Washington City Paper (November 11, 2016)

CITYPAPER Washington Washington

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district line: trumP politics: xxxx x aNd d.C.’s Cold food: xxxWar xx fallout arts: xxxx shelters 7 food: Chef xx JohNNy sPero’s reVerie 19 arts: the uNCertaiN future of iNdie musiC 12

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INSIDE 12 Play to Play

Joe Steinhardt launched the New American Music Festival to stave off the impending death of indie music. But is true independence still feasible?

By Ron Knox Photographs by Farrah Skeiky

4 Chatter DistriCt Line

7 Shelter in Place: D.C.’s fallout shelters faded from memory, but the feds never stopped preparing for nuclear war.

8 Asphalt Adventurers: The new REI flagship store embodies a value that has come to define D.C.: a love of the urban outdoors.

10 Buy D.C.: National Novel Writing Month

City List 37 City Lights: Catch Death from Above 1979 Friday at The Fillmore.

31 Music 35 Theater 36 Film

38 CLassiFieDs Diversions 39 Crossword

11 Gear Prudence

D.C. FeeD 19 Young & Hungry: Chef Johnny Spero will open Reverie in Georgetown next year.

21 Take Human Bites: You can still find a little lunch downtown for less than $5.

“It’s horrible. It really is bad on the eyes.”

—Page 23

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arts 23 Everyone’s a Critic: Congress Heights’ new structure is boring, inoffensive ... and reviled.

24 Arts Desk: Another edition of Rank & Groove 26 Short Subjects: Gittell on Loving, Olszewski on Peter and the Farm and Arrival

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CHATTER

Bird in Hand

While the rest of the nation was deeply disjoined Tuesday, a continental sea of blood red interspersed with pockets of blue, District residents were, as always, resolutely united, with 92.8 percent of voters casting ballots for Hillary Clinton—slightly more than President Barack Obama received in 2008 and more than the 90.9 percent he earned when he was re-elected in 2012. Donald Trump received a miserable 4 percent, with the other 3 points divided between Jill Stein and Gary Johnson.

As a local publication dedicated to covering the District’s arts, politics, and culture—and not the machinations and bluster of the federal government in our midst—our plan was to pretty well ignore the outcome of the presidential election (save for our page 7 report on D.C.’s Cold War fallout shelters, which we now may need) on the theory that we can’t possibly offer a take that hasn’t already been expressed by now.

That’s still mostly true. We can’t (although it can’t hurt to know about those shelters). The New Yorker’s David Remnick said it all for the defeated masses when he wrote during the wee hours of election night, “It is impossible to react to this moment with anything less than revulsion and profound anxiety.”

But let’s face it, no one’s paying any attention to Mayor Muriel Bowser’s affordable housing presser this week, and few have seemed to even notice that At-large Councilmember Dav i d G ro s s o earned re- election with an anemic 25 percent of the vote, less than half of newcomer and colleague Robert White’s 53 percent. State Board of Education incumbents Mary Lord and Tierra Jolly got their hats handed to them, but that’s on few people’s lips. Even statehood is a big snoozer. No one cares, least of all Congress. All anyone’s thinking about it the orange Goliath with a McDonald’s fetish and the impending doom of the White House vegetable garden, and perhaps civilization itself.

All of which is to say that, because this was a historic election— the first in American history in which a president-elect has never served in elected office, as a Cabinet official, or as a general—and because we will soon be sharing our city with Donald Trump, we decided to reverse ourselves and rip up our planned cover design to reflect the mood of Washingtonians. As they say, the bird is the word.

—Liz Garrigan

In which we reflect the District’s post-election sentiment

Darrow MontgoMery

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DistrictLine Shelter in Place

D.C.’s fallout shelters faded from memory, but the feds never stopped preparing for nuclear war.

Darrow Montgomery

large-scale floors like the one at Adams Bilingual School.

After Tuesday night’s presidential upset, and given Donald Trump’s support for nuclear proliferation, the District may someday need to revive its forgotten network of more than 1,000 Cold War-era fallout shelters.

Although most people don’t even know these shelters exist, one guy has written the book on them. When David Krugler, history professor at the University of Wisconsin-Platteville, wrote This Is Only a Test: How Washington, D.C., Prepared for Nuclear War, he was struck by D.C.’s heroic futility during the 1950s and ’60s.

The short-lived D.C. Office of Civil Defense took only a few years to supply enough shelter space, plus two weeks of food, for 500,000 people. But the resources were unequally spaced. It was estimated, for instance, that 92% of Anacostia residents would be left out in the cold, and the vast majority of shelters were near the federal government’s buildings.

Private shelters, including a $20,000 series of spaces built by Hillwood Estate owner Marjorie Merriweather Post, supplemented the public defense, but were considered selfserving and inefficient. Joseph Parry-Hill, a building contractor who proposed creating a 100-person shelter below Military Road, was furious when the D.C. government rejected his plan. “I’m damned sore,” he told The Washington Post in 1962. “Private shelters are a selfish, immoral approach to the problem.”

Inevitably, upstanding men and women like Parry-Hill wanted to help. Patriotic citizens eagerly volunteered to be aircraft-spotters in “Operation Skywatch,” scanning the horizons for incoming planes. In pamphlets, bus advertisements, schools, and front lawns around the city, D.C.’s people bravely prepared

By Noa Rosinplotz Underneath three floors of classrooms, several hundred adolescent students, a cafeteria, and an auditorium at Adams Bilingual School in Adams Morgan lies a large, nearly empty concrete room with a few hallways and smaller spaces on the edges. Through one corridor is a rusty bicycle and a pile of dirt.

In the corner, old basketball trophies accumulate dust. Over the years, several of the outer rooms have been converted into janitorial closets, and every step kicks up a small cloud of chalk. And perched on top of an old school chair is a guide to water purification in the case of nuclear contamination, circa 1961.

It’s one of D.C.’s only surviving nuclear fallout shelters: a perfectly preserved Cold War relic, complete with ration biscuits made in 1962 and medicine that expired before President Barack Obama learned to talk. According to the website District Fallout, which is dedicated to preserving and identifying remaining fallout shelter signs, only about 5 to 10 percent of the shelters built are still marked.

An unquantified but far smaller number still exist as shelters, which can be anything from minimally fortified rooms with supplies to

for the worst.

The irony, however, is that a fallout shelter in D.C. would be functionally useless in the event of a nuclear attack. If the city itself were targeted, it would be instantly obliterated by the bomb. The danger from nuclear fallout— the deadly, snowflake-like particles that drift down after an explosion—would be irrelevant.

Even if the shelter somehow stood, the supplies inside would only last for a few weeks.

Anyone still alive after the initial blast would starve to death if they stayed, or die from radiation poisoning if they emerged. The shelters would only have served the city in the unlikely event of a nuclear attack on Baltimore, and even then, only under a specific series of conditions involving wind direction and the type of bomb. The aircraft spotters were looking for nothing, given that the Soviet government used missiles, not planes, which wouldn’t be visible at such a distance.

According to Krugler, D.C. residents weren’t blind to the futility of their efforts. Only a small minority of citizens actually believed the Civil Defense measures were useful. Most saw them as a way to ease the nation’s mind or to allay fears of government officials fleeing and leaving innocents behind. “A lot of people in Washington thought, ‘We’re targets, and there’s nothing we can do about it, so we should just get on with our daily lives,’” Krugler says, noting that in a place as precarious as a Cold War capital, calm is paramount. President John F. Kennedy’s refusal to leave D.C. during the Cuban Missile Crisis represented the ultimate extension of this belief.

Despite the nobility of D.C.’s efforts, furious mocking of civil defense proponents ensued.

Protesters suggested passing gentlemen turn down their hat brims as protection, and some railed against the idea of hiding in holes instead of facing the Russian threat. In a Twilight Zone episode, a cruel shelter owner refused to allow his neighbors into his basement, leaving them to die (although according to D.C. law at the time, citizens were authorized to use any and all measures to get into a shelter).

In the early 1970s, as international tensions eased, public interest in civil defense declined.

The city’s Office of Civil Defense became the Office of Emergency Preparedness, dealing

mostly with natural disasters and crowd control. In 1974, 20 tons of ration biscuits originally produced for fallout shelters were sent to Bangladesh to feed monsoon victims. Over the years, old furniture or a need for office space began encroaching on space previously reserved for water tablets and crackers. Shelter signs fell off building walls, or rusted beyond recognition.

D.C.’s Historic Preservation Office says it has performed no restoration work on the spaces, and is not involved with their upkeep, so it seems not much will change in the near future.

According to District Fallout’s Adam Irish, who now runs a haberdashery in Portsmouth, New Hampshire, efforts to preserve the historic yellow-and-black triangle signs have failed.

“The shelter spaces themselves were mostly makeshift to begin with and probably almost all” are “basement storage or something now,” he writes in an email. There is no way to tell how many shelters remain.

Though the days of anti-Soviet propaganda and crouching under desks may be over, a 2011 study funded by the Department of Homeland Security reveals that the government is still preparing for a nuclear attack on D.C. The study, “National Capital Region: Key Response Planning Factors for the Aftermath of Nuclear Terrorism,” includes a simulation of a 10-kiloton attack at 16th and K Streets, blocks away from the White House. Within a half-mile radius (unfortunately for us here at City Paper), death would be virtually guaranteed. As far away as Bethesda, fallout would claim many more lives.

The report estimates that 130,000 deaths would be preventable with proper shelter outside the immediate zones of destruction.

While “proper shelter” doesn’t just mean designated fallout shelter space (any fortified building would do), the study suggests that outside downtown D.C. and in the suburbs, the old spaces might be of some use today. Of course, given Tuesday’s election outcome, it’s probably better to be safe than sorry, regardless.

Overall, though, we’re close to doomed.

“The magnitude of a terrorist attack involving an [improvised nuclear device] will overwhelm all response resources,” the report concludes. It seems that, even as new fears (cyber warfare, jihadist terrorism) displace nuclear paranoia in the city’s mind, we are no better or worse off, in a practical sense, than we were 50 years ago. It may well be that the dusty Adams shelter, along with a few crooked yellow triangles scattered around apartment buildings, are the final testaments to this city’s brave last stand.

CP

washingtoncitypaper.com november 11, 2016 7

DistrictLinE Asphalt Adventurers The new REI flagship store embodies a value that has come to define D.C.: a love of the urban outdoors.

Darrow Montgomery

ture was operating as a garbage plant, a smelly white elephant as far as many neighbors were concerned.

Its trash company owner moved to tear it down, but preservationists blocked it. After Douglas Development bought it in 2004, the storied arena switched roles again, this time to … a parking garage.

The former Uline reopened again Oct. 21, this time as the D.C. flagship for the outdoor goods retailer REI. Not only has this hulking old building next to the train tracks at M Street NE remained, it has become the showpiece of a national brand, crystallizing just how much the city has changed. And as the lines that snaked around the block at the opening testify, the store embodies a value that has come to define D.C.: a love of the urban outdoors.

The Uline Arena was built in 1941 by Miguel “Uncle Mike” Uline, a Dutch immigrant who had grown rich running an ice distribution business out of the warehouse next door. It was designed by a Chicago engineering firm, Roberts & Schaefer, based on a special German system of reinforced concrete roofing. The vaulted roof allowed for a vast, unobstructed space inside.

The building has four levels, the upper three of them devoted to offices, and REI occupies the ground floor. The roof is hidden up there, so when you enter, there is no catch-yourbreath moment at walking into the belly of a whale. Despite this, REI’s architects, the Seattle firm CallisonRTKL, did their best to play up the 50,000-square-foot expanse.

The lobby offers enticements in three directions: a La Colombe coffee shop to the left, racks of bikes to the right, and straight ahead and down some steps, enough outdoor gear to

By Amanda Kolson Hurley Many D.C. loCals know the barrel-roofed Uline Arena as where the Beatles played their first North American concert in 1964, after appearing on The Ed Sullivan Show and whipping millions of American teens into a frenzy. But the building—used for a mix of sports and other events during its mid-20thcentury prime—has witnessed a lot more history than that.

President Dwight Eisenhower’s 1953 inaugural ball was at Uline. Rudolf Nureyev danced there. Malcolm X and Elijah Muhammad spoke there. The Washington Lions hockey team and Washington Cap itols basketball team both played in Uline, known from 1960 onwards as the Washington Coliseum.

Concerts were banned for a period, after a riot broke out at a Temptations show. (Yes, really.) But by the early 1980s, live music was back. The Coliseum became a regular spot for go-go, hosting Chuck Brown, Trouble Funk, Rare Essence, and other acts.

Fast forward to the early 2000s. The struc-

ConCrete Details

8 november 11, 2016 washingtoncitypaper.com

set up a commune in the Arctic. The rationale for the dropped main room was practical. REI needed a bit more height to display large items like kayaks, so the builders dug down five feet.

But the architects get mileage out of the extra spatial volume, using ramps to connect levels and inserting a mezzanine that looks out over the store like a viewing platform.

The store’s style could be described as warmed-up industrial. Architect Alex Shapleigh says his goal was “keeping the architecture simple, pure,” with materials “that are very utilitarian.” Ducts run across the ceiling. Plywood lines the walls. Floors are recycled dunnage—wood used for packing cargo on shipping trucks—with kilim rugs scattered around.

The chunky footings of the arena’s concrete columns were left visible, some still bearing flecks of old paint, and windows were punched into the arched front wall to allow for natural light.

The centerpiece of the store is a courtyard, carved out of what was a gap between the arena and the ice house. Here, you can look up at two of the concrete buttresses that support the barrel roof—the ribs of the whale. “It’s the only spot in the building where you can really see all of that structure in its glory,” Shapleigh notes. Douglas and its architects (Antunovich Associates), CallisonRTKL, and REI deserve credit for making a space where merchandise is not a focal point.

REI prides itself on being a good corporate citizen. Its renovation of the arena is historically sensitive. The new store also fits into the neighborhood around it, a jumble of modest rowhouses and light-industrial buildings between NoMa and H Street.

On the west, directly across Delaware Avenue NE, the store faces a rugged stone wall and train tracks. It’s not a view that beckons.

But garage-like windows along the side of the building make this a surprisingly nice stretch for pedestrians, with an assist from a broad new sidewalk and line of trees. The sloping plaza in front of the store on M Street NE doubles as a mini-amphitheater for REI events and classes, and a place for people to hang out.

It would be easy, and not wrong, to see REI’s arrival as yet another sign of gentrification. A hundred feet from the displays of highend tents and sleeping bags, homeless people camp out in the M Street tunnel. The store’s columns are plastered with reproduction posters for old shows, REI’s earnest effort to celebrate local music. There is deep irony in Fugazi be-

ing used to sell $500 ski boots.

The store reveals more about the District than its newfound affluence. Only four other U.S. cities have REI flagships: New York, Bloomington, Minn., Seattle, and Denver. Except for New York, these are outdoorsy places. D.C. hadn’t been one of them. We don’t have the Rockies or Cascades on our doorstep. But we do have the Blue Ridge—and the city itself.

For most of the 20th century, cities and nature were seen as being in opposition. It was smoke, grime, and noise versus scenery, clean air, and quiet. The urbanist movement has collapsed this false distinction. More and more Americans recognize that living in a city and walking or biking its streets is better for a person’s health and the environment than living in the far suburbs and gazing at nature from the window of an SUV. Perhaps no city has embraced this philosophy more than D.C., where outdoor activity has surged along with the city’s population in recent years. Commuting via Bikeshare. Kayaking on the Potomac and the (once shunned) Anacostia. Jogging on an ever-expanding urban trail network. It’s no wonder D.C. ranks as the fittest city in the country, according to the American Fitness Index.

So it is great that the REI flagship is properly urban. There’s no climbing wall, but bikes are front and center. The store has ample bike parking and a Bikeshare station steps away.

The NoMa-Gallaudet Metro is around the corner, and the Metropolitan Branch Trail runs by the railroad tracks. Sure, there’s also a parking garage—try lugging a kayak on the Metro—but this represents a shift from even 10 or 15 years ago, when REI opened stores in places like Tysons and Rockville, big boxes adrift in massive parking lots off the Capital Beltway.

The blocks around the Uline Arena are now redeveloping fast. As new apartment and office buildings crowd around it, the brick behemoth will no longer anchor the neighborhood, but serve as a touch of gritty “character” in a yuppie district. REI’s $250 coolers will find eager buyers, no doubt, but the ideal of urban outdoorsiness the store promotes should not be a luxury. Prioritizing public trails and parks, and streets hospitable to walkers and bikers— especially in underserved communities—is the best way D.C. and its inner suburbs can get all citizens to #OptOutside, no purchase required.

CP

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Gear Prudence

Cli Jo Siz Da

Gear Prudence: There’s nothing I hate more than getting chain grease on my pants when riding a bike. It’s so hard to wash out, and it’s embarrassing at work to walk around with a gross black stain. It seems like most cyclists try to prevent this by rolling up their cuffs, but when I tried this, I just got the inside of my pants dirty.

Still gross. I have a new idea: what if I pull up my socks and stuff my pants into them. I think this will work. Do you?

— Terrible Unclean Cuffs Kaput Dear TUCK: Before GP can address sock stuffing, let’s first take a moment to talk about your very gross bike chain. Have you considered cleaning it? Or, if feasible on your bike, thought about installing a chain guard or chain case? Gunk happens, but if this is a consistent and recurring problem, you might want to take some time to address the underlying cause of the dirty rub.

As for shoving your pant legs into your socks, this isn’t a widely employed technique, but there’s no scientific reason it wouldn’t work, provided your socks are sufficiently tall and your pants aren’t too voluminous. You might stretch the elastic on the socks a little, but that’s a small price for getting to look like Johnny Tremain or a middle infielder from the Dead-ball era. You can stick to black socks on the off chance the technique fails, but this strategy also provides a great opportunity to go loud sartorially. Flashy socks add verve.

Embrace it.

—GP Gear Prudence: The “baskets” on the front of Bikeshare bikes aren’t even baskets. They’re pretty useless for carrying things, and that stupid bungee just pisses me off. Wouldn’t it be better if Bikeshare bikes had real baskets?

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washingtoncitypaper.com november 11, 2016 11

PL AY

TO

PL AY

n Music Festival ica er Am w Ne e th ed ch un la dt Joe Steinhar ic. But is true us m e di in of h at de g in nd pe im e to stave off th independence still feasible?

by Farrah Skeiky hs ra og ot p Ph

By Ron Knox

12 november 11, 2016 washingtoncitypaper.com

Joe Steinhardt haS a fear, a premoni- nual, multi-city Ladyfest continues to operate with no corporate assistance. But Steintion.

Maybe it started with “poptimism,” this hardt’s unique challenge, to both his festival once-ironic but now very sober affection for and the music industry at large, is one of scale: music and musicians who operate in the dead The New Alternative Music Festival was a bold center of the mainstream. Not just music, re- experiment to see exactly what independent ally, but anything—these alt kids rocking Min- music looks like in 2016, when expanded to the ions backpacks and whatnot. It drives Stein- point of grandeur, at which point it would othhardt fucking crazy. Then there were all the erwise be fair to expect some degree of corpomusic industry mergers—the “Big Five” re- rate sponsorship or support.

That exact concept—size without sacricord labels consolidated into the “Big Four” and then the “Big Three”—in which these su- fice—has been Steinhardt’s plan from the bepermassive music black holes absorb any and ginning. every independent label or distributor they can. Musicians have no place to turn. Now, ev- Steinhardt and hiS friend Zach Gajewsery band is selling shoes. Every song asks you ki launched the Don Giovanni label in 2003 as a passion project that intended to release to buy a Honda.

If independent music isn’t already dead, records from New Jersey bands that couldn’t Steinhardt believes it’s at death’s door.

Steinhardt is the co-founder and primary operator of New Jersey-based Don Giovanni Records, one of rock music’s most visible and influential independent record labels. Over the past 13 years, the label has become a destination for bands that have perhaps outgrown the production and distribution limits of their first labels but shun major label conglomerates and their myriad imprints. Steinhardt started Don Giovanni out of local pride, fandom, and ultimately, a belief that music, like art, could deflect the reach of corporate culture and remain art for art’s sake, unaffiliated and co-opted by no brand or multinational business.

But here we are in 2016, where there’s a Pepsi stage at every festival and most bands shill for fans on Twitter and Facebook. Steinhardt can feel the infrastructure The Max Levine Ensemble that allows for truly independent music collapsing around him. “I think these corporations are using their pow- find another label. Since then, it has grown by er to push out the truly independent and alter- a factor. New Brunswick punk band The Ergs! were the label’s first major band, and that sucnative,” he says. “I’m terrified.”

If the death of independent music is im- cess led to long-term relationships with unminent, Steinhardt decided to throw it a par- derground rock darlings Screaming Females, ty instead of a funeral. He called it The New Waxahatchee, and others. Last year, the label Alternative Music Festival—implying the old released 18 records, both EPs and LPs, includ“alternative music” had long ago been bought ing critically acclaimed albums from Screamand sold—and invited independent punk and ing Females, Downtown Boys, Worriers, Aye indie bands to perform over three days in a Nako, and D.C.’s Priests.

But Steinhardt wasn’t just putting out muphysical and cultural space with no corporate involvement whatsoever. In that way, it sic, he was hosting it too. The label’s annual was to be like no other major music festival in winter showcases have grown in kind. They America—a fitting end, as he saw it, to a time began in Hoboken as single, daylong shows, when bands and labels didn’t need a corporate then grew to become three-night events at the Bowery Ballroom and elsewhere in New York. crutch to survive.

“This festival is a last gasp, and maybe Three years ago, he began booking a summer showcase as well, in an outdoor park venue the someone will hear us,” he says.

Steinhardt’s festival is far from the only in- city of New Brunswick donated that required dependent, multi-day music fest in America. no sponsors and cost nothing for attendees.

Still, Steinhardt saw room for more. He Damaged City, here in D.C., is fueled entirely by DIY organizing and vegan donuts. U+N wanted to create this tangible juxtaposition: a Fest, in Baltimore, earns support only from big, three-day festival that would remain the local, independent businesses. And the an- ethical equivalent of a Tuesday night base-

ment show. No sponsors, no branding, no contracts, no agents—just the music.

Live events, and the money they make, dominate the music industry. People under 34 spend the majority of their annual music-related budgets on seeing music live. The North American concert industry is worth about $6 billion annually, The Wall Street Journal reported last year, and an increasingly large share of that money is going to major, multi-day music festivals.

Two companies dominate the festival industry: Live Nation and Anschutz Entertainment Group, which have a combined market capitalization that is likely in the neighborhood of $10 billion (Live Nation was worth around $5 billion last year; AEG is a private company, but it is enormous, with sports franchises and

major concert venues in its portfolio). Over the past several years, those companies have purchased essentially every major festival in the U.S. and many overseas. Coachella, Firefly, and the New Orleans Jazz and Heritage festival are now AEG Live properties, while Live Nation owns Bonnaroo, Austin City Limits, Lollapalooza, and many others.

Festivals are money-making ventures— precisely the motivation for Live Nation and AEG’s shopping spree. They are also extremely expensive to put on. Festivals turn to major corporate sponsors to help bankroll their events (and help turn a more significant profit). In exchange, the sponsors gain unfettered access to the exact demographic that turned off their televisions long ago and otherwise tend to shun advertising. According to the trade publication IEG, corporate sponsors spent $1.4 billion on live music event sponsorships in 2015, the most ever and nearly 5 percent more than the year before. Basically, if an artist wants to perform in front of the largest number of people they can, they are

going to perform in a Live Nation or AEGowned festival.

Likewise, if festivals want to attract the most people possible, in part to appease corporate sponsors, they have to book the most universally popular bands they can. So now, every summer, festival goers can see more or less the same bands, drink the same beer, and eat the same potato chips at dozens of different festivals around the country. That system also creates space for agents, lawyers, and other middle-man music industry types who help bands access festivals and the often-significant paydays they provide.

This “festival industrial complex,” as Steinhardt calls it, sprung up around his festival too.

His inbox was filled with emails from agents trying to land bands on the roster, high-tech companies offering “solutions” for his festivals—mobile apps and so on—and, eventually, lawyers with contracts they wanted Steinhardt to sign. His plan was to avoid as much of that world as possible and essentially book a big show, rather than a “festival” and all the baggage that comes with it.

David Combs, singer and guitarist of the D.C. trio The Max Levine Ensemble looks at Steinhardt’s festival as creating a kind of power that did not exist before. There are scores of small, independent festivals around the country, and Combs and his band have played many of them. “That’s our favorite shit,” he says.

Despite its decade in existence, The Max Levine Ensemble has remained firmly entrenched in the underground punk scene, both by design and circumstance. Big labels and major festivals don’t often come calling. “We work with independent people because that ethically suits us, but it’s also not even a question really,” he says.

And so for the NAMF, Steinhardt started with a long list of like-minded bands and musicians, like The Max Levine Ensemble, that he respects. Freed from the constraints of hosting a showcase just for the label, he contacted them—including some other familiar D.C. bands like The Rememberables, Priests, and Puff Pieces—until he settled on 54 bands to fill the festival’s final roster. Only five or six of those had booking agents, and Steinhardt says he dealt with all the bands directly.

“Bands are going to show up, they’re going to fucking play, and I’m going to pay them,” he said a few weeks before the festival. the aSbury Park Convention Hall is one of the East Coast’s grand old event spaces—a 60,000- square-foot hall built so close to the ocean that the water used to lap up against the building before a sea wall was built to restrain it.

Inside, its windows and mouldings mirror the intricate design details of Grand Central

washingtoncitypaper.com november 11, 2016 13

Screaming Females

Station, with which it shares an architect. The hall’s foyer is lined with cafes, nautical-themed restaurants, and kitsch souvenir shops. Inside the main auditorium, the ceiling towers overhead, and its main stage, directly opposite the front doors, was clearly built to the scale of, say, Bruce Springsteen, not Girlpool. Just under 4,000 people can fit inside.

On mid-afternoon Friday, when we arrived at the festival, maybe 100 folks had made it to the gig to hear the first few bands open the festival. The building dwarfed the crowd and at times throughout the festival the proportion of human to building seemed off. But even at first blush, the whole thing—the room, the location, Steinhardt’s vision for what the festival might be—felt expansive and bold. The New Alternative Music Festival announced itself as a big event, intended to house big ideas.

To stock the event with talent, Steinhardt turned to bands that mostly represented a kind of awkward middle class within the music industry. Most bands on the roster were, at least at that moment in their careers, planted between the industry’s two magnetic poles: one that keeps bands firmly within the underground and one that draws bands to a strata where major labels, festival headlining gigs, and commercial radio are all a reality. Don Giovanni is perhaps uniquely populated with bands that straddle economic and ethical lines.

Screaming Females, Downtown Boys, Lau-

ra Stevenson, and others on the label’s roster have come to occupy a space Baltimore-based booking agent Dana Murphy says did not exist even a few years ago. Murphy, who runs Unregistered Nurse Booking, sees increasingly smaller bands think and act in business-oriented ways that had been the bailiwick of big bands on major labels—hiring booking agents, retaining publicists, and so on—in the hopes of competing for a bigger audience.

The trouble, Murphy says, is that these industry support professionals who help bands land slots in festivals and coverage in Pitchfork typically only care about that moment in the life of a band. They get paid for that moment, but the bands must carry on well after that festival ends and the Pitchfork article fades into memory.

“The entire trajectory of a band or a whole career is way less interesting to the people involved in that band than it is to the band itself,” she says. Still, Murphy respects the bands that occupy this world and the choices they make as they try to maintain and grow their careers.

It’s great to stay in the underground, but for some bands, that’s not financially feasible.

“They want to play music forever and they realize it won’t be under the exact conditions that they want,” she says.

So they hire the agent, play the corporatesponsored gig, accept the sponsorship that makes touring a little bit easier. It’s up to people who create spaces for these bands—indeed,

14 november 11, 2016 washingtoncitypaper.com

people like herself and Steinhardt—to build alternatives, so the interests of artists and others in the industry begin to converge, she says.

The New American Music Festival was meant to be a step in that direction. it’S early Friday evening, a few hours before Screaming Females headline the first day of the festival, and we’ve found a picnic table just outside the hall with a view of the ocean and an impossibly full and fast-rising moon.

The band is here because Steinhardt asked them to play, of course, but also because the concept behind the festival dovetails with the band’s best version of itself—a stalwart of independent music that has remained steadfastly so into its second decade.

Over the course of Screaming Females’ decade-plus years as a band, they have also gained access to a world beyond the reach of its labelmates.

They famously collaborated with Shirley Manson and her band Garbage to cover Patti Smith’s “Because The Night,” which was released as a Record Store Day single. In case you’re curious, guitarist Marissa Paternoster burns the song to the ground. Their cover of Taylor Swift’s “Shake It Off ” for The Onion A.V. Club’s Undercover series has more than 1.2 million views on YouTube. Its most recent record, 2015’s acclaimed Rose Mountain, peaked at No. 12 on Billboard’s Heatseekers chart and at No. 21 on its Hard Rock

chart. If The Ergs! helped launch Don Giovanni, Screaming Females bestowed importance on the label. It became the home of one of rock’s best bands and arguably its preeminent guitarist.

This is the reality for Screaming Females now. They are a big band in the independent music world and are sometimes sought after to play spaces organized by agents and branded by corporations. A couple of months before we talked, the band had played a concert sponsored by Vans, a shoe so ubiquitous it has become a cliché of punk culture.

“Every now and then there’s an event that happens, and cool bands might be playing it— like, ‘Oh awesome, I’m going to go see Dinosaur Jr.,’” says “King” Mike Abbate, the band’s bassist. “And then you get there and you realize, ‘Oh, this is just an advertisement for Converse, or this is just an advertisement for Vans.’”

The band remains resolutely independent, but their appeal clearly stretches beyond Steinhardt’s utopian vision for the music industry.

The band’s presence on the label tests the extent to which independence is truly scaleable.

After all, Fugazi are not climbing back on that stage, and bands with the profile of Screaming Females wind up playing the Converse stages and corporate-run festivals.

But for the members of Downtown Boys, the motivation is different. Since joining Don Giovanni, Downtown Boys have been one of its most visible bands. Publications large and

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small have praised the group’s bilingual, hyper-political dance-punk as the present and future of the genre. The band’s politics align precisely with Steinhardt’s: Their songs advocate for a 100 percent inheritance tax, lash out at systemic white supremacy, and challenge the age-old whitewashing of American history. But in large part because of their message, the members of Downtown Boys want something else. They want to be big.

The issue of whether to participate in corporate media or corporate-owned and -sponsored festivals is nuanced, guitarist and vocalist Joey DeFrancesco says. The band certainly does play such gigs. DeFrancesco says he understands the argument for remaining wholly outside of the corporate world, and insists the band wouldn’t know how to hedge their message on behalf of corporate interests if they were asked to do so. But, again, his band has a message. And the vehicles that will deliver that message to the most people also happens to be owned and operated by the corporations the band philosophically oppose.

“I think we’ve been pretty effective in figuring out how to use that corporate media, and I

feel like it is necessary for our band to use the corporate media a little bit to get ourselves out there,” DeFrancesco says.

Getting themselves out there means using the media strategically to ensure their advocacy reaches people who exist outside of what DeFrancesco describes as the world of Dischord Records—a world of primarily white, straight men who have maintained easy and consistent access to underground music since the beginning.

“It has to be a bit more nuanced than just saying it’s all bad,” he says. DeFrancesco has made no secret of his thoughts on this, even from the band’s early days. Growing up, he idolized Rage Against The Machine and he thinks their career path could be a fine model for Downtown Boys.

Victoria Ruiz, the band’s lead singer and churning engine of energy, says she was excited to play Steinhardt’s fest, but she’s also “completely content and happy” to be sponsored by a corporation to play another festival if that means they can travel and spend time with people there. “Ultimately, there is no perfect ethos to getting punk out there,” she says. Truth is,

of corporate music culture. She sees black people running shit. “People say Beyoncé runs the world, a black woman from Texas running the world,” she says. “Her husband, Jay-Z, is talking about the drug war in The New York Times.

Those people are worth hundreds of millions of dollars. Does that mean their message is any less relevant, or that their message is any less important? Of course not.”

And it’s not like Downtown Boys are Beyoncé. They’re a punk band with saxophones and a very serious message, and their members are generally happy to get that message out however they can.

When Steinhardt first told Laura Stevenson about his idea for the festival, Stevenson says she thought back to the basement shows she used to play with her older bands, and how the community at those shows mattered more than anything else. She also thought about the bigger festivals she now plays with her eponymous band, the majority of which court and accept corporate sponsorships of some kind.

The Fest, in Gainesville, Florida, always struck her as the punkest festival in the country, but Pabst Blue Ribbon, Orange guitar amplifiers, and others have always sponsored it. The NAMF festival feels more Downtown Boys punk, at least ethically, she says. Plus, here, things are personal. People help set up and exist to assist the bands with whatever they need. At bigger festivals, she says, it doesn’t always feel that way.

Riot Fest and its ilk are great, Stevenson says. (Indeed every artist I spoke to who mentioned the festival had good things to say about the shows and their organizers.) “It is like night and day, though,” compared to this, she says.

Asked why, then, does she decide to play those festivals—some of which are worse than the still ethically decent Riot Fest—she hesitates for a moment: “Well, I just feel like we aren’t very successful at all. Any way that we can have the opportunity to play for people who have never heard our band before is something that I feel like is a step in a direction. Maybe more people will come to our shows when we play that city next, you know?”

Some bands are lucky, Stevenson says. Critics fawn over them. But that’s not her band. Her band has to get out there and hustle if this thing is going to remain real. “I’m too poor to be as punk as I was when I was a kid, ethically,” she says. “I’ll play a festival that sucks.”

the band probably wouldn’t even be headlining Steinhardt’s festival if they had declined to speak to and appear in corporate media.

Just days before the festival, the trans-positive Olympia, Washington hardcore band G.L.O.S.S. went public with their decision to reject a hefty record deal from the renowned punk label Epitaph Records, whose music is distributed by Warner Bros., one of “The Big Three.”

Sadie Switchblade, the singer of G.L.O.S.S., performed at the festival with her other band Dyke Drama. She and G.L.O.S.S. had come to be seen as the punk community’s clearest example of unwavering independence. The band shunned any and all corporate sponsors and media, despite being persistently courted.

But the reaction to the Epitaph snub was more of disbelief than support, Steinhardt suggests.

He heard from a lot of folks in the scene who believed the band should have taken advantage of Epitaph’s massive platform, rather than remain true to their principles of independence.

Ruiz appreciates larger platforms. She thinks a lot about mega artists like Beyoncé, Drake, and Rihanna. When she sees them, she doesn’t see the multi-million-dollar faces

JuSt Six dayS before it was to begin, Steinhardt realized the festival was not going to come together as he’d hoped.

He had struggled to sell tickets, particularly for the Sunday show, and time had run out to try to sell more. He either had to cancel the last day of the festival or risk losing potentially tens of thousands of dollars. So, he canceled the Sunday portion.

Steinhardt chalked up lower-than16 november 11, 2016 washingtoncitypaper.com

RESEARCH ON ALCOHOL USE VOLUNTEERS NEEDED

Laura Stevenson

Doctors at the National Institute on Alcohol Abuse and Alcoholism (NIAAA) seek volunteers for a research study that will evaluate if inflammation of the brain occurs in individuals who are alcohol drinkers. Researchers want to see if 3-4 weeks without alcohol shows less inflammation in the brain.

You may qualify if you: • Are 30 to 75 years old • Have a minimum 5 year history of heavy alcohol drinking • Drink at least 20 alcohol drinks/week if male or 15 drinks/ week if female • Are seeking or not seeking treatment for your alcoholdependent condition

expected turnout to location and timing. He could have picked basically any city along the northeast I-95 corridor to host the New Alternative Music Festival, but he chose Asbury Park because he loves New Jersey deeply, and because he could hold the festival at the convention hall there and avoid any corporate interference, obvious or otherwise.

Those principled choices came with consequences. Many made the trip to far-off Asbury Park, but many more who perhaps wanted to attend did not. In all, he figures between 600 and 700 people including the bands attended over the weekend. And expecting people to stay to watch a late-night gig on the shore on a Sunday night was too much to ask, he thinks.

A couple of weeks later, Steinhardt had some time to reflect on the festival—how it went and what it meant. Ultimately, he says, it was a triumph because it happened at all. Yes, he cancelled a day of the festival, and it was seemingly difficult to get people to buy tickets and show up. “But we were able to hold it on our own terms,” he says. “In that sense it was a success.”

He left so excited that he began making calls to friends to discuss where and how to hold the festival next year. “I was kind of amped up on doing it again,” he says. “Maybe in Philly.”

That urge has since subsided—he’ll probably just go back to hosting a showcase for the label next year—but the feeling that the festival did what it was intended to do remains, even if fewer people showed up than what was perhaps possible.

But for as many good vibes as the festival provided, Steinhardt says it did little to restore his faith in the ultimate survival of independent music. All festival long, he says, he had discussions with bands, about Don Giovanni and otherwise, that suggested ways the festival could improve next year. Several bands he respects greatly talked about the moves they were making, building their brands, Steinhardt says. “In some ways, I feel worse about it.”

Actually, Steinhardt feels beaten down in a lot of ways, both by the apathy within the scene

and the expectation, spoken and unspoken, that bands and labels and festivals should keep trying to make moves, to get that good look, to grow bigger and bigger—the idea that success is somehow tied to doing things on a larger scale and permitting all of the brushes with corporate power that scale requires.

Combs spends a lot of time thinking about this, too: What does it mean to be an independent artist? There’s a balance most artists must strike between maintaining their pure, unbridled independence and taking part in the corporate music industry, the politics of which they may dislike.

He admires bands that stick to a Fugazi-style avoidance of corporate culture, like G.L.O.S.S. Steinhardt’s festival is a step toward creating a true alternative, so bands don’t have to settle for playing corporate-run festivals alongside shitty bands if they don’t want. “To try to do something on that level creates a sense of dual power, where bands have the option of not playing corporate festivals just because that’s what’s available to them,” Combs says.

And he wishes other festivals would shed some of their corporate baggage, he says.

That’s not really going to happen, of course, so independent bands create space where they can. They deliver their message—musically or verbally—and hope people at the corporatesponsored event they’re playing pick up on that, and it helps expand their artistic and political pallette. As for the Pabst banner behind the stage? That’s just one of the compromises some independent artists make.

Less than a week after the festival, G.L.O.S.S. published a short statement announcing its members had decided to dissolve the band. “We want to measure success in terms of how we’ve been able to move people and be moved by people, how we’ve been able to grow as individuals,” the band wrote in the post. “This band has become too large and unwieldy to feel sustainable or good anymore.”

Steinhardt can relate to the sentiment. “I get wanting to give up,” he says.

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7/1/16 9:58 AM

DCFEED

Cuban eatery and cocktail bar, Colada Shop, announces a Jan. 26 opening date for its 1405 T Street NW location. Get a first taste by ordering an apple guava crumb pie ($25) for Thanksgiving available for pick up on Nov. 23.

Johnny on His Spot

Chef Johnny Spero will open Reverie in Georgetown next year.

D.C. almost lost Johnny Spero to San Sebastián, Spain. At 29, the gutsy chef traded a salaried head chef gig at minibar by José Andrés for a passport stamp to the coastal city, where he worked nearby as an unpaid apprentice (known as a “stage”) at Mugartiz.

He slept eight guys to a room in a house full of 30 people for eight months so that he could work in the restaurant that holds two Michelin stars and has been a frequent flier on Restaurant Magazine’s annual list of The World’s 50 Best Restaurants.

“I wanted to go somewhere where I didn’t know anybody, put my head down, and get my ass kicked,” Spero says. He’d long admired Chef Andoni Luis Aduriz’s New Spanish cuisine, which celebrates nature by respecting its ingredients.

“It’s getting fish pulled out of the water that morning—thinking of the fish, where it came from,” Spero says. “You’re not over-manipulating anything. You’re just presenting it in a fun, new, exciting way and making people question things.” He describes the cuisine as emotional. “If you can make people laugh when they’re eating, that’s so much more rewarding.”

Spero describes a plate combining chewy mochi with delicate caviar. It’s as unlikely a marriage as Mary-Kate Olsen And Olivier Sarkozy. “It’s supposed to be a thought-proving, sensory experience that makes you think about what you’re eating.”

Spero toyed with the idea of staying in Spain, but instead returned home eager to open his own restaurant for a second time. He thought back to a critical point in his career, and a restaurant name revealed itself.

In spring 2013, Spero was feeling low after his first restaurant Suna proved to be a false start. It opened in November above Acqua Al 2 only to close in March. “Looking back, I wasn’t ready,” Spero says. “I knew what I wanted, I knew the food, but I wasn’t mature enough.”

But he landed on his feet. There was an opening at minibar, where he interviewed. “I sat down in the office with José [Andrés] and the first question he asked me was, ‘Johnny, are you a dreamer?’ We didn’t talk about my résumé or technical abilities—it was how do I feel about food? How am I as a person?”

Darrow Montgomery

By Laura Hayes

Chef Johnny Spero Spero, a triplet from Baltimore County who got an inelegant start in the food world at a restaurant sandwiched between a Safeway and a CVS, has always considered himself a daydreamer and so have his parents. Just ask them how Spero did in grade school.

That’s why the chef is naming his forthcoming restaurant Reverie—a state of being pleasantly lost in thought.

“I’ve always been a daydreamer with a very vivid imagination,” Spero says. “When you go to a restaurant, it’s supposed to be an experience that takes you away. You’re at that restaurant, that’s it...”

A property at 3210 Grace St. NW spoke to Spero because diners enter through an enchanting cobblestone alleyway, immediately sparking a reality-pausing experience. “I want you to feel like, in this restaurant, you could be

anywhere else in the world,” he says.

He signed the lease, surprising even himself that he settled on Georgetown. “Growing up in the area, you learned to hate Georgetown,” he says, blaming the bars overrun by students.

“But as I got older and started spending more time there, I realized it’s beautiful.”

The area’s liquor license moratorium had prevented new chefs from planting their flags for decades, but that changed in April when it was lifted. “It’s not an up-and-coming area. It’s Georgetown. It is what it is, but it needs a renaissance as far as restaurants go,” Spero says.

He hopes to be a part of it with his 60-seat restaurant serving modern American cuisine.

The menu will be small, focused, and priced “to hit a broader audience” with dishes topping out at $30. “The idea is to do a la carte and offer a small tasting menu,” Spero says.

“You can still create an experience without a tasting menu—I can get my voice and my passion across in a couple of plates.”

The goal of the restaurant with a projected opening date of summer 2017 is to keep it casual and approachable. “I’m not necessarily feeding the masses, but I’m opening the door up to more people to experience the flavors and textures.”

Texture is as important to Spero as flavor. Diners will encounter dishes like tomatoes compressed in white soy, Szechuan oil, a jiggly broken gel made from tomato water, and cooked bone marrow or a Jaleo-inspired toasted yeast meringue with cultured butter and a tongue of raw sea urchin (uni) topped with lardo.

Spero will also handle dessert, but it will be hard to discern where savory fades and sweet

washingtoncitypaper.com november 11, 2016 19

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DCFEED begins. Take one of his works in progress: seaweed granita perched atop a float of white sesame espuma that comes topped with fresh herbs, candied seaweed, and candied ginger.

If there’s one thread that ties Reverie’s menu together it’s that ingredients are left to speak for themselves—aided only by technique (avant-garde or otherwise) instead of piled-on, distracting flavors. This let-ingredients-shine mentality is the number one lesson Spero’s mentors instilled in him throughout his career not only at Mugaritz but also at Komi, Noma, and Town House.

Spero’s first big break came when he landed a line cook job at Komi—Chef Johnny Monis’ Mediterranean tasting menu restaurant where D.C. diners celebrate life’s milestones.

He worked the grill, preparing the pita and the goat for the restaurant’s signature main course. Eventually Spero advanced through all of the stations, including pastry.

“It’s the first place I worked where we really showcased the product for what it was,” Spero says. “I’d never dealt with farmers. Seeing the whole animal was huge for me.” It’s also where Spero became a drooling fanboy for uni. Monis served spaghetti with tomato, uni, and habanero. “Thinking about that dish is driving me crazy right now. It was probably the first time I had uni. Now I put it on everything.”

Spero was at the 17th Street NW dining room for two years. “Like anything in my life, I got bored really easily. I loved it there, but I wanted to see more.” So in January 2011, he joined the stagiaire program at Noma in Copenhagen, Denmark. Like Mugaritz, Chef René Redzepi’s two-Michelin-star restaurant is a fixture on The 50 Best Restaurants in the World.

“I spent all my money getting there,” Spero recalls. “I had one nice dinner. The rest of the time I drank Carlsberg beer and ate gummy bears.” But it was worth it because Spero got to touch a lot of product, including some enormous oysters that make Rappahannocks look like pebbles.

“I remember Rene coming up to me, he was like, ‘Do you know how old these oysters are?’

They lived a very long life before they got in your hands, just treat them with respect.’” After this teachable moment with Redzepi, Spero was in awe but also “scared shitless” of making a mistake.

The training came to an end, and Spero returned to D.C. lost over what to do next. After brief stints at Rogue 24 and Toki Underground, he connected with Chef John Shields, a James Beard semifinalist for Best Chef: Mid-Atlantic, someone Spero describes as “one of the most talented chefs in the United States” and “the guy that I’ll always look up to.”

Shields hired Spero to work at Town House, his former restaurant in blink-and-you’ll-missit Chilhowie, Virginia. “He has all the traits

“I’ve always been a daydreamer with a very vivid imagination. When you go to a restaurant, it’s supposed to be an experience that takes you away. You’re at the restaurant, that’s it...”

anyone you’d want to hire, bring on as a chef,” Shields says. “Creative, energetic, highly intelligent, and he gets the numbers side of things, the full package.”

The chefs were mutually seduced by the Mugaritz style of cooking—again because of the ingredients. “It’s the perception of simplicity, austerity even,” Shields says. “Things look like there wasn’t much effort, but once you taste it, once you eat it, there’s such a clarity of texture and flavor because it’s not masked by a bunch of other things.”

When Town House closed, Spero tried opening Suna before settling for two years at minibar, where he further honed his ingredient-driven perspective at D.C’s open-kitchen, molecular gastronomy showroom of a restaurant. The team there took a scientific approach to building dishes.

“Let’s get this asparagus, eat it raw, cooked, fried, and poached,” Spero says. “You basically build a database of ingredients, so you know how it’s going to act. Once you have that database, it’s easy to start building things.”

Documenting everything was critical, and not something Spero, the dreamer, had done in the past. “I wish I wrote down some of the recipes from earlier in life,” he says. “I don’t remember them and I can’t go back and look at my Instagram because that shit didn’t exist.”

Now he’s an Instagram boss who often posts pictures of eye-catching plates that could make it onto the Reverie menu. But you don’t have to wait until next summer to try his food. In the interim, Spero has stepped into the kitchen at Columbia Room in Shaw, where he’s pairing dishes with JP Fetherston’s high-concept cocktails.

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

DCFEED Grazer

what we ate this week: apple cider bomboloni, $1.95, Woodward Takeout Food. Satisfaction level: 5 out of 5. what we’ll eat next week: Cacio e pepe udon with udon noodles, pecorino cheese, black pepper, and butter, $8.50, Daikaya Izakaya. Excitement level: 4 out of 5.

Take Human Bites

You can still find a little lunch downtown for less than $5.

Call it the value menu phenomenon. When McDonald’s figured out that there was good money to be made getting customers to spend an extra buck or two on bigger fries or a drink, they were just doing what almost every restaurant already does—specialize in oversized meals for excessive prices. It’s a lot easier in D.C. to pay $15 (or more) for 1,500 calories than it is to find just enough palatable fuel to get you through an afternoon at work. But there is still such a thing as a cheap lunch downtown, and while none of the suggestions will do wonders for your health, seeking out smaller tabs also tends to mean more reasonable portions. If you’re determined to lay out less than a five spot for lunch, soda or a coffee is often out of the question, but most places will include a cup of water.

—Jandos Rothstein

Buy Local

Saturated Market

Fuel Multiple Locations There are a lot of places that will sell you a slice, but Fuel has the one worth eating for its crispy, caramelized crust and generous toppings.

Hazards: Beer on tap.

Alfa Pie House 1750 H Street NW Probably the most gourmet option on the list, Alfa offers Greek-style handpies in both sweet and savory flavors. Two minis will fill you up for about $4.98.

Hazards: The generous staff will sometimes slip an extra to first-time or frequent customers.

Brown Bag Multiple Locations The depressingly named Brown Bag has several grab-and-go (or stay and eat) salads, some for well under 5.00. The top-of the line tuna (4.95) is flavorful and not over-dressed.

Hazards: None that I’ve noticed.

If you can’t avoid the ubiquotous chains that have taken over D.C., it’s still possible to eat cheap, though you’d be SOL at several, including Corner Bakery, Chipolte, and Five Guys.

But it’s sometimes possible to make a meal out of an upsell (have the soup, don’t add it).

Pret A Manger and Au Bon Pain both feature small-portion, reducedcalorie options. Skip Pret’s grab-andgo lukewarm soups and chill-chest sandwiches and Au Bon Pain’s dubious diet options (two hard boiled eggs, anyone?) and pick up an Au Bon Pain soup that comes in three sizes ($3.59-$5.29).

Starbucks, like McDonald’s, sells cheap breakfast sandwiches all day long. There’s nothing wrong with making a lunch out of their Gouda, bacon, and egg on ciabatta for $3.75 (pictured).

Far East Taco Grille Food Trucks (and Union Market) Several taco trucks, including Far East, will sell you a single taco, though they don’t always make it obvious. Far East has the most interesting options.

Naan & Beyond Multiple Locations A couple of veggie samosas is more than enough to keep you going until cocktail hour, though you may feel a little left out, given the enormous portions being consumed around you.

Hazards: Depends on the day, depends on the park.

Hazards: A range of self-serve chutnies are available by the half gallon.

The closest corner hotdog cart Multiple Locations At $3.50 (most locations, tax included), a high-quality Kosher dog, chips, and a soda is likely the best and most Washingtonian lunch deal in the city.

Hazards: the disdain of Michael Schaffer, Washingtonian editor and avowed dog cart hater.

Potbelly has a decent cup of chili for $3.65, especially if you get it without the unappealing processed cheese on top, but nothing says “grown up” like ice cream for lunch. Their $3.79 strawberry shake is filling and tastier than you’d find at many dedicated ice cream places.

Cosi ekes onto the list with a soup-and-flatbread combo for $4.99, and Subway offers a “sub of the day” for $3.50.

washingtoncitypaper.com november 11, 2016 21

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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.

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CPArts

We spoke with Henry Rollins about the state of our country, punk rock, and more. washingtoncitypaper.com/arts

Everyone’s a Critic

Congress Heights’ newest public arts installation is boring, inoffensive … and reviled.

Who could hate a mess of wood, brass, and plastic balls?

Apparently, a lot of people. The “Infinity Beacon,” a temporary mish-mash of a sculpture unveiled last month, was supposed to brighten up a gloomy corner of Ward 8. Instead, it’s been received so badly that the District government might remove it before its six-week installation period is up.

“They put some junk up there and then want to tell us to like that,’ Patrice Sheppard, the founder of nearby nonprofit Lydia’s House, says.

The last thing the intersection of Atlantic Ave. SE, S. Capitol St. SE, and Mississippi Ave. SE needs is more junk. It’s home to an AutoZone. That’s great if you want to fix you car, less great if you don’t want people hanging around fixing their cars in your neighborhood all day. A junkyard across the street doesn’t do much for the aesthetics. Even a nearby Capitol Bikeshare station isn’t without controversy—Sheppard complains that it draws loiterers who use the bikes like a makeshift spin class.

All that makes the corner an ideal candidate for a beautification public art project organized by the District’s Office of Planning and funded with more than $10,000 from the Michiganbased Kresge Foundation. But when it comes to public art in the District, everybody’s a critic.

“It’s horrible,” Ward 8 Advisory Neighborhood Commissioner Olivia Henderson says. “It really is bad on the eyes.”

On its face, the “Infinity Beacon” seems like the kind of anodyne, designed-by-committee art that wouldn’t offend anyone.

The structure, created by Charneice Fox Richardson, Kimberly C. Gaines, and Noah Williams, features a collage of pictures of students who go to school nearby, with a big “8” on top. And it’s not even going to be there permanently!

As soon as Henderson saw the final result, though, she didn’t like it. In an email sent to various Ward 8 activists and the District’s Office of Planning last week, Henderson demanded changes to the sculpture or its immediate removal. She didn’t bring up her concerns in the planning process, she said, because she didn’t want to offend the artists.

Sheppard compares the final result to the junkyard on Sanford and Son. As for Henderson, she says she’d rather see something else much less elaborate at the corner: garbage cans.

“They could’ve put trash cans in the middle of that empty space,” Henderson says.

With respect to the artists and the inherent subjectivity of art, the “Infinity Beacon” does look ugly. Burlap rings the project’s base, making it look like a tiny tent. In an email to the project’s opponents, Office of Planning staffer Tracy Gabriel conceded that the burlap was “unsightly.”

And then there are the balls. Yes, some of those balls from the National Building Museum’s 2015 “Beach” installation made it into the “Infinity Beacon.” Many of them are installed in Dupont Underground, but some ended up in bins around the In-

Will Sommer

By Will Sommer

finity Beacon for some reason. Like glitter that hangs around long after the craft project is forgotten, those balls will be with us forever.

And the balls are a hot topic for the art’s opponents, a symbol of the art’s thrown-together nature. “I don’t know what the purpose of those bubbles are,” Shepperd says. “It’s just a joke.”

Henderson, who insists that the balls were added late in the project, is no ball fan either. “It’s like they just threw it into the project,” she says.

This isn’t Ward 8’s only recent brush with controversial public art. In 2014, the city-backed 5x5 temporary public art project funded “The New Migration,” an installation in an Anacostia storefront composed of broken wood and other detritus of displacement. Then-Ward 8 Councilmember Marion Barry was even involved in an attempt to remove it that ultimately succeeded, claiming that he had the D.C. Fire and EMS department declare the artwork a fire hazard.

The “Infinity Beacon” may soon join “New Migration” in the trash bin. In an email last week to Henderson, Office of Planning Ward 8 coordinator Evelyn Kasongo wrote that the District had decided to remove the structure. Now the agency has backtracked, opting instead to take community input about the project’s fate, according to Office of Planning spokesman E dward Giefer.

Ward 8 activist Phil Pannell, who’s involved in public art planning elsewhere in the ward, thinks the art’s opponents could use their time more productively.

“When you have a substantial percentage of your residents dealing with questions of daily survival, art criticism seems to not be at the top of the agenda,” Pannell says.

The “Infinity Beacon” has at least one supporter: retiree Leroy Mack, who was passing the time last week in the AutoZone parking lot. He likes it!

“People don’t know nothing about art,” Mack says.

CP washingtoncitypaper.com november 11, 2016 23

CPArts Arts Desk

Listen to the stellar debut EP from D.C. post-punks Mission Creep. washingtoncitypaper.com/arts

Blagden Alley’s last remaining artist is being priced out.

D.C. hardcore pioneers Bad Brains have been nominated for inclusion in the Rock & Roll Hall of Fame.

Darrow Montgomery

Georgetown University stages the city’s first go-go musical.

Go-go legend “Go Go” Lorenzo Queen dies at 53.

The D.C. Public Library expands its DC Punk Archive, releases a mixtape to celebrate its two-year anniversary.

Darrow Montgomery

More than two decades later, filmmaker Virginia Quesada is close to finishing her documentary about famed Anacostia guitarist Danny Gatton.

Local R&B singer Little Royal, known as “Soul Brother No. 2,” dies at 82.

24 november 11, 2016 washingtoncitypaper.com

DECLASSIFIED The National’s

Bryce Dessner Friday, November 18 at 9 p.m.

Concert Hall

Photo: © Joan Marcus

Discover what’s next in live music.

Bryce Dessner—multifaceted guitarist from The National, sought-after composer, and all-around borderless artist—joins the NSO for a program of his works, including music from The Revenant and the acclaimed St. Carolyn by the Sea, performed live with Dessner and Gyan Riley on electric guitars.

JACOMO BAIROS conductor

PRE-CONCERT SHOW Flock of Dimes at 8:15

POST-CONCERT DJ SET Scott Devendorf of The National

CASH BAR: BRING DRINKS AND SNACKS INTO THE CONCERT HALL

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

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

November 25 - 27 TheNationalDC.com | 800.514.3849

David and Alice Rubenstein are the Presenting Underwriters of the NSO. Additional support for DECLASSIFIED: Fridays at 9 is provided by Sydney and Jay Johnson.

washingtoncitypaper.com november 11, 2016 25

FilmShort SubjectS Loving

Fight to Marry Loving

Directed by Jeff Nichols In the years since Barack Obama was elected, Hollywood has produced an abundance of powerful films about civil rights— 12 Years a Slave and Selma are the best—but Jeff Nichols’ Loving may be the movie that most accurately and carefully reflects our racially-fractured nation. Sometimes, the film is too quiet and calm for its own good. The performances are intentionally subtle, the direction minimalist, and the script stubbornly refuses to provide scope or context. But this simplicity has a purpose: these characters have no ambitions to make history, only to live freely, and the film stylistically matches their wishes.

Loving opens in a corner of post-racial bliss. Richard (Joel Edgerton) and Mildred (Ruth Negga) are a white man and a black woman deeply in love. In their rural Virginia town, Richard is an accepted member of Mildred’s mostly black community. There, men and women of both races work side by side in the field. On the weekends, they drag race for fun and money. Using Richard and Mildred as a microcosm, Jeff Nichols’s compassionate film depicts a dream of a postracial society deferred, and the hope for renewal.

That bliss is shattered when Mildred gets pregnant, and Richard drives her to D.C. to get married. When they return to Virginia, they are promptly arrested for miscegenation. Desperate to avoid jail time, they accept a plea deal and agree to leave the state. For a few years they build a happy life in the District. Richard works, and Mildred pops out a few kids. But the injustice still stings, and after the ACLU receives Mildred’s letter about their predicament, a pair of constitutional lawyers (Jon Bass and an in-over-his-head Nick Kroll) hatch a

Peter and the Farm

risky plan—they must move back to Virginia and get arrested again—that could clear them and other couples like them for good.

If the Loving couple feel the burden of progress on their backs, they never crack from the pressure. Edgerton and Negga each give pleasingly subtle performances that are also gender-specific. As Richard, Edgerton is perpetually still. You can feel his strength and power lurking beneath the surface, but, as their case becomes national news, he withers under the public’s intrusive stare. He wears a perpetual grimace of pain on his chiseled face, as if steeling himself against an omnipresent aggressor. Negga is similarly reserved, but currents of passion are visible below the surface.

She’s the stronger one in the relationship, and Richard knows it. When decisions need to be made, he defers to her.

The reservedness the Lovings exhibit is matched by the reservedness of Nichols’ approach. At times, it’s a hindrance. There are no fireworks here: We never get the catharsis of seeing justice served and love preserved.

We aren’t treated to the soaring rhetoric of their lawyer’s statement in front of the Supreme Court, and when Mildred receives the news that their case was successful, her response is so muted it’s almost inaudible.

But Nichols knows what he’s doing and, just in those moments when the narrative might be losing steam, he summons heart-stopping, indelible moments. Cross-cutting between two potentially-fatal accidents will wake up drifting audience members, and another bit of misdirection involving a rope hanging from a tree shows that Nichols is in full command of all his tools.

Loving makes you feel like you’re in the hands of a confident director who isn’t afraid to let the audience find their way into a story.

His style prevents the film from being a crowdpleaser, but it’s the right approach for the story.

—Noah Gittell Loving opens Friday at E Street and Bethesda Row.

26 november 11, 2016 washingtoncitypaper.com

Down, on the FarM Peter and the Farm Directed by Tony Stone

the tItular subject of Peter and the Farm is an alcoholic who believes in the 18-step program: descending the nine stairs down to his basement to get some moonshine and then climbing back up. He predicts that he’ll die by bashing his head on the stairwell’s low overhang while blindingly drunk. He imagines that it will take some time for someone to find him.

For a 68-year-old man who talks about death a lot, organic farmer Peter Dunning is fairly jolly and charismatic. He unleashes a battery of expletives as he casually mentions, say, his time in jail or the wife who left him as he shows director Tony Stone and assistant director Dylan Kraus (who appears briefly in the film) the often unpleasant inner workings of his Vermont farm.

And the directors don’t shy away: The camera lingers on the bloody head of a freshly killed sheep, for instance, and stays throughout as Dunning slits its throat, scalps it, cuts off its head, and finally disembowels the animal.

Dunning also demonstrates the mundane and sometimes fun aspects of his daily life, from tilling the soil to his ability to call his sheep or command his dog to chase some rogue birds back to the henhouse. He curiously points out the spots where his son and daughter were conceived.

(Which he’d felt compelled to show them, too.)

Dunning’s not the only one making somewhat odd choices: After a vet confirms that a cow is pregnant, Stone opts to follow-up with a tight shot of a different cow emptying its bowels.

Throughout, Dunning philosophizes about when the farm was at its peak with his family helping him (he’s had two wives and four children leave him), about how it’s “sick” that humans navel-gaze instead of considering their place on a planet full of “billions of organisms that are billions of years old,” and about his adoption after his mother died. (He calls the

home of his adoptive parents “a little shitty shitbox fucking house.”)

But what makes Peter and the Farm particularly engrossing is Dunning’s talk of his depression and art. He has a degree—a major in painting and minor in sculpture—but chose a life of agriculture in order to “save the world.”

As he shows some of his work, Dunning remarks, “Art is never made when everything is fine.” Throughout the film, we see glimpses of a self-loathing man who not only writes suicide notes, he suggests that his self-inflicted death be made part of the documentary’s narrative. Indeed, he knows his miniscule place in the world, at one point screaming about the insignificance of his suicide at the surely uncomfortable, but supportive crew, “What does it matter?” In the next scene, he’s admiring the beauty of a bare tree in a snowy field.

Although you must take the Hawthorne effect into account, Dunning’s chattiness is typical of the isolated and his mood swings are textbook depression. At one point he says that he trusts the directors; at another, he’s berating Kraus, who surprisingly is shown chiming in that Dunning is critical of anyone who asks for help. (Kraus, who was driving around a drunken Dunning, hadn’t asked him for directions.)

You can’t imagine a documentarian being any more intimate with his subject, nor a subject who’s more open. The arc of Dunning’s life is tragically movielike: He managed to build what he still refers to as “paradise,” but now that paradise has become a burden that a broken man can’t keep up on his own. His stories often hint at regret, and he wishes to be buried in the soil, where he might finally be at rest. Dunning’s cry for help, now captured on film, couldn’t be any louder. When someone off-camera inaudibly asks if he suffers from seasonal affective disorder, the response is no. “I don’t think it’s winter anymore,” Dunning says. “I think it’s the weight of the world.”

—Tricia Olszewski Peter and the Farm opens Friday at West End Cinema.

Continued

The Edge of the Universe Players 2 present

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BY YOUNG JEAN LEE

The Second City returns to DC… just when we need them.

If you suddenly feel like you’re living on an entirely different planet, come join us on the Black Side of the Moon.

“. . . the most adventurous downtown playwright of her generation” —N.Y. Times DIRECTED BY MICHAEL CHAMBERLIN

Three “helpers” claim they can guide us to better lives, then strangely surprise us.

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Arrival

WILLIE NILE SAT, NOV 12

INDIAN DANCE AND AMERICAN MUSIC POETRY IN MOTION SAT, NOV 19

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LAUREL CANYON: GOLDEN SONGS OF LOS ANGELES 1966-1972 SAT, NOV 26

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28 november 11, 2016 washingtoncitypaper.com

Tongue Tied Arrival

Directed by Denis Villeneuve ArrivAl begins like most extraterrestrial movies do: The aliens have landed. They’ve parked their hovering spacecraft in 12 cities throughout the world. And the world, of course, is panicking.

But the authorities that be, at least in the U.S., don’t summon the country’s top fighter pilot along with a galaxy of explosives to handle the situation in a knee-jerk response. Instead, the military summons the country’s top linguist. Because the point isn’t to destroy the unknown. It’s to communicate with them.

Denis Villeneuve—who’s thrillingly subverted expectations over the past several years with films such as Prisoners, Enemy, and Sicario—directed Arrival, so it should be no surprise that he delivers a piece of science fiction that’s heavy on conversation and light on action. Adapted from a short story by Eric Heisserer, the film chooses ideas over plot, with heady themes including how we interact and connect with each other, how we perceive time, how we process grief, how we live, and how we love. One character’s name is a palindrome, reflecting the story’s musing on beginnings and endings.

Don’t worry: There are also ominous oval spaceships and squid-like E.T.s who roar when humans approach them.

Dr. Louise Banks (Amy Adams) is the language expert Army Col. Weber (Forest Whitaker) recruits to join the team that’s trying to determine what the aliens want. Louise, a professor, is single and reminiscent of Sandra Bullock’s character in Gravity, still mourning the loss of her daughter. Her approach to decoding the aliens’ language is visual, starting with a board on which she writes “human.” Weber, who must answer to higher-ups, initially objects to her plan,

arguing that “grade-school words” won’t get them any closer to successful communication.

But the aliens, who are dubbed heptapods, respond, using circular symbols that emit inklike from their starfish-shaped limbs. The heptapods appear at only certain times, and during each visit, the team—including theoretical physicist Ian Donnelly (Jeremy Renner)— receive new symbols to decode. Though Louise remains determined throughout the project, even taking risks such as shedding her biohazard suit so the heptapods can truly see her, those grade-school words trigger memories of her daughter, often seemingly catching her off-guard.

Arrival introduces Amy Adams as an assured leading lady. Ever since her breakthrough role in 2005’s Junebug, Adams has proved deft at defining characters and expressing their emotions simply using her eyes, which here project feelings such as fear and distress, but more often wonder. Unlike the militaries in countries such as China and Russia who’d rather take a violent tack, Adams’ Louise views the experience as a wildly unforeseen opportunity to learn and connect, and the awesomeness of the situation is clear on her face.

The nearly two-hour film is at times a bit too chatty, perhaps leaving some sci-fi fans wishing that the team’s reasoning was seen and not heard. Unlike last year’s Sicario, whose pervasive score earned composer Jóhann Jóhannsson an Oscar nomination, Arrival’s music—also by Jóhannsson—is minimalist (though the two films have in common what should rightfully be known as the Inception drone). Alien films are, admittedly, rarely about aliens themselves, but stand as some metaphor for humanity instead. Arrival may offer a few too many metaphors to keep some viewers engaged. But it’s guaranteed to stick in your mind a fair amount longer than, say, Men in Black 3.

—Tricia Olszewski Arrival opens Friday at area theaters.

E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios.

Licensed by Universal Studios Licensing LLC. All Rights Reserved

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TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

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

washingtoncitypaper.com november 11, 2016 29

I.M.P. PRESENTS Verizon Center • Washington D.C. JUST ANNOUNCED!

THIS WEEK’S SHOWS

Kelsea Ballerini w/ Morgan Evans ............................................................. Th 10 MIXTAPE: Dance Party with Guest DJ Devon Trotter and Resident DJs Shea Van Horn & Matt Bailer ........................................... Sa 12

SoMo w/ STANAJ & Miesa ............................................................................... Su 13

RED HOT CHILI PEPPERS APRIL 12

On Sale Friday, November 11 at 10am

GREEN DAY w/ Against Me! ....................................... MARCH 13

NOVEMBER

Ticketmaster

Wet w/ Demo Taped Early Show! 6pm Doors ....................................................... Th 17 DIIV w/ Moon King Late Show! 10pm Doors ......................................................... Th 17 AN EVENING WITH

Chris Robinson Brotherhood ................................................................ Su 20 Twerksgiving w/ Mathias., Billy The Gent, & Farrah Flosscett .................... W 23 ALL GOOD PRESENTS

Keller Williams’ Thanksforgrassgiving featuring Jeff Austin, Danton Boller, Jay Starling & Nicky Sanders w/ Love Canon .................. F 25 White Ford Bronco: DC’s All 90s Band....................................................Sa 26 The Sounds w/ Zipper Club & My Jerusalem .................................................M 28 Niykee Heaton ............................................................................................. Tu 29 STRFKR w/ Gigamesh & Psychic Twin ............................................................ W 30 DECEMBER

Echostage • Washington, D.C. THIS TUESDAY!

Good Charlotte & The Story So Far w/ Four Year Strong & Big Jesus ...................................................................NOVEMBER 15

Two Door Cinema Club Run The Jewels

w/ BROODS ..NOVEMBER 17

w/ The Gaslamp Killer • Spark Master Tape • CUZ ..............................................JANUARY 12

ALL GOOD PRESENTS

Dark Star Orchestra ......................................................................... F 2 & Sa 3 Animals As Leaders w/ Intervals & Plini .................................................... Su 4

2135 Queens Chapel Rd. NE • Ticketmaster

U STREET MUSIC HALL PRESENTS

Jai Wolf w/ Jerry Folk & Chet Porter ............................................................. Th 8 ALL GOOD PRESENTS

Turkuaz & The New Mastersounds ........................................................ F 9

EagleBank Arena • Fairfax, VA

BASTILLE .............................................................................. MARCH 28

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O.A.R. & The Sports Junkies:

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DECEMBER 10

Shooter Jennings & Jason Boland ...................................................... Su 11 The Oh Hellos Christmas Extravaganza ............................................ Tu 13 IRD NIGHT ADDED! FIRST TWO NIGHTS SOLD OUT! TH

Thievery Corporation

............................................ Sa DECEMBER 17

Crash Boom Bang w/ That Lying Bitch & His Dream of Lions................... Th 22 The Pietasters w/ Mephiskapheles • Hub City Stompers • Loving Paupers .. F 23 Clutch w/ The Obsessed • Lionize • Silver Spring School of Rock Band ........ Tu 27 ACTION HOUSE VAPE AND ALL GOOD PRESENT

Big Something & Yo Mama’s Big Fat Booty Band w/ Bencoolen .. Th 29 SPEND NEW YEAR’S EVE WITH

Band of Horses Complimentary Champagne Toast at Midnight .................Sa 31

9:30 CUPCAKES

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Mike Gordon ...................................................................................NOVEMBER 29

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Top Shelf ................................................................................................JANUARY 14

The Magnetic Fields:

50 Song Memoir .............................. MARCH 18 (Songs 1-25) & MARCH 19 (Songs 26-50)

Brian Wilson presents Pet Sounds : The Final Performances

with special guests Al Jardine and Blondie Chaplin....................................................... MAY 3 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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9:30 CLUB PRESENTS AT U STREET MUSIC HALL TT The Artist w/ Mighty Mark • TSU Dance Crew • Phizzals • DJ ManeSqueeze .Th NOV 10 Benjamin Francis Leftwich w/ Brolly ............................................... Sa 12 Kool Keith w/ Kaze aka Black Kennedy .Su 13 Swet Shop Boys ................................ M 14

ALT NATION ADVANCED PLACEMENT TOUR FEATURING

Night Riots • The Hunna • The Shelters .................................... Tu 15 CRX w/ Streets of Laredo & The Gloomies ...... W 16 The Paper Kites w/ Horse Thief ........ Th 17

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

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

30 november 11, 2016 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

Music 31 Theater 35

Music rock

AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The VI-Kings. 8 p.m. $15–$25. ampbystrathmore.com. blAck cAt 1811 14th St. NW. (202) 667-4490. Wild Beasts, Porcelain Raft. 8 p.m. $20. blackcatdc.com.

Dc9 1940 9th St. NW. (202) 483-5000. Tennyson, Photay. 7 p.m. $12. dcnine.com.

FillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Death From Above 1979, Black Rebel Motorcycle Club, Deap Vally. 8 p.m. $35. fillmoresilverspring.com. gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. Hoots and Hellmouth, Will Overman Band, The Vegabonds.

8:30 p.m. $12–$15. gypsysallys.com. the hAMilton 600 14th St. NW. (202) 787-1000. Taylor Hicks, Chad Elliott. 8 p.m. $18–$43. thehamiltondc.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Skinny Lister, Lincoln Durham, Trapper Schoepp. 9 p.m. $15–$17. rockandrollhoteldc.com.

classical

kenneDy center concert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra with conductor Donald Runnicles performs Duruflé’s Requiem and Debussy’s Préludes & Nocturnes. 8 p.m. $15–$89. kennedy-center.org. kenneDy center MillenniuM StAge 2700 F St. NW. (202) 467-4600. U.S. Army Chorus. 6 p.m. Free. kennedy-center.org.

World

bArnS At WolF trAP 1635 Trap Road, Vienna. (703) 255-1900. Cristina Pato. 8 p.m. $25–$30. wolftrap.org.

country

gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. Hoots and Hellmouth, Will Overman Band, The Vegabonds.

7 p.m. $12–$15. gypsysallys.com. hill country bArbecue 410 7th St. NW. (202) 556-2050. The Highballers. 9:30 p.m. Free. hillcountrywdc.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. McCoy Tyner Quartet. 8 p.m.; 10 p.m. $60. bluesalley.com.

ElEctronic

SounDcheck 1420 K St. NW. (202) 789-5429. Shaun Frank. 10 p.m. $20. soundcheckdc.com.

Funk & r&B

located next door to 9:30 club

CITY LIGHTS: Friday

Friday

FlASh 645 Florida Ave. NW. (202) 827-8791. Jennifer Cardini, Chris Nitti. 8 p.m. $8–$12. flashdc.com.

2047 9th Street NW

Film 36

betheSDA blueS AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Shirelles Salute To The Troops with Leonard, Coleman, and Blunt. 8 p.m. $45–$55. bethesdabluesjazz.com. hoWArD theAtre 620 T St. NW. (202) 803-2899.

Loose Ends, Jane Eugene. 8 p.m. $35–$55. thehowardtheatre.com.

dEatH FroM aBoVE 1979

Jesse F. Keeler and Sebastien Grainger have each taken many musical paths. Keeler has dabbled in hardcore, punk, noise, and even electro-house (as half of MSTRKFT), while Grainger did everything from dance music to Saddle Creek-sponsored indie rock (fronting Sebastien Grainger and The Mountains). But their best-known—and best—music is as Death From Above 1979, coming together like the Wonder Twins of distortion-heavy dance-punk. DFA1979 (the “1979” was added to differentiate them from James Murphy’s record label) descended like a pair of fallen angels in the early aughts, raining down a mix of thrash drums and fuzzy bass riffs that turned mosh pits into dance parties. Compared to dance-punk peers like Bloc Party and Franz Ferdinand, DFA1979 was a little noisier and a little nastier, if still reliant on pop songcraft. The party ended in 2006 but after nearly a decade apart, the pair reunited in 2014 with The Physical World, an album tailor-made for rockers that still want to dance. Death From Above performs with Black Rebel Motorcycle Club and Deap Valley at 8 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $35. (301) 960-9999. fillmoresilverspring.com.

—Chris Kelly

saturday

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

Sunflower Bean, The Lemon Twigs, Kissing Is a Crime.

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

Acre 121 1400 Irving St. NW. (202) 328-0121. The Vico Cycle. 9 p.m. Free. acre121.com.

Vocal

rock

bArnS At WolF trAP 1635 Trap Road, Vienna. (703) 255-1900. Willie Nile. 8 p.m. $22–$25. wolftrap.org. blAck cAt 1811 14th St. NW. (202) 667-4490. Mewithoutyou, Yoni Wolf, Needle Points. 8 p.m. $20. blackcatdc.com. gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. The Hip Abduction, Elikeh. 7 p.m. $13–$15. gypsysallys.com. the hAMilton 600 14th St. NW. (202) 787-1000. The Last Waltz Tribute. 8 p.m. $30–$40. thehamiltondc.com. rhizoMe Dc 6950 Maple St. NW. Public Speaking, Like a Villain, Elmapi, Analog Tara. 8 p.m. $10. rhizomedc.org.

AtlAS PerForMing ArtS center 1333 H St. NE. (202) 399-7993. Gay Men’s Chorus of Washington: “Let’s Misbehave”. 5 p.m.; 8 p.m. $25–$39. atlasarts.org.

classical kenneDy center concert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra with conductor Donald Runnicles performs Duruflé’s Requiem and Debussy’s Préludes & Nocturnes. 8 p.m. $15–$89. kennedy-center.org.

MuSic center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Black Violin. 8 p.m. $25–$55. strathmore.org.

washingtoncitypaper.com november 11, 2016 31

MODERN DANCE at MYB ADULT Drop-In Classes

country

Hip-Hop

Jazz

u Street MuSic hAll 1115 U St. NW. (202) 5881889. Kool Keith, Kaze AKA Black Kennedy. 7 p.m. $25. ustreetmusichall.com.

AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Sierra Hull. 8 p.m. $27–$37. ampbystrathmore.com. blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. McCoy Tyner Quartet. 8 p.m.; 10 p.m. $60. bluesalley.com. kenneDy center eiSenhoWer theAter 2700 F St. NW. (202) 467-4600. Wayne Shorter: The Unfolding. 8 p.m. $25–$59. kennedy-center.org.

2nd CLASS

FREE

ElEctronic

Focus on body integration, musicality and flow Tuesdays with HELEN REA. Stretch and strengthen your body and mind Wednesdays with EDWARD FRANKLIN former principal with Alvin Ailey American Dance Theater.

FlASh 645 Florida Ave. NW. (202) 827-8791. DJ Sneak, Vanniety Kills, DJ Meegs. 8 p.m. $8–$16. flashdc.com. u Street MuSic hAll 1115 U St. NW. (202) 588-1889.

Ekali, Alexander Lewis. 10:30 p.m. $12. ustreetmusichall.com.

sunday rock

Dc9 1940 9th St. NW. (202) 483-5000. SIMS, Air Credits. 9 p.m. $14–$16. dcnine.com.

301.608.2232 • MarylandYouthBallet.org 926 Ellsworth Drive • Silver Spring Metro

gAlAxy hut 2711 Wilson Blvd., Arlington. (703) 5258646. Showpony, 3rd Grade Friends. 9 p.m. $5. galaxyhut.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Lydia Loveless, Aaron Lee Tasjan. 8 p.m. $16–$18. rockandrollhoteldc.com.

classical

kenneDy center concert hAll 2700 F St. NW. (202) 467-4600. The Washington Chorus presents Philip Glass Symphony No. 5. 5 p.m. $18–$72. kennedy-center.org.

PhilliPS collection 1600 21st St. NW. (202) 3872151. Vadym Kholodenko. 4 p.m. $20–$40. phillipscollection.org.

opEra

univerSity oF the DiStrict oF coluMbiA AuDitoriuM 4200 Connecticut Ave. NW. (202) 274-5900.

Eric Owens and Susanna Phillips. 4 p.m. $45. udc.edu.

FillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Russ, Mathias. 8 p.m. $20. fillmoresilverspring.com.

country

gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. Session Americana, Cicada Rhythm. 6 p.m. $10–$12. gypsysallys.com.

MuSic center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Martina McBride. 7 p.m. $80–$187.50. strathmore.org.

BluEs

AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Albert Cummings. 8 p.m. $25–$35. ampbystrathmore.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Kia Bennett. 8 p.m.; 10 p.m. $20. bluesalley.com. hoWArD theAtre 620 T St. NW. (202) 803-2899.

Gerald Albright. 7 p.m. $35–$55. thehowardtheatre.com.

Funk & r&B

9:30 club 815 V St. NW. (202) 265-0930. SoMo, STANAJ, Miesa. 7 p.m. $20–$400. 930.com. betheSDA blueS AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Joan Osborne Soul Revue.

8 p.m. $50–$60. bethesdabluesjazz.com. verizon center 601 F St. NW. (202) 628-3200. R. Kelly. 8 p.m. $105. verizoncenter.com.

Monday rock

FillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. In Flames, HELLYEAH, From Ashes To New. 7 p.m. $29.50. fillmoresilverspring.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

The Living End, American Television, The House on Cliff. 8 p.m. $20. rockandrollhoteldc.com.

CITY LIGHTS: saturday

isaMu noGucHi: arcHaic/ ModErn

Japanese-American sculptor Isamu Noguchi is widely credited as a pioneer of modern sculpture. His simple, almost reductive stone works sit comfortably between the delicately balanced wood and metal works of Constantin Brancusi and the imposing rounded shapes of Sir Henry Moore.

The Smithsonian American Art Museum’s latest exhibit pays tribute to Noguchi by both placing him in the appropriate cultural context and looking at his inspirations, many of which existed thousands of years before Noguchi was born. These include Buddhist temples, the Great Pyramids, and American Indian burial mounds. Curators Dakin Hart (from the Noguchi Museum) and Karen Lemmey (from the Smithsonian) also incorporate some of Noguchi’s more practical creations. The famous “Noguchi table” is still produced by fancy furniture maker Herman Miller and retails for more than $1700 and his “Radio Nurse” was the predecessor to contemporary baby monitors. Add in the dozens of theatrical sets, playgrounds, and parks he designed and you’ll just begin to understand the many ways Noguchi practiced art. The exhibition is on view daily 11:30 a.m. to 7 p.m., to March 19, at the Smithsonian American Art Museum, 8th and F streets NW. Free. (202) 633-7970. americanart.si.edu.

—Caroline Jones 32 november 11, 2016 washingtoncitypaper.com

washingtoncitypaper.com november 11, 2016 33

CITY LIGHTS: sunday

tHE WasHinGton cHorus

NOVEMBER F

11

SHIRELLES ROCK N’ ROLL HALL OF FAME SALUTE TO THE TROOPS

w/ Leonard, Coleman & Blunt

S

12

SU 13

TU 15 W 16 TH 17 F

18

S

19

SU 20

JOE CLAIR & FRIENDS COMEDY SHOW – 2 Shows JOAN OSBORNE STANDING IN THE SHADOWS OF MOTOWN MICHAEL THOMAS QUINTET DWELE JEANETTE HARRIS LARRY BROWN QUINTET The Texas Chainsaw Horns Presents

HOT MESS BURLESQUE BUTCH TRUCKS OF “THE ALLMAN BROTHERS BAND”

and The Freight Train JUST ANNOUNCED S

11/26 MOUSEY THOMPSON & THE

JAMES BROWN EXPERIENCE

SU 11/27 A Gospel According to Jazz

5:30/8PM

W 11/30 Kim Jordan’s – A Tribute to

Gill Scott Heron

F

12/9

MOTOWN & MORE: A Holiday Celebration

TH 12/15 DIONNE

TH 12/22 3RD ANNUAL URBAN

SOUL HOLIDAY PARTY w/ Secret Society

S

1/7

SONNY LANDRETH

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

34 november 11, 2016 washingtoncitypaper.com

The Washington Chorus’ current season marks its last with Julian Wachner, its director of eight years. Though other directors in D.C.’s overcrowded choral scene have stuck around longer (notably the late Norman Scribner, who led the Choral Arts Society for 47 years), Wachner has had one foot out the door for some time. The always effusive and in-demand conductor has been spending more and more time in New York, where he shares a directorship with Trinity Church Wall Street, and to which he will now devote all of his energies, along with his flourishing composing career. For his farewell season opener, Wachner and TWC tackle something few choruses or orchestras do, Philip Glass’s fifth symphony. It’s a bold, not exactly crowd-pleasing choice, this being one of his symphonies not based on a David Bowie album.

It’s known for being sprawling and intimidating, involving a dozen movements and two choirs (the second will be the Washington National Cathedral Girl Choristers). It may be superb, or it may fall apart, but either way, it’ll be memorable, something Wachner always manages to accomplish. The Washington Chorus performs at 5 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $18–$72. (202) 467-4600. kennedy-center.org.

—Mike Paarlberg verizon center 601 F St. NW. (202) 628-3200. Stevie Nicks, Pretenders. 7 p.m. $49–$150. verizoncenter.com.

WEdnEsday

Hip-Hop

rock

Jazz

birchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Dave Mason. 7:30 p.m. $55. birchmere.com.

9:30 club 815 V St. NW. (202) 265-0930. Atmosphere, Brother Ali, deM atlaS, Plain Ole Bill and Last Word. 7 p.m. $27.50. 930.com. blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Omar Sosa. 8 p.m.; 10 p.m. $30. bluesalley.com. kenneDy center MillenniuM StAge 2700 F St. NW. (202) 467-4600. The Bridge Trio. 6 p.m. Free. kennedy-center.org.

tuEsday rock

bArnS At WolF trAP 1635 Trap Road, Vienna. (703) 255-1900. Steve Vai. 8 p.m. $80–$85. wolftrap.org. blAck cAt 1811 14th St. NW. (202) 667-4490. Helmet, Local H. 7:30 p.m. $16. blackcatdc.com. echoStAge 2135 Queens Chapel Road NE. (202) 503-2330. Good Charlotte, The Story So Far, Four Year Strong, Big Jesus. 7 p.m. $38.30. echostage.com.

FillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Fray, American Authors. 8 p.m. $40. fillmoresilverspring.com. the hAMilton 600 14th St. NW. (202) 787-1000.

Samantha Fish, Lightnin Malcolm. 7:30 p.m. $24.75– $29.75. thehamiltondc.com. lincoln theAtre 1215 U St. NW. (202) 888-0050.

The Naked and Famous, Xylo, The Chain Gang of 1974.

8 p.m. $35. thelincolndc.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Gavin James, Matt Simons. 8 p.m. $15. rockandrollhoteldc.com.

Jazz

betheSDA blueS AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Michael Thomas Quintet.

8 p.m. $20. bethesdabluesjazz.com. blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Darden Purcell. 8 p.m.; 10 p.m. $20. bluesalley.com.

Funk & r&B

kenneDy center MillenniuM StAge 2700 F St. NW. (202) 467-4600. Be Steadwell. 6 p.m. Free. kennedy-center.org.

bArnS At WolF trAP 1635 Trap Road, Vienna. (703) 255-1900. Eric Burdon & The Animals. 8 p.m. $75–$85. wolftrap.org.

Dc9 1940 9th St. NW. (202) 483-5000. The Galaxy Electric, Reighnbeau, Dais, CrushnPain. 8:30 p.m. $8. dcnine.com. hoWArD theAtre 620 T St. NW. (202) 803-2899.

Todos Tus Muertos. 8 p.m. $30–$60. thehowardtheatre.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Kings Kaleidoscope, Citizens & Saints. 8 p.m. $20. rockandrollhoteldc.com.

Folk

kenneDy center MillenniuM StAge 2700 F St. NW. (202) 467-4600. Great American Canyon Band. 6 p.m. Free. kennedy-center.org.

country

gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. The Southern Belles, The Mallett Brothers. 7 p.m. $8–$10. gypsysallys.com. the hAMilton 600 14th St. NW. (202) 787-1000. Riders In The Sky. 7:30 p.m. $17–$30. thehamiltondc.com.

ElEctronic

echoStAge 2135 Queens Chapel Road NE. (202) 503-2330. Porter Robinson, Madeon, Robotaki, Danger. 9 p.m. $30–$40. echostage.com.

SounDcheck 1420 K St. NW. (202) 789-5429. 12th Planet, Lumberjvck. 10 p.m. $15–$20. soundcheckdc.com.

Funk & r&B

betheSDA blueS AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Dwele. 8 p.m. $50–$55. bethesdabluesjazz.com. blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Sylver Logan Sharp & Tony Terry. 8 p.m.; 10 p.m. $40. bluesalley.com.

tHursday rock

9:30 club 815 V St. NW. (202) 265-0930. Wet, Demo Taped. 6 p.m. $25. 930.com.

bArnS At WolF trAP 1635 Trap Road, Vienna. (703) 255-1900. Eric Burdon & The Animals. 8 p.m. $75–$85. wolftrap.org. blAck cAt bAckStAge 1811 14th St. NW. (202) 6674490. Exit Vehicles, Boat Burning, Technicians. 7:30 p.m. $10. blackcatdc.com.

Dc9 1940 9th St. NW. (202) 483-5000. Jeff Rosenstock, Hard Girls, Katie Ellen. 7:30 p.m. $13–$15. dcnine.com. eAglebAnk ArenA 4500 Patriot Circle, Fairfax.

(703) 993-3000. Troye Sivan. 7:30 p.m. $39.50. eaglebankarena.com. echoStAge 2135 Queens Chapel Road NE. (202) 503-2330. Two Door Cinema Club, Broods. 7 p.m. $48.60. echostage.com. gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. The Z3, The Next Step Band. 7 p.m. $10–$12. gypsysallys.com. iotA club & cAFé 2832 Wilson Blvd., Arlington. (703) 522-8340. Gemma Ray, Spurs. 8:30 p.m. $12. iotaclubandcafe.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Hiss Golden Messenger, Phil Cook. 8 p.m. $15. rockandrollhoteldc.com.

BluEs

MAnSion At StrAthMore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Samuel James. 7:30 p.m. $30. strathmore.org.

Jazz

betheSDA blueS AnD JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeanette Harris. 8 p.m. $30. bethesdabluesjazz.com.

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

Tix @ Ticketmaster.com 800-745-3000

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

Nov 10

Funk & r&B

WonDerlAnD bAllrooM 1101 Kenyon St. NW. (202) 232-5263. The Twilights, Shamans of Sound.

8:30 p.m. $5. thewonderlandballroom.com.

Theater

broADWAy bounD 1st Stage presents the third play in Neil Simon’s Eugene trilogy, in which two brothers cope with family tragedy while trying to make their way as professional comedy writers. The Pulitzer Prize finalist is directed by Shirley Serotsky. 1st Stage.

1524 Spring Hill Road, McLean. To Dec. 18. $15–$30.

(703) 854-1856. 1ststagetysons.org.

World

cArouSel Arena’s annual holiday musical comes in the form of this Rodgers and Hammerstein classic about a bad boy and a good girl who fall in love, only to encounter great tragedy. Local favorites Nicholas Rodriguez and E. Faye Butler star in this favorite, which features songs including “If I Loved You” and “You’ll Never Walk Alone.” Arena Stage. 1101 6th St. SW. To Dec. 24. $64–$99. (202) 488-3300. arenastage.org.

kenneDy center MillenniuM StAge 2700 F St. NW. (202) 467-4600. Derek Gripper. 6 p.m. Free. kennedy-center.org.

the chriStiAnS A live choir backs the action in this play set in an enormous church. When Pastor Paul’s church grows from a small storefront into a home for

classical kenneDy center concert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra performs Dvorák’s “New World” Symphony, Tchaikovsky’s Rococo Variations. 7 p.m. $15–$89. kennedy-center.org.

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

CITY LIGHTS: Monday

BRANDY CLARK

KAREN JONAS

PAULA POUNDSTONE 15 ACOUSTIC ALCHEMY MASON DAVE 16 “Alone Together Again” 13

OLETA ADAMS 19 SUZANNE WESTENHOEFER 20 HERMAN’S HERMITS featuring PETER NOONE 21& JOAN 22 PATTY GRIFFIN SHELLEY BONEY JAMES 23 25 THE SELDOM SCENE & DRY BRANCH FIRE SQUAD 26& 27 CHARLES ESTEN w/Taylor Noelle (26) & Blake Esse (27)

18

AMY RAY & CHELY WRIGHT STEVE TYRELL 29 30 A PETER WHITE CHRISTMAS

28

stEViE nicks

There is no “I” in team, especially if that team is Fleetwood Mac. That’s what Stevie Nicks told the New York Times when she announced that she’d be heading out on a solo tour this year. And while Fleetwood Mac is certainly a good team to be on, when you’re Stevie Nicks, sometimes you just have to go your own way. “In my band, there is no arguing,” she said. “I am the boss. My solo career is probably the reason Fleetwood Mac is still together in 2016, because I was always happy to leave Fleetwood Mac, and I was always happy to come back, too.” And while I love Fleetwood Mac with all my heart, I am happy that Stevie is back on the solo circuit.

Over the course of eight studio albums, Nicks has proved that she’s not just a vital voice in Fleetwood Mac, but an incredible songwriter on her own. With cuts like “Edge of Seventeen,” “King of Woman,” and “Wild Heart,”—not to mention her glorious collaborations with Don Henley and Tom Petty on “Leather & Lace” and “Stop Draggin’ My Heart Around,” respectively—she’s one of our country’s greatest songwriters. So it’s a blessing that she’s dusting off deep cuts from her catalogue to take on the road, and it’s even more of a blessing that she’s bringing The Pretenders along to open. Stevie Nicks performs with The Pretenders at 7 p.m. at Verizon Center, 601 F St. NW. $49–$150.

(202) 628-3200. verizoncenter.com.

—Matt Cohen

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36 november 11, 2016 washingtoncitypaper.com

To most tourists, Guam is a tropical paradise; a place full of picturesque scenery and lush beaches. But like any paradise, there’s a dark side. In her eye-opening documentary Exotic, producer/director/editor Amy Oden turns her camera away from the idyllic beaches to one of its most lucrative underground trades: the sex trade. The island—a U.S. territory in the Pacific Ocean—seems like an ideal situation for women interested in making money as a dancer: It’s an exotic spot and its laws make it easy for dancers to earn a good deal of money in a short amount of time. But those same laws make it easy for club owners and tourists to take advantage of dancers. Through candid interviews with a number of dancers and sex workers in Guam, Oden exposes the perils these women face just to make enough money to survive. Guam’s loose laws make it so that workers have essentially no protection from the local government, meaning that if they’re scammed out of money or become victims of violence, turning to the police to report crimes will most likely result in jail time. It’s a tragic and oft-ignored situation that Oden bravely exposes in her documentary, with hopes that the more this issue is discussed, the more pressure Guam’s government will feel to eventually protect its sex workers. The film shows at 8 p.m. at Suns Cinema, 3107 Mount Pleasant St. NW. $5. sunscinema.com.

—Matt Cohen thousands, he is cheered by his followers but his latest sermon is sure to ruffle feathers. Theater J. 1529 16th St. NW. To Dec. 11. $27–$57. (202) 777-3210. theaterj.org.

A chriStMAS cArol Veteran local actor Craig Wallace takes on the role of Scrooge in this popular musical adaptation of Charles Dickens’ tale about kindness and holiday cheer. Celebrating its 35th season at Ford’s, Michael Wilson’s adaptation is directed by Michael Baron. Ford’s Theatre. 511 10th St. NW. To Dec. 31. $22–$92. (202) 347-4833. fords.org.

FreAky FriDAy A mother and her teenage daughter magically swap bodies in this lively new musical based on Mary Rodgers’ novel that subsequently inspired two films. Parenthood writer Bridget Carpenter and Next to Normal authors Tom Kitt and Brian Yorkey collaborate on this world premiere. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 20. $40–$99. (703) 820-9771. sigtheatre.org. girl in the reD corner A young woman takes up mixed martial arts as a hobby, much to the dismay of her family and coach, who expect her to be a lightweight, in this new play from playwright Stephen Spotswood and presented by The Welders. When the things she learns in the ring start to intersect with her daily life, Halo must decide how to conduct herself.

Atlas Performing Arts Center. 1333 H St. NE. To Nov. 20. $15–$30. (202) 399-7993. atlasarts.org.

Milk like SugAr After making a pact with her friends on her 16th birthday, Annie forces herself to look at the world differently. By interacting with different world views for the first time, she learns more about herself and her goals for the future. Mosaic Theater Company presents this Obie-winning play, directed by Jennifer L. Nelson. Atlas Performing Arts Center. 1333 H St. NE. To Nov. 27. $20–$60. (202) 3997993. atlasarts.org. the night Alive Quotidian Theatre Company presents Conor McPherson’s latest play in its season opener. Set in Dublin, the action follows a grumpy, unemployed man who befriends a young prostitute.

When her boyfriend shows up, the group must figure out what their relationship means. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To Nov. 20. $15–$30. (301) 816-1023. quotidiantheatre.org. the SeconD city’S blAck SiDe oF the Moon Woolly Mammoth and the Chicago-based comedy ensemble team up once again for a new show, this one with a cast of black comedians who imagine the future, describing everything from a new planet ruled

by Barack Obama to police brutality and everyone’s obsession with gluten intolerance. Woolly Mammoth Theatre. 641 D St. NW. To Jan. 1. $20–$69. (202) 3933939. woollymammoth.net. the Secret gArDen The classic children’s novel about an orphan who discovers the secrets locked away in her uncle’s mansion comes to Shakespeare Theatre Company in the form of a musical, featuring favorite songs like “Lily’s Eyes” and “A Bit of Earth.” Sidney Harman Hall. 610 F St. NW. To Dec. 31. $44–$118. (202) 547-1122. shakespearetheatre.org.

Six DegreeS oF SePArAtion John Guare’s play about the connections that exist between seemingly unrelated people is reimagined at Keegan Theatre by director Brandon McCoy. Combining humor and drama, the show explores the ways we define each other and the boxes we put ourselves in. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 3. $35–$45. (202) 265-3767. keegantheatre.com.

StrAight White Men Provocative playwright Young Jean Lee presents this comedy about three brothers and their father who come together for a Christmas bout of wrestling and video games but when one member of the group begins to buckle under pressure, they all learn the stakes of their fight are higher than anyone imagined. Studio Theatre. 1501 14th St. NW. To Dec. 18. $20–$85. (202) 3323300. studiotheatre.org. tAMe. This new play from author (and City Paper contributor) Jonelle Walker imagines the plot of Shakespeare’s Taming of the Shrew from the perspective of the woman being tamed. When a young woman is forced by her family and an alluring young pastor to conform to traditional gender roles, a series of explosive comedic encounters unfold. Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington. To Dec. 11. $10–$50. (703) 418-4808. wscavantbard.org. the yeAr oF MAgicAl thinking Kathleen Turner stars in this solo performance, an adaptation of Joan Didion’s 2003 memoir about the sudden death of her husband and her subsequent experiences over the course of a year. Poignant and searing, the play explores the force of tragedy. Arena Stage. 1101 6th St. SW. To Nov. 20. $70–$90. (202) 488-3300. arenastage.org.

CITY LIGHTS: WEdnEsday

JoHnnysWiM

As a teenager at church in Nashville, while sitting next to a female friend he was interested in, Abner Ramirez spotted Amanda Sudano from across the room. “That’s the girl I’m going to marry,” he blurted out. His friend told him to go talk to her. He didn’t, but fortunately, the story doesn’t end there. Years later, Ramirez, who by then had met Sudano through mutual friends, asked her to attend one of his shows on MySpace.

She liked it so much that she immediately asked if they could write songs together, launching a music/life partnership that’s brought them onto the Today Show, the Tonight Show, stages around the world and, randomly, HGTV’s Fixer Upper. Hell, even reigning two time NBA MVP Steph Curry is a fan. Ramirez and Sudano fell in love writing songs, got married in 2009, and had their son, Joaquin, in 2015. They’re currently touring in support of Georgica Pond, their fourth LP featuring their creative pop/folk blend, borne of their Nashville roots and L.A. home. Johnnyswim performs at 7 p.m. at 9:30 Club, 815 V St. NW. Sold out. (202) 265-0930. 930.com.

—Noa Rosinplotz

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JEFF rosEnstock

“I’ve been doing this for half my years,” Jeff Rosenstock sings in a song off his newest album, WORRY. The song, “Pash Rash,” is about intimacy, shame, self-respect, and, perhaps, Rosenstock’s music career.

He’s been playing punk rock since just before 2000, headlining and playing guitar in a long list of bands before launching his solo project. His latest release reflects that experience, with elements of pop-punk, indie, emo, hardcore, and ska accompanying poetic and vulnerable lyrics. Rosenstock continues to sing about alienation, antipathy, and anxiety, of course, as his cultish fan base has come to love and expect. But WORRY also breaks new ground. It’s the most political of any album he’s put out, touching on police brutality, Silicon Valley, and inequality of all kinds, and it features a heavy focus on romantic love, albeit in Rosenstock-ian style. “Love is worry,” he sings on “…While You’re Alive.” New additions aside, WORRY stars the same old Jeff, who’s built an intimate relationship with his many fans, who will show up, sing along, and see themselves in his music at DC9 on Thursday. Jeff Rosenstock performs with Hard Girls and Katie Ellen at 7:30 p.m. at DC9, 1940 9th St. NW. $13–$15. (202) 483-5000. dcnine.com.

—Kevin Carty

Film

ArrivAl A linguist, a mathematician, and an Army colonel investigate an extraterrestrial spacecraft that lands on earth in this science-fiction thriller starring Amy Adams, Jeremy Renner, and Forest Whitaker.

Directed by Denis Villeneuve. (See washingtoncitypaper.com for venue information) AlMoSt chriStMAS When a family reunites for Christmas following the death of its matriarch, all manner of hilarity and drama breaks out in this holiday film from director David E. Talbert. (See washingtoncitypaper.com for venue information)

loving The true story of the couple at the center of Loving v. Virginia, the Supreme Court case that led to the end of interracial marriage bans is presented in this drama from director Jeff Nichols. Starring Joel Edgerton and Ruth Negga. (See washingtoncitypaper.com for venue information) Shut in Naomi Watts, Oliver Platt, and Charlie Heaton star in this thriller about a mother who, when caring for her paralyzed son, starts to fear that someone is watching them from inside the house. (See washingtoncitypaper.com for venue information)

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ruleS Don’t APPly Warren Beatty directs and stars in this romantic drama about a young woman and her driver who fall in love while employed by the mysterious filmmaker and millionaire Howard Hughes. Costarring Lily Collins and Alden Ehrenreich. (See washingtoncitypaper.com for venue information)

washingtoncitypaper.com november 11, 2016 37

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Legals SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2016 ADM 1214 Name of Decedent, Sonjia Johnson Baker Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Allen Johnson, whose address is 2300 Good Hope Road SE, Washington, DC 20020, Apt 915 was appointed Personal Representative of the estate of Sonjia Johnson Baker, who died on December 11, 2015, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 4/27/2017.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 4/27/2017, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, http://www.washingtaddress and relationship. oncitypaper.com/ Date of first publication: 10/27/2016 Name of Newspaper and/or periodical: Washington City Paper/ Daily Law Reporter Name of Person Representative: Allen Johnson.

TRUE TEST copy Anne Meister Register of Wills Pub Dates: October 27, November 3, 10.

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Antiques & Collectibles Comic Book & Sports Card Show Saturday November 12 10am3pm at the Annandale Fire House Expo Hall 7128 Columbia Pike Annandale Virginia 22003 The 6,000 sq. ft. Hall will be full of dealers selling their collectibles such as Gold, Silver, Bronze and Modern Age Comic Books, Pop Toys, Super Heroes jewelry & Toys, and NonSports Cards from the 1880’s to the present including Pokemon & Magic, PLUS vintage to the present day Sports Cards including Baseball, Football, Basketball and Hockey & sports memorabilia,of all types.

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38 November 11, 2016 washingtoncitypaper.com

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ACCOUNT EXECUTIVE – ADVERTISING SALES

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT Washington City Paper has an immediate opening for an outside sales position responsible for selling and servicing our advertising and media partner clients across our complete line of marketing solutions including print advertising in Washington City Paper, digital/online advertising on washingtoncitypaper.com and across our Digital Ad http://www.washingtoncitypaper.com/ Network, as well as event sponsorship sales.

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

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

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Qualifications, background, and disposition of the ideal candidate for this position include:

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

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washingtoncitypaper.com November 11, 2016 39

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