Washington City Paper (June 2, 2017)

CITYPAPER Washington

DC JAZZFESTIVAL JUNE 9–18, 2017

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politics: The ‘myTh’ of kaya henderson 8 food: The d.C. Chefs fleeing for The ’burbs 17 arts: TheaTer pronoun drama 23

OLD MASTER Late artist Kenneth Young, who spent his prime on the fringes of the Washington Color School, is just getting his due as a painter. P. 12

By Kriston Capps

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INSIDE 12 Old Master

A M E R I C A N

F I L M

I N S T I T U T E

Late artist Kenneth Young, who spent his prime on the fringes of the Washington Color School, is just getting his due as a painter.

By Kriston Capps

4 ChAtter

Arts

distriCt Line

23 More Sinned Against Than Sinning: In Taylor Mac’s Hir and Rick Foucheux’s King Lear, gender itself is under interrogation.

26 Color, Full: Here’s a timeline of signature museum shows by key artists from the Washington Color School.

28 Short Subjects: Zilberman on Wonder Woman and Olszewski on Dean

7 A Degree of Sanctuary: Student activists in D.C. want their universities to become sanctuary campuses.

8 Loose Lips: Kaya Henderson’s undeserved legacy as an educational empress finally unravels.

9 Gear Prudence 10 Savage Love 11 Indy List

City List

d.C. feed

31 City Lights: See the Hirshhorn’s latest colorful work, a new mural from Nicholas Party, on Wednesday.

31 Music 35 Theater 36 Film

17 Fringe Benefits: D.C. chefs are quietly leaving city gigs to cook beyond the Beltway.

19 Take It Or Leave It: Some food crazes have come and gone, but others have made a lasting home here in the District.

19 ’Wiching Hour: Classic fried chicken at Mason Dixie Biscuit Co. 19 Underserved: Monito del Monte at China Chilcano

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CHATTER

In which readers are touched

Darrow MontgoMery

In Memory of Milton On the secOnd anniversary of D.C. journalist Charnice Milton’s murder, which remains unsolved, we published an online piece by her former colleague John Muller, who conceived the idea to launch an east-of-theriver bookstore in her honor in a basement space at the offices of We Act Radio. Touched readers wrote in to say they appreciated his reflections about Milton’s considerable talents and good nature, not to mention his initiative to create something tangible and needed in her memory.

“Kudos to John Muller for this great idea … a great way to pay homage to her legacy and achievements,” TatuBaby wrote, adding thanks as well for We Act Radio’s Kymone Freeman, who offered up the space. “Thank goodness, we still have Muller reporting on issues EOTR. He is one of the most underrated journalists is the District.”

And, wrote Mark Collins, “What can I say in response to an article that leaves me happy, sad, and hopeful? It’s been a while since I’ve read an article in CP that is provocative and at the same time causes me to be reflective. Provocative in the sense that one has to wonder what articles and scandals Charnice Milton may have written about and uncovered if she was still with us and how we all may have benefitted from that. Reflective in the sense that, once again, another random act of violence that all too often visits those who live, work, or reside east of the river. … Kudos to John for pointing out the ‘book desert’ in Anacostia and conceiving the idea for a community bookstore, something often overlooked because many of us have access to multiple bookstores where we live and work.”

And from kture, “Charnice and you are observing the lives of those folk who have been dismissed and ignored. It is beautiful, though, that you recognized your value to each other and the fact that you have taken steps to ensure her legacy.”

DEPARTMENT OF CORRECTIONS: We incorrectly reported last week that Bluejacket’s Turning Road IPA is named after a Paul Cezanne painting. In fact, it is named after one by André Derain. —Liz Garrigan

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EDITOR: liz garrigan MANAGING EDITOR: alexa Mills ARTS EDITOR: Matt Cohen FOOD EDITOR: laura hayes CITy LIGHTS EDITOR: Caroline jones STAFF WRITER: andrew giaMbrone SENIOR WRITER: jeffrey anderson STAFF PHOTOGRAPHER: darrow MontgoMery INTERACTIvE NEWS DEvELOPER: zaCh rausnitz CREATIvE DIRECTOR: stephanie rudig COPy EDITOR/PRODuCTION ASSISTANT: will warren CONTRIBuTING WRITERS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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LOCAL ADvERTISING: (202) 650-6937 FAx: (202) 618-3959, ads@washingtonCitypaper.CoM FInd a staFF dIrectory wIth contact InForMatIon at washIngtoncItypaper.coM vOL. 37, NO. 22 JuNE 2-8, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005.

Calendar subMissions are welCoMed; they Must be reCeiVed 10 days before publiCation. u.s. subsCriptions are aVailable for $250 per year. issue will arriVe seVeral days after publiCation. baCk issues of the past fiVe weeks are aVailable at the offiCe for $1 ($5 for older issues). baCk issues are aVailable by Mail for $5. Make CheCks payable to washington City paper or Call for More options. © 2016 all rights reserVed. no part of this publiCation May be reproduCed without the written perMission of the editor.

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DistrictLine A Degree of Sanctuary

By Valeria Massarelli As college students finish their first semester under President Donald Trump, some are left with an unmet request: for their universities to declare themselves sanctuary campuses. Across the nation, students started a sanctuary campus movement in the days after Trump’s election. Their goal is to protect students living with unresolved migratory statuses by reducing university collaboration with immigration officials.

In the wake of Trump’s victory, many universities issued formal statements in support of these students, but the schools are also bound to comply with federal immigration agents. Students, and often university staff and faculty, are caught in the balance of trying to make safe campuses without suggesting that they’ll defy the law.

During his campaign, Trump promised to repeal Deferred Action for Childhood Arrivals, commonly known as DACA. An executive order issued under President Barack Obama, DACA offers those who came to the United States without immigration documents as children the opportunity to stay legally. DACA has saved about 750,000 young people from deportation. Its recipients are ineligible for federal student loan programs, but some of them have gone to college on private scholarships, by working while studying, or, in some states, on state aid at public schools.

Nearly 1,300 DACA recipients live in the D.C., according to the U.S. Citizenship and Immigration Services. They often call themselves DREAMers after a failed bill that would have granted them legal protections and a path to citizenship.

“We have no idea what is going to come in the upcoming weeks, what Trump is going to say about DACA,” says Maria Gaytan-Martinez, a 19-year-old DACA recipient studying psychology and government at Georgetown University.

Students’ visions for sanctuary are manifold. They want all universities to stop cooperating with Immigration and Customs Enforcement, but they also ask schools to remove some of the massive roadblocks in their way. For some immigrant students, an online admissions application mandating that they

enter a Social Security number prevents them with a network of more than 100,000 immifrom applying at all. They wish financial aid grants, allies, and affiliate organizations in 26 officers were better prepared to explain what states. Quiñonez’s job is to help communities, funding they can and cannot access. And including those on campuses, build moveat some schools, students have requested a ments for the rights of immigrants. She says new full-time staff person dedicated to help- DACA students are especially afraid because ing immigrant students work through legal, they could lose their protection.

At Georgetown, students and administrafinancial, and emotional challenges.

Though “sanctuary” may mean different tors have worked hard to find a balance. A few things on different campuses, one aspect of weeks after the election, members of Georgethe concept remains constant: protecting un- town’s Sanctuary Campus Movement and Undocumented Students Group marched to unidocumented and DACA students.

“I have grown up here, my entire life is versity president John DeGioia’s office holding here, and it just seems unfair that they wanted a petition asking him to declare the school a to deport me,” says Gaytan-Martinez. Orig- sanctuary for DREAMers, Muslims, and LGinally from Mexico, she crossed the Arizona BTQ students alike. But Georgetown denied border with her parents, two older sisters, her their request. nephew, and her niece when she was four. The family settled in Waukegan, Illinois. Her life changed when the Obama administration issued DACA in 2012. As a child entrant, the order has protected her from deportation. But she fears its repeal under Trump.

In D.C., the presidents of Georgetown, George Washington University, American University, Trinity Washington University, and the University of the District of Columbia have all signed “The Statement in Support of the Deferred Action for Childhood Arrivals (DACA) Program and our Undocumented Immigrant Students.” HowGeorgetown University ard University did not sign the statement and a spokesperson “They were open, and they seem very defrom the university declined to comment. The Catholic University of America signed a differ- termined to come with an agreement with us ent supportive statement with other Catholic about how to improve the campus, but they are very hesitant about naming it ‘sanctuary’ beuniversities around the country.

But the statements were not sufficient for cause they don’t want to be a target since we are some, and students are still organizing to pro- in D.C.,” says Gaytan-Martinez, who is a memtect themselves under the Trump adminis- ber of the Undocumented Students Group.

Sara, 22, who asked for anonymity to protration.

“Everything they built for the last four tect her identity, is a DACA recipient studying years could be taken away in a few seconds,” at Georgetown and says that the job of the Unsays Claudia Quiñonez, 22, the local edu- documented Student Group is to voice comcational organizer for United We Dream, a munity concerns, meet with administrators, national, youth-led immigrant organization and ask for beneficial policies.

Darrow Montgomery

Student activists in D.C. want their universities to become sanctuary campuses.

“I don’t know what’s going to happen or if Georgetown will ever come out as a sanctuary campus, but the university has often made statements of big support to undocumented students and for me that’s unique,” she says.

The students asked for the creation of a website that explains the application process and provides legal resources to people living in the country without immigration documents. The group also pushed to have a full-time coordinator for DREAMers, which ultimately led to Arelis Palacios, a senior associate director In Georgetown’s Office of Global Education, to take on a formal role helping and guiding DACA students through an uncertain time.

“I’m overwhelmingly grateful to our university for its commitment to their success,” says Palacios. “These are some of the most resilient and powerful souls you will meet.”

At nearby GW, members of the Feminist Student Union, Students for Justice in Palestine, Fossil Free GW, and the Progressive Student Union issued a letter demanding that the university become a sanctuary campus for Muslims and DREAMers.

GW has not assigned an administrative position within the university dedicated to DREAMers, but dean for student affairs Peter Konwerski says that the university has the resources to refer students to the services they need. “We work really closely with them to make them feel like they have a personal guide and a lot of time we referred them directly to a person,” he says. He adds that the university was already helping the immigrant student community through legal clinics, mental health services, and staff support.

Meanwhile, the University of the District of Columbia has offered students financial support through a policy change. In 2015, the D.C. Council drafted a bill called “UDC Dream Act Amendment of 2015,” which enables local DREAMers and DACA recipients to qualify for in-state tuition. The law went into effect last month. UDC has also partnered with United We Dream to offer educational workshops and guidance.

Policies and university programs have made many young immigrant students feel less vulnerable. For Gaytan-Martinez, the most important part of becoming a sanctuary campus, though, is the message it sends: Universities are safe spaces where everyone is welcomed.

“I feel like there are a lot of students on this campus who aren’t open about their status, who are afraid and I know they are struggling, and I just want to be a role model,” she says.

CP

washingtoncitypaper.com june 2, 2017 7

DistrictLinE MCDOOGALS The “Myth” of Kaya THE FAMOUS

Kaya Henderson’s undeserved legacy as an educational empress finally unravels.

In her decAde-long tenure as a beacon of school reform, six of those years as chancellor of D.C. Public Schools, the last thing Kaya Henderson ever displayed was a “crisis in confidence.”

Yet that was her rationale for allowing the children of at least 10 government officials to leapfrog the lottery and attend their school of choice, according to a report by the Office of the Inspector General that has enraged parents and kept the chattering classes buzzing for weeks.

The reasoning, states the report, obtained and released by The Washington Post, was that having important people enroll their children with DCPS would not only give the District bragging rights but also allay the concerns of parents who doubted the promise of school reform.

But neither Henderson nor The Post editorial board, as influential an ally as one could hope for, ever expressed much doubt. Even in its news pages, the paper treaded lightly where Henderson was concerned, casting her as the hopeful, more palatable version of maverick Michelle Rhee, her predecessor, ideological soulmate, and bestie.

Henderson’s legacy is now crumbling. First, as AP reported, there were the charity donations she solicited from the DCPS food services contractor, Chartwells-Thompson Hospitality Group. Then the school preferences she granted to VIPs such as City Administrator Rashad Young, Deputy Mayor Courtney Snowden, an Obama administration official, and others whose names are being withheld in the name of protecting their children.

And just last weekend, The Post delivered the sobering news that hundreds of teachers have fled DCPS this year. A City Paper investigation last year also showed that Henderson made improving struggling schools her second-highest priority in 2012, only to deprive them of necessary funds as they continued to flounder. And a whistleblower suit exposed corruption in the food services division and obstinance in the chancellor’s office.

“It’s true that for a long time there wasn’t very open reporting [on DCPS] for reasons I can’t explain, but the taboo seems to be off,” says Ruth Wattenberg, who represents Ward 3 on the D.C. State Board of Education. “She’s gone, and that makes it easier, I guess.”

Henderson patrolled and enforced her domain with impunity. A unique culture of fear permeates D.C. government, and DCPS in par-

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ticular: Disclose facts or publicly criticize a policy or politician, and employees can find themselves ostracized or fired.

“People wanted to believe that everything done in the name of reform was good, and there was no willingness to question if it was,” Wattenberg says. “Unaccountable systems get trapped in their own PR.” Wattenberg is saying what education experts have been saying for years. “Glowing praise is the public face of the bureaucracy’s [standard operating procedure], and The Washington Post was her No. 1 backer,” says former Wilson High School teacher Erich Martel.

AdefeAtedMAyorAdrian Fenty tapped Henderson as interim chancellor to succeed the abrasive Michelle Rhee in October 2010, but it was his successor, Vince Gray, who appointed her to lead the DCPS reform effort in June 2011. Henderson pledged less visibility, more listening, and a less combative relationship with her teachers.

In April 2012, she and Gray announced a five-year strategic plan called “A Capital Commitment,” aimed at improving math and English proficiency, particularly in low-achieving schools, as well as increasing enrollment and graduation rates. Gray and influential philanthropist Katherine Bradley, co-chair of his education transition team, afforded her unwavering support—as did The Post.

When she closed 23 schools, at a cost the D.C. auditor calculated to be $40 million, the paper’s editorial board hailed Gray’s interest in paving the way for charter schools as “an encouraging sign” of better use of the real estate.

The next year, it embraced Henderson’s policies of tying teacher evaluations and pay to standard test scores as “the right ones.”

“School reform in the District is working,” the board declared in November 2013, celebrating gains attributable to a policy of aggregating test scores, which obscures low performance among at-risk students. Nine months later and two years into “A Capital Commitment,” it applauded a new funding formula for struggling schools—which had been shortchanged—even as it apologized for smaller gains on a test that it then abandoned.

Indeed, Henderson was a bright spot in Gray’s scandal-torn administration, right to the end. Meanwhile, teacher firings, school consolidations or closures, and an impasse on teacher

salary negotiations stoked a culture of fear inside DCPS. The firing of former food services director Jeff Mills, who invoked whistleblower status then guided the District to a $19 million settlement with Chartwells-Thompson, became a cautionary tale of epic proportions.

Teachers took note: “If you push back, you will be pushed out,” says a teacher who is leaving DCPS at the end of this school year.

“Eventually you are left with a bunch of complacent people.”

Darrow Montgomery/File

By Jeffrey Anderson

grAy’s Ignoble re-electIon defeat afforded Mayor Muriel Bowser the opportunity to stop the bleeding and put her own stamp on education reform. (According to Loose Lips’ sources, Bowser and Henderson never really got along.)

But she played it safe. Last June, when Henderson announced she was leaving, and as teachers went into their fifth year without a new contract, The Post continued its commendations, heralding DCPS as the “fastest improving school district in the country.”

That optimism comes from a good place, says Catharine Bellinger of D.C. Democrats for Education Reform, but it is not enough to improve confidence in families—or teachers— who are fleeing DCPS. “School reform advocates and the media can change the direction of reform to address problems, but we have to be willing to talk to fix them, and not just politically. It’s time to lead with our chin.”

Wattenberg acknowledges that a culture of fear leads to mediocrity and urges transparency on teacher turnover and fiscal spending. Reform requires leadership at all levels, she says, including the D.C. Council, where she and others see signs of hope.

The task is challenging for Chancellor Antwan Wilson, who she says deserves the courtesy of being untethered to the legacy of his predecessor. “He should be compared to reality, not the myth.”

CP

Gear Prudence Gear Prudence: I’ve just switched up my route due to a change of jobs, and my bike commute has gone from primarily on trails to primarily on major city streets. You know what I never had to deal with on trails? Buses! Seems like the bus drivers in this city go out of their way to make bicycling as hard as possible, and people who take the bus don’t even think to look for bikes when they’re trying to get on or off. It’s very frustrating, but I know I’m just going to have to learn to deal. Any advice?

—Kindly Render Advice. Man Desperately Evading Nuisances Dear KRAMDEN: Buses aren’t bad. They’re just misunderstood. And when it comes down to it, buses are far greater friends to bicyclists than they are enemies. Would you rather 50 people contained in one large vehicle or 50 more cars on the road? Admittedly, the presence of lumbering buses makes navigating the urban context slightly trickier for bicyclists, and GP readily concedes that bus drivers and bus passengers can cause a fair share of anxieties for bicyclists—especially when there’s a sudden swerve toward the curb. Do what you can to keep yourself anywhere other than immediately adjacent to a bus and never, ever ride for extended periods where the driver can’t see you. Dropping back ensures that you’re not in the driver’s blindspot and also gives you much more time to react if there’s a sudden stop. Also, riding directly behind a bus will put you in a better position to pass it should the driver pull over. If you find yourself in a bad spot and it looks like you might be imminently squished, scream your head off. If you can’t rely on being seen, be heard.

Another thing you could (and should) do is to learn the locations of the bus stops along your route. Unlike taxis, buses have standard pick-up/drop-off points, and keeping track of these should help you avoid getting caught unawares. Forgo sleep to study bus maps. Make flashcards with pictures of bus shelters and have your friends quiz you on their location.

Stop using your phone for anything other than zooming in on the map app until you have unparalleled street-by-street recall. Or just kind of pay attention while you ride each day.

Expect bus passengers not to anticipate you.

Frankly, it’s not their responsibility to get out of your way. If you see bus doors open, just stop. This isn’t that hard.

Bus drivers do a hard, thankless job. Sometimes some of them aren’t as good as they should be, and sometimes some of them outright fuck up. You’re allowed to get mad if that happens. But what’s really important is that you don’t get squished, so ride defensively and attentively and you should be mostly OK. —GP Gear Prudence is Brian McEntee, who writes @sharrowsdc. Got a question about bicycling?

Email gearprudence@washcp.com

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I’m a middle-aged homo trying to figure out Grindr. Is it impolite to go on Grindr if you’re not looking for an immediate hookup? My preferred form of sexual relationship is the friendwith-benefits situation. I go on Grindr looking to make friends who could, at least potentially, be sex partners, but I like to do the friend thing before the sex. I’ve had guys call me an asshole because I exchanged messages with them for 20 minutes and then didn’t come right over and fuck them. Do they have a point? Does logging into a hookup app like Grindr imply openness to an immediate sexual encounter?

—Talking Online Repulses Some Others

Always be up front about your intentions, TORSO. The best way to do that is by creating a profile—on Grindr or elsewhere—that clearly describes what you want and what you’re up for. Because good partners (sexual or otherwise) communicate their wants clearly. Adding something like this to your profile should do it: “My preferred form of sexual relationship is the friend-with-benefits situation. I go on Grindr looking to make friends who could, at least potentially, be sex partners, but I like to do the friend thing before the sex.”

Grindr is an app designed and marketed to facilitate hookups, but some people have found friends, lovers, and husbands on the app (usually after hooking up first). So being on a hookup app doesn’t automatically mean you’re looking for “right now,” and it certainly doesn’t obligate you to fuck every guy you swap messages with. But if you’re not clear in your profile or very first message about what you’re doing there, TORSO, guys looking for a hookup on that hookup app will be rightly annoyed with you. (The time and energy he sunk into you could have been sunk into someone looking for right now.)

If you are clear, guys seeking instacock have only themselves to blame for wasting their time on you.

Your timing could also have something to do with guys calling you an asshole. Are you exchanging messages at two in the morning for 20 minutes? Because most guys on Grindr at that hour are seeking immediate sexual encounters. If you’re just chatting in the middle of the night, then you’re probably wasting someone’s time—if, again, you’re not being absolutely clear about what you’re doing there. Also, TORSO, Grindr is location-based, which means you’re going to get a different experience based on where you’re using it. Some neighborhoods seem to be filled with messy guys looking for chemsex, bless their hearts. In others, you’ll find unwoke twinks who are on Grindr to swap (highly problematic) GIFs of black women pulling faces. And if you’re in a rural area, it’s likely you’ll message your full cast of Grindr

10 june 2, 2017 washingtoncitypaper.com

Some neighborhoods seem to be filled with messy guys looking for chemsex, bless their hearts.

torsos within a few days.

Think of Grindr as a giant gay bar—most guys are there to hook up, a few just want to hang out and chat, some dudes are really messed up (avoid them), and no one is at their best around closing time.

—Dan Savage I’m a 25-year-old gay woman and I’ve been looking for a girlfriend for the past two years. I post on dating websites, go to the lesbian club, take part in the LGBTQ+ scene at my university, and put myself in places where I might meet women. But I’m worried that my persona deters women: I’m extremely analytic, a doctoral student, and university instructor. Whenever I meet a girl, our conversation always goes in the same direction: She thinks it’s cool I work with literature and then brings up her favorite popculture novel, like Harry Potter. I say something like, “I’ve never read Harry Potter, but people rave about it. What do you like about it? I took an online Harry Potter test once for a friend, and it said I was a Slytherin.” At this point, things change. The girl I’m speaking with gets flustered. She says something like, “Oh, I’m not good at describing things,” seemingly feeling pressured to give me an intellectual response, like I’m giving her a quiz. I’m not sure what to do about this. I am having trouble maintaining casual and fun conversations despite my intentions. I come off as intense. I think I’m a pretty attractive person, but my dating life is starting to make me feel differently. I work out regularly and take good care of myself. How can I find a woman I jibe with?

—A Lesbian Obviously Needs Excitement You’re doing all the right things—almost.

You’re getting out there, you’re not shy about initiating conversation, and you’re moving on multiple fronts—online, club nights, LGBTQTSLFNBQGQIA+++ groups. Join a women’s athletic organization—join a soft-

ball league—and you’ll be moving on every lesbo front. That said, ALONE, I’m surprised this hasn’t popped into your extremely analytic head: If Y happens whenever I do X, and Y isn’t the desired outcome, then maybe I should knock this X shit the fuck off. Your response to the mention of Harry Potter drips with what I trust is unintentional condescension. (“I’ve never read it … what do you like about it … I took an online test once for a friend…”) Don’t want women to think you’re administering a quiz? Don’t want women to get the impression you’re too intellectual for them? Don’t want to seem like someone incapable of keeping things casual and fun?

Don’t administer quizzes, don’t subtly telegraph your disgust, and keep things casual by offering a little info about yourself instead of probing. (“I haven’t read the Harry Potter books, but I’m a huge Emma Watson fangirl. Who isn’t, right?”) And maybe go ahead and read Harry Potter already. —DS I’m a married woman whose hot, hung husband is into “beautiful women and pretty boys” (his words—and he means boyish men of legal age, of course). It took a dozen years to get that out of him. I’d watched him drool over pretty male baristas and waiters, but it wasn’t until I found twink porn on his computer that he came out about his “narrow slice of bisexuality.” (Again, his words.) Now that it’s out— now that he’s out—he’s anxious to have a threeway with me and a femme guy. I’m up for it, but the pretty boys we’re finding online who are into my husband aren’t into me. My husband says he would feel too guilty doing it without me, which means he may not be able to do it at all. I want him to do it. It turns me on to think about. I don’t have to be there.

—Hubby’s Underlying Bi Biological Yearnings

Let your hot, hung husband find a pretty boy he likes, HUBBY, then ask for the boy’s email or phone number or IG handle or whatever, and have a quick back-channel convo with him. Let him know your hot, hung husband (HHH) wants his ass and that you’ll be there—but only at the start. Once drinks have been served, the ice has been broken, and a little spit has been swapped (between him and HHH), tell him you’ll invent a reason to excuse yourself (your period, bad clams, whatever), leaving him alone with your HHH. At that point, HHH can decide for himself if he wishes to proceed without you but with your blessing (which you can toss over your shoulder on your way out of the room). Good luck!

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

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“Butterfly” by Kenneth Young (circa 1968)

OLD MASTER

Late artist Kenneth Young, who spent his prime on the fringes of the Washington Color School, is just getting his due as a painter.

By Kriston Capps

Kenneth Young’s painting is a stand-out in a room full of them.

When the National Gallery of Art reopened its East Building in 2016 following a three-year renovation, the museum devoted a chunk of gallery space to the legends who worked here in the District. Names like Gene Davis. Kenneth

12 june 2, 2017 washingtoncitypaper.com

Noland. “Relative” (1968), one of Sam Gilliam’s drape paintings, sags from four knotted corners, loose abstract canvas pinned along one gallery wall. Morris Louis’ “Beta Kappa” (1961), maybe the single best-known painting of the Washington Color School, hangs on the adjacent wall, a soggy series of poured rainbow stripes.

These are titans of Washington art—Alma Thomas, Leon Berkowitz, Anne Truitt. Among their works hangs “Red Dance” (1970), a stain painting by Young. It’s a storm of acrylic dabs on an unprimed canvas, blotches of ochre and burnt orange, a red-shifted Milky Way. The mark-making is distinct, but the mode is easy

R

to identify. This is a Washington Color School painting, like and unlike the rest.

Young’s name was not a familiar one. Not just to me: Harry Cooper, the curator who revisited the National Gallery’s permanent collection of modern art for the September reopening of the East Building, didn’t know the artist either, he told me at the time. But Young’s painting plainly belongs where it’s hanging now.

“I kind of stumbled into this way of painting by finding a tool that would give me this result,” Young told me in an interview back in February. “The painting technique was painting wet in wet. Painting wet in wet produced haloes around these objects, which looked like outer space, or inner space.”

Kenneth Victor Young died on March 23 at the age of 83. He lived long enough to see his work installed at the National Gallery of Art (even if it arrived there by a circuitous route). He’d had significant shows before, including solo exhibitions at Fisk University and the Corcoran Gallery of Art, but those both happened more than 30 years ago. By the time of his death, Young had given up painting. In very recent years, though,

the artist witnessed the sparks of a career resurgence.

One of his paintings, “Spring Rain” (1970), was acquired for the art collection at MGM National Harbor, where it is displayed in pride of place. An untitled painting from 1973 was part of African American Art: Harlem Renaissance, Civil Rights Era and Beyond, a 2012 exhibit assembled by the Smithsonian American Art Museum that traveled to six museums nationwide. Before his death, Young started working with a gallery again, something he hadn’t done in at least 15 years. And in the near future, Young’s paintings will be presented in two area exhibits, one of them a museum retrospective.

The Washington Color School revival—a renewed appetite for the formalist paintings from Washington’s heyday in the 1960s and early ’70s—has fanned both sales and shows for longtime D.C. artists, above all Gilliam. To varying degrees, most Washington Color School artists enjoyed a major first wave of success, too. That early fortune was more elusive for Young, a painter who focused on abstraction when many curators wanted something more concrete from African-American artists.

His place in the canon is only just now being assessed.

“I felt like they didn’t recognize me as being part of their movement,” Young said of the Washington Color School back in February.

“I was an outsider. I don’t know— because I wasn’t from Washington?

Because I didn’t go to Black Mountain College? Those are things that get people into a movement.”

Young was born in Louisville, Kentucky, in December 1933. The same year as Sam Gilliam, in the same city where he grew up, although they didn’t meet until later, at the University of Louisville, where Gilliam got his master’s degree. Young studied physics and design at Louisville and also at Indiana University and the University of Hawaii. After serving in the Navy in the 1950s, he went on to work for DuPont in Louisville. “We made gunpowder to blow people up,” he said. “At that time I was painting on my own, with no formal training.”

Young moved to D.C. in 1964 to take a job with the Smithsonian Institution, where he served as an exhibit designer, one of the first black employees to work in that role. He was newly married and needed work. When he first came to the District to settle in, he crashed with one of his few friends in town.

“Sam had a place with a rickety back room.

It was a screened-in porch,” Young said. “He let me stay until his [then] wife, Dorothy Gilliam, said I had to go.”

In addition to his work for the Smithsonian, Young moonlighted as a design specialist for what was then the United States Information Agency, a federal agency devoted to public diplomacy. (A quaint idea today.) This afforded him the opportunity to travel widely. He made frequent trips to Egypt and several other African nations, where he helped curators work out their exhibition-design strategies. Cairo especially was foundational to his budding development as an artist. So were his early trips to Italy, where he discovered the work of Giorgio de Chirico, an early 20th-century proto-Surrealist.

“I had a studio, which I rented from a group in New York in Assisi, Italy,” Young said. “It was only for 30 days. You got to paint for 30 days and eat good food and be surrounded by pretty women.”

With the Smithsonian, Young designed an exhibition wing for the National Museum of American History, a hall of graphic arts where Jacob Kainen, another Washington painter, served as curator. It was through Kainen, maybe—Young said that he didn’t quite remember—that he got to know many of the Washington Color School painters. Tom Downing lived around the corner from Young’s Adams Morgan apartment and would come over to listen to jazz. Howard Mehring, too. Noland and Morris were already New York stars by that point, long gone from D.C. “Gene Davis, I knew just in passing on the street,” Young said, referring to D.C.’s noted abstract stripe painter. “He’d say, ‘I’d give you a ride, but I can’t give you a ride.’ He only had a two-seater, a Jaguar. He was thumbing his nose at me.”

Young offered conflicting accounts of when he started painting in earnest, but by the late 1960s, he was all in. The epicenter of the Washington Color School at that time was the Jefferson Place Gallery, which Alice Denney launched before she opened the Washington Gallery of Modern Art in 1961. Young tried to get in with “the clique” at Jefferson Place, he said, but to no avail. Instead he scored a show at the gallery run by Franz Bader, another heavyweight in the Washington art scene, and this opened up the early part of Young’s career—which culminated in a solo exhibition at the Corcoran Gallery of Art in 1973.

While entrée with the Washington Color School was elusive at the time, it was only ever an informal association. The label came about after Washington Color Painters, a 1965 exhibit at the Washington Gallery of Modern Art that traveled widely. That show established six painters—Louis, Noland, Davis, Downing, Mehring, and Paul Reed—as the core of the Washington Color School, D.C.’s First Class.

The common elements between them: They applied pigment to unprimed canvases, making for a stained look. (Something that, in fact, all of them borrowed from the New York painter Helen Frankenthaler.)

Other painters who came later, such as Gilliam, were dubbed a second wave. Alma Thomas, who started her painting career in her sixties but came before all of them, was simply never given her due. Washington Color School “sta-

tus,” such as it was, was more often honored in the breach than in the observance.

“It’s not like they all hung out at the Cedar bar,” says George Hemphill, an art dealer who represents the estate of Kainen and many periods of work by Berkowitz, Willem de Looper, and Rockne Krebs, all Washington Color School–adjacent artists. (The Cedar Tavern was an infamous Greenwich Village watering hole where virtually all of New York’s Abstract Expressionists really did hang out.)

“I used to get into these big arguments with Sam Gilliam,” Young said. “He was all hot about the Color School when he first came here. He tried to emulate them. I said, ‘Oh, man, that’s just design.’”

Young was never as invested in purely formal concerns, like raw colors and geometric shapes, as his counterparts. “He was all about the physical earth, and space, and things that are beyond—energy, and how that ties into life and afterlife,” says his daughter, Leslie Young, who survives him and lives in Arlington, Virginia. Eventually, his cosmic painting style came back to earth. Young turned an abrupt about-face after the ’70s: His work took on a more Pointillist appearance. Still abstract, these paintings nevertheless looked like landscapes made from thousands of points of light—perhaps befitting a Washington Color School drop-out.

During the ’80s, Young increasingly concentrated on his career with the Smithsonian. The archival binders he kept in his Adams Morgan apartment on Columbia Road NW are filled with exhibition-design drawings—fine and detailed, as distinctive as an old-school architectural rendering (a skill he honed at the University of Louisville). Plenty of projects kept him busy: He curated a show of African-American artists in Italy.

He taught painting and drawing at the Corcoran School of Art from 1973 to 1985 and, later, exhibition design at the Duke Ellington School of the Arts in Washington. He befriended the free-jazz Art Ensemble of Chicago.

And he continued to show his paintings through another D.C. venue, Gallery K, although with less visibility. In a review for The Washington Post in 1989, critic Jo Ann Lewis numbered Young among artists “who either have dropped from sight altogether or have shown infrequently in recent years.” Young shrugged that line off as “just general presence of people’s hype.”

Despite diminishing returns, he kept up with painting, even after he retired from the Smithsonian after 30 years in 1994. Daniel Shay, an art handler for the National Gallery, shared a studio with Young from 1989 to 1999 on K Street NW in Mount Vernon Square, just north of the arch in Chinatown. “During the time, it was the frontier,” Shay says, “but it was a good place for artists.” The two shared a studio with high ceilings on the ground floor, where Young was working with spraypaint applications. Shay found him there most days. Several years later, Young gave up painting for good.

Young died almost two years to the date after the death of his wife, Morrissa Young, in 2015. For the last two years, he had been trav-

washingtoncitypaper.com june 2, 2017 13

eling with his daughter around the Caribbean: Aruba, Grand Cayman, San Juan, Puerto Vallarta. “We’d go every couple months, four months or so, to the beach,” Leslie says. On a recent trip to Punta Cana, Dominican Republic, the artist caught pneumonia. While the doctors didn’t detect any fluid in his lungs after he returned, Leslie says, he died from complications two days later.

“I liked his work because it reflected the person,” says Shay, his former studio-mate. “He was very quiet, very thoughtful. As a man, he was very top of the list of people who have ever been in Washington.”

Photo courtesy of Kenneth Young’s family

in 1971, sam Gilliam was selected to appear in Contemporary Black Artists in America, a show at the Whitney Museum of American Art. That show was assembled as the result of direct pressure from the Black Emergency Cultural Coalition, a group that organized in 1969 in response to a show of Harlem artists at the Metropolitan Museum of Art. Harlem on My Mind: Cultural Capital of Black America, 1900– 1968 featured photographs and other displays about Harlem, but the Met show managed to entirely omit any works by black artists who lived there. In 1971, when it came to light that the Whitney show didn’t involve any black curators (or “black art specialists”)—a point that the Black Emergency Cultural Coalition had insisted on—Gilliam and 14 other black artists pulled out of the 75-artist survey in protest. “All the curators were always white, as far as I was concerned,” Young said. He wasn’t invited to participate in the Whitney special but nevertheless had an interest in that exhibit. He rooted for the Whitney’s 1972 solo show for Alma Thomas, the first ever for a black woman at the museum. At that time, his personal politics diverged from those of some of his colleagues. He was on a different page. “[Alma Thomas] called Caroll Sockwell and myself ‘yard dogs,’” Young recalled. “She thought we were just wild, too wild.”

Young mentioned Sockwell in a laugh-line, but only later did I realize that it was a dark one. A friend whom Young mentioned several times, Sockwell was another black D.C. abstractionist, one who struggled with immense personal demons. In a 1992 feature for The Washington Post, Gene Weingarten wrote about Sockwell’s suicidal plunge from the Pennsylvania Avenue bridge in Foggy Bottom, a death thought to have been brought on by a sudden withdrawal from alcohol.

In his discussion with me, Young dismissed any difficulties he might have faced as a black artist. He said that he felt no compunction about making post-painterly abstraction during the aftermath of the Civil Rights era, only that “it was hard getting [the work] shown.”

He was not alone in that observation. Despite all of Sam Gilliam’s late-in-life successes—at the time of this writing, he was in Italy, where his work is being shown as part of the prestigious Venice Biennale—Gilliam also endured a long, almost inexplicable fallow period. For a 2015 profile I wrote about Gilliam, one of his champions explained the long odds: “African-Americans, especially in the early ’60s,

Artist at work

“Dance” by Kenneth Young (circa 1968) just had fewer opportunities,” says Jonathan Binstock, former curator for the Corcoran.

“There were greater obstacles in their path when it came to achieving success, recognition, building a career as an artist. It’s just a

14 june 2, 2017 washingtoncitypaper.com

fact of American history”—full stop.

In the ’70s, there was nowhere for a black abstract artist to turn. “Contemporary Black Artists in America,” wrote John Canaday in The New York Times, “is not very black and not very

good, but it has a couple of black spots that are very good indeed.” While Robert Doty’s work as the (white) curator for that exhibit has since been praised, neither black nor white audiences readily accepted it at the time. As Susan E. Cahan explains in Mounting Frustration: The Art Museum in the Age of Black Power, members of the Black Emergency Cultural Coalition announced Rebuttal, a show opposite the Whitney exhibition at the Acts of Art Gallery.

“I’m showing the real stuff and they’re showing a watered down standard,” said curator Nigel Jackson. “‘Abstraction was anything and everything but a black artist’s choice,” writes Darby English in 1971: A Year in the Life of Color. Summarizing the attitude expressed by Jackson and other black cultural leaders, English continues: “Such an art handicaps the impulse to separate black culture from white. What selfrespecting black artist would impose that predicament on her public at a time like this?”

In that moment, D.C. occupied a peculiar position as a locus for a specific category of abstraction, a post-painterly re-examination of the high-modernist codes of Abstract Expressionism. The Washington Color School was rooted in process and composition, not in nature and myth, like the work of Jackson Pollock or Mark Rothko. It was a short-lived bubble: Art soon moved off the wall entirely, into sculpture and installation, and D.C. lost what status it held to New York and Los Angeles. And it was not a bubble that especially promoted black artists or inoculated them against the larger doubts about what, if anything, black art meant. (As Young put it, somewhat sarcastically, “If it ain’t black, it won’t sell.”)

Young attributed his early momentum to gallerist Franz Bader, “a liberal guy, who would give guys like me, young upstarts, a chance.”

There were other people, he said, naming Ramon Osuna, who recently sold one of Young’s paintings through his Kensington, Maryland– based gallery. Young enjoyed representation, however limited, through Gallery K in Dupont Circle, until 2003, when H. Marc Moyens and Komei Wachi—partners in the gallery and in life—died within a month of one another.

In a sidelong way, Young may have benefited from the interest that younger, so-called post-black artists have taken in their black abstractionist forerunners. Rashid Johnson, a conceptual art star born in 1977, helped to reignite Gilliam’s career by bringing him to the attention of his Los Angeles dealer, David Kordansky, who recently showcased Gilliam’s work at the renowned Frieze Masters fair in London in 2015. (“Forty Years Too Late, an Artist’s Market Takes Off,” read a typical Gilliam headline, this one in Bloomberg.) However late, curators and dealers for international galleries and fairs alike are taking stock of black abstract artists.

Why did it take 40 years for Gilliam or Young or many others who are just finding their footing (again) in the art market? It may be instructive to look to The DeLuxe Show, a 1971 exhibit at a dilapidated venue called the DeLuxe Theater in Houston’s embattled Fifth Ward. Peter

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“Untitled (3)” by Kenneth Young (circa 1968) Bradley, who assembled the exhibit, included artists of color such as Gilliam, Edward Clark, and Virginia Jaramillo alongside white contemporary artists such as Noland and Anthony Caro.

Bradley had been invited to appear in Contemporary Black Artists in America, but he declined on the grounds that it separated out black artists from white. “It embittered many artists who, happy to accept recognition from a museum devoted entirely to American art, ended up being used as a socio-political football,” Bradley wrote in a memo. Instead, he set out to curate the first-ever integrated U.S. show of contemporary black and white artists, situating their postpainterly work in The Nickel, one of Houston’s poorest and blackest neighborhoods.

The segregated art scene in D.C. was an issue that Paul Richards, longtime former art critic for The Washington Post, addressed frontally in 1985 in a review of Art in Washington and Its Afro-American Presence: 1940–1970. In his piece, Richards raised more questions than answers. “How much has the art of France, that bought by Duncan Phillips, influenced the paintings made by blacks in Washington?” the critic asked, referring of course to the lilywhite Phillips Collection. “What interacting forces have forced the imagery of Africa now into the foreground, now into the background, of pictures made by those at Howard University? How black, if black at all, is art made here by blacks?”

Young dismissed the question out of hand.

“I don’t believe in the concept of a show of allnegro artists,” he wrote in an (undated) artist statement that he showed me. “An artist is an artist, and his color has nothing to do with it. I

don’t like labeling a man a ‘black artist.’” Young said he argued frequently with Jeff Donaldson, one of the pioneers of the Black Arts Movement of the 1960s and ’70s and the chair of the Howard University art department at the time.

(Donaldson contributed an essay to Black Art Notes, a 1971 journal produced to protest the Whitney show. Its editor, Tom Lloyd, wrote an essay that takes the exact opposite stance of Young: “ When discussing the black artist and his role, we must begin by dispelling the false notion that an artist is an artist, no matter what his color, and that being black imposes no special responsibility on him.”)

Donaldson founded a groundbreaking group called AfriCOBRA (the African Commune of Bad Relevant Artists). Young wanted nothing to do with it. “Donaldson was a very sophisticated art historian, but his slant was toward black,” Young said. “Like Rahsaan Roland Kirk used to say: ‘Blacknuss, oh blacknuss.’”

Post-black art emerged in the late 1990s or early ’00s as a route out of the fraught discussion over whether there was a place for black artists in late modernism. Artists such as Rashid Johnson, Julie Mehretu, Mark Bradford, and Jennie C. Jones encompass a range of artistic strategies so broad as to have little in common except the label contemporary.

This post–Civil Rights movement—if it can be called a movement, as loose and divisive as the idea of post-black art is today—has made new room for Civil Rights–era artists who did not fit during their day, Gilliam and Young among them.

Even as the market has finally arrived for pioneering black modernists, locally, some cred-

16 june 2, 2017 washingtoncitypaper.com

it for a re-examination of Young’s career in particular has to go to Jack Rasmussen, the tireless, affable director of the American University Museum at the Katzen Arts Center. He is responsible for (among other countless D.C.–focused shows) a recent two-part exhibit called Washington Art Matters. The second edition of that show, in 2014, included Young’s work. “[Young] was part of that whole generation that came along right after the Color School and were trying to come to terms with the Color School and take it in new directions,” Rasmussen says.

Washington Art Matters II is where Young’s work caught the eye of Margot Stein and Lori Rapaport, who run Bethesda Fine Art, a gallery that focuses on Washington Color School painters. “We were drawn to one of Ken’s gorgeous pieces there,” Rapaport says. “We located him and sought to give him a renewed platform for his work, which we are still working on.” Bethesda Fine Art now represents Young’s work and has sold some of his paintings to private collections, including the new palace casino at National Harbor.

There is also the collapse of the Corcoran Gallery of Art, which, for better or worse, brought Young and many other Washington painters to greater prominence. The 2014 court-ordered agreement that dissolved the historic Corcoran Gallery of Art and College of Art + Design—handing the collection over to the National Gallery and the college to George Washington University—divested hundreds of paintings by D.C. artists (and thousands of other artworks) to the nation’s official art treasury.

When the East Building reopened in September, the new installation of the permanent collection included 43 artworks on view from the

Photo courtesy of Kenneth Young’s family

Young with “Spring Rain”(1970) at MGM National Harbor.”

Corcoran’s holdings.

One such piece was “Red Dance,” Young’s 1970 painting, with all its swirling, somber, dark energy. Finally, his work had gained the official recognition that he had (maybe, arguably) sought all along. Certainly, it found its rightful place. The tragic demise of the Corcoran may have benefited Young in another way. The Alper Initiative for Washington Art, a permanent mission-driven space at the American University Museum (another project by Rasmussen), angled from its inception in 2014 to show Washington works from the Corcoran collection that the National Gallery chose not to absorb.

In 2019, the American University Museum will show a comprehensive retrospective of Young’s artworks, focusing on but not limited to paintings from his Washington Color School days, which remain profound, almost 50 years after the fact. He’s also due for a show at the University of Maryland next year.

On June 8, the S. Dillon Ripley Center will host a ceremony recognizing Young’s long career at the Smithsonian Institution, and Bethesda Fine Arts will open a show of his paintings.

His delicate exhibition-design drawings belong to the past, an elegant refinement from a different era. But the reach of his art, his paintings, will extend long into the future. Modernism, abstraction, formalism, black images, and black experiences—these modes and ideas are always being revisited and overturned.

How Young might prefer to be remembered remains an open question.

“I wasn’t an insider. I wasn’t an outsider, either,” he told me. “Now that I think about it, I was just trying to find my way.”

CP

DCFEED

New this month, the first floor of Graffiato operates as a G by Mike Isabella sandwich shop during lunch only. The sandwiches and the full lunch menu are available on the second floor.

Fringe Benefits

D.C. chefs are quietly leaving city gigs to cook beyond the Beltway.

By Laura Hayes You’ve heard of Newton’s third law that for every action, there’s an equal and opposite reaction. It applies to D.C. dining. The District has been flooded with incoming talent lately. David Chang opened Momofuku CCDC. Edward Lee will land a downtown location of Succotash. Bostonian Michael Schlow is building a mini-empire of District restaurants. And the owners of Vedge in Philadelphia are launching a vegan restaurant here.

But at the same time, chefs and other restaurant pros who have dedicated most of their careers to feeding District denizens are quietly scramming for both the nearby and more distant suburbs. Many who commute from Virginia or Maryland to kitchens in D.C. proper are reaching breaking points when it comes to traffic.

“Fiola was a killer,” says Stefano Frigerio, who was driving from Purcellville, Virginia, to lead the Michelin-starred downtown restaurant. “I was spending four hours a day just to go to work, plus the 12- or 14-hour shift. The work Fiola does is phenomenal, but I didn’t see my kids. I didn’t see anyone.”

Beyond skirting life sentences behind the wheel, there are other, more nuanced reasons why chefs are fleeing for the ’burbs. Not the least of which is demand, which Santosh Tiptur banked on when he opened The Conche in Leesburg, Virginia, in May. Much like downtown’s Co Co. Sala, which Tiptur has operated for nearly a decade, the 2,880-square-foot Virginia restaurant has a chocolate theme.

“This is the right time,” Tiptur says. “The caliber of restaurants in D.C. are not here.” His Realtor told him he’d be a pioneer by bringing “something like this” to the region.

Tiptur characterizes new Loudoun County developments as world class and says property owners are thirsty for unique restaurants to fill voids the recession left behind. “The spaces were designed for bigger stores,” he explains. “This was built around 2005 or 2006, but when the recession hit, everyone backed out. Borders and Best Buy were supposed to be here.”

There are plenty of people to fill Tiptur’s ex-

Stephanie Rudig

Young & hungrY

pansive restaurant thanks in part to nearby offerings of kids’ classes ranging from taekwondo to trampoline. And it helps that The Conche is as Willy Wonka as it gets: There’s a chocolate lab in the center of the room where diners can watch their desserts being plated.

“In terms of deciding to open in this location, it was much needed,” he says. “I talk to guests who haven’t been to D.C. in two years because they know how painful it is,” especially for families, to fight the traffic or deal with crowded public transit.

And it’s not just families who want a taste of the city in the suburbs, says Jeremy Ross, general manager and beverage director of Sense of Thai in Ashburn, Virginia. “You never knew there was so much suppressed partying until you give someone a DJ,” he says, adding that he once had to ask a group of housewives out

on a girls’ night not to dance on the bar.

Unlike most places, his restaurant stays open until 2 a.m. on weekends because nightlife is in such demand. “Before, they were either driving or taking an 8-hour Uber to D.C.,” he says with hyperbole. “Now they have it in their backyard.”

The 27-year-old who made a name for himself at several Ashok Bajaj restaurants, including D.C.’s The Oval Room and NoPa Kitchen + Bar, didn’t expect to drop everything to shake fish sauce-spiked cocktails within the One Loudoun development. Life just hung a surprising dog-leg left.

“I got to a certain level where I needed to learn more, but I couldn’t get it from this company,” he says. “I was already looking for an exit plan.” The goal was to jet to Chicago, but Ross had a chance meeting with the Sense of

Thai owners and seized the opportunity to open the restaurant two years ago.

Ross says he thrives on satisfying his customers, who are as varied as the herbs used in Thai cooking. “You have families out here—get the crayons ready—but at the same time parents want an escape,” he says. “Give parents a city vibe, cater to the kids, and then there’s an assisted living facility steps away from the restaurant. You have to master them all.”

Restaurants that do will cultivate regular customers—an increasingly foreign notion in D.C., where many diners book tables based on checklists of new restaurants. There’s a real sense of community at Sense of Thai, where Ross says diners go from guests to regulars to friends.

“Instead of impressing a critic, we want to impress the people who are here every day,” he

washingtoncitypaper.com june 2, 2017 17

Your Neighborhood Grill!

Serving Indian & Pakistani fare of Kebobs, Curries, and Biriyani

DCFEED says. “Our focus is to make sure the orthodontists we know get their dish as fast as possible because they have an appointment instead of [thinking] ‘what would [Washington Post food critic] Tom Sietsema like today?’”

Chef Tim Rowley agrees. He left the District, where he cooked at Bibiana, Fiola, Beuchert’s Saloon, and Room 11, to run The Wine Kitchen in Leesburg, Virginia.

“While I still want to strive and push the food, it’s nice to know that I’m not getting Tom Sietsema in once a month,” he says.

1701 6th St NW, Washington, DC 20001

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18 june 2, 2017 washingtoncitypaper.com

to the restaurant daily. “Trying to find that balance is like finding the perfect dough recipe.”

They’re both elusive.

Frigerio, who left Fiola to open Purcellville crêperie Petit Loulou, actually misses the pressure that Rowley, Ross, and others are content to escape. “I like the pressure when I work,” he says. “It drives me to do more every time. You can have a food critic from a major publication come in anytime. I miss it. I need the tension, the drive, the craziness you have on a Saturday night.”

Chefs who have dedicated most of their careers to feeding District denizens are quietly scramming for both the nearby and more distant suburbs.

He doesn’t mind the diminished competition either. “Anytime a chef says he’s opening something else—until he says he’s opening something in Loudoun County—I don’t worry about it too much.”

Rowley found the job passively perusing Craigslist. “I want to wind up there eventually,” he says. “Why wait until I’m looking?” He has long enjoyed visiting Loudoun County on his days off. “I’m really happy out there. To me, it’s not that far out, but to D.C. people, it’s another civilization.”

He loves being close to farms and texting farmers to ask for strawberries that arrive still warm from the sun. He prefers to let farmers dictate what’s on his menu instead of the reverse.

“My friends in D.C. are trying to do it more and more, but it’s a lot harder with that 40mile difference between Leesburg and D.C.,” Rowley says. When he worked in the District, some farms could only deliver on Mondays or Tuesdays instead of daily.

Rowley, who is about to get married, also enjoys the work-life balance the outer suburbs allow. “Leesburg closes down early at 9 p.m. instead of 10 p.m. or 11 p.m. and nobody notices or cares,” he says. “It gives me an extra hour with Katie [Reineberg]. That’s a good selling point.”

But there’s no guarantee, as Chef Tony Conte found out when he bowed out of The Oval Room after nine years to open Inferno Pizzeria Napoletana in Darnestown, Maryland. He’d been stalking a space in a shopping center and when it freed up, he jumped on it. “It wasn’t by accident,” he says. “It came at a time when the love for the day-to-day wasn’t there any longer. The essence of it wasn’t fun anymore.”

He too wanted more personal time. “Time goes by so fast. It’s amazing how fast the clock ticks once you cross 25,” he says. But being close to home hasn’t stopped him from going

While he happily trades the thrill of highpressure kitchens for more time with family, he’s frustrated about staffing—the Achilles’ heel of opening where pastures are more prominent than parking lots. “It’s hard to find anyone who will spend eight hours a day in the kitchen,” Frigerio says. “They do it because it’s summer and they need a job, but it’s not a career.”

Tiptur agrees, saying staffing front-ofhouse positions like servers is just as challenging. “We have 50 percent of staff that have serving experience, but the rest are high school kids,” he says. “I think the summer will be OK, but when September comes, I’m worried.”

Despite this challenge, Chef Justus Frank is pleased with his decision to open his first solo venture outside of D.C. proper, and not just because the price-per-square-foot is more forgiving.

Like Frigerio and Rowley, Frank worked at Fiola as well as the short-lived Nonna’s Kitchen on U Street NW. His Southern food restaurant Live Oak is in the Del Ray neighborhood of Alexandria, Virginia.

He finds cooking there rewarding because “people are more in love with their neighborhoods than people passing through D.C. for a year or two at a time.” He predicts that as D.C. becomes more saturated, the outside areas will reap the benefits, and so he encourages other first-time restaurateurs to branch out.

“Anything’s doable if your concept is solid and translates to the neighborhood,” Frank says. “Since the whole hospitality industry is thriving right now, there’s motivation for someone young and hungry to get their food in there and become someone, become a contender.”

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

DCFEED Grazer

what we ate this week: Burmese chicken with coconut, ramps, and mint, $17, Bar Pilar.

Satisfaction level: 4 out of 5. what we’ll eat next week: riverdale pizza with Italian sausage, broccoli rabe, aged provolone, peppers, and onions, $19, All Purpose.

Excitement level: 4 out of 5.

’WichingHour

Take It Or Leave It

Food crazes come and go, and while it’s natural to bristle at trends when they first emerge, some stick around and others fail to really launch. Think of it as the difference between neighborhood nicknames NoMa and North End Shaw. Or Baywatch the show versus Baywatch the movie. Here are the things we’ve embraced and others that don’t deserve any more air time. —Laura Hayes

Sushi burritos (Buredo, multiple locations) Burrito-sized maki sushi such as the “Gogo” with spicy tuna tartare, avocado, cucumber, cilantro, jicama, coconut flakes, tempura crunch, and coconut cream ($11.75)

Sushi Doughnuts (Sushi-Zen in Arlington and Zentan on Thomas Circle) Rice shaped into doughnuts topped with raw fish and vegetables ($9-$12)

Breakfast bombs (Buttercream Bakeshop in Shaw) Milk bread stuffed with scrambled eggs, cheese, and sausage ($3.75-$4.50)

Tiramisu oatmeal (Baba Bar in Arlington) Fancy oatmeal with espresso mascarpone, organic almond butter, dark chocolate granola, prunes, and maple syrup ($8)

The sandwich: Classic fried chicken

$14 cocktails

$18 cocktails

Price: $7.27

Frosé (2 Birds 1 Stone on 14th Street NW) Frozen Gamay rosé wine with Capitoline Rosé Vermouth, Branca Menta, and strawberry ($9)

Unicorn Frappuccinos (Starbucks, multiple locations) Hell, frozen over ($4.25-$4.95)

Fried chicken sandwiches on savory doughnuts (Astro Doughnuts & Fried Chicken, downtown) Fried chicken sandwich with hot sauce and honey butter ($5.50)

Chicken fries (Burger King, multiple locations) White meat chicken molded into the shape of French fries served with dipping sauces ($2.99)

Mala Coladas (Maketto, H Street NE) A spicy piña colada with rum, lime, and coconut milk with five-spice powder and peppercorns ($12)

Dom-aritas (MGM National Harbor, Maryland) A margarita finished with a full bottle of Dom Perignon Champagne ($1,000)

Vegetarian tacos (Chaia, Georgetown) Examples include creamy kale & potato, asparagus & spring garlic, and roasted beet ($11 for three)

Vegetarian Philly steaks (HipCityVeg, Chinatown) Pulled “steak,” grilled onion, mushroom, lettuce, tomato, and organic ketchup on a whole wheat long roll ($8.75)

Booze-flavored ice cream (Ice Cream Jubilee, Navy Yard and 14th and T Streets NW). Dark & Stormy with Dark Gosling’s Rum and candied ginger ($8.95 per pint)

Cereal milk soft serve (Milk Bar, CityCenterDC) Made with milk, cornflakes, brown sugar, and salt ($10 per pint)

UnderServed The best cocktail you’re not ordering

What: Monito del Monte with Monkey Shoulder Blended Scotch, lemon juice, and syrup infused with rocoto, ginger, and juniper berries Where: China Chilcano, 418 7th St. NW; (202) 783-0941; chinachilcano.com Price: $14

What You Should Be Drinking: This kicky whiskey sour is named for the colocolo opossum or “little monkey of the woods” indigenous to Argentina and Chile. (Primates also appear at José An-

drés’ Peruvian-Asian fusion restaurant via yellow neon ceiling lights that evoke designs carved by the ancient Nazcas in southern Peru to communicate with the gods.) ThinkFoodGroup cocktail innovator Miguel Lancha shakes Monkey Shoulder Blended Scotch with lemon juice and a syrup infused with ginger, juniper berries, and rocoto—an apple-shaped red chili pepper native to South America.

Why You Should Be Drinking It: One glance at the list, and it’s obvious that

Caroline Jones

ThIngs ThAT’LL never FLy

Kelly Magyarics

ThIngs We’ve COme TO ACCepT

Where: Mason Dixie Biscuit Co., 2301 Bladensburg Road NE Stuffings: fried chicken, Benton’s bacon, honey, hot sauce Bread: house-made buttermilk biscuit Thickness: 3.5 inches Pros: Mason Dixie specializes in only two things but executes both of them flawlessly. Every crunchy bite of the large chicken thigh is equally juicy and crisp, and the biscuit is creamy and soft. Chef Jason Gehring also ingeniously pairs thick, smoky slices of Benton’s bacon with a vinegar-based hot sauce, giving the sandwich two types of heat.

Cons: The honey is overpowered by the hot sauce, so the salty sandwich could use a bit more sweetness. A significant difference in textures between the biscuit and the chicken forces you to take uneven bites and makes the biscuit crumble in your hands.

the beverage program is loyal to Peru’s native spirit of pisco. Spotting a Scotch cocktail is about as difficult as catching a glimpse of one of those cagey little monkeys who hide out in dense forests and camouflage themselves with moss.

The drink is woefully overlooked, according to general manager Mario Bernal. But lemon adds tang to the whisky’s malty cocoa notes, while juniper, rocoto, and ginger offer heat and flavor that keep the sip from being a one-dimensional sour. Pair it with lomo saltado, a stir fry with beef, tomato, soy sauce, aji amarillo peppers, and shoestring potatoes. —Kelly Magyarics

Sloppiness level (1 to 5): 3. A sandwich that sits on a biscuit is inherently messier than those prepared on stiffer breads, so the crumb quotient is high.

But by paring down the rest of the toppings, very few ingredients drip or escape, making this an excellent option for ordering from Mason Dixie’s drivethrough window when it’s open.

Overall score (1 to 5): 4. While the crumb situation could be improved, and nutrition experts might argue for the addition of fresh vegetables, this is a carb bomb in peak form. Whether you’re looking for an excuse to be gluttonous or just crave some high-quality biscuits, you’ll find both on this corner in Northeast.

—Caroline Jones

washingtoncitypaper.com june 2, 2017 19

Take Metrobus and Metrorail to the...

TUESDAY, JUNE 13

DCJAZZFESTIVAL

DC Jazzfest at The Howard Theatre 8:00 PM • The Howard Theatre Hiromi & Edmar Castañeda Jazz in the ‘Hoods 8:00 PM & 10:00 PM • Logan Fringe Arts Space SUN RA ARKESTRA Directed by Marshall Allen presented by Capital Fringe

JUNE 9 – 18 2017

DISCOVER MULTIPLE GRAMMY AWARD WINNING ARTISTS AND MORE WHEN JAZZ TAKES OVER THE DISTRICT THIS SUMMER! ®

FRIDAY, JUNE 9 EAST RIVER JazzFest 7:00 PM • We Act Radio Mad Monk presented by Hope Udobi Ensemble DC JazzFest Opening Concert 8:30 PM • The Howard Theatre Lalah Hathaway Jazz in the ‘Hoods 8:00 PM – 10:00 PM • Gallery O on H Lewis & Keyes Trio

DC JazzFest at Dance Place 8:00 PM • Dance Place Princess Mhoon Dance Project: In Jazz We Trust

6:00 PM – 9:00 PM • Alice’s Jazz and Cultural Society Live Jazz (also 6/14 & 18)

Jazz in the ‘Hoods 8:00 PM – 11:00 PM • The Alex Craft Cocktail Cellar & Speakeasy Lena Seikaly

6:30 PM – 9:30 PM • The Grill from Ipanema Live Jazz, Bossa Nova, Samba, Gigi Maclaughlin & Band

EAST RIVER JazzFest 8:30 PM • Anacostia Playhouse Exploring Monk & Other Interesting Music featuring Warren Wolf & Kris Funn

8:00 PM & 10:00 PM • Twins Jazz Rick Alberico

WEDNESDAY, JUNE 14

DC JazzFest at the Howard Theatre 12:30 PM • The Howard Theatre Brunch with the Harlem Gospel Choir

Jazz in the ‘Hoods: Bass-ically Yours 6:00 PM • Kennedy Center Millennium Stage Tommy Cecil/Billy Hart/Emmet Cohen

DC Jazzfest at Dance Place 7:00 PM • Dance Place Princess Mhoon Dance Project: In Jazz We Trust

Jazz in the ‘Hoods 12:00 PM – 1:00 PM • Children’s National Medical Center, Main Atrium Laura Sperling

8:00 PM • Sixth & I Jane Bunnett and Maqueque, Aaron Myers (opener) 8:00 PM & 10:00 PM • Blues Alley Joey DeFrancesco + The People

8:00 PM & 10:00 PM • Blues Alley Joey DeFrancesco + The People

8:00 PM – 11:00 PM • Gallery O on H Abinnet Berhanu and Hebret Musica

8:00 PM – 11:00 PM • Mr. Henry’s Kevin Cordt, & LATE NIGHTJAM til 1:00am

8:00 PM – 11:00 PM • Mr. Henry’s Batida Diferente

9:00 PM & 11:00 PM • Twins Jazz Abby Schaffer Quartet

10:00 PM • Rumba Café Miguel NuÑez (Cuban Jazz After Hours)

Transparent Productions Presents 9:00 PM • Rhizome The Joseph Daley Trio

CapitalBop DC Jazz Loft Series 8:30 PM • Tropicalia Mary Halvorson Octet and Brian Settles

CapitalBop DC Jazz Loft Series 9:00 PM • The Fridge Christie Dashiell, Brandee Younger Trio

SATURDAY, JUNE 10 EAST RIVER JazzFest 2:00 PM • Smithsonian Anacostia Museum Pepe Gonzalez Ensemble DC JazzFest at the Howard Theatre 7:00 PM • The Howard Theatre Jazz Legends Double Feature: Roy Haynes Fountain of Youth Band/Ron Carter-Russell Malone Duo Smithsonian Jazz Masterworks Orchestra 7:30 PM • National Museum of American History International Influences in Jazz: Rhythm and Tradition PRESENTING SPONSOR

PLATINUM SPONSORS

8:00 PM & 10:00 PM • Blues Alley Tessa Souter

SUNDAY, JUNE 11 EAST RIVER JazzFest 10:00 AM • Kenilworth Aquatic Gardens Mystical Monk featuring Charles Rahmat Duet 2:00 PM • Anacostia Art Center Remembering Lady Ella Jazz in the ‘Hoods: Bass-ically Yours 6:00 PM • Kennedy Center Millennium Stage Amy Shook and the SR5tet Jazz in the ‘Hoods 1:00 PM • Tudor Place Historic House and Garden Nicole Saphos Trio 8:00 PM & 10:00 PM • Blues Alley Joey DeFrancesco + The People GOLD SPONSORS

MONDAY, JUNE 12 Jazz in the ‘Hoods: Bass-ically Yours 6:00 PM • Kennedy Center Millennium Stage James King Band EAST RIVER JazzFest 7:00 PM • Anacostia Playhouse Freddie Dunn Quartet: Birks’ Works: The Music of Dizzy Gillespie A Night at the Kennedy Center 7:30 PM • Kennedy Center/Concert Hall An Evening with Pat Metheny feat. Antonio Sanchez, Linda Oh, and Gwilym Simcock Jazz in the ‘Hoods 7:00 PM & 9:30 PM • Atlas Performing Arts Center Miho Hazama w/Brad Linde Expanded Ensemble: MONK at 100 8:00 PM & 10:00 PM • Blues Alley Mike Wade & Nasty-Nati Brass Band

SILVER SPONSORS Official hotel of DC JazzFest

BRONZE SPONSORS

20 june 2, 2017 washingtoncitypaper.com

MEDIA SPONSORS

WASHINGTON

Coca-Cola is the Official Soft Drink Sponsor of DC JazzFest

8:00 PM – 11:00 PM • Sotto DC Sotto DC presents: John Lee

7:00 PM • University of the District of Columbia/ JAZZAlive Allyn Johnson and the UDC JAZZtet 8:00 PM & 10:00 PM • Twins Jazz Irene Jalenti 8:00 PM – 11:00 PM • Sotto DC Sotto DC Presents: John Lee 8:00 PM – 11:00 PM • Mr. Henry’s Capitol Hill Jazz Jam

THURSDAY, JUNE 15 Jazz in the ‘Hoods: Bass-ically Yours 6 PM • Kennedy Center Millennium Stage Herman Burney and the Ministerial Alliance DCJazzPrix Finals 7:00 PM • University of the District of Columbia/ JAZZAlive SULA, AMP Trio feat. Tahira Clayton, the Earnest Turner Trio Jazz in the ‘Hoods 12:00 PM – 1:00 PM • Children’s National Medical Center, Main Atrium Charles Rahmat Woods

12:30 PM – 1:30 PM • Franklin Park The JoGo Project (13th & Eye St NW) 7:00 PM • Hill Center at the Old Naval Hospital Felix Contreras and Quiet Life Mambo 7:30 PM – 10:00 PM • The Grill from Ipanema Live Jazz, Bossa Nova, Samba, Rose MoraesSoul Brasil 8:00 PM – 11:00 PM • Mr. Henry’s Lionel Lyles & LATE NIGHTJAM til 1:00am 8:00 PM & 10:00 PM • Blues Alley Stacey Kent 8:00 PM & 10:00 PM • Twins Jazz Jeff Antoniuk & The Jazz Update 8:00 PM – 11:00 PM • Sotto DC Sotto DC presents: Beat Fairy 8:00 PM – 11:00 PM • Gallery O on H Nicole Saphos Trio

FRIDAY, JUNE 16 Events DC Presents: DC JazzFest at the Yards 5:00 PM • Yards Park Ola Onabulé and Lori Williams Embassy Series 6:00 PM • Italian Cultural Institute Debora Petrina Jazz in the ‘Hoods: Bass-ically Yours 6:00 PM • Kennedy Center Millennium Stage Trio Vera w/Victor Dvoskin Jazz in the ‘Hoods 5:00 PM – 9:00 PM • National Gallery of Art Sculpture Garden Michael Thomas Quintet 8:00 PM • Atlas Performing Arts Slavic Soul Party: Duke Ellington’s Far East Suite 8:00 PM – 11:00 PM • Mr. Henry’s Elijah Jamal Balbed, LATE NIGHTJAM til 1:00am 8:00 PM & 10:00 PM • Blues Alley Stacey Kent 8:00 PM – 11:00 PM • Gallery O on H Mark Meadows & The Movement 9:00 PM & 11:00 PM • Twins Jazz Tim Whalen Quintet CapitalBop DC Jazz Loft Series 8:30 PM • NYU-DC Reginald Cyntje Group & Odean Pope Saxophone Choir

SATURDAY, JUNE 17 Embassy Series 12:00 PM • SPAIN Arts & Culture Chano Domínguez EAST RIVER JazzFest 2:00 PM • Fort Dupont Activities Center Lenny Robinson’s Monk Groove Events DC Presents: DC JazzFest at the Yards 2:00 PM – 10:00 PM • Yards Park Robert Glasper Experiment, Kenny Garrett Quintet, Kandace Springs, Jacob Collier, New Century Jazz Quintet Jazz in the ‘Hoods Noon – 2:00 PM • The Kreeger Museum Cowboys & Frenchmen 6:00 PM – 8:30 PM • Sotto DC Sotto DC presents Nicole Saphos 8:00 PM – 11:00 PM • The Alex Craft Cocktail Cellar & Speakeasy Alison Crockett 8:00 PM & 10:00 PM • Blues Alley Stacey Kent 8:00 PM & 10:00 PM • Mr. Henry’s Julia Nixon 9:00 PM & 11:00 PM • Twins Jazz Michael Thomas Quintet 9:00 PM – 12:00 AM • Sotto DC Dante Pope

SUNDAY, JUNE 18 Events DC Presents: DC JazzFest at the Yards 2:00 PM – 9:30 PM • Yards Park Gregory Porter, Black Violin, Youngjoo Song Septet, Sarah Elizabeth Charles & SCOPE Jazz in the ‘Hoods 6:30 PM – 9:30 PM • The Grill from Ipanema Live Jazz, Bossa Nova, Samba, Cissa Paz & Band 8:00 PM & 10:00 PM • Blues Alley Stacey Kent 8:00 PM & 10:00 PM • Twins Jazz Anthony Nelson Quartett

@DCJAZZFEST

For tickets, artists and a complete schedule, visit DCJAZZFEST.ORG

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; and, in part, by major grants from the Anne and Ronald Abramson Family Foundation, The Morris and Gwendolyn Cafritz Foundation, Gillon Family Charitable Fund, The Mayo Charitable Foundation, CrossCurrents Foundation, Wells Fargo Foundation, The NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, The Reva & David Logan Foundation, John Edward Fowler Memorial Foundation, Bill and Melinda Gates Foundation; and with awards from the National Endowment for the Arts and the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts. ©2017 DC Jazz Festival. All rights reserved.

washingtoncitypaper.com june 2, 2017 21

Carol Robles lives in Baltimore’s Patterson Park neighborhood.

Š2017 Live Baltimore Home Center, Inc. Live Baltimore is a 501(c)(3) nonprofit organization.

Just ask Carol, who taste-tested multiple city neighborhoods before settling in Patterson Park. With its resident diversity and Latin-infused shops and restaurants, she can spice up her cooking and her social life. What will you discover more of in Baltimore? Find out at LiveBaltimore.com.

Find your home in Baltimore City. LiveBaltimore.com Wash-City_June_MECH.indd 1 2217-LBT-001 june 2, 2017 washingtoncitypaper.com

5/26/17 12:58 PM

CPArts

Watch Eddie Vedder cover Fugazi in tribute to Chris Cornell. washingtoncitypaper.com/arts.

More Sinned Against Than Sinning

In Taylor Mac’s Hir and Rick Foucheux’s King Lear, gender itself is under interrogation.

Hir

By Taylor Mac Directed by Shana Cooper At Wooly Mammoth Theatre Company to June 18

King Lear

By William Shakespeare Directed by Tom Prewitt At Gunston Arts Center to June 25

By Chris Klimek “I shouldn’t have to learn new pronouns!” Dave Chapelle said in a Netflix special posted earlier this year. He was lamenting the difficulty—particularly for a guy over 40 who voluntarily withdrew from participation in media and culture over the last decade—of keeping current with the fast-evolving language of the LGBTQ movement, and that the innocent use of a no-longer-favored term might be mistaken for disapproval or aggression. Chapelle earned some rebukes for saying this.

I kept thinking about Chapelle’s remark while sorting through my reaction to Hir, a blisteringly funny but unrelentingly sour 2014 “kitchen-sink tragedy” by Taylor Mac, a Pulitzer Prize finalist whose wild resume includes a 24-hour, 246-song concert recapping the history of popular music since 1776.

Hir is now enjoying a rich and fervent production at Woolly Mammoth Theatre Company, anchored by two of Woolly’s reliably brilliant company members, Emily Townley and Mitch Hébert. That title, pronounced “here,” is indeed a new pronoun, one that the teenage or early-twenties Max (Chicago-based “gender warrior” Malic White) has asked hir family to use while ze (another new pronoun) is transitioning genders. This causes some Chapelle-style consternation for Max’s brother Isaac (Woolly first-timer Joseph J. Parks), who has just returned to his shambolic family home after a combat tour. Set designer Misha Kachman makes the place look like a laundromat after an earthquake.

Seeking solace in meth has gotten Isaac dishonorably discharged from the Marine Corps, where he spent the prior three years picking up corpses and body parts. He hopes the comforts of home might allow him to collect himself. Instead, he learns that his mother, Paige (Townley), has unshackled herself from housekeeping, budget-keeping, and schedule-keeping in the time since his spouse-abusing father, Arnold (Hébert), suffered a crippling stroke. Now Paige takes hour-by-hour revenge on her newly-neutered husband, dressing him in a nightgown and

THEATER

clown makeup and slipping her own after-market additives into the nutrition shakes Arnold’s doctors have prescribed.

A Long Day’s Journey into Night is a Winter Solstice Jaunt into Perpetual Daylight compared to this.

Mac, a playwright, actor, singer, songwriter, and director, surely wouldn’t like to be reduced to the phrase drag performer; this is an artist, after all, who once responded to a journalist’s attempt to peg him by writing and performing a show called Comparison Is Violence. I identify Mac that way only to make the point that the perspective on LGBTQ matters presented, uh, here is not that of an outsider. He even mocks the movement’s ever-evolving rules of grammar and usage in Hir by adding another half-dozen washingtoncitypaper.com june 2, 2017 23

CPArts letters to that already-unwieldy abbreviation. Imagine my surprise at discovering that Chapelle and Mac—two artists who’ve built careers on skewering prejudice, be it racial or economic or heteronormative—were born on the same day in 1973.

Mac, by the way, prefers to be identified by the pronoun judy.

I hope Mac will forgive me for using two male pronouns to refer to judy in the prior paragraph. You can understand how some bewilderment might arise absent any unkind intentions. That the Hir program given out on press night included an insert with a four-paragraph apology from Woolly honcho Howard Shalwitz for accidentally “deadnaming” Caitlyn Jenner only proves the point that even the wokest of middle-aged white guys are prone to error in this area.

Anyway, Mac judyself is not too pious to mine comedy from the limitations imposed by a gender-bifurcated language. Maxnot-Mac opines that the Biblical tale of Noah’s Ark is transphobic because Noah chose only binary-mating species to bring aboard—overlooking, for example, snakes, which copulate in a multi-participant scrum.

But Hir’s mirth-without-mercy comes from behavior rather than jokes. Townley squirts Hébert’s doddering Arnold with a spray bottle whenever she wants him to settle down. She manages somehow to project vulnerability and cruelty, continuing a great run of not-especially-likeable characters at Woolly over the years. (Her scabrous turn as a Palinesque Nebraska gubernatorial candidate in Peter Sinn Nachtrieb’s The Totalitarians three summers ago comes to mind.)

That we’re given only hints of the mistreatment Paige suffered at Arnold’s hands over the years but remain unable to condemn

her mistreatment of a helpless man completely is a credit to Townley’s base relatability. We learn that, before he fell ill, Arnold lost his job—to a woman. A woman of color. The erosion of the American middle class, festering sexism and racism, and our perennial mistreatment of veterans are the fertile soil from whence Mac’s deeply contemporary dysfunctional family play springs.

Hébert was as much at ease playing the malicious blowhard Roy Cohn in Round House and Olney Theatres’ joint Angels in America last fall as he was playing a quiet laborer in Woolly’s 2010 Clybourne Park, a year before that play won a Pulitzer Prize. In Arnold, he plays a man whose speech has become infrequent and severely impaired. It’s deeply uncomfortable to watch him.

If White and Parks are not quite on the same rarefied plane as their world-beating castmates, they’re still awfully good. You’ll believe them as an unhappy family, unhappy in its own way.

When fIve-tIme helen Hayes Award honoree Rick Foucheux collected his latest trophy last month, for his performance in Ford’s Theatre’s Cat on a Hot Tin Roof, the 62-year-old actor was the only recipient at this year’s ceremony to speak long enough from the podium for the orchestra to try to play him off.

They should’ve shown a little more deference: Foucheux announced his impending “semi-retirement” a year ago. Playing King Lear for Avant Bard—a non-equity company staffed by artists he’s always liked, but that could never afford him—is a generous way of wrapping up a 35-year career that’s seen him earn raves on the biggest stages in town. Most actors don’t aspire to take their final bow at a middle school (which is what the Gunston Arts Center is). But what has Foucheux got to prove?

THE UNITED STATES AIR FORCE

FREE CONCERT!

Wednesday, June 7th at 12 p.m.

St. John’s Episcopal Church Lafayette Square 1525 H St. N.W., Washington, D.C. This concert will feature J.S. Bach’s Brandenburg Concerto No. 2 with guest soloist, Mary Bowden, trumpet, as well as an exciting chamber symphony by the modernist American composer George Antheil.

★ FREE Admission ★ No tickets required ★ No reserved seats www.usafband.af.mil 24 june 2, 2017 washingtoncitypaper.com

Director Tom Prewitt strives mightily to make a visibly penny-pinching production worthy of the grand occasion. Johnathan Dahm Robertson’s dun-colored set looks like a playground half-buried in a sandstorm; the kingdom that Lear ponders dividing up among his three daughters—he represents each parcel with a handful of sand dyed a different hue—has already gone to seed. The up-close black-box staging makes the show feel more like a family drama than an epic tragedy. I kept thinking of The Royal Tenenbaums and thinking that Cordelia—the would-be heiress sister who is sold off cheap for refusing to flatter her father as her sisters do—was like poor, lost Richie Tenenbaum, prepared to forgive her father anything.

Prewitt’s most inspired idea is to cast Cam Magee—Foucheux castmate from Woolly Mammoth’s 1983 production of R.U.R.—as the Earl of Gloucester, and to hint at romantic history between them. Foucheux himself played this role in a George Washington University Lear only two months ago. Christopher Henley, the company’s former artistic director, is the mournful Fool, while Avant Bard regular Sara Barker is virtually unrecognizable as Edgar, and Dylan Morrison Myers makes his scheming, two-timing Edmund more of a lout than a threat.

In the late going, Christian R. Gibbs’ Albany brings enough of a charge to his scenes that you wish he had a more substantial role. Maybe we’ll be watching his Lear in 35 years.

CP 641 D St. NW. $20-$69. (202) 393-3939. woollymammoth.net.

2700 South Lang St., Arlington. $10-$35. (703) 418-4808. wscavantbard.org.

“SPARKLING, FRESH, AND LIVELY.” —Los Angeles Times

June 13–July 16, 2017 | Opera House

HIRE AN INTERN.

CHANGE A LIFE.

43 % of DC youth graduate from high school *

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

Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

Additional support is provided by The Blanche and Irving Laurie Foundation.

100 % of Urban Alliance interns graduate from high school To sponsor an intern, contact Jetheda Warren, jwarren@theurbanalliance.org, 202-459-4308 Urban Alliance empowers under-resourced youth to aspire, work, and succeed through paid internships, formal training, and mentoring. www.theurbanalliance.org *www.doublethenumbers.org

washingtoncitypaper.com june 2, 2017 25

CPArts

the complete, unabridged Hand Grenade Job tour diary continues. washingtoncitypaper.com/arts.

Arts Desk

Color, Full

Clement Greenberg put the District on the map. In a 1960 essay for Art International, he profiled the work of Morris Louis and Kenneth Noland, two D.C.–based artists who had not yet shown in any New York museum. This supremely influential critic didn’t just pinpoint Louis and Noland as essential “color painters,” he helped to produce them. In 1954, Greenberg introduced Louis to Helen Frankenthaler—a proto–color field painter—whose 1952 painting, “Mountains and Sea,” became a touchstone for Louis and other D.C. artists. Louis borrowed from her the process of staining raw, unprimed canvas with acrylic paint, a strategy that became one of the hallmarks of the Washington Color School. “Thin it, use it in the same way as dye,” Noland later told an in-

terviewer, in 1977. “Thinness reveals color.”

Noland, for his part, had enrolled at Black Mountain College on the G.I. Bill after the war. There he studied geometric abstraction under Ilya Bolotowsky and Josef Albers, learning about composition, rhythm, and perception in the works of artists such as Piet Mondrian and Paul Klee. Noland brought these ideas with him to a post at Catholic University, where his students learned another signature lesson of Color School painting: hard-edged geometric abstraction.

Other D.C. artists (some of them Noland’s students) soon cottoned on. Gene Davis, Howard Mehring, Tom Downing, and Paul Reed joined Louis and Noland in a pivotal 1965 show at the former Washington Gallery of Modern Art, Washington Color Painters. A second wave of painters introduced new ideas in space (Sam Gilliam) and form (Anne Truitt). Traces of the old school still persist in work produced by young painters today (Jason Gubbiotti). Thanks especially to the Corcoran Gallery of Art—now lost to the city—the D.C. style had real staying power. Here’s a timeline of signature museum shows by the six original artists of the Washington Color School.

—Kriston Capps 1965 “Washington Color Painters” show

1900

1940

1920

Morris Louis Born: 1912 Died: 1962 Important exhibits: Solomon R. Guggenheim Museum—1963 Washington Gallery of Modern Art, Washington Color Painters—1965 Los Angeles County Museum of Art—1967 Whitney Museum of American Art—1970 Museum of Fine Arts, Boston—1973 National Gallery of Art—1976 Museum of Modern Art—1986

1960

Kenneth Noland Born: 1924 Died: 2010 Important exhibits: Venice Biennale—1964 Washington Gallery of Modern Art, Washington Color Painters—1965 Solomon R. Guggenheim Museum—1977 Museum of Fine Arts, Houston—2004 The Tate—2006 Solomon R. Guggenheim Museum—2010

Howard Mehring A native Washingtonian, Mehring studied under Noland and also visited Frankenthaler’s studio, making him a Color School completist.

Born: 1931 Died: 1978 Important exhibits: Los Angeles County Museum of Art, Post-Painterly Abstraction—1964 Washington Gallery of Modern Art, Washington Color Painters—1965 Corcoran Gallery of Art—1977 The Phillips Collection—1977 26 june 2, 2017 washingtoncitypaper.com

1980

Thomas Downing Downing, who studied under Noland and shared a studio with Mehring, taught at the Corcoran, where Sam Gilliam numbered among his students.

Born: 1928 Died: 1985 Important exhibits: Los Angeles County Museum of Art, Post-Painterly Abstraction—1964 Washington Gallery of Modern Art, Washington Color Painters—1965 Corcoran Gallery of Art—1966 La Jolla Museum of Art—1968 The Phillips Collection—1985

Paul Reed The last of the Washington Color Painters class continued to paint well into his 90s.

Born: 1919 Died: 2015 Important exhibits: Washington Gallery of Modern Art, Washington Color Painters—1965 Corcoran Gallery of Art—1966

2000

2020

Gene Davis Davis lent his signature stripes to a 414foot-long stretch of street outside the Philadelphia Museum of Art in 1972.

Born: 1920 Died: 1985 Important exhibits: Corcoran Gallery of Art—1964 San Francisco Museum of Modern Art—1968 Walker Art Center—1978 Brooklyn Museum—1982 Smithsonian American Art Museum—2016

“SLEEK AND STRIKINGLY CONCEIVED” —The Washington Post

THE KENNEDY CENTER

DISTRICT OF

COMEDY FESTIVAL

HHHHH

Presenting Sponsor

“FASCINATING” “A THRILLING RIDE” —TheaterMania

—DC Theatre Scene

SHAKESPEARE’S

MUST CLOSE JUNE 11

Photo: Teresa Wood

202.544.7077 | folger.edu/theatre

Pictured: Ian Merrill Peakes as Timon 17-FT-0245_CityPaper_quotes.indd 1

5/18/17 2:13 PM

2017 SUMMER CONCERT SERIES MONDAYS AT 8 P.M. West Steps of the U.S. Capitol Washington, D.C.

June 17–August 13 | Theater Lab

TueSDAYS AT 7:30 P.M.

Who better to comment on the state of our nation than the comedians who mock it best? The Second City returns for another summer of uproarious irreverence in The Second City’s Almost Accurate Guide to America: Divided We Stand. You may think you know America, but if the last year has taught us anything, it’s that there are many different Americas to get to know. Alas, there is still one thing the blue states and red states share—the need for a good laugh! Age 16+

U.S. Navy Memorial 701 Pennsylvania Ave., NW Washington, D.C.

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

City Paper DB Interservice.indd 1

5/26/2017 8:15:13

washingtoncitypaper.com june 2, 2017 27

FilmShort SubjectS Wonder Woman

Nevertheless, she eNlisted Wonder Woman

Directed by Patty Jenkins Few superhero Films consider simple, strong emotions. Even Guardians of the Galaxy Vol. 2 sometimes felt like a therapy session, with heroes working through feelings of rejection and loss. The best thing about Wonder Woman is that director Patty Jenkins and screenwriter Allan Heinberg present their hero’s innate goodness with clarity and depth.

With a story that moves at a steady clip and action that threads the needle between realism and supernatural exaggeration, Wonder Woman is the arrival of a hero for all of us, but young women in particular.

We first meet Diana (aka Wonder Woman) when she’s young, the only child on an isolated island filled with fierce Amazon warriors (who are all women), and she is eager to fight.

Her mother Hippolyta (Connie Nielsen) wants nothing of it, while her aunt Antiope (Robin Wright) trains her in secret. Gal Godot plays Diana as an adult, and she is uncertain of her destiny, at least until she sees a plane crash near the island’s shore. She rescues Steve Trevor (Chris Pine), an American spy who is eager to return to World War I. He explains the conflict, noting how the latest chemical weapon could lead to the death of millions. To Diana, this all sounds like a prophecy about Ares—the God of War—who aims to decimate humanity out of spite against Zeus. She decides to follow Steve, abandoning all that she knows, in order to end the fighting once and for all.

Diana’s isolation is the key to the charac-

ter’s central appeal. She is devoid of cynicism or doubt, so her moral compass is sharply defined, and she always speaks frankly. This trait can lead to genuine heroism: There is a bravura sequence where Diana is moved by death along the trenches, and jumps into No Man’s Land to stop the enemy. The metaphor is obvious and compelling, anyway: She marches implacably forward, full of courage and determination, and the weapons of modern warfare are helpless against her. Diana’s steely gaze and costume contrast the hopeless greys of the battlefield, deepening the sense of her power.

Her nature also leads to lighter moments, such as her joy over seeing a baby, or trying ice cream. This is all familiar “fish out of water” territory, but Godot elevates it with reserves of natural charisma. She’s also improbably beautiful, leading to a running gag where she baffles men and women alike.

As Wonder Woman dispatches entire armies, a powerful woman feels all the more welcome and necessary. The early scenes feature no men whatsoever, and the sight of women training a young girl has a clear purpose.

Jenkins and Heinberg must know that Wonder Woman will serve as an inspiration for the newest generation of female comic book fans, who either had to make do with male heroes or female heroes that had no choice but to play nice with the boys.

Crucially, few supporting characters condescend to Diana; in particular, Pine’s character does a fine job of accepting Diana’s strength and keeping his feelings about her to himself.

When characters try to objectify her, the film treats them as opportunities to disabuse men of countless negative stereotypes.

Wonder Woman is not the only pioneer in a man’s world. Steve’s crash leads to arguably the film’s best action sequence, where the Amazon women fearlessly fight dozens of Germans who were chasing his plane. There are gorgeous, slow-motion parabolas where Di-

28 june 2, 2017 washingtoncitypaper.com

ana, Antiope, and the others elegantly contort their bodies to slay faceless, bumbling soldiers. The sequence will inspire dozens of animated gifs, most of them with the subtitle “MISANDRY,” and it’s no accident that Jenkins slows the action until it resembles an evocative comic book frame.

Most of Wonder Woman has clear battle lines. Sure, Diana has no problem leaping into the air and taking out a sniper tower, but at least the space is sharply defined and semi-plausible. Jenkins abandons all that in the climax, since more supernatural forces are at play. There are explosions everywhere, framing Diana around elemental fire, and the special effects exaggerate the film’s sense of good and evil. Except in its representation of women, Wonder Woman does not elevate the possibilities of what a superhero film can be. Instead, it as a muscular, playful, satisfying example of the genre at its finest. If anything, it will leave us mildly annoyed that it took so long to make a movie about her in the first place.

—Alan Zilberman Wonder Woman opens Friday in theaters everywhere.

Dean

hardeNed state Dean

Directed by Demetri Martin Dean is Demetri Martin’s Garden State. A mother passing away, a happy/sad indie soundtrack, prickliness between father and son—in these ways, the two films are beat by beat. Yet although Dean sometimes leans towards preciousness, it never fully blossoms as twee.

That’s because Martin’s humor isn’t affected. It’s just low-key. In his feature debut as a writer-director, the comedian plays the titular character, a New York artist who’s not making

progress on his second book because he’s still processing his mother’s death. He’s also getting over a breakup with a woman who’s still part of his circle of friends. And when he reluctantly meets with his father, Robert (Kevin Kline, whose turn is somewhat Bill Murrayish), he’s told to get a haircut and questioned about what he’s doing with his life.

The only time Dean isn’t in an awkward situation is when he’s drawing. You may have seen Martin’s simple sketches in his comedy shows, such as Important Things With Demetri Martin. They’re gently absurd: A half black, half white horse titled “Zebra (reconstructed),” for instance, or a man parachuting into an open grave. They increasingly become an elegant way of showing, not telling, how Dean is feeling.

After his friend’s disastrous wedding at which he was one of two best men and his ex was one of the bridesmaids—there’s a bumbling scene here with the ring along with an unpleasant reveal that’s Chaplin-esque—Dean decides to finally go to L.A. to take a meeting with some executives who want to use his drawings. He went purely as an excuse to avoid his father, and his initial instinct that this wasn’t something he wanted to do proves correct: The company’s hyped-up execs have mini treadmills at their computers and use non-words such as “transformifies.” Dean walks out in the middle of the meeting, and between that experience and his time at a party attended by L.A.-types who might as well have been alien beings, he sketches a picture of many giant people next to a single tiny one.

Naturally, there’s a love interest: Nicky (Community’s Gillian Jacobs), who Dean meets at the party despite embarrassing himself and then goes to sometimes extreme lengths to see. Their romance is sweet, and Martin gives Jacobs her share of funny lines, a sense of humor that makes the pair a believable match—even if her character is essentially a trope of the perfect girl cheering up the depressed dude.

Ultimately, though, Dean’s plot is too featherweight to leave a lasting impression. What you’ll remember are the lighthearted bits, such as Martin’s use of subtitles when Dean and a friend talk in a club, drawn text messages, or Robert trying to dismiss a call on his new phablet by telling the screen, in a raised voice, that he’s at a restaurant. Yes, the story is rooted in grief, but it’s too easily forgotten as the rest of Dean’s life goes on. Martin may be great at sketches, but it takes more than sewing together a series of them to make a memorable movie.

—Tricia Olszewski Dean opens Friday at Landmark Bethesda Row and Angelika Film Center Mosaic.

WHO ARE THE NEW SUPERWOMEN OF THE UNIVERSE? Join us for FRESH TALK on the new wave of superheriones taking the comic universe by storm.

Carolyn Cocca, author of Superwomen: Gender, Power, and Representation Ariell Johnson, owner of Amalgam Comics & Coffehouse, Philadelphia Gabby Rivera, writer of Marvel’s AMERICA series Ashley Woods, illustrator, artist for Stranger Comics’ NIOBE: She is Life

WEDNESDAY, JUNE 14, 2017 7-8:30 PM Followed by CATALYST cocktail hour

ART WORK BY A SHLE Y A. WOODS

Purchase tickets at nmwa.org/events/ fresh-talk-who-are-new-superwomen-universe

1250 New York Avenue, NW | Washington, D.C., 20005 | 202-783-5000 | nmwa.org

RESULTS ARE IN! legacy.washingtoncitypaper.com/bestofdc

THRILLING! HEDWIG FEELS LIKE A CELEBR ATION. THE WALL STREE T JOURNAL

June 13–July 2 | Eisenhower Theater KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

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

Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

Comedy at the Kennedy Center Presenting Sponsor

washingtoncitypaper.com june 2, 2017 29

THIS WEEKEND!

Merriweather Post Pavilion • Columbia, MD

JUNE 3 SOLD OUT! CAPITAL JAZZ FEST FEATURING

Charlie Wilson • George Benson • Robin Thicke • Anthony Hamilton • Chris Botti •

THIS WEEK’S SHOWS

Sheila E • “After All”L A Tribute to Al Jarreau and more! ............................................ JUNE 2 & 4

LUPE FIASCO .......................................................................................F 2

SAVE $100 - HAPPY BIRTHDAY, INDEED!!!

STORY DISTRICT PRESENTS

Go to all four shows - get the same ticket type - take $100 off the total!

Out/Spoken: Queer, Questioning, Bold, and Proud ................................. Sa 3 The Avalanches .............................................................................................. M 5 JUNE

Share the bargain with friends... tickets can be used by the purchaser or split up!

For more info, visit merriweathermusic.com

JULY (cont)

Freddie Gibbs ...........................Th 8 Jamestown Revival w/ Colter Wall ................................F 9 The Record Company w/ The Deadmen Early Show! 7pm Doors ...................Sa 10

Mixtape Pride Party with DJs Shea Van Horn and Matt Bailer .Sa 10 dded!

First Night Sold Out! Second Night A

Rodrigo y Gabriela w/ Ryan Sheridan ........................M 12 Who’s Bad: The Ultimate Michael

Jackson Experience ................Sa 17 White Ford Bronco: DC’s All ‘90s Band ...................Sa 24

Get Low w/ Mathias & Friends ...F 30 JULY

Caravan Palace ........................W 5

Violent Femmes ......................Su 9

Paul Simon w/ Sarah McLachlan ........................................................ JUNE 9 Jack Johnson w/ Lake Street Dive...............................................................JUNE 11 John Legend w/ Gallant ...............................................................................JUNE 20 Steve Miller Band w/ Peter Frampton ........................................JUNE 23 Luke Bryan w/ Brett Eldredge & Lauren Alaina .........................................JUNE 25 Jason Isbell and the 400 Unit w/ The Mountain Goats ............JUNE 30 Dispatch w/ Guster & Marco Benevento ........................................................ JULY 7 My Morning Jacket w/ Gary Clark Jr. ................................................. JULY 14

ow Added!

First Show Sold Out! Second Sh

Bitch Sesh Live Matinee Show!

2pm Doors. This is a seated show. .....Su 16

Amadou & Mariam w/ Redline Graffiti ......................Th 20 Sister Hazel ..............................F 21 Uhh Yeah Dude This is a seated show.......................Sa 22 Conor Oberst (of Bright Eyes) w/ Hop Along ...............................W 26

MERRIWEATHER 50TH ANNIVERSARY CONCERT FEATURING

AUGUST

Jackson

Rag’n’Bone Man w/ Ivy Sole ...Tu 1

Browne and Willie Nelson

w/ Father John Misty plus special guest host Grace Potter Talkin’ & Singin ... JULY 15

U STREET MUSIC HALL PRESENTS

Petit Biscuit ..............................W 2 Michelle Branch ........................F 4 Mew .............................................Sa 5 Little Dragon w/ Xavier Omär ..Tu 8

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

PAUL SIMON • STEVE MILLER BAND • 50TH ANNIVERSARY CONCERT • SANTANA

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

American Authors • Anti-Flag • The Ataris • Big D and The Kids Table • CKY •

Emmure • GWAR • Hatebreed • Hawthorne Heights • Municipal Waste and many more! ........ JULY 16

Gorillaz w/ Vince Staples & Danny Brown .......................................................... JULY 17 THE MOST SUCCESSFUL FILM COMPOSER OF OUR ERA

930.com

Hans Zimmer Live with Orchestra and Chorus performing music from

Pirates of the Caribbean, Gladiator, The Dark Knight and more! .................................. JULY 21

The best thing you could possibly put in your mouth

Children 12 and under FREE on the lawn with paid ticket!

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

alt-J w/ Saint Motel & SOHN ................................................................................. JULY 27 Fleet Foxes w/ Animal Collective .............................................. JULY 29 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex . JULY 30 SUMMER SPIRIT FESTIVAL FEATURING

Kenny “Babyface” Edmonds • Bel Biv Devoe • Fantasia • SWV • De La Soul •

The Internet • Trombone Shorty & Orleans Avenue • Guy featuring Teddy Riley and more! .AUGUST 5-6

1215 U Street NW Washington, D.C.

Pop-Up Magazine

feat. Gillian Laub • Yasser Lester • Alexandra Petri and more! ......................................... JUNE 6 dded!

First Night Sold Out! Second Night A

Feist ................................................................................................................................. JUNE 8

Lady Antebellum w/ Kelsea Ballerini & Brett Young ...................... AUGUST 13 Santana ........................................................................................................ AUGUST 15 Sturgill Simpson w/ Fantastic Negrito......................................... SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave .......................... SEPTEMBER 16

AEG LIVE PRESENTS

Mystery Science Theater 3000 Live!

EEGAH Early Show! 5pm Doors .......................................................................................... JULY 9 SECRET SURPRISE FILM! Late Show! 8:30pm Doors ........................................... JULY 9

Chrysalis at Merriweather Park

Greensky Bluegrass w/ Leftover Salmon ................................................. JULY 22

SECOND NIGHT ADDED! AEG LIVE PRESENTS

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

Tim And Eric: 10th Anniversary Awesome Tour ....................................................... JULY 19 TajMo: The Taj Mahal and Keb’ Mo’ Band w/ Jontavious Willis ........................... AUGUST 9 Apocalyptica - Plays Metallica By Four Cellos ................................................. SEPTEMBER 9

The Kooks ..............................................................................................................OCTOBER 4 Paul Weller ...........................................................................................................OCTOBER 7

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

THE BIRCHMERE PRESENTS

Colin Hay .............................................................................................................OCTOBER 21 ALL GOOD PRESENTS

John McLaughlin/Jimmy Herring: Meeting of the Spirits ...........NOVEMBER 11

JOHNNYSWIM .................................................................................................NOVEMBER 15 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

Tuxedo w/ Gavin Turek .................... F JUN 2 Azizi Gibson ...................................... Sa 24 !!! (Chk Chk Chk) w/ Nerftoss ................ Th 8 DakhaBrakha .................................... Tu 27 Austin Mahone w/ The YRS ............... Su 11 Mt. Kimbie & Ash Koosha w/ Tirzah .M 12 3TEETH ........................................... F JUL 7 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

30 june 2, 2017 washingtoncitypaper.com

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

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

2ND & 4TH THURSDAYS 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

DAY PARTY

WITH DJ RUSSEL CAMPBELL 2nd & 4th Sundays

2 - 6pm

Music 31 Theater 35 Film 36

Music

CITY LIGHTS: Friday

Friday

What began as a simple exchange of nostalgic ’80’s funk mixtapes between Mayer Hawthorne and Jake One has now played an integral role in ushering in a resurgence of feel-good funk and disco records. Together, Hawthorne and Jake One form Tuxedo, which seems like an odd pairing at best, since Hawthorne is known for his neo-soul baby-making music and Jake One has a lengthy history of producing boom-bap hip-hop beats for artists like Drake, Rick Ross, and Kendrick Lamar. But as a duo, Hawthorne and Jake One channel their shared love for boogie to produce their own style of elegant funk music aimed at making people dance. The pair recently released Tuxedo II, a follow-up to their 2015 debut release, Tuxedo. From start to finish, it’s a breezy homage to their influences— everyone from Chic to Shalamar to Nate Dogg—and showcases radiant horns, funky basslines, and catchy hooks to create feel-good toe-tappers and head-boppers. Tuxedo performs with Gavin Turek at 7 p.m. at U Street Music Hall, 1115 U St. NW. $25. (202) 588-1889. ustreetmusichall.com.

—Casey Embert

rock

AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The Patty Reese Band & Revelator Hill. 8 p.m. $20–$30. ampbystrathmore.com. betheSdA blueS & JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Fabulous Hubcaps. 8 p.m. $20. bethesdabluesjazz.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

(Sandy) Alex G, Japanese Breakfast, Cende. 8 p.m. $16. rockandrollhoteldc.com.

classical

kennedy center concert hAll 2700 F St. NW. (202) 467-4600. Sound Health in Concert: Music and the Mind with the National Symphony Orchestra. 8 p.m. $25–$39. kennedy-center.org.

ElEctronic

FlASh 645 Florida Ave. NW. (202) 827-8791. Nico Stojan, Chris Nitti. 8 p.m. $8–$15. flashdc.com. u Street MuSic hAll 1115 U St. NW. (202) 588-1889.

Kill Paris, Electric Mantis, Fung Sway. 10:30 p.m. $12. ustreetmusichall.com.

Funk & r&B

u Street MuSic hAll 1115 U St. NW. (202) 588-1889.

Tuxedo, Gavin Turek. 7 p.m. $25. ustreetmusichall.com.

WolF trAP Filene center 1551 Trap Road, Vienna.

(703) 255-1900. Kool & The Gang, Morris Day & The Time. 8 p.m. $35–$65. wolftrap.org.

GospEl

MuSic center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Men, Women & Children of the Gospel Choirs. 8 p.m. $35–$75. strathmore.org.

located next door to 9:30 club

the hAMilton 600 14th St. NW. (202) 787-1000. Paul McCartney’s 75th Birthday Tribute. 8 p.m. $20–$50. thehamiltondc.com.

Hip-Hop

JiFFy lube live 7800 Cellar Door Drive, Bristow. (703) 754-6400. Iron Maiden, Ghost. 7:30 p.m. $29.50–$185. livenation.com.

Jazz

rhizoMe dc 6950 Maple St. NW. Queering Sound 2017. 8 p.m. $10. rhizomedc.org.

9:30 club 815 V St. NW. (202) 265-0930. Lupe Fiasco, Dosage, Daylyt. 8 p.m. $40. 930.com. birchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Hot Sardines. 7:30 p.m. $29.50. birchmere.com. blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

classical kennedy center concert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Mahler’s Second Symphony. 8 p.m. $15–$89. kennedy-center.org.

tWinS JAzz 1344 U St. NW. (202) 234-0072. Benito Gonzalez. 9 p.m.; 11 p.m. $15. twinsjazz.com.

MuSic center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra performs Gershwin’s An American In Paris. 8 p.m. $35–$99. strathmore.org.

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

Brother Ali, Sa-Roc. 8 p.m. $16. rockandrollhoteldc.com.

Jazz

Songbyrd MuSic houSe And record cAFe 2477 18th St. NW. (202) 450-2917. Blossoms, Wilderado. 8 p.m. $15–$17. songbyrddc.com.

MerriWeAther PoSt PAvilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Capital Jazz Fest. 7:30 p.m. $64.50–$194. merriweathermusic.com.

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

MerriWeAther PoSt PAvilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Capital Jazz Fest. Noon. $64.50–$194. merriweathermusic.com. tWinS JAzz 1344 U St. NW. (202) 234-0072. Benito Gonzalez. 9 p.m.; 11 p.m. $15. twinsjazz.com.

Vocal lincoln theAtre 1215 U St. NW. (202) 888-0050.

Gay Men’s Chorus of Washington: And the Tony Goes To. 8 p.m. $25–$65. thelincolndc.com.

ElEctronic

WolF trAP Filene center 1551 Trap Road, Vienna.

(703) 255-1900. Bernadette Peters. 8 p.m. $25–$75. wolftrap.org.

birchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lulu. 7:30 p.m. $35. birchmere.com.

FlASh 645 Florida Ave. NW. (202) 827-8791.

Sleeparchive, Benjamin Damage, DJ Lisa Frank. 8 p.m. $12. flashdc.com.

sunday

blAck cAt bAckStAge 1811 14th St. NW. (202) 6674490. Red Light Distraction, Venn, Copes. 9 p.m. $10. blackcatdc.com.

u Street MuSic hAll 1115 U St. NW. (202) 588-1889.

Roosevelt, Ela Minus. 10 p.m. $12. ustreetmusichall.com.

9:30 club 815 V St. NW. (202) 265-0930. Michael Kiwanuka, Cloves. 7 p.m. Sold out. 930.com.

saturday

2047 9th Street NW

tuXEdo

rock

rock

washingtoncitypaper.com june 2, 2017 31

betheSdA blueS & JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jesse Garrons. 7 p.m. $20. bethesdabluesjazz.com.

tWinS JAzz 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m.; 10 p.m. $22. twinsjazz.com.

blAck cAt bAckStAge 1811 14th St. NW. (202) 6674490. Camp Howard, Julian, Baby Grill. 7:30 p.m. $10. blackcatdc.com.

lincoln theAtre 1215 U St. NW. (202) 888-0050.

Gay Men’s Chorus of Washington: And the Tony Goes To. 3 p.m. $25–$65. thelincolndc.com.

Songbyrd MuSic houSe And record cAFe 2477 18th St. NW. (202) 450-2917. Katastro, Pacific Dub. 8 p.m. $15–$18. songbyrddc.com.

DC Jazz Festival’s A Night at the Kennedy Center

An Evening with Pat Metheny

with drummer Antonio Sanchez, bassist Linda May Han Oh, and pianist Gwilym Simcock

BluEs

birchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Tab Benoit, Harrow Fair. 7:30 p.m. $29.50. birchmere.com.

country

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

John Moreland, Will Johnson. 8 p.m. $15. rockandrollhoteldc.com.

Hip-Hop

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

Talib Kweli, Immortal Technique, Pete Rock, Sherif Mattar. 5 p.m. $25–$100. thehowardtheatre.com.

JiFFy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Chance the Rapper. 8 p.m. $99.50– $119.50. livenation.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com. the hAMilton 600 14th St. NW. (202) 787-1000.

Mark G. Meadows featuring Brent Birckhead. 7:30 p.m. $12–$32.75. thehamiltondc.com.

MerriWeAther PoSt PAvilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Capital Jazz Fest. Noon. $64.50–$194. merriweathermusic.com.

Vocal

Monday rock

9:30 club 815 V St. NW. (202) 265-0930. The Avalanches. 7 p.m. $25. 930.com. blAck cAt bAckStAge 1811 14th St. NW. (202) 6674490. Lo Moon, Nuex. 7:30 p.m. $10. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Aldous Harding, Luray. 9 p.m. $12. dcnine.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Ho99o9, Injury Reserve. 8 p.m. $15. rockandrollhoteldc.com.

Hip-Hop

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

tuEsday rock

9:30 club 815 V St. NW. (202) 265-0930. Royal Blood, The Shelters. 7 p.m. $25. 930.com. dc9 1940 9th St. NW. (202) 483-5000. White Reaper, Blaenavon, The Effects. 8:30 p.m. $10. dcnine.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Mary Timony plays Helium, Noveller. 8 p.m. $16. rockandrollhoteldc.com.

CITY LIGHTS: saturday

June 12 at 7:30 p.m. | Concert Hall Pat Metheny makes his debut appearance at the DC Jazz Festival with a select group of musicians that he says “covers the widest range of everything I’ve done previously and… something beyond that.” Joining the guitar legend this year will be his long-time drummer Antonio Sanchez, composer of the much-noted film score for the award-winning Birdman; bassist Linda Oh, and British pianist Gwilym Simcock, one of the most exciting new pianists to emerge from the UK in many years.

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

32 june 2, 2017 washingtoncitypaper.com

sEVEntH staninE FEstiVal

“I had long thought about having a festival in the smallest venue possible—literally like a tiny room,” says Matthew Byars of The Caribbean, the quietly beloved D.C. experimental-pop band.

His daydream is now an actual thing: Seventh Stanine, a free all-day event planned for the Dew Drop Inn in Northeast D.C. The lineup is a roll call of artists The Caribbean knows well or at least admires, including edgy-but-amiable acts like Insect Factory, Slip Disco (which features members of Two Inch Astronaut), Aaron Leitko, Time Is Fire, More Humans, Nice Breeze, Sansyou, Boat Burning, ATTEMPT, Big Fresh, and Greenland. Byars stops short of calling it the “first annual” edition of the fest, half-joking that he hasn’t asked the Dew Drop for much in particular because the show is “far too seat-of-my-pants at this point to start messing with the formula of their layout.” If there’s anything tying the day together, he says, it’s “a deeply held commitment to making art even in the face of, well, about every obstacle imaginable.” Spoken like a true D.C. music-scene veteran. Seventh Stanine Festival begins at 2 p.m. at Dew Drop Inn, 2801 8th St. NE. $10 suggested donation. (202) 791-0909. dewdropinndc.com.

—Joe Warminsky

washingtoncitypaper.com june 2, 2017 33

CITY LIGHTS: sunday

JoHn MorEland

John Moreland just won’t leave well enough alone. The Texas-born Tulsa, Ok.-based country singer obsesses about imperfect relationships and the pain of two people misaligned. “And we’ll open up old wounds in celebration,” he sings on “Old Wounds” from his latest record Big Bad Luv, “If it don’t bleed, it don’t feel like a song.” He picks and picks at these scabs, turning them into scars right in front of his audience with little more than his ragged voice and simple guitar strums. Moreland has been letting his lyrics stand on their own for years, but the surge in popularity for artists like Sturgill Simpson, Jason Isbell, and Chris Stapleton makes now as good a time as any to get acquainted. Simpson’s the philosopher, Isbell is the charmer, and Stapleton’s the star, but Moreland is the lonesome troubadour they’re all listening to as their tour buses traverse the nation. John Moreland performs with Will Johnson at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $15. (202) 388-7625. rockandrollhoteldc.com.

—Justin Weber

AREYOUAWINNER?

PROvEIt!

Songbyrd MuSic houSe And record cAFe 2477 18th St. NW. (202) 450-2917. Lauv, Prelow. 8 p.m. $12. songbyrddc.com.

tHursday

u Street MuSic hAll 1115 U St. NW. (202) 588-1889.

Electric Guest. 7 p.m. $20. ustreetmusichall.com.

ElEctronic

betheSdA blueS & JAzz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Sandra Dean. 8 p.m. $10. bethesdabluesjazz.com.

MuSic center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Air. 8 p.m. $48–$88. strathmore.org.

blAck cAt bAckStAge 1811 14th St. NW. (202) 6674490. Bent Knee, Caustic Casanova, Virginia Creep.

7:30 p.m. $12. blackcatdc.com.

WEdnEsday

dc9 1940 9th St. NW. (202) 483-5000. My French Roommate, Marc Monet, Furniteur. 8 p.m. $10. dcnine.com.

dc9 1940 9th St. NW. (202) 483-5000. Hoops, Joy Again. 8 p.m. $10–$12. dcnine.com.

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

Los Nocheros. 8 p.m. $58–$128. thehowardtheatre.com.

rock

gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. Luke Winslow-King, Dragondeer. 8:30 p.m. $10. gypsysallys.com.

Hip-Hop FillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Jurassic 5. 8 p.m. $25–$35. fillmoresilverspring.com. hoWArd theAtre 620 T St. NW. (202) 803-2899.

WPGC Birthday Bash featuring Wale, Kyle, Luke Nasty, Khalid, Nick Grant, Bibi Bourell. 7 p.m. $30. thehowardtheatre.com.

Songbyrd MuSic houSe And record cAFe 2477 18th St. NW. (202) 450-2917. Kelow Latesha, Lul Big Brother, Bucky Malone, Frail Boys, Jus O. 9 p.m. $10. songbyrddc.com.

Visit washingtoncitypaper.com/promotions and enter to win anything from movie tickets to spa treatments!

You can also check out our current free events listings and sign up to receive our weekly newsletter!

lincoln theAtre 1215 U St. NW. (202) 888-0050.

Feist. 8 p.m. $45. thelincolndc.com. u Street MuSic hAll 1115 U St. NW. (202) 588-1889. !!!, Nerftoss. 7 p.m. $20. ustreetmusichall.com.

classical kennedy center concert hAll 2700 F St. NW. (202) 467-4600. National Symphony Orchestra and Alice Sara Ott plays Tchaikovsky, Rachmaninoff’s Third Symphony. 7 p.m. $15–$89. kennedy-center.org.

MuSic center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra peforms Bach’s Brandenburg Concertos. 8 p.m. $35–$99. strathmore.org.

Hip-Hop

Jazz

9:30 club 815 V St. NW. (202) 265-0930. Freddie Gibbs. 7 p.m. $25. 930.com.

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Christian Sands Trio. 8 p.m.; 10 p.m. $25. bluesalley.com.

Jazz

tWinS JAzz 1344 U St. NW. (202) 234-0072. Paul Bailey. 8 p.m.; 10 p.m. $10. twinsjazz.com.

34 june 2, 2017 washingtoncitypaper.com

rock

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Joey DeFrancesco + The People. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

CITY LIGHTS: Monday

skEpta

In 2016, Skepta, the prolific London-based grime artist, was set to begin the North American leg of his “No Fear” tour in support of his fourth studio album, Konnichiwa, only to be denied a U.S. work visa and forced to cancel his highly anticipated appearances around the country.

Oddly enough, while Skepta was denied entry into the U.S., grime, the music he champions, has become a wildly popular trend in the country’s hip-hop and dance music underground. Pioneered by artists like Wiley and Dizzee Rascal in London’s forward-thinking rave scene of the early aughts, grime combines influences from U.K. garage, jungle, and Jamaican dancehall. Its signature avant-garde beats, quick-witted flows, and regional slang make it appealing for mainstream hip-hop artists, like Drake and Kanye West, to give it their stamp of approval. Throwing major shade at police, government, and pop culture, Konnichiwa tapped into America’s ardent distaste for institutions and earned a seat for grime at the table of mainstream hip-hop. Armed with more confidence than ever, he’s back for an ambitious U.S. tour aptly titled, “Banned from America.” Skepta performs at 8 p.m. at The Fillmore, 8656 Colesville Road, Silver Spring. $20. (301) 960-9999. fillmoresilverspring.com.

—Casey Embert

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

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

Tix @ Ticketmaster.com 800-745-3000 June 2

THE HOT SARDINES

With Love” LULU “To Sir& more!

Harrow 4 TAB BENOIT Fair 6 ERIC JOHNSON ELECTRIC BAND

with Special Guest Arielle

10 The Mike Seeger Commemorative

OLD TIME BANJO FESTIVAL

Kater, Michael Miles, Cathy Fink & Marcy Marxer

feat. Tony Trischka, Kaia

In the

15

OLD 97s

16&17 21

!

Vandoliers

KINDRED THE FAMILY SOUL

GERALD ALBRIGHT & JONATHAN BUTLER From ruPaul’s Drag race

H 6.1

BenIDel- a- c-reme

6.2 6.3

ALEJANDRO ESCOVEDO BAND 25 THREE DOG NIGHT 26 ROSANNE CASH and Band BADFINGER 28 “Straight Up” Live & Complete starring JOEY MOLLAND KEN 29 KATHLEEN EDWARDS YATES

6.15 6.16 6.17 6.19

CITY LIGHTS: tuEsday

nFerno a go go

24

Canada 150 Celebration!

30

VIVIAN GREEN

July 1&2

LYFE JENNINGS Django 7&8 JERRY JEFF WALKER Walker Kato KASEY CHAMBERS Garrett 14 ROBERT EARL KEEN 15 SOUTHSIDE JOHNNY & The Asbury Jukes 16 GARY PUCKETT & The Union Gap

13

Extra! Extra! Local D.C. guitar teacher revives groundbreaking ’90s band Helium! Well, almost.

Local legend Timony won’t be joined by any original members of her influential indie rock band (Hospitality’s Brian Bettencourt and David Christian will back her up at Rock & Roll Hotel), but the timing couldn’t be better. Timony is still riding the wave from her popular new band Ex Hex and the world is more off-kilter than ever. What better time to introduce all her new, young fans to the weird, angry, and powerful music that earned her respect from coast to coast. Helium never quite fit in during the ’90s. As a woman-fronted band, they were outsiders to the boy’s club of indie rock, but Timony also resisted becoming a feminist figurehead in the riot grrrl movement. Timony’s imagination set Helium apart by capturing her anger and alienation in fantastical settings with vampires, dragons, and explosions of color. If there ever was a year when we needed to be escapist and angry at the same time, this is it. Mary Timony performs with Noveller at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $16. (202) 388-7625. rockandrollhoteldc.com.

—Justin Weber

FRI., JUNE 16 ~ 9:30PM TIX: $17-$20

MIKI HOWARD

9

22

Mary tiMony

MARAH

3

17

THE ZOMBIES

STEVE EARLE & THE DUKES M T 19 SAWYER FREDERICKS 20 ROGER CLYNE & THE PEACEMAKERS 21 & JEFFREY OSBORNE 22 18

he asTersons

6.6 6.8 6.9 6.13

6.23 6.27

H GANGSTAGRASS / THE WHISKEY GENTRY BILLY JOE SHAVER STRAHAN & THE GOOD NEIGHBORS SCOTT KURT DUO TOM HEYMAN / DAN STUART WOODY PINES COLONEL JOSH & THE HONKY TONK HEROES JUMPIN’ JUPITER MARAH KRIS LAGER BAND THE BLAIR - PONGRACIC BAND / ATOMIC MOSQUITOS FOLK SOUL REVIVAL FLAT DUO JETS & DADDY LONG LEGS

H

H

7.1 7.2 7.6 7.11 7.13 7.14 7.18 7.21

RANDY THOMPSON BAND SUNNY SWEENEY QUILES & CLOUD ROSELIT BONE KURT CRANDALL BEN MILLER BAND THE CRANE WIVES SUPERSUCKERS / THE UPPER CRUST 8.15 BELLA HARDY 8.17 RAY WYLIE HUBBARD 8.18 RAY WYLIE HUBBARD 8.22 FIRESIDE COLLECTIVE 8.24 THE YAYHOOS 8.28 SCOTT H. BIRAM 8.29 DALE WATSON & HIS LONE STARS 9.21 THE BLASTERS 10.25 SLAID CLEAVES

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com june 2, 2017 35

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

LIVE

CITY LIGHTS: WEdnEsday

UPCOMING PERFORMANCES

FEAT. JASON ESKRIDGE & ROOSEVELT COLLIER

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+ JUNE 1ST

TROEGS BEER AND FOOD PAIRING NIGHT SUPER SPECTACULAR COMEDY SHOW FOR GLOBAL UNDERSTANDING: A CHARITY SHOW SHOW AT 7:30PM JUNE 2ND

DC GURLY SHOW, DOORS AT 8PM,SHOW AT 9PM JUNE 3RD

UPSTAIRS BAR CLOSED FOR PRIVATE EVENT JUNE 5TH

THURSDAY JUNE

1

CHUBBY CARRIER & the

BAYOU SWAMP BAND

W/ THE GET RIGHT BAND FRIDAY JUNE

2

SAT, JUNE 3

OLD EBBITT GRILL PRESENTS

AUSTRIAN WINE TOUR SAT, JUNE 3

NEWMYER FLYER PRESENTS

PAUL McCARTNEY’S 75TH BIRTHDAY TRIBUTE SUN, JUNE 4

AN EVENING WITH

MARK G. MEADOWS FEAT. BRENT BIRCKHEAD FRI, JUNE 9

THE DEVON ALLMAN BAND W/ THE PETERSON BROTHERS SUN, JUNE 11

DISTRICT TRIVIA

WALLY KINGS & DOCTOR DREAD PRESENT

COMIC BOOKS AND COCKTAILS

& ILAVIBEZ BAND AND CULTCHA SOUND

AT 7:30PM

SPONSORED BY FANTOM COMICS JUNE 6TH

CAPITAL LAUGHS OPEN MIC COMEDY AT 8:30PM

REGGAE FOREVER FEAT. ETANA W/ AN’JAHLA THURS, JUNE 15

A-WA

MARSHALL CRENSHAW Y LOS STRAITJACKETS

W/ SARAH BORGES & THE FEAST OF SNAKES SAT, JUNE 17

MELODIME

AT 7:30PM

SUN, JUNE 18

PERFECT LIARS CLUB DOORS AT 5:30PM,SHOW AT 7:30PM

W/ WYLDER AND SUNBATHERS

RONNIE BAKER BROOKS MON, JUNE 19

LIVE: Sirius XM’S “BUDDY & JIM RADIO SHOW” JUNE 9TH

BRAINY GIRLS CUM LAUDE:

NERDY BURLESQUE AND COMEDY SHOW SHOW AT 8PM 1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

36 june 2, 2017 washingtoncitypaper.com

Now that Yayoi Kusama’s Infinity Rooms have left the Hirshhorn, local art lovers need something bright and new to look at and, of course, Snapchat in front of. For the next few months, that comes in the form of a site-specific mural from Swiss-born, New York-based artist Nicolas Party. He’s been hard at work for two weeks, painting the piece he’s calling “sunrise, sunset” on the inner ring of the round museum’s third level. The title is inspired by remarks President Obama made following the presidential election: “The sun will rise again in the morning.”

Party explores that theme by integrating images of the predictable, evenly progressing natural world into tumultuous scenes of daily life. Despite never studying painting formally—he started out as a graffiti artist—Party’s appreciation of those who came before him, from Egyptian cave painters to the absurd Dadaists, is evident in the approximately 380-foot round creation.

His bold use of bright color immediately draws in viewers, but if you spend enough time in front of it, you just might acquire something necessary: hope. The exhibition is on view daily 10 a.m. to 5:30 p.m., to Oct. 1, at the Hirshhorn Museum and Sculpture Garden, 7th Street and Independence Avenue SW. Free. (202) 633-1000. hirshhorn.si.edu.

—Caroline Jones

FRI, JUNE 16

JUNE 7TH

DISTRICT TRIVIA

NICOLAS PARTY: SUNRISE, SUNSET

BUDDY MILLER, JIM LAUDERDALE, AND PATTY GRIFFIN

FEATURING

W/ SPECIAL GUESTS SCOTT MILLER AND DC MAGICIAN OF THE YEAR ERIC HENNING

THEHAMILTONDC.COM

Theater

the FAther In this internationally acclaimed drama, an elderly man starts to lose track of his life and experiences strange events, from disappearing furniture to unknown people in his home. Local favorite Ted van Griethuysen stars in Florian Zeller’s drama, translated by Christopher Hampton. Studio Theatre. 1501 14th St. NW. To June 18. $20–$85. (202) 3323300. studiotheatre.org.

FeAr eAtS the Soul A widowed cleaning woman falls in love with a young Moroccan immigrant in 1970s Germany in this drama from playwright Rainer Werner Fassbinder. Despite marrying and coping with pressure from their respective families, the couple must decide how their own emotions impact their relationship. Robert McNamara directs the U.S. stage premiere of the play for Scena Theatre. Atlas Performing Arts Center. 1333 H St. NE. To June 4. $15–$45.

(202) 399-7993. atlasarts.org.

JeSuS chriSt SuPerStAr Signature presents this classic Andrew Lloyd Webber musical that chronicles the last week of Christ’s life. Featuring songs like “I Don’t Know How to Love Him” and “Everything’s

Alright,” this production is directed by Joe Calarco.

Signature Theatre. 4200 Campbell Ave., Arlington. To July 2. $40–$99. (703) 820-9771. sigtheatre.org. the MAn Who Inspired by the late Oliver Sachs’ The Man Who Mistook his Wife for a Hat, this play incorporates research and improvisation techniques. Originally performed in French, Peter Woods’ play closes the Spooky Action season. Spooky Action Theater.

1810 16th St. NW. To June 4. $20–$40. (202) 248-0301. spookyaction.org.

MASter clASS Young opera students train with an aging Maria Callas in Terrence McNally’s drama about the sacrifices artists make for their craft and the demands of performing at a high level. Local favorite Ilona Dulaski stars in this production directed by Nick Olcott. MetroStage. 1201 N. Royal St., Alexandria. To June 11. $55–$60. (703) 548-9044. metrostage.org. the School For lieS Director Michael Kahn leads Shakespeare Theatre Company’s adaptation of Moliere’s Le Misanthrope. When alternate facts become reality and a man aims to take down the pompous suitors who fill his social group, all hell breaks loose. Lansburgh Theatre. 450 7th St. NW. To July 2. $44–$123. (202) 547-1122. shakespearetheatre.org. tiMon oF AthenS The generous and wealthy Timon experiences a downturn of fortune and must figure out a way to survive in this biting Shakespearean satire. Robert Richmond leads this production starring

Helen Hayes Award-winner Ian Merrill Peakes. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To June 11. $35–$75. (202) 544-7077. folger.edu. ulySSeS on bottleS An Arab-Israeli school teacher tries to smuggle copies of Dostoyevsky to Gaza on a raft made of plastic bottles. What happens next?

Led by managing director Serge Seiden, the play uses the case of the aforementioned school teacher, nicknamed Ulysses, and his Jewish, pro-bono defense attorney Izakov to view the Israeli-Palestinian conflict through a different lens. Atlas Performing Arts Center. 1333 H St. NE. To June 11. $15–$60. (202) 399-7993. atlasarts.org.

Film

cAPtAin underPAntS: the FirSt ePic Movie Dav Pilkey’s humorous and unlikely superhero finally gets the big screen treatment in the adaptation from director David Soren. Featuring the voices of Kevin Hart and Ed Helms. (See washingtoncitypaper.com for venue information)

deAn Demitri Martin writes, directs, and stars in this comedic drama about a man trying to prevent his father from selling his home following the death of his mother. Co-starring Kevin Kline and Gillian Jacobs.

(See washingtoncitypaper.com for venue information) the excePtion Set in the early days of World War I, this drama follows a German soldier tasked with determining whether the Dutch have planted a spy in the ranks as he becomes enamored with a Jewish woman he meets. Starring Christopher Plummer, Jai Courtney, and Lily James. (See washingtoncitypaper. com for venue information) i, dAniel blAke Following a heart attack, a man must navigate the U.K.’s bureaucracy to receive his living allowance and ends up confiding in a single mother of two in this quiet drama from director Ken Loach. Starring Dave Johns and Hayley Squires. (See washingtoncitypaper.com for venue information) Wonder WoMAn Gal Gadot plays Diana, the Amazon warrior who summons her powers to fight crime and end a war, in this latest adaptation of the DC Comics franchise. Directed by Patty Jenkins. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: tHursday

1811 14TH ST NW

www.blackcatdc.com F

2

S

3

W 7 T

8

F

9

SU 11

W 14 TH 15

F 16

S 17

THE FABULOUS HUBCAPS THE WANNA BEATLES PLUS VI-KINGS PRINCE TRIBUTE SHOW DARYL DAVIS PRESENTS SANDRA DEAN WAYNA MY TIME TO SHINE: LCB’S ALL STAR BIRTHDAY PARTY FOR GLENN LEONARD & JOE BLUNT TONY CRADDOCK JR. & COLD FRONT ON THE BUS GRATEFUL DEAD TRIBUTE INGRATITUDE: A TRIBUTE TO EARTH, WIND & FIRE JOE CLAIR & FRIENDS COMEDY SHOW (2SHOWS 7/10PM)

FrEddiE GiBBs

On the cover of his new album You Only Live 2wice, Freddie Gibbs floats above his congregation like Jesus Christ in a Renaissance painting. It’s fitting: the Gary, Indiana product is the savior of gangsta rap of yore, of a time when rap was full of street-hardened figures who intricately illustrated the realities of a life of crime over dusty, soul-sampling boom-bap beats. On You Only Live 2wice, Gibbs is as potent as ever, like when he recalls, “I first taste cocaine in 10th grade/ Homie at the table choppin’ Rick James/ Sent the package off from Texas, it’s been six days/ Keep sweatin’ like a pig until that bitch came” on “Alexys.” But this should be no surprise to fans who have been listening to Gibbs during his decade-long career: Whether it’s on his steady stream of mixtapes and EPs, or Piñata, his critically acclaimed collaboration with mad scientist producer Madlib, Gibbs has always been a reliable presence in the rap world, so give thanks. Freddie Gibbs performs at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Chris Kelly

@blackcatdc

JUNE

SU 18

JUNE SHOWS THU 1

RICHARD LLOYD

(OF TELEVISION)

FRI 2

SUPER ART FIGHT IN 3-D

FRI 2

BEST OF BURLESQUE(ER)

SAT 3

WHEDONISM VI:

SAT 3

RED LIGHT DISTRACTION

BUFFY SLAYS

(18+)

CAMP HOWARD MON 5 LO MOON TUE 6 TIMBER TIMBRE SUN 4

THU 8 FRI 9 SAT 10 SAT 10 SAT 17 FRI 23

BENT KNEE

BOOTY REX CAT THE DRIVE-IN

A PRIDE FILM EVENT

CHRISTEENE

JC BROOKS AROCKALYPTIC

LOCAL SUMMER SOLSTICE PARTY

SAT 24 AWKWARD SEX...AND THE CITY

FRI JUN 9 BOOTY REX PRIDE PARTY

LENNY WILLIAMS (2SHOWS 1/7PM)

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

SAT JUNE 17

JC BROOKS

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com june 2, 2017 37

Contents: Adult . . . . . . . . . . . . . . . . . . . . . . . 38 Auto/Wheels/Boat . . . . . . . . . . . 38 Buy, Sell, Trade Marketplace . . . . . . . . . . . . . . . . . 38 Community . . . . . . . . . . . . . . . . . . 38 Employment . . . . . . . . . . . . . . . . . 38 Health/Mind . . . . . . . . . . . . . . . . . . . .

Body & Spirit . . . . . . . . . . . . . . . . . 39 Housing/Rentals . . . . . . . . . . . . . 38 Legal Notices . . . . . . . . . . . . . . . . 38 Music/Music Row . . . . . . . . . . . . . 38 Pets . . . . . . . . . . . . . . . . . . . . . . . . 38 Real Estate . . . . . . . . . . . . . . . . . . 38 Shared Housing . . . . . . . . . . . . . . 38 Services . . . . . . . . . . . . . . . . . . . . . 38

Diversions Crossword . . . . . . . . . . . . . . . . . . . 39

Search classifieds at washingtoncitypaper.com

Classified Ads Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office: 734 15th Street, NW Suite 400 Washington, D.C. 20005.

Commercial Ads rates start at $20 for up to 6 lines in print and online; additional print lines start at $2.50/ line (vary by section). Your print ad placement will include web placement plus up to 10 photos online. Premium options available for both print and web may vary.

Adult Phone Entertainment

Legals

Livelinks - Chat Lines. Flirt, chat and date! Talk to sexy real singles in your area. Call now! (844) 359-5773

Legals Invitation for Bid Food Service Management Services Perry Street Prep Public Charter School Perry Street Prep PCS is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/or CACFP supper meals to children enrolled at the school for the 2016-2017 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifications outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on June 2, 2017 from Byron Brown at (609) 346-7794 or psp_bids@pspdc.org: Proposals will be accepted at 1800 Perry St NE, Washington, DC 20018 on June 29, 2017, not later than 3:00 pm EST All bids not addressing all areas as outlined in the IFB will not be considered.

D.C. BILINGUAL PUBLIC CHARTER SCHOOLNOTICE: FOR REQUEST FOR PROPOSAL D.C. Bilingual Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for vendors to provide the following services: • HVAC Services Please send an email to bids@ dcbilingual.org to receive a full RFP offering more detail on scope of work and bidder requirements.

Proposals shall be received no later than 4:00pm Tuesday, June 13, 2017.

Condos for Sale 302/304 FLORIDA AVE, NW. C O M M E R C I A L* R E T A I L* O F FICE. 2000-5000 SQ FEET. 3 NET LEASE. OPTION TO BUY. FOR MORE DETAILS CALL 202.898.0899 OR EMAIL T S T R E E T DE V ELOPMEN T@ GMAIL.COM

Subcontracting opportunity for certifi ed DBEs, MBEs, & WBEs with Fort Myer Construction for DC Water Solicitation #150180: Small Diameter Water Main Replacement 12b. Work includes approx 1 mile of water mains and associated valves and appurtenances; copper water services 2” and smaller in public and private space; curb stop /curb stop box, meter box and penetration through building wall and connection to first fi tting inside the building including installation of a shut-off valve and pressure reducing valve; and permanent pavement and surface restoration.

Subcontracting Quotes Due: 6/19/17. Mandatory: Submit Subcontractor Approval Request form w/ quote. For more info, contact Sam Patel: bids@fortmyer.com or 202.636.9535. Visit fortmyer.com for upcoming solicitations.

BRIDGES PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT Student Assessment Services Bridges Public Charter School intends to enter into a sole source contract with The Achievement Network for student assessment services to help identify and close gaps in student learning for the upcoming school year. * Bridges Public Charter School constitutes the sole source for The Achievement Network for student assessment services that will lead to student achievement. * For further information regarding this notice contact bids@ bridgespcs.org no later than 4:00 pm Monday, June 12, 2017.

Apartments for Rent Mt. Pleasant apartment 800sqft 1BR/1BA basement unit, $1000/mo. Available 6/1. Carpeted floors in living room & bedroom. Tile floors in kitchen & bathroom. Inunit W/D. Pet-friendly. Call 202-898-0899 or email HartApartments@aol.com

Condos for Rent Adams Morgan/Petworth First Month ‘s Rent free. 1BR with den condo, fully renovated, secure building, granite kitchen, new appliances, W/D, DW, CAC. Metro 1 block away, Safway across the st, assigned parking, $1775/mo.

Ready now. NO PETS. If properly maintained rent will not increase (ask for details). 941 Randolph St. NW. Mr Gaffney, 202-829-3925 or 301-775-5701.

Houses for Rent 4914 Ames St. NE Wash DC 2 lvl 3br 1 1/2 bath semi detached home. A/c, ceiling fans, deck 5min walk to Benning Rd ss $2300 mo.

All utilities included $2000 dep call 301-346-6383

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT http://www.washingtoncitypaper.com/

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

Room for rent $800 Pa/Branch SE. Large bedroom in family home. Off street parking one block to bus. Single working/student share bath, kitchen privileges w/d.

Credit and criminal background check. email me at s@rones.com

Business Opportunities PAID IN ADVANCE! Make $1000 A Week Mailing Brochures From Home! No Experience Required.

Helping home workers since 2001! Genuine Opportunity. Start Immediately! www.IncomeStation.Net

Computer/Technical

Roommates ALL AREAS FREE ROOMMATE Service @ RentMates.com. Find the perfect roommate to complement your personality and lifestyle at RentMates.com!

Office/Commercial For Rent Downtown Office Space. 2 offi ce spaces plus bathroom and kitchen in townhouse.

Walking distance to Mt. Vernon Metro & Metro Center.

Optional off-street parking.

Available 6/1. Call 202-8980899 or email HartEsqDC@ gmail.com

Vacation/Timeshare Rentals

Multi IT Related Positions (Nat’l Placement out of Loudon County, VA). Must be able to travel/ relocate to unanticipated client sites as needed. U.S. Degree or frgn equiv as well as any exp if req’d may be in either Computers, Eng’g, Info Syst’s, IT, Mngmnt, Business or rel’d fi eld (incl’g Economics). Any suitable combo of edu, training or exp accepted.

Although no exp is req’d Candidates may qualify for either job below based on coursework or internships: BUSINESS INTELLIGENCE ANALYST (Data Analyst): Bach’s req’d.

Must’ve coursework or internship in: Comp Apps as well as coursework in Numerical Analysis; Linear Algebra; Differential Equations & Calculus. Salary $59,342.

Ref# BIDA-1116.

MANAGEMENT ANALYST (Operations): Bach’s req’d. Must’ve coursework or internship in: Operations Mngmnt & Info Syst’s.

Additionally, either Strategic Mngmnt, Database or Syst’s Analysis coursework req’d. Salary $85,592. Ref# MGTO-1116.

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & MANAGEMENT SPIRIT ANALYST (Data 20% discount on week of June 10th - 17th. 4 bd, 3.5 ba, private pool & spa. Currituck Golf Club.

Private trolley to beach, all amenities. View at www.brindleybeach. com & search by House Number HK6 or call (252) 453-3000 and ask to book The Lost Sapphire. http://www.brindleybeach.com/ rental/house.html?ID=201&User=numeric

http://www.washingtonciSecurity): Master’s req’d. Must’ve coursework or internship in: Datatypaper.com/

base Admin; Data Security; & either Info Syst’s or Info Tech. Salary $103,272. Ref# MGDS-1116.

All postns FT/Perm 9-5, 40 hrs/ wk. Use Ref# when applying. Res to Asta CRS, Inc. 44121 Harry Byrd Hwy, Suite 230, Ashburn, VA 20147 or resumes@astacrs.com.

Asta CRS, Inc. is an EOE M/F/V/D.

Miscellaneous NEW COOPERATIVE SHOP! THINGS FROM EGPYT AND BEYOND 240-725-6025 www.thingsfromegypt.com thingsfromegypt@yahoo.com SOUTH AFRICAN BAZAAR Craft Cooperative 202-341-0209 www.southafricanbazaarcraftcooperative.com southafricanba z a ar @hotmail. com WEST FARM WOODWORKS Custom Creative Furniture 202-316-3372 info@westfarmwoodworks.com www.westfarmwoodworks.com 7002 Carroll Avenue Takoma Park, MD 20912 Mon-Sat 11am-7pm, Sun 10am-6pm

Musician Services

Get internet radio stations or your own talk shows or call the grantwriter/fundraiser for your 501(C)(3) non-profi t needs MD/DC/VA www.WNPFM101. com or support@internetsolutions101.com 202/3961225 M-F 10am-4:30pm.

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

Twitter: @wacdtf FIND YOUR OUTLET. Would youUNWIND, like to volunteer to preRELAX, REPEAT vent Human Rights violations?

CLASSIFIEDS HEALTH/ United for Human Rights is a provMIND, BODYvolunteer & SPIRIT en community program with FREE TRAINING provided. http://www.washingtonCall the Volunteer Training Group citypaper.com/ at 888-978-1424. Ext 2

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Totally renovated 3 bedroom 1 1/2 bath townhouse in Petworth. Wood floors throughout. Living room with gas fireplace, dining room, kitchen with stainless steel and composite, 1/2 bath, rear deck on main floor. 3 bedrooms (1 small) on 2nd floor with 1 full bath. Enclosed rear paved patio. Alarm system.

No smokers and no pets. Call Evers&Co Real Estate (202) 364-1700.

Rooms for Rent

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You may contact the Classifieds Rep by e-mailing classifieds@washingtoncitypaper. com or calling 202-650-6926.

WASHINGTON

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Out with the old, In with the

Out with the old, In with the new Post your listing with Washington City Paper Classifieds

Out with the old, In with the new Post your listing with Washington City Paper Classifieds

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Out with the old, In with the new Post your listing with Washington City Pregnant? Considering Adoption? Call us first. Living expensPaper Classifieds

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es, housing, medical, and continhttp://www.washingtoncityued support afterwards. Choose paper.com/ adoptive family of your choice.

Call 24/7. 877-362-2401.

By Brendan Emmett Quigley

22 Steven of the only good lineup of Guns N’ Roses 23 Silicon Valley fictional company with the slogan To sponsor an intern, “Making Good Business Great� contact Jetheda Warren, 27 Concentrate jwarren@theurbanalliance.org, on work 202-459-4308 28 Heavy mail, e.g 29 Potato’s kin 30 Caustic stuff empowers under-resourced youth 34 “Non? Non?� to aspire, work, and succeed 35 Match.com user through paid internships, formal 36 Plot line training, and mentoring.

38 Greetings 39 Praise with feet www.theurbanalliance.org 43 Tour de France hurdle 45 Big fuss http://www.washingtoncitypaper.com/ 46 Benched player’s spots?

47 Make right 48 Swigger’s container 49 Google Maps line 50 “Door’s open!�

54 We all have one 55 Did poorly 56 Audition spot 57 Gray wolf 61 Laundry brand 62 2010 Best Supporting Actress

HIRE AN INTERN.

CHANGE A LIFE.

Urban Alliance

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT

1 Time for growth 6 Leave the coverage area 10 Total shithole 13 Relaxes 14 Wrist bones 15 “Well, well, well�

16 Beef on social media 18 Popular shrub 19 Boy’s name in a tongue twister 20 Make the NBA playoffs more interesting, say (what? I’m the only one?)

21 Go against the grain 23 Vietnamese noodle soups 25 Ren ___ (LARPers spot) 27 19th Amendment topic 32 Burdened (with) 33 Soft ball company?

34 Concealed carry org.

35 Gorge oneself with, briefly 36 “Crazy� singer 38 Three weeks in a van with the band, likely

Across

Out with the old, In with the new Post your

listing with Washington City Paper

Classifieds

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39 Word of sharing 40 Fill up 41 Hairstylist’s creations 42 What something that needs no explanation can do 46 ___: Covenant 47 Small bit 48 His #2 was retired by the Yankees 50 Led Zeppelin ___ 51 Milky gem 55 Playwright Ensler 56 “Amen, brother!�

60 Christmastime purchase 61 You are here 62 Hiking spot 63 They loop The Loop 64 Time to act 65 Arrowsmith author

Down

1 Pekingese dog?

2 Schwarzbier alternative 3 Wind instruments named for a Greek god 4 Against

5 6 7 8 9

10 11 12 14 20 21

MOVING? FIND A Educating the HELPING HAND TODAY public and

2nd best Thorny flower High, as a guess Some toothpastes Pop song character who’s “as blind as he can be�

Scaler’s tool Terrible twos, e.g.

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empowering Out with the old, Inthe with the new Post your listing with Washington City homeless one Paper Classifieds newspaper at a time.

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LAST WEEK: A-GAME 3 $ 3 $ $ / $ 1 : ( 1 7 ) , $ + / ' 2 8 % / 2 7 8 ( / ( & 5 , 6 . / ) 5 ( ( / 2 1 ' $ 8 7 2 6 7 ( : . ( 5 1

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& SPIRIT

Street Sense

Where the Washington areaâ&#x20AC;&#x2122;s poor and homeless earn and give their two cents

Pick up a copy today from vendors throughout downtown D.C. or visit www.streetsense.org for more information.

ACCOUNT EXECUTIVE â&#x20AC;&#x201C; ADVERTISING SALES Washington City Paper has an immediate opening for an outside sales position responsible for selling and servicing our advertising and media partner clients across our complete line of marketing solutions including print advertising in Washington City Paper, digital/online advertising on washingtoncitypaper.com and across our Digital Ad Network, as well as event sponsorship sales.

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

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

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Out with the old, In with the new Post your listing with Washington City Paper Classifieds Qualifications, background, and disposition of http://www.washingtonthe ideal candidate for this position include: citypaper.com/

â&#x20AC;˘ Two years of business to business and outside customer sales experience â&#x20AC;˘ Experience developing new territories & categories including lead generation and cold calling â&#x20AC;˘ Ability to carry and deliver on a sales budget â&#x20AC;˘ Strong verbal and written communication skills â&#x20AC;˘ Able to work both independently and in a team environment â&#x20AC;˘ Energetic, self-motivated, possessing an entrepreneurial spirit and strong work ethic â&#x20AC;˘ Organized, detail and results oriented with professional presentation abilities â&#x20AC;˘ Willing to embrace new technology and social media â&#x20AC;˘ MS Office suite proficiency - prior experience with a CMR/CMS software application â&#x20AC;˘ Be driven to succeed, tech savvy, and a world class listener â&#x20AC;˘ Enjoy cultivating relationships with area businesses We offer product training, a competitive compensation package comprised of a base salary plus commissions, and a full array of benefits including medical/dental/life/disability insurance, a 401K plan, and paid time off including holidays.

Compensation potential has no limits â&#x20AC;&#x201C; we pay based on performance.

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

No phone calls please.

washingtoncitypaper.com June 2, 2017 39

FIN OU RE UN RE CL HE MI &

http onci

SHOWS ON SALE NOW! PLUS u

THE B-52S

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ST. PAUL & THE BROKEN BONES

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JUST ADDED: SEP 2 BRYSON TILLER SET IT OFF TOUR

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ELVIS COSTELLO & THE IMPOSTERS

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DIANA KRALL

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LINDSEY BUCKINGHAM & CHRISTINE McVIE THE WALLFLOWERS

JUN 3 BERNADETTE PETERS WITH WOLF TRAP ORCHESTRA

JUN 9 WILCO

KACY & CLAYTON

JUN 10 JOE JACKSON FAST FORWARD TOUR

MAVIS STAPLES

HARRY POTTER characters, names and related indicia are © & TM Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLDTM J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

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LIONEL RICHIE

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DISNEY’S THE LITTLE MERMAID

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TEDESCHI TRUCKS BAND THE WOOD BROTHERS HOT TUNA

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