing the patient room service program to fruition and having it become standard at all military medical centers is a good example of how he’ll continue to disrupt what is traditionally thought of as hospital glop and military grub. “We still have a stigma,” Stolk says, noting that the Army refers to many of its dining facilities as “chow halls.”

“When I came to Walter Reed 18 years ago, it was a lot of heat-and-stir foods,” Stolk says.

“We’ve come a long way. The Army and the Navy both realized years and years ago that we had to curb that and try to beat that stigma because it’s not healthy when you do everything pre-made and heat and serve.” He worries about preservatives and sodium levels. “If you feed your soldiers and sailors that kind of food, how ready are they going to be?

You have to teach them to be healthy and stay fit.”

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Sometimes the greatest act of love is letting go.

La traviata

Photo by Cade Martin.

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With Geo Rip, Protect-U and John Jones take their unique spin on house music to far-out places. washingtoncitypaper.com/arts

Sound Off

Odal performing at the 2009 Sonic Circuits Festival

By Eames Armstrong Microtonal tuba, hoMeMade electronics, ambient textures, circuit-bending, string duos, tape collage, left-field pop, electroacoustic feedback, experimental sacred music, and a balloon. That’s just a few of the sounds you can hear this weekend at the 18th annual Sonic Circuits Festival—the District’s longest-running and internationally renowned festival of experimental sounds and forward-thinking music.

Since the first Sonic Circuits in 2001, the festival has roamed all around the city, under the steady guidance of festival director Jeff Surak. The itinerancy, Surak says, is intentional: The festival is “always in flux and it’s all part of

music

a long-term composition of a sonic experience with no particular destination.”

In that sense, Surak curates the fest with a space in mind— what works acoustically, logistically, and “how many acts … can physically cram into a room.” This year, for the second year in a row, the festival has landed at RhizomeDC; an old two-story house, complete with front porch and a serene backyard, kitchen and upstairs bedroom art gallery. In the past few years, Rhizome has become the cozy home for D.C.’s most innovative, challenging, and out-there music. In other words, a perfect fit for what Sonic Circuits has been bringing to the District for nearly two decades.

Over the years, Sonic Circuits has taken place at venues all over the region, in rock clubs, museums, and everywhere in between: Black Cat, Velvet Lounge, the National Museum

IntangibleArts/flickr

For nearly two decades, the Sonic Circuits Festival has attracted experimental musicians and fans from all over the world to the District.

of Women in the Arts, the Warehouse Theater, Pyramid Atlantic, Union Arts, the Atlas Performing Arts Center, Strathmore Mansion, La Maison Française, Clarice Smith Performing Arts Center, Flashpoint, and the Goethe Institut, just to name a few. (This author performed at Rhizome in 2016 as part of the Sonic Circuits Festival) Sonic Circuits wasn’t always a Jeff Surak production. Though the festival is now independently organized by him and a slew of volunteers, its origins actually stretch back to 1992, in Minnesota. There and then, the American Composers Forum (ACF), then called the Minnesota Composers Forum, launched a traveling festival of new music and new media called, you guessed it, Sonic Circuits.

The driving focus of the festival was to highlight new technologies in music composition and performance. ACF collected submitted recordings from all over the world to create a pool of musical options. Local chapters of ACF would pick selections from the pool, as well as their own artists, to create a unique version of the festival in that town.

In the 1990s, the festival included a radio component; a transcript of the 1996 Sonic Circuits radio program in Toronto says of the festival: “Thanks to the portable nature of music on tape, festival programs can easily travel to venues within North America and overseas. In this way the festival acts as a traveling curated show, analogous to those in the visual art world.”

Iterations of the festival have taken place in at least a dozen cities around the U.S., as well as internationally in Austria, the U.K., and Australia. In 2000, thanks to a $32,500 grant from the National Endowment for the Arts, Sonic Circuits expanded to eight new cities, including D.C. and Baltimore. a d.c. native, Surak had organized many shows—and played a few music festivals in Europe—before he took on Sonic Circuits. He “had [his] own ideas of what a festival should be, and what it should be for a capital city,” he says. Unlike some other festivals, Sonic Circuits “doesn’t concern itself with having “big name” artists and has a diverse lineup,” Surak adds. “I like to push boundaries and challenge expectations.”

And what drives him to keep putting the festival on? “Insanity. And the desire to make something weird happen in a very straight and bland town.”

In 2009, free jazz and new music luminaries Evan Parker and Ned Rothenberg drew a certain kind of sophisticated audience to Sonic Circuits. To the delight of some attendees—and shock, and departure, of others—Surak programmed the proceeding set to Dutch noise artist Odal, who wore “nothing but a hockey mask and a ‘thong’ made of electrical tape,” he recalls.

“The tape didn’t really do the job of keeping things in place, and during his set everything started hanging out and swinging around … It was a great set.”

Sometimes, the combination of different acts can create a little friction, but getting, er, exposed to something totally new and unexpected is what Sonic Circuits is all about.

Skip back to Aug. 13, 2001: The first night of the first Sonic Circuits in the District took place at the Kennedy Center’s Millennium Stage. One of the artists who performed, Vivian Adelberg Rudow, manipulated multiple CD players as a mode of creating sound and, as the Baltimore Jewish Times noted in a feature of the performance, “simulcast live on the World Wide Web.” Cool and revelatory at the washingtoncitypaper.com september 28, 2018 17

CPArts time no doubt, but that wording now renders as dated and, well, hilarious.

The following night, the festival filled up the house at the Levine School of Music, featuring work by six composers, most local but two from afar. Even in that first year, Sonic Circuits was all about pushing boundaries.

Even under the umbrella of the ACF, Sonic Circuits was as much a community effort then as it is now. It was, and has always been, the work of a handful of volunteers with a little grant funding and/or city support here and there, but mostly sweat and dedication to music and performance that rebukes convention.

A volunteer for the first year, Jonathan Morris ended up becoming the director of the D.C. chapter of ACF in 2002. He recalls how he got the Kennedy Center hookup through a college buddy. Composer Steve Antosca notes that he must have been involved with organizing that night because the lineup was composed of all of his pals and former classmates.

Antosca worked at the Levine School, where he had helped to design and build the school’s Kunen Theater as a hybrid performance and studio space. Back then, the school was a welcoming community space that frequently hosted outer sound concerts.

In 2002, Surak’s “band,” called v., was a part of the second Sonic Circuits Festival in D.C., alongside such artists as Mark Applebaum, Kim Cascone, and Richard Chartier. That year’s festival took place over four days at the artist-run space Decatur Blue, George Mason University, and again at the Kennedy Center and Levine School. Surak recalls two problems

from that year: His band had split, and no one told him. Unfazed, he played solo.

After playing Sonic Circuits again in 2005, Surak started to get involved with organizing the festival. By then, the ACF was barely involved except for Morris’ leadership as the local chapter director, a part-time job. By 2008, the D.C. chapter of the ACF dissolved entirely, eliminating Morris’ job, and he drifted onto other endeavors. Sonic Circuits just kept going.

Following ACF’s dissolution, Surak took the reins, and he’s been the director of Sonic Circuits ever since. In July 2008, Sonic Circuits started to do monthly shows at Pyramid Atlantic Art Center, then located in Silver Spring, at the invitation of former director Jose Dominguez, whom Surak describes as kind, generous, and open-minded—and to whom Sonic Circuits owes a lot.

Matt Boettke, a musician who performs as Scant and the proprietor of Brooklyn’s brick-and-mortar noise store called Thousands of Dead Gods, fondly remembers playing the 2012 iteration festival. The festival took place entirely at the Atlas Performing Arts Center that year, with an incredibly stacked lineup over the course of three days.

Until that point, Boettke had mostly just played his noise music in basements and DIY venues, so the opportunity to play on a serious stage like Atlas was huge for him. It meant that his music was being taken seriously on a totally new level. Nothing against those dingy basements, but that validation was clutch.

It’s an example of one aspect that Sonic Circuits has become known for: consistently supporting young, emerging artists and

musicians. Just as it was for Boettke, that encouragement can mean the world to someone trying to find their way in the farthest realms of music.

Bill Hill, a painter and frequent Sonic Circuits attendee over the past decade, insists that he has “the best time, each time,” but 2012 was also a standout year to him. The first night ended with The David Behrman Ensemble; six years later, Hill is still starstruck about the opportunity to meet and shoot the shit with Behrman—a legendary composer and pioneer of computer music.

For Hill, these personal interactions with amazing artists are what is at the heart of Sonic Circuits. Many of these artists who come to D.C. to play the festival might play in larger venues in other cities, but in the District, they’re hanging out on the porch, having a beer with fans and fellow music heads.

“There’s no better way to get to know these kinds of musical forms that might puzzle people than sitting down and talking to the people who just played it,” Hill says. He describes Sonic Circuits as “an unbroken chain of cool stuff of a stunning variety.” And he’s always found that the musicians are genuinely cool and happy to chat.

For Surak, Sonic Circuits is just the right size and shape for Rhizome. It’s a lot, but it’s digestible—especially compared to its three-week span in 2007 when, according to Surak, “there were few survivors after the sonic carnage.”

CP The 18th annual Sonic Circuits Festival takes place Sept. 28-30 at RhizomeDC. 6950 Maple St. NW. $20-$50. dc-soniccircuits.org.

“Blistering tragicomedy” Washington Post

“Explosive and thought-provoking”

“A lovely, haunting meditation on human connection” New York Times

Broadway World

“A stunning production” DC Metro Theater Arts

“Sometimes shocking, frequently hilarious” DC Theatre Scene

“Comedy with wit, bite and fear” MD Theatre Guide

“A hilarious, dark satire” Brightest Young Things

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BY BRANDEN

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9/20/18 11:33 AM

TheaTerCurtain Calls How to Win a Race War

Race to the top How to Win a Race War

Written and directed by Ian Allen At DC Arts Center to Oct. 20 For many, the experience of the last two years has often felt like living through an arch political satire. So whatever laughter audiences experience in playwright/director Ian Allen’s How to Win a Race War, currently presented by The Klunch at the DC Arts Center, is a recognition of the daily horror of what should never be normal in a democratic society.

When the audience first enters the theater, they see three small tables of books with the sign “White Nationalist Writings (Please Touch, Read, But Don’t Steal)”— the books are not tracts but action thrillers and sciencefiction with explicitly racist and anti-Semitic premises and poorly designed covers. Once the books are removed, a white man (Ned Read) enters, explaining that the members of his company are not actors, just an amateur group of nationalists out to educate a “mainstream white audience” about the literature that can be found online or at gun shows.

(Contrast them with the conspicuously notracist, not-anti-Semitic gun-toting survivalists in Anne Washburn’s much-lauded Mr. Burns, a Post-Electric Play.)

Allen’s conceit of using an all-white-male acting troupe (11 actors on stage and two additional voice actors) with female roles often played by scruffy, bearded men (there are women and people of color on the production side) is not done just to maintain the illusion of a racist theater company, but to underline the white nationalists’ alternating fear and titillation at sexual and political impotence; the grotesque portrayals of sexual assault (using

ridiculously rubbery dildos) is about racist literature’s pornographic fetishization of rape and miscegenation as the Southern plantation romance of the first act gives way to a slave rebellion. Even the anti-Semitism presented is as much about the fear of circumcision and the circumcised as it is about conspiracy theories about Jews secretly controlling the government, or the notion that the Exodus story is designed to inspire non-white people to rebel against the white race.

After the first of two intermissions in this three-hour-and-twenty-minute epic, the action moves to an industrial loft in the Boston neighborhood once known, pre-gentrification, as “The Combat Zone.” (Speaking as a former Bostonian, Boston’s theater scene is too genteel for a play like this.) A racist militia cell is inspired by the Oklahoma City bombing to start the race war they’ve been rehearsing for. When the story picks up again six months later, America’s white resistance is being hunted by President Janet Reno and a National Guard made up of Jews, African-Americans, and Mexican-Americans. Breakfast at camp is huevos rancheros, black-eyed peas, and latkes.

The final act is a 22nd-century space opera set in a wormhole-ridden solar system in which most of humanity lives under a politically correct dystopia. Miscegenation is enforced by law and the remaining white people are referred to by the slur “cauc”—a near homophone with the alt-right epithet “cuck.” All hope relies on the two white teenagers predictably named Adam Junior (Connor Padilla, a fine singer) and Evie (a hirsute Grant Collins).

The props by William Spencer deliberately underline the conceit of amateurism, as they are made of corrugated cardboard cutouts, craft paper, and duct tape. The costumes by Mei Chen mostly consist of wigs and random articles of thrift store detritus thrown over unstylish street clothing. The only polished as-

pect of the design is Anderson Wells’ music direction—a particular standout is a number built around the Beatles’ “Revolution,” an allusion to Charles Manson’s teaching that the band’s self-titled album was a coded prophecy for a race war.

How to Win a Race War will be divisive.

Some will question whether parodying the fantasies of white supremacists just further promotes their ideas. Some will fault Allen and The Klunch for presenting stories in which the racists are never confronted with the humanity of the people they obsess over.

How to Win a Race War is an ugly piece of provocation, but if you wondered what animated those who marched in Charlottesville chanting “Jews will not replace us” or how internet trolls can insist that casting decisions in the latest Star Wars films represent a “white genocide,” Ian Allen invites you to peer into their collective psyche.

—Ian Thal 2438 18th St. NW. $25–$85. theklunch.com.

ShotS FiRed The Events

By David Grieg Directed by Colin Hovde At Anacostia Playhouse to Oct. 7 as gun violence continues to proliferate on American stages, it’s inevitable that some plays about the topic will be better than others, and that some will be written by curious Europeans. At least when two Swedish dramatists wrote plays recently seen on area stages, they were drawing on the 2011 shooting that killed 77 in Norway, and more generically on school shootings. What David Grieg—a prolific Scottish playwright whose works have twice toured to Shakespeare Theatre—is doing is different.

This is a playwright who wrote a fascinating sequel to Macbeth (Dunsinane) and the West End adaptation of Charlie and the Chocolate Factory. In The Events, Grieg is exploring the fragile mind of a depressed, working class American mass shooter, and he’s in over his head.

The perpetrator in The Events is a white supremacist fascinated with “aboriginal” cultures who repeatedly refers to Native Americans in the most polite and politically correct lingo.

“Imagine a boy, an aboriginal boy,” the play begins. “He is standing on the banks of the Chesapeake Bay just at the very moment three ships from England are sailing up the long grey waters. … If you could go back in time and speak to that boy, what would you do? You would stand on the rock, and point to the ships and say, ‘Kill them, kill them all.’”

Grieg—and/or his perpetrator—equates native people fighting against colonists to a

present day white supremacist shooting immigrants. Every time the shooter says “aboriginal” with reverence, you shudder and wonder how much time Grieg spent with future Middle American Trump supporters.

Probably none.

The play debuted at the Edinburgh Festival in 2013 and has since been performed throughout the Anglophone world. Director Colin Hovde says the script allows for a number of “fill-in-the-blank changes” to localize the action, so that explains the references to the Washington Post Style section and the Chesapeake Bay. (Quick fact check: There were two ships from England that sailed up the Chesapeake to colonize Maryland, not three. If Hovde was at liberty to sub-in a local body of water, he might as well give a shout out to the Ark and the Dove.)

Despite the play’s unbelievable specifics, the structure and tone of The Events cohere well. It’s still a haunting play, and Theatre Alliance’s stark set with surround sound is beautifully designed.

Regina Aquino stars as Claire, a minister who is conducting a community center choir when a shooter commands everyone “who looks like they belong here” to leave. She survives, and in the aftermath, goes around town interviewing people in an effort to divine the shooter’s motive. It’s a futile search that erodes her own well being, to the point that she becomes no more stable than the shooter.

Josh Adams portrays the perpetrator, and through subtle changes in costumes and inflection, all the characters Claire interviews. Some of Adams’ transformations are believable, including the boy’s father and the politician whose white supremacist “party” the shooter recently joined. Others, especially Claire’s partner, a lesbian yurt builder, are not.

“But you build yurts. You can do that anywhere,” Claire implores, when asking if they can move closer to the California jail where the shooter is imprisoned. Despite the play’s absurdities, Aquino’s performance is affecting and heartfelt, although she doesn’t come off as a woman of faith past or present. Other productions refer to Claire as a priest rather than a minister and have the actress playing her wear a collar; at Theatre Alliance, she wears a drab cardigan and a grungy skirt with cargo pockets.

Onstage along with Adams and Aquino are nine singers who at times serve as Claire’s literal choir and at other moments morph into a Greek chorus. They sing “Stand By Me,” Gnarls Barkley’s “Crazy,” and “How Great Thou Art.” It’s a genius construction, really, a testimony to a skilled playwright who is simply better at conjuring fantasy worlds than commenting on another country’s real horrors.

—Rebecca J. Ritzel 2020 Shannon Place SE. $35–$40. (202) 2412539. theatrealliance.com.

washingtoncitypaper.com september 28, 2018 19

FilmShort SubjectS

Writing Her Story Colette

Directed by Wash Westmoreland Spoiler alert: the title character of Wash Westmoreland’s Colette ends up being kind of a big deal. That shouldn’t be a surprise to anyone familiar with the French author on whom the film is based. Colette, née Sidonie-Gabrielle Colette, has been celebrated as France’s greatest female novelist.

But first, she was a wife.

Colette (Keira Knightley) married a bon vivant 14 years her senior who introduced her to Paris salons and other milieus in which one was expected to have “personality with a capital ‘P.’” He was a novelist known singularly as “Willy” (Dominic West). Make that a “literary entrepreneur”: Willy outsourced his authorship, never penning a single word himself but keeping a stable of hungry writers who were Colette

willing to uphold his reputation for a few francs that he often couldn’t pay them. But when he was broke, he nevertheless thundered that they should produce more, and quickly.

And one night after Colette entertains with tales of her school days, Willy has an idea: She’ll write his next novel. Surprisingly, she’s happy to do it. Colette churns out the story of Claudine, and soon they have a hit, with demand for more.

It’s Colette’s first step toward wiggling out from under Willy’s thumb. Regardless of the capital-P personality that made her fall in love with him, Willy has proved to be a bit of a trial. He refers to himself in the third person and belches, passes gas, and licks his fingers without regard for company. Worse, he cheats: After one of the times Colette catches him, he defends himself with, “This is what men do!

We’re the weaker sex.” She lets loose a deserved “Go to hell!” and storms off.

So Willy thinks he’s sidestepping hypocrisy when he encourages a fling between Colette and another woman. (Though he recoils when

she brings up a man. “So cheating for you is a matter of gender,” she correctly sizes up.) Colette isn’t only queer but accepting of gender fluidity; she later has a yearslong affair with the Marquise de Belbeuf (Denise Gough), a trans man otherwise known as Missy. Colette and Willy eventually agreed to an open relationship, often socializing with their lovers by their sides.

Colette, co-scripted by Westmoreland (Still Alice), the late Richard Glatzer, and Rebecca D. Lenkiewicz, is therefore a staunchly feminist film, portraying a protagonist who’s bold, broad-minded, and itching for independence.

She demands (but doesn’t get) official recognition for the work that her readers seem to know she does anyway, along with the money that’s due to her. But Willy holds the copyright to the Claudine stories and hangs on, surely out of fear of losing his wife. So she begins a second career as a dancer and actress in Paris’ music halls, an occupation that Willy believes is beneath her station and one that causes a scandal when Missy joins her onstage for a kiss.

West is an entertaining if fittingly boorish whirlwind, and his chemistry with Knightley ignites the screen. And she gives one of her fiercest performances as the author who refuses to go down in history as a quiet wife.

Divorce and sub sequent marriages are in Colette’s future, and Knightley’s turn is sympathetic and cheer-worthy instead of being irritatingly brash. Her Colette won’t be made a fool when it comes to either love or money. As she tells an eyebrow-raising friend, “I’m in on the joke.”

—Tricia Olszewski Colette opens Friday at Landmark E Street Cinema, Landmark Bethesda Row Cinema, and Angelika Film Center Mosaic.

Man of HiS Word Hal

Directed by Amy Scott american filmmakerS enjoyed unparalleled freedom in the 1970s. It is amazing that major studios would greenlight complex, challenging projects like Dog Day Afternoon, Taxi Driver,

20 september 28, 2018 washingtoncitypaper.com

Hal

or even Apocalypse Now. This period was dubbed the era of “New Hollywood,” with the likes of Frances Ford Coppola and Robert Altman closely tied to it. Somehow Hal Ashby, whose output was prolific during this period, is rarely mentioned alongside those directors. Director Amy Scott wants to fix that with Hal, a biographical documentary that persuasively argues for his place in the canon of American cinema.

Hal Ashby was always going to be an outsider. He looked like a hippie, with his long hair and unkempt beard, and made no secret about his regular marijuana use. One of the great opportunities of his life was meeting Norman Jewison, a filmmaker best known for Jesus Christ Superstar and Moonstruck. The two men became fast friends and frequent collaborators; Ashby would edit several of Jewison’s films, winning an Oscar for his work on In the Heat of the Night. In one of many interviews, Jewison describes Ashby as “the only man I’ve ever really loved.” Indeed, many directors and actors speak about Ashby with hushed reverence. His films were unabashedly subversive and humanistic, and this was in a period when the country was in the throes of post-Watergate cynicism. Most of Hal focuses on the most successful streak of his career, starting with The Landlord and ending with Being There.

Scott’s approach to Hal is traditional and unobtrusive. She knows her subject is interesting, so she lets her interview subjects—along with footage of his films—tell the story. There are also long snippets from Ashby’s letters, with actor Ben Foster reading them like an angry, passionate artist. The cumulative effect is the realization Ashby was uncommonly sensitive and talented. In the ’70s, his instincts never failed him, even when they veered toward the transgressive: The ending to Being There, for example, contains one of the boldest final images in any film, let alone an American one. There is little attempt to rationalize his methods, and yet Scott’s approach will have the intended effect of getting viewers to revisit his films.

A crucial context to the film is Ashby’s unique worldview. Many auteurs are drawn to extraordinary people or have a negative view of human

nature; Ashby, on the other hand, liked to focus on ordinary people in a society that failed them. Hal suggests the man was ahead of his time: There is a moment where he describes the luck of white male privilege. This was before the concept of “privilege” was common in intellectual circles, and yet the principle could be found in The Landlord or The Last Detail, where his frustration with race relations was the overarching principle.

There is some mention of his personal life: Hal’s father killed himself while he was young, so the suicide imagery of Harold and Maude takes on added emotional resonance. And like many other filmmakers before him, Ashby’s imperfect family life would be a revisited theme in his films (Bound for Glory was partially about Woody Guthrie’s failures as a husband and father). Jewison, along with other filmmakers like Alexander Payne and David O. Russell, do not see these personal details as the skeleton key to unlocking his work.

They add some interesting context, but this is the rare “great man” documentary where the work stands on its own merit.

In documentaries like this, there’s always a risk that longtime fans won’t find anything new or interesting in how the films are discussed.

Hal sidesteps that problem with a strong balance of behind-the-scenes storytelling alongside the usual analysis. There is also an intriguing development that Scott does not shy away from. After Being There, Ashby never found the same commercial or critical success again.

The film suggests that the shift away from the New Hollywood model paralyzed Ashby, since he could not replicate the same independence or control. Either way, his middling late output does not take away from his triumphs.

Hal Ashby’s best films are the rare mainstream entertainment that showed what it means to be a better, more conscientious person. Such a purpose would be downright maudlin in the hands of the lesser filmmaker, and in its own bittersweet way, Hal suggests there will never be another one like him. —Alan Zilberman Hal opens Friday at Landmark E Street Cinema.

THE COMEDY OF ERRORS

by William Shakespeare | directed by Alan Paul

Photos of Gregory Wooddell by Tony Powell.

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GREAT PERFORMANCES AT MASON 2018/2019 SEASON

The Manhattan Transfer

Featuring the American Festival Pops Orchestra Saturday, September 29 at 8:30 p.m.

Virginia Opera

Street Scene

Saturday, October 6 at 8 p.m.

Sunday, October 7 at 2 p.m.

Chamber Music Society of Lincoln Center

L.A. Theatre Works

Steel Magnolias Sunday, October 14 at 7 p.m.

Saturday, October 13 at 8 p.m.

This performance is part of the ARTS by George! benefit.

TICKETS ON SALE NOW! 703-993-2787 OR CFA.GMU.EDU

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This performance is also at the Hylton Performing Arts Center on Sat., Feb. 9 at 8 p.m. Information at HyltonCenter.org.

Located on the Fairfax campus, six miles west of Beltway exit 54, at the intersection of Braddock Road and Rt. 123.

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CITYLIST

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

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

Tix @ Ticketmaster.com 800-745-3000

Music 23 Theater 24 Film 26

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ON SALE FRI. 9/28 AT TICKETMASTER.COM/800-745-3000.

CITY LIGHTS: FRIDAY

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

Tyshawn Sorey. 8 p.m. $10–$30. theclarice.umd.edu.

Sept 27&28

ERIC BENET 29 HIROSHIMA 30 BASIA Oct 1 CHICK COREA TRIO Vigilette with Carlitos Del Puerto & Marcus Gilmore

Kennedy Center terraCe theater 2700 F St. NW. (202) 467-4600. Elizabeth DeShong. 7:30 p.m. $55. kennedy-center.org.

ElECtRONIC

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

Ummet Ozcan. 10 p.m. $20. soundcheckdc.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Robotaki. 10:30 p.m. $12–$18. ustreetmusichall.com.

FOlk

3

dC9 1940 9th St. NW. (202) 483-5000. The Deep Dark Woods. 8 p.m. $12–$15. dcnine.com. roCK & roll hotel 1353 H St. NE. (202) 388-7625.

Jade Bird. 8 p.m. $15. rockandrollhoteldc.com.

4&5

FUNk & R&B

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rene Marie. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP

the anthem 901 Wharf St. SW. (202) 888-0020.

Future Islands. 8 p.m. $41–$76. theanthemdc.com. linColn theatre 1215 U St. NW. (202) 888-0050.

Blood Orange. 8 p.m. $35. thelincolndc.com.

ROCk

blaCK Cat 1811 14th St. NW. (202) 667-4490. Hemlines. 7 p.m. $10. blackcatdc.com.

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

(703) 237-0300. Leftover Salmon. 9 p.m. $29–$35. thestatetheatre.com.

HOUSE OF CHAMPIONS

Michael Horsley has been capturing images of D.C. for decades. To say that the photographer and multimedia artist has archived almost every part of the city is no exaggeration. He could create a slideshow of his images for a dusty projector and it would be never ending. While Horsley’s work is usually commissioned by the likes of the Post, the Times, and the International Herald Tribune, his exhibition at Gallery O on H will give fans and those new to his work a peek through his lens. House of Champions takes viewers on a tour of a varied portrait of D.C. during the late 1970s and 1980s, capturing everything from the victims of the destructive neglect of the federal government to the architectural markers that withstood it all. Beyond that, House of Champions shows the faces of a D.C. that often marks change through development rather than the people who inhabit it. The exhibition is on view to Jan. 11, 2019 at Gallery O on H, 1354 H St. NE. Free. (202) 649-0210. galleryoonh.com.

—Hamzat Sani

union Stage 740 Water St. SW. (877) 987-6487. The Ocean Blue. 8 p.m. $22–$35. unionstage.com. roCK & roll hotel 1353 H St. NE. (202) 388-7625.

SHAED. 9 p.m. $15. rockandrollhoteldc.com.

eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Jauz. 9 p.m. $30. echostage.com.

Comet Ping Pong 5037 Connecticut Ave. NW. (202) 364-0404. JEFF the Brotherhood. 10 p.m. $15. cometpingpong.com.

ROCk

FOlk

Songbyrd muSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Bombadil. 8 p.m. $15–$18. songbyrddc.com.

FUNk & R&B

dC9 1940 9th St. NW. (202) 483-5000. Active Bird Community. 9 p.m. $12–$14. dcnine.com.

the anthem 901 Wharf St. SW. (202) 888-0020. St. Paul & The Broken Bones. 8 p.m. $41–$61. theanthemdc.com.

Songbyrd muSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Shoreline Mafia. 8 p.m. $20–$50. songbyrddc.com.

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Social Distortion. 7:30 p.m. $40–$120. fillmoresilverspring.com.

union Stage 740 Water St. SW. (877) 987-6487.

Chris Dave and the Drumhedz. 8 p.m. $20–$25. unionstage.com.

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

ATLiens. 10:30 p.m. $15–$20. ustreetmusichall.com.

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

Meg Myers. 6:30 p.m. $20. ustreetmusichall.com.

HIP-HOP

9:30 Club 815 V St. NW. (202) 265-0930. Belly. 8 p.m. $35. 930.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rene Marie. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP

anaCoStia Community muSeum 1901 Fort Place SE. (202) 633-4844. Community Block Party. 11 a.m.

Free. anacostia.si.edu.

THE STEELDRIVERS Kieran Kane & Rayna Gellert

HERMAN'S HERMITS starring PETER NOONE The Other 9 BONNIE 'PRINCE' BILLY Years 10 LEO KOTTKE Harrow 11 THE JAYHAWKS Fair 12&13 THE WHISPERS 14 KEIKO MATSUI 16 INCOGNITO with specialguest MAYSA

WYNONNA

17

SAtURDAY ElECtRONIC

Chicks With Hits

7

amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Let It Flow. 8 p.m. $20–$30. ampbystrathmore.com.

JAzz

TERRI CLARK, PAM TILLIS, SUZY BOGGUSS

SUNDAY ClASSICAl

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

Reflections from the Keyboard. 2 p.m. Free. theclarice.umd.edu.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rene Marie. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

ROCk

amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Cowboy Mouth. 8 p.m. $38–$48. ampbystrathmore.com. dC9 1940 9th St. NW. (202) 483-5000. Slaves (UK). 8 p.m. $15. dcnine.com.

& The Big Noise

CANDY DULFER 19&20 STEPHANIE MILLS 21 OTTMAR LIEBERT & Luna Negra 22 SAMANTHA FISH Skribe 18

23&24

An Evening with

LYLE LOVETT & ROBERT EARL KEEN 25 PHIL VASSAR 26 DELBERT McCLINTON 27 TOM PAXTON & The DonJuans 28

An Evening with

KATHY MATTEA

washingtoncitypaper.com september 28, 2018 23

SEASON

2018 2019

LIVE MUSIC

thh

THE WHARF, SW DC DINER & BAR OPEN LATE!

SEPTEMBER CONCERTS TH 27 FRONT COUNTRY w/ LAUREN CALVE F 28 MOUNTAIN RIDE FREE SHOW! SA 29 KRANTZ FREE SHOW! SU 30 DENNIS STROUGHMATT AND CREOLE STOMP CAJUN DANCE MATINEE! 3pm DOORS OCTOBER CONCERTS W3 WIL GRAVATT FREE SHOW! TH 4 KITI GARTNER & THE DRIFTING VALENTINES FREE SHOW! F5

DUPONT BRASS “HALFTIME” ALBUM RELEASE w/ MK ZULU • DEACON IZZY • LA’VONNE • DJ JEAUXSMEAUX

BILL MURRAY, JAN VOGLER & FRIENDS

Fri, Sept 28

SU 7

BLACK MASALA ALBUM RELEASE w/ MY SON THE HURRICANE GREAT LAKE SWIMMERS w/ JOSHUA HYSLOP

W 10

JOEY DOSIK

NEW WORLDS

THE AUSTRALIAN PINK FLOYD SHOW

SA 6

TH 11

NATHAN AND THE ZYDECO CHA-CHAS

TIME 2018

F 12

TOWN MOUNTAIN w/ GINA CLOWES

Sun, Sept 30

SA 13

COLIN MOCHRIE & BRAD SHERWOOD

SA 13 M 15 TH 18

KING SOUL FREE AFTERNOON SHOW! 1pm DOORS JOSH ROUSE & GRANT LEE PHILLIPS THE SUITCASE JUNKET FREE SHOW! JP HARRIS

SU 21

CHARLEY CROCKETT

W 24 TH 25 F 26 SU 28

QUINN SULLIVAN CURLEY TAYLOR & ZYDECO TROUBLE CORY HENRY & THE FUNK APOSTLES HUMAN COUNTRY JUKEBOX FREE AFTERNOON SHOW! 12:30pm DOORS

SCARED SCRIPTLESS

Whose Line Is It Anyway? stars

Fri, Oct 5

AN EVENING WITH

PAT METHENY

WITH ANTONIO SANCHEZ, LINDA MAY HAN OH & GWILYM SIMCOCK Sat, Oct 6 Bill Murray, Jan Vogler & Friends by Peter Rigaud; Colin Mochrie & Brad Sherwood, Pat Metheny by John Peden

STRATHMORE.ORG 301.581.5100

NOVEMBER CONCERTS F2 ALL GOOD PRESENTS: CRIS JACOBS BAND w/ JONATHAN SLOANE TRIO

TICKETS ON SALE!

pearlstreetwarehouse.com

24 september 28, 2018 washingtoncitypaper.com

CITY LIGHTS: SAtURDAY

SHORElINE MAFIA

Sampled throughout Shoreline Mafia’s breakthrough mixtape ShorelineDoThatShit is a Reefer Madness-esque news report about lean, the cough syrup concoction that has been a hip-hop staple for decades. The report featured one of the Los Angeles rap group’s videos, and they took the notoriety in stride. Under the eerie synthesizer intro of Shoreline Mafia’s “Nun Major,” an anxious newscaster says, “After FOX 11 first aired this story promo, members of Shoreline Mafia posted to their Instagram account this response: Expletive FOX, we sippin’ juice for life.” That’s the type of irreverence one can expect from Shoreline Mafia, a group composed of rappers Ohgeesy, Fenix, Rob Vicious, and Master Kato that has quickly emerged as part of the Los Angeles rap vanguard. Mostly, it's thanks to their zeitgeist-friendly mix of street rap slappers and SoundCloud weirdness, with heavy doses of party, drugs, and sex raps. The next time these guys are on the news, it won’t be in a reactionary report, it’ll be about their next hit. Shoreline Mafia perform at 8 p.m. at Songbyrd Music House, 2477 18th St. NW. $20– $50. (202) 450-2917. songbyrddc.com.

—Chris Kelly

MONDAY

ROCk

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

Tove Styrke. 8 p.m. $16–$18. rockandrollhoteldc.com.

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

The Frights. 8 p.m. $20. rockandrollhoteldc.com.

ROCk

tHURSDAY

POP

dC9 1940 9th St. NW. (202) 483-5000. Träd, Gräs Och Stenar and Endless Boogie. 8 p.m. $15. dcnine.com.

tUESDAY ClASSICAl

hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Matinee Idylls: Gourmet Symphony. 12:30 p.m. $27–$47. hyltoncenter.org.

JAzz

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

ROCk

9:30 Club 815 V St. NW. (202) 265-0930. Our Lady Peace. 7 p.m. $30. 930.com.

WEDNESDAY ElECtRONIC

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

Badvss & The Bassment Present Virtual Riot. 10 p.m. $15–$20. ustreetmusichall.com.

FUNk & R&B

the anthem 901 Wharf St. SW. (202) 888-0020.

Leon Bridges. 8 p.m. $55–$279. theanthemdc.com.

GOSPEl

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

Israel Houghton. 7:30 p.m. $24.75–$34.75. thehamiltondc.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Harold Lopez-Nussa. 8 p.m.; 10 p.m. $25. bluesalley.com.

blaCK Cat 1811 14th St. NW. (202) 667-4490. Electric Six. 7:30 p.m. $16. blackcatdc.com.

ElECtRONIC

ten tigerS Parlour 3813 Georgia Ave. NW. (202) 506-2080. U Street Music Hall Presents Catz N’ Dogz.

10 p.m. $20. tentigersdc.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

George FitzGerald. 7 p.m. $15–$18. ustreetmusichall.com.

FUNk & R&B

dC9 1940 9th St. NW. (202) 483-5000. The Dip. 8 p.m. $12. dcnine.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Eliane Elias. 8 p.m.; 10 p.m. $55–$60. bluesalley.com.

POP

the anthem 901 Wharf St. SW. (202) 888-0020.

Troye Sivan. 7:30 p.m. $48.50–$168.50. theanthemdc.com.

ROCk

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. THRICE. 8 p.m. $23–$24. fillmoresilverspring.com. roCK & roll hotel 1353 H St. NE. (202) 388-7625.

Weston. 8 p.m. $17.50–$20. rockandrollhoteldc.com.

Sixth & i hiStoriC Synagogue 600 I St. NW. (202) 408-3100. Brian Fallon and Craig Finn. 8 p.m. $35–$40. sixthandi.org.

Theater

born yeSterday Set in the 1940s, this Broadway play tells the story of Billie Dawn, the naive girlfriend

Merriweather Post Pavilion • Columbia, MD THIS FRIDAY!

The National w/ Cat Power & Phoebe Bridgers

.......SEPT 28

THIS SUNDAY!

WPOC SUNDAY IN THE COUNTRY FEATURING

THIS WEEK’S SHOWS

SECOND NIGHT ADDED!

Highly Suspect w/ Monk Tamony.............................................. Th 27 & F SEP 28

Brett Eldredge • Dan + Shay • Dustin Lynch • Devin Dawson • Morgan Evans • Jimmie Allen • Jillian Jacqueline.........................SEPT 30

AN EVENING WITH

Belly .............................................................................................................. Sa 29 Our Lady Peace w/ Oak & Ash ............................................................... Tu OCT 2

M E R R I W E AT H E R 2 0 1 8 • Experiences in Art + Sound .OCT 13

For more info, visit opusmerriweather.com

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

OCTOBER

OCTOBER (cont.)

Lupe Fiasco w/ Nikki Jean •

Billy Blue • Mickey Factz • Dayne Jordan ..................................F 5 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Kali Uchis

w/ Gabriel Garzon-Montano .........W 10

Bob Moses w/ Mansionair.......Th 11 Murder By Death

w/ William Elliott Whitmore & Tim Barry Early Show! 6pm Doors .....................F 12

(of Scissor Sisters) w/ SSION

HALLOWEEN COSTUME CONTEST! First prize wins two tickets to every 9:30 show in Nov/Dec 2018! .......W 31

NOVEMBER U STREET MUSIC HALL PRESENTS

Soulection’s The Sound of Tomorrow feat. Andre Power •

Joe Kay • Devin Tracy • J. Robb • Andres Uribe.............................Th 1

U STREET MUSIC HALL PRESENTS

What So Not

w/ Chrome Sparks (DJ Set)

Late Show! 10pm Doors .....................F 12

The Record Company

w/ Madisen Ward and the Mama Bear.....................Sa 13

Lucero w/ Brent Cowles ...........Su 14 Passenger ...............................Tu 16 Atmosphere w/ deM atlaS •

The Lioness • DJ Keezy ...............W 17

AN EVENING WITH

Cursive

JUST ANNOUNCED!

Capital One Arena • Washington, D.C.

AEG PRESENTS PANIC! AT THE DISCO

ADAM CONOVER

On Sale Friday, September 28 at 10am

Lincoln Theatre • 1215 U Street, NW Washington, D.C.

Lykke Li w/ TiRon & Ayomari......... OCT 5 Inside Netflix’s The Staircase & Making a Murderer: Gad Elmaleh............................. OCT 10 Fabrications, Lies, Fake Science, Eric Hutchinson & The Believers and the Owl Theory w/ Jeremy Messersmith.................... OCT 12

The Milk Carton Kids

w/ The Barr Brothers ....................... OCT 13

w/ Meat Wave & Campdogzz ..........F 2

U STREET MUSIC HALL PRESENTS

Ekali w/ 1788-L & Jaron

Early Show! 6pm Doors.....................Sa 3

U STREET MUSIC HALL PRESENTS

Fleetmac Wood

Late Show! 10pm Doors ....................Sa 3 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Jonathan Richman

U STREET MUSIC HALL PRESENTS

Early Show! 6:30pm Doors. 14+ to enter. Sa 20 STEEZ PROMO PRESENTS

Black Tiger Sex Machine

w/ Kai Wachi & Lektrique Late Show! 10pm Doors ..................Sa 20

Big Thief w/ The Range of Light

Wilderness & .michael. ..............Su 21

Gallant w/ Jamila Woods ..........M 22 We Were Promised Jetpacks w/ Hurry Up .............Tu 23 Hippo Campus w/ The Districts ...........................W 24 ALL GOOD PRESENTS

Twiddle

(F 26 - w/ Bumpin’ Uglies) .F 26 & Sa 27 ALL GOOD PRESENTS

MAX w/ Bryce Vine & EZI

Early Show! 6pm Doors.....................Th 8

Midland w/ Desure

Late Show! 10pm Doors ......................Th 8

AN EVENING WITH

Chris Robinson Brotherhood. F 9 Brett Dennen w/ Nick Mulvey Early Show! 6pm Doors ...................Sa 10

ALL GOOD PRESENTS

Papadosio w/ LITZ

FIRST

ADDED! NIGHT SOLD OUT! SECOND NIGHT

w/ Moon Hooch .............Sa 27 & Su 28

MANY MORE SHOWS ON SALE!

feat. David Rudolf and Jerry Buting Moderated by NPR’s Carrie Johnson .NOV 5

Richard Thompson Electric Trio ..............................NOV 8 MADISON HOUSE PRESENTS

Garbage w/ Rituals of Mine

Version 2.0 20th Anniversary Tour ... OCT 22

Kamasi Washington

w/ Butcher Brown ...........................NOV 10

Elle King w/ Cordovas ...................NOV 2 Ólafur Arnalds ........................NOV 14 AN EVENING WITH The Dollop .................................NOV 16 Edie Brickell & New Bohemians ................NOV 3 Jackson Galaxy

- Host of Animal Planet’s My Cat from Hell ...................NOV 21

THE BYT BENTZEN BALL COMEDY FESTIVAL

#ADULTING

OPENING NIGHT FEAT.

Phoebe Robinson

with special guest Tig Notaro Early Show! 5:30pm Doors ......... OCT 25 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

SMART FUNNY & BLACK FEAT.

Amanda Seales (HBO’s Insecure),

with Michelle Buteau and Jordan Carlos Early Show! 5:30pm Doors ............... OCT 26

Cameron Esposito, Rhea Butcher, & Friends Late Show! 8:30pm Doors .......... OCT 27

Late Show! 9pm Doors ............... OCT 25

• thelincolndc.com •

U Street (Green/Yellow) stop across the street!

Late Show! 10:30pm Doors ...............Sa 10

Toro Y Moi w/ Dizzy Fae ...........M 12 Ty Segall (Solo Acoustic) This is a seated show.......................Tu 13

Randy Rogers Band w/ Parker McCollum ....................F 16

Moon Taxi

w/ Two Feet .............. JANUARY 20 ............................................. DECEMBER 2

Ticketmaster

St. Lucia w/ The Colonies ..........Tu 6

featuring Tommy Larkins

9:30 CUPCAKES

Jain w/ Drama ............................M 29 Jake Shears

Wild Nothing w/ Men I Trust ..Su 18

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Meg Myers w/ Adam Jones ....Sa SEP 29 The Charlatans UK w/ Strawberry Sleepover .......... Tu OCT 2 The Presets w/ Blood Red Shoes ......Sa 6 Azizi Gibson w/ Jez Dior ..............Sa 13 White Denim w/ Rotem ...............Su 14

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

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

9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR!

Django Django w/ The Shacks........ M 15 SCARLXRD ..............................Tu 16 Trevor Powers w/ CORMAC ROTH ...F 19 Low Cut Connie w/ Ruby Boots • &more (Chill Moody & Donn T)....................Su 21 Alexandros .............................. M 22

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

930.com washingtoncitypaper.com september 28, 2018 25

Jazz Jason Moran

CITY LIGHTS: SUNDAY

Artistic Director

Kurt Elling Friday, October 5 at 7 & 9 p.m.

Terrace Theater “The standout male vocalist of our time” (The New York Times), Grammy Award® winner and 12-time nominee Kurt Elling is an artist with no creative limits. Kicking off the 2018–2019 season, he presents new songs from his album The Questions, and breathes new life into old favorites for today’s audiences.

Crossroads Club

Mwenso & the Shakes Saturday, October 27 at 9 p.m.

Atrium Charismatic singer and bandleader Michael Mwenso’s new high-energy troupe merges the highest form of raw talent while commanding a strong blues essence through African and Afro-American music and the stylings of Fats Waller, Muddy Waters, James Brown, and many other legends.

All tickets are general admission—standing room only.

Kennedy-Center.org

Groups call (202) 416-8400

(202) 467-4600

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

JOIN US FOR

VALET & SECURE PARKING aVAILABLE

HAPPY HOUR 5PM-7PM, M-F

RESTAURANT | BAR | MUSIC VENUE | FULLY FUCTIONING WINERY | EVENT SPACE

UPCOMING SHOWS SEP 27

SEP 28

SEP 29

SEP 29

Art Sherrod Jr & The ASJ Orchestra

Iris Dement

Wasabassco

Folk Soul Revival

Late Night Burlesque

album release show

early show & late show

OCT 1

OCT 3

OCT 4

OCT 5

OCT 6 - 7

SEP 30

Dwele

Marcia Ball

Tim Reynolds & TR3

Gaz Coombes

Roomful of Blues

An Evening With The English Beat

OCT 9

OCT 11 - 12

OCT 12

OCT 13

OCT 14

Carolyn Malachi w/ BOOMScat

Madeleine Peyroux

The Currys Acoustic

In The Wine Garden

Ryan Montbleau (solo)

john lodge

of the moody blues

1350 OKIE ST NE, WASHINGTON D.C | CITYWINERY.COM/DC | (202) 250-2531

26 september 28, 2018 washingtoncitypaper.com

tHE COMEDY OF ERRORS

SOS! Twins have been separated by a shipwreck at Shakespeare Theatre Company. If that alarming plotline sounds familiar, it’s because the theater mounted Twelfth Night last year. The production cleaned up at the Helen Hayes Awards in May, receiving a best director award for Ethan McSweeny, who reimagined the late Shakespearean romance in the aftermath of a plane crash instead of a maritime accident. In its new production of The Comedy of Errors, the Bard’s shipwreck is back.

Director Alan Paul has set this early Shakespearean comedy on the coast of midcentury Greece, drawing aesthetic inspiration from films like Zorba the Greek. Paul is Shakespeare’s resident associate artistic director, and he is at his best when helming a whimsical comedy—his 2015 Kiss Me, Kate was a Technicolor romp. That bodes well for this 100-minute, no-intermission Comedy of Errors. With not one but two sets of identical twins, it is the zaniest of Shakespeare’s comedies. A cohort of local actors who are very good at being very funny fills out the cast, including Sarah Marshall, Nancy Robinette, and Tom Story. Gregory Wooddell and Christian Conn lead the show as separated siblings hoping to someday be reunited. The play runs to Oct. 28 at the Lansburgh Theatre, 450 7th St. NW. $44–$128. (202) 547-1122. shakespearetheatre.org.

—Rebecca J. Ritzel of a Washington tycoon who fights back against his corrupt political schemes. This regional production is directed by Aaron Posner and stars Kimberly Gilbert and Edward Gero. Ford’s Theatre. 511 10th St. NW. To Oct. 21. $20–$62. (202) 347-4833. fords.org. the Comedy of errorS Shakespeare Theatre Company presents this zany farce about two sets of twins, each with the same name. The production is directed by Alan Paul. Lansburgh Theatre. 450 7th St. NW. To Oct. 28. $44–$102. (202) 547-1122. shakespearetheatre.org.

Como agua Para ChoColate (liKe Water for ChoColate) Making its U.S. premiere, this production centers on a young woman who is forbidden to marry because of family tradition and takes to expressing herself through cooking. It is based on the novel by Laura Esquivel, adapted to the stage

by Garbi Losada and directed by Olga Sánchez. Performed in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 7. $20–$48.

(202) 234-7174. galatheatre.org. if i forget This acutely personal play tells the story of a Jewish D.C. family agonizing over whether to sell their 14th street home after their mother has died and their father is in need of full-time care. If I Forget is directed by Matt Torney and written by Dear Evan Hansen Tony-winner Steven Levenson. Studio Theatre. 1501 14th St. NW. To Oct. 14. $20–$80. (202) 3323300. studiotheatre.org. labour of love Fresh from London’s West End, this new comedy traces the ups and downs of leftwing politics in Britain over the past two decades.

Labour of Love is directed by Leora Morris with an Olivier-winning script by James Graham. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 28. $49–$74. (301) 924-3400. olneytheatre.org. marie and roSetta Directed by Sandra L. Holloway, Mosaic Theater Company presents a musical celebration of two extraordinary black women. Marie

and Rosetta chronicles the unlikely first rehearsal between Rosetta Tharpe and Marie Knight, who would go on to become one of the great duos in music history. Atlas Performing Arts Center. 1333 H St. NE. To Sept. 30. $50–$68. (202) 399-7993. atlasarts.org.

South PaCifiC This regional production of Rodgers and Hammerstein’s Pulitzer Prize-winning musical is directed by Alan Muraoka and choreographed by Darren Lee. Set during World War II on a distant Pacific island, South Pacific tells the sweeping love story of nurse Nellie Forbush and French plantation owner Emile de Becque. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To Oct. 7. $64–$84. (301) 924-3400. olneytheatre.org. turn me looSe This John Gould Rubin-directed play traces comic genius Dick Gregory’s rise to fame as the first black comedian to utilize racial comedy, intertwining art and activism and risking his safety in the process. Arena Stage. 1101 6th St. SW. To Oct. 14. $56–76. (202) 488-3300. arenastage.org.

Film

the Children aCt Emma Thompson stars as a judge who, in the midst of her own personal challenges, must decide a case involving a teen who refuses a blood transfusion on religious grounds. Co-starring Stanley Tucci and Ben Chaplin. (See washingtoncitypaper.com for venue information) the houSe With a CloCK in itS WallS After being sent to live with his magical uncle, young orphan Lewis must help him locate a clock which could bring about the end of the world. Starring Cate

Book and Lyrics by Gerome Ragni and James Rado Music by Galt MacDermot

CITY LIGHTS: MONDAY

ROBERT E. PARILLA PERFORMING ARTS CENTER 2018-2019 College Performing Arts Series

October 10-13 at 8 p.m.

October 14 at 2 p.m.

In the “Age of Aquarius,” a group of politically active, long-haired hippies are living the New York bohemian life and fighting against the draft for the Vietnam War. Tickets are $10 Regular, $8 Seniors, and $5 Students w/ Student ID

MONTGOMERY COLLEGE 51 Mannakee Street • Rockville, MD 20850 www.montgomerycollege.edu/pac Box Office: 240-567-5301

tOVE StYRkE

When I first heard Tove Styrke’s “Say My Name” earlier this year, it was during a commercial for a product I can’t even recall. I just remember thinking the song was such a bop. Immediately after hearing it, I hit the interwebs to search whatever disjointed lyrics I thought I heard hoping to find out its name. Luckily, Google was able to decipher my ramblings into results, and I haven’t stopped listening since. It’s an irresistible earworm with its three minutes and 25 seconds of spotless production, bare beat featuring a ukulele riff, and catchy pop refrain. And I wasn’t the only one who loved it—Rolling Stone named it one of the songs of this summer. “Say My Name” was the first single for Styrke’s 2018 album Sway, a short and sweet exercise in romantic pop perfection. Turns out Styrke, an under-the-radar Swedish import, can execute pop music to the high heavens. Must be a Swedish thing. Tove Styrke performs at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $16–$18. (202) 388-7625. rockandrollhoteldc.com.

—Kayla Randall

FOLLOW

APRIL 2, 2019 8PM

CITY LIGHTS: tUESDAY

BEtWEEN WORlDS: tHE ARt OF BIll tRAYlOR

In 1853, Bill Traylor was born into an enslaved black family in rural Alabama.

He wound up living through significant changes, from the Civil War to Emancipation to Reconstruction to Jim Crow segregation. He died in 1949 and was buried in an unmarked grave, not living to see the full breadth of the civil rights movement.

But, whether he knew it or not, he would become a part of its artistic history. Around 1939, in his late 80s and living in Montgomery, he decided to do something that at the time was profoundly radical for him: He picked up a pencil and paintbrush. His art showcased black humanity, often featuring black and brown figures working, celebrating, and simply living. The work is wonderfully vibrant with its defined shapes and bright colors. He would leave behind more than one thousand works. Only relatively recently has Traylor’s work been given its due, and now it’s on display at the Smithsonian American Art Museum with the exhibition Between Worlds: The Art of Bill Traylor. Better late to recognize a pioneer than never. This year, his grave finally received a headstone. The exhibition is on view to March 17, 2019 at the Smithsonian American Art Museum, 8th and F Streets NW. Free. (202) 633-7970. americanart.si.edu.

—Kayla Randall

presents

ON SALE FRI. 9/28 AT TICKETMASTER.COM/800-745-3000.

Oct 9, 2018 8pm

Tickets on sale now at Ticketmaster.com/800-745-3000!

presents

The Birchmere

Nov. 26, 27, 28 7:30pm Tix at Ticketmaster.com/800-745-3000. melissaetheridge.com washingtoncitypaper.com september 28, 2018 27

WASHINGTON,

D.C.

TICKETS ON SALE NOW! craftybastardsdc.com

Saturday, October 27 & Sunday, October 28 10 A.M. to 5 P.M. YARDS PARK @ CAPITOL RIVERFRONT

CITY LIGHTS: WEDNESDAY

WAltER MOSlEY

Fans of the crime fiction genre will recognise Walter Mosley’s name immediately. The critically acclaimed New York Times best-selling author has penned more than 50 novels in his lifetime amassing a list of achievements that would humble any high-profile writer. For those of us who like our fiction in moving pictures, Mosley’s neonoir mystery novel Devil in a Blue Dress was adapted into the great film of the same name starring Denzel Washington. The novelist also serves as writer and consultant on the FX hit Snowfall, the only reason I tolerate Thursdays. Our locally beloved bookstore and cafe Sankofa Video, Books & Cafe will host Mosley as he launches his highly anticipated mystery novel John Woman. Mosley will launch his book in conversation with founder of Black Classic Press W. Paul Coates. To accommodate the expected crowd, Sankofa won’t be hosting this event at its Georgia Avenue digs but rather at the historic Woodward Hall at Calvary Baptist Church. The talk begins at 6:30 p.m. at Calvary Baptist Church, 733 8th St NW. $40. (202) 234-4755. sankofa.com.

—Hamzat Sani

CITY LIGHTS: tHURSDAY

WEStON

If rock music has historically been the soundtrack of American adolescence, few have captured that experience with the same endearing perspective as Pennsylvania pop-punk band Weston. Their songs conjure the strife of yesteryear—going steady, varsity sweaters, malt shop romances—filtered through a ’90s slacker diet of Happy Days reruns and multiple viewings of American Graffiti. Weston’s tenure produced a few classic albums, with Got Beat Up being its most widely beloved, before sputtering out following a disastrous major label deal and the late ’90s pop-punk bust. The band has played sporadically since initially re-forming about a decade ago, but their cache has steadily grown because one of its latter-day members is James Alex Snyder, lead singer of the Replacements cover band better known as Beach Slang. This Thursday show is made even more notable by the inclusion of Digger, one of Weston’s contemporaries in the Lehigh Valley pop-punk scene who rarely play outside of their hometown. If you want to find me, I’ll be the one in the front of the crowd loudly requesting “I Want My Hat Back.” Some teenage feelings never die.

Weston perform with Digger and Latex Generation at Rock & Roll Hotel, 1353 H St. NE. $17.50–$20.

(202) 388-7625. rockandrollhoteldc.com.

—Matt Siblo Blanchett, Jack Black, and Lorenza Izzo. (See washingtoncitypaper.com for venue information) life itSelf A New York couple experience twists, trials, and tribulations on their life journey, from college sweethearts to the birth of their first child. Starring Olivia Wilde, Oscar Isaac, and Annette Bening. (See washingtoncitypaper.com for venue information) night SChool When a successful salesman is forced to go to night school to pass the GED and complete high school, chaos ensues. Starring Tiffany Haddish, Kevin Hart, and Brooke Butler. (See washingtoncitypaper.com for venue information)

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the SiSterS brotherS Two men, brothers and assassins, take a dangerous journey across the northwest in the 1850s. Starring John C. Reilly, Joaquin Phoenix, and Jake Gyllenhaal. (See washingtoncitypaper.com for venue information) Smallfoot A Yeti tries to prove to his big Yeti community that those mysterious creatures—humans— exist after he discovers one himself. Starring Channing Tatum, James Corden, Zendaya, and LeBron James. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I’m a 62-year-old woman. I was married for 33 years and left five years ago. We hadn’t gotten along for years, but he never stopped wanting or valuing me for sex—in spite of treating me like a household appliance and cheating on me regularly. Not long after the marriage ended, I met a guy online (my same age) who ticked nearly every box on my partner checklist—one of which was an ongoing interest in maintaining sexual relations.

In the beginning, things were hot and crazy— but they cooled after a few months (going from once or twice a day to maybe once a month). Other than that, the relationship continued to grow and we enjoyed being together. I tried to carefully broach the subject, but he was not forthcoming. I’m not proud of it, but I checked his internet history. Big surprise: LOTS OF PORN. No animals or children, but pretty much everything else, with an accent on trans. Eventually, I admitted my sleuthing and asked if his viewing habits were an indicator of his interests or the reason he had turned away from me. After the anger subsided, he explained that he had been single most of his life and had more or less gotten used to taking care of business solo. Also that the women he had been with who floated his boat sexually had been bad (crazy/unstable) in the partner department, and the good partners (me) had been less than satisfying for him in bed. The bottom line is that we are compatible in most every other area and have built a comfortable life together. We have intercourse every four to six weeks, and maybe once in between he will pleasure me. I enjoy both, and also take care of myself once a week. The struggle for me is more ego-driven. I’m no raving beauty, but I am reasonably fit and attractive for my age, and (used to) enjoy feeling desired and valued sexually. Can I get to the place of letting go of that and enjoy the rare occasions of physical congress?

—Sex Advice Please “Good for her for getting out of a marriage where she was treated like a ‘household appliance’ and getting back in the dating game,” said Joan Price, author of the books Naked at Our Age: Talking Out Loud About Senior Sex and The Ultimate Guide to Sex After 50. “But her new relationship, while it sounds comfortable and affectionate, doesn’t sound sexually fulfilling.”

This relationship doesn’t just sound unfulfilling sexually, SAP, it sounds infuriating generally. You entered into this relationship under false pretenses. You let your partner know that “an ongoing interest in maintaining sexual relations” was a priority for you, and he allowed you to believe it was a priority for him. In fairness to him, SAP, he may not have known himself to be incapable of sustaining a strong sexual connection, seeing as he’s been single for most of his life. But even if he wasn’t aware he couldn’t meet your needs then, that doesn’t change the fact that you aren’t valued/fucked

the way you want to be valued/fucked now.

“I think her best option is to stay friends with this guy but start dating and having sex with others,” said Price. “She could continue to have occasional sex with this man if they both agree to a nonexclusive, friends-withbenefits arrangement. Or they could become platonic pals, if that’s better for them. But it’s imperative that she talk candidly with him.”

You write that you tried to “carefully broach the subject, but he was not forthcoming,” but Price wonders whether you were forthcoming yourself. “‘Carefully broach’ usually means ‘I was vague,’” said Price. “Suppose, instead, she said, ‘I really value you, but I don’t think we’re well-matched sexually. How can we adjust our relationship so we’re not putting sexual pressure on each other and we’re both free to find other sexual outlets?’”

Your partner has an outlet that works for him and pretty much meets all his needs— porn and his own hand—but you don’t have an outlet that provides you with the feeling of being desired and valued sexually. Watching porn and/or “taking care of yourself ” isn’t going to meet your needs. So the question is this: Do you have to exit this loving relationship to get your needs met, or can you stay with your current partner, a man who meets your emo-

Women who get off on being cheated on and erotically humiliated by their partners are called cuckqueans, not cuckolds. tional and social needs, while getting your sexual needs met elsewhere?

“SAP deserves a partner who matches her sexually,” said Price. And I agree.

If you’re telling yourself that you’ll have to settle for someone who claims he can’t perform for you because you’re not unstable enough to turn him on—you do realize that compliment he paid you (you’re so good!) was actually a dishonest bit of blame-shifting/responsibility-dodging, right?—then you’re selling yourself short.

“I know from personal experience and from the swelling of my inbox that many of us find hot, fabulous sexual partners in our 60s, 70s, and beyond,” said Price. “It’s never too late.

She shouldn’t settle for sex that’s less than satisfying, and neither should he. If that means she looks for new partners and he returns to his solo pleasure with the porn he prefers and the hand that knows him best, they might both

be happier.”

Follow Joan P rice on Twitter @JoanPrice. She blogs about sex and aging at nakedatourage.com.

—Dan Savage I’m a transgender woman married to a cis woman. Is cuckolding strictly a male-being-humiliated-by-his-woman-partner thing? Or does it apply to all couples?—Cuckolding Holds Erotic Allure That Satisfies A man can cuckold a woman, CHEATS, and a man can cuckold a man, and a woman can cuckold a woman, and an enby can cuckold an enby. But women who are into being subs in a cuckold relationship—women who get off on being cheated on and erotically humiliated by their partners—are called cuckqueans, not cuckolds.

—DS

When I was younger and more stupid, I let my husband have intercourse with me or have me blow him or jack him off while I was on the phone with my sister. It was not something that I wanted to do, but I wasn’t strong enough then to resist his pressure. For the last five years, I’ve asked him to respect me and not do this. He was good about it for a while, and I thought that we were on the same page. Now he has resumed pressuring me to do this. When I am on the phone with my sister, he will come in and harass me, grope me, and attempt to remove my clothes. So I get off the phone. This makes him mad. If I say no, he emotionally withdraws, stops conversation about it, and tells me “no sex, no marriage.” We do have a sex life that does include some of his kinks. What is your opinion about using unwitting people on the other end of the phone for sexual satisfaction?

—Persistent Husband’s Obnoxious Needs Enrage Spouse The imperfect, doesn’t-always-apply adage “What you don’t know can’t hurt you” applies where your unwitting sister is concerned—so long as she doesn’t know you’re multitasking during your phone conversation, PHONES, no harm is done to your sister. But you know it’s happening and you don’t like it, and your husband knows you don’t like it but insists on doing it anyway. And when you shut him down— which is your absolute right—he gets angry, engages in emotional blackmail, and threatens to leave you (“no sex, no marriage”). But you are having sex with your husband—sex that includes some of his other kinks—so what he’s really saying is, “All the sex I want, however I want it, whenever I want it, regardless of how you feel about it, or I’ll divorce you.” My advice: Divorce him yourself.

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

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Across

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Down

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freersackler.si.edu @freersackler

Japan Modern Opening September 29

Photography from the Gloria Katz and Willard Huyck Collection

Prints in the Age of Photography

Š Masahisa Fukase Archives, courtesy of Michael Hoppen Gallery in London

Image courtesy of Kyoto Tokuriki Hangakan, Inc.

Generously sponsored by