Washington City Paper (September 30, 2016)

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CRAFTY BASTARDS THIS WEEKEND! INSIDE

Free Volume 36, No. 40 WashiNgtoNCityPaPer.Com sePt 30–oCt 6, 2016

Erratic funding, scrapped improvements, and outdated computers: how Kaya Henderson failed at-risk DCPS students. P.14

By Jeffrey Anderson

Photographs by Darrow Montgomery

OCT. 1–2, 2016 10 A.M.–5 P.M.

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2 september 30, 2016 washingtoncitypaper.com

INSIDE 14 Left behind

How Kaya Henderson failed at-risk DCPS students

By Jeffrey Anderson Photographs by Darrow Montgomery

4 Chatter DistriCt Line

7 Loose Lips: Things aren’t good for these political consultants.

8 Concrete Details: The simple beauty of the new Woodridge Library.

9 Gear Prudence 10 Housing Complex: An Adams Morgan hotel resurrects concerns about developer tax breaks.

12 Savage Love 13 Buy D.C.: Crafty Bastards

D.C. FeeD

19 Young & Hungry: Not your momma’s somms 21 Yak’ It To Me: What’s yakamein, other than delicious?

21 Are You Gonna Eat That: I Dream of Cheesesteaks at Supper at Bub’s 21 ’Wiching Hour:The Stacked at Smoked & Stacked

arts

35 Renovation as Revelation: Capps on the National Gallery’s new East Building 38 Arts Desk: Some of our favorite upcoming gig fliers 40 Film: Olszewski on Tanna and Front Cover

42 Music: Lorusso on new albums from Governess and Infinity Crush 44 Discography: Thomas on Lightshow’s Life Sentence 3

City List

47 City Lights: Death Valley Girls bring its haunting garage punk to Comet Ping Pong.

47 Music 50 Theater 53 Film

54 CLassiFieDs Diversions 55 Crossword

on the Cover

Design by Stephanie Rudig

“It’s not like anyone’s sitting around analyzing their cocaine.”

—Page 19 washingtoncitypaper.com september 30, 2016 3

CHATTER Angering the Yeast

Sure, we’ll cop to some cognitive dissonance.

Last week’s “Beer Issue” was a mammoth celebration of local suds and their brewers—11 stories and more than 10,000 words strong. But apparently we threw a turd in the punch bowl, a big shiny one whose pungency knocked some brew bourgeois from their padded barstools. In response NEAR ANNAPOLIS, to Zach Rausnitz’s piece (“Sour IN CROWNSVILLE, MD Notes”) that characterized craft beer drinkers as elitists in denial, @dcbeer wrote on Twitter: “We found it. We found the very worst beer take of the week. Maybe of the month. Probably not the year. Thanks to @wcp for delivering it.” @MelissaCole wrote, “Hey @rausnitz I’d suggest the problem is not beer but that the people you associate with are boring & rude.” And @drabmuh, who describes himself as having a “Ph.D. in beer,” tweeted, “Want to know the opinions concerning beer from someone who hates beer? Read this from @rausnitz or don’t.” There was at least one fan of Rausnitz’s essay, but he damned us with faint praise.

“Made me nostalgic for when WCP wrote about local music this way, also for when D.C. cared about music more than food,” wrote

TIME TRAVEL TO

@Chris_Richards. Commenters took more kindly to aaron Morrissey’s piece castigating food critics for overlooking beer in their reviews (“Missed Hopportunity”). “Yes we are fighting traditions and old thinking,” herzMuses responded. “The best way to get traditional foodies (and critics) to give beer equal treatment is to arm them with information … Beer deserves a leading role on restaurant menus and in food media coverage.

Let’s hammer that message home and collectively help kick tradition to the curb.” Finally, in a touching display of reader loyalty, someone ate his way through our entire “Sandwich Issue,” which ran in April and featured 15 of our local favorites. Ryan Tracy (@ryanjtracy) triumphantly tweeted, along with a copy of the issue, “15 sandwiches. 1 summer.

Unknown calories. Done and done.”

—liz garrigan

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In which beer loyalists tap some righteous indignation

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Department of Corrections: In last week’s issue, we misspelled the name of Del Campo’s bar manager. His name is Amin Seddiq.

Want to see your name in bold on this page?

Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

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publisheR eMeRitus: Amy AustIn publisheR: ErIc norwood editoR: lIz gArrIgAn Managing editoR: EmIly q. hAzzArd aRts editoR: mAtt cohEn food editoR: lAurA hAyEs politiCs editoR: wIll sommEr City lights editoR: cArolInE jonEs staff wRiteR: AndrEw gIAmbronE staff photogRapheR: dArrow montgomEry inteRaCtive news developeR: zAch rAusnItz CReative diReCtoR: jAndos rothstEIn aRt diReCtoR: stEphAnIE rudIg ContRibuting wRiteRs: jEffrEy AndErson, jonEttA rosE bArrAs, morgAn bAskIn, VAncE brInklEy, ErIcA brucE, krIston cApps, rubEn cAstAnEdA, justIn cook, shAun courtnEy, rIlEy croghAn, jEffry cudlIn, ErIn dEVInE, mAtt dunn, tIm EbnEr, jAkE EmEn, noAh gIttEll, ElEnA goukAssIAn, sArAh AnnE hughEs, AmAndA kolson hurlEy, louIs jAcobson, rAchAEl johnson, chrIs kElly, AmrItA khAlId, stEVE kIVIAt, chrIs klImEk, ron knox, AllIson kowAlskI, john krIzEl, jEromE lAngston, Amy lyons, chrIstInE mAcdonAld, kElly mAgyArIcs, nEVIn mArtEll, kEIth mAthIAs, mAEVE mcdErmott, trAVIs mItchEll, quInn myErs, trIcIA olszEwskI, EVE ottEnbErg, mIkE pAArlbErg, bEth shook, mAtt tErl, dAn trombly, tAmmy tuck, nAtAlIE VIllAcortA, kAArIn VEmbAr, EmIly wAlz, joE wArmInsky, AlonA wArtofsky, justIn wEbEr, mIchAEl j. wEst, AlEx zIElInskI, AlAn zIlbErmAn inteRn: noA rosInplotz sales ManageR: mElAnIE bAbb senioR aCCount exeCutives: ArlEnE kAmInsky, AlIcIA mErrItt, ArIs wIllIAms aCCount exeCutives: stu kElly, chrIsty sIttEr, chAd VAlE sales opeRations ManageR: hEAthEr mcAndrEws diReCtoR of MaRketing and events: sArA dIck business developMent assoCiate: EdgArd IzAguIrrE opeRations diReCtoR: jEff boswEll senioR sales opeRation and pRoduCtion CooRdinatoR: jAnE mArtInAchE gRaphiC designeRs: kAty bArrEtt-AllEy, Amy gomoljAk, AbbIE lEAlI, lIz loEwEnstEIn, mElAnIE mAys southCoMM: Chief exeCutive offiCeR: chrIs fErrEll Chief opeRating offiCeR: blAIr johnson exeCutive viCe pResident: mArk bArtEl loCal adveRtising: (202) 332-2100 fax: (202) 618-3959, Ads@wAshIngtoncItypApEr.com vol. 36, no. 40 sept 30–oCt 6, 2016 wAshIngton cIty pApEr Is publIshEd EVEry wEEk And Is locAtEd At 1400 EyE st. nw, suItE 900, wAshIngton, d.c. 20005. cAlEndAr submIssIons ArE wElcomEd; thEy must bE rEcEIVEd 10 dAys bEforE publIcAtIon. u.s. subscrIptIons ArE AVAIlAblE for $250 pEr yEAr. IssuE wIll ArrIVE sEVErAl dAys AftEr publIcAtIon. bAck IssuEs of thE pAst fIVE wEEks ArE AVAIlAblE At thE offIcE for $1 ($5 for oldEr IssuEs). bAck IssuEs ArE AVAIlAblE by mAIl for $5. mAkE chEcks pAyAblE to wAshIngton cIty pApEr or cAll for morE optIons. © 2016 All rIghts rEsErVEd. no pArt of thIs publIcAtIon mAy bE rEproducEd wIthout thE wrIttEn pErmIssIon of thE EdItor.

4 september 30, 2016 washingtoncitypaper.com

Join Doctors Without Borders at our new interactive exhibition about the global refugee crisis.

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6 september 30, 2016 washingtoncitypaper.com

Tomorrow’s History Today: This was the week Georgetown students terrorized campus neighbors during homecoming festivities.

DistrictLine Blunder Boys

They’re great political consultants. So why do their candidates keep losing?

Jimmy Calomiris launChed his campaign for a D.C. Council at-large seat in June with a platform that was vaguely Donald Trump-esque. A blocky businessman, Calomiris combined promises to cut through city hall red tape with a cheerful lack of knowledge about the job he was running for.

During one interview with LL, Calomiris revealed that he didn’t even know how many years a Council term lasts. Josh Brown—Calomiris’ youthful political consultant who has already served in prominent positions on several other local campaigns—cut in.

With fellow political consultant John Rodriguez sitting next to him, Brown set to coaching the candidate right in front of LL. “You’re going to shake things up,” Brown told his client.

The District government never got the chance to be shaken. After LL reported about Calomiris’ previous conviction for attacking his girlfriend, as well as multiple positive drug tests for cocaine, the candidate dropped out of the race in July.

The exit of Calomiris—and the personal wealth he had intended to invest in the campaign—marked a setback for District Political, the young political consulting firm run by Rodriguez, Brown, and a third partner, Jaime Alonso. It was far from their first.

When District Political launched last year, it included some of D.C.’s best young political talent. Even after several partners left the firm in late 2015, District Political looked poised in 2016 to put several challenger candidates in District government—or at least to help earn them strong showings. Instead, it’s been on a breathtaking losing streak, with the firm’s last two candidates failing even to make it to election day despite sizable campaign treasuries.

It’s a surprising washout for a young company that comes with political talent and gushing words from previous clients. The big-talking Rodriguez, 35, ran Edward “Smitty” Smith’s 2014 campaign for attorney general, which pulled off a surprisingly successful

Loose Lips

second-place finish. Smith, who admits he had no name recognition before the race began, lost only after eventual winner Karl Racine poured a massive amount of his own money into the race.

Brown, just 26, ran the failed 2014 mayoral bid of Ward 2 Councilmember Jack Evans, which raised a whopping $1.5 million. All that money couldn’t overcome Evans’ limp appeal to voters or the internal campaign intrigue between Evans’ old associates and his young staff, but it still outpaced his rivals. Brown also worked on At-Large Councilmember Anita Bonds’ successful Council campaign and worked in her Wilson Building office before joining District Political in May. The company’s connections offered littleknown candidates like Ward 4 hopeful Leon Andrews access to competitive pools of campaign cash they wouldn’t otherwise have been able to tap. Former Ward 7 Council candidate Ed Potillo says District Political brought in great money for his bid—until the fundraising cut he agreed to kick back was simply too costly.

“I just couldn’t afford them anymore,” says Potillo, who dropped out of the race before June’s Democratic primary.

Defending their dismal record in this year’s elections, the company’s principals tout their support for “underdog” candidates.

“Our firm is proud of our record of giving underdog candidates the fundraising and marketing support they need to run competitive campaigns,” the firm’s partners say in a statement.

District Political’s most prominent local client in the most recent election cycle was David Garber, a former Navy Yard Advisory Neighborhood Commissioner and smart growtherabout-town who launched an early challenge to incumbent At-Large Councilmember Vincent Orange. Despite his head start, though, Garber soon lost the anti-Orange mantle to later entrant Robert White, ending the primary with less than 15 percent of the vote.

District Political had a more unusual candidate in Calomiris, who likely would never have made it to the Wilson Building because of the baggage that seemed to surprise his consultants.

Even before LL wrote about his conviction, the

District Political’s Jaime Alonso, John Rodriguez, and Josh Brown

Darrow Montgomery

By Will Sommer

charge had already alienated well-heeled interest groups that otherwise might have supported him against incumbent David Grosso.

The same can’t be said for Jacque Patterson, the latest District Political client to fall short of even making the ballot. Patterson, a charter school operator and former Ward 8 Council candidate, wanted an at-large seat on the District’s usually sleepy State Board of Education.

District Political helped Patterson blow out his rivals in fundraising. When decade-long incumbent Mary Lord saw the early campaign finance filings—$32,000 for Patterson compared to her anemic $5,000—she was stunned. With contributions from bigwigs like former financial control board member Alice Rivlin and little competition aside from Lord, Patterson looked set to cruise into the seat.

Patterson and District Political won’t be able to spend much of that money, though, because the candidate never made November’s general election ballot. Lord successfully challenged the legitimacy of his nominating signatures—the most basic responsibility of any campaign—meaning that Patterson can’t compete in a race he could have won.

“That to me is just unforgivable,” says Chuck Thies, a political consultant and the treasurer for Vince Gray’s successful Ward 7 campaign.

It’s not clear how much District Political,

which touts its fundraising prowess, is to blame for Patterson’s inability to gather enough valid signatures. Its partners declined to comment on their role in signature collection, but Patterson certainly isn’t willing to bear all the blame for the embarrassing failure to launch.

“I think we were wrong-focused,” says Patterson, who adds unequivocally that he wouldn’t hire the company again for any future campaigns.

With such early misadventures inside D.C., District Political is now focused on races outside the city. The firm’s partners also point to their work on behalf of a nonprofit, as well as the creation with Ward 1 Councilmember Brianne Nadeau of a local chapter of an organization for local elected Democrats.

Apparently, Rodriguez still has some money to splash out. While LL was reporting this column, Rodriguez called, unbeknownst to his partners, to ask the name of the City Paper employee in charge of ad sales. He went on to ask whether LL would be aware if City Paper suddenly received a lot of money, and pondered how much he would have to spend in ads to gain more “power” to kill stories like this one.

It’s one more offbeat scheme from an outfit that tried to make its name with unlikely candidates. Unluckily for District Political, though, the problem with underdogs is that they tend to lose.

CP

washingtoncitypaper.com september 30, 2016 7

DistrictLine Break and Switch

By Andrew Giambrone After A week of hand-wringing over a hotel developer’s failure to date to hire residents for construction jobs under the terms of a $46 million tax break, D.C.’s highest finance official seems prepared to pull that benefit if the company doesn’t make up for its shortfalls in the near future.

Dubbed The Line, the project broke ground in Adams Morgan in early 2015, and construction is expected to finish as soon as next year. Its backers have promised to deliver an economic boost to the neighborhood in exchange for the tax abatement, to be doled out over 20 years. But more than five years after it was first announced, the hotel continues to raise eyebrows over whether and under what circumstances private developments should get public support. That debate was reignited last week when the Post reported that the project’s developer was nowhere near meeting statutory requirements that the D.C. Council approved in 2010 and amended in 2013.

Now, the Office of the Chief Financial Officer says it will decide whether to award the subsidy after the company “provides certification that all the conditions in the legislation have been met.” The act mandates the Sydell Group to hire a construction force of mostly District residents and “a minimum of 342 full-time equivalent employees” to build the 200-plus-room hotel. (Initially, the deal required 765 construction positions, but the resulting law was changed because the scale of the project had diminished.) Officials say Sydell is only about a quarter of the way to 342 jobs. They further insist that these positions were intended for D.C. residents, not laborers in general.

The situation calls into question how effectively the District can avoid being hosed, and who’s to blame when a deal goes south. And beyond Adams Morgan, the Line affair could set precedent. A spokeswoman for OCFO says she’s “not aware of the District ever rescinding an abatement program for a developer”— an assessment corroborated by more than half

Housing Complex

a dozen interviews.

In no small part, that’s likely because many tax incentives given by D.C. in the past have not contained clawbacks or other built-in protections designed to safeguard taxpayer dollars, as a 2013 investigation by WAMU revealed. Although the particulars differ, the District approved a $60 million tax break for the Advisory Board Company to remain in D.C. last year, while, in 2012, it approved but never fulfilled a $33 million tax deal with LivingSocial, which has struggled.

A spokesmAn for the New York-based developer says the company is working closely with the District “to ensure the project remains in compliance and in good standing with the community, and remains confident that it is on track.” He adds that the developer hosted a job fair on Sept. 14.

Meanwhile, executive and legislative officials say, Sydell risks forfeiting its tax abatement if it doesn’t hire up by the completion of the hotel’s construction, and if it thereafter fails to staff the majority of the hotel’s permanent jobs with District residents, half of whom must live in Ward 1. Other criteria for the tax break include the developer funding a job training program and providing at least 4,000 square feet of incubator space for local groups. The eventual hotel will absorb the First Church of Christ, Scientist, which faces Columbia Road.

Based on the Post’s account, Sydell seems to be under the impression that it’s only on the hook for filling 175 construction jobs with D.C. residents, or 51 percent of the 342 cited in the law. But as Bryan Weaver, a former neighborhood commissioner who helped craft the deal and ran for D.C. Council, points out, even then the developer would be off the mark.

Weaver is skeptical that Sydell will come into compliance by the end of the build-out, noting that records he saw in March showed the company had hired fewer than three dozen D.C. residents up to that juncture.

“This is a kid going into the last week of his senior year saying if he doesn’t pass these three classes, he’s not going to graduate, and he’s saying, ‘Oh, I’m going to pass,’” the com-

8 september 30, 2016 washingtoncitypaper.com

munity activist says.

“Unless they extend the construction for another year, I don’t see how they do it.”

As a prominent backer of the deal, Weaver hopes he’s wrong. “If the District wants to work out some sort of settlement with [Sydell], or a penalty and then try to continue with the tax abatement, I’d look at it for what it’s worth,” he adds. “But at some point, we’re all carrot and no stick.

At what point are we going to say: Sorry guys, you didn’t hold up your end of the bargain?”

City leaders are toeing a fine line with the hotel’s team because they want to see a longstanding project realized while simultaneously affirming the rule of law. Courtney Snowden, deputy mayor for greater economic opportunity, says she doesn’t view the situation as a “controversy.” “In my view, we want to be good partners with those who are helping to build up the city and create opportunities for residents,” Snowden says. The Department of Employment Services, she explains, will keep tracking hires by Sydell and its contractor Walsh Construction.

Asked about the role of Mayor Muriel Bowser’s administration in supervising the development, Snowden replies, “I wouldn’t say that some have said we dropped the ball. I don’t think we have. We have a group of committed staff to monitor projects and contracts.

This is one of them.”

Ward 1 Councilmember Brianne Nadeau says the hotel will bring critical daytime foot traffic to Adams Morgan, a neighborhood that has no shortage of the nighttime kind. Nadeau declines to speculate about whether Sydell will fulfill its obligations and says her priority is en-

Darrow Montgomery

A major hotel project in Adams Morgan resurrects concerns about developer tax incentives.

suring D.C. residents—particularly those in her ward—have opportunities for short- and long-term jobs. To that end, her office has coordinated with the developer to schedule three job fairs over the next three months, one on Oct. 7. Still, Nadeau says it’s not “a persuadable point” if Sydell neglects to follow the law.

“It’s not about how any one of us feels at the moment.”

So where does the buck stop? Jim Graham, Nadeau’s predecessor who introduced the tax break to the D.C. Council, describes the gap between the developer’s employment of District residents thus far and the provisions in the legislation as “a failure of oversight,” assigning partial blame to his one-time rival. “We paid attention to major projects within our ward in terms of compliance—not everything that goes on but something as gigantic as that hotel, certainly,” he says. “Without that money, nothing would have happened.”

Construction on The Line launched shortly after Graham was booted from office. He suggests that timeframe means sitting elected officials are culpable for the project’s shortfalls.

“The attention should have been paid in the

District

Line

last 18 months,” Graham says. “Who was in office the last 18 months? You tell me.”

To which Nadeau responds, magnanimously: “I appreciate the work that Jim Graham did as my predecessor, because without him we wouldn’t have this law, but it’s not about pointing fingers at this point.”

For some Adams Morgan residents, the main issue at hand is getting the most bang for the District’s buck from the hotel, as the agreement sought. Wilson Reynolds, a longtime neighborhood commissioner, calls the deal “cutting edge” in terms of the payout it’s supposed to bring D.C. He adds that he’s “in harmony” with Nadeau about next steps, arguing that Sydell has a simple reason to comply with the law: “They have a lot of eyes on them.”

“Now, how hard they work to fill those jobs?

That can be a different conversation,” Reynolds says. “What’s scaring me is that, the ability to be able to have a job in this neighborhood that allows you to afford to live in this neighborhood is quickly eroding. It’s a very serious problem.”

D.C. Council Chairman Phil Mendelson recalls that the tax abatement for the hotel was highly debated when originally proposed. He was one of a handful of councilmembers to vote against it in December 2010. While lawmakers have reformed the city’s tax-abatement policies since then, requiring stricter OCFO analyses to assess whether a development needs an inducement to advance, Mendelson says he still “does not see why we need to provide an economic incentive for this project.” “But a deal is a deal,” he notes. “I’m not about to pull the rug out from under it.”

For the chairman, the policy takeaways from the hotel fracas are already apparent. “Assuming the worst, it would not be a new lesson. It would be a reaffirmation that the District can be taken advantage of,” he says. “Assuming the best, then we could take from this that the idea of tying employment of District residents to government benefits, like tax abatements, is a good thing.”

Whether the worst, the best, or something in between ensues will unfold in the coming months.

“Keeping the tax abatement is probably a major motivation for the developer, so I wouldn’t be surprised if they are working very hard to meet [requirements],” explains Ed Lazere, executive director of the D.C. Fiscal Policy Institute, which initially opposed D.C.’s financing of the project.

The Line “highlights that the city has to be really careful when it thinks about giving tax breaks to for-profit developments, to make sure it’s not only getting its money’s worth but it can enforce it.”

CP

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DistrictLinE Oculus Prime

By Amanda Kolson Hurley Suddenly, pyramidS are cropping up all over D.C. The National Museum of African American History and Culture (NMAAHC) opened to great fanfare last weekend, a bronze stack of flipped-over pyramid bases.

The MGM Casino at National Harbor, set to open this winter, is a massive truncated pyramid topped by a leaf-shaped canopy. Now, on a much smaller scale, we have the new Woodridge Library in Northeast, designed

by Bing Thom Architects (BTA) and Wiencek + Associates.

The way its graybrown walls tilt inward gives it a definite pyramid-like quality. When did ancient Egypt become hip again?

The similarity between the new library, which opened Sept. 28, and the work of NMAAHC designer David Adjaye doesn’t end there. A chunky, slatted white sunshade covers the whole roof, an echo of the canopy that overhangs Adjaye’s Francis A. Gregory Library in Hillcrest. This wasn’t intentional, says Brian Ackerman of BTA, the senior project architect. “There were many discussions of getting compared to that or not… but it’s totally different. And it’s not a bad thing; [Francis A. Gregory] is a nice building.”

The two concepts that inspired the Woodridge Library design were a castle and a lantern—a castle, so it has a commanding presence on its hilltop site at Rhode Island Avenue and 18th Street NE, and a lantern, so it can serve as a beacon for the neighborhood, especially at night, when it’s lit from within. These don’t seem like compatible ideas, and in truth, they don’t play together all that well on the exterior. The architects wanted to avoid a defensive, fortress-like appearance, but some of the softening details they added—rounded corners, a checkerboard plaza out front, and the big white sunshade hovering like a UFO—land just this side of kitsch.

Any hesitation melts away once you step inside, though. Most of the back wall is a two-story window looking onto Langdon Park from on high. It’s a bright, lush view. The first floor of the $16 million, 23,000-square-foot building is mostly a children’s area, and I can’t imagine a nicer place to while away a morning with kids. There’s a round book corral with a donutshaped foam seat in the middle, and off to one side, a small auditorium for readings and per-

ConCrete Details

formances. The commonsense layout includes a family bathroom on this floor, as well as plenty of movable, bright foam furniture, and book shelves placed unobtrusively to prevent toddlers from escaping out the front door.

Up a broad central stair, the second story has a balcony that juts and snakes over the ground level. A built-in desk runs along the whole thing, letting patrons peer over the stacks below—and bask in light from the big skylight, or oculus, cut into the library’s roof. On the third floor, the rim of the oculus offers a dramatic view down that is worth a visit by itself.

From the lounge around the oculus, you can head out to the green roof and sit on the terrace, level with the tops of the trees in the park below. All the tables and chairs make this top floor feel like a cafe, minus the coffee. It’s sure to become a popular space. But peace and quiet may be in short supply, and not just up here. The basic design of the library—wide-open floors connected vertically by the oculus—seems likely to carry noise. Ackerman says past experience with busy cultural buildings leads him to believe it won’t be a problem. (BTA, which is based in Vancouver, also designed Arena Stage on the Southwest waterfront.) There are private study rooms with sound baffling on the ceiling and a number of closed-door conference and meeting rooms.

The square floor plan doesn’t offer many nooks for solitary, curl-up-in-a-chair reading.

Still, a corner in the teen section on the second floor is cozy. It’s lit by a window pushed a few feet into the library from the outer wall, the gap between them set off by a slash of shimmery orange. This detail repeats around the building, alleviating the heaviness of the concrete and drawing your gaze out. “We have these large, purposeful cuts… to help break down the scale of the building on the outside,” Ackerman says.

A broad zigzag of the same orange frames

10 september 30, 2016 washingtoncitypaper.com

Woodridge Library the smaller, first-floor terrace beyond the window wall. The day I visited was hot, and the sun bore down as Ackerman and I stood on the terrace. Both of the library’s terraces and the window wall have a southern exposure. Before construction, this led the U.S. Commission on Fine Arts, the agency that oversaw the design, to worry about people baking in the sun.

The terraces may be too hot to use some summer days. But the view onto the park is so good, the architects would have been crazy to squander it. “This is one of the very few library buildings that backs up to a really nice park. We totally wanted to take advantage of that,” Ackerman says. Retractable shades can be pulled down over the window wall to lessen the heat and glare.

Woodridge is the 17th library to be rebuilt or renovated by the District of Columbia Public Library system (DCPL) over the past decade. It is hard to overstate the success of this program, which has drawn on the talent of famous designers like Thom, Adjaye, Philip Freelon (Adjaye’s partner on NMAAHC), and the Dutch firm Mecanoo.

Photographs by Amanda Kolson Hurley

The new Woodridge Library packs a lot of visual drama into a small, simple building.

Today, D.C. residents enjoy the benefits of first-rate public architecture in neighborhoods all over the city.

“The spaces are cheerful. It’s such a simple concept, but it’s an incredible draw,” says Richard Reyes-Gavilan, DCPL executive director. “We see it everywhere we’ve got a new or renovated library.” The program was spearheaded by Reyes-Gavilan’s predecessor, Ginnie Cooper, who retired in 2013. During her tenure, and thanks in large part to the new facilities, DCPL’s annual circulation rose from 1.2 million to 3.7 million.

Woodridge was the last design job awarded under Cooper’s watch. While not hitting the highs of Francis A. Gregory, it is a fitting part of her legacy. The architects expect the building to get a LEED Gold certification for sustainability. Materials are well chosen, and details are rendered crisply. (Sometimes a little too crisply—the glass-panel barrier around the oculus, with no railing, made me nervous to think of children leaning against it.) But most important, the spaces are just a pleasure to be in. No wonder D.C.’s library system is on its way to becoming the envy of the nation. CP

Gear Prudence Gear Prudence: Are people ethically obligated to immediately dock an improperly docked Bikeshare bike or can they take advantage of this and ride it to their final destination? “My friend” came upon an undocked bike and, though he’s a Bikeshare member, he didn’t have his fob or credit card on him.

“My friend” (OK, me) didn’t want to wait a half hour for the bus. Isn’t it actually better to dock the bike after a 25-minute ride to a different station than to just ignore it entirely, racking up even more late charges for whoever didn’t dock it properly?

—Slightly Troubled Ethics, At Least Dear STEAL: This isn’t exactly stealing a loaf of bread to feed a starving family. While you eventually docked the bike, you also rode on someone else’s dime, and that’s not cool. Each Bikeshare trip is timed from the moment the bike is freed to the moment the bike is docked AND the green light comes on. If you don’t see a green light when you dock, the bike can still be wrested free and the trip isn’t technically over. In this case, you took advantage of another Bikeshare user’s carelessness (or misfortune) and likely ran up charges well beyond what they would have incurred had they docked properly. While docking after your 25-minute ride is better than not docking the bike at all, you had the opportunity to do the right thing by docking the bike immediately but instead were a selfish opportunist. Absent the zombie apocalypse or equivalent emergency, don’t ride a bike you didn’t pay for. Come on.

—GP Gear Prudence: Why are bicyclists obsessed with coffee? It seems like the only thing my bike friends want to do is ride to coffee shops. I like riding with them, but I don’t drink caffeine and find these stops to be so tedious. We can’t even go 10 miles before one of them is like “espresso?” Ugh. Maybe I should just ride by myself. —Can Outdoor Friends Fathom Enjoyment Elsewhere Dear COFFEE: Maybe you should! If these java joint jaunts don’t genially jibe with your jam, jettison the jamokes. No need to subject yourself to a widely popular leisure activity enjoyed every day by millions of people, bicyclist and not. Sip your preferred beverage solo or find new friends less besotted by brew.

Many cyclists like coffee because caffeine is a stimulant and the go juice helps them go farther and faster. Other cyclists enjoy coffee because they also enjoy it in their non-cycling lives. Coffee is a popular drink, socially acceptable to consume at all times of day. Coffee shops tend to be nicer places to stop than gas stations or convenience stores for bathroom purposes. For others, getting a cup of joe provides a nice pretense to ride. Anyway, GP should not have to explain why people like coffee.

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

Email gearprudence@washcp.com.

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SAVAGELOVE

I’m a guy, 35, and a cheating piece of shit. I’m engaged to a woman I love, but earlier this year I cheated on her. I have no excuse. She discovered the dating app I used, and we worked through that. But she doesn’t know that shortly after her discovery, I went ahead and cheated. To my meager, meager credit, I did seek out only women who were looking for NSA hookups. But I quickly came to realize how big of a mistake this was, how much I love my fiancée, and that I’m a shitty person. I see a therapist, and he advised that, if I’m certain this was a one-time thing, and if I’m convinced that I’m happy with my fiancée, I should keep quiet. I shouldn’t burden my fiancée with this knowledge. I’m inclined to agree but, dear God, the guilt. I feel like I’m not the person my fiancée thought I was. What do I do? Should I just accept this as a lesson learned and keep it to myself? Perhaps there’s selfishness at play here, since I’m trying to make myself feel better, but I’m struggling.

—Can’t Personally Overlook Selfishness

ers. If you can’t be faithful to someone—if that’s what you discovered when you had the affair— then you should extract yourself from the monogamous commitment you’ve already made to your fiancée and refrain from making monogamous commitments to anyone else in the future. But if you honestly believe you can be faithful, CPOS, you don’t have to see yourself as a cheating piece of shit. A serial adulterer/betrayer/liar is a cheating piece of shit. Someone who cheated once, regrets it, and makes a goodfaith, multi-decade effort not to do it again is a fallible human being.

—Dan Savage

I’m with your therapist, CPOS—and, hey, it’s nice to see “keep your mouth shut about a onetime infidelity” make the jump from our finer advice columns (Dear Prudence, Dear Sugar, Savage Love) to some of our actual therapists.

While honesty (best policy) and confession (good for the soul) get all the positive press, there are times when unburdening yourself is absolutely the wrong thing to do. The person who confesses may wind up feeling better— because at least now they’re being honest— but the person to whom they’ve confessed can wind up feeling a whole lot worse. Some burdens should be borne, not shifted. If your fiancée is going to find out inevitably, CPOS, better she find out about it from you. But if the secret can be kept and if living with the guilt motivates you not to cheat again, then you can keep your mouth shut with a semi-clearish conscience.

This advice is not a license for serial adulter-

My boyfriend of five years is a sweet, smart, handsome, loving, supportive, middle-aged, chubby white guy. We have a fulfilling sex life. When we first met, he shared a fantasy he had about watching me get fucked by a black guy. (He knows it’s not something I’m interested in IRL.) I’ve caught him several times posing online as a young, buff, handsome black guy looking for a “snowbunny.” I call him out on it every time, and it causes huge fights.

He says he’ll stop, but he never does. Weighed against all his other good qualities, this isn’t that big of a deal. Clearly, he’s not going to meet up with the women he’s chatting with. What makes me sad is that I adore him as he is—I love his big white belly, his bald head, and his rosy cheeks. I think I do a good job of communicating this to him. I guess I’m writing to you for some reassurance that I’m doing the right thing by letting this behavior go and also for some insight into why he’s doing it in the first place.

—Upset Girlfriend Hates Eroticized Racial Secrets

If this isn’t that big of a deal, UGHERS, why are you calling him out on it? Why are you monitoring his online activities/fantasies at all?

What your boyfriend is doing sounds relatively harmless—he’s pretending to be someone he’s not while flirting with other people online who are most likely pretending to be someone they’re not. (I promise you most of the “snowbunnies” he’s chatted with were other men.) The world is full of people who enjoy pretending to be someone they’re not, from cosplayers pretending to be Captain America or Poison Ivy to cre-

The world is full of people who enjoy pretending to be someone they’re not, from cosplayers pretending to be Captain America or Poison Ivy to creative anachronists pretending to be knights and ladies to Donald Trump Jr. pretending to be a human being. ative anachronists pretending to be knights and ladies to Donald Trump Jr. pretending to be a human being.

We can’t gloss over the racial/racist cultural forces that shaped your boyfriend’s kinks, of course, but it’s possible to explore those kinds of fantasies online or IRL without being a racist piece of shit. And a person can pretend to be someone of another race online—because it turns them on—without injecting racial hate into online spaces and/ or thoughtlessly reinforcing damaging stereotypes about people of other races. You’ve seen your boyfriend’s online chats, UGHERS, so you’re in a better position to judge whether he’s exploring his fantasies without making the world a worse place than it already is for actual black men.

If he’s being a racist piece of shit online, UGHERS, call him out on that. If he isn’t, stop policing his fantasies.

—Dan

I am a 36-year-old Italian straight man. I love my girlfriend endlessly. One month ago, she told me she has thoughts about missing out on the things she didn’t get to do in her teens. She is 29 years old now. Also, she says she feels only a mild love for me now and is curious about other men. Yesterday we met and cried and talked and made love, and it felt like she still loves me passionately. But she also told me she had sex with a stranger a week ago and she is going for one and a half months to Los Angeles on her own. Now I feel confused. I should hate her for what she did to me, I should tell her to fuck off, but I can’t do it. I am so in love and I want to be together again after her trip. How do I exit this turmoil?

—Pensive And Insecure Now You exit this turmoil by breaking up with your girlfriend.

She wants to get out there and do “things she didn’t get to do in her teens,” i.e., fuck other guys and most likely date other guys. This isn’t what you want, PAIN, you’ve made that clear to her, but she’s gonna fuck other guys anyway. You don’t have to pretend to hate her, PAIN, and you don’t have to tell her to fuck off. But you do have to tell her that it’s over— at least for now.

And once she goes, PAIN, don’t lie around tormenting yourself with mental images of all the things/men she’s doing in Los Angeles. Don’t put your life on hold—love life included—while she’s gone. You’re going to be single. So get out there, date other women, do some things/women you haven’t done. If she wants to get back together when she returns, and if you still want to get back together with her, you can pick things up where you left off.

But you should act like it’s over while she’s gone, PAIN, because it most likely is. —Dan Send your Savage Love questions to mail@savagelove.net.

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Erratic funding, scrapped improvements, and outdated computers: how Kaya Henderson failed at-risk DCPS students

By Jeffrey Anderson Photographs by Darrow Montgomery 14 september 30, 2016 washingtoncitypaper.com

the Henderson/Rhee regime, which is now in its 10th year,” says Mary Levy, an independent budget analyst, former research analyst for the Office of the Chief Financial Officer, and former director of the Public Education Reform Project. “Not that the pre-2007 regimes did any better, but this one has money and power that their predecessors only dreamed of.”

Levy is a highly regarded D.C. fixture whom mayors, D.C. Council members, and public school advocates have relied on for years to make sense of the data.

Less tHan a mile from the Congress Heights Metro and the Maryland line, Malcolm X Elementary School is quiet on the Friday afternoon before Labor Day. A few parents walk their children up the steep hill from Mississippi Avenue in Southeast, past half-million-dollar homes with two-car garages under construction across the street, toward humble garden apartments, aged apartment complexes, and weathered bungalows in Ward 8, where half of all children live in poverty.

In some respects, Malcolm X is unique: Of its 238 students from pre-kindergarten through fifth grade, 88 percent are considered “at-risk,” meaning they are homeless, in foster care, qualify for temporary financial or supplemental nutrition assistance, or are one or more years older than their grade level. That’s the highest percentage in Washington, D.C. Until recently, it was co-located with a public charter school, occupying the first and third floors of an elementary school that closed in 2008.

But Malcolm X also is among a subset of D.C. public schools that officials occasionally acknowledge (and almost never by name) in their bromides, soundbites, rationalizations, and proclamations that accompany the latest standardized test scores or status reports on

D.C.’s decade-long reform effort: It’s a 40/40 school, a designation borne of DCPS Chancellor Kaya Henderson’s five-year strategic plan, A Capital Commitment, which she launched in 2012.

A 40/40 school is among the 40 lowest performing schools in the District. When she announced her plan, Henderson said her second-highest priority—“invest in struggling schools”—was to increase proficiency rates in those schools by 40 percentage points by the end of the current school year. Initially, DCPS defined “proficiency” according to the D.C. Comprehensive Assessment System (DC-CAS), designed to test mastery of English, math, and science according to local “content standards,” but it abandoned that metric after the 2013-2014 school year.

Schools designated as 40/40 schools have certain traits in common: They mostly reside in parts of the city plagued by high crime, high unemployment, high rates of disease and mortality, and high numbers of single-mother households. More than half are elementary schools, which experts agree is the educational stage that is most critical to any future prospects for success in academics—or life.

Of those 21 elementary schools, 18 reside in

Wards 7 and 8, two reside in Ward 6 and one resides in Ward 1. On average, more than 77 percent of all elementary students at 40/40 schools are considered “at-risk.” The DCPS average for at-risk students in its other schools is less than 50 percent.

As Kaya Henderson departs DCPS, the schools are nowhere close to the goal she set, with marginal or inconsistent gains in some schools, stagnation in some, and losses in others, according to a City Paper review of DCPS performance data. DCPS, after four years, still lists 10 of the 40/40 elementary schools as “priority” schools, meaning they still need “intense support to address low performance of all students” and require “special quality monitoring and professional development.”

Six are labeled “focus” schools, meaning they need “targeted support to address large achievement gaps,” according to the DCPS website. Just five are considered to be either “rising” or “developing.”

Which is not surprising, given that investment in 40/40 schools has ranged from nonexistent to inequitable to compromised, according to DCPS funding data, proficiency scores, budget experts, and education watchdogs. “I think it’s the biggest problem that DCPS has, and the biggest disappointment of

Henderson introduced Her strategic plan five years after Rhee arrived to acclaim and controversy as a school reform change agent. Close observers were already questioning Rhee’s impact and Henderson’s vision. Arts programs, STEM schools, smallschool incubators and colorful graphs at the center of the Rhee-Henderson model were not being embraced so much as tolerated amid an emerging culture of standardized testing. At a July 2012 D.C. Council roundtable, DCPS parent, education activist, and freelance journalist Virginia Spatz testified: “New plans offer no more reference to the particular circumstances of the District—strengths, weaknesses, peculiarities—than we saw [years] ago. No research to show the impact of steps already taken or the wisdom behind any specific steps to come.”

The 40/40 initiative in particular was greeted with skepticism. “I remember when she announced the 40/40 goal. I thought, good, this is something she can be held accountable on,” says a former DCPS official. “No school in the history of time has achieved such goals,” counters a D.C. Council staffer familiar with DCPS school reform. “On its face, the concept of this as a reachable goal was ridiculous.”

A frequent criticism of Henderson, who has flirted with a national reputation as an education reformer, is that she promotes progress by highlighting aggregate student test scores that either do not account for or obscure one of the widest achievement gaps in the country. With at-risk students scattered throughout DCPS, but in lower percentages than in the 40/40 schools, individual student achievement also can overshadow the realities of struggling schools. When standardized test scores are “disaggregated,” or analyzed school-by-school, the argument goes, she looks less like the star her supporters want her to be.

In recent months, Henderson herself has walked back her commitment to D.C.’s most struggling schools. When she announced the 40/40 initiative, she forecasted grants, extended learning time, and targeted technology investments. Indeed, several of the schools subject to the controversial “extended day” policy are 40/40 elementary schools. She also pledged to “invest in teachers, principals, and staff who interact with students every day,” a practice that her critics say involves handing out bonuses to “highly effective” teachers and firing those at schools with low proficiency scores. The resulting teacher turnover in 40/40 schools is twice the rate as in schools

washingtoncitypaper.com september 30, 2016 15

with 20 percent or fewer at-risk students, according to Levy’s review of DCPS data.

In March, in an interview with Gavin Payne, director of program advocacy for the Bill and Melinda Gates Foundation, Henderson touted fiscal investments in activities that she and her team would want for their own children: learning how to play an instrument, learning a foreign language, becoming technologically literate, playing sports. She checked off the goals in her five-part strategic plan and claimed that she is held accountable by the city for each one of them. “Looking at data regularly and using that to drive us towards our goals has kept us honest and focused over time,” she told Payne.

But when Payne persisted with a question about Henderson’s “personal goal of closing achievement gaps,” the chancellor explained: “I am not exactly convinced that schools alone can close the achievement gap. I think about the fact that in Washington, D.C., we have the greatest income inequality in the country.

That gap is only growing, and the fact that our achievement gap is growing in a similar way shouldn’t be baffling. But I think what we’ve learned is that equity is really more appropriate, giving different people different kinds of support...And for different groups and different kids that means different things.”

Iris Jacob, a professional development director with Teaching for Change and an adjunct faculty member in Women’s Studies at Trinity Washington University disputes the equity claim. “If we look at the holistic lives of these children, they are dealing with so many factors outside of school that account for how they are judged via test scores,” Jacob says.

“Families [east of the Anacostia River] are screwed by conditions that would never apply to other kids.”

Parents and teachers at some 40/40 schools are not seeing an equitable investment in the well-being of the children or their surroundings. One teacher at Malcolm X who spoke with City Paper on the condition of anonymity to avoid risk of retaliation describes a student body in need of behavioral and emotional support based on conditions in their homes and neighborhoods. “They are trapped in a school system not adequately prepared to deal with these conditions,” says the teacher.

At another 40/40 school, Benjamin Orr Elementary, parents have been fighting for renovations to an antiquated open floor plan for years. “Classes are separated essentially by dividers,” says Sirrell Phillips, who serves on a parent-teacher-community panel that advocates for school modernization. “Here it is, 2016, and we’re just getting to the drawing board. It’s difficult to learn in that environment. These kids are not jaded yet, but when the A/C goes out and no one fixes it, they start to feel like they don’t matter.”

Another teacher at a 40/40 school who spoke on the condition of anonymity says resources for the schools themselves also are lacking. As a result of cuts to the technology budget for at-risk students, the teacher says, the school offers blended learning for just half of the students; The computers they do have

“She needed to be in the trenches, would’ve had to walk in my shoes to understand how to help us. But she didn’t walk the journey.” are surplussed from other schools and out-ofdate. “It’s like the Third World over here.” dcPs oversigHt rePorts tout four areas of investment in 40/40 schools: recruitment and training of highly effective teachers; new teacher training by “master educators” and strategies to improve attendance and school climate; extended school days; and hiring of assistant principals to improve literacy. Extended schools days, assistant principals, and reading specialists were supposed to be funded in 2013 and 2014 by a grant dubbed “Proving What is Possible,” but Malcolm X, a “priority” school, did not receive such funding for those years. Other schools on the 40/40 list received $100,000 each for those years, but so did a number of non-40/40 schools. In 2014, DCPS increased grants in some of the 40/40 schools, but cut them back in others.

Only 17 percent of teachers in 40/40 schools were rated highly effective in 2013, and that figure has not risen more than five percentage points since.

Meanwhile, investments in attendance and school climate were systemwide and therefore not unique to the 40/40 schools. Literacy programs were never implemented in more than 50 percent of the 40/40 schools. Extended schools days became a systemwide policy, and enough 40/40 schools implemented it to warrant the most visible reform effort in those schools. But assistant principals were installed in as few as eight 40/40 schools but never more than 11, and reading specialists appeared in 11 of the schools but never more than 21 of them.

Master educators were to perform annual observations of teachers in their specialty area with the help of a diagnostic tool known as Response to Intervention, but the 40/40 schools did not complete those plans until 2015.

Almost three years into her initiative, Henderson had little to show in terms of actual investment. In 2014, DCPS layered a new category of additional funds on top of an otherwise uneven regular funding structure for students “at risk” of academic failure. But this additional funding came just as DCPS was dropping DC-CAS as an evaluative tool, making it impossible to measure investmentbased performance in the 40/40 schools over the arc of the five-year plan. The following year, DCPS shifted “Proving What is Possible” funds to all schools to promote “student satisfaction” through field trips, extracurricular activity, clubs, anti-bullying programs, and athletic teams.

16 september 30, 2016 washingtoncitypaper.com

For the 2014-2015 school year, schools were supposed to receive $2,079 in additional funds per at-risk student. Under the Fair School Funding Act, such funds were required to “follow the student,” and school officials had discretion to determine how to use them—as long as they supplemented the budget, not supplanted funds for basic school functions.

But DCPS decided not to allocate funds to atrisk students the first year, and instead used them for purposes such as field trips, improvements in middle schools, and extending the school day.

In 2015, a coalition of education advocates, including Levy and the D.C. Fiscal Policy Institute, developed a data tool for tracking school funds that provided a revealing look at Henderson’s investment in at-risk students in struggling schools. The coalition reported 40/40 schools with large numbers of at-risk students not receiving their share of funds, and non-40/40 schools with fewer at-risk students receiving more on a per-student basis. Just two of the 40/40 elementary schools received the requisite $2,079 per at-risk student, the data tool shows. In almost half of the 40/40 schools, at-risk students received less than $1,000 per student. (Malcolm X received $910 per “at-risk” student. Savoy Elementary School, another “priority” school in Ward 8, received just $464 per student.)

DCPS again allocated $2,079 per at-risk student in 2016 and improved distribution of the funds, Levy says, but not sufficiently. Allocation of at-risk funds ranged from $1,676 per student to $4,683 per student, with most schools receiving between $1,850 and $1,950 per student. According to an analysis conducted by Levy and Souma Bhat from D.C. Fiscal Policy Institute, 32 percent of the funding supplanted regular funding.

For the current school year, the DCPS budget actually allocated the funds uniformly (at $1,908 per student). But Bhat and Levy found that throughout DCPS, schools as a whole are now dipping into 47 percent of the at-risk funds to supplant, not supplement, core functions.

There are two ways to look at at-risk funding: The total per-school allocation divided by the number of at-risk students, or the total perschool allocation divided by total student enrollment. Although the first method provides a uniform allocation for each at-risk student, the latter varies depending on how many non-atrisk students attend each school. So because DCPS used the latter formula, from the 2015-

2016 school year to the current school year, atrisk funding per-student actually decreased at 11 of the 21 elementary schools in the 40/40 program that saw total enrollment gains, including Malcolm X. Such variations are minor among the 40/40 elementary schools, however, because there are only two outliers among them: Fifty-four percent of students at H.D. Cooke in Ward 1 are at-risk, and just 38.7 percent of students at Tyler, which has an immersion program and is in a gentrifying neighborhood in Ward 6, are at-risk. The rest of the 40/40 schools have a student body that consists of 71 percent at-risk students or higher.

If Henderson looks the DCPS achievement gap squarely in the eye, she would be hard-pressed to show that she has provided the kind of “intense support” needed to appreciably improve proficiency or investment in 40/40 schools.

“Instead of being focused on educational or social support, they spend money on office furniture and computers designated for [standardized] testing,” says the council staffer. “They just seem to have a different idea of how to approach serving the neediest kids, but it’s difficult to make the argument that they are following through on their stated intent.”

Adds Levy: “Is anything being done to counteract the effects of mid-year student mobility or homelessness or evictions due to gentrification or family dysfunction? These are big problems at low-income neighborhood schools, and the investments as reported say nothing about them.”

According to the DCPS website, the Malcolm X Elementary student body is 100 percent black and all qualify for the free-and-reduced lunch program. More than 88 percent of the students are considered “at-risk.” Housed in the former home of a school that closed almost a decade ago, Malcolm X has the building to itself for the first time in three years.

In 2014, The D.C. Council’s Committee on Education cut $16 million from a proposed $21.9 million renovation intended to accompany a management arrangement between Malcolm X, DCPS, and Achievement Preparatory Academy Public Charter School. The two schools were to co-locate at the previously shuttered Green Elementary for one year, then move to the renovated building. Instead, Achievement Prep pulled out of the arrangement this summer and Malcolm X remains at Green in a state of limbo.

Observations from teachers and former teachers suggest a barely manageable learning environment that in recent years has featured regular classroom brawls, students put out of one classroom only to roam the halls visiting others, parents being arrested on site or getting into fights, and children prone to hysterical fits and outbursts.

Malcolm X uses whiteboards with a smattering of smartboards, which are prevalent in schools across the city. There is no science lab.

Desktops are cobbled together from bits and pieces. Its ceilings leak, and it has no elevator. Until the charter school left, the computer lab was housed in a storage space, and even

now many computers are missing keys. “All that cool stuff, there’s nothing to show you,” one current teacher says. (DCPS also stripped renovation funds from a number of schools in 2014, including Malcolm X and seven other 40/40 elementary schools. Just one 40/40 elementary school saw any increase in funding for renovations.)

“I’ve imagined if I were to take someone on a tour of our school, with the knowledge that we were a priority status school, what I could show them as proof of this status?” the teacher writes in a 2015 journal entry, which City Paper reviewed. “I imagine myself standing in the foyer of the building, its central hub where, on a few occasions throughout the day, charter and public collide. I walk forward into the shared cafeteria and auditorium. Nothing in those areas belies priority. I walk down both first floor wings, then trudge up to the third floor to visit the intermediate wing. I glance in the teacher workroom, littered with broken machines and assorted boxes, a large cafeteria bench in the middle. Still nothing.”

On a recent, unannounced visit to Malcolm X—which teachers say is how they are visited

by DCPS administrators—a teacher or instructional aide walked into the main office. When he was informed that nine iPads had arrived for teacher use, he inquired, “New ones?” with a skeptical look. “Maybe some of them,” came the reply. “But they don’t have cords or adapters.” The principal was unavailable to speak to City Paper, and officials said all media inquiries must go through the central office. Henderson declined to be interviewed for this story.

Not surprisingly, Malcolm X’s proficiency scores remain at or near the bottom of the 40/40 schools that as a group are falling far short of Henderson’s goals. In reality, her initiative never really got off the ground.

Under the former evaluation tool DC-CAS, the 40/40 schools would have needed to gain 8 percentage points a year for five years. But after the first two years, only a few met that interim goal, and almost half lost ground, according to Levy’s analysis. Overall, the 40/40 schools gained 1.5 percentage points in English and 6.5 points in math—less than in the rest of DCPS schools. (Student proficiency in 40/40 schools under DC-CAS was just over half the citywide average.)

For the 2014-2015 school year, DCPS adopted the Partnership for Assessment of Readiness for College and Careers, or PARCC, a test used districtwide of English/language arts and math comprehension that is pegged to Common Core standards. PARCC scores are ranked according to five performance levels that delineate students’ knowledge and skills: Level 1, did not yet meet expectations; Level 2, partially met expectations; Level 3, approached expectations; Level 4, met expectations; and Level 5, exceeded expectations.

According to a DCPS spokeswoman, the 2015 PARCC scores showed 5.8 percent of children in 40/40 schools met or exceeded proficiency expectations in English/language arts and 5.9 percent in math, compared to 34 percent and 28 percent, respectively, in non-40/40 schools. The 2016 PARCC scores,

which were recently released, show 7.2 percent of 40/40 school students proficient in English/ language arts and 7.7 percent in math, compared to 34.3 percent and 31.4 percent, respectively, in non-40/40 schools.

Henderson has pinned these PARCC scores on the increased difficulty of the test itself. Michelle Lerner, the DCPS spokeswoman, says they are “excited to hold all students to the higher standard” of PARCC, and she notes that the 40/40 schools improved at a faster rate from 2015 to 2016 than non-40/40 schools. “We’re certainly not where we need to be, and we have a long way to go, but for the 40/40 schools we are proud of the gains,” Lerner says.

Levy says that historically test scores almost always rise after the first year, after students and teachers become familiarity with the test.

By any measure, she says, the PARCC scores

Henderson’s legacy, and suggests that the 40/40 initiative was never something she took seriously. “No one thinks she’ll be achieving [the 40/40 initiative],” says Jacob. “No one has the faith to hold her accountable. I’m just not there.”

thus far are “truly pitiful,” and best-scenario gains are nothing to be proud of. “In comparing the two, math cancels out [English/language arts],” she says. “Improvements are so slight for both that they’re probably barely statistically significant, if that.”

At Malcolm X, in PARCC results for 2016, just 5 percent of students met or exceeded expectations in English/language arts, and just 1 percent in math.

Different measuring sticks, marginal gains, and see-saw results over the course of a fiveyear initiative, have some wondering how children in struggling schools have any chance to succeed at higher education levels. Jacob, the Teaching for Change professional development director, says stewardship of low-performing schools will be a resounding part of

Yet the achievement gap still gets lip service as the civic discussion gravitates toward more fortunate schools. When the most recent PARCC scores came out, the lead story in the Post was about how Wilson High School, a legacy of Northwest D.C., had fallen off in its test scores. The second biggest story was about girls wanting to attend a new, boys-only school, a pet project of Henderson’s where students are characterized as “young kings.”

Some education advocates are more likely than others to take on Henderson. City Paper contacted Catharine Bellinger, founding director of the D.C. branch of Democrats for Education Reform, a “fierce advocate for [atrisk] kids.” Bellinger canceled a meeting shortly after agreeing to one, and in an email offered this assessment instead: “I believe D.C.’s pub-

not aLL of the news about 40/40 schools is grim. At Tyler Elementary, which has the lowest percentage of at-risk students, a lower percentage of students failed to meet math and English standards than the District-wide average in the first two years of PARCC testing, and a higher percentage recently met English standards. Ketcham Elementary, and Stanton, both of which D.C. Democrats for Education Reform identify as among the “most improved on PARCC proficiency scores,” roughly mirror those results, with improvements in math as well.

lic schools must meet the needs of all of its students, particularly the most vulnerable, so that every child can realize his or her fullest potential. I’m glad we share this belief. It grounds the work I lead.” She offered to answer specific questions, but did not respond to them.

School reform advocates who cast a more critical eye see in Henderson a leader who has gotten a pass in the media on the achievement gap between at-risk students and students from more stable environments. Teachers in some 40/40 schools in Ward 8 say they sometimes feel invisible, and they lay that perception at Henderson’s feet. “I’m not a fan,” says a veteran teacher at an improving but still under-performing 40/40 school. “She needed to be in the trenches, would’ve had to walk in my shoes to understand how to help us. But she didn’t walk the journey. She’s good at highlighting certain moments, but what about the 40 schools that haven’t had their moment? I love my city for real, but I’m worried.”

Levy believes there is a lack of accountability on multiple levels. “No one calls [DCPS] to account,” she says. “The Council, which was very interested before mayoral control of the schools, nods its head and doesn’t do anything. There is no fiscal accountability, and criticism is not tolerated. If you are not 100 percent with them, you are the enemy.”

David Grosso, At-Large Democrat and chairman of the Committee on Education, declined to comment for this story. In an interview this week, Ward 6 Councilmember Charles Allen, who sits on the committee, says he appreciates the idea of improving proficiency in struggling schools, but that it cannot be separated from how DCPS manages at-risk funds. Allen can see value in some of Henderson’s alternate uses of at-risk funds, but says, “It’s hard to evaluate effectiveness if you don’t have consistency in the use of those funds. The money has to follow the student in an equitable and transparent way.”

If DCPS is neglecting its lowest-performing schools, says Elizabeth Davis, president of the Washington Teachers Union, her members bear the brunt of poor student performance in those schools. “While teachers acknowledge the gains we have made as a school district over the past decade, they consistently express concern that these gains are not representative of all of our children,” she writes in an email. “Teachers know that this data, if disaggregated, will show that while wealthy students are making large to moderate gains in reading, less affluent students showed much less growth.”

Davis notes that an annual report in Education Week shows D.C. trailing the rest of country in reducing the achievement gap. In 2014, the report stated, “the combined poverty gap for the District of Columbia expanded by 44 scale-score points, indicating that its poor students are now much further behind their more affluent peers.” (Other more recent studies have found that D.C. has the highest achievement gap in the country.)

Says Davis, “If the school system itself was evaluated as a single classroom, its teacher would have been fired 6 years ago.”

CP

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Somm People Change

D.C.’s game-changing wine pros aren’t trying to wreck your budget.

You came to dinner with a game plan. The restaurant’s a little more expensive than you like to spend on a meal out, but it’s a special occasion, and if you and your bae stick to entrees and split a dessert, you’ll avoid next-day financial regret.

But wait. Who’s this, sauntering over to the table? He has a mustache, not a beard, so he’s not the mixologist. He’s got a bunch of pins on, but this isn’t Chotchkie’s. And why is he wearing a necklace with a little silver cup that looks like a murder weapon from Clue?

It’s the sommelier. At least, that would have been his look two decades ago, when the role was more pomp and circumstance salesman than hospitality professional. At this timecapsuled meal, he’s out to sell budget-detonating bottles from big name producers that wine critics like Robert Parker spill points over in magazines.

“Twenty years ago you became a sommelier because it was the great alternative to being a car salesman—you felt like you could sell product and be slick,” says Max Kuller, the wine director at Doi Moi. He remembers servers itching to become sommeliers at Fat Baby Inc.’s first restaurant, Proof, because they were “good at selling stuff.”

Kuller’s colleague Brent Kroll, the general manager at Proof, recalls the wine climate when he entered the wine world eight years ago in Miami. Expensive bottles would be displayed on tables as status symbols. “The sommelier would be wearing a triple Windsor knot tie. It made it uncomfortable to ask for a $40 bottle.”

It was a time when price was the only measurement of a wine’s worth. Wine lists were arranged by grape variety like chardonnay or pinot noir and then by price. You were either a $50 chardonnay drinker or a $100 chardonnay drinker. There was little joy in the transaction.

“Those environments make me anxious and always have,” says Elizabeth Parker who has run wine programs at Chez Billy Sud and Crane & Turtle. “I hate pissing contests, I hate cockiness, especially amongst people who are passionate about the same thing,” she says. “No matter who walks through the

doors, you never make them feel less-than.”

Fortunately, the days of Windsor knots and pissing contests are dwindling, even in a city with a steakhouse affliction like D.C. has. “The mentality shifted for multiple reasons. People got more educated that it wasn’t just one guy in an ivory tower that could tell you what was good and what wasn’t,” Kuller says.

Wine pros also began embracing the fact that wine should be fun. “For me, at the end of the day, you’re getting drunk,” says Sebastian Zutant, partner and beverage director at All Purpose and The Red Hen. “It’s not like anyone’s sitting around analyzing their cocaine… Even though it’s a life’s work, taking it so seriously diminishes the fact that it’s an alcoholic beverage.”

Zutant is happy to see a growing contingent of local neighborhood restaurants with funky, affordable wine lists. “In New York, you can walk into 50 everyday restaurants that have baller ass wine lists—D.C. is evolving into that,” he says, adding that he’s encouraged by the amount of wine he sells to young people.

To meet the demands of youthful imbibers who crave laid back environments over rigid dining experiences, Tail Up Goat partner and beverage director Bill Jensen says it’s time to add a bevy of $30 and $40 bottles to the wine list. “Millennial types are moving back to cities and eating out on a regular basis—they can’t do a $90 pairing every night and eat that kind of meal every night,” he says. Cheaper bottles encourage more frequent visits.

Kuller, Kroll, Zutant, Parker, and Jensen are leading a new generation of sommeliers who are making wine more adventurous, more af-

“a self-loathing sommelier.”

“The word comes from a French term applied to someone who presided over a nobleman’s pack animals—they’d sit and guard someone’s goods and that evolved into a Mr. Carson character in Downton Abbey,” Jensen explains. It doesn’t quite jive with what he does.

Zutant boldly adds, “There’s no such thing as a sommelier anymore, it doesn’t exist except sometimes.” At these small, chef-owned restaurants, more is expected of the person handling the wine.

Zutant likens it to a maître d’ role and says it necessitates a certain personality.

“The current group of people that are doing it come from different walks of life, so it’s almost an art curator situation—a whole lot more creativity comes along with finding obscure varietals and weird places,” Zutant says. He compares sommeliers to obsessive collectors of jazz records or comic books.

“Someone head-over-heals with some off-market niche thing, that’s collectively how we roll.” Nerds, if you will.

Curating a list featuring lesser-known regions or grape varieties is a top strategy new-school sommeliers are employing to get diners both an experience they’ll remember and a deal.

“It’s the challenge for every generation of drinkers to find value, undiscovered gems,” says Jensen, who describes his wine list as playfully irreverent. He categorizes cool finds by the bodies of water that influence the winemaking process, such as “rivers and streams.”

Jensen prominently features rosé wines and orange wines such as “Paleokerisio,” a ciderlike orange Greek sparkling wine ($36), because he likes to occupy the ambiguous space

Bill Jensen, partner and beverage director at Tail Up Goat

Darrow Montgomery

By Laura Hayes

fordable, and far less pretentious. They’re working just as much for the guest as they are “the house,” leaving diners feeling that sommeliers today are more friend than foe. The Dabney co-owner and general manager Alex Zink and DBGB Kitchen + Bar head sommelier Andrew Wooldridge round out the group.

Notice that only Wooldridge officially calls himself a sommelier. Others prefer to avoid the title. Even Jensen, who once ran the highly lauded wine program at Komi, calls himself

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between white or red. “It’s a David Bowie, ‘disgendered’ sort of place,” he says. “People don’t drink as much as they could given how delicious these wines are with food.”

By eliminating tried-and-true wines from his list, Jensen puts diners in a position to try something new. “I love it when people are willing to aggressively take a point of view—be really evangelical in their pursuit of what they want people to drink,” he explains. Consumers seem game to ride the ride.

Kuller noticed a shift in open-mindedness between when Estadio opened in 2010 and when Doi Moi opened in 2013. “We were in a way different position at Doi Moi, we knew the audience was there who wanted to come in and learn about the weirdest, geekiest thing and they would try it for what they used to spend on a glass of cab,” he says. In part, Kuller credits craft beer for molding a consumer who craves new things.

Since Doi Moi serves Southeast Asian cuisine, a region not known for winemaking, it positions Kuller to go wild. For example, he pours a sparkling pineapple wine ($12 a glass) from Hawaii made using the Champagne method. “The aromatics are so jumpy and sweet, it’s hard to believe it’s dry on the palate,” Kuller says.

Though seemingly counterintuitive, selling customers less expensive bottles of wine from budding regions is a wise business move.

“When people discover wines they like, it connects them with the restaurant. It’s a loyalty thing,” Kuller says.

If a first-time couple says they’re willing to spend $70–$90, Kuller steers them towards a $60 unique bottle they’ll love. After a second or third visit when trust has been established, Kuller is better positioned to sell them a $115 bottle. “I’m not going to feel bad going into that territory and they’re not going to feel bad taking that chance because they know I’m there for them,” he says.

Embracing esoteric wines isn’t the only way new school sommeliers are adding value to the guest experience. Both Zink and Wooldridge manage to offer affordable wines from countries celebrated for their vines.

Zink, whose European wine list has 35 bottles in the $40-$60 range, says he knows places like Georgia and Greece make good wine, they’re just not his style. “I respect them but they’re not a reference point for me—I guess I don’t feel like challenging my guests in that sense.”

Everything about his wine program is designed to feel easy—he puts the wine list on the back of the food menu to be more democratic, and he believes wine should take a backseat to the kitchen. “With the original pretense of the suited sommelier and leather-bound wine list, the bottle of wine on the table was the focus as opposed to the food—I want to assist in

“Even though it’s a life’s work, taking it so seriously diminishes the fact that it’s an alcoholic beverage.”

—Sebastian Zutant, partner and beverage director at All Purpose and The Red Hen showcasing chefs’ food instead of taking center stage with whatever I pop.”

To keep costs down but still serve wine that plays well with a menu at a Daniel Boulud French bistro, Wooldridge has a strategy. “A lot of big names in the wine world have wines that made them justly famous, but many have passion projects on the side,” he explains. “If you can track those down, you get to taste the style of people making incredible wines but at a much better value.” For example, Wooldridge pours an aligote from Thibault LigerBelair ($54), a producer revered for the property’s red Burgundy.

That’s not the only way Wooldridge overdelivers. “One of the most valuable things my colleagues and I do is tell stories about wines,” he says. He contextualizes bottles in terms of things like travel, agriculture, and economics.

“Really connecting the guest with the story, the reason the wine tastes the way it does, why it’s special—that’s where the huge value lies in our profession.”

Other new school sommeliers also make an effort to “touch” tables, eager to offer stories if customers show interest. Kroll, for example, used to spread the gospel of Greek wine at small wine seminars held at Iron Gate Restaurant. Often, he would talk about Yiannis Tselepos, who makes a sparkling wine named after his wife Amalia. After relaying Tselepos’ life’s journey, Kroll would end the anecdote with the same punch line: “I asked him what was the key to making his marriage work through his journey, and he said space.”

At $52, the zippy, sparkling moschofilero is a budget-friendly way to celebrate, and customers who attended the seminar are likely to recognize it on the wine list thanks to Kroll’s story.

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

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what we ate last week: Bangkok curry puff stuffed with curry, chicken, and potato served with cucumber onion sauce, $6.95, Bangkok Golden. Satisfaction level: 4 out of 5. what we’ll eat next week: The ackley pizza with provolone, mozzarella, butternut squash, arugula-lemon pesto, sweet potato fritters, and pumpkin seeds, $15.50, Timber Pizza Co. Excitement Level: 5 out of 5.

Are You Gonna Eat That?

Yak’ It To Me

When Chef Alex McCoy opened Tchoup’s Market, inspired by his favorite New Orleans mainstays, he had to have yakamein on the menu.

“So many dishes in the city don’t get the credit they deserve,” McCoy says. “Yakamein has a cult following there. I love how surprised people are when they try it here.”

Here’s the breakdown of New Orleans’ best-kept secret.

—Laura Hayes

In the late 19th century, New Orleans was home to many Chinese rail workers who introduced Chinese noodle (or “mein”) dishes to the city. Chinese noodles were hard to come by and expensive, so yakamein calls for spaghetti instead.

Yakamein always comes with a boiled egg, along with other toppings like green onions. Some choose to add ketchup for more body or hot sauce for heat. But the egg is a constant. With McCoy’s Southeast Asian cooking background, he’ll toss in a fermented duck egg instead if you ask.

No meat is off the table when it comes to adding protein to yakamein. At Tchoup’s, you can opt for beef-only ($10); beef, pork, and Andouille sausage ($12); or a third version that tacks on shrimp ($14). The pork belly McCoy uses sits in a Thai marinade before spending time in the smoker.

’WichingHour

could also use an extra dose of smokiness. Right now, the shop and its sandwiches smell like a campfire, but the flavor doesn’t permeate as much as it should.

The Sandwich: The Stacked Where: Smoked & Stacked, 1239 9th St. NW

Sloppiness level (1 to 5): 1. The soft milk bread contains all the ingredients in a tight package and because the slaw and dijon are applied in moderation, this sandwich yields very little mess, whether you eat it in the shop or carry it back to your desk.

Cost: $13 Stuffings: House-cured pastrami, slaw, dijon mustard Bread: Milk bread Thickness: 3 inches Pros: The thinly sliced pastrami tastes sweet and peppery but maintains some of the brisket’s lush fattiness, making every bite beefy and rich.

Pastrami is usually partnered with rye bread, but here, a soft and pillowy milk bread roll makes it easy to tear into the

Laura Hayes

McCoy says the stock should remind diners of the beef noodle soup at A&J Chinese restaurant in Rockville or Annandale. It’s packed with cinnamon and star anise, but also Cajun spices. Soy sauce gives the broth its salty, satisfying flavor.

pastrami, and its creamy flavor complements the spiciness of the meat.

Cons: The size of the sandwich, for its price, is quite small and only yields about a half-dozen bites. The meat

Overall score (1 to 5): 4. Everything about this sandwich tastes good but with a cost of nearly $15 after tax, you may want more of it. If Smoked & Stacked piled on a few extra slices of pastrami, the sandwich would be a better value.

—Caroline Jones

Laura Hayes

The person best known for keeping the yakamein tradition alive in New Orleans, Chef Linda Green, is such a big deal that she’s been on both No Reservations and Chopped. Yet the noodle soup rarely makes it onto menus impersonating New Orleans cuisine outside of the Bayou State. Called “Old Sober,” because of its restorative powers, yakamein is a melting pot dish that nods at NoLa’s port city culture.

The Dish: I Dream of Cheesesteaks Where to Get It: Supper at Bub’s, 1815 M St. NW; (202) 457-1111; bubandpops. com/bub-s-sunday-table Price: Part of a $165 per person tasting menu (inclusive of food, drinks, and tax) What It Is: A fine dining riff on a Philly cheesesteak—one of the sandwiches Bub & Pop’s offers by day. Chef Jonathan Taub clarifies veal stock into a consommé that he then sets with gelatin and natural collagen from the bones. Suspended in the resulting gelée are cubes of medium rare, sous vide rib-eye and sautéed shallots.

The dish is adorned with the trappings of the traditional sandwich: dollops of house-made mayo and ketchup, cubes of mild provolone, fried croutons made from buttery rolls, and petit purple onions. Instead of a boring bowl, Taub uses femur bones brought in from Philly to plate.

“My stepdad is a woodworker, he hollows them out, smoothes them, and then we sanitize them,” he says.

What It Tastes Like: Kholodets. The Russian jellied meat dish (sometimes called aspic) isn’t much to look at, but it’s a textural playground also made from a consommé that congeals. In Taub’s version, the sharpness of the provolone and sweetness from the sticky ketchup cut through the fat. Assembling a well-balanced bite to mimic the taste of Philly’s signature sandwich is a fun challenge.

The Story: When Taub, a Philly native, was working at Lacroix at The Rittenhouse, the restaurant held a competition among area chefs to re-create the cheesesteak. While he didn’t get to compete, Taub has been thinking about this dish for a long time. “Somewhere in the back of my mind, I had my own little idea,” he says. Now with the ability to go gourmet at Bub’s Supper Club, the dish finally has a home. Staying true to his roots, Taub pairs it with Yuengling lager.

—Laura Hayes

washingtoncitypaper.com september 30, 2016 21

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25 TUE Brothers Brothers

Commissioning Project: Maverick Lemons

Lemons debuts On the Brink, his new work highlighting the strengths of President John F. Kennedy’s character and view of his presidency as an unfinished journey and quest for justice, courage, innovation, peace, and service.

Part of JFKC: A Centennial Celebration of John F. Kennedy.

Oct. 3 Kris Davis and Craig Taborn

Oct. 24 Cassandra Allen

16 SUN

Family Night: Imagination Stage

In the fun, interactive “You & Me Song Circle” workshop, families are invited to shake, whistle, giggle, and wiggle with an early childhood teaching artist accompanied by a live percussionist. Best for ages one to five, but all are welcome.

17 MON Kennedy Center Opera House

Orchestra

Members of the KCOHO play Mozart’s “Kegelstatt” Trio and selections from Bruch’s Eight Pieces for Clarinet, Viola, and Piano.

18 TUE Kassia Music Collective

OCTOBER

7 FRI EREZ

The Israeli singer-songwriter performs music from Proper Lady, her acclaimed 2015 debut album of original material blending R&B, soul, rock and roll, and funk.

1 SAT Jessie Little Doe Baird

and Jason Moran

MacArthur Fellows Baird, a linguist and indigenous language preservationist, and Moran, the Kennedy Center’s Artistic Director for Jazz, come together for a unique evening of music and conversation celebrating the 35th anniversary of the MacArthur Fellows program.

8 SAT NSO Prelude

Members of the National Symphony Orchestra play classical works.

9 SUN Geno Delafose

The zydeco accordionist brings his signature nouveau zydeco sound to the stage with his band, French Rockin’ Boogie.

2 SUN George E. Lewis and Jason Moran Composer, performer, and music theorist Lewis and pianist Moran perform together and then talk about their music-making journey in a night celebrating the 35th anniversary of the MacArthur Fellows program.

A Richmond Folk Festival 2016 artist.

10 MON Kaynak Pipers Band

The kaba gaida (Bulgarian bagpipes) ensemble performs traditional folk music from Bulgaria’s Rhodope Mountain.

3 MON Kris Davis and Craig Taborn

Invited by Jason Moran, the jazz pianists perform together in an evening of original and classic selections.

A Richmond Folk Festival 2016 artist.

11 TUE L’Orchestre Afrisa International

One of Africa’s most popular bands, the group performs its signature Congolese African rumba soukous music.

4 TUE Ifrikya Spirit

The six-piece Algerian band blends the soul of its African heritage and Berber roots with Algerian grooves and West African instruments.

Part of Center Stage, a program of the U.S. Department of State’s Bureau of Educational and Cultural Affairs, in partnership with the New England Foundation for the Arts.

A Richmond Folk Festival 2016 artist.

12 WED The Suzanne Farrell Ballet

The company previews its upcoming Eisenhower Theater engagement (Oct. 21–23) with excerpts of Danses Concertantes, Gounod Symphony, and Stars and Stripes as Ms. Farrell illuminates the ballets with commentary and discussion.

5 WED Furia Flamenca

The award-winning dance company transports audiences to Southern Spain with their refined, emotionally explosive, and dynamically choreographed dance routines.

13 THU Kimberly Kong

The pianist, a Strathmore Artist-in-Residence, plays classical works with cellist Alicia Ward as the Ward-Kong Duo.

6 THU Mid Atlantic Arts Foundation

The foundation presents City of Poets, a music project from its French-American Jazz Exchange program.

*

Free general admission tickets will be distributed in the States Gallery starting at approximately 5:30 p.m., up to two tickets per person.

FOR DETAILS OR TO WATCH ONLINE, VISIT KENNEDY-CENTER.ORG/MILLENNIUM.

Brought to you by

DAILY FOOD AND DRINK SPECIALS 5–6 P.M. NIGHTLY • GRAND FOYER BARS FREE TOURS are given daily by the Friends of the Kennedy Center tour guides. Tour hours: M–F, 10 a.m.–5 p.m., and Sa./Su. from 10 a.m.–1 p.m.

For information, call (202) 416-8340.

PLEASE NOTE: There is no free parking for free performances.

22 september 30, 2016 washingtoncitypaper.com

The new D.C.-area contemporary chamber ensemble is intent on shaping the direction of classical music traditions by fusing different genres and styles.

Based in Brooklyn, twin brothers Adam and David Moss perform a blend of rich harmonies and thoughtful songs accompanied by guitar, cello, violin, and banjo.

26 WED Kids Euro Festival: Italy

Come for an evening of fun that includes presentations of scenes from the fables of noted Italian children’s author Gianni Rodari.

Presented in collaboration with the Embassy of Italy.

27 THU Luxor Folk Dance Troupe

The group performs traditional dances from their home country of Egypt.

Presented in collaboration with the Embassy of Egypt.

IN THE ATRIUM

28 FRI Comedy at the

Kennedy Center: Picture This!*

This show features stand-ups, voice actors, and others performing while they are drawn live by some of the best animators, cartoonists, and other artists in the business!

This performance will contain mature content and strong language.

Presented in collaboration with the 2016 Bentzen Ball Comedy Festival from Brightest Young Things.

29 SAT Washington Project for the Arts

19 WED Byron Miño

The Ecuadorian tenor has enchanted the world with his talented voice and poise, leaving audiences breathless.

Presented in collaboration with the Embassy of Ecuador.

20 THU NANTA

A quartet of chefs transform knives and other utensils into musical instruments, thrilling audiences with high-flying cabbage and driving upbeat rhythms that blend a Korean tempo with Western style.

Performed as part of the First Annual Korean Culture Week, presented by the Korean Cultural Center, Washington, D.C.

21 FRI Korean National Gugak Center

Artists include sinawi, an instrumental ensemble derived from shamanistic music, and pansori, a genre combining song, storytelling, and body movements accompanied by solo percussion.

Performed as part of the First Annual Korean Culture Week, presented by the Korean Cultural Center, Washington, D.C.

22 SAT Modern Table

The contemporary dance company performs its signature work Darkness PoomBa, inspired by the Korean tradition of itinerant entertainers known as poomba.

Artist Sheldon Scott brings SHELDON FOR D.C., a public art event that revolves around the campaign of a candidate—referred to simply as “Sheldon” and played by a halfdozen actors—who is running to become D.C.’s first “Minister of Culture.”

30 SUN D.C. Casineros

The Cuban dance company hosts a Dia de los Muertos (Day of the Dead) dance party, which will include sugar skull face painting starting at 4 p.m., done by artists from Peace Love & Paint, and free dance lessons starting at 5 p.m.

31 MON Opera Preview:

The Daughter of the Regiment

Cast members from Washington National Opera perform selections from Donizetti’s opera comique (Nov. 12–20 in the Opera House).

Oct. 27 Luxor Folk Dance Troupe

Performed as part of the First Annual Korean Culture Week, presented by the Korean Cultural Center, Washington, D.C.

IN THE TERRACE GALLERY

23 SUN Stronger Sex*

The experimental electronic music duo performs.

Presented in collaboration with Hometown Sounds, a podcast and website dedicated to featuring bands based in the D.C. region.

24 MON Cassandra Allen

The singer/songwriter, a Strathmore Artist In Residence, and her band fuse traditional jazz with the sensuous sounds of Afro-Latin Mediterranean music.

TAKE METRO to

the Foggy Bottom/GWU station and ride the free Kennedy Center shuttle departing every 15 minutes until midnight.

GET CONNECTED! Become a fan of KCMillenniumStage on Facebook and check out artist photos, upcoming events, and more!

The Kennedy Center welcomes persons with disabilities.

ALL PERFORMANCES AND PROGRAMS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

The Millennium Stage was created and underwritten by James A. Johnson and Maxine Isaacs to make the performing arts accessible to everyone in fulfillment of the Kennedy Center’s mission to its community and the nation.

Millennium Stage’s October performances featuring Jason Moran, Little Doe Baird, and George E. Lewis are supported by the John D. and Catherine T. MacArthur Foundation in celebration of the 35th anniversary of the MacArthur Fellows Program, which recognizes exceptionally creative people who inspire us all. More information is at www.macfound.org/fellows.

Additional funding for the Millennium Stage is provided by Bernstein Family Foundation, The Isadore and Bertha Gudelsky Family Foundation, Inc., The Meredith Foundation, The Morris and Gwendolyn Cafritz Foundation, Dr. Deborah Rose and Dr. Jan A.J. Stolwijk, U.S. Department of Education, and the Millennium Stage Endowment Fund.

The Millennium Stage Endowment Fund was made possible by James A. Johnson and Maxine Isaacs, Fannie Mae Foundation, The Kimsey Endowment, Gilbert† and Jaylee† Mead, Mortgage Bankers Association of America and other anonymous gifts to secure the future of the Millennium Stage.

Kennedy Center education and related artistic programming is also made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

CITYPAPER Washington

Presents

Oct. 1–2, 2016

10 A.M.–5 P.M.

UniOn MArket washingtoncitypaper.com september 30, 2016 23

Celebrating �� years as America’s First Museum of Modern Art 1600 21st Street, �� (Dupont Circle Metro) PhillipsCollection.org |

On view Nov 11–March 19 Space Age and Stone Age meet in the work of one of America’s most innovative sculptors.

Smithsonian 8th and G Streets NW, Washington DC AmericanArt.si.edu | #atSAAM

BUY TICKETS AT FILLMORESILVERSPRING.COM

FILLMORE BOX OFFICE • TICKETMASTER OUTLETS • CHARGE BY PHONE 800.551.7328 24washington 2 september 30,city 2016paper’s washingtoncitypaper.com 2016 crafty bastards arts & crafts fair guide

Red Lunar Fist, 1944, magnesite, plastic, resin, and electric components. © The Isamu Noguchi Foundation and Garden Museum, NY. Photo by Kevin Noble.

Meet talented artists and shop for the best handcrafted goods around.

Washington City Paper welcomes you to the 13th Annual Crafty Bastards Arts & Crafts Fair

The air is starting to cool and declarations of pump-

kin spice everything are all around us, which means it’s time for our favorite weekend of the year—Crafty Bastards Arts & Crafts Fair.

We are filling Union Market’s parking lot with the best artists and their handcrafted goods once again. With more than 50 new vendors participating for the first time, along with many perennial favorites returning, you’re sure to discover wonderful items to add to your growing collection of Crafty Bastards treasures.

You’ll find a wide selection of goods in each tent, including housewares, stationery, clothing, jewelry, handbags, art from highbrow to lowbrow, bath and body products, DIY kits, and so much more. There’s a cluster of vendors selling kids-related items towards the back of the first tent, along with an area where the kiddos can get creative with cardboard boxes and chalk. While Crafty Bastards showcases talented makers from around the country, for the first time, we’ve dedicated a section to local artists. Find them in booths No. 131–174.

Feeling inspired? Flex your crafty muscles with Smithsonian American Art Museum, Capitol Hill Arts Workshop, and Pyramid Atlantic Art Center, which will each have DIY projects. Don’t forget to commemorate the occasion with group pictures in the St. John’s Community Services Photo Booth (No. 137).

Shopping can be hard work. Take a break in the Great Lakes Brewing Beer Garden and Picnic Pavilion, featuring D.C.’s finest food trucks, to fuel up and help you power through the festival. Several artists are selling tasty treats like locally-made chocolate, prize-winning baked goods, and cold-brewed coffee.

Want more? Head inside to Union Market where you can grab something delicious and find a seat upstairs at Dock 5.

We hope you have a blast at Crafty Bastards and leave with plenty of handmade finds. Thank you for joining us and supporting the creative community!

—Sara Dick, festival director, Washington City Paper

OCT. 1

SATURDAY

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

OCT. 2 SUNDAY

UNION MARKET

TAKE THE RED LINE METRO TO NOMA-GALLAUDET U METRO STOP To get to Union Market, turn right on Florida Ave. NE, then left on 5th Street NE.

BUY TICKETS ONLINE IN ADVANCE AT WASHINGTONCITYPAPER.COM TICKETS ARE $6— MORE AT THE DOOR—KIDS GET IN FREE! washington city paper’s washingtoncitypaper.com 2016 crafty bastards arts september & crafts fair 30, guide 2016 25 3

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

OCT. 1

SATURDAY

TICKETS ON SALE NOW!

OCT. 2 SUNDAY

UNION MARKET

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

Washington City Paper

4.666”

TREES MAKING A HOUSE, A HOME...

SINCE FOREVER.

caseytrees.org

26washington 4 september 30,city 2016paper’s washingtoncitypaper.com 2016 crafty bastards arts & crafts fair guide

Crafty

Bastards

Preview DeNada

DeNada is a contemporary knitwear company that will ensure you are both cozy and fashionable this fall.

Designer Virginia Arrisueño’s collection nods to her Peruvian heritage while focusing on fair trade practices. Her collection showcases intricate stitching and playful patterns that can easily be incorporated into a daily wardrobe.

Marcella Kriebel Art & Illustration

Marcella Kriebel’s illustrations will make your mouth water. Her watercolors focus on the beautiful simplicity of the foods we love and crave (eggs, beets, avocados, cheese), and they make a perfect gift for the aspiring chef in your life.

2016 DeNada

Stitch & Rivet

All hail the Best Local Crafter of 2015 and 2016 (according to City Paper reader polls). Katie Stack lives up to her title with her handmade leather goods collection. Check out her assortment of clutches, crossbody bags, totes, and wallets. You can say you are going to buy it for someone as a

washington city paper’s washingtoncitypaper.com 2016 crafty bastards arts september & crafts fair 30, guide 2016 27 5

28washington 6 september 30,city 2016paper’s washingtoncitypaper.com 2016 crafty bastards arts & crafts fair guide

2 3 4 5 6 7 8 9 10 11 11 12 13 14 15

1

170

171

172

173

174

Mountain Valley Spring Water Studio KMO lifeware Ape & Bird SaltyandSweet Design Baltimore Print Studios Red Prairie Press Seed & Sky Earth Cadets Beehive Handmade Lace and Cable Earth Baby Clothing Cotton Monster Bright Beam Goods Ginger Bean Clothing Familytree

161

28 29 30 31

160

162

159

163

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166

167

168

169

157

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Art Star migration goods Charm School Chocolate Virginie Millefiori On Hand Lotions Factory 43 Resident Pure Palette Vaalbara Foxwood Co. The Wild Wander Alison Brynn Ross Illustration & Design Kitty Jones bubbledog Puccoon Raccoon 60bugs

VENDORS

16 17 18 19 20 21 22 23 24 25 26 27 43 44 45 46

32 33 34 35 36 36 37 38 39 40 41 42

Photobooth

139

140

141

142

143

144

145

146

147

148

Penny & Paul Horrible Adorables Lilla Barn Clothing A Childhood Store Zooguu (Sat)* Brian Gubicza (Sun)* inedible jewelry Funky and Little Manka Winthrop Clothing Co. Fritz & Fraulein Jenna Vanden Brink Ceramics Honest Tea Markoff’s Haunted Forest Licorice Tree DKNG Studios 112 113 114 115 115 116 117 118 119 120 121 122 123 123 124 125 126 127 128 129

107 108 109 110 111

106

106

105 105

104 104

102 103 103

95 96 97 98 99 100 100 101 101 102

92 93 93 94 malagueta Humane Imperfection HAWKHOUSE CM Goodenbury Photography Greg Stones Spaghetti Kiss Le Puppet Regime Chez Kevito Margie Criner Scene3 Designs (Sat.)* Second Daughter (Sun.)* Sucios! (Sat.)* Cuddles and Rage (Sun.)* Emily Uchytil Oil Paintings & Prints (Sat.)* Rebound Designs (Sun.)* adKnits (Sat.)* Stitchin’ in Richmond (Sun.)* Rise & Ramble (Sat.)* Sherry Insley Designs (Sun.)* Ash & Coppice (Sat.)* Waxing Gibbous Pottery (Sun.)* Pyramid Atlantic Art Center (Sat.)* The Phillips Collection (Sun.)* Health-Ade Kombucha Joe Engel Yummy & Company Snarky Scouts Scraped Knee - Art of Matt Leunig Leah Staley Unusual Cards Tandem Ceramics Shibui South The ZEN Succulent Make It Good DeNada Elizabeth Graeber Morrison Makers Kim Schalk Nothing to See Here Awl Snap Leather Goods Grey Moggie Press Fancy Seeing You Here Dirty Ass Soaps Kelly Towles T-WE TEA christina boy design Maryink Brainstorm 168 169 170 171 172 173 174

157 158 158 159 159 160 161 162 163 164 165 166 167

142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157

140 141

139

132 134 135 136 137 138

130 131 131

The Selfie Spot Wagtime (Sat.)* Capitol Hill Arts Workshop (Sun.)* Grip Unlimited Good Times Off on a Tangent Miks Letterpress + Photobooth St. John’s Community Services Ruby Scoops Ice Cream & Sweets Harper Macaw Langdon Wood Maple Syrup Whisked LLC Junius Cold Brew Coffee Thunder Beast LLC Teaism Bazaar Spices Brainfood Skip It MATINE Mint Lola SKINCANDO Keep Moving Jon Wye Victory Dance Creative Lost Life On Wax Hellrazor for Men Bailiwick Clothing Company (Sat.)* Tracie Ching (Sun.)* SwitchWood (Sat.)* SEEING IN FABRIC (Sun.)* District Carpentry (Sat.)* Guess Who (Sun.)* goshdarnknit Nevermind Stitch & Rivet Breathing Room Bernard Goods Kicheko Goods Printed Wild Marcella Kriebel Art & Illustration Surprise Nothing is Certain Forget It Special Guest No One’s Home Pending Confirmation I’m Already Gone

The Big Cheese Dangerously Delicious DC DC Empanadas

Lemongrass Truck Red Hook Lobster Pound Tapas Truck

Great Lakes Brewing Co. Beer Garden

The Fillmore Silver Spring Casey Trees Good Company Wares Airtight Artwork Almanac Industries Holly Francis (Formerly Mint House) Tasha McKelvey Bird of Virtue Alternate Histories UC Studios Capital Society On The Lookout Jewelry NatureVsFuture Umsteigen NateDuval.com Aromaholic Muro Jewelry Close Call Studio 1337motif Twenty Two West Naked Decor Megan Auman Shorty Audio James Flames Posters & Prints Fabric Horse La Loupe LunaSol Rider Designs PNC Kramerbooks Wooden Pencil Company Rocks and Salt Sarah West Elizabeth Benotti Handmade Ceramics SNASH JEWELRY ADINA MILLS Middle Brook Fiberworks (formerly A Little Teapot Designs) Folktale Fibers Julie Ann Art STAK Ceramics Fernworks Priya Means Love Zooguu Eilisain Jewelry White Peach Pottery John W. Fesken Sean Mort Print Shop Ugly Baby Foamy Wader vestige HOME

Great Lakes Brewing Company Smithsonian American Art Museum Verizon Fios Arepa Zone

81 82 83 84 85 86 86 87 88 89 90 90 91

80 80 81

77 78 79

70 71 72 73 74 75 76

52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69

47 48 49 50 51 52

washington city paper’s washingtoncitypaper.com 2016 crafty bastards artsseptember & crafts fair 30, guide 2016 29 7

FOOD TRUCKS

SIXTH STREET NE

PICNIC TABLES

131

SUBURIA

FOOD TRUCKS

PICNIC TABLES

46

45

70

79

102

111

ENTRANCE

71

78

103

110

128

69

80

101

112

68

81

100

113

127

67

82

99

114

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21

28

4

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29

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53

64

85

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117

INFO BOOTH

52

65

84

97

116

40

125

Union Market, 1309 5th Street, NE

NEAL PLACE NE

72

73

77

104

105

76

109

108

129

136

135

ADMISSIONS

132

5

54

63

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30

6

86

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118

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124

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11

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FIFTH STREET NE

GREAT LAKES BREWING CO. BEER GARDEN & PICNIC PAVILION

$5 Beers DC’s Finest Food Trucks Please drink responsibly.

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KRAMERBOOKS

WASHINGTON’S BEST BOOKSTORE. GREAT FOOD. OPEN LATE. 1517 CONNECTICUT AVE NW / 202.387.3825 / KRAMERS.COM

30washington 8 september 30,city 2016paper’s washingtoncitypaper.com 2016 crafty bastards arts & crafts fair guide

THANKS TO OUR SPONSORS

holiday gift, but instead keep it for yourself. We won’t tell.

Brainstorm

If you can’t wait until Bill Nye The Science Guy’s new show drops on Netflix, you are going to completely geek over Brainstorm’s prints.

This studio offers posters that center on science, campfires, space, and mountain ranges. Hang them in your cubicle to inspire your job hunt, inform your next trip, or as a reminder that you will always be connected to the physical world.

Ginger Bean Clothing

Calling all human beans! Your little bean will enjoy being dressed in robot, train, and superhero prints.

Even better—your dollars will go further with clothing that is designed to “grow” as your kiddo gets older. These garments also are also ecofriendly and thoughtfully cut from second-hand or surplus fabrics.

Clockwise from top left: Marcella Kriebel Art & Illustration, Stitch & Rivet, Brainstorm

Cuddles and Rage

Embrace both the adorable and mischievous parts of your personality. Liz and Jimmy Reed create handmade sculptures, cards, and prints that showcase food-come-to-life and charming animals. Meet them before their new book Sweet Competition hits stores this fall.

Fancy Seeing You Here

It’s time to taking your naps more seriously. Start by investing in a cat sleep mask that was made right here in Washington, D.C. Need even more kitten art in your life? Fancy Seeing You Here has got you covered. Check out stickers, stationery, and other sweet and cheeky handprinted items by graphic designer and artist Sarah Hanks.

Vaalbara

If you need an excuse to buy a new bag, here are four: 1. Vaalbara’s purses, totes, clutches, and messenger satchels are made in the USA. 2. The lining is made out of recycled plastic bottles. 3. A portion of each sale goes to the SurfRider Foundation—an or-

washington city paper’s washingtoncitypaper.com 2016 crafty bastards arts & september crafts fair 30,guide 2016 31 9

ganization that helps keep beaches and oceans clean. 4. Their products incorporate vintage, repurposed, and handwoven fabrics. So, it would be irresponsible for you not to buy a new bag, right?

Cuddles and Rage

Ginger Bean Clothing

Fancy Seeing You Here

Twenty Two West

You don’t have to wait until you are rich and famous to purchase art. Start your pursuit of a cultivated life by investing in pieces that you can own— and even wear—right now. Twenty Two West utilizes different materials and crafting techniques to create products that will easily fit in with your modern life and decor. Artist Mary Hamby’s woven necklaces will add a pop of interest to any outfit.

Her loom blocks can be hung on a gallery wall or in your home to add visual interest.

Vaalbara

Bernard Goods

Look classy AF the next time you feel like getting snockered. Bernard Goods creates stoneware growlers and flasks that are so friendly you will find yourself clapping a friend on the back while saying things like, “Hello, Old Chap,” and, “What are we doing tonight, Sport?” The flasks are made out of ceramic, wood, and magnets, and the design was inspired by stories of St. Bernard rescue dogs carrying brandy barrels around their necks in the Alps.

Bernard Goods

32 september 10 washington 30, 2016 city washingtoncitypaper.com paper’s 2016 crafty bastards arts & crafts fair guide

Off on a Tangent

Grip Unlimited

Metro’s SafeTrack made you swear off public transportation this summer. Instead, you broke out a bike to get to and from work. Congrats!

You’ve made a healthy, environmentally friendly choice. But if you’re still struggling with how to haul all of your stuff while on said bike, pick up gear from Grip Unlimited. These bags fit over your bike frame, are water-resistant, padded, and contain non-slip material so it won’t slide along the top tube. You will make it to work with all of your items intact and probably still beat Metro.

Muro Jewelry Grip Unlimited

Welcome to an era of wearable art.

The statement necklace is giving way to exquisite handmade pieces like those crafted by Muro Jewelry in North Carolina. Artist Rosa Murillo cleverly uses resin in some of her pieces instead of glass, which means you get a similar look but without the weight. Incorporate these nature-inspired pieces into your daily wardrobe and wait for the compliments to pour in.

A Childhood Store Muro Jewelry

T-WE TEA

Pop quiz: What is THE trending relaxation technique of 2016? Adult coloring books, of course. (It’s a fake quiz.

Coloring has always been in style.) A Childhood Store’s products are nontoxic, made in Baltimore, and come in cheery shapes like bunnies, eggs, and cars. Pick up crayons for your kiddo, cousin, or yourself.

Licorice Tree

Textile artist Tobiah Mundt creates fanciful and mysterious sculptures.

With a background in architecture, Mundt’s eye for structure merges with an ability to provoke emotion with her felted wool creations. Her art hints at entire worlds beyond the presented form—where did this animal come from? Where is it going and what is it doing? To learn more about this craft, pick up one of her needle felting kits so you can make a hedgehog or cactus of your very own.

Grey Moggie Press

A Childhood Store

T-WE TEA

We don’t live in a world of coffee versus tea drinkers. We live in a world of “whatever helps get me through this day.” When a tea company believes in its product so much they travel from their flagship in San Francisco to attend Crafty Bastards, attention must be paid. Introducing T-WE TEA. Their products are blended by hand and don’t use artificial or “natural” flavors. They also get bonus points for fab tea names like Guurl Grey, Flaming Prince Charming, Cougar Tranquilizer, and White Girl Please.

Off on a Tangent

Coco Chanel insisted, “Fashion is in the air, born upon the wind… it is in the sky and on the road.” Inspiration can be found everywhere, and Off on a Tangent jewelry draws directly from architecture and travel. Show your love of the National Museum of African American History and Culture, the Louvre, Musée d’Orsay, or the Pantheon with one of their handcrafted jewelry interpretations.

Grey Moggie Press

Never underestimate the power of a written note. Especially if it comes in the form of a hilarious letterpress card. Grey Moggie Press makes greeting cards, notepads, coasters, and other paper products out of a print shop in Northeast D.C. Pick one up if you appreciate the tactile experience of letterpress products or want to send your BFF a belly laugh through snail mail.

washington city paper’s washingtoncitypaper.com 2016 crafty bastards arts &september crafts fair 30,guide 2016 33 11

Health-Ade Kombucha exists only to make the best tasting and highest quality kombucha you can buy, and pull out all the stops to ensure ours is the healthiest brew out there. This includes things like: flavoring only with cold-pressed farmers’ market seasonal produce, producing and fermenting 100% in glass, and engaging in all natural fermentation. With our kombucha, there is never any plastic, dye, concentrate, powder or massproduction included, and we think that makes all the difference.’’

Follow your gut! www.health-ade.com 34 washington 12 september 30, city 2016 paper’s washingtoncitypaper.com 2016 crafty bastards arts & crafts fair guide

CPArts

The Washington National Opera puts on another tepid, watered-down version of The Marriage of Figaro. washingtoncitypaper.com/arts

Rip It Up and Start Again The new National Gallery of Art’s East Building isn’t so much a renovation as a revelation.

By Kriston Capps There’s noThing subTle about a giant ultramarine rooster looming over the city. Katharina Fritsch’s “Hahn/Cock,” the nearly 15-foot-tall chicken that now rules the roost from the rooftop terrace of the National Gallery of Art’s East Building, could be mistaken for a misplaced, third-party edition of those political-animal sculptures that are still scattered all over #ThisTown: donkeys and elephants and pandas (oh my). But visitors won’t feel déjà vu when they see D.C.’s big blue chicken at the East Building on Sept. 30, when the museum re-opens following a three-year renovation. The cock is something new.

Other details in the spick-and-span East Building are so subtle that visitors may glide right past them—or in the case of the 12,250 square feet of new galleries, right through them. That rooftop terrace is one of those new features. With a panoramic view ranging from the Michael Graves–designed courthouse annex across the street, to the Newseum, and further west to the National Archives, the terrace is instantly an essential D.C. space. It may even feel familiar. The terrace is so plainly a good idea that museum fans who know the building intimately may still wonder: Was this always here?

Designed by Perry Chin, a protégé of I.M. Pei, the East Building’s original architect, the new renovation is much more than that. Call it a revelation. Spaces that were disjointed before now feel open and connected. Enlightening new liaisons between galleries tighten the building’s flow, which felt sharp and arrhythmic once, starting with the many enjambments that interrupt the building’s atrium. The isosceles triangle, the primitive form that governs the East Building, is expressed more rationally and harmoniously now. This is not an improved museum. This is a new museum—in most every respect.

The East Building was due for some TLC. The renovation is the first of a three-phased makeover for the museum, which opened in 1976. A $39 million federal appropriation covered improvements throughout the museum’s core, including upgrades to the HVAC system and other building mechanicals.

Next phases will replace the building’s multifaceted glass ceiling and other elements. The renovation called for stripping the building down to pure structure, according to Susan Wertheim, architect for the National Gallery. Accordingly, the guts are all new; the mechanicals, plus a wheelchair-compliant elevator, are now stashed away behind sleek vestibule doors painted with a silver automotive paint to match the building’s original finishes. Visitors might remember the old carpeted floors, but those are long gone. Fumed oak, inspired by the National Gallery’s West Building floors, now guides the way

Harry Cooper strolls NGA’s newly renovated East Building.

throughout most of the space.

Privately, the National Gallery raised $30 million from its principal donors—Victoria P. and Roger W. Sant, Mitchell and Emily Rales, and David M. Rubenstein—to take advantage of the renovation by expanding the museum. The most dramatic transformation can be found on the leg along the north side of the building, in the form of two new tower galleries, which

Darrow Montgomery

galleries

raise the museum’s bank of rampart spaces to three. The airy, top-level tower galleries showcase major tentpoles from the permanent collection: One tower space is devoted to mobiles and stabiles by fan favorite Alexander Calder, while the other tower is split between the museum’s majestic Mark Rothko paintings and its sublime “Stations of the Cross” series by Barnett Newman. washingtoncitypaper.com september 30, 2016 35

CPArts

36 september 30, 2016 washingtoncitypaper.com

about modern art will recognize one masterpiece after another.

Perhaps more important than the collection’s newly centered narrative is its newfound flow. The highlights are so extraordinary that viewers may never pick up on the care with which these galleries are now arranged. But it’s there. The old East Building never gave a hint as to how viewers should take it on, and so the National Gallery never gave its modern art collection the treatment that it deserves. In the past, the atrium served as the hub for a set of disjointed spokes. Under the new dispensation, the permanent collection is a steady anchor. It will serve as a point of departure for special exhibitions, which for the opening include “Markers and Signs” and “Flow: Modern Art,” two trenchant thematic reads of the museum’s contemporary-art holdings by curator Molly Donovan, as well as a sampling of pledged photographs.

Also on view is “Los Angeles to New York: Dwan Gallery, 1959–1971,” a set of contemporary artworks promised to the museum by L.A. art dealer Virginia Dwan. This gift has to arrive like a hammer-blow to the Hirshhorn Museum and Sculpture Garden, which has never faced a rival for edgy con-

Darrow Montgomery

The Newman–Rothko tower room(s) best illustrate the virtues of the East Building’s new look. In this gallery, only a single partition separating the Rothkos from the Newmans divides the otherwise uninterrupted hexagonal floor-plate of Pei’s design for the towers. (Galleries at lower levels within the towers are subdivided by many walls for hanging artwork.) Inasmuch as the renovation architects have created new space, they have reclaimed space that was poorly used. With the expansion, the museum has re-embraced glass ceilings and natural light for the Newman–Rothko and Calder tower galleries.

There’s too much light pouring into the Rothko side, but no matter: The effect is dramatic. By simplifying some design decisions and reversing or restoring others, Chin and HartmanCox Architects have unleashed the original genius of Pei’s East Building. It wasn’t always easy to see before.

Viewers may not notice anything different about these rooms, as many of these collection highlights—the Calders, the Rothkos—always enjoyed dedicated spaces before the shake-up. (The original tower, which is still reserved for special exhibits, features a show of new works by Barbara Kruger.) But make no mistake: The configuration of the East Building is changed altogether. That’s in large part thanks to the architects, whose new linkages are a joy—exquisite, fresh hexagonal staircases on each end of the building along the north side. Detailed in stainless steel with glass balustrades, they rise from the concourse in columns within each of the tower structures. Geometry rules in the East Building. Its hexagons are assemblages of triangles.

Curators also put a lot of thought into the museum during the off season. Harry Cooper, the National Gallery’s curator for modern and contemporary art, has given the East Building’s permanent collection a suitably new polish. In one sense, it’s more traditional than ever: The permanent collection galleries have gained wall text and even an audio guide, things the museum didn’t bother with before. Cooper’s textbook read of modern art—a chronological presentation that starts with early Picasso and Matisse, tours the giants of postwar modernism, and peters out in the contemporary period—is buffeted by complementary loans from the West Building. Obsessives may find on view 43 pieces from the former Corcoran Gallery of Art, whose collection the National Gallery absorbed in 2014. Folks who don’t know anything

temporary artworks. No longer.

A renovation can’t fix everything that’s tilted about the National Gallery. There are still too few works by African Americans, although “Makers and Signs,” which is anchored by Glenn Ligon’s groundbreaking “Untitled (I Am a Man)” (1988), is a start. A permanent-collection gallery that assembles extraordinary pieces by Agnes Martin, Eva Hesse, and Anne Truitt, feels just a little bit like a token nod to women (although women are certainly represented throughout). A big presentation of “Lick and Lather” (1993), a series of self-portrait busts in soap and chocolate by Janine Antoni, comes too soon after the Hirshhorn gave this artist major air-time. Contributions by LatinoAmerican and Asian-American artists are mostly missing—as are, for that matter, works by Latino, African, and Asian artists writ large. Still, with some 500 works on view, this is easily the most expansive and inclusive articulation of the National Gallery’s take on modern art to date, bar none.

No one at the National Gallery expects visitors to pick up on every gleaming new hexagon or remember where Andy Warhol’s “Green Marilyn” used to hang. Even the Tennessee pink marble for the new staircases and other spaces hails from the same quarry where the marble for the museum was sourced in the 1970s. The great redeeming quality of Chin’s renovation is that the East Building is the same—only now it’s more, better, smarter. Isolating the specific flaws with the East Building, pre-renovation, is hard to do in hindsight, since before it closed it wasn’t widely known that such major changes were in the works. But the building always lacked the practical logic that its geometry promised, and that its expansion now fulfills.

If most viewers miss the finer details, that’s no knock against the architects or curators. Many fans will simply beeline for the French small-paintings gallery or Matisse’s cutouts. (Oh yes, they’re still here.) But the new towers and the sculpture terrace are bound to become parts of the East Building that are every bit as beloved. More importantly, the permanent collection is now delineated in a way that makes sense, structurally and categorically. And the building is a feature, CP not a bug.

6th Street and Constitution Avenue NW. Free.

(202) 737-4215. nga.gov.

Join Cirque de la Symphonie for a spooky symphonic spectacular!

Cirque de la Symphonie Halloween Extravaganza Stuart Chafetz, conductor

October 13 –16 | Concert Hall Come early on Sunday for family fun!

One hour before the Sunday matinee, come in costume to our “Haunted Hall” for hands-on activities and special trickor-treating! The Instrument “Petting Zoo” lets children get up close with the instruments they’ll see played on the stage— from violins and trumpets to oboes and flutes.

The Sunday performance is sensory friendly.

The Instrument “Petting Zoo” is a project of The Women’s Committee for the National Symphony Orchestra.

David and Alice Rubenstein are the Presenting Underwriters of the NSO. Bank of America is the Presenting Sponsor of Performances for Young Audiences.

Washington Gas is the proud sponsor of the NSO Family Concerts.

TICKETS ON SALE NOW! (202) 467-4600 | KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

October 14 & 15 Eisenhower Theater TICKETS ON SALE NOW! (202) 467-4600 KENNEDY-CENTER.ORG Tickets also available at the Box Office.

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

Comedy at the Kennedy Center Presenting Sponsor

Recommended for mature audiences.

washingtoncitypaper.com september 30, 2016 37

CPArts Arts Desk

Show: Death Valley Girls, Cinema Hearts, Madeira, DJ Ian Svenonius at Comet Ping Pong. 5037 Connecticut Ave. NW. Oct. 1.

Artist: Sophie McTear

Show: Aaron Leitko, Sean Peoples at Red Onion Records. 1628 U St. NW. Oct. 7.

Artist: Nick Apice

See photos from the Freedom Sounds Festival on the National Mall. washingtoncitypaper.com/arts

Flyer By Night A new monthly feature that highlights the art of gig posters and flyers.

Show: Pygmy Lush, Slow Mass, Two Inch Astronaut at Comet Ping Pong.

5037 Connecticut Ave. NW. Oct. 2.

Artist: Sophie McTear

Show: Iron Cages, Pandemix, Sedative, Disinfectant at Slash Run. 201 Upshur St. NW. Oct. 1 Artist: Kohei Urakami

38 september 30, 2016 washingtoncitypaper.com

Show: LTW, Virginia Creep, Buzzard Dust, Tomb Warden at Slash Run. 201 Upshur St. NW. Sept. 30.

Artist: BrainPat

Jazz

the

A smart, funny and sexy new play with a splash of southern charm

gulf

Jason Moran, Artistic Director for Jazz

Discovery Artist Harold López-Nussa Trio One of the most outstanding young interpreters of jazz in Cuba, Harold López-Nussa has given concerts in the most important theaters in Cuba, as well as on notable stages and international festivals.

Saturday, October 8 Discovery Artists in the KC Jazz Club are supported by The King-White Family Foundation and Dr. J. Douglas White.

Wild Lines Jane Ira Bloom Plays Emily Dickinson In a new work for jazz quartet and spoken word, 21st-century soprano saxophonist Jane Ira Bloom explores the poetry of 19thcentury visionary Emily Dickinson.

Friday, October 14 This program is made possible with support from Chamber Music America’s 2015 New Jazz Works Program funded through the generosity of the Doris Duke Charitable Foundation.

Now through November 6 KC Jazz Club

By DC playwright Audrey Cefaly | Directed by Joe Calarco

Performances at 7 & 9 p.m. in the Terrace Gallery.

No minimum. Light menu fare available.

(202) 467-4600 | KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Free Parking 16 Nearby Restaurants

Photo of Rachel Zampelli and Maria Rizzo and by Margot Schulman

Additional support is provided by The Argus Fund.

4200 Campbell Avenue Arlington, VA 22206

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

MUCH ADO ABOUT NOTHING Shakespeare’s classic comedy

AQUILA THEATRE

MUCH ADO ABOUT NOTHING

By William Shakespeare

FRIDAY, SEPTEMBER 30 AT 8 P.M.

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A double bill of two short opera masterpieces

VIRGINIA OPERA

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First U.S. Tour!

THE HAVANA CUBA ALL-STARS Cuban Nights SATURDAY, OCTOBER 15 AT 8 P.M.

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This performance is also at the Hylton Performing Arts Center on Fri., Oct. 14 at 8 pm. Information at HyltonCenter.org.

Family Friendly performances that are most suitable for families with younger children

TICKETS

888-945-2468 OR CFA.GMU.EDU

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

washingtoncitypaper.com september 30, 2016 39

Film

If The Love Fits

Two new films opening this weekend explore the cultural and racial roadblocks of falling in love and living happily ever after.

Tanna

Directed by Martin Butler and Bentley Dean

Front Cover

Directed by Ray Yeung

By Tricia Olszewski On an island in the South Pacific lives a people who clothe themselves with grass garments. They know no modern amenities and obey traditional tribal law. The island is Tanna, and co-directors Martin Butler and Bentley Dean lived among its tribes for months to develop their first fictional feature. At first, they just interacted with the villagers, learning what their daily lives and customs were like. But soon they were told of an Tanna event that occurred in 1987, one that became pivotal in changing a facet of the tribes’ culture.

Butler and Dean couldn’t have been luckier: It was a romance, and a doomed one at that. Filmic gold.

Tanna, if its lore is to be believed, is something of a marvel.

The villagers, specifically belonging to the Yakel tribe, had never seen movies or cameras when the directors settled in. Yet they took to acting and filmmaking enthusiastically, with each character here played by a nonprofessional along with the village itself, its landmarks (particularly an active volcano) providing a dramatic and most authentic set. It’s very Beasts of the Southern Wild.

Though Tanna begins with its focus on Selin, an energetic and slightly troublemaking young girl, it eventually switches to Selin’s older sister, Wawa (Marie Wawa). Wawa’s relatives are getting ready for her “initiation” into womanhood, which means she’ll be eligible for an arranged marriage. But Wawa already has a secret boyfriend: Dain (Mungau Dain), grandson of the tribe’s chief. When Selin catches them, Wawa warns her not to tell anybody. “You want me to lie for you?” she asks. Instead of hesitating, the girl’s eyes light up.

Selin likes to run up into “the taboo place,” or the area of the island belonging to the Imedin tribe, who are Yakel enemies. Her fed-

up father sends her on a trip to their “spirit mother”—the volcano—with the tribe’s shaman to learn respect. But the Imedin attack the shaman, leading to a meeting of the tribes in an attempt to broker peace. Dain wants to seek revenge; he’d watched the Imedin kill his parents when he was younger. But the nurturing Wawa tries to convince him that more violence is not the answer. “We can’t keep doing terrible things to each other,” she says.

Well, that’s before her chief offers her to the Imedin as a bride in a good-faith gesture of their new treaty. Both Dain and Wawa— who boldly claims that she can’t be someone else’s bride because she and Dain had sex— get grief from the tribe. “If you don’t go [to the Imedin],” a relative tells Wawa, “there will be

volcano cues emotional responses in this film the way that music does in others—but there’s melodramatic music, too.

Besides the lush backdrops (and yes, the fiery eruptions are also spectacular, just overused) Tanna’s most impressive aspect is its performances. The lovers, the families, the tribes—all behave naturally and never give the sense of “acting.” And though its tragic end is predictable, the film’s close is bittersweet, with the chiefs agreeing to now recognize “love marriage.” That this developed merely three decades ago is amazing, just as astonishing as the fact that this film was made at all.

war.”

At this point, Tanna dials up the romance but significantly slows down the action. The star-crossed pair run away, trying to find another community that will accept them. (A Christian group is quickly crossed off the list: “These people freak me out,” Dain says.) Their mutual devotion is sweet, but watching them hug and make eyes at each other gets a little old. To escape their families, they travel to the volcano, which Butler and Dean use to maximum effect throughout the film. The shaman is beaten: geysers of molten lava spew behind the shadowed figures. You could say that the

little more difficult to avoid. Front Cover tells the story of a gay fashion designer (see?) in his late twenties who apparently hates part of himself—the part that’s Chinese. Ryan (Jake Choi) wants to be all-American. He doesn’t speak Chinese, he doesn’t date Asian men, and he’s ashamed that his parents ran a nail salon. Thus Ryan is irritated when he’s tasked to style Ning (James Chen), an up-and-coming Chinese actor, for a photo shoot that will serve as his introduction to the States. Ning insisted on working with someone from the same background, even if that person has essentially whitewashed himself.

40 september 30, 2016 washingtoncitypaper.com

MOve the rOMance to the concrete jungle of modern Manhattan, and tropes are a

Writer-director Ray Yeung’s second feature is a clunky affair from its opening line: “Driver, step on it!” Ryan tells his cabbie in the parlance of a ’70s bank robber. The dialogue never gets much smoother and neither does the plot, even though the synopsis pretty much telegraphs all its moves. Whereas Ryan is exasperated by Ning’s insistence on, say, first meeting at a traditional Chinese restaurant while he chatters in Mandarin with his large, loud entourage, Ning isn’t too happy that Ryan is gay.

Ning tells Ryan he won’t work with him “unless you don’t show your homo side so openly.”

The problem with this roadblock is that Ryan was hardly flamboyant during their initial encounter and the subject never directly came up. He neither shows nor tells.

Considering this is a romantic comedy, you can fill in the blanks from there. A strained relationship becomes a grudgingly accepted one, then suddenly Ryan and Ning are BFFs. (Yeung threatens to include a “becoming friends while shopping” montage but opts for a “getting high and dancing” one later.) There’s an awkward misunderstanding with Ryan’s broken-English-speaking mom and dad who show up suddenly at his door, an awkward dinner at a romantic restaurant, and an awkward joke about the meaning of “pussy.” And if you don’t think that these two crazy kids won’t eventually get together, you’ve probably never seen a Katherine Heigl movie.

Front Cover means well.

Yeung’s script speaks to the issue of how toxic it can be to deny who you are, both racially or sexually. There’s a message about family and relationships being more important than careers. (Though its key exchange is laughable: When Ryan tells his boss that he wants to take some time off, she says, “Do you want more money? Is it… love?”)

And some scenes are fittingly sweet, even if you roll your eyes because you knew they were coming.

But these good intentions never translate into a good movie. Even Yeung’s direction is graceless, with many scenes just fading off to black, which essentially stops the film dead.

And to complete his Final Draft arc, Yeung tacks on another conflict, tears in front of the television, and a purportedly joyful finale: Look! Lyan is being nice to Asians! This time, the fade to black is welcome.

CP Tanna opens Friday at Landmark E Street Cinema.

Front Cover opens Friday at the Angelika Pop-Up.

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SERGIO MENDES AND BRASIL 2016

A CELEBRATION OF 50 YEARS OF BRASIL ’66

October 14, 2016, 8 p.m.

Tickets are $60 Regular, $58 Seniors, & $30 Students w/ID

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Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301 washingtoncitypaper.com september 30, 2016 41

Music

Circle of Strife

The debut album from Governess confronts and challenges parenting and patriarchal tendencies, while Infinity Crush’s haunting new record copes with loss.

Governess

Governess Sister Polygon Records, 2016

Warmth Equation

Infinity Crush Joy Void Recordings, 2016

By Marissa Lorusso The Three members of surf-pop band Governess met through parenting and community organizing, so it’s no surprise that the band’s music combines a maturity of perspective with a kind of restless energy. With driving rhythms and sharp, reverb-soaked guitars matched by hypnotic vocals, this self-titled debut album can lure you into intellectual heavy lifting while nestling you in droning harmonies.

Governess’ drummer and vocalist Erin McCarley brings her experience in D.C.-area bands like Pygmy Lush and Hand Grenade Job to the trio, also made up of bassist Kieca Mahoney and guitarist Kim Weeks. The band made its recorded debut last year with “Animals,” a propulsive single that introduced the group’s penchant for just-under-the-surface tension, melodic hooks, and reverb-laden harmonies. These habits are on full, refined display on its self-titled debut: Governess can be equal parts subdued and buzzy, dynamic and restrained. On “Elegy,” guitars screech and crackle while McCarley sings a haunting refrain. Midway through the album, “Controltop” shows the band slowing down and leaning into its minimalist urges; the song relies almost exclusively on voice and bass before more instrumentation crashes in. “Controltop” may veer toward being a stylistic outsider, but its pulsing momentum and McCarley’s arresting, versatile voice anchors it with the rest of the album. But “Controltop” isn’t the album’s only slow-tempo dirge: “Patterns,” the tape’s last track, also slowly winds down, with vocal harmonies reminiscent of early Sleater-Kinney.

Underneath the instrumental surface, Governess’ lyrics contain impressive depth. The album’s opening song, “Broken Glass,” combines an ode to the difficulties of puberty with a testament to the frustrating realities of sexism. “Animals” contemplates the harshness of the natural world, the taxing nature of parenting, and the coexistence of

Warmth Equation

beauty and loss. The songs often feature layers of harmonies crooning deceptively simple, repeated phrases that are simultaneously breezy and intriguing, gently prodding you to consider the words more deeply. The music is surfy, but the album is no beach read; it’s clos-

42 september 30, 2016 washingtoncitypaper.com

er to enigmatic poetry.

Overall, the collection of eight songs hums with catchy but reined-in energy; the songs groove and grow, but without ever becoming too aggressive. Even on upbeat tracks like “Zipless” and “Broken Glass,” the band’s energy feels focused and fun, not reckless. Despite momentary explosions, the forward momentum of the songs feels considered: The band writes its music collaboratively, with each member contributing unique lyric- and music-writing skills. As a result, Governess comes off as lovingly fussed-over—like an energetic child—then allowed to grow, sometimes in strange or unexpected directions.

While Governess someTimes touches on the trials of parenting, Infinity Crush’s latest album, Warmth Equation, concerns itself with the

loss of a parent. Maryland songwriter Caroline White wrote much of the bedroom-pop album while grieving the death of her father, and its 12 tracks cover a wide range of the emotional aftermath of loss and the process of mourning.

Infinity Crush’s previous releases are mostly scratchy demos that White released online throughout 2013. Warmth Equation is Infinity Crush’s first release through the Texas-based label Joy Void Recordings. White wrote most of what you hear on Warmth Equation alone, and she’s joined on the record by Derrick Brandon, who added guitar and keyboards. While White’s strong poetic and songwriting sensibilities are evident in the early Infinity Crush demos, they shine and shimmer with a greater sense of completeness on Warmth Equation.

Sorrow animated the writing of many of these songs, but Warmth Equation isn’t an entirely sad album. Rather than simply recounting mourning, the songs show how many aspects of life are experienced through the prism of grief. Songs like “Lilacs” even tell of blissful romance (“When I feel you, I’m so in love / Like I’ve never been loved”), and “Over You” bubbles with self-confidence (“I’m not your princess in the land of tactless / So don’t waste my time”).

The album’s more devastating moments come from the combination of White’s cutting poetry and carefully layered instrumentation. Often, White’s voice is the most powerful instrument: potent but never forceful, wielded with care in layers of harmonies. “Wipe Down” swells with voices as it faces grief head-on (“I still think you’re coming home,” White sings). “Heaven,” the last song on the album, starts with just White’s voice and guitar, then builds, adding more voices and synthesizers. By the time White closes the album with anguished optimism (“Heaven might be real / So I will meet you there”), you feel as though the song has given you a glimpse into the emotional journey White has undergone.

It would be easy to categorize Warmth Equation as simply bedroom pop, but the 12 tracks push at the boundaries of the genre.

The bouncy choruses of “Over You” or “Pete and Pete” feel like shiny bubblegum pop; “Sun Ache,” the album’s shortest track, is heavy, dark, and sparse. In its most tender moments, the album can feel almost shoegaze-y in its synth swells and ethereal vocals.

Infinity Crush took its time writing and recording this record, working on it periodically between 2013 and 2015. As a result, it feels— like Governess—considered. It’s fleshed-out, but doesn’t feel calculated; its emotional immediacy is still direct and accessible. And despite being recorded over a couple years, it’s an impressively cohesive set of songs. Like the phases of grief, each song has a unique identity—but all serve a larger, more compliCP cated narrative.

Listen to Governess and Warmth Equation at washingtoncitypaper.com/arts

Dorrance Dance with Toshi Reagon and BIGLovely in The Blues Project

Oct. 5 & 6 at 8 p.m. | Eisenhower Theater Oct. 3: Dorrance Dance Master Class Oct. 5: Free Post-Performance Discussion

GW LISNER PRESENTS from the buena vista social club tm

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Special Guests Roberto Fonseca, Anat Cohen & Regina Carter

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Photo by Christopher Duggan

omara Lampedusa: portuondo A Concert

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG (202) 467-4600 Tickets also available at the Box Office.

Groups call (202) 416-8400.

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

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washingtoncitypaper.com september 30, 2016 43

MusicDiscography

WED, OCT 5

AMP & Comedy Zone present

Darren “DS” Sanders and Melissa Douty

DEE DEE BRIDGEWATER

TONIGHT! Thu, Sept 29

RUSTED ROOT FRI, SEPT 30

Blue Highway {Best of bluegrass}

Sun, Oct 2

Christian McBride {Exceptional jazz bassist}

Wed, Oct 5

Fairfield Four {Pioneering gospel group}

Thu, Oct 6

HOT 99.5 presents

INTERN JOHN’S PEER PRESSURE COMEDY SHOW FRI, OCT 7

Jason Marsalis Quartet {Vibraphone-led jazz}

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Julie Fowlis

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THU, OCT 6

CELTIC FIDDLE FESTIVAL PATTI LuPONE

DON’T MONKEY WITH BROADWAY FRI, OCT 7 + SAT, OCT 8

SOUTHSIDE JOHNNY & THE POOR FOOLS CHAISE LOUNGE FRI, OCT 14

BICKRAM GHOSH’S DRUMS OF INDIA SAT, OCT 15

TWO SHOWS!

JOHN PAUL WHITE THE KERNAL TUE, OCT 18

JD SOUTHER NELLIE McKAY WED, OCT 19

AN INTIMATE EVENING WITH RICKIE LEE JONES THU, OCT 20

MAHMOUD AHMED FRI, OCT 21

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AND MANY MORE! 1 6 3 5 T R A P R D, V I E N N A , VA 2 2 1 8 2

44 september 30, 2016 washingtoncitypaper.com

Wale kicked open the national door for local hip-hop in 2008 when he inked a deal with Interscope and became the first D.C. rapper in many years to sign with a major record label. Wale eventually linked up with Maybach Music Group, churned out hit after hit, and is now one of hip-hop’s premiere artists. And it didn’t stop with Wale: Local rappers Fat Trel, Shy Glizzy, and Logic followed suit, achieving varying degrees of success in recent years. Up next is Lightshow, an aggressive lyricist who’s considered by many to be the most talented rapper of the new generation. In the rap world, the “next” title can be a heavy burden to carry, but Lightshow has repeatedly proved himself worthy of lofty expectations. His new album Life Sentence 3 increases the buzz by a few more decibels.

More than that, actually: Life Sentence 3 is a triumphant effort from Lightshow. He’s a master at spitting trap-heavy rhymes over ominous beats and continues to prove that nobody can tell D.C. ’hood stories better than he can.

Lightshow opens the album with “Before They Raid,” a blazing freestyle that showcases his verbal dexterity. Unlike many of his millennial contemporaries, Lightshow isn’t a product of social media or reality television— Lightshow has skills. Chris Beatz and Young Lan handle most of the production on Life Sentence 3, creating a haunting, cinematic soundscape in the process, but it’s Lightshow’s, er, show: He’s blessed with a razor sharp flow, and he knows how to use it effectively. He doesn’t overdose on auto-tune and nimbly changes

his cadence—when necessary—to keep listeners interested. Most significantly: He has something worthwhile to say.

Lightshow wants you to recognize his growth as a musician. In a Kanyeesque fashion, he even tells you that in the album’s intro (“I don’t even identify as a fucking rapper no more/ I just feel like I’m an artist.”) He revisits themes from past projects—hustling, dodging bullets, and evading villainous law enforcement—but his subject matter is evolving. He’s still the same kid from 10th Place in Southeast, but he’s been on tour a few times and seen different things. His worldview is a little brighter and the overall vibe of Life Sentence 3 is more positive than his previous work. Take, for instance, “Now”—a refreshing celebration of his lifestyle as a young rap star—with a hook so infectious you’ll be singing it all day (“The police can’t chase us now/ Got cake I can fight my cases now”).

But Lightshow is truly at his best on “How We Lived,” where he vividly describes the harsh realities of street life while introspectively explaining the socio-economic reasons it’s so difficult to escape that environment (“When you lack education conditions hard as can be/ In the back of the classroom and can hardly see/ Because he ain’t got no healthcare and Mama’s on welfare”).

Meanwhile, guest appearances on Life Sentence 3 are kept to a minimum—a clever tactic to keep the spotlight on Lightshow’s own talent. He collaborates with Atlanta’s 21 Savage on “Need A Lighter,” where the two MCs heat up the mic as they toss potent verses back and forth with aplomb. But one of Life Sentence 3’s few low points is “Girls,” which features New York’s A$AP Ant. We don’t expect rappers to be politically correct, but this track quickly becomes bogged down with gratuitous misogyny—wasting a hard hitting beat by Young Lan. Lightshow methodically built his career on strong mixtapes like the Yellow Tape White Chalk series, The Way I See It, If These Walls Could Talk, and Life Sentence 1 and 2, but he’s never scored the breakout single to catapult his career from local star to national sensation.

He doesn’t deliver that song on Life Sentence 3, but what he does deliver is a mixtape of satisfying hip-hop. This is music to ride to, smoke to, and never even think about skipping a track.

—Sidney Thomas Listen to Life Sentence 3 at washingtoncitypaper.com/arts

DEMO: Heroes

by Damian Woetzel

Jacqueline Bolier

Kate Davis

Robert Fairchild

Jared Grimes

Carla Kรถrbes

Matthew Whitaker

New York City Ballet and Broadway Star Robert Fairchild

MusiCorps Wounded Warrior Band

Former New York City Ballet Principal Dancer turned director Damian Woetzel brings together a stellar cast of artists to celebrate their heroes and artistic inspirations in a one night only special DEMO performance.

October 10 at 8 p.m.

Eisenhower Theater TICKETS ON SALE NOW! (202) 467-4600 | KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin.

washingtoncitypaper.com september 30, 2016 45

I.M.P. PRESENTS DAR Constitution Hall • Washington D.C.

THIS WEEK’S SHOWS

Bob Moses w/ No Regular Play & Weval ...............................................Th SEP 29 The Growlers ..........................................................................................Sa OCT 1 Warpaint w/ Facial ..........................................................................................Tu 4

Sturgill Simpson w/ Valerie June ...............................................................OCTOBER 11 The Head and The Heart w/ Declan McKenna ........................................OCTOBER 22 Lindsey Stirling w/ Shawn Hook .................................................................OCTOBER 24 Ticketmaster

Merriweather Post Pavilion • Columbia, MD

OCTOBER

WPOC WEEKEND IN THE COUNTRY FEATURING

U STREET MUSIC HALL PRESENTS

Neon Indian & Classixx ............................................................................... F 7 The Faint w/ Gang of Four Early Show! 6pm Doors .............................................. Sa 8 MIXTAPE: Alternative Dance Party with DJs Shea Van Horn, Matt Bailer, and MAJR Late Shows! 11pm Doors ................... Sa 8 U STREET MUSIC HALL PRESENTS

Little Big Town • Rodney Atkins • Dustin Lynch • LOCASH • Old Dominion • Chase Bryant • Maddie & Tae • Granger Smith and more! .................... OCTOBER 15 & 16

GET A DEAL!

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

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

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

Echostage • Washington, D.C.

U STREET MUSIC HALL PRESENTS

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

Yonder Mountain String Band w/ Billy Strings .....................................Sa 15 Local Natives w/ Charlotte Day Wilson .........................................................M 17 Jack Garratt w/ Brasstracks ........................................................................ Tu 18 Foy Vance w/ Trevor Sensor .......................................................................... W 19 Saint Motel w/ Hippo Campus & Weathers ................................................... Th 20 Shovels & Rope w/ Matthew Logan Vasquez (of Delta Spirit) ....................... F 21 LANY w/ Transviolet .........................................................................................M 24

ADDED!

NIGHT FIRST NIGHT SOLD OUT! SECOND

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

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

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

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

St. Lucia w/ Baio Early Show! 6pm Doors ............................................................ F 28 Hinds w/ Cold Fronts Early Show! 6pm Doors .....................................................Sa 29 ALL GOOD PRESENTS

Late Shows! 10pm Doors ........................................................................... F 28 & Sa 29

GWAR w/ Darkest Hour & Mutoid Man ........................................................... Su 30 Aurora w/ Dan Croll .........................................................................................M 31 NOVEMBER

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 IAMX w/ Cellars ..............................F SEP 30 Kula Shaker w/ The Beginner’s Mynd ...................Su OCT 2 Levellers w/ ROM .................................. M 3 Quantic Live ........................................ Tu 4

Adam Ant: Kings of the Wild FrontIEr Live 2017 On Sale Friday, September 30 at 10am

THIS THURSDAY!

Jake Bugg w/ Syd Arthur ............................................................................SEPTEMBER 29 Jim Norton- Mouthful of Shame Tour ..................................................FRI, OCTOBER 7 Two Shows - Live taping! 6pm & 9pm Doors.

Capital Cities w/ KANEHOLLER ..................................................................... Tu 1 Eric Hutchinson w/ Humming House & Matt Mackelcan Early Show! 6pm Doors W 2 Fred Armisen Late Show! 10pm Doors ............................................................... W 2 Låpsley w/ Aquilo Early Show! 6pm Doors............................................................. F 4 Snakehips w/ Lakim Late Show! 10pm Doors ....................................................... F 4 Marillion .......................................................................................................... Sa 5 James Vincent McMorrow w/ Dan Mangan................................................ W 9 Kelsea Ballerini w/ Morgan Evans ............................................................. Th 10 SoMo w/ STANAJ ............................................................................................ Su 13 Atmosphere w/ Brother Ali • deM atlaS • Plain Ole Bill and Last Word ........M 14

9:30 CUPCAKES

1215 U Street NW Washington, D.C.

...............JANUARY 23

Papadosio (F 28 - w/ Consider The Source • Sa 29 - w/ Soohan)

MANY MORE SHOWS ON SALE!

JUST ANNOUNCED!

How to Dress Well w/ Ex Reyes & Swan Lingo ....................... Th 6 Finish Ticket w/ Run River North ...........F 7 Skylar Grey w/ MORGXN ..................... M 10 Joseph w/ Ruston Kelly ....................... Su 16

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

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

memoir, M Train, joined by Tony Shanahan for a few songs................................. OCTOBER 12 Ticket purchase comes with a paperback copy of M Train.

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

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

AEG LIVE PRESENTS

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

Tig Notaro, Aparna Nancherla, and more! .......................................OCTOBER 27 BRIDGET EVERETT Pound It! with special guest Michael Ian Black ....................OCTOBER 28 A UHF LIVE COMMENTARY FEATURING

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

#ENRICHDC BENEFIT

DALEY and more! ...........................................................................................NOVEMBER 6 Henry Rollins Election Night Spoken Word ............................................NOVEMBER 8 Chris Isaak ...................................................................................................NOVEMBER 12 The Naked And Famous w/ XYLØ & The Chain Gang of 1974 .................NOVEMBER 15 NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

Ingrid Michaelson .....................................................................................NOVEMBER 22 Andra Day w/ Chloe x Halle ..........................................................................NOVEMBER 25 ALL GOOD PRESENTS

Mike Gordon ...............................................................................................NOVEMBER 29 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

46 september 30, 2016 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D

Music 47 Theater 50

Serving

EVERYTHING from BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

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

Music rock

9:30 Club 815 V St. NW. (202) 265-0930. Kaleo, Bishop Briggs, The Wind + The Wave. 6 p.m. $22.50.

930.com.

DC9 1940 9th St. NW. (202) 483-5000. Poster Children, J. Robbins. 7 p.m. $17–$20. dcnine.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Opeth, The Sword. 8 p.m. $35. fillmoresilverspring.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Covered with Jam, Katita and the Fajitas. 9 p.m. $10–$13. gypsysallys.com. roCk & roll Hotel 1353 H St. NE. (202) 3887625. This Wild Life, Have Mercy, Movements. 7 p.m. $15–$18. rockandrollhoteldc.com.

classical

kenneDy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Shakespeare at the Symphony: From Tchaikovsky to Elgar. 8 p.m. $15–$89. kennedy-center.org. national gallery oF art eaSt builDing auDitorium 4th Street and Constitution Avenue NW. (202) 842-6799. Tristan Perich: Surface Image with Vicky Chow. 12:30 p.m. Free. nga.gov.

opera

kenneDy Center opera HouSe 2700 F St. NW. (202) 467-4600. The Marriage of Figaro. 7:30 p.m. $45–$315. kennedy-center.org.

World

eaglebank arena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Marc Anthony. 9 p.m. $59–$149. eaglebankarena.com.

Jazz

atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Oscar Peñas: Puente Aereo. 8 p.m. $20–$28. atlasarts.org. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Taj Mahal Trio. 8 p.m.; 10 p.m. $60–$70. bluesalley.com.

electronic

9:30 Club 815 V St. NW. (202) 265-0930. Bakermat & Sam Feldt. 11 p.m. $26. 930.com. eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. Zeds Dead. 9 p.m. $30. echostage.com. u Street muSiC Hall 1115 U St. NW. (202) 588-1889.

IAMX, Cellars. 7 p.m. $25. ustreetmusichall.com.

Funk & r&B

“WinG to WinG”

In art, the bird can be a sign of beauty or a sign of unease. Dove or raven? Songbird or The Birds?

For D.C. native Cindy Kane, her avian art—now on display at Cross MacKenzie Gallery—fuses beauty with danger. In “Wing to Wing,” Kane decries environmental degradation by painting detailed, naturalistic renderings of her winged subjects in byzantine patterns, set against an undercurrent of human-created dread about their future on the planet. (She also paints butterflies, to similar effect.) Hummingbirds, macaws, and cardinals seem to hover on the page. Kane makes clear that her paintings, though filled with creatures, are no guarantee of the survival of the species over the long term. You might call them canaries in the coal mine. The exhibition is on view Wednesdays through Saturdays noon to 5 p.m., to Oct. 5, at Cross MacKenzie Gallery, 1675 Wisconsin Ave. NW. Free. (202) 337-7970. crossmackenzie.com.

—Louis Jacobson blaCk Cat baCkStage 1811 14th St. NW. (202) 6674490. The Shondes, Hemlines. 9 p.m. $12. blackcatdc.com.

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

Russian Circles, Helms Alee. 8 p.m. $18. rockandrollhoteldc.com.

Comet ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Death Valley Girls, Cinema Hearts. 10 p.m. $12. cometpingpong.com.

SongbyrD muSiC HouSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Mothxr. 8 p.m. $10–$12. songbyrddc.com.

saturday

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Kishi Bashi, Twain. 9 p.m. $22. fillmoresilverspring.com.

classical

9:30 Club 815 V St. NW. (202) 265-0930. The Growlers. 8 p.m. $25. 930.com.

tHe Hamilton 600 14th St. NW. (202) 787-1000. Fruition. 8 p.m. $15–$20. thehamiltondc.com.

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. A’ngela Winbush. 7:30 p.m. $45. birchmere.com.

HowarD tHeatre 620 T St. NW. (202) 803-2899.

Cameo. 8 p.m. $40–$80. thehowardtheatre.com.

located next door to 9:30 club

CITY LIGHTS: Friday

Friday

betHeSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Sarah Dash. 8 p.m. $35. bethesdabluesjazz.com.

2047 9th Street NW

Film 53

rock

kenneDy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Shakespeare at the Symphony: From Tchaikovsky to Elgar. 8 p.m. $15–$89. kennedy-center.org.

washingtoncitypaper.com september 30, 2016 47

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

TICKETS ON SALE NOW!

kenneDy Center eiSenHower tHeater 2700 F St. NW. (202) 467-4600. Folger Consort: Measure + Dido. 8 p.m. $79–$119. kennedy-center.org.

sunday

national gallery oF art eaSt builDing auDitorium 4th Street and Constitution Avenue NW. (202) 842-6799. New Orchestra of Washington with the 18th Street Singers. 4 p.m. Free. nga.gov.

9:30 Club 815 V St. NW. (202) 265-0930. Bastille. 7 p.m. $35. 930.com.

opera

kenneDy Center opera HouSe 2700 F St. NW. (202) 467-4600. The Marriage of Figaro. 7 p.m. $45–$315. kennedy-center.org.

Hip-Hop

OCT. 1

SATURDAY

OCT. 2 SUNDAY

UNION MARKET

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

DC9 1940 9th St. NW. (202) 483-5000. Astronautalis, Oxymorrons, Seez Mics. 8 p.m. $15. dcnine.com.

World

Dar ConStitution Hall 1776 D St. NW. (202) 6284780. Googoosh. 8:30 p.m. $55–$150. dar.org. tropiCalia 2001 14th St. NW. (202) 629-4535. Kaynak Pipers of Bulgaria, Zharava Bulgarian Folk Dance Ensemble. 6 p.m. $12. tropicaliadc.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Taj Mahal Trio. 8 p.m.; 10 p.m. $60–$70. bluesalley.com. kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Jason Moran, Jessie “Little Doe” Baird. 6 p.m. Free. kennedy-center.org.

electronic

eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. Nervo, Cedric Gervais. 9 p.m. $25–$35. echostage.com.

FlaSH 645 Florida Ave. NW. (202) 827-8791. Mihai Popoviciu, Pornbugs, Sarah Myers, Charles Martin. 8 p.m. $8–$12. flashdc.com.

rock

blaCk Cat baCkStage 1811 14th St. NW. (202) 6674490. Electric Six, In the Whale. 7:30 p.m. $15. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. VanLadyLove, Color Palette, Shiffley. 9 p.m. $12. dcnine.com. tHe Hamilton 600 14th St. NW. (202) 787-1000.

Eileen Ivers. 6:30 p.m. $22–$47. thehamiltondc.com.

Hill Center at tHe olD naval HoSpital 921 Pennsylvania Ave. SE. (202) 549-4172. American Roots Concert Series: High Plains Jamboree. 4 p.m.

Free. hillcenterdc.org.

HowarD tHeatre 620 T St. NW. (202) 803-2899.

Yacht Rock Revival, Ambrosia, Player, Matthew Wilder and Robbie Dupree. 8 p.m. $35–$40. thehowardtheatre.com. u Street muSiC Hall 1115 U St. NW. (202) 5881889. Kula Shaker, The Beginner’s Mynd. 7 p.m. $22. ustreetmusichall.com.

classical national gallery oF art eaSt builDing auDitorium 4th Street and Constitution Avenue NW. (202) 842-6799. Philip Glass. 2 p.m. Free. nga.gov.

opera kenneDy Center opera HouSe 2700 F St. NW. (202) 467-4600. The Marriage of Figaro. 2 p.m. $45–$315. kennedy-center.org.

CITY LIGHTS: saturday

deatH Valley Girls

Death Valley Girls’ latest album, Glow in the Dark, recalls a time when Los Angeles was the center of rock ’n’ roll. The Southern California quartet’s garage punk is slathered with organ, references to the occult, and manic psychedelia. It’s glam rock with a bite, heavy metal that wants to be pop. An easy comparison is The Runaways, but Death Valley Girls is wonderfully weirder, with a deep love of horror, sci-fi, and mythology. The band is like your friends who laugh at the scariest parts of the movie instead of jumping, and it translates that madness into swampy, chugging, fun rock. The reverb sounds so thick that at times it feels like oppressing humidity, with lead singer Bonnie Bloomgarden’s voice cutting right through it as she wails, growls, and screams. The overall effect—what Death Valley Girls call “dystopian doom boogie”—ignites a primal need to dance like the world might end in the morning. Death Valley Girls perform with Cinema Hearts at 10 p.m. at Comet Ping Pong, 5037 Connecticut Ave. NW. $12. (202) 364-0404. cometpingpong.com.

—Justin Weber 48 september 30, 2016 washingtoncitypaper.com

CITY LIGHTS: sunday

CERVANTES: EL ULTIMO QUIXOTE

Artistic rivalries make for good drama, even if— especially if—they’re not entirely historically accurate. Cervantes: El Ultimo Quixote, Jordi Casanovas’ biographical play about Spain’s most famous author, actually gets a lot right, principally his not-always-friendly rivalry with the poet and playwright Lope de Vega, who surpassed him in fame during his lifetime. Cervantes’ mixture of admiration and jealousy of the younger, hotter upstart gives the play a whiff of Amadeus, if the Salieri character eventually ended up eclipsing Mozart. Through at times dark, particularly Cervantes’ time as a prisoner of war in Algeria, and infused with director José Luis Arrellano’s trademark intensity (his award-winning Yerma was 90 percent shouting), Cervantes is surprisingly life affirming, with heartfelt performances by Oscar de la Fuente and Soraya Padrao. Casanova offers his own answers to the rumors and controversies that dogged Cervantes—did he really write Don Quixote in prison? did someone else?— but ultimately, the historical record matters less than the personal relationships that help artists overcome their demons. What else are frenemies for? The play runs Sept. 8 to Oct. 2 at Gala Hispanic Theatre, 3333 14th St. NW. $25–$45. (202) 234-7174. galatheatre.org.

—Mike Paarlberg

country

amp by StratHmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Blue Highway. 8 p.m. $20–$30. ampbystrathmore.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Taj Mahal Trio. 8 p.m.; 10 p.m. $60–$70. bluesalley.com. kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Jason Moran and George E. Lewis. 6 p.m. Free. kennedy-center.org.

Funk & r&B

betHeSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Melba Moore. 8 p.m. $45. bethesdabluesjazz.com.

betHeSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Midge Ure, Richard Lloyd.

8 p.m. $25–$30. bethesdabluesjazz.com.

DC9 1940 9th St. NW. (202) 483-5000. Tacocat, Daddy Issues, Bad Moves. 9 p.m. $14. dcnine.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Parkway Drive, We Came As Romans, Counterparts. 7 p.m. $29.99. fillmoresilverspring.com.

Hill Country barbeCue 410 7th St. NW. (202) 556-2050. Slaid Cleaves. 8:30 p.m. $16–$25. hillcountrywdc.com. roCk & roll Hotel 1353 H St. NE. (202) 388-7625.

Ash. 8 p.m. $22.50–$25. rockandrollhoteldc.com.

Hip-Hop

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. El DeBarge. 7:30 p.m. $65. birchmere.com.

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

Quantic Live. 7 p.m. $18. ustreetmusichall.com.

boSSa biStro 2463 18th St NW. (202) 667-0088.

The Tumbling Wheels. 9 p.m. $10. bossadc.com.

HowarD tHeatre 620 T St. NW. (202) 803-2899. Ze Paulo Becker. 8 p.m. $30–$55. thehowardtheatre.com.

Monday rock

blaCk Cat 1811 14th St. NW. (202) 667-4490.

The Legendary Pink Dots, Orbit Service. 7:30 p.m. $20–$25. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Silver Snakes.

8 p.m. $12. dcnine.com. u Street muSiC Hall 1115 U St. NW. (202) 588-1889.

Levellers, Rom. 7 p.m. $25. ustreetmusichall.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Carmen Craven. 8 p.m.; 10 p.m. $20. bluesalley.com. kenneDy Center millennium Stage 2700 F St. NW. (202) 467-4600. Kris Davis and Craig Taborn. 6 p.m. Free. kennedy-center.org.

Funk & r&B

HowarD tHeatre 620 T St. NW. (202) 803-2899.

Jacob Collier and Ghost-Note, Mono Neon. 8 p.m. $20–$25. thehowardtheatre.com.

tuesday rock

9:30 Club 815 V St. NW. (202) 265-0930. Warpaint, Facial. 7 p.m. $25. 930.com.

925 N. Garfield St. Suite A, Arlington, VA (703) 841-5888 www.sehkraftbrewing.com

country

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lyle Lovett, Robert Earl Keen. 7:30 p.m. (Sold out) birchmere.com.

Jazz

MON

rock

9:30 Club 815 V St. NW. (202) 265-0930. Taking Back Sunday, You Blew It!, Mammoth Indigo. 7 p.m. $30.

930.com.

TUES

TRIVIA

growler fills

HALF OFF!

7pm

Supernatural select Themed Pub quiz Drafts Tue-Fri from OCT 26 - 7PM $5 entry

COMMON PEOPLE UP!

FRI 30

DARK & STORMY

SAT 1

POUR SOME GLITTER ON ME

OCTOBER 14 The Fisherman Band (Album release party) Kidsrock! Brunch & Concert w/ The Bubba’s (9am) SEE SEHKRAFT WEBSITE FOR TICKETS

THE SHONDES

ELECTRIC SIX MON 3 THE LEGENDARY PINK DOTS SUN 2

WED 5

OktoberFest closing Party w/ Black Masala Cross Kentucky wavos Sehkraft Open mic night!

Dan Wolfe & Muddy Crows w/ So Thens

DANCE / ELECTRO / RETRO

SAT 1

OCT 1

OCT 15

90S ALT POP & HIP HIP PARTY

HAIR METAL BURLESQUE (21+)

TUE 4

BAND OF SKULLS

THU 6

GOLDEN SUITS THALIA ZEDEK BAND

FRI 7

DIARRHEA PLANET

SAT 8

CRYSTAL CASTLES / SOLD OUT

SUN 9

PRESIDENTIAL DEBATE, +TRIVIA & BOOK RELEASE PARTY

TUE 11

WED 12

BEACH SLANG BLEACHED

SHURA

OCTOBER 15 Radio Mosaic oct 19 OCT 20

Malarkey (Irish Fiddle Music) Silver Line Station

OCTOBER 21 An Evening w/ Professor Louie & the Crowmatix (Performing originals and classic hits from The Band)

TUE OCT 4

BAND OF SKULLS

$5 AT THE DOOR AFTER 9PM

OCT 22 OCT 24 oct 27 oct 28

The Next Step Sehkraft Open mic night!

Black Muddy River // Two Ton Twig Taylor Carson Band Visit www.sehkraftbrewing.com for show updates and changes

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

The Deer Hunter, Eisley, Gavin Castleton. 7:30 p.m. $20–$25. rockandrollhoteldc.com.

THE SEHKRAFT TAILGATE BRUNCH PARTY

amp by StratHmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Christian McBride. 8 p.m. $40–$50. ampbystrathmore.com.

FRI 30

LIVE MUSIC SCHEDULE OCT 7 OCT 8 OCT 10 oct 13

THE BIRD AND THE BEE

in the HAUS

Special

11am-4pm

SEPT / OCT SHOWS THU 29

DC9 1940 9th St. NW. (202) 483-5000. Tall Heights, Frances Cone. 9 p.m. $12. dcnine.com.

Jazz

@blackcatdc

WED

W/ GEEKS WHO DRINK

Butcher Burger In the HAUS

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Charis Jones. 8 p.m.; 10 p.m. $20. bluesalley.com.

Wednesday

www.blackcatdc.com

WEEKLY SPECIALS

World

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

1811 14TH ST NW

Sunday 11am

Tailgate Buffet served from 11am- 4pm.

Full NFL Package, games on the TV’s.

Tailgate games to play. Great Beer!

FRI OCT 7

DIARRHEA PLANET

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

washingtoncitypaper.com september 30, 2016 49

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

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

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

Sept 29

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+

LUNA PB 30 A’NGELA WINBUSH Oct 2 EL DeBARGE 6 DAVID BROMBERG’S BIG BAND ritta hilliPs

“Bucket List Birthday Bash!”

with special guests Larry Campbell & Teresa Williams

funky METERS 7come11 9 The Whispers

7 SEPTEMBER 29TH

FOUNDERS BREWING VINTAGE BEER TAPPING AT 6PM

UNDERGROUND COMEDY SHOW STARTS AT 8:30PM

SEPTEMBER 30TH

BARE NAKED COMEDY DOORS AT 7PM

OCTOBER 1ST

DR.WHO INSPIRED BURLESQUE DOORS AT 8PM SHOW AT 9PM OCTOBER 2ND

STARR STUCK COMEDY DOORS AT 7PM

RICHARD THOMPSON 12 Asleep At The Wheel

Sam (Solo Acoustic) Amidon

11

14&15 16

Purple Hulls

ERIC ROBERSON w/D Maurice KEIKO MATSUI The Return of

18

SQUIRREL NUT ZIPPERS 19&20 AVERY*SUNSHINE 21 RODNEY CROWELL 22 RAVEN’S NIGHT “CELESTIAL BODIES”

23

BRIAN McKNIGHT

barnS at wolF trap 1635 Trap Road, Vienna. (703) 255-1900. Dee Dee Bridgewater. 8 p.m. $42–$48. wolftrap.org. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Herb Scott Quartet. 8 p.m.; 10 p.m. $20. bluesalley.com. manSion at StratHmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Mark G. Meadows.

7:30 p.m. $17. strathmore.org.

electronic

FlaSH 645 Florida Ave. NW. (202) 827-8791. Point Point, Basscamp, Abhimanyu. 8 p.m. $10. flashdc.com. u Street muSiC Hall 1115 U St. NW. (202) 588-1889.

Little Boots. 10 p.m. $10–$15. ustreetmusichall.com.

Funk & r&B

betHeSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Guiltypleasures. 8 p.m. $20. bethesdabluesjazz.com.

tHursday rock

9:30 Club 815 V St. NW. (202) 265-0930. The Temper Trap, Coast Modern. 7 p.m. $30. 930.com. blaCk Cat baCkStage 1811 14th St. NW. (202) 6674490. Thalia Zedek Band, Sansyou, The Caribbean.

7:30 p.m. $15. blackcatdc.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Bad Religion, Against Me!, Dave Hause. 7:30 p.m. $30. fillmoresilverspring.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Giant Panda Guerilla Dub Squad. 8:30 p.m. $15–$17. gypsysallys.com.

HowarD tHeatre 620 T St. NW. (202) 803-2899.

Black Lips, The Sea Life, Tedo Stone. 7:45 p.m. thehowardtheatre.com. iota Club & CaFé 2832 Wilson Blvd., Arlington. (703) 522-8340. Lato. 8 p.m. $10. iotaclubandcafe.com. roCk & roll Hotel 1353 H St. NE. (202) 388-7625.

Lewis Del Mar. 8 p.m. $15. rockandrollhoteldc.com.

SmitHSonian ameriCan art muSeum 8th and F streets NW. (202) 633-7970. Danke Shane. 5:30 p.m.

Free. americanart.si.edu.

classical

manSion at StratHmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Jessica Krash. 7:30 p.m. $30. strathmore.org.

Hip-Hop

eaglebank arena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Chance the Rapper, Francis and the Lights. 8 p.m. $32.50–$45.50. eaglebankarena.com.

Folk

tHe Hamilton 600 14th St. NW. (202) 787-1000.

Sara Watkins, Mikaela Davis. 7:30 p.m. $15–$30. thehamiltondc.com.

SixtH & i HiStoriC Synagogue 600 I St. NW. (202) 408-3100. Livingston Taylor, Chelsea Berry. 8 p.m. $25–$30. sixthandi.org.

country

birCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. David Bromberg’s Big Band Bucket List Birthday Bash. 7:30 p.m. $59.50. birchmere.com.

Jazz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $65–$70. bluesalley.com.

electronic

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

How to Dress Well, Ex Reyes, Swan Lingo. 7 p.m. $20. ustreetmusichall.com.

Theater

angelS in ameriCa Round House Theatre and Olney Theatre Center collaborate to bring both parts of Tony Kushner’s monumental work about a group of New Yorkers in the early days of the AIDS epidemic.

Combining fantasy elements with history, the play is presented in two parts and will be performed in repertory. Round House Theatre Bethesda. 4545 EastWest Highway, Bethesda. To Oct. 30. $36–$56. (240) 644-1100. roundhousetheatre.org. a biD to Save tHe worlD Living in a world without dying, two young people investigate the strange phenomenon known as death and a wealthy person seeks to buy peace. Director Lee Liebeskind helms this production of Erin Bregman’s dark drama. Rorschach Theatre at Atlas Performing Arts Center. 1333 H St. NE. To Oct. 2. $30. (202) 399-7993. rorschachtheatre.com. blaCkberry Daze In the aftermath of World War I, an alluring young man transfixes a small Virgin-

OCTOBER 3RD

DISTRICT TRIVIA STARTS AT 7:30PM OCTOBER 4TH

FREE COMEDY SHOW DOORS AT 7PM

OCTOBER 5TH

PERFECT LIARS CLUB DOORS AT 5:30PM DISTRICT TRIVIA

26

AOIFE O’DONOVAN & WILLIE WATSON HIROSHIMA 28 29 TOM PAXTON & JOHN McCUTCHEON 27

31

STARTS AT 7:30PM OCTOBER 6TH

UNDERGROUND COMEDY SHOW STARTS AT 8:30PM OCTOBER 7TH

HEXWORK:A SPELLBINDING BURLESQUE REVUE DOORS AT 8PM SHOW AT 9PM

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

Teddy SUZANNE VEGA Thompson ‘FUNK 2&3 BRIAN CULBERTSON Tour’ Brian 4 DELBERT McCLINTON Dunne

Nov 1

20 Year Reunion

5

All Original + Guests PAT McGEE BAND Members

Spend an evening in concert with

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

50 september 30, 2016 washingtoncitypaper.com

CITY LIGHTS: Monday

ROMEO AND JULIET

Everyone’s got a favorite film adaptation of Romeo and Juliet. Some opt for the Claire and Leo classic from the ’90s, others prefer West Side Story, and a select few like the tights in Franco Zeffirelli’s 1968 adaptation.

Now directors Kenneth Branagh and Rob Ashford add one more take on the tale of star-crossed lovers in collaboration with Branagh’s theater company. Their version, screening for one night only at the Folger, stars Richard Madden, known to many as Game of Thrones’ Rob Stark, and Lily James, star of Downton Abbey and Cinderella. And while the adaptation sticks to the Bard’s words quite faithfully, its cast of young stars and stage veterans, including Derek Jacobi in the role of Mercutio, gives the 400-year-old story a bit more pep. Combined with Christopher Oram’s sets and costumes straight out of the swinging ’60s, this handsome production succeeds even though you know how everything ends.

The film screens at 7 p.m. at the Folger Elizabethan Theatre, 201 East Capitol St. SE. $15–$20. (202) 544-7077. folger.edu.

—Caroline Jones

CITY LIGHTS: tuesday

UPCOMING SHOWS

In the current cultural landscape, where 15 minutes of fame can last all of 15 seconds, it can be difficult for rock bands to stay au courant. The key for Warpaint has been to embrace its chameleon-like tendencies. Founded by childhood friends Emily Kokal and Theresa Wayman, Warpaint has released three albums full of psychedelic art-rock, bounding from moody and ambient to cacophonic and chaotic on songs that are often hypnotic and haunting. While the group’s 2010 debut album The Fool was marked by Kokal and Wayman’s duets on vocals and guitars, its subsequent albums have found the band experimenting with other genres and instruments. Its eponymous 2014 album had touches of R&B and rap in the DNA of its minimalist dreamscapes, influences which are even more apparent on the just-released Heads Up. The album embraces a dance-punk stomp on “So Good,” chilly, machine-made soul on “Don’t Wanna” and even spaced-out hip-hop on “Dre,” a tribute to the rap superstar. Heads Up is also the band’s most danceable album yet, which it nods to on lead single “New Song”: “I have never felt this strong/ Dancing to you all night long.” Warpaint performs with Facial at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Chris Kelly ia town and changes the lives of three women living there. Local favorites TC Carson and Roz White star in this musical adapted from the novel by Ruth P. Watson. MetroStage. 1201 N. Royal St., Alexandria. To Oct. 9. $55–$60. (703) 548-9044. metrostage.org. brownSville Song (b-SiDe For tray) When a young man’s life is tragically cut short, his family and friends in his Brooklyn neighborhood work together to celebrate him and move forward. Theater Alliance opens its 14th season with this new drama from playwright Kimber Lee. Anacostia Playhouse. 2020 Shannon Place SE. To Oct. 9. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

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

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

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

(202) 315-1305. culturaldc.org.

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

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

(202) 393-3939. woollymammoth.net.

Come From away This new musical tells the heartwarming true story of how a small Canadian town cared for 6,579 airline passengers stranded there following the September 11th attacks. When 38 planes were diverted to its doorstep, the town of Gander doubled in size, playing host to an international community of strangers and offering food, shelter and friendship. Featuring a rousing score of folk and rock music, the production honors the better angels of our nature, revealing hope and humanity in a time of darkness. Ford’s Theatre. 511 10th St. NW. To Oct. 9. $20–$73. (202) 347-4833. fords.org. tHe CuriouS inCiDent oF tHe Dog in tHe nigHttime The Tony Award-winning play based on the acclaimed novel comes to the Kennedy Center in a production directed by Marianne Elliott. Centered around a young man who has trouble processing the world, the action follows him as he tries to determine who killed his neighbor’s dog. Kennedy Center Opera

F

30

BUMPPP LATE NIGHT W/ DJ JAWN BOY

SAT 10/1

DC BEER WEEK FAREWELL W/ JAILBREAK

SU 2

THE EL MANSOURIS / BUENO BYOVINYL

TH 5

THR 10/6

FIREKID

FRI 10/7

PHISH TRIBUTE + BIG BOAT TRIBUTE

S

FROM LABELLE

JOE CLAIR & FRIENDS COMEDY SHOW

1

7PM/10PM

MELBA MOORE MIDGE URE + SPECIAL GUEST RICHARD LLYOD GUILTYPLEASURES JOEY ALEXANDER:

W 4

S 8 SU 9

MY FAVORITE THINGS S:7PM/ 9:15PM SU 7:30PM

W 12

F

14

SAT 10/8

YOUNG RAPIDS, TINY HAZARD

WED 10/12

MOOSH & TWIST

FRI 10/14

TOLD SLANT, FOOZLE

SN 10/23

SAT 10/15

JUSTIN JONES, ALEX TEBELEFF

F

TUE 10/18

OMNI, US & US ONLY

THU 10/20

LA SERA

BAR

SARAH DASH OCTOBER

FRI 9/30

WED 10/5

Warpaint

SEPTEMBER

SU 16

MIRIAMM TURNS BETHESDA BLUES & JAZZ PINK MORRIS DAY & THE TIME 7PM/10PM

KWAM 1 & CHOPTEETH AFROFUNK BIG BAND + JANELIASOUL

JUST ANNOUNCED M

SPYRO GYRA 11/ 7 LARRY CARLTON 11/11 THE SHIRELLES ROCK N’ ROLL HALL OF FAME SALUTE TO THE TROOPS W/ LEONARD, COLEMAN & BLUNT

RARE ESSENCE 11/26 MOUSEY THOMPSON & THE JAMES BROWN EXPERIENCE

W 11/ 23 S

Cafe NITRO OPTIONS

S

12/31 NEW YEAR’S EVE

DOC SCANTLIN & HIS IMPERIAL PALMS ORCHESTRA

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

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends washingtoncitypaper.com september 30, 2016 51

House. 2700 F St. NW. To Oct. 23. $39–$119. (202) 4674600. kennedy-center.org.

D.C.’s

FRI SEPT 30TH

CAMEO SAT OCT 1ST

DICK GREGORY AND PAUL MOONEY

awesomest events calendar. washingtoncitypaper.com/ calendar

SUN OCT 2ND

washingtoncitypaper.com

MON OCT 3RD

LIVE

FRI OCT 7TH

the and the MARCUS KING Band

TOM ODELL

UPCOMING PERFORMANCES

BROADCAST

SAT OCT 8TH

WALTER BEASLEY

TUE OCT 11TH

BUIKA

THURSDAY SEPT

THU OCT 13TH

GO GO BRUNCH FT. CHUCK BROWN BAND

TUE OCT 18TH

BIG FREEDIA WED OCT 19TH

LUPE FIASCO THU OCT 20TH

motHerStruCk Performed by Jamaican storyteller Staceyann Chin, this one-woman show follows the author as she documents her journey towards motherhood. Beginning with her teenage exploits

CITY LIGHTS: Wednesday

29

A PRINCE TRIBUTE FEATURING MIKE SCOTT FRIDAY

SEPT 30

SAT, OCT 1

FRUITION

SUN, OCT 2

EILEEN IVERS

W/ THE BROTHER BROTHERS THURS, OCT 6

SARA WATKINS W/ MIKAELA DAVIS FRI, OCT 7

AMERICAN AQUARIUM W/ RADIO BIRDS

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

tHe little FoxeS Arena Stage kicks off its Lillian Hellman festival with this drama about an ambitious social climber and her even more calculating brothers who run through a series of plans in order to gain wealth as quickly as possible. CSI actress Marg Helgenberger stars as Regina Giddens, the woman who strives to out earn her family. Arena Stage. 1101 6th St. SW. To Oct. 30. $55–$90. (202) 488-3300. arenastage.org.

PURPLE PARTY

KINDRED THE FAMILY SOUL

SUN OCT 16TH

tHe gulF Two women intending to spend a day relaxing on the water find themselves in a sticky situation after their boat’s motor breaks and they get trapped in the Gulf of Mexico. Signature Theatre presents the world premiere of this comedy from playwright Audrey Cefaly about what happens when nature derails your plans. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 6. $40–$89. (703) 820-9771. sigtheatre.org.

tHe laSt SCHwartz The Schwartz family has been on their last legs since Papa died a year ago. Norma’s husband isn’t speaking to her, Herb and Bonnie are having baby troubles, and Simon wants to be an astronaut. Throw a sexy wanna-be Hollywood starlet into the mix, and you’ve got the recipe for a yahrzeit gone perfectly wrong. Theater J Artistic Director Adam Immerwahr makes his D.C. directorial debut in this absurd and thoughtful comedy with a whole lot of heart. Theater J. 1529 16th St. NW. To Oct. 2. $27–$57. (202) 777-3210. theaterj.org.

ALL STAR

FRI OCT 14TH

STEVE BYRNE

FlowerS Stink The Kennedy Center and the U.S. Botanic Garden collaborate for a second time on this play geared toward young audiences, in which two plants come to life and help a young, struggling poet when she needs some inspiration. United States Botanic Garden. 100 Maryland Ave. SW. To Oct. 29.

Free. (202) 225-8333. usbg.gov.

an iliaD Taffety Punk Theatre Company artist Esther Williamson stars in this new adaptation of Homer’s epic poem about the aggressive conflict between Achilles and Hector. With the content updated for current times, this production wonders if there is ever an end to these conflicts. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To Oct. 22. $15. (202) 261-6612. taffetypunk.com.

AN EVENING WITH

BLONDE REDHEAD

SAT OCT 15TH

tHe Diary oF anne Frank Adapted from the widely read journal of the young Jewish girl hiding in Amsterdam during World War II, this gripping drama follows the Frank family and their friends as they watch the world collapse and their safety becomes even more endangered. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 23. $35–$70.

(301) 924-3400. olneytheatre.org.

Freaky FriDay A mother and her teenage daughter magically swap bodies in this lively new musical based on Mary Rodgers’ novel that subsequently inspired two films. Parenthood writer Bridget Carpenter and Next to Normal authors Tom Kitt and Brian Yorkey collaborate on this world premiere. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 20. $40–$99. (703) 820-9771. sigtheatre.org.

YACHT ROCK REVIVAL

JACOB COLLIER & GHOST NOTE W/ MONO NEON

Dante’S inFerno Synetic Theater expands its “NotSo-Silent” series with this adaptation of Dante’s epic story about a hero’s journey through the afterlife.

Featuring vivid set designs and physical interactions, this production build on Synetic’s previous interpretation of the work. Synetic Theater at Crystal City.

1800 South Bell St. , Arlington. To Oct. 30. $20–$60.

(866) 811-4111. synetictheater.org.

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

THEHAMILTONDC.COM

52 september 30, 2016 washingtoncitypaper.com

Bueno

Songbyrd Music House has planned one hell of a hump day. The El Mansouris burst onto the D.C. scene as finalists in NPR’s 2015 Tiny Desk Concert contest and further cemented its reputation as a great live act during a series of sold-out shows. The local supergroup includes members of Cigarette and Young Rapids and draws inspiration for its unpredictable rhythms and emotional grooves from Deerhoof and The Dirty Projectors. The group has been quiet since July, but resurfaces to reveal new material at Songbyrd. New York’s Bueno released its new record, Illuminate Your Room, on Babe City Records in August to strong reviews. Narratively, it covers the course of a single day. Musically, it reaches all the way back to ’70s and Lou Reed. Vocalist Luke Chiaruttini’s speak-singing imbues the songs with a neurotic energy that’s both vulnerable and precise. Rounding out the lineup is the debut performance of Antonia, an avant-garde, ambient R&B artist who also plays in the local band DAIS. If you’re in search of new music or a new favorite band, spend Wednesday night in Adams Morgan. Bueno performs with The El Mansouris and Antonia at 8 p.m. at Songbyrd Music House and Record Cafe, 2477 18th St. NW. $10–$12.

(202) 450-2917. songbyrddc.com.

—Justin Weber

and fear of an unplanned pregnancy and transitioning to adulthood and her struggle to conceive a baby as a lesbian artist in New York, Chin’s presentation explains the lengths we’ll go to for our children. Studio Theatre. 1501 14th St. NW. To Oct. 23. $20–$55.

(202) 332-3300. studiotheatre.org.

bines personal stories with poems, songs, and art history. Flashpoint Mead Theatre Lab. 916 G St. NW. To Oct. 1. $10–$25. (202) 315-1305. culturaldc.org.

romeo & Juliet Shakespeare Theatre Company opens its 2016-2017 season with the classic tale of star-crossed lovers whose relationship sends the lives of their feuding families into chaos. Andrew Veenstra and Ayana Workman star as the title characters in this production directed by Alan Paul. Lansburgh Theatre. 450 7th St. NW. To Nov. 6. $44–$114.

(202) 547-1122. shakespearetheatre.org.

Film

SenSe anD SenSibility The Dashwood sisters and their desire for love and companionship remains as timeless as ever in this stage adaptation of Jane Austen’s first novel. Local favorite Erin Weaver joins firsttime Folger player Maggie McDowell in this production directed by Eric Tucker. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Oct. 30. $30–$75. (202) 544-7077. folger.edu. urinetown A lovestruck young man challenges a powerful corporation set on banning the use of private toilets during a massive water shortage in this lively musical from Mark Hollman and Greg Kotis.

Founding Artistic Director Allison Arkell Stockman directs a cast of 15 and an orchestra of five. Constellation Theatre at Source. 1835 14th St. NW. To Oct. 9. $25–$55. (202) 204-7741. constellationtheatre.org. wHat we’re up againSt Keegan Theatre presents the regional premiere of Theresa Rebeck’s drama about what happens to one woman when she grows tired of the barriers her gender places on her career advancements. Set at an architecture firm, this comedic drama explores the drama between men and women in a corporate drama. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Oct. 15. $35–$45. (202) 265-3767. keegantheatre.com. you Have maDe a Story on my Skin Performer and playwright Rachel Hynes explores the narratives built into our bodies in this interactive piece that com-

SnowDen Joseph Gordon-Levitt stars as the man who helped expose government surveillance programs when he leaked documents from the NSA in this biopic from director Oliver Stone. (See washingtoncitypaper.com for venue information) Deepwater Horizon Mark Wahlberg and Gina Rodriguez star in this dramatic adaptation of the 2010 explosion and oil spill that destroyed the Gulf of Mexico. Directed by Peter Berg. (See washingtoncitypaper.com for venue information) miSS peregrine’S Home For peCuliar CHilDren In this film based on the novel by Ransom Riggs, a young boy escapes to a strange orphanage in the aftermath of a family tragedy. After finding solace there, however, he must take on ghosts from his family’s past to help the place survive. Starring Eva Green, Asa Butterfield, and Samuel L. Jackson. (See washingtoncitypaper.com for venue information) briDget JoneS’ baby Renee Zellweger returns to the role of the perpetually single British woman, now in her 40s, who finds herself torn between two potential baby daddies. Directed by Sharon Maguire. (See washingtoncitypaper.com for venue information) maSterminDS Bank employees team up with their friends to pull off one of the greatest cash heists in American history in this comedy based on true events. Starring Zach Galifianakis, Owen Wilson, Kristen Wiig, and Jason Sudeikis. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: tHursday

THE U.S. AIR FORCE BAND

schlesinger concert hall alexandria, virginia

Bad reliGion

There aren’t many other active punk bands who have survived as many presidential election cycles as Los Angeles’ Bad Religion. Initially formed in 1979, the band has railed against political corruption and societal apathy for longer than most members of current punk bands have been alive. Lead singer Greg Graffin has penned loquacious indictments of every major political movement of the modern era, from the oppressive conformity of the Reagan era on 1988’s Suffer to George W.’s foreign policy follies on 2004’s The Empire Strikes First. Now traveling the nation on what it’s dubbed the Vox Populi tour, the band is without a new record to promote, allowing them to cull from their formidable catalogue of disaffected, double bass drumfueled anthems. Supporting them will be Gainesville, Florida’s Against Me!, a band whose politics were once defined through hurling bricks through Starbucks windows during the 1999 WTO protests but has since become more personal, if no less revolutionary, after lead singer Laura Jane Grace came out as transgender in 2012. Bad Religion performs with Against Me! and Dave Hause at 7:30 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $30. (301) 9610-9999. fillmoresilverspring.com.

—Matt Siblo

FREE CONCERTS

september 30 steve turre, trombone october 21 cyrus chestnut, jazz piano november 11 terrell stafford, trumpet FREE! no tickets needed. all concerts begin at 8 p.m.

www.usafband.af.mil

washingtoncitypaper.com september 30, 2016 53

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Diversions Crossword . . . . . . . . . . . . . . . . . . . 55

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BRIDGES PUBLIC CHARTER SCHOOL Request for Proposals Bridges Public Charter School is opening a bid for Security Guard Services and Crossing Guard Services. Please email bids@ bridgespcs.org to receive a full RFP offering, with more detail on scope of work and proposal requirements. Proposals must be submitted by Friday, October 7, 2016 by 5:00 pm via email.

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City Arts and Prep seeks proposals for Grant Management Services. Prospective Firms shall submit one electronic submission via email. Proposals shall be received no later than 5:00 pm, Friday, October 7, 2016. For full RFP and to submit proposals please email bids@cityartspcs.org.

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Seeking partners for 5000sqft building in Cheverly, MD recording studio with video space inside and out, rehearsal space and meeting rooms, parking for 16 vehicles, private yard in rear, handicap accessiblity. Near New National Harbor MGM Hotel. Also Avail offices in NW DC/ Petworth area. $1200 -$2500 rent, utils incl. Call 202-3552068 or 301-772-3341.

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Pursuant to the School Reform Act, D.C. 38-1802 (SRA) and the D.C. Public Charter Schools procurement policy, Monument Academy Public Charter School (MAPCS) hereby submits this public notice of intent to award the following sole source contract: Contract: Apple Inc.

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Miscellaneous Walsh Construction & THE LINE HOTEL are holding a Job Fair on Friday 7, 2016 from 1 – 4 FINDOctober YOUR OUTLET. pm at the Festival Center located UNWIND,RdREPEAT atRELAX, 1640 Columbia NW, NW, Washington, DC HEALTH/ 20009. SeekCLASSIFIEDS ing ALL Tradesmen / Bring your MIND, BODY & SPIRIT resume!!

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MAPCS intends to enter into a sole source contract with Apple Inc. in order to utilize iPads for individualized instruction. The school will provide an iPad to every student and utilize a service that selects particular apps that suit each child’s needs and learning goals. The contract will amount to $31,815 over the course of 2016-2017 school year.

For further information regarding this sole source notice, please contact Jeff McHugh via email by close of business September 26, 2016.

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In 1976, GM heavily promoted the Eldorado convertibles as “the last American convertible.” Some 14,000 would be sold, many purchased as investments. Classic Americana. 90,000 miles. Excellent original condition. Stored in heated garage. Original owner Brigadier General, carefully maintained.

Contact for price and further details via text or phone to Mary Lou at 703/892.7236. Car is located in Arlington, VA.

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Patience required. 3days/wk, 4hrs/day. Pay based on experience. 202-999-5197

Jeff McHugh, Director of Operations Monument Academy Public Charter School 500 19th Street NE Washington, D.C. 20002 tel: 914-721-0613 email: jeff.mchugh@monumentacademydc.org

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

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

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

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

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

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

No phone calls please.

washingtoncitypaper.com September 30, 2016 55

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