Washington City Paper (November 6, 2015)

CITYPAPER Washington

food: taking local to a new level 25

arts: the history of surrealism 31

Free Volume 35, no. 45 WashingtonCityPaPer.Com noVember 6–12, 2015

ThEPEoPlEIssuE Photographs by Darrow Montgomery

2 NOVEMBER 6, 2015 washingtoncitypaper.com

INSIDE 6 the

people issue The men and women who challenge us, inspire us, entertain us, and lead us

photographs by Darrow montgomery

4 Chatter DistriCt line 20 21 22 23

Unobstructed View Gear Prudence Buy D.C. Savage Love

D.C. FeeD

25 Young & Hungry: The Dabney takes local to a new level.

28 Grazer: Sauce-O-Meter 28 The ’Wiching Hour: Due South’s Nashville Hot Fried Chicken Sandwich 28 Brew In Town: Avery Liliko’i Kepolo

arts

31 Gawk and Awe: The Hirshhorn’s latest explores the grotesque history of Surrealism.

33 Arts Desk: The world according to Ian Svenonius 33 One Track Mind: Allyn Johnson & Sonic Sanctuary’s soulful take on jazz 36 Curtain Calls: Krizel on Winners and Losers and Walker on Gimme a Band, Gimme a Banana!

The Carmen Miranda Story 38 Short Subjects: Olszewski on Love and Gittell on Spectre 40 Sketches: Shook on “Erin Curtis: Diamond Blind” 41 Discography: Moore on Oooh Child Ensemble’s Rebirth

City list

43 City Lights: “Aperture: Photographs” is the latest art show to open at the Former Spanish Ambassador’s Residence.

43 Music 50 Galleries 51 Theater 53 Film

54 ClassiFieDs Diversions 55 Crossword

“

And then it’s like whAt? i’m living in feAr thAt someone’s going to bust me becAuse they spot A lemon bAck here? thAt’s no wAy to live —pAge 25

”

washingtoncitypaper.com NOVEMBER 6, 2015 3

CHATTER Fig & Awful

In which readers’ responses to Fig & Olive range from “ahh!” to “eh”

DArrow MontgoMery

We have a quick update for readers on what’s been going on with Fig & Olive since our cover story last week about its salmonella outbreak in D.C. (“Gut Reaction,” Oct. 30). The restaurant chain is claiming any injuries or damages were “due to the acts or omissions of a third party over which this defendant had no control,” though it falls short of naming the third party. Most readers were appalled by what Jessica Sidman revealed in her deep dive into the outbreak. yup yup wrote, “Even if I bought the argument ‘this could happen anywhere’ (which I don’t - visible mold for 30 days?!?), Fig & Olive’s emphatic denial is what bothers me most. They have multiple sources with extensive proof they willfully ignored public safety. What makes them think we’ll forget all that for a free piece of panna cotta? PS: Be sure to hold the truffle oil!”

I’m with you, yup yup. I wouldn’t go there for anything less than two free panna cottas.

Brief point of order for commenter But Um, who was confused by Sidman’s note in the story that “It’s hard to say whether all these diners are very forgiving or merely ignorant of the salmonella outbreak” and wrote, “so why did you and your husband choose to eat there? Was it research for the article? I’m not an F&O apologist; it’s not even on my radar of places to eat. Just wondering why in the world anyone would eat there less than 2 months after the outbreak.” Actually because it’s her job to write about it, and she takes these sorts of risks in the name of journalism.

And perhaps most shockingly of all among reader responses was Tori b—a real, live undeterred Fig & Olive fans. “I eat out every night… I actually went there last Thursday -- figured ‘why not.’” [Ed. note: Salmonella, which is a fecal pathogen, can actually kill you, if you’re looking to start a list of “why not” reasons. Translation: fatal traces of poop.] “Seemed like a lot of people were from out of town or the suburbs here dining for a treat. That and the usual f&o bar crowd, of course. For the first time, service was actually decent. After dining at the bar probably 10 plus times, they didn’t ask for a credit card to start a tab for me (the awkward, lone dinner!).” As of press time we were unable to determine how Tori b was feeling and whether —Emily Q. Hazzard she was still a fan of this restaurant.

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

600 BLOCK OF H STREET NW, NOV. 2

pUBLiSHER EmERiTUS: Amy AUSTiN iNTERim pUBLiSHER: ERiC NORWOOd EdiTOR: STEVE CAVENdiSH mANAgiNg EdiTORS: EmiLy Q. HAzzARd, SARAH ANNE HUgHES ARTS EdiTOR: Matt Cohen FOOd EdiTOR: jessiCa sidMan CiTy LigHTS EdiTOR: Caroline jones STAFF WRiTERS: andrew giaMbrone, will soMMer STAFF pHOTOgRApHER: darrow MontgoMery ONLiNE dEVELOpER: zaCh rausnitz CREATiVE diRECTOR: jandos rothstein ART diRECTOR: lauren heneghan CONTRiBUTiNg WRiTERS: jeffrey anderson, jonetta rose barras, eriCa bruCe, sophia bushong, Kriston Capps, riley Croghan, jeffry Cudlin, erin devine, sadie dingfelder, Matt dunn, noah gittell, elena gouKassian, trey grahaM, laura hayes, louis jaCobson, aMrita Khalid, steve Kiviat, Chris KliMeK, Maeve MCderMott, Christine MaCdonald, MarCus j. Moore, justin Moyer, triCia olszewsKi, MiKe paarlberg, tiM regan, sofia resniCK, rebeCCa j. ritzel, beth shooK, jordan-Marie sMith, Matt terl, taMMy tuCK, natalie villaCorta, Kaarin veMbar, jonelle walKer, eMily walz, joe warMinsKy, MiChael j. west, brandon wu iNTERNS: tatiana Cirisano, Cuneyt dil, freddy rodriguez diRECTOR OF AUdiENCE dEVELOpmENT: sara diCK SENiOR ACCOUNT ExECUTiVES: Melanie babb, joe hiCKling, arlene KaMinsKy, aliCia Merritt ACCOUNT ExECUTiVES: stu Kelly, Christy sitter, Chad vale sales OpERATiONS mANAgER: heather MCandrews SALES ANd mARKETiNg ASSOCiATE: Chloe fedyna BUSiNESS dEVELOpmENT ASSOCiATE: edgard izaguirre CREATiVE SERViCES mANAgER: brandon yates gRApHiC dESigNER: lisa deloaCh OpERATiONS diRECTOR: jeff boswell SENiOR SALES OpERATiON ANd pROdUCTiON COORdiNATOR: jane MartinaChe SOUTHCOmm: Chief exeCutive offiCer: Chris ferrell CHiEF FiNANCiAL OFFiCER: ed tearMan CHiEF OpERATiNg OFFiCER: blair johnson ExECUTiVE ViCE pRESidENT: MarK bartel LOCAL AdVERTiSiNg: (202) 332-2100 FAx: (202) 618-3959, ads@washingtonCitypaper.CoM VOL. 35, NO. 45, NOV. 6–NOV. 12, 2015 washington City paper is published every weeK and is loCated at 1400 eye st. nw, suite 900, washington, d.C. 20005.

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4 NOVEMBER 6, 2015 washingtoncitypaper.com

More Clean Energy for DC We want a cleaner and greener District. The Pepco Holdings-Exelon merger will bring $7 million to fund renewable energy and energy efficiency programs, add more than $10 million into the District’s Green Building Fund and make it easier for customers to connect their solar panels to the grid.

Exelon will also significantly expand solar energy in the District and purchase wind energy– enough to power more than 23,000 homes.

The merger also brings other benefits that will help our neighbors like a one-time direct bill credit of more than $50 per residential customer and increased reliability standards that would lead to fewer and shorter power outages.

We support the merger, and we made our voices heard.You can, too. Go to PHITomorrow.com where you can sign the petition and send a letter to voice your support.

“A greener DC is good for everyone.”

Edith Shipley

Pepco Customer Anacostia

“The merger will make it easier for customers to add solar energy in their homes.”

Mark Davis

Owner – WDC Solar

The Pepco Holdings-Exelon Merger: Affordability, Reliability and Sustainability for DC.

For more information or to voice your support visit PHITomorrow.com Paid for by Exelon Corporation. washingtoncitypaper.com NOVEMBER 6, 2015 5

ThePeoPleIssue Photographs by Darrow Montgomery

The mission of the People Issue is very simple: find interesting folks, ask them questions, print their answers. That’s it. We tried to pick a cross section of men and women who challenge us, inspire us, entertain us, and lead us. You’ll find a ballerina and a councilmember; a punk rocker and ball players; a chef using flavors from the other side of the world and advocates trying to improve our quality of life. Ultimately, we hope you agree with us: More than anything, the people —Steve Cavendish are the best part of D.C. The interviews have been edited for length and clarity.

6 NOVEMBER 6, 2015 washingtoncitypaper.com

Erika Totten

Erika Totten Organizer

In August 2014, after four days on her couch watching the protests unfold in Ferguson, Erika Totten decided to act. She rented a car, put a call out on Twitter, and, with five strangers, drove to the Missouri town as it grappled with Michael Brown’s death.

Since then, Totten has become a leader in the Black Lives Matter DMV movement, using social media to draw global attention to cases that may have otherwise stayed in the shadows forever. This includes the death of Natasha McKenna, who died after she was restrained and shocked with a stun gun four times in the Fairfax County jail. Totten is also the founder of Unchained, which seeks to promote black joy. —Sarah Anne Hughes

How did you get involved in the Black Lives Matter movement?

It started by me going to Ferguson. I was always a part of the Black Liberation move-

Janel Leppin

ment, but my actions started [after] seeing the uprising in Ferguson. I saw through Twitter that the people of Ferguson were standing up and pushing back against power, against militarized police, against tear gas, against tanks, and they weren’t backing down. As a black person in this country, it’s like you’re always waiting for the uprising, for someone to make some noise. And when I saw it happening there, and when I saw that they were met with militarized force, I knew that I needed to stand with my people.

There’s been some criticism about the visibility of women who have been affected by police brutality. But [your] social media, the hashtags you promote, your Emancipation Circles, a lot of your events are so inclusive. Has that always been at the forefront of your mind, to make the movement here in the D.C. area one that includes everybody?

Absolutely. Early on in the movement here, we didn’t see that. And I was push-

ing for that in organizations that already existed, and it wasn’t being received. Ultimately, when we don’t see our reflection, we create it. I ultimately created an inclusion meeting of anyone who was witnessing the erasure of women, of trans folks, of queer people, differently-abled [people]. Let’s have a meeting, and let’s talk about what we want to do next. Knowing that the Black Lives Matter movement is about all black lives, what I saw in D.C. wasn’t reflective of that, so we created our own. That’s been the purpose and the mission from the beginning. I can’t participate in the erasure of women, of trans folks, as a woman myself. That’s something that we really, really had to push back [against], and that’s intentional to make sure that our actions are intersectional.

You’ve been instrumental in keeping Natasha McKenna’s name in the news.

I know that push continues for you. I feel like there are probably so many

Natashas here in the D.C. area, whose voices aren’t being heard, whose stories aren’t being told. How do you find these stories and bring them to the mainstream?

There’s a team of us. What I’m very careful about is burnout for myself. I amplify the [stories] that I hear, and more people come to me and bring stories. Ultimately, my role is emotional emancipation and creating spaces for black joy to exist while we’re doing all of this. I’m not really the most visible person in the movement when it comes to social media, but I’m connected to highly visible people. When I hear stories like this, I try to find them so it’s easier for people to receive and do their own research. I think sometimes we cripple people in doing all that work for people. I think it’s really important to find out what’s happening in your city, too, then amplify that message and connect with a network of people, connect with people who you know are visible in the movement to get that story out there.

washingtoncitypaper.com NOVEMBER 6, 2015 7

I think Jason Goolsby [the teen detained by D.C. police] and the warrantless search section of Mayor Bowser’s crime bill are two perfect examples of things that you amplified and allowed other people to take on for themselves, to go to the street, to march, to go to the Council building. And it seems that part of the bill is going to fail. You give people the information... ...And you empower them to get up and act.

We have a leaderful movement, but [I’m also careful as a leader] to create a space for people to step into their own leadership. It can’t just be me leading rallies or mobilizing people. What I’m seeing now is more people are stepping into their leadership, stepping into action, which I really, really love, because that’s what will keep this movement going.

Chief Technology Officer’s first-ever director of technology innovation. —Zach Rausnitz

With a title like that, do you feel pressure to do something exciting? People may have high expectations for “innovation” without having anything particular in mind.

I’m an English major by training, so I always like to think about the word “innovation.”

The cynic in me wants to say innovation just means shiny and new, and then you just apply it to whatever context. But there’s an opportunity to make government more of a platform for residents, something that feels more responsive to people’s needs. I feel the weight of that. And I feel the weight of the civic-hacking community in D.C.—there’s this “one of us is inside the walls now” feeling. There’s a need to propose a compelling answer. Innovation is almost too wide of a word. Which of the many paths that I could go down would be the one that everybody agrees would be really compelling?

Janel Leppin

Avant-Garde Musician The music of multi-instrumentalist and composer Janel Leppin isn’t easily classifiable. A classically trained cellist and scholar of Persian and Indian music, the prolific D.C. native makes avant-garde music with the virtuosity of a jazz great. She’s one half of the experimental duo Janel & Anthony and tours with folk artist Marissa Nadler. Leppin has returned to her District home base to perform, teach, and record, with a new solo vocal album coming later this year. Color her eclectic sounds whatever you’d like—just don’t call it “world music.” —Maeve McDermott

You’ve been an artist in D.C. for decades—what’s your take on the state of the arts community here?

There is a real burgeoning scene at the moment, and I hope that scene continues. The energy is there, but what we need is a feeling of permanence, places to work, places to live. We have venues—more are obviously better—but they need to be more inclusive, and the community needs to be excited about the art, and not consider us to be part of the gentrification process.

Are there any particular venues you see popping up and impacting these communities?

I don’t know if I should answer this question, because I feel like I’ll be pointing fingers at places that need to be kept under wraps for a little bit longer.

How about established spaces that you think are doing valuable work in D.C.?

Pyramid Atlantic, which is responsible for Sonic Circuits—they are always supporting artists. It’s a valuable, open community. That one is closing, but they’re going to find another space. Union Arts has been a really beautiful center for both traveling artists and people in the D.C. area. I’ve seen a large array of different kinds of music there. I like when there’s not just one kind of music in a club.

I think it’s healthy. I mean, I think Black Cat has some pretty expansive music, too.

Do you see your job as an extension of the work of Code for DC? Yes and no. The civic hackers have more freedom because they’re outside of government.

It’d be really easy to propose a new design for a [Department of Motor Vehicles] application, but the question is what happens with that in five years, or where’s the funding? And if the DMV application goes down, that’s not so bad, but if you think about more critical services—people who are trying to find a shelter for the night or trying to get emergency services—those things really need the infrastructure of government behind them. I think this is typical of grassroots work. You start out outside and can see all the amazing opportunities that the government isn’t realizing. The job now is about finding ways to synthesize that with the deep expertise that’s already inside of government, to create the magic unicorns that we need to ship.

Matt Bailey

Rumor has it that the Union Arts building will be turned into a hotel, right?

This is exactly what I’m talking about: the importance of having a center for artists to work, in every area of the city, that will not be followed by gentrification. You go to great efforts to build a community, and they come in and tear it down. Then they use it, like, “This was a great center for the arts, and now, it’s your home.”

Where have you traveled in the world that is more accommodating to artists?

The Netherlands—I studied for a period there, working with Indian classical music. My roommate was a modern dancer, with subsidized housing, subsidized health care, subsidized bills, and that completely allowed her to be 100 percent committed to her art. And if we saw something like that in D.C, that would be very helpful. Basic needs need to be met for artists in order for them to stay in a place.

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Government Technophile

Code for DC focuses on citizen-facing tools. Do you plan to work on innovations for how the government itself works, internally?

There are two aspects to this job. One is about shipping services directly to residents. The other is reviving government’s own sense of what it can accomplish. I think a lot about the New Deal era of government and our picture of what it meant to be a civil servant during that time. That phrase “civil servant”—I throw it around a lot, deliberately. There was a weight of responsibility that came with that, and also a sense of possibility. This job has an element of finding the people in government—and I think there’s a lot of them—who are ready to be reactivated and convened in that spirit. I think that’s part of what I’m here to do.

Matt Bailey was a civic hacker who cofounded Code for DC, the District’s chapter of Code for America. Then in May, Mayor Muriel Bowser named him the Office of the

Does the technology part of your job title just refer to software?

The definition I tend to use is that technology is “that which increases power.” If you’re

How do you approach genre with your own work? Are there any genre signifiers you particularly bristle against?

I don’t like to think about genre when I’m writing a record, and that can be problematic. Take Janel & Anthony: Reviews have found all kinds of boxes to put us in, and if they’re trying to put us in one single box, good luck. I just hate the term “world music”—what does that mean? Just because I’m influenced by Persian music or Indian music doesn’t mean I’m a “world music” instrumentalist. It’s Eurocentric, it’s very problematic.

Matt Bailey

trying to help people connect with human services, in addition to a website you also need to make paper brochures that are available at the library. These are all on a continuity, and they need to be designed together. Paper is technology in the same way that a website is technology. Maybe it’s about creating policies—that’s a form of technology as well—that enable people to speak more effectively back to government, to co-design their services with government. It’s about areas where folks have expertise about what they need, but don’t have the power to express that need.

Aniekan Udofia

Seng Luangrath

Muralist

You may not know Aniekan Udofia’s name, but chances are you know his work. The artist has painted murals throughout D.C., including massive portraits of Duke Ellington, George Washington, and Frederick Douglass, among others.

—Justin Lynch

You grew up in Nigeria. How long you were there for?

I lived in Nigeria for 16 years. I left D.C. when I was around seven, and I came back here when I was 24.

Seng Luangrath

When I was looking at your artwork, it reminds me of Nigeria—filled with beautiful colors (like markets) and free flowing (like West African dance). Do you think your time in Nigeria is present in your work?

Absolutely, it’s always been. You see the vibrant colors from the fabric, you will see people wearing the wax fabric and a wide range of colors, and it’s like the fearless nature they have. There is no boundaries of it.

They are not trying to match. It’s about the vibrancy of it, and I incorporate that into my work as well.

Chef

Chef Seng Luangrath first built her loyal following at her Thai and Laotian restaurant Bangkok Golden in a strip mall in Falls Church. Then last year, she opened Thip Khao in Columbia Heights, the District’s first Laotian restaurant. From grilled chicken heart to salmon head soup, Luangrath is on a mission to take her native cuisine mainstream.

—Jessica Sidman

Thip Khao was named among the 50 best new restaurants in the country

by Bon Appétit this year. How do you feel about how the restaurant has been received?

I was surprised. The restaurants that have been nominated in the past, it’s more like modern American. The style that we cook here is true, honest, homey family style. I love what I do. I just cook whatever I want to eat and serve.

You learned to cook in a refugee camp in northeast Thailand as a kid. How did that influence your cooking?

My grandmother was the first person to actually influence my cooking. We have a big family and my grandmother had 12 children, so she had to cook every morning…

We left [Laos in 1981 amid political unrest following the Vietnam War], and my mom wasn’t a good cook. My mom grew up going to school and then getting a job. We ended up in refugee camps. My whole responsibility was helping cook things. I learned a lot from people who lived in the same building where we were living. They were from different parts of Laos. I learned from the northern region where the cooking techniques are very similar to Vientiane [the capital of Laos where Luangrath grew up].

Then other people they’re from the south— very intense, very spicy.

When you opened Bangkok Golden, you were a little hesitant to highlight your native cuisine. [The menu was initially only Thai.] Here, you’re doing 100 percent Lao food. You’ve got pork blood sausage, intestines, you’re not pulling any punches. What’s changed for you?

When I first started Bangkok Golden, in my thoughts, I really wanted to do it 100 per-

cent. But being my first time in the food business, I’m not sure how the crowd would respond to the food. The question I got all the time was,“Will other people eat it?” It’s too funky. It’s too spicy. It’s different. So that’s why I kind of held back a little bit.

And then I was just like, OK, let’s go ahead and do it a little bit at a time.

Do you feel like Washingtonians are becoming more adventurous eaters?

I think so. If I had done [Thip Khao] in 1998, it probably wouldn’t have worked like us today. People are traveling more to other countries, more adventurous, willing to try anything, especially the younger crowd that comes here.

What’s next for you? Can you tell me more about Khao Poon [a noodle house that Luangrath plans to open with former Doi Moi chef de cuisine Deth Khaiaphone].

We know for sure we want to be in D.C., but

we don’t know what neighborhood yet. We have discussed bringing Lao chefs from all over the country to come.

How will Khao Poon be different from Thip Khao?

We focus on khao poon, which is a rice vermicelli noodle. And also we are going to focus on Southeast Asian. It’s not only just Lao. Chef Deth he’s very good with Thai, Vietnamese.

Do you think Lao food can become as ubiquitous and wellknown as Thai food in D.C.?

Yes, I think so. From what I experienced with Thip Khao, the customers came, never had Lao food, and brought friends and then brought more friends. Just word of mouth, it kept going and going. I feel that there should be more Lao restaurants in D.C. I really hope for a destination for Lao cuisine where people traveling will come here.

Do you remember your first piece of artwork?

It started by default. We were here in D.C., and before parents gave children iPads, my parents gave us coloring books.

There were three of us, and our parents would buy us coloring books to give us an activity to do. And from there, I liked coloring more of the superhero stuff more than the Mickey Mouse stuff. It wasn’t something that was encouraged, and when we moved to Nigeria, they said it was time to pick up on education, and time to get serious and pick up another route. When I was in high school, the reason why I loved biology was because there was a lot of diagrams. It was like art class. Other kids would give me their books to draw their skeletal and muscular systems, and that was my first experience being “commissioned.”

It was right around the time when I was going to finish high school that I discovered what illustration was, and there were a lot of cartoons that had illustrations, and at that time I thought this is what I want to do. But imagine showing your highly educated parents a cartoon in the newspaper and you said, this is what I want to do.

So what did your parents say when you showed them the newspaper and said “I want to do this”?

Oh they were completely against it. And it was a shock. It was like, after you’ve gone to some of the best schools, you’re a smart kid, why would you want to do this? This is like having a child announcing, I’m going to play Minecraft for a living, so they were against it.

washingtoncitypaper.com NOVEMBER 6, 2015 9

Laura Zeilinger

Aniekan Udofia

So when did the turning point come for your parents, if it has come?

The turning point still hasn’t come. They kind of understand that I am a grown man, and this is what I am going to do. But they still look at it like, OK, you could have still done something else.

What is the moment like before you’re about to unveil your work for a client?

Is it kind of like asking someone out on a date?

Exactly, it is like asking someone out on a date. You’re confident, but at the same time you’re nervous. It’s like two worlds conflicting with each other. There is literally like the image of the devil and the angel on your shoulder. On one hand you’re like, “hey this is what I do, I know this is gonna work, and I can already see what it’s going to look like.”

On the other hand, you’re like, “what if they don’t understand this?”

A lot of your pieces use pencils instead of guns. Where did that come from and why do you focus on that?

It is a project called “Reloaded.” Instead of guns I used pencils because pencils— it represents persistence. You can break a pencil in half, but as long as the lead is still there you can sharpen it and use it again.

It also has an eraser, so you need the confidence ahead of time to make mistakes, which is the base of learning. Learning is an accumulation of mistakes that end up becoming genius. I think it is the last human superpower left, the ability to be creative, and the pencil piece is to remind people that in the murals that gentrification might be going on, but you have the power to write this history. You have the power to redo it and reload it. If you want to take back your community and have a voice within your community, you can still do that.

10 NOVEMBER 6, 2015 washingtoncitypaper.com

Laura Zeilinger

Human Services Director Of the many D.C. agencies dealing with extraordinary challenges, perhaps none is facing a greater uphill battle than the Department of Human Services. But that didn’t stop Laura Zeilinger from agreeing to take the reins earlier this year, after Mayor Muriel Bowser recruited her to turn around the city’s struggling homelessness systems.

—Sarah Anne Hughes

You worked at the D.C. Department of Human Services, then you went to the federal Interagency Council on Homelessness, now you’re back at DHS. What are some of the lessons that you took from your time on a federal level and brought back to the local level?

At the federal level, what helped really create energy toward change is by identifying

what we’re doing that’s successful and working and driving positive change, and using that frame—that really hard things are really quite achievable when we make the right investments, we use data well, and we implement evidence-based practices. On the federal level, that lesson very much is [seen with] veteran homelessness, when we were making investments in the solutions, we were seeing the numbers go down in historic ways, in the right direction, and that success is bringing more success. People began to believe that it was possible, [and] we were energized and mobilized around that goal. The importance of really telling, understanding, identifying the successes, learning from them is certainly one of the lessons learned. Also, just the ability to make those connections from place to place, continue to learn better ways to address complex issues, and to really, again, at all levels of government, use data to really drive decision making.

Ashley Murphy

Ashley Murphy Dancer

Although she’s a celebrated ballerina with years of professional experience already behind her, Ashley Murphy is beginning her first season as a dancer at the Washington Ballet learning the very basics: “This is my first Nutcracker season,” she admits. At Dance Theatre of Harlem, where she danced for 13 years before coming to D.C., she would have Sugar Plum season off. This winter, she’s making her holiday appearance on the stage as the Snow Queen, but she’s even more excited about some of the other performances that lie ahead.

—Emily Q. Hazzard

How did you start dancing?

I grew up in Shreveport, La., and I started dancing when I was three years old. My mom was tired of me jumping on her furniture and flipping off her couch, so she actually put me in gymnastics. In order to take gymnastics you had to take ballet class as well to learn to point and for flexibility.

What made you decide to come to Washington Ballet from Dance Theatre of Harlem?

I’d heard many great things about Washington Ballet’s artistic director [Septime Webre], and I wanted an opportunity to try new choreography and do some full-length ballets, which we didn’t do at Dance Theatre of Harlem because it’s a smaller company. So I was excited about that and being able to perform at the Kennedy Center.

In D.C., we’re so close to the veterans goal. That’s really a bright spot.

It seems like collaboration has been a huge part of why ending veteran homelessness appears it’s going to be a success by the end of the year. Would you agree with that?

Absolutely. It is really an all-community effort. The partnership has been absolutely essential—the partnership with [Veterans Affairs], the partnership with private organizations, with outreach, with private sector partners, and between different government agencies. It’s all been critical.

I know that family homelessness gets a lot of attention in D.C., the past two or three winters for all the wrong reasons.

But it seems that going into this hypothermia season, it’s a completely different game, between year-round shelter access for families and a Winter Plan that I think

is in the best shape that, perhaps, it has ever been. How do you feel going into the winter about family homelessness?

We’re doing exactly what we can and should be doing to be very well prepared. We really have a number of tools in place to forecast need as well as to monitor along the way how that’s changing based on the demands that we’ve had on the system so that we can be ramping up even more when we need to ramp up. We’ve certainly done the work to secure the facilities that are going to be needed to make sure that everyone has access to warmth and safety. We have many more tools in place to support people before they need shelter, to keep as many people as possible housed, especially on the family side. I think we’re beginning to get our system to one that really operates around the needs of families, that’s not driven by the season or the temperature but by what’s really going on in their lives.

What’s different about the choreography?

[Dance Theatre of Harlem] is a neoclassical company. At Washington Ballet, there’s a little bit more of a range of ballets—from classical [works] such as Swan Lake and Giselle all the way to stuff like In the Middle, Somewhat Elevated by William Forsythe. So I was excited about the prospect of being able to do just a little bit of a larger range of dances.

One of the pieces I’m really looking forward to learning is Trey McIntyre’s Mercury Half-Life [as well as] Forsythe’s In the Middle, Somewhat Elevated. I’m also very excited about learning a lot more of the Septime Webre ballets just because he’s so innovative and creative in what he comes up with.

And just being able to do Theme and Variations. The rep for this year is going to be really awesome.

Last year, you did a Verizon commercial. That’s kind of unusual [for a ballet dancer].

It was actually really amazing. I think right now ballet is going a little bit more mainstream because of Misty Copeland and all the other great ballerinas who are getting the face of ballet out there to the world. People are becoming a lot more appreciative of the arts, especially ballet. I did the commercial and it actually aired during the Super Bowl, which was interesting. People were saying

“I was watching the Super Bowl and I saw you on TV!” whereas they never would have paid attention before. I think the ballet companies are doing a really great job now of making ballet mainstream.

Do you think a lot of that has to do with Misty Copeland’s celebrity?

Her name being almost a household name is almost unheard of for ballet dancers. The ballet world is actually very small—everybody knows just about everybody else, but to have your name be a household name for people who have no idea about dance or ballet at all is a phenomenon.

Do you think Misty’s superstar status has changed anything for you, especially as a dancer of color?

As great as Misty Copeland has been, there are a lot of dancers who came before us even that paved the way, like Lauren Anderson and so many others, even the dancers at Dance Theatre of Harlem when they opened in 1969. Virginia Johnson and Christina Johnson and Judy Tyrus—there are so many beautiful African-American ballerinas that opened [doors] and paved the way for Misty Copeland to have a name. She’s carrying on the legacy, which is great, but you can’t forget about those others who paved the way even before her.

Veronica O. Davis

Transportation Wonk Veronica O. Davis looks out the window of a coffee shop and declares, with a smile, “Oh, there goes one of my projects!” She’s talking about a bus ad for Vision Zero, a traffic-safety initiative spearheaded by the District Department of Transportation, for which Davis consults. The ad’s branding is a key to how Davis, the cofounder of consulting firm Nspiregreen, thinks about D.C.: as an urban center where people get around in different yet coexisting ways. An avid cyclist herself, Davis also cofounded Black Women Bike in 2011.

—Andrew Giambrone

What’s it been like working with a District agency, especially surrounding issues of transportation?

It’s actually pretty exciting. One, I love transportation… Part of what’s exciting for me about what we’re doing locally is really being able to provide access to people.

I think that we have experienced a lot of growth in this city but there’s still a lot of challenges. Transportation is a way to provide social services to people. We can say, “Oh, someone needs to get a job,” but how can they get there? People need to go to school, but can kids get there? Our right of way is our right of way. How do we move the most people the most efficiently?

So when you say “access,” what’s your framework or way of thinking about that?

I used to live in Ward 7, and one of the chal-

washingtoncitypaper.com NOVEMBER 6, 2015 11

lenges in terms of access was: I could get on a bus in my old neighborhood of Fairfax Village and get downtown, to a Metro station, but I couldn’t even get to a grocery store a mile away, because there’s no way for me to get there, no bus that took me there.

I had friends that also lived in Ward 7, and I couldn’t even go visit them unless I had a car.

That’s frustrating. The old model for how the city was created was about getting people downtown and getting people back home, but I think as there’s new developments and new energies that are happening outside the core city, then I think you need to figure out how you get people to those new energies.

I can see where people who have been here for the long haul aren’t also able to benefit in this new prosperity. It’s hard to look at. When you look at Navy Yard—which is where I live now—a lot of that was public housing, strip clubs. And it’s gone. It’s kind of challenging because we invested in a ball field, and what’s the next step? I think the rub for me—and I think it’s the rub for most black urban planners, even just planners of color—it’s that you believe in these models, because you do think there should be density, so therefore it could make things affordable, and we do think there should be restaurants, and all those are good things. But at what cost do those things come? You become a little protective of communities in the sense that I feel like there’s something missing… Where’s the flavor?

Is that the biggest social issue to you in D.C.—equality of access and opportunity?

Yes. I hate the word “gentrification.” Anyone who’s ever seen me tweet knows that it makes me want to rip the paint off the wall.

The beef I have with it is I think people are overusing the word and not using it in the proper context. It’s so nuanced, and you really have to look neighborhood-by-neighborhood. It’s almost like a red herring. When we focus on the theme of “the city’s losing Chocolate City,” it prevents us from getting dirty and saying, what is the issue? Why isn’t everyone coming along? And let’s solve it.

You have to tie your interests back to the interests of the community, and when you’re not doing that you end up with these rubs. As an example: You might want a bike lane. And that’s fine. I think it’s very important to have bike lanes. But how does that tie back into the needs of the community? So maybe that community is having challenges with crime.

So bike lanes can bring more people, which brings more eyes on the street. Maybe that community is having challenges with people driving too fast. OK, well a bike lane can narrow the roadway, narrow the lane widths, which will slow down the cars—by design.

Do you think there should be more bike lanes in places like Ward 7 and Ward 8?

I think there are areas where there could be more bike infrastructure in Ward 7 and Ward 8, and I will never say no to more bike lanes. I can also say as someone who’s biked very much around Ward 7 and Ward 8:

JU: The equipment’s big. It’s long term leases. You’re not moving. So you have to commit yourself: I am staying in D.C. for the rest of my life basically or until further notice. And I think that you had a lot of people who just weren’t thinking that they were going to stay in D.C. As you get people who are making things and really establishing D.C. as a place that can make things, it encourages other people.

Veronica O. Davis

What was the biggest challenge being the first?

JU: We’re experiencing it now. When we opened, we couldn’t sell a bottle from here.

We couldn’t taste somebody on gin. We could run a factory and we could self-distribute—and that’s all we could do. We were pushing for legislation while we were opening so that we could do tastes [on-site]. You go to other distilleries and they’ve got tasting rooms half the size of our distillery. Well, if we knew about all this kind of stuff, we would have probably gotten a space a little bit bigger.

It seems like distillery pubs are on the brink of blowing up in D.C. What do you see as the future of distilling in D.C.?

ML: There are right now under construction or in operation six legitimate [production] distilleries in D.C... I would expect in three years, four years, we’ve got ten distilleries in D.C. plus however many distillery pubs. It’s not wild compared to some other cities. Seattle has 40.

You have also been pioneers in the revitalization of Ivy City. Where do you see this neighborhood in five to ten years?

ML: Very different. Ivy City was sort of a forgotten little corner. But now it’s sort of a distilling destination. There are a lot of people here on Saturdays when it’s nice weather wandering the streets. The Hecht Company [Warehouse development] is going to be a big draw, all the retail they’re putting in there.

There’s other challenges that need to be considered. The topography is something that just really needs to be considered. I consider myself of pretty good health, but there’s some days where I’m like, I can’t do it; I’m just going to put my bike on the front of the bus. I can also say that the road network [in those wards] creates challenges, and that’s even just by car.

Michael Lowe and John Uselton Distillers

Five years ago, D.C.-made booze didn’t even exist. Now local gin, vodka, and other spirits are available at nearly every bar, thanks in large part to New Columbia Distillers’ sonand-father-in-law team, John Uselton and Michael Lowe. When they began producing Green Hat Gin in 2012, they became the city’s first commercial distillers in about a

12 NOVEMBER 6, 2015 washingtoncitypaper.com

century, paving the way for the city’s thriving cocktail landscape.

—Jessica Sidman

Is this the next 14th Street? Could it be?

JU: Wow, no.

Is D.C. more of a gin town or a whiskey town?

ML: Most towns are more whiskey towns than gin towns. People drink more whiskey.

Whiskey’s got a deeper American tradition.

Gin’s growing everywhere, and I hope we’re making D.C. more of a gin town.

ML: It’s just physically not big enough. I would think it’s more like the Brookland neighborhood.

New Columbia is the first [legal] distillery in D.C. since before Prohibition.

What took so long?

ML: Before Prohibition, there were a few small distilleries in and around Washington, and there were a couple of big ones in Baltimore. And then Prohibition just wiped all of them out. The industry just kind of moved out of this region. It wasn’t until the 1980s that anyone started doing little distilleries.

Most people at the end of day, they go home, they have a drink. Do you guys still do that? What is your cocktail of choice?

JU: I’ve been making a lot of negronis... You know, I was a beer buyer for years, so I still drink beer.

ML: If I want to [drink like it’s the] ’60s, I’ll still make a martini maybe once a week or so. For that I use our original Green Hat because of the herbal notes with Capitoline Vermouth. If you do a fairly high vermouth ratio, it makes a nice, soft, approachable martini with lots of herbal stuff going on.

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Michael Lowe (left) and John Uselton

Ronald Mason Jr. University President

As the new president of the University of the District of Columbia, Ronald Mason Jr. faces a struggling school with budget woes and political problems.

—Will Sommer

What are your plans for UDC? In a nutshell, we want to establish it as an advanced public system of higher learning that serves the community of the District of Columbia. What does that mean? It means that we produce the workforce for the District, from District residents, and we can do it in various different ways.

You had ambitious plans at Southern University, but ran into some roadblocks. [In 2014, Mason left the position of president at Southern Uni-

Ronald Mason Jr.

versity in Louisiana after the board refused to agree to his ambitious demands for spending cuts.] What have you learned from that?

I learned a good bit. One, there’s some battles you can’t win no matter how hard you try. I was hired at Southern. They came looking for me to fix the problems.

The politics, which was one of the problems, wouldn’t allow that to happen.

Given UDC’s troubles and what have you, critics say, “Just stick with the community college, make UDC a trade school, get rid of the bachelor programs.” You would disagree with that, and I’d be curious for your argument in favor.

One, every person should have the chance to achieve their highest potential. And as the public system of higher learning for the District, that would be our job, to en-

14 NOVEMBER 6, 2015 washingtoncitypaper.com

able them to do that.

I’ve been told that 70 percent of the jobs that are available in the District, people who are residents of the District or born in the District aren’t eligible for those jobs. So it’s about enabling as much human potential as possible to be available for the workforce in the District. And of course you know that many of the students coming out of the public school system are under-prepared, mostly [students] of color, right?

What do you think is the biggest problem you’re facing at UDC? I have six pages of lists.

Go for a couple.

It’s hard to say the biggest. I’ve been meeting with the elected leaders here, and the business community, and one of the messages I’ve been trying to convey is that

we need some space, some time be able to fix the things that need to be fixed.

There’s a history there, there’s a distrust of the institution—brand issues.

But it’s all doable as long as people give us the space to do it.

It seems like a lot of the job is making people believe in UDC. I’ve been told that people don’t believe it can be fixed. When some of those people say it—they’re in a position to make that a self-fulfilling prophecy, right? But I think that timing, as much as anything, is a factor in these outcomes. And I get a real sense that people want UDC to succeed. I get a real sense that the stars are in place to make it happen.

And without getting too spiritual, I think I’m where I’m supposed to be, when I’m supposed to be there, which is at UDC.

Kara Lawson

Becca Peixotto

In between winning gold medals and WNBA championships, Kara Lawson thought she would end up as a lawyer. In fact, because the league paid for graduate school, the Springfield native planned to shuttle between a few years of playing overseas and summers in the U.S. playing pro ball before hitting the books. Then, eight years ago, ESPN called and asked her to do some college basketball work. She got hooked. Now, Lawson is one of the few broadcasters who works both women’s and men’s college hoops games. Last year, after signing with the Mystics, she came back to D.C. —Steve Cavendish

In 2013, six scientists—all of them unusually small—donned headlamps, helmets, and cavers’ canvas overalls to maneuver themselves into a deep, barely reachable chamber of a South African cave. At one point, the team says, researchers wedged themselves through a passage less than eight inches wide. They were in pursuit of a cache of hominid bones that appeared in photographs other cavers had taken in the Rising Star Cave. They expected to find a partial skeleton belonging, they hoped, to of one of mankind’s early ancestors. But down in the cave, the group found their bone count didn’t add up.“When you find you have three right femurs, for example, you suddenly know you’re dealing with more than one individual.” The complete discovery would include at least 15 individual specimens from a range of ages, and once they were cleaned, recorded, catalogued, and analyzed, the evidence pointed to a brand-new species: Homo naledi.

Among those six cavers was Becca Peixotto, an American University PhD student and archaeologist. She’s used her experience on the Rising Star team to advocate for gender diversity in science and open sharing of research in her discipline.

—Emily Q. Hazzard

You’ve had the chance to play at home the last couple of years for the first time since high school. Enjoy it?

It definitely is enjoyable, because I’ve had a chance to see my parents more frequently than at any point in my career, because when you’re a pro athlete, you live a nomadic existence. Most of my fellow players go overseas and play, and even though I don’t, I still live that life because I’m working for ESPN. Where do you have roots these days?

Because as soon as the WNBA season is over, you’re into pre-production for the college basketball season.

My first work is covering Kentucky’s Midnight Madness in Lexington. Most of October, for me, is spent preparing for the season, going to practices, observing players, trying to get a feel for as many teams as possible, both men and women. There’s a lot of freshmen on every team that I’ve never seen play because I’m not a college recruiting guru. A lot of times, if it’s a highly touted player or someone who’s going to play a key role on a contending team, I try to get a look at them. On the men’s side, the roster turnover is much more severe than it is on the women’s side because of the ability to leave early. There’s 300 some-odd Division 1 teams. Now, I’m obviously not going to cover all of them, but when you factor in the NCAA tournament, times two, that’s a lot of information. [Laughs] You’ve played 12 seasons and spoken fondly of playing with the Mystics. Do you have a 13th in you?

I usually start training heavy in January. You don’t know how your body is going to respond and you don’t know if you’re going to want to climb that mountain again, mentally, because it’s a three to four month process to get yourself fit. I still enjoy playing.

It’s been a huge challenge to do both, but I view them as helping one another. Playing helps me as a broadcaster. It’s like a basketball lab, and there’s strategy involved. All of those things that you kind of talk through as an analyst on television, you’re putting them into action as a player. That’s really

Becca Peixotto Archaeologist

Point Guard, TV Analyst

Were you an outdoorsman before you were a scientist?

Absolutely. I worked for many years doing outdoor experiential education, leading wilderness expeditions—climbing, backpacking, mountaineering, and that kind of stuff. And when I came back to school, I came back to grad school to study archaeology. All of those different things I’d done in the past came together to help me do field archaeology.

unique. Nobody else in the business really has that, except for a couple of analysts who still coach. For me, that’s really powerful and colors my broadcasting. I love that interplay between them.

Did you always want to be on TV? I wasn’t interested in broadcasting at all. In fact, I was so afraid of public speaking as an undergrad at Tennessee, [head coach] Pat Summitt made me take a public speaking course. I would get so nervous. My teammates that were there when I was a young player laugh whenever they see me on television now because they remember how fearful I was.

What do you think of the Mystics getting their own facility?

I think it’s going to be great, because what you want is for players to have a place that they can go at any hour and have a chance to

get their work in, whether it’s extra shooting or lifting, and that’s not currently the case at Verizon. It’s hard if you want to go in early and get extra shots or stay late and get extra shots. That building is being used all the time, so that’s not an ideal professional environment to be in because you’re limited by the calendar. You’re constantly getting put out of your locker room for stuff that’s going into the arena. I think it’s going to be good to have everything under one roof.

What do you think about the location, in a former mental institution?

I can’t say that I’ve spent much time there.

[Laughs] I’ve heard it’s not a great area, that it needs a lot of work. But anybody that’s from D.C. will know that they’ve said that about a lot of places, like where Nats Park is now. The size of the arena is going to be beneficial and it could really create a good home court environment.

What’s a typical day like in the field?

It’s so different depending on the field type.

In general, we’re up pretty early, there’s some sort of a meeting at the beginning of the day, and then everybody hits the field.

Then you spend quite a bit of time digging things up. Some pretty quick lab work happens, because it’s not just about digging these things up out of the ground, it’s about studying them and figuring out what we can learn about them—what it looks like when it’s in the ground, what’s nearby, what else we’re finding. In the [Rising Star] cave, for example, we use a 3-D scanner. Sometimes we use survey techniques to record where artifacts come from... Because of course in archaeology, you spend, I don’t know, ten percent of your time in the field and the rest of the time is in the lab. It’s so much more [work] to study the stuff than it is just to get it out of the ground.

There’s a lot of publicity for Rising Star, plus the fact that all the excavators are women. Has this opened new

washingtoncitypaper.com NOVEMBER 6, 2015 15

doors to talk to girls about involvement in science?

Even when we were doing the first round of excavations back in November 2013, and we were tweeting and blogging and Skyping [about it], the fact that we were all women was something that people were excited about—having women doing not just lab science but the adventure side of science and being able to speak to middle school and high school girls about “Look, this is a possibility and an option [for you].”

Yeah, I imagine it’s a bigger problem at shows [where people are dancing and grinding] than punk shows in D.C. Oh yeah, definitely. I think things are changing a lot. I feel like in the ’90s, things were just more isolated. Music fans were all—a lot of times you felt like it was all of your friends.

You found out about this music on your own and then when you went to shows, that’s how you made friends. Now with the Internet, I feel like crowds at shows are more of a random section of society that just found out about new music on Pitchfork or something.

Hugh McElroy (left) and Kevin Erickson

Did you know before you went into the Rising Star site that you would be pulling out a new species?

No. We went in thinking that we were going to recover one partial skeleton of a species that had already been described... It started to become clear that we were looking at something that was not what we expected to find.

One of my favorite interviews with you I’ve ever read is the one you did with the A.V. Club about how much you hate the song “Your Body is a Wonderland,” so I’ve got to ask, is there another song you absolutely loathe and why?

Yeah, sure. [Laughs]

That must have been so exciting.

It was very exciting! It’s a new species and the science itself is really amazing, but I think [it’s also exciting] the way that the science is being shared and made accessible not just to other researchers but to, for example, schoolteachers who want to teach this stuff. We’re doing this project, Open Access, which [makes] the scientific articles available for anyone to download and read—you don’t have to pay for them or go to an institution to be able to get access to them. And then the 3-D scans of the fossils are available online for anybody to look at and download. [Educators] can download and print their own copies of the fossils for their classrooms, or people who are teaching more advanced science can download the articles for their students to read. And I think that’s lifting the veil of how science works. That’s something I hope to be able to do with the other kinds of archaeology that I’m doing.

Is that a trend in other disciplines as well?

There’s starting to be more and more open access in other kinds of science as well, but it’s still considered pretty new at this point.

It’s not the norm. I think one of the hopes of the way that Rising Star is happening is that this may become more and more the norm— that the next discoveries and the next research that happens in paleoanthropology will also make all this data available to make it easier for researchers to compare information and for more people to be engaged in the process.

Mary Timony Punk Musician

If you’ve spent any time following the D.C. punk scene in the past two decades, you know Mary Timony. Since her newest band, the garage-punk trio Ex Hex, formed in 2013, the D.C. native has spent the better part of two years on the road—playing everywhere from the inaugural Landmark Festival to venues throughout Europe. Still, no matter how

What is it?

[Hesitates] I don’t know. I don’t want to share. It’s mean.

It probably won’t go to print.

OK, OK. I teach guitar—I don’t teach it that much right now, but I had to teach a few songs that, when I first started teaching I was like “I don’t know how I’m going to get through this,” but then I found that I could just get through the song and it wasn’t an issue, but I had to teach this one kid that song.

Hugh McElroy and Kevin Erickson

Studio Owners, Music Activists

long she’s gone or how far she travels, she always gravitates back to her hometown.

—Matt Cohen

You’ve seen the D.C. music scene change and evolve over the years.

Many think it’s going through another renaissance—more D.C.-area bands are making splashes nationally. Why do you think the music scene is cyclical like that?

There’s some really cool kids playing bands today. A lot of younger people. It did kind of go through a transition period, but I think it seems that people are attracted to D.C. again. Kids that grew up here are staying here. When I was not here in the ’90s, there were a lot of musicians moving to town to be a part of the scene. That’s not really happening a lot now. I feel like it’s more that the people who grew up here don’t want to leave, and that’s kind of how it was in the ’80s, too,

16 NOVEMBER 6, 2015 washingtoncitypaper.com

in the punk/hardcore scene. It’s kind of a return to that.

You toured with Speedy Ortiz last year, who recently started an in-show hotline for victims of harassment. Harassment at shows is becoming an increasing problem but not everyone is aware of it. Have you encountered issues like this a lot over the years?

Not really. I’m not in my twenties anymore.

I think it’s kind of a generational thing, if I were in my twenties again, I think I’d be really involved in that. I think it’s pretty cool that Sadie [of Speedy Ortiz] is doing that.

I grew up being really interested in going to rock shows as a place to get away from anything awful in my life and always found that shows were a safe place to escape to. But it’s a new culture of show attendees, I guess. Especially growing up in D.C., that kind of shit would never happen.

Tucked away in the basement of a nondescript Columbia Heights house, some of the most exciting music in years has been recorded at Swim-Two-Birds, the home studio of spouses Hugh McElroy and Kevin Erickson. From Priests to the Cornel West Theory to Hemlines, Swim-Two-Birds has become synonymous with a certain sound among D.C.’s musical contingent. That’s mostly due to the studio’s all-analog setup—rare in today’s digitally obsessed culture—but also because of who Hugh and Kevin are: deeply passionate music nerds. Hugh—a D.C. native—has been a part of the local punk scene for years, playing in experimental post-hardcore band Black Eyes in early aughts, while Kevin works full-time advocating for artist’s rights with the Future of Music Coalition.

—Matt Cohen

When did you first start Swim-TwoBirds? What was the impetus behind starting a studio in your basement?

HM: I bought the house in 2005—just a little over ten years ago. Before that, the studio had lived in a weird form in this kind of gutted rowhouse space I was living in in Adams Morgan. But actually, bits of it had lived in my parent’s basement out in Bethesda. I don’t know when I named it—

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I’d have to go back and look at the recordings that I did.

of when that began because I was brought to films even when I was an infant. It was such a dominant thing. We lived across the street from the New Yorker film theater, which doesn’t exist anymore. I spent many weekends doing double features at the Regency. I grew up at a time where there were so many independent film theaters and, you know, we didn’t have air conditioning, so summers were truly spent there. I’m not kidding. We’d see three films in a day just to cool off.

Sky Sitney

One thing about Swim-Two-Birds that I noticed is that it’s a completely analog setup. What’s the benefit of that for recording?

HM: Partially, for me, it was what there was when I started recording. I mean, there was digital stuff, but it wasn’t super accessible in the way that it is now. But I also do like what happens to audio hitting tape in terms of the tape compression and sort of natural stuff, which I know can be emulated pretty well. But it still doesn’t seem quite the same to me.

Did you always pay? Or did you sneak from film to film?

Not then, because they weren’t multiplexes. But when the multiplexes came, sure!

I’d hang out in the bathroom for 45 minutes until the next film started. But instead of having this one pivotal moment, all I can remember is film and avant-garde cinema.

To an outsider, avant-garde may seem like this elitist, impenetrable kind of cinema and my father was deeply committed to it.

For me, it was very accessible, but we would see everything. I can remember a weekend when we saw Fast Times at Ridgemont High followed by Zapped, featuring Scott Baio.

[Laughs] So my father was high art and low art and indulged everything.

KE: Part of it is psychological, in terms of the performances it coaxes out of people.

Digital makes it really easy to sort of punch things in super quick and be really instantaneous. With analog, there’s a rhythm that you get into between takes because you have to pause for a moment while the tape rewinds. You listen back and can make decisions. Because you don’t get the instant visual feedback of looking at waveforms, it focuses you on your ears more and that limits that kind of feedback.

There’s also a physicality to it—I’m trying to avoid saying warmth—but it’s true.

When people say “warmth,” what they’re actually talking about is a particular kind of distortion. The recording quality is actually less good, but it’s in a euphonic way. There’s a comfort to it, a familiarity.

Kevin, tell me about your work with the Future of Music Coalition. What do you think are the most pressing issues facing musicians right now?

KE: With the Future of Music Coalition, we talk about it as two big buckets: access and compensation. Access to audiences, the ability to get your music out into the world, regardless of whether you have the financial backing of big corporate partners. And compensation, the rewards for the process for creation make it back to the people who created it.

There’s a lot of conversation about streaming services and figuring out how the revenue models can work around that. One of the biggest challenges around that is figuring out what that means for scale. If you talk about industry revenues purely in terms of gross numbers, that doesn’t necessarily translate to anything meaningful when you get down to the level of an individual artist.

takes them seriously, as real human beings and not just as not-yet-fully formed human beings. So, there’s a lot of stuff—respect for them as humans—that informs my teaching and my general interaction with young people. Stuff that I want to get right that I felt were not gotten right in my own youth by adults.

Hugh, you work with kids in your day job and both of you have worked with young bands, like the Black Sparks.

What’s the most inspiring thing about working with kids?

HM: Well, teenagers are cooler than adults most of the time. I was so deeply resentful of the way adults treated me as a young person that I—both in teaching and general interaction with younger people—wanted to be a person in young people’s lives who

KE: It’s creatively rewarding working with young people because they have a real expansive sense of possibility. I would hesitate to use the word “mentorship” applied to my work with the Black Sparks or any other young musician we’ve worked with— partly because it’s presumptuous, and partly because it denotes a one-way transmission of information. If I’m doing it right, I’m learning at least as much from them as they are from me.

18 NOVEMBER 6, 2015 washingtoncitypaper.com

Sky Sitney Film Curator

Maybe when your dad, P. Adams Sitney, is one of the bigger figures in the world of avant-garde cinema, you are destined to spend your life in film, too. Sky Sitney spent nine years growing AFI Docs (née Silverdocs) into one of the larger film festivals of its kind before leaving in 2014 to help Diana Schemo launch Double Exposure: the Investigative Film Festival this year, to much acclaim.

—Steve Cavendish

Is there a film where you can look back at as one you and your dad bonded over?

So much of my early childhood experience, particularly with my father, was spent in a movie theater. I almost don’t have a memory

How much did it help to have Spotlight in Double Exposure’s first year to get people’s attention?

Hugely. There were a number of things that we worked hard to make happen that were fortuitous. Spotlight was critical. Edward Snowden’s appearance in the symposium with Kirby Dick and Alex Gibney and Ross Kauffman. Those are all Academy-nominated or award-winning filmmakers. All of that. I think we were leveraging our years in the field and our confidence that people might have in us based on our track records to bring a really stellar lineup. Certainly, for me, Diana was the first to even know about Spotlight. My life had been so deeply immersed in documentary that it wasn’t on my radar. And from day one, she said, “my dream would be to have Spotlight.” Because of the existing relationship I had with Participant Media, it was this perfect story where it worked for everybody. Having Spotlight, a film with such high profile and such great interest, was a wonderful plus.

It seems like over the last ten to 15 years, that the aesthetic side of what we would consider journalistic documentaries has changed. There’s a feature quality to many of them. They’ve changed how they’re telling stories. Is that fair?

Yes. There’s two areas that I think are really blossoming in documentary. One is indeed this relationship to journalism. Laura Poitras’ work with The Intercept has created this new online platform called Field of Vision that’s been getting a lot of attention and premiered at the New York Film Festival. It just keeps bursting. But the oth-

er area that seems to be hitting a major shift is indeed the use of aesthetics and the increased comfort that documentarians have using narrative techniques that would normally have been understood as purely in the realm of fictional narrative.

In many ways, this started with Errol Morris and The Thin Blue Line in the 1980s. He would always say that the look of a film doesn’t guarantee truth—nothing guarantees truth. A film that uses reenactment is no more or less true than direct cinema or fly-on-the-wall camerawork. There are films that are 100-percent animation that are comfortably situated as documentary, which would have been unheard of 20 years ago.

Documentary is bursting at the seams with creativity in these areas. There are different things at stake. When a film is engaging with the world of journalism, the truth claims have to be honored and there has to be an ethical responsibility. So there’s a challenge in pushing the aesthetics that you don’t compromise what’s true.

lona); I bought Romelu Lukaku (from Everton); I just needed to help out the offense because United [in the game] is not very strong. In real life, they’re doing really well.

LaRuby May

LaRuby May

Councilmember In April, former Muriel Bowser staffer LaRuby May won the Ward 8 D.C. Council seat following previous Ward 8 Councilmember Marion Barry’s death. Now, after securing her seat by fewer than 200 votes, she has to run again next June.

—Will Sommer

Ward 8 is an iconic ward in the city.

Marion Barry called it “the last, the lost, and the least.” What is different about being Ward 8 councilmember than any other ward?

I would believe that we probably have a larger percentage of native Washingtonians than other parts of the city. Downtown and other areas I believe are more transient, right? If you’re down in Foggy Bottom, when you’re around the college areas, Brookland and Foggy Bottom and different neighborhoods, you have a lot of transient people.

But in Ward 8, I think we have a lot of not only native Washingtonians but second and third and fourth and fifth generation Washingtonians. And so I think that makes it a little bit different and gives people a different sense of pride in their hometown and in their community.

Bill Hamid Goalkeeper

You can peg D.C. United’s recent success to a lot of factors, but it’s unlikely that this year’s team would have made the playoffs had it not been for the heroics of goalkeeper Bill Hamid. In a game in Montreal in August, for example, United was outshot 25–1 and still managed a 1–0 win. Hamid, an Annandale native, was the first player produced by the club’s youth academy to sign professionally (in 2009) and signed a big, new contract this season. His play earned him MLS’ goalkeeper of the year honor last season and call-ups by U.S. coach Jurgen Klinsmann to the national team.

—Steve Cavendish

When you talk about D.C. to friends who aren’t from here, how do you describe it?

It’s very open. You’ve got places like U Street. It’s got a vibe that is very welcoming to anybody and you can get along. You can meet people very easily here. I go to different cities. I don’t think it’s similar. There’s great restaurants.

What are you eating these days?

I like everything. [Laughs] When it comes to food, I don’t really hold back. My favorite restaurant in the city is probably Peacock Cafe. It’s got a nice little vibe, and I love the food. I usually go with the rigatoni. They make it really well. And on the plus side, I go there after training. So if it’s a Tuesday or a Wednesday, the owner—he’s a good guy—loves soccer, so he always has the Champions League games on. You can sit down, watch the game, and relax a little bit.

There’s not a lot of high-profile Muslim athletes in the U.S., much less in D.C. Do you feel any pressure to be a

What do you want to get done in the next year?

One of the reasons that I decided to take this, to run for the seat, was to be able to bridge the gap between where Ward 8 residents are in reaching their full potential and to make sure that we direct resources and investment into Ward 8 in all arenas.

role model? I mean, there are Muslim kids here playing soccer who can look at Bill Hamid and say, “Hey, he’s like me and he’s really successful.”

I think it’s more the influence in terms of being a kid from this area and then signing on [with D.C. United] than being Muslim. There’s youth soccer players in this area from Baltimore all the way down to Richmond, and the team that they follow is D.C. United. I think the pressure of that is massive because these clubs, they’re always watching to see who came out of the D.C. United Academy. To be one of the few—me, Andy Najar, Ethan White, Conor Shanosky, Collin Martin—to come out of the Academy, I feel a lot of pressure to be a role model to all of these kids who are playing. They all have the dream. They all play FIFA [the video game]. They all watch soccer. They all have their favorite player. They want to become a profession-

al. For me to show myself in the right way, whether it be out on the field or out in public or on social media, there’s always going to be pressure. You just want to be the right person.

You play FIFA? All the time.

Xbox or PS4?

I’m a PS4 guy.

Who’s your team?

I’m a Manchester United fan. The team is not very strong, right now, on FIFA. Do you play them straight up or do you “juice” the team with transfers?

Yeah, I’ve taken a few Ls. [Laughs] I’ve had to buy a few players. I went and bought Zlatan Ibrahimović (from Paris Saint-Germain); I bought Lionel Messi (from Barce-

Speaking of campaigning, what’s with the [May campaign color] purple? You’re always in purple, very on brand. Have you always been into purple?

So I announced in the season of Advent, and you know purple is the color of Advent. I’ve always stated that I’m unapologetically a Christian, so purple [is] not only the color of advent but a color that’s very associated with faith.

I’m OK with people connecting me to my faith and my leadership to my faith. Purple is a great color for that. I can’t tell you how many people told me “purple is not a campaign color.” Before I started, I had zero things in my closet that were purple. It just wasn’t a color that I rocked, right? Now I think I rock it better than anybody.

During the campaign, people were saying “LaRuby’s the mayor’s puppet.”

What was that like?

I was pretty clear that my mom’s name is Mary, her mom’s name is Joan. My dad’s name is Theophilus, his dad’s name is Joe. So by definition, we’re different people. CP

washingtoncitypaper.com NOVEMBER 6, 2015 19

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District residents who have been certified by the Washington, DC Lifeline Program asandeligible apply including terms of eligibility, * Full terms rates formay these services, are as set forth in federal and in Verizon’s tariffs on file with the Public Restrictions: of the District Commission for the Economy II program.Service To apply, schedule an of Columbia. Rates as stated here are effective as of September 1, 2011. But, the rates and other terms are ✓ No other working telephone service at the same location subject to change in the future. appointment with the Washington, DC Lifeline Program by ✓ No additional phone lines calling 1-800-253-0846. Households in which one or more ✓ No Foreign Exchange or Foreign Zone service individuals are receiving benefits from one of the following Restrictions: ✓ No bundles or packages public assistance programs Eligibility: or have an annual income  unpaid No other working that is 150% or below the Federal Poverty Guideline may ✓ No outstanding final bills telephone service at District residents who have been certified by the the same location be eligible. ✓ Bill name mustmatch eligible participant District Department of the Environment’s Energy No additional phone lines ✓ Food stamps Office (DDOE) as income eligible may apply ✓ for Nothe separate Lifeline discountExchange on cellular wireless  No Foreign or or Foreign Zone ✓ Temporary Assistance for Economy Needy Families (TANF) II program this program. To apply, phone service service schedule an appointment with DDOE by calling 311. ✓ Supplemental Security Income bundles ✓ Business linesareNonot eligibleor packages which one or more individuals are ✓ Low Income Home EnergyHouseholds AssistanceinProgram (LIHEAP) No outstanding unpaid final bills ✓ Phone numbermust match eligible participant receiving benefits ✓ Federal Public Housing Assistance (Sectionfrom 8) one of the following public  Bill name must match eligible participant ✓ Must be a current Verizon customer or establish new assistance programs may be income eligible. ✓ Medicaid  No separate Lifeline discount on cellular service with Verizon or wireless phone service  Food(Free Stamps ✓ National School Lunch Programs Lunch Program)  Business lines are not eligible  Phone number must match eligible participant Contact 1-800-253-0846 to apply  Must be a current customer or establish To learn more about the Lifeline program, visit www.lifelinesupport.org. new service with Verizon  Aid to Families with Dependent Children (AFDC)  Supplemental Security Income  Public Assistance to Adults Washington, DC Lifeline Program at  Temporary Disability Assistance Program

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20 NOVEMBER 6, 2015 washingtoncitypaper.com

People make the same mistakes over and over again. That’s human nature, and it’s too obvious to generally be worth mentioning. What’s not always obvious is that there’s something fractal about how people make those mistakes, so you wind up with the same pattern repeating at varying degrees of scale.

The most glaring example of this in D.C. sports this week was the Nationals. The Lerner family, which owns the team, is notoriously… let’s say “parsimonious” when it comes to paying management, and managed to get themselves outbid for a manager without any competition. They simply were not willing to make Bud Black a competitive offer, so their new manager is Dusty Baker.

Despite—or perhaps because of—the willingness to pay players (the team had the sixthhighest payroll in baseball this year), Nats ownership consistently looks for corners to cut. This pattern includes everything from their previous managerial hires, the refusal to up the player budget for a pre-playoff trade, and paying the stadium’s electric bill in 2008.

The football team’s fractal pattern showed up in a more unexpected place: the radio station, as ESPN 980 announced the cancellation of their stupidly named morning show The Man Cave before it could ever find its footing.

The show paired comedian Chris Paul and Washington Post-turned-ESPN columnist Jason Reid to do morning chatter, and it was at times a rough listen. Paul’s comedy superfan routine might’ve played off better against Reid’s straight-man analyst role if Paul hadn’t also been doing the unfamiliar work of hosting the show, or if he had been given more time to learn.

Instead, the show ran for just seven months before being swiftly axed, allegedly due to ratings.

Pigskins owner Daniel Snyder also owns Red Zebra Broadcasting, which owns and runs ESPN 980, but a number of people in a position to know have said that Snyder and the football people had nothing to do with the sudden cancellation. (A series of tweets from former ESPN 980 Program Director Chuck Sapienza similarly pointed the finger directly at “Rockville”—that is, ESPN 980 management—as opposed to “Ashburn,” where the team’s headquarters is located.)

The Man Cave was snakebit before it even hit air, pushed back from its announced start date by two weeks for reasons that remain unexplained, as rumors swirled that someone (in

either Ashburn or Rockville) wanted it canceled, stillborn. Now it’s gone.

But it doesn’t really matter if Snyder was directly involved in the decision or not. Because this pattern is very familiar: advance, backpedal, move forward again, scuttle.

At the NFL Scouting Combine in February, head coach Jay Gruden announced that Robert Griffin III would be the team’s starting quarterback, and the team guaranteed Griffin’s 2016 salary. Then, following no officially announced competition, Gruden named Kirk Cousins the starter for the 2015 season at the end of August.

Zoom in on that controversy and the same pattern repeats again. Prior to the final demotion, Griffin was knocked out of a preseason game against the Lions. The teamowned preseason broadcast crew indicated that Griffin had been assessed and cleared under the concussion protocol. After the game, Gruden assured reporters that Griffin had a concussion and was still undergoing the protocol. On the third day after the game—a brief duration for concussion recovery—Griffin was back in non-contact work at practice. The team announced that he had been cleared by an independent neurologist to play in the third preseason game.

The next day, the team announced that the independent neurologist hadn’t cleared Griffin after all, and ruled him out of the game.

Three days later, Gruden benched him for the season.

The pattern recurs throughout Snyder’s tenure: the comical events around the hiring of Jim Zorn as head coach in 2008; the botched handling of succession from Joe Gibbs to Gregg Williams; the midseason firing of Norv Turner; and the one-season tenure of Marty Schottenheimer.

This pattern iterates not only for the football team, but in other Snyder business ventures as well—for example, Mark Shapiro’s stint at Six Flags and Dick Clark Productions.

Zoom out as far as you can, and Snyder’s entire tenure with the team seems to follow a similar pattern: announce a new direction, cautiously walk it back in the face of general derision, relaunch a slightly watered down version, and ultimately abandon it in favor of another new direction.

These sorts of dysfunction have transcended the singular personalities that create them and become institutionalized in Ashburn and now at Nats Park, apparently. This is how those teams operate now—you no longer need Daniel Snyder to personally intercede to make a bad decision regarding a radio show, because that’s just what’ll happen naturally.

CP

Follow Matt Terl on Twitter @Matt_Terl.

Adopt a friend today!

Gear Prudence: I’m looking for a place where I can ride laps on my bike in the city, get some exercise, and not worry too much about cars. I know about Hains Point (it’s all right), but I’d like to try somewhere new. Do you have any ideas?

—Looping Around Places, Sites Dear LAPS: East Potomac Park, aka Hains Point (aka a seemingly endless list of misspellings with needless apostrophe’s and/or superfluous letteres), is by far the most popular place to ride laps in D.C. It attracts local riders looking to do this at a fast pace on fast bikes and in groups large and small. Aside from sporadic ticket blitzes by the U.S. Park Police, everyone has a pretty good time. Hains Point also draws folks in search of a few quiet, leisurely laps down by the river to shake out the legs or because they got lost trying to get to or from the Jefferson Memorial. Hains Point can be stultifying, especially if you have little interest in (or aptitude for) hammering out some serious wattage in the paceline. If you’re easily bored, mindlessly perambulating a golf course on long flat stretches of road doesn’t provide a ton of variety for the eyes or legs. During cherry blossom season, it is worth a visit as it’s rather pretty and vastly more exciting given the plethora of opportunities to dodge distracted tourists whose desire to see pink flowers far surpasses their desire to pay attention to those on bicycles around them.

If what appeals to you about Hains Point is the boring flat circles, head a few miles east and explore the wondrousness of the parking lots of Robert F. Kennedy Memorial Stadium. Some might see the soon-to-be totally defunct stadium surrounded by seas of excessive and underutilized surface parking lots as a ghastly blight to an urban neighborhood, but others might see it as that but also a really good place to ride a bike in loops for long stretches unimpeded by much car traffic.

The venue has been host to auto races, and there’s still remnants of a track you could follow and really zoom on. But keep an eye out for broken glass.

If RFK doesn’t woo you, check out the National Arboretum. Gentle undulations of terrain and copious arboreal splendor make the park an exceedingly pleasant setting for some laps. As with all places not restricted to solely bicycles, be mindful of the other visitors (both on foot and in cars) and ride politely and with deference. It’s not the best spot for a big group or a speed demon, but GP can think of no better place for a contained but aimless ramble amidst nature still firmly within the —GP confines of the city.

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

Email gearprudence@washcp.com.

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SAVAGELOVE DEAR READERS: Two weeks ago, I announced I would be taking a nice long break from questions about miserable sexless marriages. (I don’t get questions about happily sexless marriages.) I tossed out my standard line of advice to those who’ve exhausted medical, psychological, and situational fixes (“Do what you need to do to stay married and stay sane”), and I moved on to other relationship problems. Readers impacted by sexless marriages—men and women on “both sides of the bed”—wrote in to share their experiences and insights. I’ve decided to let them have the last word on the subject.

—Dan Savage Since you don’t want to give any more advice to readers stuck in sexually unfulfilling marriages they can’t or don’t want to end, will you allow me to give a little advice from the perspective of the other woman, i.e., the person who makes it possible for them to “stay married and stay sane”? I contacted an old flame when my marriage ended. He was married. His wife refused to have sex with him but also expected him to stay faithful to her. Their kids were still in school. He honestly believed that staying together was the best thing for the kids. I went into it thinking it was going to be a fling, a temporary thing to get me over my husband and back in the game. But the sex was mind-blowingly good. And here’s the thing about amazing sex: It bonds people. We fell in love all over again. He told me our affair made his sexless marriage bearable. He was happier and a more patient father, he bickered less with his wife. He made me feel beautiful, desirable, known, and accepted—all feelings that had been lacking in my marriage. But I was in the shadows. Every assignation was a risk. I couldn’t introduce him to my friends, my son, or my family. After four years, I couldn’t take it anymore. My ego was shredded. So I ended it. I was tired of the fear, lying and hiding, and being secondary. My advice to readers stuck in sexless marriages who cheat to “stay sane”: Beware of unintended consequences. You can have an affair with the most discreet, careful partner who accepts your circumstances, who makes no demands, who provides you with both a warm body to fuck and the passion that has drained out of your marriage. You can be careful not to get caught. It might be incredible for a while.

But the chances of nothing going wrong and of everyone remaining happy over the long term are vanishingly small. It’s a matter of time be—Ruby Tuesday fore someone gets hurt.

Your advice to people whose partners have checked out of their sex lives is on target. But would you be willing to share a voice from the other side of the bed? Until a year ago, I was always appalled when I would read letters like these. Who would stop having sex?! Who would

stay with someone who didn’t want to have sex?!

Then I got sick. My illness came on slowly, but the first noticeable symptom was my sex drive vanishing. My lady parts were drier than a desert. No amount of lube helped. Sex hurt, and I didn’t want it. My journey through the medical system was a battle. Trained medical professionals poo-poo’d me. They told me this is what all perimenopausal women experience and I should just deal with it. I was told to “get started” and then maybe I would enjoy it. I was given lists

It’s not what it was, but I don’t feel dead below the belly button anymore. of supplements to try. Finally, in response to other health problems, my doctor diagnosed me with diabetes. Within weeks of taking medication and changing my diet, my engine started running again. It’s not what it was, but I don’t feel dead below the belly button anymore. During this time, my husband was supportive. I did my best to make him happy. I’d like to think that if I had continued to suffer a loss of libido for years, I would be brave enough to give him permission to find satisfaction elsewhere, but it would break my heart. My points, briefly: Legitimate things happen to people that make them lose their sex drive. Medical support for people brave enough to say “I’ve lost my mojo and need help to get it back” is not always there, and the solutions aren’t always easy or fast. Too often, people (especially women) are told that losing their sex drive is normal and they should just get used to it. No one should be forced to

accept a sexless relationship if that’s not what they want. And if you’ve lost interest in sex and don’t really care to get it back, you don’t have the right to impose celibacy on another person.

But in a long relationship, each partner is going to face challenges—and one of those challenges might be helping your partner fight to regain —Bed Death Survivor their libido.

I’m the “other man” to a woman whose husband won’t fuck her. The guy must be gay or asexual, because his wife is beautiful, smart, and great in bed. I’ve never wanted marriage or kids, so this arrangement works well for me.

The only time it got awkward was when my girlfriend—this other guy’s wife—broached the subject of monogamy. Asking for a monogamous commitment when you’re married to someone else? Seemed nuts. But I hadn’t slept with anyone else for three years, or even wanted to, so I was already monogamous in practice.

—Monogamous In Theory Now Too If my ex-husband wrote to you, he’d say I didn’t want to have sex with him anymore and he was going crazy. The truth is, I wanted to have sex—but I didn’t want it to be in one of the same three positions we’d been doing it for seven years. I was bored and asked for some variety, and he refused to do it. My boredom turned into frustration, and frustration turned into anger. At a certain point, the idea of having sex with him made me want to beat the living shit out of something. Was I supposed to continue satisfying him when my needs weren’t being met? Our mistake was waiting until I hit the angry point to get into therapy. We should have gone when I was bored. He wound up having an affair and blamed me because I didn’t want to have sex with him. But there was a good reason why I didn’t want to have sex with him. Maybe before you advise people in “sexless” marriages to have affairs, you could tell them to do some self-examination first?

—Husband’s Always Right You wrote that you’re sick of telling people trapped in sexless marriages to do what they need to do “to stay married and stay sane.”

I want to thank you for all that repetition. I needed it. But leaving my sexless marriage was what I needed to do to stay sane. My husband of 10 years berated me publicly, telling anyone who would listen that I was a whore. Had I not had your corpus of work on the matter of marital partners who have zero interest in sex but still demand enthusiastic monogamy, the journey through this would have been longer. Four years later, I still get excited that I actually get to have sex—awesome, giving, experimental, —Gleeful Escapee fun sex.

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

KRAMERBOOKS KRAMERBOOKSAFTERWORDSCAFE

UPCOMING EVENTS

Mon. 11/2 at 6:30pm Getting Screwed Alison Bass Tues. 11/3 at 6:30pm How the Other Half Banks Mehrsa Baradaran Wed. 11/4 at 6:30pm Learning to Die in the Anthropocene Roy Scranton Mon. 11/9 at 6:30pm JFK’s Forgotten Crisis Bruce Riedel Tues. 11/10 at 6:30pm Growing Tomorrow Forrest Pritchard Wed. 11/11 at 6:30pm Hotels of North America Rick Moody Sun. 11/15 at 1:00pm Growing Tomorrow Forrest Pritchard

Dupont Circle Farmer’s Market

Sun. 11/15 at 6:30pm Notorious RBG Irin Carmen Mon. 11/16 at 6:30pm America’s Political Dynasties Stephen Hess Sun. 11/15 at 6:30pm Notorious RBG Irin Carmen

1517 CONNECTICUT AVE. NW 202.387.1400 | KRAMERS.COM washingtoncitypaper.com NOVEMBER 6, 2015 23

DC Cocktail Week

November 16 - November 22, 2015 It’s the Return of One of the Region’s Most “Spirited” Events!

Enjoy a Week-Long Celebration of Exclusively Priced Libations Paired With Delicious Bites at Some of the Finest Restaurants and Bars in Our Area.

Get Details at www.DCcocktailweek.com!

PARTICIPATING RESTAURANTS: All Set Restaurant & Bar 8630 Fenton St Silver Spring, MD

Black Jack 1612 14th St, NW Washington, DC

Grilled Cheese DC 1730 Pennsylvania Ave, NW Washington, DC

Marvin 2007 14th St, NW Washington, DC

ris 2275 L St, NW Washington, DC

America Eats Tavern 1700 Tysons Blvd McLean, VA

Boss Shepherd’s 1299 Pennsylvania, NW Washington, DC

i Ricchi 1220 19th St, NW Washington, DC

MXDC 600 14th St, NW Washington, DC

Roofer’s Union 2446 18th St NW Washington, DC

American Tandoor 7943B Tysons Corner Center Tysons, VA

Buffalo & Bergen 1309 5th St, NE Washington, DC

Jaleo Bethesda 7271 Woodmont Ave Bethesda, MD

Occidental Grill 1475 Pennsylvania Ave, NW Washington, DC

Slate Wine Bar and Bistro 2404 Wisconsin Ave, NW Washington, DC

Asia Nine 915 E St, NW Washington, DC

China Chilcano 418 7th St NW Washington, DC

Jaleo Crystal City 2250-A Crystal Drive Arlington, VA

Oyamel 401 7th St, NW Washington, DC

Sushiko Chevy Chase 5455 Wisconsin Ave Chevy Chase, MD

B Too 1324 14th St NW Washington, DC

Cure Bar and Bistro 10th & H St, NW Washington, DC

Jaleo DC 480 7th St, NW Washington, DC

The Park at Fourteenth 920 14th St, NW Washington, DC

Trummer’s on Main 7134 Main Street Clifton, VA

Jardenea at The Melrose Georgetown Hotel 2430 Pennsylvania Ave, NW Washington, DC

Petworth Citizen 829 Upshur St, NW Washington, DC

Wildfire 1714 International Dr McLean, VA

Poste Brasserie 555 8th St, NW Washington, DC

The Wine Kitchen on the Creek 50 Carroll Creek Way Frederick, MD

Bar Dupont The Daily Dish Restaurant 1500 New Hampshire Ave, NW 8301 Grubb Rd Washington, DC Silver Spring, MD Bastille 606 N. Fayette St Alexandria, VA

DBGB Kitchen and Bar 931 H St, NW Washington, DC

Beacon Bar & Grill 1615 Rhode Island Ave, NW Washington, DC

Driftwood Kitchen 400 H St, NE Washington, DC

Belga Cafe 514 8th St, SE Washington, DC

Fig & Olive 934 Palmer Alley, NW Washington, DC

Beuchert’s Saloon 623 Pennsylvania Ave, SE Washington, DC

The Gibson 2009 14th St, NW Washington, DC

Bistro Cacao 320 Massachusetts Ave, NE Washington, DC

The Grill Room 1050 31st St, NW Washington, DC

24 NOVEMBER 6, 2015 washingtoncitypaper.com

Kramerbooks & Afterwords Cafe 1517 Connecticut Ave, NW Washington, DC Le Bar at Sofitel 806 15th St, NW Washington, DC Loggia Lounge at Fairmont Washington DC 2401 M St, NW Washington, DC Magnolias at the Mill 198 N 21st St Purcellville, VA

The Prospect DC 1214 U St NW Washington, DC Provision No. 14 2100 14th St NW Washington, DC RANGE 5335 Wisconsin Ave, NW Washington, DC Ripple 3417 Connecticut Ave NW Washington, DC

Zaytinya 701 9th St, NW Washington, DC

#DCCocktailWeek #GetYourDrinkOn

DCFEED

After its salmonella outbreak, Fig & Olive is blaming an unnamed third party.

Read more at washingtoncitypaper.com/go/figandolive

YOUNG & HUNGRY

Forage Ahead

The Dabney goes to extreme lengths to build an identity for mid-Atlantic cuisine.

By Jessica Sidman

Photographs by Darrow Montgomery

Chef Jeremiah Langhorne pulls a thick red book with gold-embossed lettering out of a wooden drawer.

The spine is broken, but he’s patched it up with clear packing tape. The pages are yellowing. It looks kind of like a Bible.

“No one is allowed to touch it.

I’ve used the hell out of it. It’s falling apart, “ Langhorne says. “I love this book. It’s very humbling to read this book.”

Langhorne is talking about his own bible of sorts: Housekeeping in Old Virginia, a cookbook first published in 1897. The Virginia native flips through to show the Langhorne name next to recipes his family contributed generations ago.

The book is one of several historic cookbooks that Langhorne has drawn inspiration from for his justopened Blagden Alley restaurant, The Dabney. The chef has become obsessed not just with rediscovering the mid-Atlantic’s culinary history but also exploring and highlighting the region’s flora and fauna. He says Chef Jeremiah Langat least 90 percent of the ingredients horne plans to forage on the menu are foraged, sourced for his restaurant two from area farms, or grown on the resto three times a week. taurant’s rooftop garden. The result is a restaurant that’s taken local to an extreme level not seen elsewhere in the Dis- ing and built an ambitious program aimed at trict. Woodberry Kitchen in Baltimore also sourcing as much as possible from the land goes to such great lengths to have its menu nearby. Likewise, in preparation for his own reflect this region. restaurant, Langhorne has spent the past Before coming to D.C., Langhorne was year venturing out to the wilds of Virginchef de cuisine at the nationally acclaimed ia, Maryland, and Pennsylvania in search of McCrady’s in Charleston, S.C. His busi- edible goods. ness partner, Alex Zink, also worked there.

That will be a little trickier now that The Under the leadership of chef Sean Brock, Dabney is up and running: “I definitely unLanghorne gained an appreciation for forag- derestimated the difference between being

the chef of a restaurant and the chef-owner,” Langhorne admits. “Essentially none of your time is yours anymore.”

But that doesn’t mean he plans to stop.

Langhorne intends to continue early morning foraging trips two to three times a week.

In order to accomplish everything he wants to do, the 30-year-old has been physically training. He quit drinking seven months ago, started eating more vegetables, and be-

gan waking up early. It helps that his wife, who works in a neonatal intensive-care unit, has to be at work by 7 a.m.

Many of these foraged ingredients, as well as others from local farms that Langhorne has visited and vetted, have been preserved and pickled. The walk-in fridge contains floor-to-ceiling shelves filled with a mosaic of different colored jars sitting alongside whole pigs, lambs, and ducks. In total, Lang-

washingtoncitypaper.com NOVEMBER 6, 2015 25

DCFEED(cont.) horne has contributed more than 150 items to The Dabney’s pantry, including miso, kimchi, pickles, sauces, preserves, and vinegars. Much of it is stuff you’d never find at a Whole Foods: garlic berries, pawpaw purée, sorghum vinegar, watermelon molasses, and Jamaican “hot chocolate” (which contains peppers, not cocoa).

Langhorne’s intense approach to sourcing enables him to get some of these more unusual ingredients. Instead of using one order sheet from a big supplier, the chef keeps a carefully color-coded binder filled with the names of his supplier farms, a series of order sheets, and lists of available products. Because of the ever-changing seasonal products, The Dabney’s menu will likewise change one day to the next.

“It’s a choice that you make. It’s a decision to spend a lot more time and work a lot harder,” he says. “But I think you end up getting a lot cooler stuff.”

Farmed ingredients are supplemented by what Langhorne can grow on his modest rooftop plot. The garden is already sprouting anise hyssop, swiss chard, lovage, tarragon, chives, and more.

Langhorne’s mom had a four-acre garden that he worked on growing up, but he says that was more like “hard labor.” It was at McCrady’s that the chef really developed his green thumb. Langhorne was tired of spending so much money on dainty herbs packaged in clamshells, and he wanted products that would be even more fresh. “An herb, it’s like baked bread. As soon as it comes out of the oven, it starts to stale. Same thing with herbs.

As soon as you clip an herb, it starts to go,” Langhorne says.

He also believes it’s important to know about a plant’s entire life cycle. The flavor of an herb might be completely different at different stages of its life. “If you’re able to get a better understanding of that, you’ll be much better equipped to use them appropriately,” he says.

One thing Langhorne learned from his cookbooks is how important condiments were in this region during the 19th century.

From the back of the fridge, he pulls out a dark mud-colored liquid in a mason jar labeled “bay sauce.” It’s like Worcestershire sauce but made with young black walnut leaves. Langhorne offers a taste of the bitter, vegetal sauce. It’s only been aged one month and has six to eight more to go. Langhorne plans to use it in a buttermilk dressing as well as with fish or in a marinade.

“All the research that I’ve done from the early 19th century, everybody loves it. Everyone had it around the house,” he says. “But it’s kind of disappeared.”

So too has a lot of the region’s culinary identity. The D.C. area offers a great diversi-

ty of foods from around the world, but “we need a little food from here,” Langhorne says. He wants people to come to the restaurant and say, “Oh, that’s what food in D.C. is like” in the same way they understand other regions’ dishes. “You go down to Charleston, you go into a restaurant and you’re like, ‘I’m in Charleston, this is what the food here is like.’

We missed that boat a little bit in D.C.” What Mid-Atlantic cuisine historically looked like is not so different from Southern cuisine, Langhorne has found in his research. “Eating a bowl of clams and grits and a bunch of stewed peppers happened just as much in the Chesapeake and around Virginia as it did down south,” he says. Other defining ingredients in Mid-Atlantic cuisine include country hams and oysters.

Langhorne is cooking a lot of his dishes with a hearth modeled after those used in the 19th century. The main difference between the setup then and now is that fire codes don’t allow the hearth to sit on the floor. White oak from Virginia and cedar kindling, which line the restaurant’s entryway, fuels the fire. Rather than cooking over an open flame, the cooks move the embers under a grate and flat-top grill to prepare the food.

This is not the most efficient way to cook.

In fact, it’s really hard, especially when you’re used to a fully equipped, modern kitchen.

Rather than just turning on an oven, it takes two hours of burning logs to produce coals they can work with. But Langhorne says the extra effort is worth it: “When you do unlock the secrets to all these little things, the flavors are so amazing.”

The time and finesse required to cook with a hearth means The Dabney won’t be able to turn out an expansive list of dishes. The opening menu lists just ten choices. Eventually, Langhorne plans to add more sides and raw plates, but the menu won’t grow much.

Langhorne isn’t totally crazy, though. The Dabney’s kitchen also features equipment from this century. And despite his efforts, not everything can be sourced within a certain mile radius.

“I’m not a zealot. I don’t think that this has

26 NOVEMBER 6, 2015 washingtoncitypaper.com

The dining room of The Dabney

got to be this,” Langhorne says slamming his hand, karate chop-style, onto a metal kitchen counter. Take lemons. Langhorne loves them. And until he can find a way to replace what they do for food, he will keep using them. Langhorne also stocks truffle oil from Italy and spices from all over the world. He doesn’t want to have to limit himself to six spices, after all.

The same thing applies to the drink menu.

A take on a Manhattan is made with Virginiamade Catoctin Creek rye and The Dabney’s sorghum vinegar, but it also contains Italian vermouth. Beers and ciders are sourced locally, but wine veers European. Zink, an old-world wine lover, just doesn’t think the price-to-quality ratio is always worth it when it comes to many Virginia wines. He has just four on the menu.

“It should be more about the spirit of the idea,” Langhorne says. “I don’t want to be in this world where I’m saying, ‘Look, I do this and only this.’ And then it’s like what? I’m living in fear that someone’s going to bust me because they spot a lemon back here? That’s no way to live.”

His philosophy is that restaurants should exist to serve great food and make customers happy. If that means using Italian truffle oil, so be it.

Still, there’s no denying that The Dabney goes beyond other D.C. restaurants in its mission to source locally. Even in the buildout of the space, Langhorne and Zink insisted on local millworkers. Langhorne does all this because he believes it’s the way society should eat. And he believes restaurants should use their purchasing power to support small farms.

But as a diner, you won’t necessarily learn any of this. While servers will be educated in the restaurant’s practices and sourcing, they won’t offer that information if you don’t ask.

“You’re not going to get a fucking monologue about how awesome we are while you’re eating your dinner,” Langhorne says. “We do all this stuff for us, because we think it’s the CP right thing to do.”

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

Arcuri...a perfect place to watch the game.

HALF PRICE PIZZA EVERY WEDNESDAY 4:00-10:00PM

2400 WISCONSIN AVE NW, WASHINGTON DC | 202.827.8745 | ARCURIDC.COM washingtoncitypaper.com NOVEMBER 6, 2015 27

DCFEED

what we ate last week:

Deviled eggs with crispy chicken skin, $5, The Riggsby. Satisfaction level: 4 out of 5 what we’ll eat next week:

Giant meatball, $12, Lena’s Wood-Fired Pizza & Tap. Excitement level: 3.5 out of 5

Grazer LAME SAUCE

SAUCE-O-METER How the week’s food happenings measure up

MUMBO SAUCE

brew in town Oceana finds 45 percent of salmon it sampled in D.C. was mislabeled.

People camp in front of Columbia Heights Chick-fil-A a day before opening.

David Chang suggests opening a steakhouse in D.C.

THE’WICHINGHOUR

Stetson’s closes after 35 years.

Biscuit bites with Szechuan honey butter at Momofuku CCDC

Taco purveyor Chaia says goodbye to farmers markets with planned Georgetown opening.

Where: Due South, 301 Water St. SE Price: $13 Bread: Toasted white sandwich bread Stuffings: Fried chicken rubbed with a

Kapnos Taverna opens outpost at Reagan National Airport.

spice blend that includes Korean red chili flakes, cayenne, and sugar. Bacon-braised greens come on the side.

Pros: While some chicken sandwiches lose their moisture during their time in the fryer, each piece of the dark meat is juicy and tender without feeling chewy or underdone. Construction-wise, the sandwich benefits from its simplicity: Each bite contains a balance of chicken and crisp toast.

Cons: When you take a bite, the heat is entirely absent. Even a mild sandwich from a Nashville institution like Prince’s should make you sweat a bit. This version won’t even have you reaching for a sweet tea.

The chicken also doesn’t have the crisp

28 NOVEMBER 6, 2015 washingtoncitypaper.com

Komi and Little Serow alums to open restaurant in Adams Morgan.

Hilton brothers plan Korean barbecue restaurant with Erik Bruner-Yang.

Thickness: 2 inches

The Sandwich: Nashville Hot Fried Chicken Sandwich

Avery Liliko’i Kepolo

Mintwood Place chef opens Shaw restaurant, Convivial, on Nov. 6.

crackle of other fried chicken sandwiches.

While some thinner sections of the thigh have the right crunch, the majority of the batter remains slightly raw and sticks to the bread.

Sloppiness level (1 to 5): 3. This sandwich is sneakily sloppy. The spice blend that covers the chicken bleeds all over your fingers and your face. Make liberal use of your napkin and don’t wear white around this sandwich under any circumstance.

Overall score (1 to 5): 1. You can’t call a sandwich without any heat “hot” and you can’t call a chicken thigh with mushy coating “fried.” Until the cayenne meter gets turned up to 11 and the skin gets crispier, you’re better off heading due south to Tennessee.

—Caroline Jones

Where in Town: Yes! Organic Market, 4100 Georgia Ave. NW Price: $12.99/4-pack Big Kahuna More than a decade ago, Boulder, Colo.’s Avery Brewing Company helped open my boozepreferring palate to the rich complexity of craft beer—initially through its hard-hitting Dictator and Holy Trinity series ales such as The Reverend, a 10-percent alcohol Belgian-style quadruple. Lately, though, I’ve been most interested in Special Projects Manager and “Barrel Herder” Andy Parker’s wood-aged brews.

Of his many winners, one of my favorites happens to be a Belgian wit brewed with passion fruit called Liliko’i Kepolo, which Parker created in homage to the fruit beers of Hawaii.

The name, Hawaiian for “passion fruit devil,” is far from the most bizarre among Avery’s lineup. Take Dépuceleuse (don’t ask me how to pronounce it), supposedly French slang for a woman who deflowers men.

Tropical Delight I love everything about Liliko’i Kepolo—its glowing gold color, frothy white head, and each aspect of its delicious, exotic flavor. The luscious, juicy brew is most aptly described as passion fruit in a can. Beyond that, birthday cake and subtle notes of coriander are followed by orange peel, most detectable in the beer’s tart, almost salty finish. The only difficulty I have is making Liliko’i Kepolo last, despite the hefty price tag—at 5.4-percent alcohol, it’s easy to pour one after another. Long a favorite at the brewery’s taproom, Liliko’i has rarely appeared outside of Boulder. I scored my first taste in D.C. at SAVOR three years ago and have been pining for an unlimited supply ever since. Thanks to Avery’s new production facility, which opened last February, cans of Liliko’i Kepolo are now distributed widely and available year round. Mahalo!

—Tammy Tuck

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washingtoncitypaper.com NOVEMBER 6, 2015 29

“Splendid Staging! Saturday Night Live spirit and hyperactive energy!”MONTREAL GAZETTE

Original script Greg Kramer - Director Andrew Shaver

DAVID ARQUETTE as Sherlock Holmes JAMES MASLOW as WATSON RENEE OLSTEAD as LADY St. JOHN

ON STAGE NOV. 17-22 WARNER TheatRE

ON SALE NOW!

sherlockholmesonstage.com Produced by Starvox EntertainmenT in association with June Entertainment

30 NOVEMBER 6, 2015 washingtoncitypaper.com

CPARTS Gawk and Awe

Bad Brains’ guitarist Dr. Know is allegedly on life support. washingtoncitypaper.com/go/drknow

The Hirshhorn’s latest exhibition is an expansive look at the uncomfortable—yet breathtaking— history of Surrealism.

“The Doll” by Hans Bellmer, 1934 “Marvelous Objects: Surrealist Sculpture from Paris to New York” At the Hirshhorn Museum and Sculpture Garden to Feb. 15

By Kriston Capps Look around the public plazas of America and you’ll find Surrealism’s legacy hidden in plain sight. Public sculptures all over the country carry forward traces of the 20th century’s most notorious art movement. Surrealist DNA is

still legible even in sculptures that have strayed from the familiar biomorphic phenotypes of Picassos, Mirós, and Calders. The blood of André Breton is not yet spent.

It once ran as thick and hot as molten magma. “Marvelous Objects: Surrealist Sculpture from Paris to New York,” a smart survey at the Hirshhorn Museum and Sculpture Garden, tracks the volcanic explosion of new concepts in form and composition and the sanguine passions that drove them. It’s a reminder that we should blush at the public works inspired by the Surrealists—whose blood boiled over in the interwar years.

The showstopper in an exhibit chockablock with moments is a tense room of early sculptures by Alberto Giacometti. The grouping crackles with negative energy.

“Woman With Her Throat Cut” (1932) is the crux of one of the arguments put forward in this show by Valerie Fletcher, senior curator for the Hirshhorn: namely, that Surrealists embraced a sometimes-grisly attitude toward sex and women’s bodies.

“Woman With Her Throat Cut” is one of the more jarring sculptures the museum has ever shown. It’s a loosely female figure that appears to be splayed open from her sternum to her pelvis. Lying prone on the floor—yet still distantly foreshadowing the spindly totems for which Giacometti would become known—the sculpture reads like an open bear trap. It’s the locus of similar sentiments throughout the room: the disproportionate uterus of “Spoon Woman” (1926), the erotic violence of “Reclining Woman Who Dreams” (1929), and the bathetic look of shock and confusion on the face of the woman who reaches out, grasping nothing, in “The Invisible Object (Hands Holding the Void)” (1934).

Another sculpture, “Man” (1929–30), appears to capture Giacometti’s vision of masculinity: a flattened but brooding figure (one that’s shaped like the purple McDonald’s creature, Grimace) bearing just one facial feature, a slack open mouth. It’s worth noting that the most sex-positive work in this set, “Reclining Woman Who Dreams,” was originally titled “Woman in Bed with Someone Else.” But even Giacometti’s darkest moments are undeniably vigorous formally.

Some Surrealists were more or less Meninists: Hans Bellmer, a German sculptor and photographer, dismembered and recombined the parts of plump dolls for his photographs and sculptures, an assortment of which are on view. His interest in the erotic possibilities of dismemberment is barely disguised; as his work progressed, he assembled adult-sized dolls using prosthetic limbs. “The Doll” (1934) might be his most disturbing achievement (although the contest is tight). One photo shows a close-cropped doll’s face peering over her (its) shoulder at the camera (viewer); there is another photo that depicts the limbless amputee doll lying on the floor, her (its) neck evidently snapped.

The viewer begins to wonder whether the “Marvelous Objects” alluded to by the show’s title might be women’s body parts. Fletcher’s unflinching curatorial tour of Paris in the 1930s reveals artists embracing Freud’s theories and even weaponizing them with their unrepentant male gaze. The Hirshhorn show recreates an installation from the International Exhibition of Surrealism at the Galerie des Beaux-Arts in 1938 in which Salvador Dalí, Max Ernst, Marcel Duchamp, and other artists dressed up mannequins as works; several are on view. (Duchamp’s “1,200 Coal Sacks,” another piece from the 1938 show, is also installed here, but it’s a non-sequitur.) The Surrealist fraternity was formally, compositionally, psychologically, and (plainly) psychosexually obsessed with the manipulation and availability of the female sex. The works range from dark to comic to shocking. Seeing them gins up the same discomfort as listening to American murder ballads, prowashingtoncitypaper.com NOVEMBER 6, 2015 31

CPARTS Continued

duced a world away in Appalachia: works that can be as breathtaking as they are uncomfortable.

Can an art exhibit be feminist if it doesn’t feature women artists? Only three of the two dozen artists in “Marvelous Objects” are women, and they are responsible for only a smattering of sculptures on view. Rather, women are the subjects of nearly all of the works. Some works by women that should be included in the show are missing in action, namely Méret Oppenheim’s “Object” (1936). A construction by another woman missing from the exhibition, Valentine Hugo, also called “Object” (1931), appears alongside Oppenheim’s famous furry teacup in the show’s catalog.

“Marvelous Objects” doesn’t take women for granted, however. What might be a straightforward blockbuster show in another context—featuring sculptures by Henry Moore, Joan Miró, David Smith, and other heavyweights—takes the time to preface Surrealism as a structural attitude toward women. That’s a significant step for a historical show.

Of course, “Marvelous Objects” isn’t short on lighter moments: Dalí’s “Lobster Telephone” (1938) and “Venus de Milo with Drawers” (1936) as well as Man Ray’s “Object To Be Destroyed (Indestructible Object)” (1932) are irresistible icons of the era. The Hirshhorn has done a good job of managing the flow of the exhibition. The museum removed the permanent-collection sculpture installation from

the inner ring of galleries, for example, so as not to confuse viewers about what’s what.

Between the focused rooms, viewers move through larger galleries filled with objects. These bigger galleries don’t provide a lot of handholding. (What really needs to be said about Henry Moore’s work anyway?) In some ways, “Marvelous Objects” serves as a counterpart to “Dada,” the sprawling 2006 survey at the National Gallery of Art, a splendid academic treatment that never felt as fun or free, exactly, as its subject matter.

Two rooms in “Marvelous Objects” may inspire multiple return visits. A series of sculptures (or paintings?) by Jean Arp look as formally provocative today as they must have when he debuted them in the 1920s. “Objects Placed on Three Planes Like Writing” (1928), a framed painting-like assemblage of simple, animated, biomorphic forms seems like it might have inspired dozens of artists, from painters Arthur Dove and Stuart Davis to sculptors Louise Nevelson and Lucio Fontana. Works like “Shirt Front and Fork” (1922) helped to bridge the gap between figurative still-life work and the bizarre menagerie of Surrealist compositions.

The Arp display raises another curatorial tentpole in Fletcher’s show: the viral spread of biomorphic imagery, the universal vocabulary for modern art.

The second room that viewers will want to set aside time to see is sadder. During World War II, Isamu Noguchi voluntarily interred himself in a Japanese-American prison camp in Arizona. The artist turned to the stars. “Lunar Landscape” (1943–44) and other sculptures on view show how Noguchi, working in relative isolation, transported himself far away from his circumstances through sculptures that read like landscapes. Another piece from this period, “This Tortured Earth” (1943), is a black desert sculptural tableau marked by dull gashes. The room is a testament to both Noguchi’s irrepressible spirit as an artist and the malleability

of the Surrealist language: The gallery is both haunting and hopeful. At least one other work in “Marvelous Objects,” Alexander Calder’s “The Spider” (1940), appears to directly address the seismic changes happening in Europe.

For most artists, Surrealism was not an ends but a means.

Early works by Calder, Joseph Cornell, and David Smith— each of whom earns considerable focus in “Marvelous Objects”—traces the development of mid-century sculpture from the primordial soup of Surrealist forms. Seeing this evolution as it happens, step by step, is one of the best revelations in the exhibition. Works like “Big Bird” (1937) and “Apple Monster” (1938) show where Calder started with the diatoms and planktons of Surrealism, before he stringed them into mobiles and stabiles. “Saw Head” (1933) and “Swung Forms” (1937) demonstrate how biomorphic compositions influenced Smith, before he hammered his forms into cubes. What Surrealism means to Cornell is a little less clear, but no matter: His boxes from the 1940s featuring vials are mesmerizing. And one Cornell piece is straight-up funny: “Bel Echo Gruyère” (1939), a piece of cheese wrapped in foil that “moos” when it is lifted.

Exhibitions on Surrealism can feel daunting for the sheer amount of print material involved. Breton and his confrères produced an enormous amount of content, from journals and magazines to letters and photographs. This history is rich and illuminating, and there is plenty of it in “Marvelous Objects,” tactically tucked away in the connective spaces between or aside galleries or reproduced in the catalog.

But Surrealism wasn’t made to be scrutinized so clinically by the viewer, and “Marvelous Objects” is the rare show that tries to affect some of that original sensationalism—not put CP it behind glass.

700 Independence Ave. NW. Free. (202) 633-4674. hirshhorn.si.edu

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CPARTS Arts Desk

The World According To iAn SvenoniuS

Spending Halloween weekend in search of ghosts and history on the C&O Canal:

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One trAck MinD

There’s a particular charm to Ian Svenonius’ madness. On the surface, it may come off as the frantic scribblings of an articulate paranoid, convinced that every facet of American culture is part of some deeper conspiracy to control the masses. And perhaps the punk singer and provocateur is right! How else does one explain how highly-addictive high fructose corn syrup has come to replace cane sugar in so many products? (Hint: It dates back to the Johnson administration.) In his latest collection of essays, published earlier this week by Akashic Books, Svenonius continues to share his thoughts on pop culture, politics, and consumerism. Below, a brief window into his world and what he thinks about certain things—from NPR to the cherished Lord of the Rings series—culled from his newest book, Censorship Now!! and his previous essay collection, The Psychic Soviet. Never change, Spiv.

—Matt Cohen

On The Lord of the Rings “The Lord of the Rings has long served as escapism for the awkward adolescent or the sexually confused pre-teen boy to a fantasy world without women and mothers.”

On Heathers “Heathers is a simple story about the victory of patriarchal monotheism/Christianity over feminine paganism in antiquity, and exhortation for Christians to overthrow castrating feminine power.”

On NPR “As the yuppies took on a long-term project to ‘gentrify’ American cities and remake them in their own image, the indie groups, typically the scions of NPR listeners (affluent, decorous, white), took on the mission to ‘gentrify’ punk.”

On Apple “Apple has turned the world upside down in making possessions a symbol of poverty and having nothing a signifier of wealth and power.”

On Starbucks “The Starbucks aesthetic—garish, Fascistic murals of the workforce and absurdist shouting— can be traced to Mussolini.”

On The Twist/Sam Cooke’s “Twistin’ the Night Away” “Despite the optimism and joy of the tune, ‘Twistin’...’ actually promulgated a new world of utter individualism and isolation.”

On Seinfeld “Seinfeld was designed expressly to rehabilitate the blighted American city, not only as a place desirable for white people to live (the characters on the show, all white, bear the last names Costanza, Bennes, Kramer, Seinfeld, representing a pan-caucasoid alliance), but as an amoral upper-class playground, where no one need act responsibly or nicely—an anti-community.”

The Light That Grew Among Us

Allyn Johnson & Sonic Sanctuary Standout Track: No. 3, “Grew’s Bag,” is a tune with several sections, soul dripping from all of them. In the first two, alto saxophonist Tim Green fires off and repeats short, funky phrases (pianist Johnson providing fills here and there); the second section provides the material that is developed in the third. It’s not blues, but Johnson and Green go deep into blues phrases on their solos while bassist Romeir Mendez and drummer Billy Williams swing with all their might.

Musical Motivation: The composition—indeed the whole album—is a tribute to piano great Mulgrew “Grew” Miller, who died suddenly in 2013. (Miller was a mentor to both Johnson and Green, the latter a veteran of his band.) It came to Johnson while he was practicing one day: “I happened on this rhythmic figure on the piano that reminded me of his ‘Grew’s Tune,’” he says. The tune itself echoes “Grew’s Tune” too, but its soulful character is more indebted to pianist James William, a friend and contemporary of Miller’s.

Vox Bopuli: The soulful aspect is a specialty (among many) of Johnson’s, a profound lover of gospel music, and of Green’s. Johnson says that shared side of their personalities inevitably shines through when he and the saxophonist play together. “Tim brings a certain quiet spirituality to the mix,” he says. “We both have the same vision of trying to uplift people with what we do: to reach people. Not just music for music’s sake, because there’s —Michael J. West plenty of that.”

Listen to “Grew’s Bag” at washingtoncitypaper. com/go/grewsbag.

washingtoncitypaper.com NOVEMBER 6, 2015 33

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TheaTerCurtain Calls Master Debaters

Two creator-performers gin up arguments and tension onstage. Does the audience care if their squabbles are real?

Handout photo by C. Stanley Photography

From the outset, Marcus Youssef and James Long, the creator-performers of Winners and Losers, endeavor to make their 85-minute, onstage conversation feel as authentic as it possibly can. They come on stage while the house lights are still up, introduce themselves, and then announce that the show has begun. The informality sets the audience up for the central questions of the evening: How much of this is real, and does it matter how much?

Winners and Losers features Long and Youssef, longtime friends and collaborators from Canada, selecting topics to debate whether each is a winner or a loser. The central conceit of this game—that where they stand in each debate reveals a little bit more about who they are— is both seductive and reductive. At one point, however, one of the performers mentioned how much he enjoys riding the Metro—the most shocking thing said on stage all night.

The piece is often improvisational—at one point, the performers even solicited the audience’s suggestions for topics to debate. (I was disappointed when a gentleman near me suggested Donald Trump.) Despite the spontaneity, the debates generally felt like they had been constructed to underscore how differently the two men see the world, with each answer as another piece of evidence of the fundamental dichotomy between them. Some would argue that there are only so many issues through which our true character is revealed, but the performers want us to believe that where they stand on the question “microwave ovens: winner or loser?” is one of them.

But the performers defend their positions with passion and verve, and thus manage to command our attention throughout the evening. Youssef, an overeducated, overcaffeinated, trust-fund liberal, spouts facts and quips and references at breakneck speed, as if his head would explode if he didn’t get his thoughts out fast enough. Long has the easier of the two roles here, as he gets to play off of Youssef’s sputtering indignation, but he’s a singularly compelling performer, as his monologues on authenticity and his troubled relationship with his father betray a wounded, overcompensating machismo.

It also helps that the topics that they consider often go beyond banalities like microwave ovens.

The two men reveal a deep understanding of history—references to Fukuyama, the Zapatistas, and NAFTA peppered this performance— and their personal, often accusatory conversations force us to confront where we stand on the thorny issues of privilege, class, and gentrification. The interplay between Youssef and Long is riveting, which is good, because that interplay

Handout photo by Simon Hayter

Winners and Losers Created by Marcus Youssef and James Long Directed by Chris Abraham At Woolly Mammoth to Nov. 22

A kicky, colorful Carmen Miranda bio shows off Pointless Theatre Company’s strongest assets and chases away the almost-winter gloom. is the entire piece. (They also throw in a few distractions to keep it from turning into My Dinner with Andre: namely, a game of ping-pong and a wrestling match, both highly metaphorical and somewhat inscrutable.)

So how much of this is real, and does it matter how much? Knowing that these are (supposedly) the actual personal lives of our performers being dissected on stage drives the tension.

The audience audibly gasped at some of the accusations hurled—one performer says the other isn’t fit to be a parent; the other performer takes swings at his accuser’s privileged upbringing.

But I found myself being taken out of the piece all too often. An offhand comment, made early in the evening, about how the two men had plans to “explore Virginia” together the day after that night’s show kept echoing in my mind as their friendship appeared to evaporate over the course of the show. Youssef and Long want us to believe both that they might actually punch each other during the performance, and that the show would still go on tomorrow night if they did. That the tension is that high is a bit unbelievable. But I’ll give them this: given the choice between watching the next tightly wound Republican debate or this show, Winners and Losers is by far the winner. —John Krizel 641 D St. NW. $35–$68. (202) 393-3939. woollymammoth.net.

36 NOVEMBER 6, 2015 washingtoncitypaper.com

PineaPPle exPress Gimme a Band, Gimme a Banana!

The Carmen Miranda Story Written by Mel Bieler and Patti Kalil Directed by Roberta Alves and Matt Reckeweg At Logan Fringe Arts Space to Nov. 14 While fall brings chilly weather and dreary skies to the Mid-Atlantic, there’s no need to worry about winter just yet: Pointless Theatre Co. is offering the warm breezes and sunshine of Brazil at the Logan Fringe Arts Space with Gimme a Band, Gimme a Banana! The Carmen Miranda Story. Granted, the performance is not all sunshine and samba, but the swirling synthesis of Pointless’ signature elements—live music, puppetry, masks, movement—might have you throwing on your sunglasses and leading a conga line down H Street.

Gimme a Band (a pun on her song, “Gimme a Band, Gimme a Bandana”) traces the meteoric rise and dramatic fall of Carmen Miranda, who was once the highest-paid actress in Hollywood, although you probably remember her as the woman dancing with bananas on her head. Miranda’s (true) story is a familiar one—a descent from bright-eyed talent to hot-mess movie star with bad habits.

Playwrights Mel Bieler and Patti Kalil keep the story fresh by picking a few key moments in which to undermine those tropes.

Clocking in at just over an hour, Pointless’ contribution to the Women’s Voices Theater Festival wastes no time rocketing through Miranda’s life story. The culprit for the short run time might be that, unlike other jukebox musicals, Gimme a Band uses nothing but Miranda’s songbook for its script. Without dialogue, the show moves quickly and sacrifices some of the story’s nuance, but overall it’s impressive how much the ensemble communicates with suggestive staging.

That ensemble is one of the strongest ele-

ments of the performance, and seamlessly integrates a four-piece live band, to boot. Juggling multiple roles as singers, dancers, actors, musicians, puppeteers, and run crew, each performer gets a moment or two to shine.

A few of them manage to really stand out: Pointless company member Scott Whalen, whose physical storytelling is impressive; and Rebecca Ballinger, who gets a lovely solo song as a nightclub singer.

The woman at the center of the production is Washington newcomer Sharalys Silva as Carmen Miranda. Making her U.S. debut, Puerto Rican Silva has unending charisma and a voice as smooth and sweet as a piña colada. She does it all in four-inch, platform shoes. Though the majority of the performance requires her only to enthusiastically sing and dance, Silva shows off considerable acting chops near the finale, bringing vulnerability to Miranda’s last few brittle days in the spotlight.

Pointless Theatre is known for its stylized design aesthetic, and Gimme a Band won’t disappoint loyal fans. Playwrights Mel Bieler and Patti Kalil wear a number of hats for this production: they also designed the sets and puppets. Kalil and Bieler use the vibrant colors of Brazilian folk traditions and Pointless’ signature childlike style to their full advantage, creating a brilliant set piece for Rio de Janeiro out of colorful cardboard and using paper to construct foliage for a proscenium arch. Frank Labovitz’ costumes follow suit, especially in the creativity on display in Miranda’s signature “tutti frutti” hats.

If there is one major complaint with Gimme a Band, it’s one that requires some behindthe-scenes theater knowledge to fully enjoy the production. Though it’s an adaptation of actual historical events, the program has no dramaturgical note or historical information.

Without dialogue it quickly becomes hard to figure out who each of the characters are without biographical context. Brendan O’Connell plays someone named Sebastian; was that a historical character or someone invented by the playwrights? Philip da Costa plays Aloysio de Oliverio, but who was that? A short Google search after the show will help, but future Pointless productions sans dialogue would benefit from giving the audience tools to keep up with this frequently referential company.

Pointless Theatre continues to be one of the most consistent young companies in town. If you have missed their productions in the past, Gimme a Band is a great place to start. Do some brief research on Carmen Miranda if you need a strong grip of the plot, but truly no prior knowledge is needed to have a great time. With heartwarming samba music and bright design, you can forget the winter blues by grabbing a rum drink at the Fringe bar and kicking back the “South American way.”

—Jonelle Walker 1358-1360 Florida Ave. NE. $15–$25. (202) 733-6321. pointlesstheatre.com.

washingtoncitypaper.com NOVEMBER 6, 2015 37

FilmShort SubjectS TainTed Love

Love

Love Directed by Gaspar Noé Gaspar Noé has rushed in where Lars von Trier has rather recently tread: Noé’s Love is von Trier’s 2014 Nymphomaniac all over again, i.e. porn in the name of art.

Do you like to watch? Don’t answer so fast. Even the most prurient may grow weary during Love’s uncompelling two hours and 15 minutes. Whereas the ridiculousness of von Trier’s two-parter lay in its forced intellectualism and clear pretension, Noé (Irréversible, Enter the Void) has created another wannabeshocker that’s just simply bad.

The film opens with an extended overhead scene of a couple mutually masturbating while a score worthy of a Merchant Ivory production plays. Then the man, Murphy (Karl Glusman), wakes up in the next scene, apparently hungover on New Year’s Day, next to somebody else as a baby cries.

And this is when his internal monologue begins. You may think that the nodding-out flatness of Glusman’s line readings is a reflection of Murphy’s morning bleariness, but his intonation never wavers, even though we’re treated to his thoughts until the credits roll. “Is the whole year going to be like this,” he muses. “Oh my God, this is a nightmare. I wish I didn’t exist right now. This place is a cage.”

Just when you imagine that Glusman’s acting couldn’t get any more rudimentary, he thinks, “Always looking over my shoulder.” And guess what? He actually looks over his shoulder.

Glusman’s blankness not only makes for a grating main character, but his portrayal of Murphy—an American—is so personality-free it’s impossible to understand why Electra (Aomi Muyock), gorgeous and French, so frequently declares her love for him. He’s an aspiring filmmaker, wanting “to make movies out of blood, sperm, and tears” (huh, sounds like a familiar director) and she an aspiring artist, but they fuck more often than they talk. The turning point in their doomed relationship seems to have been when they invited a very young neighbor (Klara Kristin) into their bed after Murphy asks Electra what her ultimate fantasy is. “Fuck with another girl? This is my dream, too,” he says, because everyone talks that stiffly.

Oh, and did I mention that Love is in 3D? And that the French government helped fund it?

The third dimension—you can probably guess what it’s used for—is the final nail to dismiss Love as a silly project of self-indulgence. (The name of Murphy’s kid? Gaspar.)

The slight story of Murphy and Electra’s relationship and sexual escapades is told in flashback as Murphy’s memories—with blips of blackness separating present and past, and the past often shaded in darkness and reds.

Eventually, though, those black screens pop up—frequently—during normal scenes, their intended effect unclear.

Spectre

Of course, the sex is the thing: It is hardcore, and it is endless. The fated threesome lasts seven minutes, but the tangle of limbs and tongues feels like an eternity. Handjob after handjob, bush after bush, quivers and moans and writhing—it’s somehow inert, and gets old fast. You can’t feel the attraction between Murphy and Electra when they’re already naked the first time they’re introduced. And you really can’t feel Electra’s attraction to him at all. What Noé sought to achieve with the clunky Love is as mysterious as their passion. Like the couple, if you’re looking for titillation, consider seek—Tricia Olszewski ing it elsewhere.

Love opens Friday at the Angelika Pop-Up.

The spy who LuLLed me Spectre Directed By Sam Mendes Spectre is a perfectly fine James Bond film that suffers only from the misfortune of fol-

38 NOVEMBER 6, 2015 washingtoncitypaper.com

lowing a perfectly great one.

2012’s Skyfall was the bestreceived film of the franchise since the Roger Moore years, racking up critical accolades and over $1 billion in box-office receipts. Still, its success came with a caveat: The film brought new depth to the iconic character, saddling him with heretofore unexamined backstory and physical and emotional vulnerabilities, and some critics worried the film made Bond too much of a three-dimensional character. In Hollywood, turning an icon into a human being—one who can grow and change—is a risky business proposition.

To combat these concerns, Spectre leans heavily on the Bond mythology. The second consecutive effort in the franchise by director Sam Mendes (American Beauty, Jarhead) reinterprets various elements from the Sean Connery years into a contemporary, somewhat generic blockbuster. It will surely be catnip for the hardcore fans, although younger viewers may find it too narratively clunky and self-referential to be involving.

In this one, Bond has gone rogue and is off pursuing a lead from his late friend M (Judi Dench, who appears in flashback). After a highly conspicuous shoot-out and helicopter crash in Mexico City, M (Ralph Fiennes) informs Bond that his antics couldn’t have come at a worse time. The British government is on the verge of shutting down the Double-O program and handing over the work to a smarmy new bureaucrat named C (Andrew Scott). C’s plan to fight terror through extensive surveillance feels timely but not quite fresh; it’s fun to trace the history of Ameri-

ca’s enemies through Bond films, but Spectre is hardly the first recent film to criticize the surveillance state.

In fact, the film’s homage extends far beyond the Bond canon. Some of the bigger plot elements feel reminiscent of Christopher Nolan’s Batman trilogy, and early scenes between Bond and the cantankerous M would not be out of place in Die Hard, Lethal Weapon, or any of a million other Rogue Cop flicks of the 1980s.

The success of Spectre, then, comes down to how well it executes its conventions, and, of course, its simple pleasures still endure.

The action scenes are inventive and wellstaged, the dialogue is pleasingly quip-heavy, and the performances are good enough to pass muster, if never quite as revelatory as in prior efforts (Judi Dench is sorely missed here). As the villain with a predictable link to Bond’s past, Christoph Walz doesn’t offer too many surprises; picture Walz as a Bond villain, and that’s exactly what you get.

As for the other items on the checklist, Spectre offers a crisp and clever final act, and a sharp amalgam of form and content that has become a winning trait in Mendes’ offerings. Consider the intentional shift in visual palate: Skyfall was one of the more colorful Bond films, but Spectre is haunted by whiteness. Key scenes are set in snow-filled mountains and a stark, white laboratory.

Craig sports a white skeleton mask one scene; Léa Seydoux stuns in an ivory dress in another. Whiteness can suggest clarity, purity, or death, and Mendes evokes all three, while keeping the audience in the dark about which will ultimately win out. Given what we know about Bond, however, and how deeply Spectre reveres its icon, it’s not too hard to guess.

—Noah Gittell Spectre opens Friday in theaters everywhere.

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A feast for the senses and the spirit! With Indian and Western instruments and featuring both traditional and contemporary Indian music, The Spirit of India presents Indian dance and music as never before. Add in songs from popular Bollywood films, a “Snake Charming” Dance, and more and you’ll see why this show has been a hit around the world! $48, $41, $29 ff

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Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123. washingtoncitypaper.com NOVEMBER 6, 2015 39

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“Erin Curtis: Diamond Blind” At Flashpoint Gallery to Nov. 21 Flashpoint Gallery has a quick fix for your autumn blues: an exuberant and immersive exhibition of work by local artist Erin Curtis.

For her first solo show in the District, Curtis contributed 14 recent paintings—at least, they look like paintings at first glance—as well as a group of site-specific installations that overflow into every nook and cranny of the gallery.

Curtis’ works are so arresting thanks in part to her palette: An array of bright and saturated hues, which she splices and layers in lively geometric patterns. Her paintings, in particular, rely on stark juxtaposi- “Double Vision” by Erin Curtis, 2015 tions of deep cool and warm tones—pinks, reds, oranges, violet, tur- foreground painting is composed of crossquoise, and blues. The compositions are well hatched splashes of greens and teals decbalanced, if occasionally overwrought. orated with coral waves, eyehole cutouts, The real draw of Curtis’ works, however, and small black silhouettes of vases, kettles, is her cut-and-paste collage technique. She and amphorae. A former Fulbright scholar forms her patterns in part by cutting geomet- to India, she is perhaps making reference to ric shapes—diamonds, stars, teardrops—out the myopic gaze of the academic when conof a fully painted canvas, and then stretching fronted with an unfamiliar culture. But the what remains over a second and sometimes ornamentation is so lighthearted that this third painting. In some cases, the cutouts are critical perspective gets lost. refilled with shapes that don’t perfectly match The focal point of the show is a bright their surroundings, like misplaced puzzle piec- and riotous installation that occupies the es; other times they are left empty, offering gallery’s longest wall. Incorporating severglimpses of the underlying painting. The effect al of Curtis’ freestanding paintings, it inis as playful as it is optically challenging, partic- cludes a wall mural of abstract forms in ularly in “Double Vision” and “Speaks,” works Day-Glo colors, colorful assemblages that whose layers are impossible to keep track of. dangle from the ceiling, and hanging strips According to the exhibition statement, of painted canvases incised to mimic latticCurtis draws inspiration from “hand-made es and shutters (these double as the stencils textiles, body ornamentation, and 20th-cen- used to paint the mural). tury weavings.” But it’s her painterly anteThough Curtis’ interest in weaving is apparcedents that first come to mind for me. In ent in her use of woven string and unstretched some of the small canvases, underlying grids canvas for wall hangings, the mural’s colors— of radiating squares or maze-like stripes re- from aquamarine and mint green to coral and call the color-field experiments of American canary yellow—and pleasantly imperfect handpost-war pioneers like Sol LeWitt and Frank made shapes owe more to contemporary DIY Stella. When Curtis ventures into more or- culture than global textile traditions. No matganic territory, the interplay of color and ter. Even when the conceptual goals don’t perpattern is less subtle but no less engrossing fectly align with the results, this is a space where —Beth Shook than in a David Hockney set design. one can’t help but delight.

Some of Curtis’ titles are suggestive of her source material, though the allusions 916 G St. NW. Free (202) 315-1305. can feel tenuous. In “Anthropology,” the culturaldc.org

MusicDiscography RebiRth of Cool Oooh Child Ensemble Rebirth Afrocentric Asian Music; 2015

TOP PRICES PAID

“Cerafica”—his mother’s maiden name— pivots between a swing melody and rapid Latin-inspired percussion, emitting a sophisticated tenor. “Rebirth,” the album’s title track and lead single, loosely interprets Gil Scott-Heron’s “The Bottle.” Written in the summer of 2010, the title alludes to a rebirth of sorts for his aunt, resurrecting her spirit with bright Cuban rhythms.

Though Kid is the album’s central figure, Rebirth is as much about its guests. Rapper yU appears on “Gettin’ Over,” offering a standout verse about his father, who also died of lung cancer. “I mean, how can I relax,” yU rhymes, “when my Po p s h e didn’t nap until he passed.” Producer Drew Dave spits a rare flow about his own come up: “Used to keep my feelings under wrap, tryna guard shit/But now I put them all up in my music, this is God’s gift.” The song is about fighting to move past obstacles.

It’s about toughing out the bad times and preparing for better days.

Elsewhere, on the shape-shifting “Diko’s Groove,” Kid and the band craft a funk gem that evokes Kool & the Gang and Sly and the Family Stone. The instrumental plods along smoothly, with the drums breaking down into a nearly one-minute solo at the end similar to Sly’s almost 14minute romp, “Sex Machine.”

Toward the middle of Rebirth, and the end of “Afrocentric Asians,” we hear Kid’s mother calling him in college to wish a happy 19th birthday. It’s a sweet message that most of us have received from loved ones at some point or another. Perhaps on purpose, Drew puts the voicemail squarely in the middle of the album, signaling a transition for himself and his art, letting us know that his mom still guides his steps, although she isn’t physically here.

That explains why Rebirth feels so transformative: Kid is one of the coolest guys in the room, adding his own flair to traditional sounds—though it’s not always apparent. You’ll realize he’s there soon enough.

—Marcus J. Moore

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There’s a chance you’ve heard pianist Drew Kid, even if you didn’t realize he was there. He’s played keys on some of the D.C. area’s better releases—yU’s the EARN, the 1978ers’ People of Today, Dunc’s Cycles—and gigs regularly with various bands throughout the city. Kid is pretty low-key, and his music—a fluid blend of jazz, soul, and hip-hop—is equally unassuming. As frontman of the Oooh Child Ensemble, his band is all over the musical spectrum, and the group’s new album—Rebirth—calmly migrates from traditional jazz to funk and R&B in a breezy 30-minute haze.

Despite its brief runtime, Rebirth is full of subtle nuances and creative shifts, giving the album a textured resonance that scans as jazz, though it feels like something much deeper. It’s music that just is—existing without preconceived notions of what it’s supposed to be, reaching for something different yet largely accessible.

Rebirth feels driven by adversity. It’s carried by a persistent fog that gives the music a crisp, autumn-like vibe. Kid dedicates Rebirth to his aunt, Maria Corazon Cerafica, who died of heart disease in 2010, and his mother, Josefina Cerafica Flores, who died of lung cancer in 2011. You hear their voices throughout the album, and its two best songs—“Cerafica” and “Rebirth”— are directly influenced by those women.

stevebuysrecords@gmail.com

D.C.’s awesomest events calendar.

washingtoncitypaper.com/ calendar

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washingtoncitypaper.com NOVEMBER 6, 2015 41

42 NOVEMBER 6, 2015 washingtoncitypaper.com

INER

60S-INSPIRED D Serving

EVERYTHING from BURGERS to BOOZY SHAKES

HAPPY HOUR:

$2 Tuesday $3 Thursday $4 Friday (ALL DRAFTS AND RAIL)

BRING YOUR TICKET AFTER ANY SHOW AT

CITYLIST Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. JR JR, Brothertiger. 6 p.m. $17. 930.com.

AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The Weight. 8 p.m. $35–$45. ampbystrathmore.com.

DC9 1940 9th St. NW. (202) 483-5000. The Dirty Nil, Shirt/Pants. 7 p.m. $10. dcnine.com.

GyPSy SAlly’S 3401 K St. NW. (202) 333-7700.

Pink Talking Fish, Holly Bowling. 9 p.m. $14–$18. gypsysallys.com. linColn theAtre 1215 U St. NW. (202) 3286000. Marina and the Diamonds, Christine and the Queens. 6:30 p.m. (Sold out) thelincolndc.com. roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Elikeh, Edy Blu. 9 p.m. $15. rockandrollhoteldc.com.

Funk & R&B blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Shalamar Reloaded. 8 p.m. & 10 p.m. $48. bluesalley.com.

ElEctRonic u Street MuSiC hAll 1115 U St. NW. (202) 5881880. Motez, Sumner. 10:30 p.m. $12. ustreetmusichall.com.

Club

kenneDy Center terrACe GAllery 2700 F St. NW. (202) 467-4600. Marquis Hill Blacktet. 7 p.m. & 9 p.m. $20. kennedy-center.org.

FREE SHOT!

Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Dial 251. 8 p.m. Free. mrhenrysdc.com.

BluEs StAte theAtre 220 N. Washington St., Falls Church.

(703) 237-0300. Tommy Castro & the Painkillers. 7 p.m. $20. thestatetheatre.com.

Zoo bAr 3000 Connecticut Ave. NW. (202) 2324225. Still Standing. 9 p.m. Free. zoobardc.com.

Hip-Hop u Street MuSiC hAll 1115 U St. NW. (202) 5881880. Murs. 7 p.m. $16. ustreetmusichall.com.

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

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Music

Jazz TO GET A

Music . . . . . . . . . . . . . . . . . . . . . . . . .43 Galleries . . . . . . . . . . . . . . . . . . . . . .50 Theater . . . . . . . . . . . . . . . . . . . . . . 5 1 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .53

CITY LIGHTS: FRIDAY

JANE SMILEY Jane Smiley is the unique novelist who can take centuries-old characters, set them in a new location, and get readers to perceive them completely differently. When she turned King Lear’s wicked daughters Cordelia, Regan, and Goneril into Iowa farm sisters Caroline, Rose, and Ginny in A Thousand Acres, she painted them with enough sympathy to win the 1992 Pulitzer Prize for Fiction. Smiley continues to experiment with settings both historical and Midwestern, returning to Iowa for her latest novel, Golden Age. The third volume in a trilogy that also includes the novels Early Warning and Some Luck, Golden Age follows members of the Langdon family as they scatter around the nation and deal with contemporary issues, from climate change to farm regulations to Wall Street woes. In chronicling American life in the 20th century, critics have likened Smiley to Saul Bellow and John Updike, but her thoughtful ruminations on history and culture defy direct comparisons.

Jane Smiley reads at 7:30 p.m. at the Folger Elizabethan Theatre, 201 East Capitol St. SE. —Caroline Jones $15. (202) 544-4600. folger.edu.

DJ nigHts DC9 1940 9th St. NW. (202) 483-5000. Discnotheque with DJs Bill Spieler and Sean Morris. 10:30

Vocal kenneDy Center terrACe theAter 2700 F St. NW. (202) 467-4600. Michele Lee. 7 p.m. $50.

kenneDy Center ConCert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Mahler’s Symphony No. 3 with Anne Sofie von Otter and 2 Choruses. 8 p.m. $15–$89. kennedy-center.org.

gospEl

kennedy-center.org.

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Oleta Adams. 7:30 p.m. $45. birchmere.com.

Rock

blACk CAt 1811 14th St. NW. (202) 667-4490. DIIV, No Joy, Sunflower Bean. 9 p.m. $18–$20. blackcatdc.com.

p.m. Free. dcnine.com.

classical

kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Kennedy Center Opera House Orchestra. 6 p.m. Free. kennedy-center.org.

saturday DC9 1940 9th St. NW. (202) 483-5000. Waters, Cruisr. 8 p.m. $10. dcnine.com.

FillMore Silver SPrinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Turnpike Troubadours. 8 p.m. $20. fillmoresilverspring.com.

MuSiC Center At StrAthMore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Paul Anka. 8 p.m. $48–$125. strathmore.org. roCk & roll hotel 1353 H St. NE. (202) 388ROCK. A Silent Film, Flagship. 8 p.m. $15. rockandrollhoteldc.com.

washingtoncitypaper.com NOVEMBER 6, 2015 43

u Street MuSiC hAll 1115 U St. NW. (202) 5881880. Yacht. 7 p.m. $20. ustreetmusichall.com.

Funk & R&B blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Shalamar Reloaded. 8 p.m. & 10 p.m. $48. bluesalley.com. howArD theAtre 620 T St. NW. (202) 803-2899.

Stephanie Mills. 8 p.m. $69.50–$105. thehowardtheatre.com.

TONIGHT AT 8 PM! THU, NOV 5

SISTER SPARROW & THE DIRTY BIRDS

TONIGHT!

The Weight {Songs of The Band}

CALIFORNIA GUITAR TRIO WED, NOV 11

DEBBY BOONE

Hugh Masekela & Larry Willis: Friends {Legendary jazz duo}

Nov 12 (two shows!)

Storm Large {Chanteuse of Pink Martini}

Nov 13

THU, NOV 12

KUOK-WAI LIO AND ZOLTÁN FEJÉRVÁRI,

JOSEPH LEO BWARIE {Booming Broadway vocals}

Nov 15

SOLO AND DUO PIANO

CHAMBER MUSIC AT THE BARNS

FRI, NOV 13

SUZANNE VEGA DUNCAN SHEIK WED, NOV 18 THU, NOV 19

RICKIE LEE JONES FRI, NOV 20

SONNY LANDRETH SAT, NOV 21

The Yardbirds {Legendary rock}

Nov 18

Ted Alexandro & Jono Zalay

Co-presented with Cool Cow Comedy

{Teachers Lounge funnyman}

Nov 20

Tony DeSare

{Pop hits, classics with lounge flare}

Nov 22

AND MANY MORE!

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

www.AMPbyStrathmore.com 44 NOVEMBER 6, 2015 washingtoncitypaper.com

roCk & roll hotel 1353 H St. NE. (202) 388ROCK. DJs Rex Riot and Basscamp. 11:30 p.m. Free. rockandrollhoteldc.com.

Vocal kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Nick Blaemire. 6 p.m. Free. kennedy-center.org.

PyrAMiD AtlAntiC Art Center 8230 Georgia Ave., Silver Spring. (301) 608-9101. veRmulsCHt, Anne-F Jaques & Tim Olive, J. Surak, Layne Garrett.

8 p.m. $10. pyramidatlanticartcenter.org.

sunday

u Street MuSiC hAll 1115 U St. NW. (202) 5881880. SBCR, Basscamp. 10:30 p.m. $25. ustreetmusichall.com.

Rock

Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Akua Allrich. 8 p.m. Free. mrhenrysdc.com.

MOUNTAIN HEART

boSSA biStro 2463 18th St NW. 202-667-0088. DJ Mezcla. 10:30 p.m. $5. bossadc.com.

DC9 1940 9th St. NW. (202) 483-5000. The SpreadLove Project, Joe Nice, Jett Chandon, DJ Nav. 11:30 p.m. $5. dcnine.com.

kenneDy Center terrACe theAter 2700 F St. NW. (202) 467-4600. Butler, Bernstein, and The Hot 9. 7 p.m. & 9 p.m. $30. kennedy-center.org.

SUN, NOV 8

DJ nigHts

ElEctRonic

Jazz

SMOOTH HOUND SMITH

Mahler’s Symphony No. 3 with Anne Sofie von Otter and 2 Choruses. 8 p.m. $15–$89. kennedy-center.org.

countRy hill Country live 410 7th St. NW. (202) 5562050. Sunny Ledfurd. 10:30 p.m. $10. hillcountrywdc.com.

classical kenneDy Center ConCert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra:

bArnS At wolF trAP 1645 Trap Road, Vienna.

(703) 255-1900. Mountain Heart. 7:30 p.m. $25–$27. wolftrap.org.

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

Marrow, Wylder. 9 p.m. $10. dcnine.com.

GeorGe MASon univerSity Center For the ArtS 4400 University Drive, Fairfax. (703) 993-2787.

Art of Time Ensemble. 7 p.m. $29–$48. cfa.gmu.edu.

Funk & R&B blueS Alley 1073 Wisconsin Ave. NW. (202) 337-4141. Shalamar Reloaded. 8 p.m. & 10 p.m. $48–$50. bluesalley.com. roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Nathaniel Rateliff & The Night Sweats, Landlines. 8 p.m. (sold out). rockandrollhoteldc.com.

CITY LIGHTS: SATURDAY

KANDAHAR JOURNALS

In the summer and fall of 2006, Kandahar, Afghanistan was torn apart by fighting between Taliban and NATO forces. Back in North America, in the years before the financial crisis, money flooded the pockets of wealthy residents. Canadian photojournalist Louie Palu witnessed this disparity when he first visited Afghanistan to cover a suicide bombing. Palu didn’t know his assignment for the Globe and Mail would turn into a five-yearlong reporting journey that would take him back and forth from combative war zones to his tranquil homeland on the other side of the world. During his time in Kandahar, Palu reflected frequently about his experience documenting the front lines. His documentary, Kandahar Journals, illustrates the opposing narratives Palu experienced: the chaos he saw in war-stricken Afghanistan and the ordinary life back home. The film incorporates combat footage shot by Palu and attempts to show the physiological stress experienced by combat photographers as they begin to separate their public lives and war experiences.

The film shows at 3 p.m. at the National Gallery of Art East Building Auditorium, 6th Street —Freddy Rodriguez and Constitution Avenue NW. Free. (202) 437-4215. nga.gov.

RECORD RELEASE PARTY November 6 at The State Theatre 220 N. Washington St., Falls Church VA

“Phenomenal and funky...soulful vocals and inspired blues-rock guitar.”

–Washington Post

THE NEW RELEASE ON ALLIGATOR RECORDS AVAILABLE AT ALLIGATOR.COM AND OTHER FINE RETAILERS washingtoncitypaper.com NOVEMBER 6, 2015 45

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

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

NOVEMBER SHOWS THU 5 FRI 6

FRI 6

SAT 7 SAT 7 SUN 8

COLD FRONTS

WE WERE PROMISED JETPACKS

RAP / MAGIC / BURLESQUE SHAFFER THE DARKLORD NELSON LUGO

DIIV / NO JOY HEAVY ROTATION

VINYL DISCO FUN SOUL JAMS

THE ROYAL CONCEPT PARADE OF LIGHTS

ALLISON WEISS TUE 10 MOVING UNITS WED 11 HIPPO CAMPUS THU 12 BEN CAPLAN & MON 9

THE CASUAL SMOKERS

FRI 13 SAT 14 TUE 17

FUZZ

LOVE MUSIC HATE RACISM

PRIESTS SHOPPING

FRI NOV 6

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

Tix @ Ticketmaster.com 800-745-3000

Nov 5

DELBERT McCLINTON Damon Fowler

OLETA ADAMS 7 SUZANNE WESTENHOEFER

6

8

An evening with

22

An Evening with

GEORGE WINSTON In The 9 TOADIES “Heretics Tour” Whale 15 LEE ANN WOMACK 16 ACOUSTIC ALCHEMY 18&19 THREE DOG NIGHT

JERRY DOUGLAS 27&28 THE SELDOM SCENE

BUMPER JACKSONS (27) & THE KENNEDYS (28)

MADISEN WARD & THE MAMA BEAR Penny & Dec 1 DELTA RAE w/ Sparrow Winter Acoustic Tour • A Holiday Celebration

30

LUKE BELL

A PETER WHITE CHRISTMAS MINDI ABAIR & RICK BRAUN 3 SHEILA E 4 BLOOD SWEAT & TEARS 2

with

featuring BO BICE

CHERYLWHEELER & JOHNGORKA 7 A DAVID BENOIT CHRISTMAS

5

“Tribute to Charlie Brown” MONHEIT

with special guest JANE

FOURPLAY Holiday 10 THE DAN BAND Show!

Ari 11&12 JUDY COLLINS Hest 14&15 THEAIMEEMANN & TEDLEOCHRISTMASSHOW 8

with JONATHAN COULTON, LIZ PHAIR and very special guests!

16

WE WERE PROMISED JETPACKS

SAT NOV 7

DIIV

NO JOY

ASLEEP AT THE WHEEL JEANNE JOLLY “Merry Texas Xmas Y’all!”

CARBON LEAF 19 PIECES OF A DREAM 20 ROBERT GLASPER EXPERIMENT 21 A JOHN WATERS’ CHRISTMAS 17

Holier & Dirtier

22

An Evening with

TODD RUNDGREN 26 SOUTHSIDEJOHNNY & THEASBURYJUKES

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

27

19th Annual

HANK WILLIAMS TRIBUTE

featuring Robin & Linda Williams, Robbie Fulks, Cathy Fink &

Marcy Marxer, Rickie Simpkins, Dave Chappell, Mark Schatz

28,29,30

46 NOVEMBER 6, 2015 washingtoncitypaper.com

MINT CONDITION “Holiday Show”

CITY LIGHTS: MONDAY

ALLISON WEISS

Every relationship is like a snowflake: no two are alike. The same goes for breakups: You can try to use the experiences from past romances to deal with a breakup, but every relationship has its own nuances, which makes the circumstances surrounding a breakup all the more complicated and idiosyncratic. This is a revelation that’s so often lost in breakup songs, but one that Allison Weiss so brilliantly conveys on her recently released album New Love, a collection of 11 infectiously bouncy indie-pop anthems that ruminates on the pains of lost romances and the—ahem—new love that can emerge in their ashes. Songs like “Counting Down,” “Out of This Alive,” and “Over You” perfectly capture the clashing senses of anxiety, optimism, confusion, excitement, and crushing depression of going through heartbreak. Musically, New Love is somewhat of a departure from Weiss’ signature folk-punk sound, sounding more akin to Tegan & Sara’s exploration in sugary synth-pop on 2013’s Heartthrob. There’s an art to writing the perfect breakup song, and Allison Weiss has mastered it 11 times over. Allison Weiss performs with Mal Blum, Winter, and Kid in the Attic at 7:30 p.m. at the Black Cat Backstage, 1811 14th St. NW. $10-$12. (202) 667-4490.

—Matt Cohen blackcatdc.com.

ElEctRonic 9:30 Club 815 V St. NW. (202) 265-0930. RAC, Big Data. 7 p.m. $35. 930.com.

countRy bArnS At wolF trAP 1645 Trap Road, Vienna.

(703) 255-1900. Paul Thorn. 8 p.m. $25–$27. wolftrap.org. birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Cooder-White-Skaggs. 7:30 p.m. $69.50. birchmere.com.

Vocal kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Neil Bartram. 6 p.m. Free. kennedy-center.org.

Wednesday Rock

9:30 Club 815 V St. NW. (202) 265-0930. EL VY. 7 p.m. $30. 930.com. bArnS At wolF trAP 1645 Trap Road, Vienna.

(703) 255-1900. California Guitar Trio. 8 p.m. $25. wolftrap.org.

DC9 1940 9th St. NW. (202) 483-5000. Mitski, Palehound, Pwr Bttm, Painted Zeros. 8 p.m. $12–$14. dcnine.com.

u Street MuSiC hAll 1115 U St. NW. (202) 5881880. Givers, Doe Paoro. 7 p.m. $18. ustreetmusichall.com.

Funk & R&B betheSDA blueS AnD JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. El DeBarge. 8 p.m. $50–$75. bethesdabluesjazz.com.

Jazz Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Capitol Hill Jazz Jam. 8 p.m. Free. mrhenrysdc.com. twinS JAZZ 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m. & 10 p.m. $10. twinsjazz.com.

countRy birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Cooder-White-Skaggs. 7:30 p.m. $69.50. birchmere.com.

WoRlD boSSA biStro 2463 18th St NW. 202-667-0088.

Orchester Prazevica. 9:30 p.m. $5. bossadc.com.

classical kenneDy Center terrACe theAter 2700 F St. NW. (202) 467-4600. The Shanghai Quartet, Joseph Kalichstein, Jaime Laredo. 7 p.m. $50. kennedy-center.org.

CITY LIGHTS: SUNDAY

BABA ZULA Formed in 1996 with an eccentric, hippie-ish sensibility that felt more ’60s and ’70s, Istanbul-based BaBa ZuLa plays Turkish psychedelic rock with some Middle Eastern and Balkan beats thrown in for good measure. Using electronic versions of traditional Anatolian stringed instruments like the saz (a kind of lute), along with guitars, keyboards, darbuka drums, and spoons, the band creates an eclectic sound that layers electronic drones and twangy strings with folk vocals and more traditional rhythms. Though the group has a large following in its native Turkey, and appeared in Turkish-German filmmaker Fatih Akin’s Crossing the Bridge: The Sound of Istanbul, the group has not previously performed in D.C. At its Bossa show, the three core members—Murat Ertel, Levent Akman, and Cosar Kamci—will be accompanied by Greek oud player Periklis Tsoukalas. Known for elaborate costumes, improvisation, and general theatrical flair, BaBa ZuLa’s live performances are even better than its recorded music—you don’t need to understand Turkish to get into the groove. Baba Zula performs at 7:30 p.m. at Bossa Bistro, 2463 18th St. NW. —Vanessa H. Larson $20. (202) 667-0088. bossadc.com.

NOVEMBER

JUST ANNOUNCED!

F OOT B ALL AWAY GAME WAT CH PA RT Y

TH 5

FREE TO ENTER!

PJ MORGAN’S GEEEK SQUAD

FRIDAY NOVEMBER 6

DRINK + FOOD SPECIALS +

H O M E G A M E T I C K E T G I V E AW AY S !

TEEDRA MOSES

FRI NOVEMBER 6TH

DEAFHEAVEN TRIBULATION | ENVY

SAT NOVEMBER 7TH STEPHANIE MILLS SUN NOVEMBER 8TH SEVYN STREETER MON NOVEMBER 9TH MINUS THE BEAR

S7

JOE CLAIR & FRIENDS COMEDY SHOW

SU 8

A TRIBUTE TO THE MUSIC OF PHYLLIS HYMAN

M9

VOCAL WORKSHOP & CONCERT W/ CHRIS GRASSO

O'BROTHER | AERO FLYNN

TUES NOV 10 & WED NOV 11

TUE NOVEMBER 10TH AN EVENING WITH

ANDERSONPONTY BAND

EL DEBARGE

W/ JON ANDERSON & JEAN LUC PONTY

TH 12 THE BROTHERS FOUR

THU NOVEMBER 12TH THE CHARLATANS

F 13

EYELIDS

Folk

WoRlD

MAnSion At StrAthMore 10701 Rockville Pike, Rockville. (301) 581-5100. Shenandoah Run. 4 p.m. $30. strathmore.org.

kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Gina Chavez. 6 p.m. Free. kennedy-center.org.

WoRlD

kenneDy Center terrACe theAter 2700 F St. NW. (202) 467-4600. Modern Art Orchestra. 7 p.m. $16. kennedy-center.org.

boSSA biStro 2463 18th St NW. 202-667-0088.

BaBa ZuLa. 7:30 p.m. $20. bossadc.com.

Vocal kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Rosser and Sohne. 6 p.m. Free. kennedy-center.org.

Monday

tuesday Rock

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

Stephen Kellogg. 7:30 p.m. $20–$25. thehamiltondc.com.

FRI NOVEMBER 13TH PABLO ALBORAN SAT NOVEMBER 14TH ANGIE STONE SUN NOVEMBER 15TH

BRENCORE ENTERTAINMENT PRESENTS

A TRIBUTE TO THE MUSIC OF MOTOWN

THU NOVEMBER 19TH

GEORGE CLINTON &

PARLIAMENT FUNKADELIC

FRI NOVEMBER 20TH

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

Jon Anderson, Jean Luc Ponty. 8 p.m. $52.50.– $87.50. thehowardtheatre.com.

LOOSE ENDS FT. JANE EUGENE

DC9 1940 9th St. NW. (202) 483-5000. Son Little. 9 p.m. $10–$12. dcnine.com.

MuSiC Center At StrAthMore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Styx. 8 p.m. $100– $250. strathmore.org.

FT. CASEY VEGGIES & JAY 305

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

Minus The Bear, O’Brother, Aero Flynn. 8 p.m. $25. thehowardtheatre.com.

u Street MuSiC hAll 1115 U St. NW. (202) 5881880. Public Image Ltd. 7 p.m. (Sold out) ustreetmusichall.com.

Funk & R&B

Funk & R&B

roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Lil Debbie, Donmonique, Havana Seoul. 8 p.m. $16. rockandrollhoteldc.com.

FillMore Silver SPrinG 8656 Colesville Road, Silver Spring. (301) 960-9999. SoMo, Jordan Bratton. 8 p.m. $22.50. fillmoresilverspring.com.

Rock

THE TEXAS CHAINSAW HORNS & HOT MESS BURLESQUE

SUNDAY NOVEMBER 15

TAB BENOIT & CATHY PONTON KING BAND

SAT NOVEMBER 21ST DOM KENNEDY

SUN NOVEMBER 22ND MACY GRAY

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

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

washingtoncitypaper.com NOVEMBER 6, 2015 47

CITY LIGHTS: TUESDAY

RAC The genius of André Allen Anjos lies in his ability to “make it new,” to quote Ezra Pound. Known as RAC (Remix Artist Collective), Anjos has gained attention in the past couple of years for his synth-y, sometimes makes-you-wanna-shout, sometimes makes-you-wanna-sigh, but mostly makes-you-wanna-dance takes on indie and alternative tunes that are often popular in their own rite. Fans of Phoenix will appreciate his quicker-tempo “Armistice,” with a chorus preceded by Phil Collins-esque drum beats and punctuated by sliding scales on the synthesizer; in RAC’s retelling, Tegan & Sara’s already angsty “Back in Your Head” sounds like quadruplets rocking out rather than twins. They aren’t the only groups whom Anjos’ creative, prog-influenced flair has touched: Remixes on his first solo album, Strangers, include songs by Kele, Tokyo Police Club, Foster the People, Penguin Prison, and St. Lucia (the album has two parts for twice the beats). If the latest season of Girls is any indication, Anjos is flirting with mainstream appeal: His collaboration with Katie Herzig, “We Belong,” aptly accompanied Hannah Horvath’s return to New York after a failed stint at the Iowa Writers’ Workshop. Here’s hoping he doesn’t burn out in a similar fashion. RAC performs with Big Data, Filous, and Pink Feathers at 7 p.m. at 9:30 Club, 815 V St. NW. —Andrew Giambrone $35. (202) 265-0930. 930.com.

48 NOVEMBER 6, 2015 washingtoncitypaper.com

CITY LIGHTS: WEDNESDAY

“APERTURE: PHOTOGRAPHS”

KENNEDY CENTER

Jason Moran, Artistic Director for Jazz

2015–2016 Season

Butler, Bernstein & the Hot 9

“Aperture: Photographs,” the latest art installation to open at the Former Spanish Ambassador’s Residence, follows the history of the Aperture Foundation, founded

by American photographer Minor White in 1952 to celebrate the art form, with photos that span 50 years of the foundation’s magazine. Unsurprisingly, the exhibition is the cornerstone of the annual photography festival FotoWeekDC: The 90-work exhibit covers an enormous range of material, stretching from the early 1900s to present-day pieces. Among the artists featured are Depression-era photojournalist Dorothea Lange, contemporary portrait photographer Annie Leibovitz, Hungarian war photographer Robert Capa, and dozens of other influential individuals. With such far-reaching work, the exhibit aims to uncover “the evolution of photography itself”: You’ll find photographs from White’s 1930s experimentation with lights and shadows, Stephen Shore’s early color photographs from the 1970s, and transformative cityscapes from contemporary artist Jeff Chien-Hsing Liao, all under the same roof. The exhibition is on view daily, 10 a.m. to 6 p.m., to Nov. 15, at the Former Spanish Ambassa—Tatiana Cirisano dor’s Residence, 2801 16th St. NW. Free. fotodc.org.

The Hot 9, featuring trumpeter Steve Bernstein and pianist and singer Henry Butler, infuse iconic New Orleans and early-jazz repertoire with punch and pizzazz. This feel-good band never lets virtuosic playing take precedence over collective joy.

Saturday, November 7 at 7 & 9 p.m. | Terrace Theater

A Family Affair

Dorado Schmitt and the Django Festival All-Stars

Showcasing the rhythmic, virtuosic intricacies of the Django Reinhardt guitar style of “hot jazz,” the Django Festival All-Stars return to the Kennedy Center by popular demand, featuring superstar Dorado Schmitt on lead guitar and violin.

Friday, November 13 at 7 & 9 p.m. | Terrace Theater

Carmen Lundy

Lundy returns for a two-night run in celebration of her 14th album, Soul to Soul, with pianist Patrice Rushen, bassist Kenny Davis, drummer Jamison Ross, guitarist Andrew Renfroe, and vibraphonist Warren Wolf.

Friday & Saturday, November 20 & 21 Best availability 9 p.m.

KC Jazz Club • Performances at 7 & 9 p.m. in the Terrace Gallery.

No minimum. Light menu fare available.

KENNEDY-CENTER.ORG (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

WPFW 89.3 FM is a media partner of Kennedy Center Jazz.

Bohemian Caverns Tuesdays Artist in Residency

Federico Peña T OC

@LivNightclub

DC’s Legendary Jazz Club

Established in 1926 2001 11th ST NW - (202)299-0800

Big Chief of Congo Square

Donald Harrison Fri & Sat

Fri Oct 30 Sun Ra Arkestra Marshall Allen th

&

under direction of

DJ Underdog

Oct 23rd & 24th

Mark Meadows Fri & Sat

Oct 30th & 31st

Chad Carter

Elhae Vibes

Sun Nov 1st

Matvei Sigalov Thur Nov 5

th

presented by WERC

Oct 29th

Suricato Thur Nov 19 The Funky Bohemian Caverns Knuckles No1v Jazz Orchestra & Higher Hands 1 th

th

Mondays @ 8pm

"This group is something special." ~ Mike West (CityPaper)

www.BohemianCaverns.com

The Hello?! Tour &

Key!

Special Guests

Nov 12th

www.LivDC.com

washingtoncitypaper.com NOVEMBER 6, 2015 49

of

RAPPAHANNOCK

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

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

$3 PBR & NATTY BOH ALL DAY EVERY DAY

Downstairs: good food, great beer: $3 PBR & Natty Boh’s all day every day *all shows 21+ THURS, NOVEMBER 5TH

Rock

9:30 Club 815 V St. NW. (202) 265-0930. Rachel Yamagata, My Name Is You. 7 p.m. $25. 930.com. birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Colin Hay. 7:30 p.m. $39.50. birchmere.com.

DC9 1940 9th St. NW. (202) 483-5000. Dilly Dally, Calm & Crisis. 9 p.m. $10–$12. dcnine.com.

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

Jon McLaughlin, Tess Henley. 7:30 p.m. $15–$20. thehamiltondc.com.

FRI, NOVEMBER 6TH

BIG LEBOWSKI BURLESQUE

Saturday, November 7 Sunday, November 8 10 AM - 5 PM Rain or shine $10 admission

DOORS AT 8PM SHOW AT 9PM

Tour Headquarters & Gallery 567 Mt. Salem Ave. Washington, VA 22747

DISTRICT TRIVIA

S AT, N O V E M B E R 7 T H

CYN FACTORY PRESENTS HAUNTS YOUR DREAMS SUN, NOVEMBER 8TH

KEN VEGAS PRESENTS

DOORS AT 5PM SHOW AT 6PM MON, NOVEMBER 9TH

STARTS AT 730PM

TUES, NOVEMBER 10TH

LAST RESORT COMEDY

DOORS AT 8PM SHOW AT 830PM

VC VARIETY PRESENTS

DOORS AT 8PM SHOW AT 10PM WED, NOVEMBER 11TH

ALEXX STARR COMEDY

DOORS AT 7PM SHOW AT 8PM

DISTRICT TRIVIA STARTS AT 730PM

THURS, NOVEMBER 12TH

UNDERGROUND COMEDY

DOORS AT 730PM SHOW AT 8PM

www.raac.org

nAtionAl GAllery oF Art weSt GArDen Court 4th Street and Constitution Avenue NW. (202) 8426941. United States Army Chorus. 12:10 p.m. Free. nga.gov.

DOORS AT 8PM SHOW AT 830PM

DOORS AT 8PM SHOW AT 10PM

From northern VA take I-66W to RT 17S into Warrenton. Follow RT 17 to Business 29 Warrenton. Turn right on RT 29 and right on RT 211W. Drive 22 miles and turn right on Mt. Salem Ave. (RT 626). Turn right on the 2nd driveway to The Washington School.

ArlinGton ArtS Center 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org.

OngOing: “2015 Fall SOLOS.” New works by local artists are presented in this year-end show.

Oct. 24–Dec. 21.

FillMore Silver SPrinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Timeflies, Kalin and Myles. 8 p.m. $30.50. fillmoresilverspring.com.

21 Open Studios 8 Galleries Over 50 artists

Directions

kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Michael Mott. 6 p.m. Free. kennedy-center.org.

UNDERGROUND

COMEDY

Art Tour

installation that features photos of the neighborhood’s architecture. Sept. 3–Nov. 27.

thursday

600 beers from around the world

ElevenTH ANNuAL Studio & Gallery Tour

Vocal

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

50 NOVEMBER 6, 2015 washingtoncitypaper.com

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

The Charlatans. 8 p.m. $29.50–$60. thehowardtheatre.com. roCk & roll hotel 1353 H St. NE. (202) 388ROCK. Natalie Prass, Loamlands. 8 p.m. $15. rockandrollhoteldc.com.

Funk & R&B blueS Alley 1073 Wisconsin Ave. NW. (202) 337-4141. Jonathan Butler. 8 p.m. & 10 p.m. $50. bluesalley.com.

ElEctRonic u Street MuSiC hAll 1115 U St. NW. (202) 5881880. Minnesota, Space Jesus. 10 p.m. $20. ustreetmusichall.com.

Jazz AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Hugh Masekela. 8 p.m. $35–$50. ampbystrathmore.com.

countRy bArnS At wolF trAP 1645 Trap Road, Vienna.

(703) 255-1900. Debby Boone. 8 p.m. $35–$40. wolftrap.org.

Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Hollertown. 8 p.m. Free. mrhenrysdc.com.

WoRlD boSSA biStro 2463 18th St NW. 202-667-0088.

Zedicus and Abysinnia Roots. 9:30 p.m. $10. bossadc.com.

classical kenneDy Center ConCert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Gianandrea Noseda, conductor, and James Ehnes, violin. 7 p.m. $15–$89. kennedy-center.org.

Vocal kenneDy Center MillenniuM StAGe 2700 F St. NW. (202) 467-4600. Karen Mason. 6 p.m. Free. kennedy-center.org.

Galleries

1200 FirSt St. ne 1200 First St. NE. OngOing: “David Bellard.” Muralist David Bellard draws inspiration from the NoMA neighborhood for this new

the AthenAeuM 201 Prince St., Alexandria. (703) 548-0035. nvfaa.org. OngOing: “Mike McConnell.”

New works by McConnell, who worked for many years as a commercial illustrator before turning his attention to fine arts. Oct. 29–Dec. 13.

CArroll SquAre GAllery 975 F St. NW. (202) 234-5601. carrollsquare.com. OngOing: “This Is Light.” In this new exhibition, see works by Tommy Bobo, Lisa Dillin, Pamela Gwaltney, and Esther Ruiz, four east coast artists who use light in their pieces.

Sept. 18–Nov. 25.

CroSS MACkenZie GAllery 2026 R St. NW. (202) 333-7970. crossmackenzie.com. OngOing: “Sylvania.” Photographer Anna Beeke presents a series of photographs from the American Northwest in this new exhibition. Also on view is “Intersections,” a five-image exhibition by artist Lea Eouzan. Oct. 1–Nov. 14. Opening: “Rob Hitzig.” Paintings, sculptures, and painted sculptures by the Vermont-based multimedia artist. Nov. 4–Nov. 29.

FlAShPoint GAllery 916 G St. NW. (202) 3151305. culturaldc.org. OngOing: “Diamond Blind.”

Brightly colored, site-specific paintings by Erin Curtis that mix formalism with abstraction.

Oct. 24–Nov. 21.

ForMer reSiDenCe oF the AMbASSADorS oF SPAin 2801 16th St. NW. spainculture.us. Opening: “Aperture: Photographs.” See a variety of photos that span more than 50 years and chronicle the evolution of the Aperture Foundation’s work at this anchor exhibition of FotoWeek DC. Featured artists include Diane Arbus, Annie Leibovitz, and William Christenberry. Nov. 7–Nov. 15.

Goethe-inStitut wAShinGton 812 7th St. NW. (202) 289-1200. www.goethe.de/washington.

OngOing: “Surveillance Blind.” This group exhibition asks American and German artists to consider the digital footprints we leave and the people who have access to the information we leave behind and create work in response. Sept. 17–Dec. 3.

GreAter reSton ArtS Center 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org.

OngOing: “Ephemeral.” Area sculptors present a variety of work that comments on the temporary nature of art. Featured artists include Millicent Young, Artemis Herber, Elissa Farrow-Savos, Elizabeth Burger, and Diane Szczepaniak.

Sept. 10–Nov. 14. heMPhill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. OngOing: “Wild World.”

Artist Renee Stout creates handmade machines powered by spiritual energy and invites viewers to interact with them in her fifth Hemphill exhibition.

Sept. 26–Dec. 19. hillyer Art SPACe 9 Hillyer Court NW. (202) 3380680. hillyerartspace.org. Opening: “Iberoamerican Cultural Attachés Association.” Works by artists from Spain and Portugal. Nov. 6–Nov. 28. Opening: “Marissa White.” New works by the Alexandriabased artist. Nov. 6–Nov. 28. Opening: “Leah Appel.” The local photographer’s abstract photos defy conventions. Nov. 6–Nov. 28. lonG view GAllery 1234 9th St. NW. (202) 232-4788. longviewgallery.com. OngOing: “Tony Savoie.” Mixed-media works by the Florida-based artist. Oct. 29–Nov. 29.

MontPelier ArtS Center 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. Opening: “Sushama Parikh.” Studies of horses and bulls, ceramic tiles, and plates by Indian-born artist Sushama Parikh. Nov. 7–Dec. 27. Opening: “Menagerie.” Paintings of animals by artist Caroline Thorington. Nov. 7–Dec. 27. Opening: “All Hung Open Exhibition: Gratitude.” Participants are invited to post individual pieces based around the theme of gratitude in this collaborative community exhibition. Nov. 7–Dec. 27.

CITY LIGHTS: THURSDAY

HUGH MASEKELA AND LARRY WILLIS In 1960, after South African police killed 69 anti-apartheid protestors in the Sharpeville massacre, trumpeter Hugh Masekela went into exile. Accepted at the Manhattan School of Music, the 21-year-old had a mind-blowing initial evening in the Big Apple.

Making the rounds at clubs, he checked out Thelonius Monk and Dizzy Gillespie at one spot, Charlie Mingus and Max Roach at a second, and John Coltrane at a third. By 1968, Masekela had made a name for himself in the U.S., with the catchy Afropop instrumental hit “Grazing in the Grass.” In subsequent years, Masekela lent his instrumentation to multiple genres, collaborated with Paul Simon and Harry Belafonte, and campaigned for political and racial equality in his homeland. At the Manhattan School, Masekela met pianist Larry Willis, who later became known for his collaborations with Gillespie. Together these two like to play warm, leisurely takes on melody-filled jazz and soul standards from Fats Waller, Louis Armstrong, Herbie Hancock, and the Stylistics, and share stories from more than 50 years in the industry. The pair might sound the most distinctive when Masekela reaches back into his catalog for songs made famous by his former wife, the late South African singing great Miriam Makeba. Hugh Masekela and Larry Willis perform at 7 p.m. and 9:30 p.m. at AMP by Strathmore, 11810 Grand Park Ave., —Steve Kiviat North Bethesda. $35–$50. (301) 581-5100. ampbystrathmore.com.

UPTOWN BLUES

HAPPY HOUR M-F • 4-8 1/2 Priced APPetizers Fri. Nov. 6 Sat. Nov. 7

D.C.’s awesomest events calendar. washingtoncitypaper.com/ calendar

Fri. Nov.13 Sat. Nov. 14 Fri. Nov.20 Sat. Nov. 21

Still Standing Big Boy little Band Sookey Jump BlueS Band Smokin’ polecatS moonShine Society Stacy BrookS BlueS Band

Sundays mike Flaherty’S

dixieland direct Jazz Band

3000 Connecticut Avenue, NW washingtoncitypaper.com

(across from the National Zoo)

202-232-4225 zoobardc.com

Thursday, November 5

GROOVE QUEST plays:‘THE WALL OF FAME’ Friday, November 6 - THE SIdLEYS Sunday, November 8

THE ATLANTIC THRILLS Tuesday, November 10

Morton Fine Art 1781 Florida Ave. NW. (202) 628-2787. mortonfineart.com. Opening: “Vonn Sumner.” New paintings by the acclaimed San Francisco-born painter. Nov. 6–Nov. 24.

of which was displayed in Baltimore earlier this year, comments on the ideas of home and homelessness and asks artists, curators, and community members to contribute their thoughts. Oct. 28–Dec. 13.

olD Print GAllery 1220 31st St. NW. (202) 9651818. oldprintgallery.com. OngOing: “20th Century People.” Works by acclaimed 20th century printmakers are showcased in this new exhibition.

Sept. 18–Nov. 14.

wAShinGton PrintMAkerS GAllery 8230 Georgia Ave., Silver Spring. (301) 273-3660. washingtonprintmakers.com. OngOing: “Pauline Jakobsberg.”

Hand-pulled prints made from recycled materials by the co-founder of Washington Printmakers Gallery.

Nov. 3–Nov. 29.

PyrAMiD AtlAntiC Art Center 8230 Georgia Ave., Silver Spring. (301) 608-9101. pyramidatlanticartcenter.org. OngOing: “SHERWOOD TRUE, The Phoenix Project, Photographs 2012-2015.” Jim Sherwood and Shirley True share photos from their four years of work in Phoenix, Az. After each day of shooting, the pair downloaded their photos, selecting two that they would later email to friends and colleagues. The results can be seen in their book, Two by Two Sherwood True, The Phoenix Project.

Oct. 28–Nov. 30. viSArtS 155 Gibbs St., Rockville. (301) 315-8200. visartsatrockville.org. ClOsing: “Vanitas.” Annie Farrar uses found objects to create assemblages that comment on themes of loss and decay in this new exhibition. Oct. 9–Nov. 8. OngOing: “Feynman’s Sister and Other Space Weather Hazards.” Heather Harvey assembles this piece from items she collects on daily walks, arranging them in manners that suggest maps or journeys. Oct. 14–Nov. 15. OngOing: “Project 837, Part 2.” This exhibition, the first part

Zenith GAllery 1429 Iris St. NW. (202) 783-2963. zenithgallery.com. Opening: “Voyages on Earth and in Space.” New paintings and sculptures by Ken and Julie Girardini. Nov. 5–Nov. 28.

theater

#txtShow Brian Feldman presents this interactive show in which he reads audience members’ anonymous online messages. Anything goes in terms of subject matter and profanity, so arrive with no expectations. American Poetry Museum. 716 Monroe St. NE #25. To Dec. 27. Pay what you can. (800) 838-3006. txtshow.brownpapertickets.com.

AliCe in wonDerlAnD Follow Alice down the rabbit hole and experience this darker take on Lewis Carroll’s loopy tale featuring the Queen of Hearts, the Mad Hatter, and the Cheshire Cat. The production, presented as part of the Women’s Voices

2Nd TUESdAYS BLUES dAYS Blues Jam hosted by Moonshine Society

Wednesday, November 11 -

OPEN MIC NIGHT!

Thursday, November 12

MIKE WESTCOTT BANd

feat. Jay Turner & Jean-Paul Gaster Friday, November 13 -

TEN FEET TALL

Thursday, November 14

HüSBANd

original melodic pop with a 60’s and 70’s influence Tuesday, November 17

3Rd TUESdAYS GROOVE JAM SESSION hosted by Stealing Liberty

W W W. V I L L A I N A N d S A I N T. C O M washingtoncitypaper.com NOVEMBER 6, 2015 51

HYPNOTIZING

“

” .

– Tim Grierson, PASTE

“Pushes

Fri & Sat, Nov 6 & 7 at Midnight!

the envelope.”

– Ramin Setoodeh, VARIETY

“Radically

Buy Advance Tickets Online

tickets.landmarktheatres.com

intimate .”

– Robbie Collin, THE TELEGRAPH

ONE OF THE BEST DOCUMENTARIES OF 2015

“UNEXPECTEDLY INTIMATE AND EMOTIONALLY-CHARGED.” – Zach Schonfeld, NEWSWEEK

A COLIN

HANKS FILM Featuring DAVE GROHL, ELTON JOHN and BRUCE SPRINGSTEEN

Theater Festival, is directed by Paata Tsikurishvili and choreographed by Irina Tsikurishvili. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To Nov. 8. $15–$70. (800) 494-8497. synetictheater.org. the APPle FAMily CyCle Two years after Studio presented the first two plays in Richard Nelson’s series about a family experiencing changes in contemporary America, the company presents the final two plays. In Sorry, set on Election Day 2012, the siblings come together to move their uncle into an assisted living facility and discuss their reactions to the political and personal changes in their lives. In Regular Singing, as the siblings hold a vigil for one of their own, they remember the 50th anniversary of the JFK assassination and reflect on the past halfcentury of American history. Studio Theatre. 1501 14th St. NW. To Dec. 13. $20–$71. (202) 332-3300. studiotheatre.org.

Avenue q Constellation’s actors break out their puppetry skills in this lively musical about a young college graduate and the eccentric monsters, humans, and friends he makes in his new neighborhood. Allison Arkell Stockman directs this production written by Robert Lopez and Jeff Marx. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 22. $20–$45. (202) 204-7741. constellationtheatre.org.

CAke oFF Sherri L. Edelen stars in this new play about a bake off with a million-dollar prize and the tough competitors aiming to take home the dough.

Expect a production full of flour, sugar, and bitter batter battles. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 22. $40–$96. (703) 8209771. signature-theatre.org.

STARTS FRIDAY, NOVEMBER 6 THE DOORS ARE CLOSED. BUT THE LEGACY LIVES ON. #TowerRecordsDoc TowerRecordsMovie.com

STARTS FRIDAY, NOVEMBER 6

WASHINGTON, DC LANDMARK E STREET CINEMA 555 11th St NW (202) 783-9494

CALL THEATRE FOR SHOWTIMES

“A POWERFUL, IMPORTANT FILM.” Scott Mantz, Access Hollywood

WASHINGTON, DC Angelika Pop-Up at Union Market (571) 512-3313

FAIRFAX Angelika at Mosaic (571) 512-3301

CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

Is the Glass half full?

Is the Glass half empty? how about half off!

the ChilDren’S hour The inner workings of a school for girls are threatened by one pupil’s secrets and lies in this revolutionary play by Lillian Hellman.

Ira Aldridge Theater at Howard University. 2455 6th St. NW. To Nov. 8. $7–$17. (202) 806-7050. the CriPPle oF iniShMAAn A disabled young boy living in 1930s Ireland vies for a chance to appear in a big Hollywood movie alongside the rest of his neighbors and aims to impress the casting directors in this black comedy from Irish playwright Martin McDonagh. Atlas Performing Arts Center. 1333 H St. NE. To Nov. 29. $35–$45. (202) 399-7993. atlasarts.org. the DeAler oF bAllynAFeiGh When his boss’ niece ends up in a coma after taking some bad drugs, Billy is tasked with taking out the guy who sold her the stuff. But soon, his mission involves his ma taking a ride along, his boss chasing him down, and the cash going missing. Abigail Isaac Fine directs Irish playwright Rosemary Jenkinson’s drama. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Nov. 14. $25–$36. (703) 892-0202. keegantheatre.com. erMA boMbeCk: At wit’S enD Dramatists Allison and Margaret Engel return to Arena Stage after presenting Red Hot Patriot: The Kick-Ass Wit of Molly Ivins in 2012 with this look at mid-20th century humorist, newspaper columnist, and feminist. David Esbjornson directs this one-woman show starring Barbara Chisholm. Arena Stage. 1101 6th St. SW. To Nov. 8. $55–$90. (202) 488-3300. arenastage.org.

A FreSh oF breAth Air Monologuist Dale Stein presents this evening-length piece set at Fifi’s Cafe, a restaurant full of eccentrics, all of whom are played by Stein. George Mason University Center for the Arts. 4400 University Drive, Fairfax. To Nov. 6. $10–$15. (703) 993-2787. cfa.gmu.edu.

www.SuffragetteTheMovie.com

ARTWORK © 2015 FOCUS FEATURES LLC. ALL RIGHTS RESERVED. MOTION PICTURE © 2015 PATHE PRODUCTIONS LIMITED, CHANNEL FOUR TELEVISION CORPORATION AND THE BRITISH FILM INSTITUTE LIMITED. ALL RIGHTS RESERVED.

NOW PLAYING IN THEATERS EVERYWHERE CHECK LOCAL LISTINGS FOR THEATER LOCATIONS AND SHOWTIMES 52 NOVEMBER 6, 2015 washingtoncitypaper.com

GirlStAr Part reality competition, part fairy tale, this musical focuses on the lengths people will go to for fame. When a popular record producer transforms her long-lost niece into an international pop star through some unconventional means, they’re forced to consider the limits of success and how far they’re both willing to go. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 15. $40–$96.

(703) 820-9771. signature-theatre.org.

realdeal.washingtoncitypaper.com

GuyS AnD DollS Gamblers, evangelists, musicians, and dancers come together in this classic musical based on stories by Damon Runyon. Among this production’s memorable songs are “Luck Be

CATE BLANCHETT ROBERT REDFORD TOPHER GRACE ELISABETH MOSS AND DENNIS QUAID

“A GRIPPING, BEAUTIFULLY EXECUTED JOURNALISTIC THRILLER.” -Stephen Holden, THE NEW YORK TIMES

SCREENPLAY BY

Givers at u Street Music hall, nov. 11 a Lady,” “I’ll Know,” and “A Bushel and a Peck.”

Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Dec. 27. $30–$75. (301) 924-3400. olneytheatre.org. hArvey A man insists on including his best friend, an enormous invisible rabbit, in all his activities, forcing his friends and family to deal with the aftermath in this lively, Pulitzer Prize-winning drama by Mary Chase. 1st Stage. 1524 Spring Hill Road, McLean. To Dec. 20. $15–$30. (703) 854-1856.

1ststagespringhill.org.

An iriSh CArol The Keegan gang revives its popular Irish adaptation of Dickens’ holiday tale, featuring a pub owner called David instead of a banker called Scrooge. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 31. $30–$40.

(703) 892-0202. keegantheatre.com. it’S A wonDerFul liFe: A live rADio PlAy The classic holiday tale about hard work and forgiveness is transformed into a 1940s radio play in this holiday production. Actors collaborate with a sound effects man to tell the story of George Bailey, his family, and his guardian angel, Clarence. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Dec. 6. $20–$30. (240) 582-0050. stageguild.org. the MAGiC tree A lonely man and an equally lonely woman meet on a stormy night in an abandoned home and immediately form a connection.

But as soon as things take a turn for the romantic, other factors come in to drive them apart. Matthew J. Keenan and Colin Smith direct Ursula Rani Sarma’s play as part of the Women’s Voices Theater Festival.

Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Nov. 13. $25–$36. (703) 8920202. keegantheatre.com. the niGht Alive A man living in Dublin is content living a lonely life but finds hope when he is able to help a woman who’s been beaten recover in his tiny room. Katie deBuys and Edward Gero star in this new play by Irish author Conor McPherson.

Round House Theatre. 4545 East-West Highway, Bethesda. To Nov. 13. $36–$61. (240) 644-1100. roundhousetheatre.org. oliver! Arena’s artistic director Molly Smith directs this musical adaptation of Charles Dickens’ classic novel about an industrious orphan and the friends he meets in London. Classic songs from this show include “Consider Yourself,” “Where is Love?” and “Food, Glorious Food.” Arena Stage. 1101 6th St. SW. To Jan. 3. $64–$99. (202) 488-3300. arenastage.org.

SAloMé Adaptor and director Yaël Farber presents this new production chronicling the story of the princess who begged for the head of John the Baptist on a platter and takes back ownership of her body. Presented as part of the Women’s Voices Theater Festival. Lansburgh Theatre. 450 7th St. NW. To Nov. 8. $20–$108. (202) 547-1122. shakespearetheatre.org.

SMArtPhoneS Two couples addicted to revealing their every thought on social media begin to lose their cool while trapped on the estate of an eccentric friend in this absurdist play by Emilio Williams.

Flashpoint Mead Theatre Lab. 916 G St. NW. To Nov. 15. $20–$40. (202) 315-1306. culturaldc.org.

teChniColor liFe With the help of her invisible friends, a bookish teenager named Maxine cares for her sister, a wounded soldier returning from war, and her aging grandmother. The world premiere of Jami Brandli’s drama is presented at Rep Stage as part of the Women’s Voices Theater Festival. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To Nov. 8. $15–$40.

(443) 518-1500. repstage.org.

Truth

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wAr with the newtS Natsu Onoda Power presents her new play, about a newly discovered amphibian species that can be trained to use tools, as part of the Czech Embassy’s Mutual Inspirations festival. Davis Performing Arts Center at Georgetown University. 3700 O St. NW. To Nov. 21. $7–$18.

(202) 687-3838. performingarts.georgetown.edu. winnerS AnD loSerS Two friends engage in lively debates about whether certain cultural icons (Kanye, the Berlin Wall, goat cheese) are winners or losers, a casual game that turns serious as their discussion topics begin to touch on privilege and class issues. Canadian performers James Long & Marcus Youssef star in this production they also created.

Woolly Mammoth Theatre. 641 D St. NW. To Nov. 22. $35–$68. (202) 393-3939. woollymammoth.net. worlD builDerS Two schizophrenia patients interact while participating in a clinical trial and fall in love while they fight to hold on to the fantasy worlds they’ve come to know in Johnna Adams’ play about unconventional romance and the lengths we’ll go to for love. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To Nov. 21. $30–$35. (240) 644-1390. forum-theatre.org.

FilM you AlreADy A lifelong friendship is n MiSS put to the test when one woman settles down to start a family and the other faces a serious illness in this film directed by Catherine Hardwicke. Starring Drew Barrymore and Toni Collette. (See washingtoncitypaper.com for venue information) PeAnutS Movie Charlie Brown, Lucy, n the Linus, and Snoopy reunite in this 3D animated film that finds Snoopy taking on the Red Baron and Charlie going on a quest of his own. (See washingtoncitypaper.com for venue information) SPeCtre Daniel Craig stars in another James n Bond thriller, this time involving an evil organization that Bond must take down. (See washingtoncitypaper.com for venue information) SuFFrAGette Carey Mulligan and Meryl n Streep star in this historical film about early activists in the feminist movement, who turned to violence in order to earn equality. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones. washingtoncitypaper.com NOVEMBER 6, 2015 53

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Contents:

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urday November 21, 3330 King St. Alexandria, VA. This free event will run from 10 am - 4 pm and will host over 50 local vendors, concessions, raffl es, and live music. Join us for this amazing event to shop local and support a great cause! http://jenmoshier.wix.com/tcwcraftfair

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

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