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J A N U A R Y 3 , 2 0 1 8 V O L . 2 I S S . 1 B A L T I M O R E B E AT. C O M



The Dead Milkmen w/ Mindless Faith .................................................... F JAN 5 Hot in Herre: 2000s Dance Party with DJs Will Eastman and Ozker.... Sa 6 Boat Burning: Music for 100 Guitars w/ Trinary System featuring Mission Of Burma’s Roger Miller .......................... Su 7 D NIGHT FIRST NIGHT SOLD OUT! SECON


Passion Pit ..................................................................................................... Tu 9 JANUARY

JANUARY (cont.)

Cracker and Camper Van Beethoven ....Th 11 RJD2 w/ Photay .........................Sa 13 Dorothy ....................................Su 14

J. Roddy Walston and The Business w/ Post Animal..........Th 8 COIN w/ The Aces ......................Sa 10 Múm ..........................................Su 11 Sleigh Bells


Collie Buddz w/ Jo Mersa Marley

& The Holdup..............................M 15


Circles Around The Sun....Th 18


BoomBox ..................................F 19


The Infamous Stringdusters ......................Sa 20




w/ Elephante & Youngr .............Th 15

ZZ Ward w/ Black Pistol Fire

w/ Darius ....................................Tu 23

Tennis w/ Overcoats ..................W 24 Big Head Todd & The Monsters

w/ Luther Dickinson ..................Th 25

Frankie Ballard.......................F 26 STEEZ PROMO PRESENTS

Manic Focus and Minnesota .....................Sa 27 Enter Shikari w/ Single Mothers & Milk Teeth..Su 28

Black Rebel Motorcycle Club

w/ Night Beats .............................M 29

Kimbra w/ Arc Iris....................Tu 30 Typhoon w/ Bad Bad Hats .........W 31 FEBRUARY ALL GOOD PRESENTS

Greensky Bluegrass w/ Billy Strings

Ticket included with purchase of tickets to 2/3 Greensky Bluegrass @ The Anthem .F 2 STEEZ PROMO PRESENTS

Emancipator Ensemble ......Sa 3


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


w/ Tristen ....................................................................................................... SAT APRIL 28

& Billy Raffoul ..............................F 16

On Sale Friday, January 5 at 10am

STRFKR w/ Reptaliens .............Sa 17 U STREET MUSIC HALL PRESENTS

Ganja White Night

w/ Dirt Monkey & Subtronics ....Su 18

MØ & Cashmere Cat


w/ Sunflower Bean ......................W 14 U STREET MUSIC HALL PRESENTS

The Oh Hellos

w/ Lowland Hum .........................W 21


Lane 8 ......................................Th 22


Railroad Earth w/ Roosevelt Coliler .......F 23 & Sa 24

Rhye ...........................................M 26 Lights w/ Chase Atlantic & DCF .Tu 27 MARCH

Henry Rollins -


Travel Slideshow .......................... JAN 15

PostSecret: The Show ...... MAR 24


The Wood Brothers

w/ The Stray Birds ................... JAN 26 & 27

Rob Bell

w/ Peter Rollins .......... MAR 27

Max Raabe & Palast Orchester.............APR 11


Sucker For Love ................... FEB 10 Andy Borowitz ........................ FEB 24 Calexico w/ Ryley Walker ............APR 27 Dixie Dregs (Complete Original Lineup with Steve Morse, Rod Morgenstein, Allen Sloan, Andy West, and Steve Davidowski) ..................MAR 7 • •


Bianca Del Rio ...................... MAR 15

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

(F 2 - w/ Butcher Brown) .... F 2 & Sa 3

Hippie Sabotage

w/ Melvv & Olivia Noelle ..............Su 4

LP w/ Noah Kahan .........................M 5 Orchestral Manoeuvres in the Dark w/ GGOOLLDD ......Tu 6 Cornelius ....................................W 7 Beth Ditto ................................Sa 10 ALL GOOD PRESENTS

J Boog w/ Jesse Royal & Etana Su 11 K.Flay w/ Yungblud ...................M 12

The best thing you could possibly put in your mouth

9:30 CLUB PRESENTS AT U STREET MUSIC HALL herMajesty & Honest Haloway

w/ Greenland ..................................Sa JAN 13

Alex Aiono w/ Trinidad Cardona ........... Sa 20 Cuco + Helado Negro w/ Lido Pimienta ................................... Tu 23

Flint Eastwood w/ NYDGE ..............F FEB 2 Anna Meredith ................................... Sa 3 Why? w/ Open Mike Eagle ........................F 9 Anti-Flag & Stray From The Path .. Sa 10 White Ford Bronco: DC’s All ‘90s Band ................................ F 16

Wylder ................................................ Sa 17 MAGIC GIANT w/ The Brevet.............. Su 18 Higher Brothers ............................... M 19 MAKO .................................................. Sa 24 Gabrielle Aplin w/ John Splithoff ...... Su 25 Missio w/ Welshly Arms...................F MAR 2 Lil Man w/ $teven Cannon .....................Su 4 Ella Vos w/ Freya Ridings ....................... M 5 Amy Shark .......................................... M 12

Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. |

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

TICKETS for 9:30 Club shows are available through, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office. 9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.


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!

We’ll make all your marketing fantasies come true



Ending Violence Against Sex Workers

Sex Workers Outreach Project works to end violence and discrimination against sex workers.

Jennifer Marsh ASSOCIATE PUBLISHER Ext. 9463 Lisa Snowden-McCray EDITOR-IN-CHIEF Ext. 9461 Maura Callahan DEPUTY EDITOR Brandon Soderberg MANAGING EDITOR Ext. 9462 Jeff Stintz ADVERTISING DIRECTOR Ext. 9464 CLASSIFIED ADVERTISING 202-747-2077 Azer Creative DESIGN & PRODUCTION 202-540-8928

New Year, New City

The people of Baltimore offer resolutions for the city in 2018

For distribution, contact Lynne Brown at 202-747-2077, Ext. 8075. Distributed by MediaPoint, LLC

Weed Review

Berry OG has a lot going on.

WEEK IN REVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 COMMUNITY VOICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 BEAT NEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 REAL NEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 DEMOCRACY IN CRISIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 RESOLUTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 MUSIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 ON PAPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 BOOKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 STAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 SCREENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 FOOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 WEED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 SUGAR TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

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JANUARY 3, 2018



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Week In Review

The State of Black Women in Baltimore J an . 6

Stories from last week in Baltimore not covered elsewhere in this issue

Two recent reports from NPR uncovered some scary but not unsurprising news about black women and our maternal health: that we and our babies die more often during and immediately after childbirth than our white counterparts, and that the stress of racism is the cause. We are, as Malcolm X once said (and Beyoncé famously repeated) the most unprotected, most neglected of this country’s citizens. Brittany T. Oliver, local activist and founder of Not Without Black Women, says the ways in which black women are marginalized can be seen clearly in Baltimore’s problems and policies. The group’s goal, therefore, is to change all that. There will be speeches, spoken word, a panel (including Dr. Helena Hicks, among others), and opportunity for dialogue. Come ready to learn, and then work toward some radical change. 3:30-5:30 p.m., Mobtown Ballroom, 861 Washington Blvd.,, free. (Lisa Snowden-McCray)

Commissioner Kevin Davis announced that the FBI would not be taking the lead on the investigation into Detective Sean Suiter’s death. “To date, no information has been developed to indicate Detective Suiter’s death was directly connected to an FBI investigation,” the agency wrote in a letter addressed to Davis, which he read at a press conference on Dec. 27. A $215,000 reward remains for information relating to the case. And what does all this mean for us? We don’t have answers, we do have rumors, and we also have a police department caught up in one of the biggest city scandals of our time. And some pointed out that the FBI letter Davis presented is not dated, so it isn’t exactly clear when BPD received the rejection. Mayor Catherine Pugh held a candlelight vigil last Thursday at the Baltimore War Memorial to “honor the families impacted by violence in Baltimore City.” During the event, Pugh had attendees and city leaders hold up signs printed with words inspirational words like “miracle,” “improve,” and “babies.” Religious leaders offered prayers. The event was certainly meaningful for many families— some tearful attendees held up signs and pictures honoring their lost loved ones. But to others, it felt like an empty gesture. The family of H&S Bakery honcho turned Harbor East developer John Paterakis, who died last year, are in a big dumb battle for all his bucks. Last month, his second wife, Roula, sued his six kids for allegedly hiding money from her, and now two of Paterakis’ kids are counter-suing claiming she took advantage of dad and calling her a “material girl.” In case Donald Trump wasn’t enough evidence that rich people aren’t more sophisticated than us average joes, look no further than this simmering “Jerry Springer”-esque battle. The day after Christmas, an oil truck from the Carroll Fuel Oil Co. overturned on I-83 and ended up leaking 2500 gallons of oil into the Jones Falls. Fortunately, no one was injured and drivers were only inconvenienced for a few hours, and it all could’ve been worse but nevertheless, the Falls is a little more full of oil than it was a week ago. Jed Weeks of Bikemore offered up the best commentary when he tweeted, “Crazy idea, but maybe building a highway over a river was a bad idea.” An exercise in two ways for sports teams to respond to the political climate. The Baltimore Ravens President Dick Cass sent a letter to season ticket holders, blaming low attendance on some Ravens not standing for the National Anthem in London earlier in the year. No matter that it was a semi-miserable season for the team or that if you crunch the numbers, the attendance should end up at about the same as 2016—it’s those dang protests! Meanwhile, the Baltimore Orioles posted a quick “Happy Kwanzaa” tweet and got some racist sports fan pushback, so what did they do? They posed this: “A common love of the Orioles is what brings everyone together on this page. We’re happy to have a diverse fan base of the best fans in the world. If you cannot show respect for others, kindly unfollow us. There is no room for hate or bigotry on our social media or in our ballpark.” Following the passage of the Republicans’ devastating tax overhaul, Governor Larry Hogan said he would find a way to protect taxpayers in Maryland from the higher tax bills it will create. Good for Maryland taxpayers and a good look for Hogan, but it is also typical Hogan hustling: Why didn’t he publicly oppose the tax bill that clearly would do this before it was passed? Dana Moore has left the Baltimore Liquor Board for a job as deputy city solicitor. Moore will surely be missed by neighborhood advocates—she was especially sensitive to what communities had to say about problem bars and so-called “zombie” licenses (basically, legally dead licenses that stick around) and was one of the most engaged public servants in the city. As Beat Managing Editor Brandon Soderberg observed, a great person to debate and agree-to-disagree with when he appeared on “The Marc Steiner Show” with her. Good news for food trucks: That rule that never quite made much sense or at least was hard to really unpack about how food trucks couldn’t be within 300 feet of a brick-and-mortar restaurant is no longer a law. In May of 2016, food truck owners brought a lawsuit saying the ban was unconstitutional. While Baltimore City Circuit Court Judge Karen C. Friedman did not agree it was unconstitutional, she ruled in favor of the food trucks because, well, the 300-foot ban is nearly impossible to fairly enforce. As of press time (the morning of Dec. 29), Baltimore has endured a total of 343 homicides. It is likely we will match or surpass 2015’s year of 344 homicides—and we have already broken the record for killings per capita.

BWU Day of Action J an . 8

Start the new year off by doing your part to make this world better for women in Baltimore: Head to this event, organized by Baltimore Women United. Attendees will learn more about the next Maryland Legislative Session and what they can do to advance proposed bills related to issues like “Ban the Box,” protection for the families of rape survivors, and gender discrimination in car insurance. Children are welcome. 6 p.m., Enoch Pratt Free Library Waverly Branch, 400 E. 33rd St., baltimorewomenunited. org, free (registration required). (Lisa Snowden-McCray)

Activist, Community, and Government Events J an . 3 - 1 0

West Wednesdays. Tawanda Jones, the sister of Tyrone West, a man killed in police custody in July 2013, has been gathering every Wednesday with other activists in the city to call attention to West’s death and police brutality in Baltimore. Jan. 3 and 10. Usually held at the intersection of 33rd and Greenmount Avenue, check facebook. com/justicefortyronewest for details. Wage Commission. Monthly meeting of commission charged with administration and proper operation of the minimum, living, and prevailing wage laws. Jan. 4, 3:30 p.m., Office of Civil Rights, 7 E. Redwood St., 9th floor, wage-commission. Vision Board Career Workshop. Build your vision board for career success in 2018. Presented by Natasha OrtizFortier of Creative Career Chic. Registration required. Jan. 6, 10 a.m.-noon, Waverly Branch, Adult Quiet Room, 400 E. 33rd St., (410) 396-6053, League of Women Voters Annual Legislative Breakfast 2018. Meet state senators and delegates and hear their responses to League priorities and their plans for the 2018 General Assembly. Jan. 6, 9 a.m.-noon., The Church of St. Michael & All Angels, 2013 St. Paul St., (410) 377-7738, Baltimore Community Accountability Project Workshop 5. Fifth workshop in a series dedicated to establishing community accountability. Jan. 7, 11 a.m.-2 p.m., The Baltimore Free School, 30 W. North Ave., Baltimore: Legislative Preview on Preservation and Conservation. Learn about local, state, and federal advocacy efforts to help save places that matter and how you can be a force for preservation and conservation. Jan. 8, 6-7 p.m., Enoch Pratt Free Library, Hampden Branch, 3641 Falls Road, Baltimore’s Water Crisis: A Lose-Lose. Del. Mary Washington, Rev. Dr. Alvin J. Gwynn Sr., and leading utility affordability expert Roger Colton discuss the failures of Baltimore’s current water billing system. Jan. 8, 6:30 p.m., Studio 4 Baltimore, 235 Holliday St., (443) 454-7669, GSW Speaker Series: Bridging Art and Activism. Bilphena Yahwon, a local writer and social justice advocate, speaks on the connections between art and activism. Jan. 8, 7 p.m., The 29th Street Community Center, 300 E. 29th St., (443) 213-0394, Meeting of the Board of School Commissioners. Regularly scheduled meetings for the public to offer comments according to specified guidelines. Second and fourth Tuesdays. Jan. 9, 5 p.m., 200 E. North Ave., (443) 984-2000, school_board/meetings. Board of Estimates Meeting. City Council President Young will chair the weekly meeting of the Board of Estimates. Jan. 10, 9 a.m., Baltimore City Hall, Hyman A. Pressman Board Room, 100 N. Holliday St., (410) 396-4804, content/board-estimates-meeting-38

• •

JANUARY 3, 2018



Community Voices Op-Ed: Letter from an anonymous public school teacher For the past five years, I have taught full- and part-time for public schools that serve students considered to be at-risk in Baltimore City, Baltimore County, and Washington, D.C. Urban education invites a much different approach from the standard white middle class framework for education. As an early career teacher, I have had to pick up most of the unique, unspoken rules by trial and error, but the concept of a warm demander is something I recently acquired from taking certification coursework. A warm demander is a term used to describe the most effective urban teachers. Warm demanders have a style of behavior management that could be misinterpreted by outside observers as harsh but is based on the concept that Black students are accustomed to a more direct style of management outside of school. It could be that this style of teaching comes from the different ways Black and white children are parented. At home, Black students might hear, “go to bed, or “put down that remote control,” whereas white parents might ask “Isn’t it time for bed?” Throughout my time teaching in Baltimore City and Baltimore County, I was encouraged to take on a more aggressive “warm demander” tone as a method to connect with my majority-Black students. I felt like the expectation was even higher for me to be an enforcer because of my status as Black and female. It was assumed by administration and students that because I am a Black woman, I could be “Mama mean” and this would naturally be something I could access in my “teacher toolbox.” I once asked a student who was coaching me on becoming “more mean” why I needed to be that way. I asked her if I were a white woman, would I need to be “more mean?” She responded by saying “No! You’re Black! The students don’t respect you because you’re not mean enough!” I gradually learned that this mode of behavior management would not consistently work unless trust was established. I had such a short amount of time with my students to establish the trust necessary to become a warm demander that I reverted back to my cool, soft spoken, authentic persona. Immediately the students seemed to mirror my tranquility and I found that I had less behavior adjustments to make. I entered the field of education to fight in solidarity for the struggle for opportunity through education and share my love of learning. I have nothing against warm demanders. If it is done correctly, I am confident that it is effective. But I think what it takes to be an effective warm demander is striking a fine balance between discipline and punishment. And too often what I have seen as a teacher in urban settings is the misuse of punishment spilling over to abuse. It is an open secret that profanity and corporal punishment are used as tools for behavior management with Black students in urban schools. In my experience, the teachers who receive the most positive feedback regularly rely on inciting fear as a method for managing behavior, which only conditions students to an inappropriate dynamic with authority. If students are conditioned to respond to aggression and violence, that only leaves them more vulnerable to interactions with police, which can potentially result in excessive use of force. The intent of sharing my perspective and experience is not to “call out” urban schools that are already fighting the uphill battle of navigating generations of systemic racism. Anyone can point out what’s going wrong in a broken system. My intent is to begin a call to examine the long term ramifications of using fear to manage the unique challenges we face as urban educators. It is the norm for many students in urban settings to have experienced chronic exposure to trauma. As a substitute teacher at Digital Harbor, I can recall stories from my students of being in the back seat of the car as their parent was murdered, or having discovered dead bodies in their neighborhoods. A child usually will not make connections between their past experiences, present conditions, and their actions. This is often difficult for adults to understand or accept. This reality can create an environment of mistrust, chaos, and violence if teachers are not well equipped to manage behavior with discernment between discipline and punishment. Because there is no de-escalation training or discipline and punishment training, fear has naturally been adopted as the primary tool of behavior management and as a path to achievement in urban settings. In my opinion, the mainstream framework that’s being used is egregiously inappropriate to humanely meet the needs of students in urban settings. All schools, but primarily urban schools, are at the convergence of every unaddressed social issue in one place. To use the same tools in such different environments shows a blatant disregard for the human rights of our children and evidence of a widely accepted devaluation of Black and Brown life. The writer is a teacher who currently works in D.C. Public Schools and has in the past taught in schools in Baltimore City and Baltimore County. She has asked to remain anonymous out of fear that her comments could lead to workplace retaliation.



JANUARY 3, 2018

SAFETY SQUAD Pugh and Safe Art Space Task Force crew tout recommendations, sans artists By Brandon Block

John Laria, Mayor Catherine Pugh and others involved in the Safe Art Space Task Force at a Dec. 20 press conference Photo by Brandon Block

Almost exactly one year after the eviction of DIY space the Bell Foundry, Mayor Catherine Pugh stood alongside the co-chairs of her Safe Art Space Task Force on Dec. 20, touted the “economic value” of artists, and praised the potential for vacant properties to be turned into venues, among other recommendations that are supposed to “create a citywide network of safe, cost-effective, contemporary, living, live/ work, studio, and performance space for established and emerging artists,” according to the task force’s website. Task force co-chairs Jon Laria, a real estate lawyer, and Franklin McNeil, a banker, were joined by a handful of task force members including Jeannie Howe, president of Greater Baltimore Cultural Alliance (GBCA), and Amy Bonitz, president of Baltimore Arts Realty Corporation (BARCO), both of whom chaired task force working groups. Pugh was particularly excited about the idea of repurposing abandoned school buildings into art spaces. She wanted to explore “some of the schools that we’re giving up,” she said, as a result of the vote last week to close five underperforming and low-enrollment Baltimore City schools and redistribute the students to other nearby schools. The idea of repurposing abandoned schools was floated in the task force meetings earlier in the year and was met with skepticism from some. “In theory that could be cool,” artist Vin Seadler, who maintained studio space at the Bell Foundry for two years, told me back in June. “But it’s just like why don’t we just make the schools fucking work, because the children are our future and that’s more important than my band being able to play somewhere or have a show.” Laria talked about the progress

JANUARY 3, 2018

the task force had made since it began meeting in January, shortly after the abrupt eviction of residents of the Bell Foundry, which was followed by a flurry of inspections of other DIY venues around the city and nationwide. At the time, the task force was criticized for not including anybody from the Bell Foundry, and nobody from the Bell was present on the stage on Wednesday, and Pugh, Laria, and McNeil made no direct reference to the space, which is now for sale for a million dollars. “[The task force] has responded to owners of art spaces both who came forward voluntarily, as well as in response to reports,” Laria said. One of the art spaces that came forward “in response to reports” is the Compound, a DIY live/work space that the task force has worked with since a city inspection found code compliance issues early this year. Much of that work— providing technical and legal assistance to art spaces like the Compound about things like zoning requirements and building codes—has been done by BARCO, and specifically Bonitz, who has acted on behalf of the task force as a sort of liaison between art spaces and the city. The press conference was initially scheduled to take place at the Compound and was later moved to City Hall, and only two of the Compound’s residents were present at Wednesday’s press conference. Despite winning a $200,000 state grant that was unrelated to the task force, the Compound’s fate remains unclear as it continues to face serious fundraising challenges in order to get the space up to code. CORE, a separate state grant the Compound applied for but did not receive, averaged $600,000 based on figures for 2018 awardees. “Technical assistance to artists and art spaces is probably the thing that

came out most in the process,” Laria said. He also stressed that funding would be necessary for “gap financing,” meaning existing spaces like the Compound that must make structural improvements in order to continue living at their spaces. When the Beat asked if the report recommended that the city commit public funds to art spaces that want to get up to code, Pugh redirected to private funding, one of her frequent talking points. She mentioned the $5 million donation given by Bloomberg Philanthropies earlier this month for crime fighting technology as an example. “The city can’t solve all the problems financially,” she said. “But we certainly have the capacity and ability to reach out, and we will continue to do that, and we’ll look to see what we have in public funding as well.” No specific funding sources have been identified for any of the recommended programs. While the recommendations implicate DIY spaces and the things they need to escape the fear of closure, they don’t move the needle on any of the intractable language barriers between the DIY art community and city government. What was lost amid the rhetoric at the press conference and in the task force’s recommendations—a focus on assisting the already existing work of local artists, whose living and studio spaces are in very real and vulnerable situations. Many of the recommendations presented at the press conference were similar to a list provided to me by the mayor’s office in October. These included the recommendation to “fund or seek third party funding” for a technical assistance program that would help art spaces “navigate what is a complex regulatory process,” plus offer design


resources and advice for grant or loan applications, Laria said. Another previously released clause recommended the creation of an inter-agency art space resource team (ARTeam) that would “inventory current issues and art spaces now in need of assistance,” according to an email from the mayor’s office. Laria also said the task force had also “identified several” code and regulatory changes “that will facilitate the creation of mixed-use art spaces,” meaning live/ work spaces. The task force also recommended explorating the creation of new arts districts, such as one in the historic African-American cultural district along Pennsylvania Avenue in Penn-North. Other recommendations included developing a “business plan” to make city-owned property, especially “vacant and underutilized spaces,” available for development into art spaces, as well as to “promote and link artists to already existing resources and databases,” including the GBCA’s SpaceFinder and Art in Sacred Places. After speeches from the co-chairs, Pugh thanked the task force, then gently chastised them for delays. “I was wondering when y’all was gonna get it together,” she joked to Laria in a loud-enough quasi-whisper. The recommendations, however, have been largely in place for months already according to task force members and chairs. “We’ve all sent our recommendations in for the draft,” Howe, chair of the Artists’ Needs work group, told me in June. In early September, Bonitz told me that the recommendations had been “fully vetted by city agencies and presented to the mayor,” and task force members confirmed that they had sent their final comments in around that time as well. In late September, Pugh’s spokesperson Anthony McCarthy wrote that the mayor was “looking forward to receiving a report,” and when pressed for clarification wrote that, “the report is in its final stages of production.” When I spoke to Laria and McNeil a few weeks ago, they said that the delays were due to back and forth with the mayor’s office, and not an indication of neglect by the mayor’s staff. “We want more emerging artists in Baltimore,” Pugh said. “We want the art community to feel more than welcome to be a part of our city, and I’m really excited about just my preliminary look at the report.” At the presser, Pugh also noted that she had not yet read the Safe Art Space Task Force’s report.


Ending Violence Against Sex Workers Sex Workers Outreach Project works to end violence and discrimination against sex workers, often by smashing stereotypes By Dharna Noor Melony Hill works at Impact Hub. She’s petite, but with a voice that commands a room. She founded and runs a company called Stronger Than My Struggles, which she calls a “missionbased business to help heal through the written and spoken word.” She also did sex work for over 20 years. People know her as Sexy Sapphire. She says she has 2.6 million views on Pornhub. At Baltimore’s observation of the International Day To End Violence Against Sex Workers on Dec. 17, Hill spoke before a small crowd. She’s used to sharing her work—she’s a spoken word poet—but this was her first experience discussing sex work before an audience. Hill said she’s seen people “ignore the cries of ‘me too’ from sex workers” and treat them as disposable. “No one is disposable,” she said. “They deserve respect. Respect because they’re sex workers? How about respect because they’re human beings?” As she talked about the difficulties of addressing violence against sex workers “without making all sex workers victims,” her voice wavered slightly, but she seemed confident. The event was organized by Sex Workers Outreach Project, or SWOP, and held in a small room in Impact Hub on North Avenue, just a few short blocks from “the stroll” on Charles Street where many sex workers trick nightly. This was the city’s third annual observation of the International Day To End Violence Against Sex Workers. Many depictions of sex workers show them living double lives, but Hill says that in her sex work, she honed skills she could transfer to other trades. “I was always a writer, so . . . I did a bunch of erotic stories and stuff like that,” she said. “People say [sex work] is like, easy money,” said Christa Daring, who is the community manager at Baltimore’s Impact Hub, an organizer with SWOP, and a sex worker of 10 years. “Clearly, those are people who have never done sex work . . . to do sex work full time is easily a 60 hour a week job, and most people are not getting rich doing this.” Hill said some kinds of sex work, like BDSM, can bring in more money than others.


“For me to dominate you, spit on you, things like that, I could charge more money just because I’m a black girl because it’s so rare to find a black girl that enjoys these things and knows how to dom . . . and normally, the ones that are into BDSM are white men,” she said. “It’s always been a thrill to take a white man and take his power and to show him what he deserves.” Monica Stevens, who runs a support group called Sistas of the T, co-founded the Baltimore Transgender Alliance, and helped organize the event, also spoke about the misconception that sex work is easy. “[I’m a] psychologist, a mother, a companion, a playmate, all at the same time,” she said. Sex work isn’t just hard, it can also be dangerous, especially when it’s illegal. And if you’re poor, black, or trans— as many sex workers in Baltimore are—it can be even more dangerous. At the event, organizers noted that at least two sex workers in Baltimore were killed this year: April Ellis on March 28, and Alphonsa Watson on March 22 (though it should be noted that there was some controversy at the time of Watson’s death as to whether to identify her as a sex worker). To honor Ellis and Watson, SWOP constructed a memorial for attendees to pay their respects, and Stevens drummed for several minutes on stage. “If you’re black and trans, then you also have to worry about black men’s egos and their misconceptions of manhood, because it can become dangerous and life-threatening,” said Stevens. “And so I have to deal with getting ‘put in my place,’ and it usually means something violent.” “I think that dehumanization is why we see so much violence against sex workers,” said Daring. “It’s why serial killers target sex workers, because they know that we are considered less valuable. Police frequently have referred to sex worker murders as ‘no human involved.’” “The police add to the assault because you can’t go and report it,” Hill added. “It’s either ‘you’re lying’ . . . or ‘you deserved it.’ I’ve experienced it myself. You become a double victim, and that’s really where the pain is.” Baltimore’s 2016 DOJ report backs

this up. The report showed that the Baltimore Police Department routinely refused to investigate sexual assaults and often harassed victims of sexual assault, and that in cases of sexual assault or violence against sex workers, officers often tried “to coerce sexual favors from them in exchange for avoiding arrest.” “My understanding is that that has not actually lessened,” said Daring. “And in particular we see a lot of arrests around trafficking, but really what that is frequently is a 17-year-old and 19-yearold working together, and the 19-yearold is going to go away for trafficking for 6, 10, 12 years depending on the circumstances.” One of Daring’s goals in SWOP is to show people why they should not call the police on sex workers. “If someone is loud on your stoop, calling the police is not the way to deal with that because they could potentially die from that situation or at least have their liberty deprived,” she said. “Most of those women are going to be put into men’s facilities where they’re going to potentially experience a lot more violence.” Stevens said that even among Baltimore’s activists and organizers, some “want to lock up all of the transgender sex workers” to get them out of their neighborhoods. “When I suggested to some of them that a better way to approach it might be to maybe create a system where sex workers might have their own housing and their own way of controlling their underground income, they’re like, ‘So do you mean a brothel?,” she said. “And I was like, ‘Yeah, why not?’ And so they’re like, ‘Well, that’s illegal.’ . . . They won’t look at a solution that may entirely solve their problem.” The illegality of prostitution, also known as “full service sex work,” complicates conversations about how to better sex workers’ lives. Some, like Hill, believe that this work should be regulated like other forms of labor, though she did note that “the only reason we need it is for the respect from the police and protection, which is really sucky.” Others, like Daring, think decriminalization, which would remove all penalties for engaging in sex work,


is the more practical current option: “I feel like we have that we are completely unable to treat sex workers fairly and safely on a governmental level.” Daring noted that decriminalization legislation is currently being considered in New Hampshire, California, and Washington, D.C. But Stevens pointed out that with some people, conversations about the best ways to help sex workers are often obscured by morality: “Even when you debate the ethics of it, if your ethics aren’t practical, then how ethical are they?” Like the Trans March of Resilience in November, Baltimore’s International Day To End Violence Against Sex Workers centered the need to uplift and celebrate life, rather than to mourn loss. The organizers wanted to combat the idea that sex workers should be pitied. “It’s always this self-reinforcing stereotype, which is like, ‘Well, we would never trust a sex worker to do something else, so that’s all that they’ll ever do,’” said Daring. It isn’t lost on Daring that these words are spoken in the place of their full-time employment, where they have a managerial position. Stevens echoed this sentiment: “Have you ever thought about how comfortable people are thinking of us as downtrodden and hopeless and not capable of anything?” She said when people realize that she isn’t any of those things, they react with fear. “I’m black and trans, so I’m not supposed to have any intellectual content,” she said. “So then they figure I must have grown up way out in the county somewhere, I must be from some Ivy League school, and it’s like, no, I grew up around 22nd and Greenmount.” Stevens said that her capabilities can actually make her even more susceptible to violence. “Part of oppression is being able to control people,” she said. “People get really scared of me because they can’t.” Visit for independent local, national, and international journalism that examines the underlying causes of chronic problems and searches for effective solutions.

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How Screwed Are We in 2018 Things aren’t looking good for the new year By Baynard Woods At the beginning of 2017, we were in purgatory. Remember the interregnum, after we elected Trump but before he took office? We knew it would be bad, but we also had no idea how bad or what to expect. Then Trump took office. Hundreds of people were arrested on inauguration day. Tens of thousands came out for the Women’s March. People spontaneously stormed airports when Trump’s first travel ban went into effect. By the end of the year, the Republicans passed a hit-job of a tax plan, a new travel ban went into effect, and the inauguration day protesters were on trial. And no one came out. The streets were empty. We were weary. Worn down. This is how normalization really works. And so now we think we know what will happen. We think—because news outlets keep reminding us—that it’s not so bad. The Nazis are OK. They eat cereal. But all the bad shit is just about to start. If there is one thing humans are terrible at, it is predicting the future. So I am not saying any of this will happen this year, but any of them are possible.

Economic collapse

We’ve seen it before, in various ways, numerous times. Trickle-down economics causes crisis and collapse. And despite the recession and a million other economic woes, we’ve paid remarkably few consequences for our monetary malfeasance in real terms. There has been very little inflation, there is no famine and mass starvation. Some places, like parts of Baltimore and St. Louis, have 25 percent unemployment or more. Imagine if the whole country was facing those kind of numbers. That’s what causes crime. Despite the fact that they call themselves conservatives, the current Republicans are radicals. The reason people, going back to Edmund Burke, have traditionally been conservative is because dras-

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tic changes, like those to our tax plan, can end up with disastrous unintended consequences. The rich want to steal our money, but they may end up making theirs meaningless in the process.

Environmental collapse

The future I think about the most is the end of the “Grapes of Wrath,” where hope, humanity, is represented by a young woman who lost her baby due to malnutrition letting a starving old man breast feed so he doesn’t die. It wasn’t all that long ago that we had a collapse of our ecological as well as our economic system. A dustbowl type of event could turn the Trumpian sentiment against refugees local as people flee from failing ecosystems. An even worse possibility, the planned famines of Russia. Rising sea levels. Wildfires. Hurricanes. Tornadoes. Draught. Crop failure. I don’t know what combination of these factors will hit us but it is not going to be pretty.

Terrorist attack

It’s astounding that Trump has made it longer than Bush without a massive terrorist attack. I mean, the Bush team was unprepared, belligerent, and eager for an excuse for war—and the Trump regime is worse in every regard. That we’ve made it this long is astounding. We’ve had white nationalist terrorists and other small homegrown attacks, but the question of a really big bad thing is when and not if. And it’s not inconceivable that if one does not come, there could be a more intentional “Reichstag fire” type of event. It’s also not unreasonable to think that the Nazis may strike again in a more spectacular fashion, as they did in Oklahoma City in the ‘90s. And we still won’t call them terrorists.



If there were a big attack, and even if there is not, there’s a good chance that we could go to war this year. Trump has surrounded himself with Iran hawks who seem to be pushing for an invasion there. Trump himself seems to want to fight North Korea. Oh, and in case you forgot, we are still in Iraq and Afghanistan and various other places around the world. Our empire is unsustainable—war is inevitable.

Civil War

After Charlottesville, I have come to think of the country as one in which there is an under-the-surface civil conflict that pervades everything. It’s not hard to see the antifa and alt-right fringes continuing to battle through the coming year until something far worse than the alt-right auto attack sets off a full-scale conflict. I’m not talking of the 1861 variety, but more like cities wrecked for weeks in the course of roaming battles. On the other hand, it could look more like a revolt—an uprising like we saw in Ferguson or Baltimore in 2015, the people against the police forces.

Constitutional Crisis

There are any number of paths to lead us to a Constitutional crisis. The far right has been talking about a law enforcement “coup” ever since Flynn was fired—they are itching to ditch out system. If Trump fires special counsel Robert Mueller, which the leftish #Resistance seems to think is imminent, we could see something fairly fast and dramatic. I actually don’t think that will happen. But who knows. And eventually a judge will determine that one of his actions is illegal and he will turn to the only former president he seems to admire, Andrew Jackson,

who apocryphally said of the then-Chief Justice, “John Marshall has made his decision; now let him enforce it!” But one way or another, the limits of our system are likely to be tested this year.

Curtailment of Civil Rights The Trump era began with the arrest of over 200 people protesting his inauguration. The first six of those have been found not guilty, but Trump’s Department of Justice is determined to continue prosecuting the rest. Numerous states have also passed laws attempting to criminalize protest. There’s no reason to think this won’t continue. Trump’s obsession with “fake news” and his almost daily attempts to discredit the press give us good reason to think he will attempt to curtail press freedom even more.


You know, in 1918 we had a deadly flu. Awful diseases are part of life. We’ve helped create superbugs. Bird flus and swine flus and all that have developed. Cutting back on research will not help. We might all die shitting ourselves.


You know, they did this whole moving of the capital of Israel to Jerusalem in part to please the evangelicals who think it will hasten the rapture. Wouldn’t that be amazing, if Jesus really did come and take away the evangelicals? More likely, they’ll feel left behind and try to kick start Armageddon some more.




New Year, New City The people of Baltimore offer resolutions for the city in 2018

Moving into 2018, I hope that we all resolve to look at things differently. The more I’ve learned about Baltimore’s history, the more I discover how deeply entrenched the problems that we face today are. The stuff we are dealing with was put in the works long ago. We’ve also been using the same patched-togetherbut-really-falling-apart solutions for almost as long. Now, as things come to a head, it’s time to let go of the things that don’t serve us and try something new. Let’s re-think the roles that police play in our daily lives. Let’s re-examine how all of us have digested racist and sexist policy as a fact of life. What have we simply accepted about this city that we have the power to change? - Lisa Snowden-McCray, editor-in-chief of the Baltimore Beat A few resolutions I have in mind for the city: 1. Protect yo neck and yo sister and brother. We can protect one another and ourselves. 2. When the bus is crowded let’s all make room by moving to the back of the bus as much as we can. Bus drivers skip folks on the bus stop because people don’t make room despite the plenty of room in the back of the bus. 3. Let’s make giving up your seat for women and our elders a thing again. Just be polite and give up that seat. 4. SUPPORT THE ARTIST. PAY THE ARTIST! Artists need to get paid; freelance ain’t free. 5. When your community needs you SHOW UP. We all fighting poverty and we all need one another to collectively fight the system. 6. Support black businesses. We need our black business to strive. 7. When you see five-O warn a brother. The police ain’t our friends, we can help keep each other out of the system. 8. No need to whip out your pistol, find those sneakers and resolve it on the basketball court. The homicide rate is increasing and at its highest, basketball can resolve so many meaningless beefs. 9. Black Women including Black Trans Women need us, let’s show up for them. Too many Black women are dying and no one is talking about it. - Shannon Wallace, photographer.

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One issue I really think needs to be addressed is the need for creative spaces that can house some of the underground culture in Baltimore such as the Baltimore club dance community. For example, I would love to see a multipurpose dance studio space that can house workshops for nontraditional dance genres such Baltimore club dance, breakdance, and vogue taught and led by local dancers in the community. I recently attended a dance class taught by Terry Wedington from TSU Dance Crew hosted at the Bmore Fit Studios in the county near Security Mall, and the turn out and community engagement was amazing. Uneek of Bmore Than Dance, a Baltimore club dance competition and battle league organization, hosts annual dance events. The room was filled with parents and the workshop consisted of ages from 7-30, predominately African-American. The experience made me feel like we need more of this in Baltimore City and it needs to be supported by the city. Groups like TSU Dance Crew and Bmore Than Dance have become mentors to young black males literally taking them from the streets and introducing them to dance as a way to express themselves positively. To often the dancers end up dancing in streets and alleys when they should have safe and adequate space to nurture their talents. - TT The Artist, musician, filmmaker Stop funding big developers and use that money to end homelessness and provide universal housing for all residents. - Sammy Alqasem, a member of Baltimore Palestine Solidarity and Baltimore Jewish Voice for Peace I resolve to working toward a Baltimore in 2018 where people—not political machines, not Annapolis bosses—choose their elected leaders and have the power to hold them more fully accountable. - Owen Silverman Andrews, co-chair of the Baltimore City Green Party


We need more attention placed on the youth of Baltimore, who are the future of our city. This includes but is not limited to improving the school system as a whole, as well as improving after-school, arts, and job programs. - Dave Koslowski, owner of Baby’s On Fire Let’s not pass new criminal laws in Baltimore or push for any in Annapolis despite the incredible violence in our city. A law du jour or an increased sentence isn’t likely to make anyone put down a gun. It may, however, further slow an overworked justice system. There is plenty of time on the books for judges to hand out to those who are “worthy” if courts work fairly and efficiently and prosecutors and cops are effective. And in the area of bail reform— let’s keep going and fund pretrial release options i.e.; new modes of monitoring, treatment, job training, and housing. - Todd Oppenheim, attorney in the felony trial division of the Baltimore City Public Defender’s Office I resolve that we begin to see the violence crisis as a public health crisis. That we actively work to eliminate lead poisoning across the city. That we work to ensure that our citizens are fed and living in safe housing. That we treat drug use as a symptom of substance use disorder that needs treatment, not a criminal act. And that we join together to address and heal the trauma that so many of our citizens are living within. - Jacq Jones, owner of Sugar and sex educator Take the all the money from the BPD and from Plank’s TIF and give it to the 20/20 campaign :) <3 - Sammy DiDonato, activist/organizer


New Year, New City The people of Baltimore offer resolutions for the city in 2018

I hope restaurants and music venues work towards more effective accountability structures for sexual harassment and abuse in 2018. I think these institutions need to work toward raising wages and taking better care of their employees so that they can best serve their customers and support growth. - Dylan Ubaldo, musician, chef Baltimore’s government agencies, philanthropic sector, businesses, nonprofits, and residents must make Black neighborhoods matter to make Black Lives matter. This requires an honesty about our history. Baltimore’s economy was founded on the slave trading and enslavement of Black Lives. Baltimore has practiced over a century of deeply racist hypersegregation and hyper-displacement. We are now stripping public goods from Black neighborhoods. Until we wrestle with our history and make racial equity a reality, we will not be able to heal from our social ills. - Lawrence Brown, professor at Morgan State University I’d ask the wealthy elite and government of Baltimore to acknowledge that it’s largely been young and diverse Baltimore residents investing their hearts and souls in our city’s cultural life for decades—while so many other things fell apart—that has made us an internationally applauded region for music and visual art today; I would ask these same groups to take an honest look at their involvement in the arts and resolve that their primary role be resourcing this incredible energy rather than misdirecting, disrupting, or otherwise hindering it. I’d ask everyone to recognize the hard work and financial fragility behind many of the music venues, galleries, theaters, publications, non-profits and collectives, book and record stores—and of course artists, writers, and performers—that help keep our city vital and distinct, and make their engagement with them as regular, as supportive, and as constructive as possible. - Eric Hatch, director of programming at Maryland Film Festival and the Parkway


As we ask that the city and its institutions invest in existing artistrun spaces and projects (related sideresolution: commission a local POC artist or group to replace the Confederate monuments), the artists running those projects must be held accountable and need to consider all aspects of what it means to be a “safe space.” Start by recognizing that your gallery or club or series or development or whatever is not in fact a safe space because such a thing exists only in degrees—and it doesn’t stop at fire codes or even the diversity of your board or staff. You can and should fire or ban people known for racist, sexist, transphobic, anti-sex-worker, or otherwise oppressive behavior, but it’s impossible to fully vet every single person who enters your space. So be on your toes, be empathetic, and be ready to intervene even if it hurts your endeavor in the short-term. You can bet that if you do nothing, it’ll damage your work in the long run, especially given this necessary cultural reckoning we’re experiencing. Don’t claim to be a safe space; work toward becoming a safer space. And apologize and repair when you fuck up. All this makes for better art, anyway, and the rest of the city can benefit and learn from these practices too. - Maura Callahan, deputy editor of the Baltimore Beat Nearly one third of Baltimoreans rely on walking, transit, and bicycling to get to work, school, healthcare, and social gatherings. We do not own cars. Since the 1940s our city’s historically walkable streets and public spaces have been dangerously reconfigured to serve the needs of speeding cars. Public health indicators show that pedestrians pay the price through asthma, food deserts, inaccessible jobs, open space barriers (like the highways around Druid Hill Park), and death by distracted drivers. For the safety, health, and economic growth of Baltimore City, in 2018 DOT must embrace a complete streets philosophy that equitably rebalances pedestrian, transit, cyclist, and motorist needs. - Graham Coreil Allen, public artist


The city needs to desperately work on dismantling the institutional racism that exists not only amongst police but also within the judicial system and in public schools. Also we need to confront the lack of economic support for black arts communities/institutions and demand more economic support from major arts institutions in Baltimore City. For instance, we need more creative spaces owned and/or managed by native black Baltimore folk, so there needs to be more institutional and government funding to aid that movement. - Abdu Ali, musician What value does Baltimore City place on artists, art spaces, and arts districts? Do the arts and culture create economic value, income, and jobs here? In a city where a certain field is thriving, it makes logical sense for our leaders to invest in it, to research the strategies of other small cities with a robust art and culture sector, and figure out how to maximize its potential for success. It is not acceptable for a city to benefit from the labor of artists, to claim itself as a cultural destination, when it invests zero dollars in the arts. It is not acceptable that our official arts districts receive no funding from the city, and that derelict landlords are allowed to continue the practice of land banking in these areas without financial repercussion. Simple changes I’d like to see that would improve Baltimore for everyone: 1. Fiscal penalties levied on those who hold vacant buildings, especially in arts districts, to motivate them to sell or renovate and 2. City funding or low interest loans for building purchase and renovation, especially live-work spaces, with a requirement that buyers live or work in the space for five years. - Cara Ober, editor at BmoreArt My wish for Baltimore City in 2018: Every city resident should find a way to give back. Be a mentor. Hire a new local employee. Teach someone to read. Donate to a worthy LOCAL charity. Visit an elderly neighbor. Volunteer at your nearest public school. No matter your income or age, everyone can do something to help someone in need. - Kevin Naff, publisher at the Baltimore Beat

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New Year, New City The people of Baltimore offer resolutions for the city in 2018

Too many pedestrians die on our streets. If dirt bikes ran over them, or drunk drivers, we would all be morally outraged and the city would be locked down, but because it is ordinary drivers of cars, we don’t have the same moral—or legal—outrage. The police who write the tickets drive, the reporters who report on traffic “accidents” drive, and so none of them see it in the same way they would if there were something to differentiate it from them. It would be great to outlaw cars in the city altogether. Or to make all roads toll roads. Or stop subsidizing suburbs to the tune of $100 million lost due to congestion in Maryland last year. But here’s something even we can manage: outlaw turns on red. Yes, you may have to sit in your car just a little longer each day, but you also will be far less likely to run over a pedestrian—which is very much worth it. - Baynard Woods, reporter at The Real News Network In 2018 I would like to see more teamwork between city hall and the citizens of Baltimore. I think the mayor’s office needs to collaborate more with the Baltimore Ceasefire campaign. I would like to also see more neighborhood outreach from the police force. Maybe the different district police stations can have a “meet your neighbor” day. Meaning the police would go to social hubs like barbershops, supermarkets, boutiques, etc. and create fellowship with the communities they serve. This would help start healthier conversations, and ultimately help with better policing and fostering a safer Baltimore City. - DDm, musician 1. That the city government adopts a policy that all bills, loans, bonds or tax deferred investments must lift up the lives of those in the poorest communities through jobs, housing, and better schools, or they are not worth doing. 2. Instead of spending $17 million on Boston-based Roca to end violence in Baltimore, the city invests that money, and additional funds, with community groups that already working to stem violence and heal and strengthen communities. 3. The city will support community schools so buildings can be used as health clinics, daycare centers, evening classrooms, and community centers. Let’s start there. - Marc Steiner, “The Marc Steiner Show” and Center For Emerging Media

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Expand the network of people who are aware of opportunities. Since moving here from Atlanta eight years ago I have been able to make a lane for myself as a creative entrepreneur, and much of this has been because of my network. Though humbled and grateful I can’t help but to think of all those who are as qualified but simply do not have a network that informs them about opportunities. They do not get emails from MICA, or invites to closed Facebook groups that post living salary job opportunities, or have friends in the nonprofit sector who call them up and remind them to apply for a fellowship before the deadline passes. Intentional or not, the dissemination of opportunity is largely reserved to those who have the most, and excludes Baltimore-bornand-raised creators who not only have invested interest in the direction of the city, but also more context, history, and experience to create something that is truly needed. Support the people who know how to support Baltimore. - Malaika Aminata Clements, filmmaker I don’t need 100 words to express my hopes for Baltimore for the coming year. It’s simple: Please make our city safe for all of its citizens. That’s what I wish. - Alan Hirsch, Donna’s co-owner, Baltimore City Paper co-founder 1. Invest in neighborhoods that need it and stop blindly feeding the white gentrification machine. I get it. We want things to look pretty so people want to move here and generate economic growth. But at whose expense? We need to figure out how to spread the wealth in meaningful ways that better Baltimore as a whole. That would be a real game-changer. 2. Double the number of teachers in Baltimore City Schools. I know this is probably impossible. But . . . reducing class size could solve a lot. 3. Please, please, please find a better solution to public transportation. Pretty please? - Genevieve de Mahy, artistic director at Single Carrot Theatre


Remember when our public benches said, “Baltimore: the City that Reads!?” Well, back in September, first day of school, only homework assignment I gave was: Get a library book for independent reading. My students had two weeks but only nine out of 78 brought in a book! One excuse after another, the main one being, “We owe the library money so we can’t take out any books.” What is a teacher supposed to say to that? My 2018 resolution to Baltimore? Wipe the library database clean and issue brand new library cards to all! Make Baltimore the City that Reads, AGAIN! - Valencia D. Clay, teacher at Baltimore Design School Prioritize direct action. It is by far the most effective way to create change and always has been (I say this while also acknowledging that it means asking people to put their bodies in harm’s way and given the state of protest and, well, white cowardice, that means primarily black and brown bodies in harm’s way). That said, the snail’s pace toward change that our mayor and our police commissioner (sub-resolution: fire Kevin Davis; sub-sub resolution: disband the BPD and start over, Camden, NJ-style) and others in power float, all but tells people that it’s only if they get out into the streets, pull out the lockboxes, and consider concepts such as occupation that change will happen. And I would ask our elected officials who are ostensibly with it to join in. Y’all can get arrested, you know; you’ll be OK. And if you are not comfortable with direct action, then sit on the sidelines, but please do not shame or critique or even have an opinion on the people out there doing it and reconsider why you often value property, respectability, and city ordinances over people. - Brandon Soderberg, managing editor of the Baltimore Beat In 2018, Baltimore City should dedicate itself to ending violence againist all women and girls, especially for Black women in a city that’s 63.3 percent Black and 54.3 percent of that population are Black women. Black women face high rates of intimate partner violence, rape, and homicide. Black girls and women also experience institutionalized racism and sexism; they are disproportionately punished in school, funneled into the criminal justice system after surviving physical or sexual abuse, disproportionately subjected to racial and sexual profiling and police brutality, and incarcerated at rates far exceeding their share of the population. By placing Black women’s issues at the forefront of social and policy movements, we can develop initiatives that will resolve the root causes of unrest that remain in our communities. - Brittany T. Oliver, director of Not Without Black Women


New Year, New City The people of Baltimore offer resolutions for the city in 2018

When I thought about what my resolution for Baltimore is I asked the smartest people I know: my four younger siblings. Two were too cool to answer so my sister (Niara, 15) and second brother (Kiserian, 17) answered. Their biggest concern was “the youth” which makes sense because they are youth. The youth in the city know what they need and we, the adults, often make up excuses to keep ourselves in power and keep the youth in check. It’s not just youth though, Baltimore seems to be a city where the same 20 or so people are all running things. It hasn’t worked in the past so why the hell would it work going forward? Baltimore, if we want change, if we want growth, we gotta get out of the way. - Imani Spence, writer, producer My resolution for Baltimore is that we make our plans using much bigger imaginations. No more stop-gap solutions, taking a few dollars from here to put there, hoping we can stop violence by putting a few more cops on the street or hearing one more strongly-worded press conference declaring violence must stop. So many Baltimoreans are thinking so much bigger and deeper, and I hope the rest of us listens to those voices, and hears them. And we should listen with Emma Goldman’s insistence in mind: We call things “impractical” because they don’t make sense in terms of the world we have. But the world we have isn’t working. We need all the impractical ideas we can get. - Kate Drabinski, professor at UMBC, writer Hi! It’s the Baltimore Art Scene here . . . I’ve been feeling fractured and stagnant these days so my resolution for 2018 is to go on a big social media diet and get out of the house as much as possible. I want to have real conversations, you know, IRL. I want to get to know myself on a deeper level, especially the parts I have forgotten about or overlooked. 2017 has been a rough year. It almost broke me so this is the year I focus on reconnecting with my body and practicing radical selflove. I might also get into urban foraging and learn how to pickle stuff. - Christine Ferrera, artist and comedian


I would like Baltimore’s arts organizations to resolve to hold each other accountable for equitable compensation of their workers and for active pursuit of racial and gender parity in their boards, staff, and other decision-making bodies. I would like each organization to resolve to view internal systemic imbalances through a historical lens without defensiveness, and I would like every artist in Baltimore to refuse to work for free. - Rahne Alexander, artist, musician, writer My new year’s resolution for Baltimore City is challenging the Threshold Model of Collective Behavior in government, higher education, and nonprofit leadership. Low threshold is required to bring about rapid growth and innovation. The greatest action anyone can take to change your reality is to change your own behavior, not waiting for the world to change around you. Too often, poor decisions are made by toxic group thinking or in fear of stigma. In other words, think for yourself! Your threshold is the number of people who have to do something before you join in. The city has a extremely high threshold that holds even the brightest minds back. Leadership needs outliers or perfectionists. In the words of Malcolm Gladwell, “Someone who puts the responsibility of mastering the task at hand ahead of all social considerations, who would rather be right than liked.” What’s your threshold? - C Harvey, founder of Baltimore’s Gifted and Generation of Dreamers, artist My resolution for Baltimore would be for its residents to break down barriers of class and race by connecting with people unlike themselves. We all get comfortable in our siloed, known worlds and think we understand the issues of Baltimore. No one understands them all. The only way to get a closer understanding is to listen to those who are living with the problems of the city every day. Isolation and lack of connection are at the heart of a lot of our troubles. - Susan G. Dunn, editor and publisher of the Baltimore Fishbowl


Baltimore resolves to call for a special state millionaires tax that would fund under-resourced public schools. Maryland used to have a millionaires tax and now that there will be large tax breaks at the federal level, it’s time to bring it back. Baltimore also resolves to implement a special three percent land transfer tax for houses that sell for over $750 thousand. Money will be used for the same purpose, funding for public schools. Baltimore also resolves to establish a citizens commission to investigate other means of raising revenue for city schools. The commission will also look at ways to improve the quality of education and services provided by the school system. - Paul Jay, CEO and senior editor of the Real News Network 2017 will be known as the year of Baltimore’s highest ever per capita homicide rate. This has prompted calls for harsher and more aggressive policing. But this is also the year that alternative narratives are becoming mainstream. The Sun rightfully named Ceasefire cofounder Erricka Bridgeford Marylander of the Year for her efforts to bring peace through conflict resolution. But The Sun shamefully excluded important context Bridgeford has discussed with The Beat, The Real News, and others who will listen: We must tackle the root causes of violence. For too long Baltimore has ignored the role of statesponsored segregation, redlining, and mass incarceration. New York Mayor Bill DeBlasio has credited his police policies for the lowest murder crime rate in generations. But criminologists have linked crime and economic conditions. Baltimore youth have the worst economic mobility in the entire country. Just as state policies enacted discriminatory policies that have devastated so many communities, the state must take the lead in correcting this. Let 2018 be the first year of a new path to a better, stronger Baltimore. - Jaisal Noor, producer for the Real News Network

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New Year, New City The people of Baltimore offer resolutions for the city in 2018 We asked you what resolutions you’d offer for the city of Baltimore — whether it be for city officials, residents,organizations, or the like — and you answered. Here are some of the responses we got by way of our Facebook, Instagram, and Twitter accounts.

(Lisa Snowden-McCray)

More Baltimore City students making their way to college, staying to completion. (@BuildingSTEPS)

For the love of all that is holy, can we get thru council to resolve not to pass through budget until we audit the BPD? Even just OT as Pugh promised but didn’t deliver. (@melissa_schober)

Resolve to actually keep campaign promises. Resolve to not only actually complete timely audits, but to make necessary improvements upon seeing the results. (@JamesIHammond)

Stop referring overdue water bills to tax lien sales, where the debt is sold to hedge funds and then swiftly inflated many times by penalties and legal charges allowing speculators to snap up homes for pennies on the dollar. (@chanceofraincom)

Baltimore judges, in 2018 resolve to stop tearing families apart and ruining lives by making pretrial release more just. The presumption of innocence is not a lofty ideal but a constitutional fact. Privilege should not determine freedom. Presume release, not bail. (@BeattyLaw)

New Mayor, new Commissioner and New State’s Attorney. (@Annamarie6755)

For the citizens: “boldly step into your power.” There things to be done each one has a gift, activate it. (@lifeisblog)

Disband the BPD! (@matthewyake)

Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. Audits. (@teddypasketti)

I had a ton of success with my resolution for this year: pick up more garbage! I’d recommend a #30daysofpickinguplitter challenge to anyone. I #riseandpickuplitter daily now. Still thinking about my resolution for 2018 though. (@elipousson)

Fellow citizens, can we all resolve to stop littering and start yielding to pedestrians at crosswalks? (@earleyjared)

Improve the fucking transit! Get SERIOUS about investing in rail transit! And force the state to alter the school funding formula to accurately find schools based on ACTUAL City finances as opposed to the city’s on-paper finances. (@KeifyG)

Abolish the police. (@Lavender.coffin)

Abolish the police. (@Gaiastreetart)

Have rec centers that have quality programs for ages 2-102. (@Lovingmycitylife)

JANUARY 3, 2018



New Year, New City The people of Baltimore offer resolutions for the city in 2018

Stop voting for the same shit ball ass politicians who continually sell out the city. (@Harmavelli)

Keep producing what you’re producing & take risks. I really love it & it’s inspiring. You found a space in history for authenticity & growth & you’ve chosen to take it. I intend to help you reach that goal! (@Anakyn_j.k._gatsby)

For grassroots organizations, community organizers, peer networks and activists to continually attempt to put pressure on and hold accountable the structure around us that is making decisions for those of us who are lower class and black. Also for those people to be able to hold space for themselves to do self care in the actual sense of the word all year. (@Cmmnctnbrkdwn)

Let’s resolve to hear and try new ideas, moving beyond the conventional wisdom passed down to us from “the great and good” of Baltimore’s political establishment and its non-profit industrial complex. (@briangaither)

More investment in positive outlets for the youth of the city: the arts, rec centers, sports, schools, STEM, and more. The city won’t get better if we don’t invest in the future. And... instead of over developing already gentrified neighborhoods how about we do something about the abandoned houses and neighborhoods in other parts of the city. There are houses held up by braces so they don’t fall on people. (@turtleberry)

I want the academic institutions of Baltimore, and particularly the medical centers (@ HopkinsMedicine and @ UMMC) to be true partners and sources of healing for black people in the city. (@ZackBergerMDPhD)

Recognize the farreaching cost of gun violence, especially to young victims, but to every Baltimorean of those lives for the potential for our collective future. Fewer stats and more human costs! (@marthasjones_)

Meaningful investment (emotional as well as financial) in the youth of Baltimore.

In 2018, I want to see the city emerge as the real leader of the region. Openly dismiss any calls from the GBC for shaking down city taxpayers for more money for police and/or the Inner Harbor. Let’s see our communities reenergized with true neighborhood investment. (@morbrem)

My #1 New Year’s resolution for Baltimore City: Our mayor and elected officials need to treat public transportation (BUS! BUS! ) as a public good, not something for poor people, the elderly, and school kids. (@Danielle_Bmore)

Resolve not to double park in front of an available parking spot. (Mark Mongelluzzo)

In 2018 we need to reinstate the free breakfast program, People’s Free Medical Centers (PFMC), Inter youth Institute or Community Schools, SAFE & Free Food Program. In an era where we do not have ANY government working for the people, we need to create it! (@nikifab77)

(Jonathan Jacobs)



JANUARY 3, 2018

A HIATUS, AGAIN The Contemporary, Baltimore’s nationally recognized nomadic art museum, suspends operations By Maura Callahan

Abigail DeVille’s “Only When It’s Dark Enough Can You See The Stars” at the former Peale Museum. Photo by Olivia Obineme, courtesy Facebook.

The city’s non-collecting, nomadic art museum is once again suspending operations four years after its relaunch. The board of The Contemporary released a statement Monday night emphasizing that the institution is not closing and that the board will stay on “to review our strategic goals and determine the most optimal, sustainable way to deliver on our shared vision.” The staff of The Contemporary, however, served their last days on Dec. 8. At that point, the only two remaining employees were Artistic Director Ginevra Shay and Education Director Lee Heinemann—both artists independent of The Contemporary—following the departures of Executive Director Deana Haggag in March of this year and Deputy-turned-Interim Director Lu Zhang later in the year. Shay and Heinemann were unable to provide comment to the Beat. “Baltimore should be very proud of the outstanding work The Contemporary’s dedicated staff members Deana Haggag, Ginevra Shay, Lu Zhang and Lee Heinemann accomplished since the museum’s relaunch over four years ago,” The Contemporary’s founder, George Ciscle, wrote to the Beat. “During that time they, along with incredible interns and legions of volunteers, envisioned and implemented artistic projects and collaborative programming whose impact will be felt for many years to come.” The Contemporary is no stranger to drastic shifts. Founded in Baltimore in 1989 by Ciscle, the institution hosted its first exhibition in 1990 highlighting work by established and emerging artists impacted by AIDS at the old Famous Ballroom on Charles Street in response to the AIDS crisis and the cultural strike “A Day Without Art.” The Contemporary continued to put on ambitious exhibitions by artists including Alison Saar and Fred Wilson in partnered museums and various borrowed spaces around the city until 1999, when The Contemporary obtained a permanent space in Mount Vernon near the Walters Art Museum. During that time, The Contem-

JANUARY 3, 2018

porary worked with more internationally-recognized names like Chris Burden, Felix Gonzalez-Torres, and Louise Bourgeois, among others. The Contemporary moved out of its building in 2011, suspended operations in 2012, and relaunched in 2013, bringing in Haggag, then a recent graduate of MICA’s Curatorial Practice MFA program, as director and returning to its original model as a roaming museum. “From its inception, The Contemporary has been an ever-evolving institution that has gone through many different transformations and iterations,” says Jessica Lanzillotti, chair of The Contemporary board and general manager at Everyman Theatre, in Monday’s press release announcing the suspension of operations. Following its relaunch, the museum put on its first exhibition in nearly three years in 2015 with Victoria Fu’s luminous audio-visual exhibition “Bubble Over Green” in the vacant, brutalist KAGRO building on North Avenue. Later that same year, The Contemporary posted up outside Lexington Market and other locations by way of Miriam Simun’s mobile food truck performance “GhostFood,” a collaboration with the Program in Museums and Society at Johns Hopkins University. In 2016, the museum invited Abigail DeVille to research and transform the former Peale Museum downtown into an immersive, site-specific installation titled “Only When It’s Dark Enough Can You See The Stars”; then earlier this year, they had Michael Jones McKean construct “The Ground,” a massive, multi-level structure dropped into the middle of the old Hutzler Brothers Palace Building on Howard Street. The exhibitions would often include related programming and performances from local artists. In between these exhibitions, The Contemporary offered a string of free artist talks and speaker series co-hosted with local galleries, most taking place at the Baltimore School for the Arts. Speakers included among others legendary art activists the Guerrilla Girls, celebrity


art critic Jerry Saltz, photographer LaToya Ruby Frazier, musician and professional partier Andrew W.K., interdisciplinary artist Coco Fusco, and sculptor-performance artist Nick Cave. Most recently, The Contemporary hosted a talk in October with artist Stephanie Dinkins and Bina48, an advanced artificial intelligence being. Since its relaunch, The Contemporary has also put out four editions of its robust, intern-produced publication “Scroll”; brought visiting established artists to local artists’ studios; hosted a large artist retreat at the Pearlstone Center; adopted the youth-led production company Get Your Life! founded by Education Director Lee Heinemann; and established the Grit Fund in 2015, annually providing several juried grants in amounts between $1,000 to $6,000 to local projects, among them LabBodies’ Performance Art Review, dance party Blush + Brews, print magazine True Laurels, and artist collective Balti Gurls. (Look to BmoreArt’s Cara Ober here for reflections on The Contemporary’s accomplishments since its reopening.) Despite the scale and quantity of The Contemporary’s projects, the institution struggled to keep going. “Funding is just not available, or funding is often relegated to institutions that are so much larger than The Contemporary,” former Artistic Director Deana Haggag told the Beat following the board’s announcement. “How does something like that sustain itself in a market like Baltimore? We never figured it out clearly. I guess from the onset The Contemporary looked incredibly successful. . . . I’m curious now as a nonprofit administrator how clear we can be about the challenges these places face so it doesn’t feel like a shock every time when it’s hitting ground zero. But we started at zero every year and at a certain point it just exhausted all of us, clearly.” Haggag announced in January that she would be leaving to take up the post of president of the USA—that is, United States Artists, a Chicago-based organization that offers $50,000 fellowships to artists (past recipients



The Contemporary’s last exhibition “The Ground,” featuring work by Michael Jones McKean. Photo by Olivia Obineme, courtesy Facebook

have included Claudia Rankine, Barry Jenkins, Miranda July, and Baltimore’s own Liz Lerman and Joyce J. Scott, among nearly 500 others). “Having almost a year away from The Contemporary has made me have the realization that doing that work with the group of people that was hired there at the time and with the board that was there, in particular with [former Board President] Terry Squyres, is the best thing I think I will ever do with my life,” Haggag said. “I don’t know if that kind of energy is replicable.” At the time of her announcement, the board of The Contemporary said it would embark on a national search for Haggag’s replacement. According to Monday’s press release, however, the search was unsuccessful. “This past spring and summer, The Contemporary convened a search committee comprised of Board members, staff and community influencers to conduct a national search for an executive director,” the release reads. “The search did not yield a candidate to lead The Contemporary into the future.” The board says it will take the next the next several months to determine a course of action. With the staff that fueled the first relaunch gone—and federal and state support for the arts perpetually but especially now under threat—the possibility of another resurrection seems uncertain, perhaps even unlikely. As Haggag notes, few were optimistic about the institution’s future when it first suspended operations and took time to regroup. But given that The Contemporary has done it before and maintained an enthusiastic following through its series of transformations, another iteration of The Contemporary may well be in Baltimore’s future. “In the meantime, I understand that there’s a loss, but I think ultimately it’s the right call to take time to figure it out,” Haggag said. “And I think that Baltimore should try to advocate for a kind of protection for the institutions that they think really represent them.”


American Visionary Art Museum, 800 Key Highway. (410) 244-1900, “The Great Mystery Show,” A group exhibition of self-taught artists exploring the unknown and human imagination. Through Sept. 2. “Reverend Albert Lee Wagner: Miracle At Midnight,” Art by the late visionary artist who experienced a spiritual epiphany at age 50. Ongoing. Area 405, 405 E. Oliver St., “Retreat,” In a dual exhibition, Baltimore-based artist Lu Zhang presents an in-flux, experimental installation ‘Headspace’ alongside New York-based artist William Lamson’s video installation ‘Untitled’ (Infinity Camera).’ Through Jan. 13. Baltimore City Hall, 100 Holliday St., (410) 396-3100, “WOKE,” Recent abstract paintings by Alma Roberts. Through Jan. 15. Baltimore Museum of Art, 10 Art Museum Drive, (443) 573-1700, “Njideka Akunyili Crosby: Counterparts,” A suite of new paintings by 2017 MacArthur fellow Njideka Akunyili Crosby drawing from her experience as a Nigerian immigrant. Through March 18. “Phaan Howng: The Succession of Nature,” in collaboration with Blue Water Baltimore, local artist Phaan Howng highlights local environmental issues through a toxic-toned immersive installation. Through Aug. 31. “Spiral Play: Loving in the ‘80s,” Three dimensional collages in intense colors and spiral shapes by the late African-American abstract expressionist Al Loving. Through April 15. “Annet Couwenberg: From Digital to Damask,” Maryland-based artist Annet Couwenberg investigates the intersections of science, art, history, and technology through 11 textile works. Through Feb. 18. “Tomás Saraceno: Entangled Orbits,” Web-like clusters of iridescent-paneled modules are suspended in the museum’s East Lobby. Through June 10. “Black Box: Kara Walker & Hank Willis Thomas,” ‘Salvation’ by Kara Walker and ‘And I Can’t Run’ by Hank Willis Thomas are paired as explorations of the legacy of slavery. Through March 18. “Crossing Borders: Mexican Modernist Prints,” 30 prints and drawings by artists including Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, and Elizabeth Catlett. Through March 11. “Beyond Flight: Birds in African Art,” Approximately 20 works demonstrate the symbolic roles birds serve within African cultures. Through June 10. “Head Back & High: Senga Nengudi, Performance Objects (1976–2015),” Performance photography and a video documenting more than 40 years of work from American artist Senga Negudi. Through May 27. Bromo Seltzer Arts Tower, 21 S. Eutaw St., (443) 874-3596, “Moonifestations of Ancestral Earth: a voyage of expansion,” A celestial mixed media exhibition by Baltimore duo The Dandy Vagabonds (xander dumas and elliot moonstone). Closing reception Jan. 27 (guided meditation at noon, artist talk at 2:30 p.m.). Cardinal, 1758 Park Ave., “The Post Contemporary Record Store,” Works by Seth Scriver, Neil Feather, Margaret Noble, Rutherford Chang, the Vinyl Vagabonds, and Vaunita Goodman examine the relationship between visual art and vinyl music culture. Artist talks and performances Jan. 19; on view through Jan. 27. C. Grimaldis Gallery, 523 N. Charles St., (410)539-1080, “Tara Sellios: Sinuous,” Photographs and watercolor and ink drawings from Boston-based artist Tara Sellios. Through Dec. 23. “Ben Marcin: Structures,” New photographs from the self-taught Baltimore photographer’s ongoing series of abstract grids. Through Jan. 12. Creative Alliance, 3134 Eastern Ave., (410) 276-1651, “James Hennessey: Enduring Concerns,” A career-spanning retrospective showcases large work produced by the former longtime MICA professor over the course of more than 50 years. Through Jan. 13. “Peter Stern: Third Spaces,” Aerial photographs of the Mid-Atlantic by photographer and pilot Peter Stern. Opening reception Jan. 5, 6-8 p.m.; gallery talk Jan. 11, 6:45 p.m.; on view through Jan. 27. Goya Contemporary, 3000 Chestnut Ave., Mill Centre #214, (410) 366-2001, “Lilian Hoover,” A solo exhibition by the local painter. Jan. 10-March 1. Guest Spot At The Reinstitute, 1715 N. Calvert St., (718) 541-9672, “Not on View: Re/Activating the Archive and its A/Effects,” Work from Conrad Bakker, Eric Doeringer, Noah Fischer, Kang Seung Lee, Antoine Lefebvre, Kameelah Janan Rasheed, and Paul Soulellis; with selected ephemera, texts, and archival materials from John Cage, Juan Caloca, Sylvia Federici, Coco Fusco, the Guerrilla Girls, Martin Herbert, David Horvitz, the Journal of Aesthetics & Protest, Miranda July, Sister Corita Kent, Zoe Leonard, Mess Hall, Occupy Museums, John O’Connor, Press Press, Public Collectors, The Reinstitute Press, Gregory Sholette, Temporary Services, W.A.G.E. (Working Artists and the Greater Economy), Kara Walker, and Caroline Woolard. Through Jan. 6. Maryland Historical Society, 201 W. Monument St., (410) 685-3750, “Unscripted Moments: The Life & Photography of Joseph Kohl,” Photographs from c.1980 through 2002 by the late Baltimore photojournalist Joseph Kohl. Ongoing. Project 1628, 1628 Bolton St., contact to view. “Katie Pumphrey: Rearranging Rooms,” Through large-scale paintings and installation, local artist Katie Pumphrey explores the tension between movement and stillness. Artist talk and closing reception Jan. 4, 6-8 p.m. Reginald F. Lewis Museum of Maryland African American History and Culture, 830 E. Pratt St., (443) 263-1800, “Maryland Collects: Jacob Lawrence,” Over 50 prints by Jacob Lawrence from personal collections in and around Maryland. Through Jan. 7. School 33 Art Center, 1427 Light St., (410) 396-4641, “Slow Form,” A juried exhibition featuring the work of Mary Baum, Mollye Bendell, Kei Ito, Elizabeth Mead, Lake Newton, Nick Primo, Margaret Rorison, Matthew Sepielli, and Doohyun Yoon. Closing day gallery talk Jan. 6, 2-4 p.m.. “Decompositions,” A solo exhibition by Chris Zickefoose employing common construction materials and negative space. Through Jan. 6. “Lost Earring,” A multi-media installation by Elliot Doughtie considers the shift of cultural touchstones and the evolution of the artist’s own queer sexuality and transgender body. Through Jan. 6. St. Charles Projects, 2701 N. Charles St., “Pre-Verse,” Paintings by June Culp, Joshua Bienko, and Delphine Hennelly in conversation with Grace Hartigan. Through mid-January. Terrault, 218 W. Saratoga St., 3rd floor, (336) 707-5511, “Cut, Copy, Paste. It’s Not What You Think,” New mixed media works by local artist Alex Ebstein and New York-based artist Leah Guadagnoli. Opening reception Jan. 6, 7-10 p.m.; on view through Feb. 17. The Walters Art Museum, 600 N. Charles St., (410)547-9000, “Fabergé and the Russian Crafts Tradition: An Empire’s Legacy,” 70 works including the Walters’ two famed Fabergé Easter eggs alongside gold and silver vessels, enamels, jewelry, carved stones, and icons from Russia. Through June 24. “After Fabergé,” Five digital prints of surreal, digitally-rendered Fabergé eggs by artist Jonathan Monaghan complement the exhibition “Fabergé and the Russian Crafts Tradition.” Through June 24. Y:ART, 3402 Gough St., (443) 928-2272, “The Miniature Holiday Exhibition,” Small artworks that serve well as gifts by Craig Haupt, Diana Sanlorenzo Campbell, Edmond Praybe, Justin Wiest, Ken Karlic, Lois Borgenicht, Mary Bickford, Nieves Saah, Ricardo Hoegg, Roland Phillips, Sally Hopkins, and Susan McCurdy Yonkers. Through Jan. 13.


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VENUES An Die Musik, 409 N. Charles St., (410) 385-2638, Anthem, 901 Wharf St. SW, Washington, D.C., (202) 888-0020, Baltimore Soundstage, 124 Market Place, (410) 244-0057, Bertha’s, 734 S. Broadway, (410) 3275795, The Birchmere, 3701 Mount Vernon Ave., Alexandria, VA, (703) 549-7500, The Black Cat, 1811 14th St. NW, Washington, D.C., (202) 667-4490, blackcatdc. com Cat’s Eye Pub, 1730 Thames St., (410) 276-9866, Creative Alliance, 3134 Eastern Ave., (410) 276-1651, The Crown, 1910 N. Charles St., (410) 625-4848, The 8x10, 10 E. Cross St., (410) 625-2000, E.M.P. Collective, 307 W. Baltimore St., (410) 244-0785, Echostage, 2135 Queens Chapel Road NE, Washington, D.C., (202) 503-2330, The Fillmore Silver Spring, 8656 Colesville Road, (301) 960-9999, Germano’s Piattini, 300 S. High St., (410) 752-4515, Joe Squared, 33 W. North Ave., (410) 545-0444, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St., (410) 783-8000, bsomusic. org Lyric Opera House, 140 W. Mount Royal Ave., (410) 685-5086, Merriweather Post Pavilion, 10475 Little Patuxent Pkwy., Columbia, (410) 7155550, Metro Gallery, 1700 N. Charles St., (410) 244-0899, Motor House, 120 W. North Ave., (410) 637-8300, 9:30 Club, 815 V St. NW, Washington, D.C., (202) 265-0930, The Ottobar, 2549 N. Howard St., (410) 662-0069, Pier Six Pavillion, 731 Eastern Ave., (410) 547-7200, pier-six-pavilion Rams Head Live, 20 Market Place, (410) 244-1131, Rams Head On Stage, 33 West St., Annapolis, (410) 268-4545, Red Room, 425 E. 31st St., Reverb, 2112 N. Charles St., (443) 4474325, Royal Farms Arena, 201 W. Baltimore St., (410) 347-2020, The Sidebar, 218 E. Lexington St., (410) 659-4130, Tin Roof, 32 Market Place, (443) 8738137, U Street Music Hall, 1115A U St. NW, Washington, D.C., (202) 588-1889, The Windup Space, 12 W. North Ave., (410) 244-8855,

J ANUAR Y 3 , 2 0 1 8

MUSIC W e d . 3

Motor House. Anbessa Orchestra. 9:30 Club. The Dead Milkmen, Mindless Faith. Rams Head Live. Get The Led Out. Rams Head On Stage. Bruce In The USA. Reverb. The Backflip Yetis, The Vibesmen, Warren Russell, DJ Average Joe Nigel. The Sidebar. Classic Wrestling Night. Tin Roof. Doc Marten and the Flannels. U Street Music Hall. Jungle Fever, Mista Selecta, Mane Squeeze.

Bertha’s. Big Bertha’s Rhythm Kings. Cat’s Eye Pub. Automatic Slim & His Sensational Band. The Sidebar. The Neckbeards, Have a Good Season, The Flat Stanleys, Triple Backflip Committee. Tin Roof. Chris Diller. The Windup Space. Baltimore Boom Bap Society.

T h u . 4

Baltimore Soundstage. Zoso - A Tribute to Led Zeppelin. Bertha’s. Jeff Reed Trio. The Birchmere. Rik Emmett of Triumph – Acoustic Duo Performance with Dave Dunlop. Cat’s Eye Pub. Pete Kanaras Blues Band. Joseph Meyerhoff Symphony Hall. BSO Pulse: Tank and the Bangas. Metro Gallery. Sorrowseed, Nahja Mora, Snakefeast, DJ Candy Corn. Motor House. Mood2Soul with DJ Discuji. The Ottobar. Dirty Lives, Lazlo Lee & The Motherless Children, Barnyard Sharks, DJs King Gilbert and Johnny Alonso. Rams Head On Stage. The Levin Brothers. The Sidebar. Garuda Face, Skapparoneday, Ruins of the Leviathan. Tin Roof. As If - A ‘90s Tribute. U Street Music Hall. Glide.

F r i . 5

Baltimore Soundstage. Jantsen, Anoxex, Nolweez, Seromatic, Delete Me, Born I Music, Powder Room Etiquette. Bertha’s. The Juke Drivers. The Birchmere. Roamfest. Cat’s Eye Pub. Katie Bowers Band; Bad Neighbors. The Crown. First Friday Karaoke Forever. The 8x10. Mother’s 2nd Annual Winter Jam with Cris Jacobs and Friends, Amy Helm. The Fillmore Silver Spring. Lightshow. Germano’s Piattini. Lionel D. Lyles II. Joe Squared. Kurt Deemer Band, Harlan County Kings, Go Dog Go. Joseph Meyerhoff Symphony Hall. Baltimore Symphony Orchestra: Mozart’s Jupiter. Metro Gallery. Bollymore, Jacob Marley, DJ Amyrekha, Ami Dang, Confetti The First.

S a t . 6

An Die Musik. Dariusz Skoraczewski - Complete Bach Cello Suites; Folkal Point: The Honey Dewdrops. Baltimore Soundstage. Winter Is Coming, ThrillKiller, Bag Of Humans, Paid In Full, Modern Fuzz, Echoheart, Offensive, Cyber Strike, Metanium. Bertha’s. Automatic Slim and His Band. The Birchmere. Roamfest. Cat’s Eye Pub. Eddy & The Haskyls; Roger Girke Band. The Crown. Sauce: DJ Ayes Cold & James Nasty; Vague Saturday featuring Trenton Chase. The 8x10. Mother’s 2nd Annual Winter Jam with Cris Jacobs and Friends, Ivan Neville. The Fillmore Silver Spring. Fillmore Flashback: 80’s vs 90’s Dance Party featuring Biz Markie, The New Romance, Here’s To the Night. Germano’s Piattini. Rhoda Harrison. Joe Squared. Cheem, Mineral Girls, Salt Circles, Graver. Metro Gallery. Amazing Bill, Outcalls, Petunia. Motor House. Amy Reid presents “Hirsute.” 9:30 Club. Hot In Herre: 2000s Dance Party with DJs Will Eastman and Ozker. The Ottobar. Girlfriend In A Coma, N.E.W. Athens. Rams Head On Stage. Bruce In The USA. The Sidebar. Sheer Terror, Unruly Boys, Cold As Life, Syringe, Colin of Arabia. Tin Roof. Bond & Bentley. U Street Music Hall. A Night At The U Street Disco with Jellybean Benitez, Sam “The Man” Burns. The Windup Space. MC Bravado is For The Children: A Benefit for Baltimore City Schools with MC Bravado, Eze Jackson, Giddeon Gallows (Drew Scott),


Cypher Junkies, Donnie Breeze, Mixxed Opinion, DJ sets by Logicoma, Moosejaw.

S u n . 7

The Birchmere. In Gratitude: A Tribute to Earth, Wind & Fire and Motown & More: A Tribute to Motown & Soul Legends. Cat’s Eye Pub. Steve Kremer & The Bluesicians; Grapefruit Kings. Germano’s Piattini. Steve Glasser. Joseph Meyerhoff Symphony Hall. Baltimore Symphony Orchestra: Mozart’s Jupiter. 9:30 Club. Boat Burning: Music for 100 Guitars. Rams Head On Stage. Maggie’s Celtic Celebration for the New Year featuring Maggie Sansone & Robin Bullock. U Street Music Hall. Junkyard Band, Flex Mathews.

M o n . 8

An Die Musik. Monday Jazz Jam hosted by Alex Meadow and Joshua Espinoza. Cat’s Eye Pub. Phil Cunneff New Trio. 9:30 Club. The Wombats, Blaenavon, Courtship. The Ottobar. Tentacles Of God, Collapsing, DJ Alex R; Metal Monday.

T u e . 9

Cat’s Eye Pub. Drunken Uncles. The Crown. Karaoke Forever. 9:30 Club. Passion Pit. The Ottobar. Itty Bitty Bit Gen 2. Red Room. Volunteers’ Collective. The Sidebar. Tosser, Marblemouth, Mothpuppy, Mouse Fitzgerald. Tin Roof. The Harikaraoke Band Gong Show. The Windup Space. Bachelor Boys Showcase.

W e d . 1 0

Anthem. The Killers, Alex Cameron. Baltimore Soundstage. Ja Rule, Donnie Breeze, Duck Myers, JayMoney Hackett. Bertha’s. Whale Show. Cat’s Eye Pub. Muleman Band. 9:30 Club. Passion Pit. Rams Head On Stage. Brian McKnight. Reverb. Matt Pleas, Out of System Transfer, Izzy Stone Band. Tin Roof. Building The Band.


Drums Of Life performing at ScapeScape in 2013 Screencap courtesy Youtube from footage by Thomas Kessler

Drums Of Life J A N . 5 Boat Burning: Music for 100 Guitars J A N . 7 Cover art for Boat Burning’s “Ignition”

Ja Rule Screencap courtesy YouTub


Ja Rule J A N . 1 0

Pity Ja Rule a little. The gruff-voiced rap and bullshit artist of the early 2000s—who was briefly ubiquitous with club-attuned, catchy, diet, caffeine-free Tupac approximations that nevertheless really knocked—has had it tough. He was unfairly usurped by rap bully 50 Cent, who killed Ja’s career by questioning his street cred and criticizing how much Ja sang on his songs, only to then sing on all his own songs. Lately, Ja is best known for being rolled up into a funny Chris Rock bit about how his iPhone is gonna get him robbed (“God forbid someone’s trying to kill me and I can’t call for help because I was listening to Ja Rule”) and Dave Chappelle’s bit about celebrity worship in response to MTV phoning Ja Rule for his perspective on 9/11 (“Think when bad shit happens I’m like, ‘Oh my god this is terrible, could somebody please find Ja Rule, get hold of this motherfucker so I can get sense of all this”). Oh and then there was the disastrous Fyre Festival, which Ja had a whole lot to do with. He still has the hits though, so head to Soundstage and sing along. Ja needs the support. Also on the bill are Donnie Breeze, Duck Myers, and Jaymoney Hackett. 8 p.m., Baltimore Soundstage, 124 Market Place, (410) 244-0057,, $25$30. (Brandon Soderberg)


Photo by Steve Parke / Courtesy Outcalls

Outcalls J A N . 6

A couple issues ago, Maura Callahan met up with Melissa Wimbish and Britt Olsen-Ecker of Outcalls to discuss their track, ‘Pillcauzbee,’ a hypnotic track from their recent album “No Kings” that details an attempted sexual assault: “Every single time I try to walk away I feel real high/ What did you do/ It’s getting late and maybe I was thinking I should say goodbye/ Why can’t I move,” the two sing. A recent, dark and wubby remix by producer Drew Scott has spread the song to even more listeners and it aligns with a welcome and long-due reckoning about sexual assault and harassment, which permeates every element of culture, from the president (though he has still met no real repercussions), to rich moguls such as Harvey Weinstein, to the jerks at parties and shows that we’re all attending. It is happening all around us all the time, and Outcalls’ song operates as a way of exploring it and highlighting its ubiquity: It even creeps into catchy, brilliant electronic-tinged pop. Also on the bill with Outcalls are Amazing Bill and Petunia. 8 p.m., Metro Gallery, 1700 N. Charles St., (410) 244-0899,, $10. (Brandon Soderberg)


Multiples of the same instrument playing all at once provides a very specific sort of musical reward. At the Windup Space this week, Drums Of Life, a trio of high-profile local musicians (Michael Lowry of Big In Japan and Future Islands, David Bergander of Celebration; and jazzbo Mike Kuhl), all drummers who eek out complex compositions using only percussion. We think of percussion as loud, tough, abrasive; but just by giving you drums and nothing much else, Drums Of Life by encourages nuance and aural relativism of what we hear. Harsh snares in this context might sound like the pitter-patter of rain from a new age record, and thump, bangs, clangs, and all the rest invoke the disorderly beauty of city noise. At the 9:30 Club in Washington, D.C., rumbling improvisers Boat Burning brings 100 guitarists together to build a big scary beautiful sea of riffs, plucks, and strums exponentially growing, the confounding experience of a sound magnified rather than simply amplified. Boat Burning has been moving toward a 100 guitar sound for a while now. Last year, the group performed Music for 70 Guitars at the Black Cat and the only thing that seemed to stop them from getting even bigger was the size of available venues—they were not lacking guitarists willing to step into the mix. So they’ve moved to the larger 9:30 Club and can now add 30 more to the roster. And it’s also just a celebration of music in D.C.—every kind of guitar player from every kind of band is included. Neither of these shows offer the singular thrill of abundance, to be clear. This is not the bowel-rumbling low-end of say, Sunn0))), or something like that where what bowls you over and gets you all meditative is just overwhelming sound, singular, mean, unwavering—not that there’s anything wrong with that. Rather, this is music as a pile, something to dig through and find what you need, while avoiding the often-dreaded solo: This is not about showing off or highlighting the individual, but what happens when groups of people—three or 100, it doesn’t matter—collectively get together and explore. (Brandon Soderberg) Also playing with Drums Of Life are Hestina, Plake 64 & the Hexagrams, and Coffee Enema. 8 p.m., The Windup Space, 12 W. North Ave., thewindupspace. com, $10. Also playing with Boat Burning is Trinary System featuring Roger Miller of Mission Of Burma and the Alloy Orchestra (who live score a silent film at Maryland Film Fest each year). 8 p.m. The 9:30 Club, 815 V. St. N.W., Washington, D.C., (202) 2650930,, $25.

JANUARY 3, 2018


A. J. Hayes is the author of over 20 books and zines of poetry, fiction, and fantasy (as A. Jarrell Hayes). He facilitates mini zine-making workshops and shares his writing on For info on his books, zines, and more, visit his website at Follow him on Twitter @ajh_books, Instagram @ajh_books, and Facebook @ajhbooks1. JANUARY 3, 2018

Page 14 from A. J. Hayes’ zine “King of Soil.” Courtesy A. J. Hayes.




Page 19 from A. J. Hayes’ zine “King of Soil.” Courtesy A. J. Hayes.



JANUARY 3, 2018


Baltimore County Public Library Pikesville Branch, 1301 Reisterstown Road, (410) 8871234, Photographer Amy Davis discusses “Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters” her book of historic movie theatre in Baltimore. Jan. 10, 2:30 p.m. The Crown, 1910 N. Charles St., (410) 625-4848, Celebrate the release of the third issue of “End of 83,” a literary magazine put together by Writing Hour, a writers workshop. Jan. 6, 7 p.m. The Ivy Bookshop, 6080 Falls Road, (410) 377-2966, Sujata Massey, author and former features reporter for the Baltimore Evening Sun, discusses her new book, “The Widows Of Malabar Hill.” Jan. 8, 7 p.m. Author Maud Casey talks “The Art Of Mystery: The Search For Questions” with Mark Durant. Jan. 9, 7 p.m.

JANUARY 3, 2018



6080 Falls Road @ W. Lake Avenue Mt. Washington

11 East 33rd Street, 1 block from Johns Hopkins Charles Village



Courtesy Baltimore Improv Group

BIG Improv & Stoop Storytelling present Will Hines J A N . 6 I don’t try to tell people what to do with their lives, but I’ll say this: I’m a big fan of taking calculated risks. I’ve taken a few in my adult life (this job being the most recent) and every single time, my life has changed for the better. So, I’m all-in for this particular Stoop Storytelling event, which is all about leaping before you look, and, according to organizers, “generally trust-falling through life.” The event is a fundraiser for the Baltimore Improv Group (BIG) and will feature special guest Will Hines of Upright Citizens Brigade Theatre plus storytelling from BIG and Ignite Baltimore founder Mike Subelsky, Stoop co-founder Laura Wexler, and more. Don’t think about it too hard—just buy yourself a ticket. 8 p.m., The BIG Theater, 1727 N. Charles St., bigbenefit.eventbrite. com, $30. (Lisa Snowden-McCray)


“First Date.” A blind date newbie and a serial dater get set up on a date that turns out to be much more than they bargained for. Through Jan. 21, Spotlighters Theatre, 817 St. Paul St., (410) 752-1225,, $10-$22. A D V E RT I S I N G Impropourri. The Baltimore Improv Group (BIG) hosts a weekly bring-your-owntroupe improv and sketch showcase. Jan. 4, 7:30 p.m., The BIG Theater, 1727 N. PROOF #1 ISSUE DATE: 171206 SALES REPRESENTATIVE: JEN MARSH JMARSH@BALTIMOREBEAT.COM Charles St., (888) 745-8393, “Inherit the Wind.” Jerome Lawrence and Robert E. Lee’s courtroom drama REVIEW AD FOR COPY AND DESIGN ACCURACY. Revisions must be submitted within 24 hours of the date of proof. chronicles the Scopes “monkey” trial. Jan. 5-Feb. 4, Vagabond Players, S. final and will be submitted for publication if revision is not submitted within 24 hours of the date Proof will be806 considered of proof. Revisions will not be accepted after 12:01 pm Monday, the week of publication. Brown Naff Pitts Omnimedia REVISIONS Broadway, (410) 563-9135,, $10-$20. Inc. (dba Baltimore Beat) is not responsible for the content and/or design of your ad. Advertiser is responsible for Prim and Proper. Charm City Comedy Project hosts an all-women any legalstand-up liability arising out of or relating to the advertisement, and/or any material to which users can link through REDESIGN the advertisement. Advertiser represents that its advertisement will not violate any criminal laws or any rights of third showcase followed by an open mic. Jan. 5, 8 p.m., Charm City Comedy TEXT REVISIONS parties,Project including, at but not limited to, such violations as infringement or misapporpriation of any copyright, patent, or otherW. proprietary or propety right, Lane false advertising, unfair competition, Zissimos Bar, 1023 W. 36th St.,, $5. trademark, trade secret, music, image,409 Coldspring IMAGE/LOGO REVISIONS defamation, invasion of privacy or rights of celebrity, violation of anti-discrimination law or regulation, or any other right “Rabid Dreams of the Master Race.” The first public reading ofof aanynew personblack or entity. Advertiser agrees to idemnify Brown Naff Pitts Omnimedia Inc. (dba Baltimore Beat) and to ADVERTISER SIGNATURE NO REVISIONS Baltimore, MD 21210 hold Brown Naff Pitts Omnimedia Inc. (dba Baltimore Beat) harmless from any and all liability, loss, damages, claims, or By signing this proof you are agreeing to your contract comedy from Mark Redfield about the survival of a small publishing company causes of action, including reasonable legal fees and expenses that may be incurred by Brown Naff Pitts Omnimedia washington blade newspaper. This includes but is not l Inc., arising out of 45 or related to advertiser’s breach of any of the foregoing representations and warranties. payment and insertion schedule. during the rise of fascism in Germany. Jan. 5, 8 p.m., Baltimore Theatre Project, W. Preston St., (410) 752-8558,, free or pay what you can. “The Revolutionists.” Former queen Marie Antoinette, feminist playwright Olympe de Gouges, assassin Charlotte Corday, and Caribbean spy Marianne Angelle get together and talk revolution and duty. Through Jan. 7, Everyman Theatre, 315 W. Fayette St., (410) 752-2208,, $25-$65.

Daniel Elder Katie Elder

Vanessa Vale




#WeAreSoulLove JANUARY 3, 2018

“Bad Lucky Goat” Screencap courtesy YouTube

“Bad Lucky Goat” O P E N S J A N . 5

“Call Me By Your Name,” now playing at the Charles Theatre

SCREENS The Charles Theatre

A picaresque Colombian crowdpleaser not quite like anything else out there, “Bad Lucky Goat” is about a brother and sister who run into a goat with their family’s truck and then run around gathering up cash to fix the truck without telling their parents and avoiding, seemingly, bad lucky via the struck goat. As is often the case with these sorts of mad dash comedies, it’s all about the little things, which here include a reggae/calypso score, the stacking of setpieces and weird-as-hell characters I won’t try to describe, and ultimately a legit heartwarming and lived-in expression of sibling love. “Bad Lucky Goat” feels alive and cranked-up at times, seeming to echo without ever ripping off or stepping on the toes of discursive fiction films like “Touki Bouki,” “The Harder They Come,” “Killer Of Sheep,” “Glue Sniffer,” and even some of those edgy international cinema favorites that got real big accolades like “City Of God,” mixed with something you might stumble upon on Adult Swim early in the morning. The Parkway Theatre, 5 W. North Ave., (410) 752-8083,, $10. (Brandon Soderberg)

1711 N. Charles St., (410) 727-3464, “Call Me By Your Name” (Luca Guadagnino, U.S./Italy, 2017), now playing. “Darkest Hour” (Joe Wright, U.K., 2017), now playing. “The Disaster Artist” (James Franco, U.S., 2017), now playing. “Lady Bird” (Greta Gerwig, U.S., 2017), now playing. “The Shape Of Water” (Guillermo del Toro, U.S., 2017), now playing. “The Room” (Tommy Wiseau, U.S., 2003), Jan. 4. “I, Tonya” (Craig Gillespie, U.S., 2017), opens Jan. 5. “The Crime of Monsieur Lance” (Jean Renoir, France, 1936), Jan. 6, Jan. 8, Jan. 11.

The Parkway Theatre 5 W. North Ave., (410) 752-8083, “Big Sonia” (Leah Warshawski and Todd Soliday, U.S., 2017), now playing “The Paris Opera” (Jean-Stéphane Bron, France/Switzerland, 2016), now playing. “Antiporno” (Sion Sono, Japan, 2017), now playing. “Killing For Love” (Marcus Vetter and Karin Steinberger, Germany, 2017), now playing “Bad Lucky Goat” (Samir Oliveros, Colombia, 2017), opens Jan. 5. “The Strange Ones” (Lauren Wolkstein & Christopher Radcliff, U.S., 2017), opens Jan. 5. Masters of Longform Cinema: “La Belle Noiseuse” (Jacques Rivette, France, 1991), Jan. 7, Jan. 9.

“The Vineyard” Screencap courtesy YouTube

“The Vineyard” J A N . 4

The Senator Theatre 5904 York Road, (410) 323-4424, “The Greatest Showman” (Michael Gracey, U.S., 2017), now playing. “Jumanji: Welcome To The Jungle” (Jake Kasdan, U.S., 2017), now playing. “Star Wars: Episode VIII - The Last Jedi” (Rian Johnson, U.S., 2017), now playing. “Molly’s Game” (Aaron Sorkin, U.S., 2017), now playing.

The Windup Space 12. W. North Ave., (410) 244-8855, Mondo Baltimore: “The Vineyard” (James Hong, U.S., 1989), Jan. 4.

JANUARY 3, 2018

Some kind of labor of love from noted character actor James Wong (“Blade Runner,” “Big Trouble In Little China,” that Chinese restaurant episode of “Seinfeld”), who co-directed, co-wrote, and stars in this late ‘80s horror-sleaze sleeper, “The Vineyard” is about a doctor and wine grower (Wong) who uses a magic elixir to stay alive—until it stops working. He makes movies on the side at his estate, where he also traps women and uses their blood to seemingly stay young too? I say “seemingly” because the connections between these two elements of the story aren’t ever quite clear, and this movie partly exists as a vehicle for Playboy playmate Karen Witter (she plays an actress named Jezebel Fairchild)—oh and also there are zombies? But again, how this ties to Wong’s lame Dr. Moreau is never quite clear—but it’s besides the point. 7 p.m., The Windup Space, 12 W. North Ave., (410) 244-8855,, free. (Brandon Soderberg)



Eat with your eyes first Wit & Wisdom line cook Derrick Reed talks craft and presentation By Arli Lima

Derrick Reed


Photo by Curtis Willis / Courtesy Reed

Derrick Reed, 23, has the kind of Instagram account (@derricksworldd) that holds the city’s foodie community in rapt attention. Reed is a line cook at Wit & Wisdom Tavern in the Four Seasons Hotel in Harbor East. Some of the meals he’s prepared: fermented mushroom tarts, smoked gouda cauliflower grits, and sous vide rabbit. And, captured online, they all look amazing. I was thrilled, then, that after Insta-stalking Reed for some time, I finally got to meet him. He told me that his earliest memories of Baltimore City are of riding his bicycle from Dundalk (where he moved with his mom and brother in 1999 from Honolulu, Hawaii) into the city and taking photos of the scenery. “I went to an art school, Patapsco High School and Center School for the Arts, and a lot of my classes were photography. I was always that kid in the group that documented everything, recording videos and taking pictures,” he says. “Later, I got away from photography a little bit but when I started my career in cooking, it brought that part of me back to life. One day I just took a photo of my food and posted it online and from there it just exploded, I found a new love for it.” Reed found his love for photography early on, but his interest in cooking wouldn’t come until later. “I didn’t cook at all as a kid; it was the furthest thing from my mind,” he recalls. “I have stories of me trying to cook ramen noodles in the microwave and how that all went wrong.” After high school, Reed enrolled in the Community College of Baltimore County and started working in the restaurant industry. His first job was working at Chili’s as a prep cook. He went on to work at other chains like the seafood-themed Bonefish Grill and Tex-Mex eatery On The Border. It was working at these restaurants that peaked his interest in cooking.


“I would see the older guys on the line cooking and slinging the food around on the big open flames and they were using these big knives and I thought, that looks really cool, I think I can do that maybe,” Reed says. Later he transferred to Stratford University and graduated with his associates degree in culinary arts. While in school, Reed started his first job in fine dining at Roy’s Hawaiian Fusion, a gig he thinks is serendipitous considering the first Roy’s restaurant opened in his hometown of Honolulu. At Roy’s, he learned bits and pieces of Japanese, Chinese, and Philippine cuisine and developed a “Hawaiian flare” in his own cooking style. Cooking isn’t the only thing he learned at Roy’s. When he was just starting out, he once set fire to a fryer he was asked to clean, unaware that he needed to turn it off before dousing it with oil. “Naturally, I freaked out and my sous chef ran over and dumped a ton of salt on it,” he says. “In that moment, it was very scary and I thought I was going to get fired because I was only working there for two weeks, but I didn’t get fired. It’s a story I look back at and laugh now.” Before graduating, Reed landed an externship at Wit & Wisdom Tavern where he still works as a line cook. He’s been at Wit & Wisdom for two years and credits the constant learning environment and great mentorship for his tenure. “Because it’s a hotel restaurant, we cater to a wide variety of people with different allergies and food preferences, so it’s challenging in a good way. I’m constantly learning to adjust my cooking,” he says. “And I run a lot of my recipe ideas by our sous chef, James Menges. He has taught me how to cook for the season and has given me great advice on my ideas.” Reed’s ideas start with a pencil and paper. He says food styling is an art form. When he cooks at home, he strategically plans his meals and plating.


“I’ll draw my dishes before I plate them; I do multiple sketches and I try to transform it into something more than just your average dinner. Art has been a huge part of my life, so I like to incorporate that into my food. I don’t want it to just be food, I want it to be something you look at and admire before you eat it because you always eat with your eyes first.” Reed has also freelanced as a private chef. His clients appreciate seeing a drawing of the meal before it’s prepared, and Reed customizes the menu to their liking. “I give them the experience of opening their own restaurant but I bring it to them, in their own home,” Reed says. In addition to his day job, freelancing, and cooking for himself at home, Reed also finds time to enjoy the local food scene. “I love the Baltimore food scene and I see it growing so much. I see all these other chefs coming into town to open up shop,” he says. “With D.C. being so close to us, it’s only natural for it to happen. I really feel like we’re going to be the next city to really pop on the culinary scene.” His favorite spots include Alma Cocina Latina and Gnocco, which he praises for its use of simple ingredients and preparation. “They are not using the flashy ingredients or techniques,” he says. “It’s just Cooking 101 and they do it really well.” He’s trying to soak up as much of the food scene as he can before he moves to Los Angeles in March. Reed is transferring to Culina, the Italian restaurant in the Four Seasons Beverly Hills. “It’s more of a chance to hone my skills and meet a lot of people and learn a lot, soak up a ton of information and work my way back to Baltimore as a better chef, just in time for the revolution,” he says, “because I really feel like something special is going to come out of this city and I want to be a part of that.”

JANUARY 3, 2018


Berry OG

Photo by Brandon Soderberg / Courtesy Democracy In Crisis

Berry OG When it comes to pure, multitudinous sensation, Berry OG is like a fully thought-out and conceptualized fourcourse meal or something. There’s just so much going on—a breezy combo of feelz and flavors, all cooked-up by someone whose taste for discord you can mostly trust. A sweet, almost apple dank-ness becomes a kind of baffling burnt rotten meat smell when you break open Berry OG’s generally big buds, but somehow that’s alright. When you smoke this unfixed, indica-dominant mix of OG Kush and Blueberry, it goes in real harsh and hits the back of your throat and stings like the first stirrings of a cold coming on, while on the exhale, it alleviates and rolls out all smoothlike, with a firewood aftertaste. What quickly follows is a bleary, blurry body high, but once my eyes rack focus, my facial features feel as though they’re tethered rather than static—like my eyes, nose, and mouth could float a little and are not assigned a fixed spot on my face. Oh and then, ripples of pleasant shoot through my legs and after that, a lengthy session of talking-tomyself-and-whistling, dopey dad-ness. I’m a gameshow host grinning into the void. The onset of acid is a precedent here. You know, where it has you opening up your own interface and going meta, seeing through it all, and well, being totally OK with that? Like that. There is something sinister about that, though, happiness veering on the mandatory, but it’s one of the many temporary conditions here and soon Berry OG segues into a purer, joyful, manic mode. The buds, meanwhile, look like a tiny fake tree you ripped from the landscape of holiday train garden and with almost as much light red and orange veins as that green—it’s got a distracting hyperreal quality; probably appropriate for a strain that conducts wonder of the edgy, dim, delighted, and then frenzied sort. Form and content match here. You can totally feel this high going away, the joy of temporality. Every second you’re a touch less tangibly stoned— it is the slowest drip of a comedown. And that “Flowers For Algernon ON WEED” thing should be anxiety-inducing, but the high is strong and intense and brings with it, as I said before, a cheap sort of zen, a pragmatic at-peaceness disinterested in tension, and then actively, even stupidly optimistic zeal. Imagine a creative explosion with the lid on it. The limitations are far out there, but there and tangible nonetheless, which paradoxically makes it easier to push yourself and let the high go where it may go. You’re in good hands with Berry OG, basically. (Brandon Soderberg) Strength: 9 Nose: Yukgaejang if you left it out on the table for a day Euphoria: 9 Existential dread: 2 Freaking out when a crazy person approaches you: 2 Drink pairing: Non-caffeinated tea Music pairing: James Dashow, “Oedipus Orca” Rating: 8

JANUARY 3, 2018



Sugar Talk A shit show year for everything—including sex education By Jacq Jones

2017 has been a bit of shit show. I hesitate to say it’s extra shitty for sex education and sex. It’s been bad all around. It certainly hasn’t done sexuality any favors. We have an administration in the White House that is attempting to steer our country back to abstinence-only education; nixed a proposed move to begin collecting information about lesbian, gay or bisexual people in the census; that is attempting to ban transgender people from serving in the military; that rolled back the birth control mandate (thereby allowing employers to refuse to cover birth control); that attempted to defund Planned Parenthood (the largest provider of reproductive health care in the United States); that is actively separating families through deportation; that has nominated countless folks to governmental positions who oppose LGBTQ rights, women’s rights, and sexual freedom to various offices, including the judiciary. The president of the United States has been accused of a number of acts of sexual impropriety ranging from harassment and inappropriate comments to groping and sexual assault by 22 women with incidents stretching over the past 40 years. The #metoo movement, started by Tarana Burke in 2006 and


popularized by Alyssa Milano in response to the Harvey Weinstein revelations, has rippled across industries resulting in multiple powerful men losing their jobs and changing the national conversation. It’s great that we’re finally talking about sexual harassment and assault in the workplace. It’s also exhausting. Plus: North Korea. White supremacists and neoNazis marching and worse, being normalized. An increase in violence against synagogues and mosques. Massive hurricanes. Mass shootings. Ongoing police shootings. Racism writ large. Of course, many of these aren’t new. Yet, this year the bandage got ripped off. You know. You’re living through it. It’s not fucking sexy. Not. At. All. At Sugar, we’ve heard from customers that they’re too stressed out to have sex. That they’re angry. That they’re scared: How do we find our joy when shit gets scary, or simply gets even scarier than it was before? When times are tough, does sex even matter? It does. As sex educator and coach Amy Jo Goddard has said, “The more whole we are as sexual beings, the more fulfilled we are as human beings.” There certainly are times when it makes sense to put your sexuality on


the back burner. But don’t leave it there. Our sexuality is part of our life force. It’s part of how we heal ourselves and those we love. It’s part of what gives us joy. It’s a spark that feeds us and gets us through the hard times. It helps us stand tall in the face of things we fear. So we have to prioritize it. We have to step away from the outside world, where we are told that we aren’t worthy, that our bodies aren’t good enough, that being born with Black and Brown skin is less than, that we don’t deserve pleasure or that how we fuck is broken. We have to celebrate our bodies and our spirits exactly as they perfectly are. Scars, battle wounds, and all. It is not only OK to take time to honor your sexuality, it is critical. It is oxygen. Go and fuck, make love, masturbate, whatever that looks like for you, and embrace your joy. You deserve it. Do you have questions about sex, sexuality, relationships, or gender? Send them to sugartalk@ Jacq Jones is a sex educator and the owner of Sugar, an education-focused sex toy store in Baltimore and online at

JANUARY 3, 2018

See us for Toys, Books, and More! 1001 W 36th St., Hampden Baltimore, MD


THE STORY OF O with Bianca | $25

January 10th at 6:30pm


January 17th at 6:30pm


January 25th at 6:30pm

G-SPOTS, SQUIRTING & FUN with Jacq Jones | $25

February 26th


Purchase tickets in person at the store, over the phone with a credit card or online at



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JANUARY 3. 2018, Volume 2, Issue 1, January 3, 2018, Volume 2, Issue 1, January 3, 2018, Volume 2, Issue 1, January 3, 2018, Volume 2, Issue 1, January 3, 2018