Washington City Paper (June 26, 2015)

CITYPAPER Washington

politics: ward 7 council race is on 7

food: stories of restaurant breakups 23

Free Volume 35, no. 26 WashingtonCityPaPer.Com June 26–July 2, 2015

A SAfe Bet?

The city has invested big in sports stadiums as development tools.

Are they worth it?

By Chris heller PhoTogrAPhs By DArrow MonTgoMery

2 june 26, 2015 washingtoncitypaper.com

INSIDE 14 a safe bet?

The city has invested big in sports stadiums as development tools. Are they worth it?

by chris heller photographs by darrow montgomery

4 Chatter DistriCt Line

7 Loose Lips: Yvette Alexander’s Ward 7 challengers emerge 10 City Desk: Signs of the pedestrian-shaming times 11 Gear Prudence 12 Savage Love 13 Straight Dope 20 Buy D.C.

D.C. feeD

23 Young & Hungry: Stories of restaurant breakups 25 Grazer: Inside D.C.’s first cat cafe 25 Are You Gonna Eat That?

Brine’s plankton bucatini 25 Underserved: Barrel’s the Valdez

arts

27 Modern Start: A D.C. ballet company nixes the same old song and dance.

29 Arts Desk: What if Fort Reno fell in with the #brands?

30 Short Subjects: Olszewski on Escobar: Paradise Lost and Gittell on Infinitely Polar Bear 31 Curtain Calls: Ritzel on The Book of Mormon 32 Sketches: Capps on “Hipster Fascism” at the Fridge 33 Speed Reads: Murchison on David Nicholson’s Flying Home

City List

35 City Lights: Take an aural trip to Trinidad’s Carnival.

35 Music 40 Books 40 Galleries 42 Dance 42 Theater 43 Film

46 CLassifieDs Diversions 47 Crossword

on the Cover

Buzzard Point, Southwest D.C.

“ ”

things that make you go hmmmm!

—Page 7

washingtoncitypaper.com june 26, 2015 3

CHATTER

In which readers start a war of words over where you can and can’t bike

Fuck Ya Fuckin’ Bike “Pass the PoPcorn...

This Thread’s gonna be fun,” wroTe extra

butter, please, correctly anticipating the nature of reader response to Will Sommer’s District Line column “Ground Control.” “Riding a bike on the sidewalk makes sense.

Why the hate?” was the basic premise. It wasn’t, as far as we could tell, an unhinged rant against reasonable sidewalk use or biking etiquette. It barely promoted any sectarian strife.

Sure, “to sidewalk or not to sidewalk” was the question, but neither side was put on blast. And yet! Oh, the hate. The torrents of Biblical, bloodred, blinding hate spewed upon Sommer and all those who would dare suggest using a bicycle on the sidewalk.

Some readers swallowed their vitriol and offered some constructive commentary: “Solution: remove a lane from M Street to expand the sidewalk and add bike lanes,” suggested one anonymous commenter. Most let the vitriol spew, however. Perennial staff favorite and comments-section darling noodlez, practically an artist with the caps lock key, neatly summarized the stance of Sommer’s opposition: “HOW ABOUT GETTING YOUR ASS IN THE STREET AND RIDE LAWFULLY WITH THE TRAFFIC. SIDEWALKS ARE NOT BIKE EXPRESS LANES!” Translation: kindly

bikers in the street. noodlez helpfully shouted a clarification of the rules. “IF YOU ARE RIDING LEGALLY IN STREET WITH AND WITH OUT DESIGNATED LANES THEN ITS INCUMBENT ON DRIVER TO GIVE YOU RIGHT OF WAY. IM ESPECIALLY POINTING AT THOSE VA DRIVERS WHO MAKES ME WANNA DEMO DERBY THEIR ASSES.” Inside voices, please. We actually have a hard time believing suspicious_ package has ever been on a District sidewalk, though. “How many times have you been ruun down on the sidewalk exactly? I walk on the sidewalks a lot and I’ve never had it happen to me. Nor do I know anyone who’s had it happen to them.”

Is that because you don’t get out much or because cyclists have been shamed off the sidewalk and, uh, aren’t there to run you over? No one’s happy here, but we can look to Europe, contended big boy. “In the countries where they have the greatest numbers of cyclists and least accidents- countries such as Holland, Germany and Dens t mark, most of the bicycle tracks are on en sidewalks or bumped out portions of the v /e road- almost NEVER in the road or outm o side of parked cars as we do here. Basicalc r. ly as a society we have done ZERO to ene p courage cyclists- except for those foolhardy pa y Lance Armstrong guys in lycra and spandex t i who are all into racing or looking sleek. These nc o t guys are often aggressive and seldom go slow or use g n warning signals for pedestrians. We need to change hi as our entire outlook towards cycling in this country and w make it more inclusive and less athletic oriented.” Gavel, gavel: City Paper endorses any policy that reduces the preva—Emily Q. Hazzard lence of spandex worn in public.

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cycle in the road, not the sidewalk, please and thank you. carlos the dwarf pointed out that drivers are likely to mow down

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5 3 $

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

pubLiSHEr EmErituS: Amy AustIn intErim pubLiSHEr: ErIc norwood Editor: stEVE cAVEndIsH mAnAging EditorS: EmIly q. HAzzArd, sArAH AnnE HugHEs ArtS Editor: cHrIstInA cAutEruccI food Editor: jEssIcA sIdmAn City LigHtS Editor: cArolInE jonEs StAff WritEr: wIll sommEr StAff pHotogrApHEr: dArrow montgomEry Contributing WritErS: joHn AndErson, jonEttA rosE BArrAs, ErIcA BrucE, sopHIA BusHong, KrIston cApps, rIlEy crogHAn, jEffry cudlIn, ErIn dEVInE, sAdIE dIngfEldEr, sElEnA sImmons-duffIn, mAtt dunn, sArAH godfrEy, trEy grAHAm, louIs jAcoBson, stEVE KIVIAt, cHrIs KlImEK, ryAn lIttlE, cHrIstInE mAcdonAld, dAVE mcKEnnA, BoB mondEllo, mArcus j. moorE, justIn moyEr, trIcIA olszEwsKI, mIKE pAArlBErg, tIm rEgAn, rEBEccA j. rItzEl, Ally scHwEItzEr, tAmmy tucK, KAArIn VEmBAr, joE wArmInsKy, mIcHAEl j. wEst, BrAndon wu intErnS: morgAn BAsKIn, josH solomon onLinE dEvELopEr: zAcH rAusnItz digitAL SALES mAnAgEr: sArA dIcK SALES mAnAgEr: nIcHolAs dIBlAsIo SEnior ACCount ExECutivES: mElAnIE BABB, joE HIcKlIng, AlIcIA mErrItt ACCount ExECutivES: lIndsAy BowErmAn, cHElsEA EstEs, stu KElly, cHAd VAlE mArkEting And promotionS mAnAgEr: stEpHEn BAll SALES opErAtionS mAnAgEr: HEAtHEr mcAndrEws SALES And mArkEting ASSoCiAtE: cHloE fEdynA CrEAtivE dirECtor: jAndos rotHstEIn Art dirECtor: lAurEn HEnEgHAn CrEAtivE SErviCES mAnAgEr: BrAndon yAtEs grApHiC dESignEr: lIsA dEloAcH opErAtionS dirECtor: jEff BoswEll SEnior SALES opErAtion And produCtion CoordinAtor: jAnE mArtInAcHE digitAL Ad opS SpECiALiSt: lorI Holtz informAtion tECHnoLogy dirECtor: jIm gumm SoutHComm: CHiEf ExECutivE offiCEr: pAul BonAIuto prESidEnt: cHrIs fErrEll CHiEf finAnCiAL offiCEr: Ed tEArmAn ExECutivE viCE prESidEnt of digitAL & Support SErviCES: BlAIr joHnson dirECtor of finAnCiAL pLAnning & AnALySiS: cArlA sImon viCE prESidEnt of HumAn rESourCES: Ed wood viCE prESidEnt of produCtion opErAtionS: curt pordEs group pubLiSHEr: ErIc norwood CHiEf rEvEnuE offiCEr: dAVE cArtEr dirECtor of digitAL SALES & mArkEting: dAVId wAlKEr ControLLEr: todd pAtton CrEAtivE dirECtor: HEAtHEr pIErcE LoCAL AdvErtiSing: (202) 332-2100, fAx: (202) 618-3959, Ads@wAsHIngtoncItypApEr.com voL. 35, no. 26, junE 26-juLy 2, 2015 wAsHIngton cIty pApEr Is puBlIsHEd EVEry wEEK And Is locAtEd At 1400 EyE st. nw, suItE 900, wAsHIngton, d.c. 20005. cAlEndAr suBmIssIons ArE wElcomEd; tHEy must BE rEcEIVEd 10 dAys BEforE puBlIcAtIon. u.s. suBscrIptIons ArE AVAIlABlE for $250 pEr yEAr. IssuE wIll ArrIVE sEVErAl dAys AftEr puBlIcAtIon. BAcK IssuEs of tHE pAst fIVE wEEKs ArE AVAIlABlE At tHE offIcE for $1 ($5 for oldEr IssuEs).

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4 june 26, 2015 washingtoncitypaper.com

UPCOMING EVENTS

Mon, 6/29 at 6:30pm Fig Tree Press An Evening of Independent Fiction The Book of Stone Jonathan Papernick Prayers for the Living Alan Cheuse Safekeeping Jessamyn Hope Tues, 6/30 at 6:30pm The Promise of the Dupont Underground featuring chef Nora Poullion Wed, 7/1 at 6:30pm Stir Jessica Fechtor Mon, 7/13 at 6:30pm Viral Emily Mitchell Tues, 7/14 at 6:30pm The Legacy of Lost Things Aida Zilelian Wed, 7/21 at 6:30pm The Rainy Season Maggie Messitt 1517 CONNECTICUT AVE. NW 202.387.1400 // KRAMERS.COM washingtoncitypaper.com june 26, 2015 5

Start your weekend at an outdoor dance party with DJ’s spinning your favorite hits from the 70’s, 80’s, 90’s and today!

Featuring DJ QUICKSILVA and DJ RUSTY B with ALL GOOD FUNK ALLIANCE and dance lessons

by MUSIC2YOURFEET For more info:

www.dcarts.dc.gov • 202-724-5613

Free event!

Presented by

DC COMMISSION ON THE ARTS & HUMANITIES FRIDAY, JUNE 26, 7:00 – 11:00 PM | Carnegie Library at Mt. Vernon Square, 801 K Street, NW, Washington, DC 6 june 26, 2015 washingtoncitypaper.com

DISTRICTLINE

Capitol JustiCe,

a new District crime site, wants to fill the void left by Homicide Watch DC. washingtoncitypaper.com/go/ capitoljustice

Loose Lips

Seventh Heaven

A crowded field and a new alignment with the Green Team could keep Yvette Alexander in office.

It’s summer in the District when the temperature shoots up, the D.C. Council’s recess looms, and Muriel Bowser and Attorney General Karl Racine can’t even scrap convincingly. It’s a time when LL’s mind turns to next year’s primaries.

Consider Ward 7, where incumbent Yvette Alexander is facing challengers and some not-so-crazy rumors about who else will take her on.

Alexander will face her third re-election bid since being elected in a 2007 special election, but insists she isn’t worried.

“There’s no race,” Alexander says.

Some of Alexander’s constituents wish there were.

“I think some of the older residents are looking for a candidate to go up against Yvette,” says Gary Butler, a Ward 7 advisory neighborhood commissioner unhappy with Alexander.

Alexander already has two challengers, and the ward’s dissatisfied wags are looking around for more—including, potentially, disgraced former Council Chairman Kwame Brown. Thanks to all those candidates and a new alliance with Bowser’s Green Team (and the mayoral fundraising apparatus that comes with it), though, Alexander may well have reason to relax.

Any candidate hoping to challenge Alexander has to straddle both the ward’s willingness to oust incumbents and the gap between her comparatively well-off Hillcrest neighborhood and poorer areas like Nannie Helen Burroughs Ave. So far, Alexander has been able to ride that divide, thanks in part to Hillcrest’s status as one of the District’s highest-turnout precincts.

“It’s like two wards,” says pollster Ron Lester. “It’s like part Ward 4 and part Ward 8.”

Alexander’s most significant challenger so far is Ed Potillo, a D.C. Democratic State Committee bigwig. So far, Potillo’s campaign has run quietly, with a few hits accusing Alexander of missing economic opportunities (the still moribund Skyland site ranks high with Alexander detractors).

Potillo campaign manager Cinque Culver tells LL that the exploratory committee managed to raise $15,000 in three weeks.

(It’s not clear how much total money Potillo has, since the campaign hasn’t yet had to report its latest figures to the Office of Campaign Finance.)

Potillo’s biggest problem may not be Alexander. Instead, come June 2016, he could find himself splitting the anti-incumbent vote with the hordes of longshot candidates who turn out whenever a seat on the Council is available.

“It’s going to be an interesting dynamic, but Ed is just staying interested on serving the people of Ward 7,” Culver says.

Check out these rumors, though: Vince Gray administration D.C. Fire and EMS Chief Kenneth Ellerbe has long been considered a potential Alexander challenger.

Alexander didn’t exactly hide her concerns about Ellerbe last year, when she tweeted that Ellerbe’s visits to Ward 7 were “things that make you go hmmmm!”

Ellerbe didn’t respond to LL’s request for comment, and Alexander claimed last year that he had promised to support her in her re-election bid. And there’s one other reason Ellerbe might want to stay out of the race: his embattled term running DCFEMS. As chief, Ellerbe lasted an improbably long time in the face of labor strife, lengthy response times, and combusting ambulances.

Former Gray campaign manager Chuck Thies doesn’t see how Ellerbe could run against Alexander without getting eviscer-

Ward 7’s Alexander isn’t worried about possible challengers.

Darrow Montgomery

By Will Sommer

washingtoncitypaper.com june 26, 2015 7

DISTRICTLINE ated over his DCFEMS record during debates. Thies recalls the 2012 Ward 7 race, when Alexander asked challenger Kevin Chavous Jr. in a debate about his arrest for soliciting a prostitute. Thies says that Alexander’s cheerfulness (she dressed as Nicki Minaj at the Wilson Building for Halloween, complete with a pink wig) belies someone willing to slip her rivals a “dagger.”

“She’s a wolf in sheep’s clothing,” Thies says. “That affable appearance—do not underestimate her.”

But Alexander’s other rumored rival could make Ellerbe look like a candidate to run the ethics board. LL can’t believe he’s writing this, but somebody wants Kwame Brown to run. Brown, also a Hillcrest resident, resigned as Council chairman in 2012 over campaign finance and loan violations. Then there’s the black-on-black Lincoln Navigator, and the hundreds of thousands of dollars in unaccounted-for campaign funds.

‘He’s a guy who got a slap on the wrist when he probably could’ve been pounded with a hammer,” Thies says.

‘He’s a guy who got a slap on the wrist when he probably could’ve been pounded with a hammer,” says former Gray campaign manager Chuck Thies.

Despite all that, though, WUSA9 reports that Brown will appear at a meet and greet this weekend. There’s other, more tangible support for Brown in the form of yellow “Draft Kwame Brown” flyers handed out recently in the ward, although no official draft committee has been registered for Brown at OCF. “The quiet chatter is he wants to be involved again,” Butler says.

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Brown didn’t respond to LL’s request for comment. In November, Brown told LL that if he was going to tell anyone about his future plans, it wouldn’t be LL. Brown and everyone else hoping to get into the seat is probably SOL, though, because Alexander has managed to cozy up to the Green Team, the most significant force in Council races these days. Alexander took her Council seat thanks in part to an en-

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Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.

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dorsement from Gray, whom she replaced on the Council, and she endorsed his mayoral re-election campaign just hours after he declared his candidacy.

Ordinarily, that would put her on the wrong side of Bowser, who flexed her fundraising and organizational powers in April by putting former campaign aides in two Council seats. Since last year, though, Alexander has avoided antagonizing the mayor. That means Bowser and the business types willing to put max contributions behind whoever she wants aren’t motivated to back a challenger in the ward.

“She was a Gray supporter,” Thies says.

“But within minutes of the election results being known she arrived in Bowsertown.”

Despite rumors of challengers, Alexander denies that there’s anyone more exciting than her in the race.

“The interesting name is Yvette AlexanCP der,” she says.

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DISTRICTLINE Walking Gall City Desk

Tomorrow’s history today: This was the week José Tábata ruined Max Scherzer’s perfect game.

Carry a flashlight when walking at night

Drivers of vehicles have struck at least 180 pedestrians in D.C. this year, according to a citizen count, though the actual number is likely much higher. In an attempt to increase pedestrian and cyclist safety in the District via the Internet, the Metropolitan Police Department has been tweeting safety “tips,” like one to cyclists to “Obey traffic signs/signals & lane markings.” Fair enough! But many of the suggestions, like “Cross the street in a well-lit area at night,” simply aren’t always feasible. Tony Goodman, co-chair of the D.C. Pedestrian Advisory Council, says he’s “confident” MPD’s intentions are good, “but the safety tips... are not only impractical, but don’t really address the actual safety concerns in D.C.” “D.C. pedestrians are not deer on a quiet country road!” he says by email. “If a driver can’t see a pedestrian in a crosswalk, then they should either drive slower and more carefully, or perhaps park the car at home and Uber/taxi/bus/Metro/bike/walk themselves.” But if MPD insists on passive-aggressively blaming the victim using these tips, we here at City Paper are happy to help out by visualizing —Sarah Anne Hughes their tweets in sign form.

Cross the street in a well-lit area at night

Wear bright/light colored clothing/ reflective materials

Try not to be hesitant or do things that motorists & other travelers may not be expecting

Make sure everyone can see you/knows where you are & where you are going 1800 BLOCK OF FIRST STREET SW, JUNE 22. BY DARROW MONTGOMERY 10 june 26, 2015 washingtoncitypaper.com

Gear Prudence: After moving from a rowhouse to an apartment building, I’m having issues finding a convenient space to take care of my bike. Cleaning chains and gears is messy, so I don’t want to clean my bike inside of my apartment. And outside on the sidewalk seems like a really selfish use of public space and has the drawback of having no access to water to give my bike a good rinsing before I dig into the cassette and other nooks. Any thoughts?

—Must Enable Sparkling Steed Dear MESS: Your desire for a clean bike is laudable as is your instinct to avoid cleaning your bike inside your apartment. There’s no surer way to lose that security deposit than a stripe of chain grime across an otherwise pristine carpet. You could clean your bike in the shower, but that seems like both a hassle and a surefire way to sully the space you use for your own bathing.

Your courtesy vis-à-vis public space is admirable, though maybe a bit too cautious. Is there some courtyard or semi-private area where you could take a bucket and some washcloths to do the dirty deed? If there’s landscaping around the building, there might even be a hose that your landlord or property manager might let you use.

If not, you might have to take your bike off-site, like to a self-service dog wash. Drape some mopheads over your frame, and if questioned, claim your bike is an oversized Puli.

Or assess which of your riding buddies has the consistently cleanest cogs. Flatter their fastidiousness, go halfsies on the Simple Green, and bring over a six pack that you can split as you —GP scrub your bikes together.

Gear Prudence: I’ve become more diligent in drive train maintenance at home. But now, I have a growing pile of cloth rags that are begrimed with road grit and chain lube. What is the best way to clean them? I’ve considered throwing them in a washing machine, but am concerned about grease eventually getting on my clothes.

—Researching A Grease Solution Dear RAGS: A washing machine could certainly work, but GP, like you, worries that the accumulated gunk and grit will perniciously cling to the inside of the machine and find its way onto whatever you wash next. If you have all black clothes, this won’t be a problem. Otherwise, why risk it?

What’s wrong with a bucket? Fill it with as much water as you need and some laundry detergent, dump in your rags, agitate, and rinse.

Allow them to air dry, and use that time to consider whether it would be easier to just get new rags, maybe ones that have formerly been —GP your old socks or undershirts.

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

Email gearprudence@washcp.com.

Cross safely

use crosswalks

Want to know the right way to cross the street?

Wait until traffic has stopped before crossing at designated crosswalks—and never dart out in front of an approaching streetcar or between two stopped vehicles. Crosswalks and pedestrian signals are there for you and your safety. Using them is the right way and the safe way.

dcstreetcar.com washingtoncitypaper.com june 26, 2015 11

SAVAGELOVE I am a male grad student who is technically engaged to a female grad student. She has numerous positive qualities, but she is repulsed by sex.

She is very sensitive about her repulsion and becomes distraught when I broach the subject. She says that even the thought of doing anything sexual with me elicits a panic attack. She also insists that she is “broken” because, in the hopes of preventing me from leaving her, she forced herself to go further than she felt comfortable. We are both virgins, and the furthest that we ever went sexually was cunnilingus. She has never seen me completely naked or expressed any interest in making love to me. When she revealed that any form of sexual affection prompted panic attacks and psychological distress, I decided to call off our engagement. She proceeded to threaten to kill herself and blame me for her aversion to sex. I agreed to continue the relationship but insisted that we postpone marriage. She refuses to go to couples counseling.

I love her and enjoy her companionship, but my sexual self-esteem is devastated. I feel rejected and bitter, and I am still with her mainly because of guilt. Although she denies that this contributes to the situation, she also holds strong religious convictions. She claims that she always had a weak libido and that bodily fluids (especially semen) disgust her. Finally, despite her use of oral contraceptives, she fears pregnancy. She also disapproves of my family and friends, my interest in science, my distrust of religion, and my use of antidepressants. My questions: (1) If I did cause or contribute to her sexual aversion, do I have a lifelong obligation to remain with her? (2) Barring cheating, the impetus for her decision to break up with a previous boyfriend, what other options do I have?

(3) Could her sexual aversion ever dissipate? (4) Could her sexual aversion stem from asexuality?

—Gradually Escalating Threats OblIgate Unending Togetherness 1. You are not obligated to stay with this unpleasant woman for the next 50 years just because you made the mistake of proposing

to her. And even if she started fucking you, GETOUT, do you really want to be with her?

2. Why bar cheating? If taking herself hostage is so intimidating that it prevents you from breaking up with her (threatening to kill herself = taking herself hostage), then go ahead and cheat on her, or pretend to cheat on her, and let her break up with you.

3. Her sexual aversion may dissipate over time. Or it may not. But someone who doesn’t want to fuck someone—and she clearly doesn’t want to fuck you—rarely starts wanting to

of them have responded. So it is now to the point where I’m going to have to call and outright ask if they’re coming and potentially absorb all their rejection personally. Here’s the kicker: I found out through Facebook that my brother, who I used to think was my ally (he said that he and his GF were going to try to make it to my wedding), is getting married seven days after we are! And he forgot to invite me?! So with this knowledge, what am I supposed to say when I call asking for RSVPs? —Please Please Please Help

But someone who doesn’t want to fuck someone... rarely starts wanting to fuck that someone down the road. fuck that someone down the road. So she may get over her sexual aversion in time, but she’ll probably be fucking someone else when she does… even if she’s married to you.

4. Could be that, sure. But unless you’re willing to live a sexless life with a manipulative spouse who disapproves of your family, friends, meds, etc., the root cause of her sexual aversion —Dan Savage is irrelevant.

I am getting married to my partner next month.

I’m super pumped. Her family is awesome and supportive. I’ve had a long back and forth with my family about the wedding—including inviting them and saying how much it would mean to me if they would come. I’m trying to be the bigger person, even though they have never been supportive of me as a queer person. I suspect some of them are not coming, as I got a pretty intense e-mail from my sister-in-law about how my family can’t support my engagement because blah blah Catholic blah. Yesterday was the RSVP due date, and none

12 june 26, 2015 washingtoncitypaper.com

You are not going to absorb your shitty family’s rejection personally, PPPH, because you are not going to call each and every shitty member of your shitty family to personally ask each individual shit if they’re coming to your wedding. The shits aren’t coming—adjust your seating charts accordingly. And you know what? You don’t want these shits at your wedding. You don’t want to see your shitty sister-in-law’s sour face when you look out at your guests. You don’t want to see your shitty brother’s face—the shit throws you noncommittal shitty scraps and then in a shit move fails to invite you to his own wedding—when you cut the cake. You want people at your wedding who love and support you, who love and support your relationship—and your shitty family has made it abundantly clear that they are incapable of loving and supporting you.

It’s worse than that: Your shitty family has made it clear that they will seize any opportunity to wound you. So stop creating those oppor-

tunities. Don’t send any more invitations, don’t make any more phone calls, unfollow the fuckers on Facebook. Devote a week to grieving your loss—this kind of rejection is painful— and then resolve to focus on your wife-to-be, your education, your friends, and your career.

Focus on the life you and your fiancée are embarking on together. She’s your family now.

—Dan My boyfriend and I have been together almost two months. Lately, he doesn’t seem that interested in investing in our relationship, but when I talk to him, he says the opposite. We are a bit long-distance (he lives an hour away). Two weeks ago, he went home to visit his parents. I was going to see him when he got back, but he said he wasn’t feeling well. Then last week, he went to his best friend’s wedding. Now he tells me he’s got to go back home this weekend to get his laptop. Through all this, his texting responses have gone down to where I am lucky to get a reply.

If we are on the phone and the call drops, he doesn’t try to call me back, and he never answers when I call him back. I’m just trying to keep the lines of communication open, especially since we don’t see each other all the time, but he is making it difficult. What would be the best way to approach this?

—Boyfriend’s Absences Worry Lonely & Invested New Girlfriend Don’t call or text your boyfriend for two weeks.

If he doesn’t call or text you in that time—and he won’t—then you cancel your three-month anniversary party. My hunch is that this relationship has been over for a while, BAWLING, but your boyfriend lacks the decency to put you out of your misery. Looking on the bright side: You won’t have to waste any of your money on a traditional three-month anniversary present—a bag of Cool Ranch Doritos—or any —Dan more of your time on this guy.

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

THESTRAIGHTDOPE

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on extras? I suppose, but the common view is that the real security ripoff isn’t an alarm, it’s window etching.

4. Up to this point things aren’t looking good for the anti-car-alarm crusade. No worries. The question of interest isn’t whether car alarms work, but whether other less obnoxious technologies work as well or better.

Answer: absolutely. As we’ve seen, vehicletracking devices are the most effective antitheft measure, and it appears combinations of measures are more effective yet.

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M I L I TA R Y ★ C A M P I N G ★ LU G G AG E 6. A car alarm all by itself, according to Farrell and company, has an SPF of just 1.2, whereas central locking is rated 2.7. (This appears to contradict the results reported in paraARMY NAVY Saving you money on Surplus, Survival and Outdoor Gear Gear you onSurvival Surplus, Survival andGear Outdoor Saving youSaving money on money Surplus, and Outdoor graph 3 for reasons not explained—ask FarSavingARMY you money on Surplus,NAVY Survival and Outdoor Gear rell.) But an alarm plus central locking has an SPF of 5. Pile on the technologies and the mulSaving you money on Surplus, Survival and Outdoor Gear tiplier effect becomes more pronounced. At the top of Farrell’s list of antitheft technologies, with an SPF of 25.4, is the following fourplex: SPRAY MGET IC I TA M P® NAG G G ★ E M I L I TA MRI L YI TA ★ RLA Y M M®★ PCIA N LU GG ★ LU E GLU AGGEG AG ®IGPEPPER ®★PRCIYNAG★ central locking plus an ignition kill-switch plus For self defense, or for loved ones. Totally a tracking device plus, yes, an alarm. Farrell ® PEPPER SPRAY These pantsGET provide disables maximumattacker’s wear-ability virtually around the clock. ability to see or breathe... calls this the ACET configuration.

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Listen, Samuel, if you’re tormented by the constant urban din of Vermont, you’ve got a pretty low annoyance threshold. I’m going to work on the assumption you’re a refugee from New York, where historically car alarms have been more of an issue (although speaking as a big-city habitué I’d say this is one irritant that may have crested a good 20 years ago). Browsing on the interwebs I find a claim from back in 2003 that noisy car alarms cost New Yorkers $400 million annually, based on an ingenious but basically harebrained calculation of the extent to which car alarms diminish the quality of life for those in hearing range. One wants to say: Suck it up, crybabies. Admittedly that’s the attitude of someone not currently being driven bats by a blaring alarm, and one wants to be supportive of one’s fellow city dwellers. So here’s the best case I can make for why car alarms should be banned.

1. Car alarms have middling, but certainly some, effectiveness as a theft deterrent, research suggests. We learn this from Farrell et al (2010), who use the straightforward method of comparing (a) the number of cars with a given antitheft technology against (b) the number of cars with that technology that get stolen. Sixty-three percent of cars have alarms, we learn (based on UK data), whereas only 41 percent of stolen cars have alarms. Forty-one is 35 percent less than 63. Ergo, car alarms are 35 percent effective in deterring theft.

2. This is considerably less potent than what Farrell’s numbers suggest is the single most effective antitheft measure, namely a tracking device on your car that lets the cops (or you) determine its whereabouts if bad guys abscond with it. Effectiveness: 77 percent.

3. On the other hand, car alarms work better than the most common antitheft measure nowadays, central locking (powered door locks controlled by a button on the key or fob)—32 percent effective. And they’re way better than window security etching (inscribing the vehicle ID number on the glass), 14 percent, or mechanical steering-wheel locks, 7 percent.

In fact, cars with the latter two antitheft measures experience more theft attempts, leading one to wonder what exactly the detailers are inscribing on those windows: BET YOU CAN’T STEAL THIS CAR? 4. This is off the track of my argument, but since you asked, car alarms aren’t required in the U.S., and I haven’t heard of them being required elsewhere. Canada, Australia, and many European countries require “electronic immobilization”—put simply, ignition kill switches. Are alarms and such an excuse to add

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—Samuel Press, Vermont

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A SAfe Bet? At dusk, when the sun sets on Buzzard Point, the plan seems perfect.

As light reflects off the water, blinding from view the scrap yards and concrete plants and parking lots, it’s easy to imagine the area’s future: a riverfront entertainment district that spans southeast to southwest, from Navy Yard to Fort McNair, the two ends anchored by two stadiums. The first, Nationals Park, opened seven years ago. It cost $693 million. The other, a new home for D.C. United, will be the most expensive soccer stadium in America.

All told, about a billion dollars will be spent on these two stadiums. Both projects involve significant public investment, although each represents a distinct model of financing.

Both pursue the same, long-sought dream to develop land along the Anacostia waterfront. And perhaps just as important, both reveal the lengths that policy-makers, past and present, will go to raise the profile of the District. If Nationals Park and the soccer stadium ignite a sports district as promised, it would stand counter to years of sports economics research. If they don’t … well, if that happens, the D.C. government will have subsidized two businesses owned by some very wealthy people.

While Washington’s other sports owners not-so-quietly poke around for new digs— yes, Dan Snyder, that means you and the Pigskins—we’re left to wonder: which of these deals will become the model for future stadium deals in the District? Is either truly beneficial for the city’s economy? And when, exactly, is it okay to use public money for private sports?

On June 8, Mayor Muriel Bowser revealed that she struck a deal with D.C. United to keep professional soccer in the District. The next day in the Wilson Building, her celebratory press conference culminated a long series of negotiations that, at times, had involved: land trades between the D.C. government, the real estate company Akridge, and Pepco; a plan to demolish the Frank D. Reeves Municipal Center; a vague proposal to build a replacement for the Reeves Center in Ward 8; a new Pepco substation near Mount Vernon Triangle; a displaced urban farm; Virginia Gov. Terry McAuliffe’s eleventh-hour attempt to woo D.C. United to Loudoun county; $106 million borrowed by the city;

The city has invested big in sports stadiums as development tools. Are they worth it?

By Chris heller PhotograPhs By Darrow MontgoMery

$32 million shifted away from other projects in the capital budget; $50 million in tax breaks; and the cheapest rent in the city.

“Let it be clear: D.C. is the sports capital and we’re the home of D.C. United,” Bowser said, after inviting the D.C. Council, team officials, and her economic development team to gather behind the podium. The councilmembers, flanked by the latest renderings of the stadium, draped D.C. United-themed scarves around their necks as they applauded. Councilmember Jack Evans, grinning, palmed a small soccer ball.

D.C. United co-owner Jason Levien lagged behind, late off a train from Union Station. When he arrived, he got a turn at the microphone too.

“It’s a complicated deal,” he said. “It’s taken some twists and turns, but there’s been a real trust level and a level of communication that has allowed us to move this forward.”

Levien was right. The deal is complicated, and it took many twists and turns and three mayors. Here’s how the city got to this critical moment.

14 june 26, 2015 washingtoncitypaper.com

D.C. United has played at RFK Stadium since the club’s first season in 1996. For more than a decade, though, they’ve been looking for a way out. They pursued several sites: at Poplar Point, in Prince George’s County, and even as far north as Baltimore. Those plans fizzled again and again and again. The team was stuck, it seemed, in a stadium too big, too old, too decrepit, and too expensive to support professional soccer. According to D.C. United officials, the team lost more than $5 million last season.

The promise of a better home—and the revenue it could bring—attracted a revolving door of investors to the club. Victor MacFarlane, a real estate magnate, bought the team in 2007. Two years later, bruised by recession losses, he sold to co-owner William Chang, a sports investor who also owns a share of the San Francisco Giants. Three years after that, Indonesian media mogul Erick Thohir purchased a majority stake and brought Jason Levien into the fold as man-

aging partner. (In 2013, Thohir also took ownership of Inter Milan, a storied Italian team, for a reported $340 million.) Each of these ownership groups had the same goal: get the hell out of RFK and into a shiny new stadium. But when and where?

Enter Buzzard Point. In July 2013, Mayor Vince Gray reached preliminary terms with the team to build a $300 million stadium between Half and 2nd streets SW, a few blocks southwest of Nationals Park.

The team had privately considered Buzzard Point’s potential for years; if they were going to stay in the District, it was no surprise they’d end up moving to an undeveloped area close to the ballpark.

Gray’s deal had lots of moving parts. The 20,000 to 25,000-seat stadium, as it was initially proposed, would be built on a site that passes through private land owned by Akridge, Pepco, Washington Kastles owner Mark Ein, and the scrap company Super Salvage. If the District purchased those four

R and Half streets SW properties, it could bundle them with land it already owned, then lease the site to the team for the low, low price of $1 a year. The only problem? The District was perilously close to hitting its debt cap in coming years, which made it difficult to borrow enough money to

purchase property.

That’s when the land swap came into play.

Allen Y. Lew, Gray’s city administrator who led negotiations with United, believed that the District could trade for the Buzzard Point land. Rather than pay for it outright,

Lew would swap city-owned properties to make the deal happen. The city could get the site it needed, avoid the debt cap, and meet the terms of its agreement with D.C. United.

A bevy of locations were floated as potential trade chips: the Reeves Center, the Metropol-

itan Police Department’s headquarters on Indiana Avenue NW, One Judiciary Square, and a Department of Parks and Recreation building on the 1300 block of S Street NW. It was “like moving pieces on a chessboard,” Lew told City Paper in August 2013. Each owner

washingtoncitypaper.com june 26, 2015 15

had different priorities. Each owner wanted something unique.

The negotiations drew on for months. The city missed deadline after deadline until Gray submitted a deal to the Council in May 2014.

It was four months late, and the Council still needed to approve it, but there was finally something on paper.

The new agreement hinged on Lew’s land swaps. Akridge would trade its two acres for the Reeves Center, which it would demolish to construct a $176 million mixed-use building. Pepco would give up some of its property for city-owned land at First and K streets NW, the current site of a school farm, where it would eventually build a new substation. The other pieces on the chessboard, Ein and Super Salvage, had also “brokered an agreement in principle” with the city, according to a statement released at the time by the mayor’s office. “The new soccer stadium will be the connector between developing areas around our baseball stadium and the new Wharf development along our Southwest Waterfront,” Gray said in the statement. “The new soccer stadium is the final catalyst for what is certain to become one of the most vibrant and sustainable sports and retail districts in America.”

And then the deal blew up.

Before Gray even made his announcement, the Council had raised serious questions about the tentative agreement.

Then-Councilmember Bowser had criticized the Reeves swap months earlier, arguing that the city wasn’t going to get fair compensation for the property. “I think we can redevelop there—I’m not saying that we have to keep the Reeves Center there—but I think we have to be paid for what it’s worth,” she told the Washington Post in February 2014. Others had complaints too: Then-Councilmember Jim Graham wanted offices built on the Reeves site; then-Councilmember Tommy Wells demanded affordable housing be a part of Akridge’s development plan. At the Council’s first hearing on the deal, they wanted answers about the cost, purpose, and consequences of trading away such a coveted site. “Why are we taking one of the five most valuable properties the District owns and mixing it into this?” Gra-

Handout photo courtesy of D.C. United

Renderings of the proposed D.C. United stadium

Handout photo courtesy of D.C. United

For Vincent Gray, the logic was simple: A soccer stadium would link Southeast development to the Wharf.

The scrap company Super Salvage at the proposed stadium site ham told City Paper. “I think we should have an auction.”

These concerns led the Council to commission an independent analysis of the deal. That report was supposed to be finished by September 12—smack in the middle of campaign

16 june 26, 2015 washingtoncitypaper.com

season—but Council Chairman Phil Mendelson delayed its release until November 5, the day after polls closed. It’s easy to see why. The report, a 400-page analysis by a group that included ex-City Administrator Robert Bobb, confirmed suspicions about those swaps: Un-

der the terms of Gray’s deal, the city would have overpaid by more than $25 million to get the land. The report also issued stern warnings about other risks. Without better terms, the city would be obligated to acquire land in Buzzard Point before D.C. United had to commit to the project. In other words, the District could spend an estimated $131 million, land swaps and all, but the team could still bail before construction began.

The report made one thing very clear: the Council wouldn’t support the deal as it was.

And without the Council’s approval, the stadium plan would be dead. “It wasn’t going to work. We had to restructure things,” Mark Tuohey, director of the mayor’s Office of Legal Counsel, said. (Bowser tapped Tuohey last November to aid negotiations.)

A few weeks later, the hammer dropped.

Mayor-elect Bowser pledged to “de-link” the Reeves Center from the stadium deal. “I want to be very clear about this,” she said at a meeting of the Federal City Council, “I support building a soccer stadium in the District of Columbia, and I support investing public dollars to get it done.” The rest of the deal would largely remain intact, but Reeves wouldn’t be traded away. Akridge, of course, was far from happy to be on the short end of Bowser’s decision. “I was very disappointed,” company president Matt Klein told City Paper. “That might be the kind way to put it.”

Within a week, the Council pushed new legislation to fund the stadium project sans Reeves. The Council’s plan, which also nixed a $7 million sales tax break for D.C. United, was passed in early December, then finalized in a unanimous vote. To cover its share of the project, the District would borrow $106 million and shift $32 million away from other budgets, including money meant for school modernization.

While the legislation has unanimous support, outgoing-Councilmember David Catania nonetheless offered tough words about it.

“Just so we’re clear, $95 million over the next five years has to cover the following: two new middle schools, all the development associated with Reservation 13, Walter Reed, half of St. Elizabeths, and Metro. We have precious few capital dollars left,” he said, before voting for the deal.

After Bowser was sworn in as mayor, her team began putting together the final pieces of the deal. They hadn’t struck a deal with Akridge, but under the Council-approved spending cap, they had to stick with a $21 million offer that the company would not accept. In January, Mendelson said the two sides were “very far apart.” Four months later, neither side has appeared to budge. If the mayor can’t buy the land, she’ll have to seize it through eminent domain. The city needs to control the Buzzard Point site by September 30. “We’d all like to see a resolution with Akridge,” Tuohey told me. “We’d like to resolve this with them. We both know if we can’t, we’ll use eminent domain, and it’ll be worked out in court.”

As for the deal with D.C. United, a few big turns threw it off course before the final

agreement was signed in June. Bowser’s team, led by Deputy Mayor Brian Kenner, set their sights on an issue highlighted in the Council’s report last summer. They wanted assurances that the team wouldn’t back out after the city purchased land. As the Post reported in June, city officials demanded two things from the team: protections against cost overruns and a $25 million promise that the stadium would be built. “The District wanted to be sure that it was protected against any and all possibilities. That was really what was at issue in these final negotiations,” Tuohey said.

D.C. United balked at the new proposals.

And just like that—surprise!—they began looking at stadium sites in Loudoun county.

“I think D.C. United got somewhat annoyed that the deal appeared to be changing again,” Evans said. He never thought the deal was threatened, though: “You’re going to locate a stadium somewhere near Route 66, near a Metro that doesn’t exist, with no infrastructure in place for a stadium? That sounds like something else they did a while back, doesn’t it? It’s called Fed-Ex Field.”

The club returned to the negotiating table, ultimately striking a deal with the city that offered more protection to both. The team bargained that $25 million guarantee down to $5 million, but also promised to sign a non-relocation agreement. A deadline to complete a feasibility study was pushed up to early September, which means the team has to commit before the city has to acquire land. D.C. United promises to break ground before January 2017, and the stadium must open by September 2018. If the city spends more than $21.2 million on Akridge’s land, the team will help cover half the additional cost, up to $20 million. On the other side, if the city doesn’t own the Buzzard Point site by the end of September, or if it doesn’t hand over the land by September 2016, the team can walk away.

“In some ways, it’s a better deal than what we had before,” says Ed Lazere, executive director of the DC Fiscal Policy Institute. A long-time opponent of excessive public spending on stadiums, Lazere criticized Bowser for waiting to act on issues that were laid out in the report delivered to the Council last year. “[The Council] paid a lot of money to get a really good study. It pointed out many,

“Why do you think nobody knows what the cost [to build Nationals Park] was?... Because nobody cares.”

many ways in which the city was at risk,” he said. “Within a matter of weeks, the Council passed legislation at the mayor-elect’s urging that ignored most of the recommendations.”

Which brings us back to the $286.7 million question: Is this stadium worth it?

Although the District’s costs are capped at $150 million, there’s no guarantee it won’t spend more than that. If the city runs into unexpected trouble as it performs environmental clean-up—a very real possibility in an industrial area like Buzzard Point—and emOne of RFK Stadium’s many parking lots

inent domain proceedings set the fair market value for Akridge’s property much higher than anticipated, that cap could be broken.

(Also, the District will grant $43 million in property tax breaks to the team over the life of the lease, which means the true cost of the project could rise above $200 million.) Ward 6 Councilmember Charles Allen, however, believes that District’s deal to split cost overruns will provide enough coverage. “I think the $20 million represents the worst-case scenario. I don’t know what we’re going to find beyond that,” he said. “And, of course, if it went beyond the $20 million, I’d be very concerned about that. But I really don’t believe that’s going to happen.”

Thanks to Nationals Park, cost overruns can still be a sensitive subject in city politics. The ballpark, which was built by the District, was originally projected to cost $440 million. The actual bill was nearly $700 million, though, partially because of the costs tied to eminent domain. To pay off bonds that financed the project, the city currently relies on four main sources of revenue: a “ballpark fee” levied on large businesses, annual rent from team ownership, a tax on sales inside Nationals Park, and a portion of the utilities tax paid by non-residential taxpayers. (The city also collects $1 from every ticket sale after the first 2.5 million sold each season. The Nationals’ reported attendance broke that mark the last two seasons, and is on track to do so again this year.)

According to the Office of the Chief Financial Officer, the ballpark fee has provided the bulk of that revenue in every fiscal year since 2011. Last year, the fee alone generated nearly $35 million. Team owners pay roughly $5 million a year in rent, a fraction of what the city coughs up every year to pay down its bond debt. The city has collected more than $50 million annually in recent years.

Evans, who is possibly the city’s staunchest advocate of stadiums, dismissed concerns about the cost. “Why do you think nobody knows what the cost was? Do you know why nobody knows? Because nobody cares,” he said. “The fact of the matter is, Nationals stadium has been a wild success. Nobody knows what the cost overrun on the land was. Nobody knows if there was any, and if they do, they probably wouldn’t care either because it’s been such a big success.”

“Success” is a word that’s thrown around a lot when people talk about Nationals Park. It was a massively expensive project, which sparked one of the city’s most acrimonious political battles, and now it’s touted as a triumph. Evans and other stadium backers point to the area’s staggering development. The neighborhood is littered with construction sites. Nine mixed-use or residential parcels, four office buildings, and three parks have been developed in the area since Nationals Park opened.

Of course, the ballpark wasn’t the first big project in Navy Yard. In 2007, the U.S. Department of Transportation moved its headquarters to the neighborhood. A year before

washingtoncitypaper.com june 26, 2015 17

“[T]he baseball stadium didn’t create the plans and the redevelopment of this neighborhood, but it sure as hell lit a match under it.”

stitute paper, while arguing against the ballpark plan. “Careful analysis of past economic experience in cities that built new stadiums and attracted new teams does not bear out those claims.” Does that mean the District’s spending was a mistake? While the economic literature is damning, no after-the-fact study of Nationals Park has been published.

Ward 6’s Allen believes that the stadium could be a “strong catalyst” for the area, so long as there’s a sensible development plan around it. “How do we build in the type of housing we want to create? How do we build in businesses? How do we build in parks and public spaces?” he said. “I think there’s huge potential, but it’s got to be done right.”

that, a Marriott hotel and the Capitol Hill Tower had opened on L Street SE and New Jersey Avenue SE, respectively. Would the area have changed as much without a baseball stadium?

Jacqueline Dupree, a Capitol Hill resident who manages JDLand.com, a tremendously detailed site about Near Southeast, believes that ballpark encouraged those changes. In 2003, more than a year before the city announced its plans for Nationals Park, Dupree began cataloguing photos of the area.

She said she doesn’t have an opinion about the stadium, but she touts an encyclopedic knowledge of the development that took place around it. Nobody has spent more time watching what’s happened. “My feeling has always been that the baseball stadium didn’t create the plans and the redevelopment of this neighborhood, but it sure as hell lit a match under it,” she said.

Why else does this matter? As the city devised ways to pay for the Buzzard Point site, the lingering cost of the ballpark meant a new tax on business was off the table. “When the soccer stadium came up, the business community was very clear they didn’t want another business-imposed tax to pay for it,” Lazere said. This constraint led the city to pursue land swaps, which led the Council to remove Reeves Center from the deal, which led to a financing package that relies on money from other projects in the capital budget. “You don’t get anything for free,” says Brian Flahaven, a Ward 6 Advisory Neighborhood Commissioner who opposed the Buzzard Point deal. “The city chose to put the money toward a new soccer stadium, rather than keeping these [school] modernizations on track.”

Evans, meanwhile, believes the soccer stadium compares favorably to Verizon Center, a hallmark accomplishment of his political career. Abe Pollin built Verizon Center; D.C. United will also build its own stadium. Both are on land owned by the city. And, as Evans sees it, the new deal could ignite development along the Southwest Waterfront. “I believe the soccer stadium will have the same effect,” he said.

Lazere disagrees. “It seems like any rational cost-benefit analysis would say this is not

So, what does this mean for the future of sports in the District? When D.C. United moves to Buzzard Point, the city will still hold a lease for RFK that doesn’t expire until 2036.

Bowser hasn’t been shy about her desire to see the Pigskins back in the District. “There’s only one place for the Washington [Pigskins], and that’s at RFK,” she told WMAL host Larry O’Connor in May. EventsDC, which manages the site, commissioned an as-yet unfinished study last August to study potential uses of the stadium.

At Bowser’s press conference, she said that the “concept” behind the Buzzard Point deal could also apply to a new football stadium.

If the mayor gets her meeting with the Pigskins—and she’s been trying—she’ll almost certainly make a similar pitch. Connect the dots and the framework for an offer comes into view: The city would pay to demolish RFK and clear the land, then Dan Snyder would build a stadium with his own money. “The stadium would have to be built by the team,” said Evans. Tuohey toed the same line, albeit a bit more hypothetically. “I think the expectation would be that the team would build the stadium,” he said.

That’s far from the only proposal for the site, though. A group called Friends of Capitol Riverside Youth Sports Park wants to see some of RFK’s many parking lots turned into space for community sports. Mike Godec, the president of the group, believes the park could also fit into plans for a new football stadium. “Whatever else gets done with the RFK site, our proposal is not only compatible with it, but enhances it,” he said. According to Godec, the Capitol Riverside Youth Sports Park plan has been endorsed by every ANC that borders the area. And for what it’s worth, Allen mentioned the proposal by name when I asked him about RFK’s future. “I would love to see that ocean of asphalt that is out there right now ripped up and turned into green space,” he said.

As for the Pigskins? Allen prefers the park. “It’s something that really helps serve our city a lot more than just eight Sundays out of the year,” he said. “I think we can do some type of sports use on that site, but I’d really rather it be sports use for our city and CP for our residents.”

the best way to spend hundreds of millions of dollars to promote economic development,” he said. An oft-cited 2008 study corroborates his opinion, concluding that publicly financed stadiums “cannot be justified”

18 june 26, 2015 washingtoncitypaper.com

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YOUNG & HUNGRY

The Last Supper

Horror stories of breaking up in D.C. restaurants and bars It was Valentine’s Day at Cashion’s Eat Place about a decade ago, and a guy was preparing to propose to his girlfriend. The evening started smoothly, and the couple was waiting on dessert. Co-owner Justin Abad, a manager at the time, was standing by with his nicest bottle of Champagne.

At last, the guy got down on one knee. By chance, Abad recalls the music was in between playlists, and the place got quiet.

The entire restaurant looked at the couple’s table—in the middle of the dining room—and let out a collective “awww.”

“He’s got this huge smile on his face, and he’s got this beautiful ring presented,” Abad says. “She looks at him and turns completely white, does not say a single word, gets up from the table, and walks out the door.”

The guy remained frozen with a knee on the ground holding the ring out. The collective awww turned into a collective gasp.

Abad left his tray with Champagne and two glasses on a table and picked the man off the ground by the arm. “I said, ‘Sir, why don’t you come to the bar with me,’” Abad recalls. “He had clutched in his right hand this ring—just clutched open in the box, just staring at it. And he was completely taken by surprise.”

Abad told the bartender that whatever the guy wanted to drink was on the house, as was his dinner. The man proceeded to get completely hammered. Then he tried to pawn the ring off as a tip. “He was like, ‘Well, I’m not going to need this, I’m sure of that.’ We were saying, ‘No, no, no, maybe...’ He goes, ‘No, she just texted me. It’s over. It’s done.’”

The man threw the ring on the floor. “We’re like, ‘Oh no, that’s not happening,’ so we grab the ring, put it inside his jacket pocket,” Abad says. They hailed the guy a cab and handed the driver $50, warning him not accept the engagement ring as payment.

“It was the most painful thing I’ve ever witnessed probably in my entire life,” Abad says.

He never saw the poor soul again.

Restaurants are privy to all sorts of relationship milestones: engagements, first dates, anniversaries. Breakups are no exception. While they’re not usually as frequent as other occasions, industry veterans have all seen someone left crying at a table or with a drink in the face. Being prepared for the implosion of human emotion is all part of the job.

“I actually do think it’s worse than being broken up by text message,” says Black Squirrel owner Amy Bowman of restaurant breakups. While alcohol might seem like a good idea to soften the blow, it often only fuels regrettable outbursts.

Illustration by Robert Ullman

By Jessica Sidman

And while a public setting may temper a bad reaction, that’s not a guarantee. If there’s a scene, the walk of shame is unavoidable. “You’ve got to get out of there somehow, and everyone’s looking at you,” she says.

Bowman knows because she was dumped at a fancy French restaurant when she was 19 at Pepperdine University in California.

It happened right in the middle of their entrees. “You couldn’t escape. It’s like a trap,” she says. Making matters worse, they’d shared a ride to dinner. “I just sat there trying not to cry and looking at my food, going ‘I can’t believe this is happening to me.’”

Most restaurant staff takes a hands-off approach to breakups, but sometimes there is the temptation to get more involved.

Just after Slipstream opened last fall, a woman entered the 14th Street NW coffee shop and cocktail spot looking for a table for two. Owner Ryan Fleming offered her a prime spot by the window. “No, no, no, I’ll have that seat in the back corner,” she said, explaining that she was about to break up with someone.

Fleming, a first-time restaurateur, and the host huddled: What was the code here? Should they give the guy a head’s up? “It almost feels wrong letting him just walk into it,” Fleming says. washingtoncitypaper.com june 26, 2015 23

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DCFEED(cont.)

Of course, in the end, they let it go. It wasn’t their place to meddle. “The whole time they were there, everyone was afraid to go over to give them water,” Fleming says. The couple sat there for two hours with just one round of drinks. They left separately.

Fleming has been there, too. The Slipstream owner once broke up with a woman at a barbecue place in New York. Why barbecue? “I don’t think people make a lot of good decisions when they’re doing that. My mind was consumed with the one decision I was making that day.”

Adding an even more bizarre element to the situation: they were sitting next to one of the stars from The Office, although Fleming can’t remember which one since he doesn’t watch a lot of TV. “While we’re in the middle of tears, we’re also starstruck and wondering what this guy is thinking of us.”

Is there a “right” place to break up with someone? In City Paper’s recent Food Issue, I suggested Afterwords Cafe, attached to Kramerbooks. Aside from the aptness of its name, the low-key bar has plenty of cakes to consume as you eat your feelings and books just next door for emotional support. “Also you could lose yourself in a really good novel,” says Events Director Sarah Baline. She says breakups do happen there, although not all that often. “We hope people come in not to break up, but if they do, we’ll be here with a shoulder,” she says.

Capitol Lounge co-owner Jimmy Silk suggests the best place to break up with someone is at one of the eateries at Union Station. He has a few friends who’ve specifically used the transportation hub for that purpose. “There are so many options for escape: trains, Metro, taxis, bikes, car share,” he explains.

Meanwhile, Abad of Cashion’s Eat Place highly recommends not breaking up at a restaurant.

But if you must, do it at the bar, not a table. “It’s transient. There’s more energy there. You’re not locked in and committed to an experience. And frankly, do you want to sit there after you break up and continue dinner?” he says.

That advice, apparently, is not well heeded.

In his experience at Capitol Lounge, Silk says planned breakups happen exclusively at tables.

“I don’t know if this is due to the fact that the person doing the breaking up would rather sit across from the person with sharp objects next to them... or they just want more privacy,” he says.

In the five or six times Silk has witnessed a breakup at a table, no one has eaten anything.

They sit down, order drinks, and get down to business.

And then there are the unplanned breakups.

Capitol Lounge bartender and manager Lucas Lally remembers a quiet Sunday night about three years ago when there was just one guy sitting by himself at the bar. There was no music, so the bartender, Lally’s roommate, walked over to the jukebox. As he was selecting

a song, a girl came flying in, sat next to the guy at the bar, and started laying into him. “Fuck you. You’re an asshole. It’s over,” Lally recalls of the conversation.

Then the bartender’s song started to play— “Istanbul was Constantinople. Now it’s Istanbul not Constantinople”—and the woman picked up the guy’s beer, threw it in his face, and walked out. “The bartender and I just started laughing because the song was timed so perfectly that it happened immediately as everything escalated,” Lally says.

Lally isn’t sure what the guy did to deserve a beer in the face—but they still charged him for it.

Commissary General Manager Heidi Minora hasn’t witnessed such “serious Jersey housewife explosions,” but she has seen a lot of breakups at the Logan Circle restaurant. On average, she estimates there’s usually at least one per week, but she’s seen as many as two to three in a single day.

Most people on the verge of a breakup request a booth tucked away in a corner. “It’s a very intimate table, which works on a lot of different levels, but that’s the breakup spot,” she says. “If it’s going to go down, it’s definitely going down at that table.”

Nine times out of 10, Minora says the breakup happens after entrees but before dessert.

From the restaurant’s perspective, the worst scenario is when the couple gets into the bad news before they’ve even ordered. “You can only go over so many times and ask somebody what they want to order before they’re like, ‘Listen, I haven’t even looked at the menu. My life’s about to change!’”

Most breakups aren’t quick. If there’s one in progress, the staff at Commissary guesses the table probably isn’t going to turn on schedule and rearranges reservations accordingly. For servers, a breakup can mean everything from a big tip (if the guest wants to apologize for an emotional outburst) to nothing at all (sometimes they just want to split fast).

Minora says the worst thing a server can do is ask if everything is OK. “That’s basically like watching The Notebook and crying and somebody being like, ‘Are you alright?’ Of course I’m fine, leave me alone, I’m crying, it’s a sad movie,” Minora says. “You’ve kind of just got to let them do their thing.”

But if the heartbroken heads to the bar and wants to spill his or her heart out, there’s usually a bartender there to commiserate and sometimes comp a drink.

“You can come and drink a glass of water at our bar, and our bartenders will listen to all your problems. I think they’re just like the therapists of the city in a lot of ways,” Minora says.

And, she adds, who knows? “Maybe you’ll CP meet somebody at the bar.”

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

DCFEED

what we ate last week:

New bay chicken thigh, $7, Sally’s Middle Name. Satisfaction level: 4 out of 5 what we’ll eat next week:

Zucchini “carpaccio,” $14, Fig & Olive. Excitement level: 3 out of 5

Grazer

I’ll Have a Smoothie, Hold the Hairball Everyone, freak out: D.C.’s first cat cafe, Crumbs & Whiskers, has officially arrived. Founded by 24-year-old Kanchan Singh, the Georgetown cafe (3211 O St. NW) will house as many as 20 cats—all of which come from the Washington Humane Society and available for adoption.

Here’s a glimpse inside the second floor play area of the feline fantasyland.

—Jessica Sidman

If you don’t leave with a cat, you can leave with cat swag.

Underserved

The best cocktail you’re not ordering What: The Valdez with Goslings Rum, Campari, Velvet Falernum, and lime

705 backers contributed $35,881 on Kickstarter to help outfit the space.

Where: Barrel, 613 Pennsylvania Ave. SE Price: $12 What You Should Be Drinking You’ll have to take your uptight pants off to appreciate the name of Barrel’s summer patio sipper, the Valdez. It evolved from a trifecta of tiki cocktails, including one called Corn ‘n’ Oil (made with falernum and blackstrap rum). “I thought of birds and oil, and immediately the Exxon Valdez came to mind,” Bar Manager Parker Girard says. “It’s tasteless, but that’s okay.” The watermelonhued punch also takes inspiration from a drink called Jungle Bird, which proved Campari could work in a tiki cocktail. “It’s kind of a douchey bartender thing, but it [Campari] really does work here,” Girard says. Campari prevents the drink from being cloyingly sweet from the Velvet Falernum, which is a simple syrup made more interesting with ginger, cloves, and other spices.

Admission is $10 per hour on weekdays and $12 on weekends.

Rules include no flash photography and never wake a sleeping cat.

Humans can play dress-up and blow bubbles while playing with cats.

The Dish: Plankton bucatini Where to Get It: Brine, 2985 District Ave., Suite 120, Fairfax; (703) 280-1000; brinerestaurants.com Price: $13 What It Is: Powdered plankton, coupled with toasted nori, is kneaded into the bucatini dough to give the pasta a deep green color. Clams, guanciale, brown butter, preserved lime, and chili threads complete the dish. Plankton, a superfood, is sold at health

Are you gonnA eAt that?

Floor cushion seating brings people to the same level as the cats.

food stores, but chef John Critchley gets his more pure version online for about $1 per gram. “It gets pretty expensive,” he says. “But we only have to use a few grams per batch, because it’s that powerful.”

What It Tastes Like: While it’s difficult to decipher the flavor of the plankton in the finished dish, Critchley says on its own it tastes like an algae—“not like a pond, but more like an ocean bloom.”

In the pasta, it adds a “natural umami flavor.” The most prominent taste on the plate, however, is the smokiness from

Georgetown Dinette across the street delivers cookies, coffee, tea, smoothies, and milkshakes.

guanciale. It’s countered by the light tang of the preserved lime and a rich seafood broth.

The chili threads add subtle heat.

The Story: Critchley says he first saw plankton used in pasta with sea urchin and seafood broth at Clio in Boston, where he once worked.

The chef later created his own version with razor clams in his previous gig at Bourbon Steak before bringing the dish to Brine, where the plankton ties in well with the restaurant’s oyster focus. Critchley says microbiologists at Woods Hole Oceanographic Institution in Massachusetts use the high-nutrient plankton to help the oyster “seeds” grow quickly. “It’s kind of like chlorophyll but of the sea world,” he says.

—Jessica Sidman

Why You Should be Drinking It The Valdez combines the best parts of both classic cocktails and tiki drinks. “If you look up tiki drinks, they usually have seven or eight ingredients,” Girard says. The concoction, with only four components, captures tiki flavor while staying true to the simplicity of classic cocktails. The result is a tipple that tastes like that time your mom went on a health bender and made grapefruit brûlée for dessert by topping grapefruit halves with brown sugar before baking them. A sip starts sweet and finishes bitter in the best possible way. Guests may be hesitant to order a rum drink in a whiskey bar, but they shouldn’t be. Girard thinks he’s onto something. “Rum is the next progression—the next five years are going to be about opening rum bars. Just look at places like Three Dots and a Dash in Chicago,” he says. Who can argue with always drinking like you’re on vacation?

—Laura Hayes

washingtoncitypaper.com june 26, 2015 25

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The jazz vocalist and D.C. native captures blues, soul, R&B, jazz, and pan-African music with soulstirring lyrics.

HIP-HOP THEATER FESTIVAL DAILY FOOD AND DRINK SPECIALS. 5–6 P.M. NIGHTLY H GRAND FOYER BARS

Live Internet broadcast, video archive, artist information, and more at kennedy-center.org/millennium For more information call: (202) 467-4600 TAKE METRO to the Foggy Bottom/GWU station and ride the free Kennedy Center shuttle departing every 15 minutes until midnight.

6

MON H Beat Sessions: J Dilla

A panel of music producers, DJs, hip-hop artists, and more explores the late producer/artist’s music and influence, as part of the 10th annual D.C. Loves Dilla festivities.

I N T H E T E R R A C E T H E AT E R

8

WED H Spiritrials*

This one-man play with musical accompaniment explores addiction, religion, and the law in a drug rehabilitation program.

NATIONAL SYMPHONY ORCHESTRA SUMMER MUSIC INSTITUTE 7 TUE H Concerto Competition Finalists The finalists perform solos; the winner performs with the SMI Orchestra on July 25 in the Concert Hall.

I N T H E C O N C E RT H A L L

12

SUN H SMI Orchestra

13

MON H Chamber Ensembles

14

TUE H Chamber Ensembles

The orchestra performs Strauss’s Don Juan and Sibelius’s Symphony No. 2.

Participants perform works by Barber, Debussy, Schubert, and Brahms.

Participants perform works by Dvorˇák, Beach, and Arnold.

15

WED H Chamber Ensembles

Participants perform works by J.S. Bach, Ewazen, Schubert, and Mendelssohn.

20

MON H Chamber Ensembles

Participants perform works by Smetana, Maurer, Bliss, and Piazzolla.

I N T H E T E R R A C E T H E AT E R

9

THU H D.C. Loves Dilla*

This concert pays tribute to producer/rapper J Dilla’s music and influence since his untimely passing in 2006.

10 FRI H S&R Foundation Washington Award Alumni Performance Cellist Tim Park and pianist Tanya Gabrielian perform solo pieces by J.S. Bach; dancer Junichi Fukuda performs the modern work Ecolosion.

11

SAT H WNO Opera Institute

ALL PERFORMERS AND PROGRAMS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

17 FRI H International Young Soloists 21 TUE H American Sign Language Storytelling Night 22 WED H Musical Robots

and Cyborgs from Room 100: Georgia Tech’s Robotic Musicians and Musical Cyborgs

Shimon, the robotic marimba player, pushes musical experiences to uncharted domains.

23 THU H Michael Cleveland and Flamekeeper

With his band, four-time IBMA Instrumental Group winners, Cleveland delivers powerful and exciting bluegrass.

24 FRI H Blessing Offor

The singer-songwriter, multi-instrumentalist, and professional speaker has appeared on The Voice and is a past VSA International Young Soloist Award recipient.

25 SAT H National Dance Day: Dance for Everybody

The Kennedy Center and Dizzy Feet Foundation present this 2.5-hour celebration featuring a variety of dance performances and interactive lessons in many dance styles.

27 MON H Ukeleles for Peace 28 TUE H All-American Boys Choir

This professional boys chorus based in Costa Mesa, California, has delighted world audiences for more than 40 years.

29 WED H Creole United

Creole United is a movement and a band that includes Creole artists from all living generations and styles.

Part of the Homegrown: The Music of America concert series, presented by the Library of Congress American Folklife Center.

THU 2 H Tradiciones Carumeñas

31 FRI H Washington

International Piano Festival

The seventh year of this piano festival features solo and group performances.

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

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

26 june 26, 2015 washingtoncitypaper.com

In collaboration with the U. S. Department of State, Bureau of Educational and Cultural Affairs; will be live-streamed in embassies and consulates around the world.

This orchestra seeks social change through performances that bring together Jewish and Arab communities.

Gallery starting at approximately 5:30 p.m., up to two tickets per person.

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

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

Comedians Josh Blue and Shannon DeVido open the celebration with stand-up that breaks down conventional images of disability.

*Free general admission tickets will be distributed in the States

FREE TOURS are given daily by the Friends of the Kennedy Center tour guides. Tour hours: Monday thru Friday, 10 a.m.–5 p.m., and Saturday and Sunday from 10 a.m.–1 p.m. For information, call (202) 416-8340.

There is no free parking for free performances.

Kennedy Center: Josh Blue and Shannon DeVido

26 SUN H Celebration Concert

Become a fan of Millennium Stage on Facebook and check out artist photos, upcoming events, and more!

The Kennedy Center welcomes persons with disabilities.

16 THU H Comedy at the

Participants in this Washington National Opera program collaborate for an evening featuring classical singers.

GET CONNECTED!

PLEASE NOTE:

25/40 CELEBRATION The Kennedy Center and Smithsonian Institution honor the 25th anniversary of the Americans with Disabilities Act (ADA) and 40th anniversary of VSA, the international organization on arts and disability.

For all July listings and details, visit the web site at kennedy-center.org/millennium.

SUN 5 H Akua Allrich

THU 16 H Josh Blue

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CPARTS

There will be no (e)merge art fair this year

(but next year, it’ll be even bigger)

washingtoncitypaper.com/go/emerge

Modern Start

In its second D.C. season, a ballet company nixes the same old song and dance.

By Emily Walz On June 14, the Chamber Dance Project opened its practice room to outside observers for one rehearsal. A pair of dancers took their beginning pose, entwined. Artistic Director Diane Coburn Bruning gave the cue to begin: “And lights up.”

The dancers, Davit Hovhannisyan and Luz San Miguel, both from the Milwaukee Ballet and in their second year of performing with D.C.’s Chamber Dance Project, embodied the intimacy and physicality of the pas de deux with the near-seamlessness of two longtime collaborators. The piece was full of spins and dips, with repetition in the circularity of their movements, controlled until a penultimate moment in the music when the twists and turns began to take on a new quality, tinged with a desperation, an emotional intensity cracking through before the music slowed again and the dancers moved into the last part of the dance.

This is Bruning’s “Journey,” a piece that has particular emotional resonance for her: It’s dedicated to her late father. As the dancers moved, Bruning stepped over to the string quartet playing Samuel Barber’s “Adagio,” telling the players to make the music surge more, to push the volume.

And then they began again, with a new dancer pair: Atlanta’s Jacob Bush and Washington Ballet’s Francesca Dugarte. Bruning’s willingness to let go and allow her work to be performed by many dancers and seen by many audiences without telling them in program notes what they’re supposed to think is an important point in her development as a choreographer.

“I love the duet form,” Bruning says. “For me, ‘Journey’ is interpreted. The important thing is that people feel something from it.

That’s why I brought that back.”

In the longstanding debate of technique versus expression, contemporary ballet has emerged as a fusion of classical ballet and modern dance—a synthesis exemplified by

Chamber Dance, where the ballerinas wear toe shoes and have impeccable technique but move with the fluidity of modern dance, unconstrained by traditional positioning.

The company is a true blend of old and new, but not in the way of most other contemporary ballet companies. In its insistence on some elements of the art that have fallen out of fashion, it’s a throwback: In most dance companies, the days of having a pianist at each rehearsal are gone, replaced by stereo systems. Chamber Dance Project is bucking that trend. “There’s got to be live music, otherwise, is it a performing art? I argue no,” says Bruning. “It doesn’t always have to be a string quartet,” but the collaboration between musicians and dancers is integral to the project. (To her, even the orchestra pit would be too far removed: The Chamber Dance Project’s string quartet, led by violinist Claudia Chudacoff, performs onstage with the dancers.) And Chamber Dance isn’t fully modern-experimental in the vein of Deviated Theatre’s postapocalyptic dance operas. But in a city without its own major modern dance company, where locally-based dance companies with community ties are often eclipsed by the Kennedy Center’s gravitational pull, Bruning’s nascent company fills a gaping hole in D.C.’s performing arts calendar.

The Chamber Dance Project season falls in the summer, when most companies are on break and dancers are left looking for other jobs and struggling to keep up their technique. Chamber Dance, now in its second season in D.C., steps into this gap, giving dancers new projects while gaining access to a group of otherwise unoccupied and extremely talented principal dancers.

This year’s dancers hail from the Atlanta Ballet, the Cincinnati Ballet, the Milwaukee Ballet, and the Washington Ballet. (Those coming from out of town flew in at the end of May.) In a larger company, dancers spend more time offstage between scenes. But the Chamber Dance Project is not just a small

The Chamber Dance Project’s season is the summer, when other companies are off and dancers struggle to maintain their technique. company that offers more onstage time—it’s one with compressed rehearsal time, which means more of the dancers are active in rehearsal at any given moment.

Bruning is the company’s founder; when asked about its sophomore season, she laughs, pausing to consider that phrasing: “But we are not sophomoric.”

The roots of Chamber Dance go back to 2000, when Bruning started the project in New York City. After the company went on hiatus in the wake of the Great Recession,

Bruning came to D.C. in 2010 to choreograph for theater and opera performances. “I was so impressed with the theater, the community, and I thought I’d really like to be a part of this, although in dance,” she says, and she decided to stage Chamber Dance’s reincarnation in D.C. Bruning’s taking a slow and steady tack in her new city, and many of her plans (to expand by one dancer a year, for example, and to do more touring) chart a measured course that illuminates her concern for the company’s long-term solvency.

washingtoncitypaper.com june 26, 2015 27

CPARTS Continued

A dance company needs many spaces: an administrative center, a rehearsal space, a performance venue. Bruning found a multitude of organizations willing to support and partner with Chamber Dance, from Metro Offices (which subsidized administrative space) to BalletNova (where Chamber Dance rehearses) to the Shakespeare Theatre Company (which runs the Lansburgh Theatre, where Chamber Dance is performing this year). “I was taken aback and greatly encouraged by that,” Bruning says. She’s made it her mission to help the D.C. arts scene grow, in part by offering subsidized tickets to family matinee performances.

This year, the company’s repertoire is composed of contemporary works by four living choreographers, in line with Bruning’s vision of her company as a place that promotes current choreographers with powerful voices in addition to dancers and musicians. “I like to say, ‘Go for the jugular,’” she says. “Not [choreographers] who tell people how to feel, but who evoke strong responses.”

The 2015 performances will be split be-

tween two program lineups to be danced in alternating performances. “I think that’s part of being grown up—you don’t just do the same thing every night,” Bruning says. “You have a revolving rep, and I want a big rep... and I want audiences to come back more than once, I want them to come back and see it several times.”

Program A contains the world premiere of “Arranged,” by Bruning; the D.C. premiere of Ann Carlson’s witty “Four Men in Suits”; and a reprise of “Time Has Come,” also by Bruning. Program B replaces those three with Bruning’s “Journey”; her male duet “Exit Wounds,” set to a Philip Glass score; and “Sur,” the tango-ballet cross by Argentinean choreographer Jorge Amarante.

“Wild Swans,” one of the world premieres, will be included in both programs, as will “Duo,” a musical stand-alone from Sergei Prokofiev’s “Sonata for Two Violins.”

The last shared item in both programs is appended with the letters “SI,” standing for “structured improvisation,” a new Chamber Dance experiment.

28 june 26, 2015 washingtoncitypaper.com

Comedy improv may be popular, and movement improv exists in some moderndance circles, but it is not endemic to traditional ballet companies. “This is my harebrained idea,” Bruning says. “It’s not only pulling back the curtain; it’s catapulting us over the cliff, and the dancers and musicians are right with me, and I couldn’t be more excited and proud.” It’s a calculated risk in a form that’s new but not untested, and it wholly depends on the virtuosity and versatility of its performers and their willingness to follow Bruning’s lead.

To ensure that both halves of the collaboration are moving on unfamiliar footing, for each SI performance, Burning chooses a score the musicians have never played before.

At the company’s June 14 rehearsal, Bruning handed the quartet a surprise set of sheet music, and the group began sight-reading a startlingly lovely all-strings version of Coldplay’s “Viva la Vida.”

The dancers began swirling, swooping around each other without touching, waiting for the cue that would signal the switch in their movements to a second set of instructions.

Their unrehearsed and undirected dancing was spellbinding, a set of highly trained and graceful bodies moving nearly at random, clustering together only to break apart again.

The result was a piece that viewers had never seen before, and will never see again. So far, audiences have been enthralled.

“How do you not run into each other? How do you not collide?” one audience member

asked at the rehearsal. “Oh, we did,” Hovhannisyan answered, to laughter. Luis Torres, Chamber Dance’s ballet master, admits that it’s always scary at first. “You always feel, ‘Oh my god, I’m not going to have anything to do, and everyone is watching.’” But then the music begins, and dancers build off the actions and reactions of the others. “The material is endless,” he says.

Chudacoff and Bruning commissioned both the score and the choreography for “Wild Swans.” The music was written by Ecuadorian composer Chia Patino, inspired by a poem by Edna St. Vincent Millay: “Nothing to match the flight of wild birds flying./ Tiresome heart, forever living and dying,/ House without air, I leave you and lock your door.” To pair the score with movement, Chamber Dance Project tapped guest choreographer Darrell Grand Moultrie, who has worked on Broadway and with that bestower of instant cultural cachet, Beyoncé.

On stage near the dancers at rehearsal, Moultrie cued them with snaps and the occasional stage-whispered “Soft!” marking the precise moments when their movements should occur. The six “Wild Swans” dancers end up together at the front of the stage, moving in disparate action in what Moultrie called an inorganic opposition with classical ballet, that giant of the dance world, the overbearing bigger sibling.

“The idea is to not put them in white costumes with feathers on their backs,” he states.

There are other ways to play the swan. CP

CPARTS arTs desk

This D.C.-bred vocalist's cover of "Call Me Maybe" will win over jazz aficionados and three-year-olds alike. washingtoncitypaper.com/go/callmemaybe

One Track Mind

Half Written Story Sonnet Cottage

Standout Track: No. 1, “This Time Around,” a mellow folk ballad from Sonnet Cottage’s sophomore album, set to drop June 27. Driven by the buoyant croons of Northern Virginia sisters Rachel and Torey Russell, Sonnet Cottage’s carefree acoustics are fleshed out with help from pianist/producer Kent Heckaman. For its latest LP, the band beefed up its breezy sound with guitarist Buddy Speir, whose strums, Heckaman says, inject a layer of depth into the band’s relaxed vibe: “[Buddy] brought a more edgy and sometimes dark flavor to many of the songs.”

Musical Motivation: While Heckaman conceived the initial concept and melody for “This Time Around,” the song didn’t come together until the entire band weighed in. “As with all of our music, we usually rewrite as we record, then meditate for a few weeks or even months, rewrite some more, and then add or subtract vocal layers and add final instrumentation,” Heckamen says. “Often, our final mixed versions sound much different than the original.”

If At First You Don’t Succeed: For a band that prefers an organic, low-key approach to crafting tracks, the recording process for “This Time Around” proved to be a bit more than anyone bargained for. “We recorded the guitar parts at Cue [recording studio], the strings in Nashville, and then rerecorded the vocals a number of times until we felt like it was going in the right direction,” Heckaman says. “Then Kent rearranged the instrumentation, so we had to record the vocal parts again... but it was all worth the extra effort.” —Carey Hodges Listen to “This Time Around” at washingtoncitypaper.com/go/thistimearound.

Sonnet Cottage plays Jammin Java on June 28.

It’s one of those predictable calamities—the debt ceiling, the annual spooging of the ginkgo trees, fourth and 10 for the Washington football team. June has come and nearly gone, but there’s no Fort Reno schedule up.

Worse than that, though: Fort Reno only just launched the fundraiser it should’ve announced weeks or months ago. Last year, the National Park Service threw a wrench into one of the District’s favorite outdoor concert series by requiring it to pay for mandatory U.S. Park Police security. Fort Reno’s organizer, Amanda MacKaye, threatened to cancel the concerts before relenting and asking for donations—which punks and families alike tendered happily. This year, the same set is grumbling that MacKaye is dragging her feet. (Read all about it at washingtoncitypaper.com/go/reno.)

So it’s time for MacKaye to pass the hat around—a proud punk tradition—and, for future years, to build security costs into the planning for Fort Reno. It really shouldn’t be this way: In an ideal world, the National Park Service would yield its micromanagerial authority over D.C.’s parks to the D.C. government.

But things could be worse for Fort Reno. Here’s a peek at the darkest endgame, in which Fort Reno hypothetically bows to our capitalist overlords and relinquishes its DIY cred completely by accepting sponsors. —Kriston Capps and Christina Cauterucci

Reagan national aiRpoRt presents:

national HaRboR presents:

the Sea Life, Young Rapids, Shark Week

Stranger in the Alps, Baby Alcatraz, Oddisee, the Caribbean

geoRgetoWn Visitation presents:

CatHoliC UniVeRsity presents:

Priests, Mary Christ, the Sweater Set

tHe DC aboRtion FUnD presents:

Kid Congo Powers, Baby Bry Bry, and the roster of Babe City Records

tHe MetRopolitan poliCe DepaRtMent

tHe CHURCH oF sCientology

Alarms and Controls, Protect-U, Criminal Activity, Jail Solidarity, Wanted Man, Chain & the Gang, Coke Bust

Möbius Strip, Ex Hex, Godisheus

national geogRapHiC

tHe tRUst FoR tHe national Mall

GEMS, Black Clouds, Two Inch Astronaut, Homosuperior

Brutalism, Monument, Soccer Team

presents:

presents:

Puff Pieces, Typefighter, Dot Dash

Teen Mom, Art Sorority for Girls, Glitterlust, DJ Lisa Frank

presents:

tHe WasHington post

presents:

presents:

bang salon presents:

Foul Swoops, Coup Sauvage & the Snips, Golden Looks, Beauty Pill

tHe U.s. bUReaU oF alCoHol, tobaCCo, FiReaRMs anD explosiVes presents: Fugazi washingtoncitypaper.com june 26, 2015 29

FilmShort SubjectS Coke Bust Escobar: Paradise Lost Directed by Andrea Di Stefano Are you Team Peeta or Team Pablo?

Because, oddly, if you’re interested in learning more about Colombian coke kingpin Pablo Escobar, you shouldn’t buy a ticket to Escobar: Paradise Lost.

Sure, Escobar—or more like his power— plays a significant part in what’s ultimately a violent love story, but what’s really lost is the opportunity for Benicio Del Toro to portray the drug czar in something more than a bloodier Dirty Dancing: Havana Nights. (Though, speaking of Havana, Del Toro did take on a meatier role as Cuban revolutionary Che Guevara in 2008’s little-seen, little-edited Che.) Here, Del Toro is part Che, part Wolfman, and occasionally costumed in running shorts as the uncle of Maria (Claudia Traisac), who helps build clinics and other necessities for the poor using family money in the late 1980s.

Maria’s innocence is obvious—not only the beaming smiles she gives to goofy Canadian surfer Nick (The Hunger Games’ Josh Hutcherson), but also from the way she flat-out tells Nick, with an actual shrug, that Uncle Pablo makes his money exporting cocaine. Uncle’s villa is so beeyootiful, his family is so beeyootiful, and she’s so in love! What could go wrong, eh?

Maria’s first misstep: going gaga over a personality-free chump just because he brings her flowers and compliments the glass of water he slyly requests so he can stick around.

And hey, chump: If your new girlfriend and the whole town worship this Escobar guy, whose image—and, of course, henchmen— watches over everyone on a public banner, and you know he’s a coke trafficker, maybe you should think with your other head.

Soon Nick’s engaged and entrusted, and by the time he realizes his safety is not guaranteed, it’s too late to get out. At this point, first-time writer-director Andrea Di Stefano’s film (which got script help from Francesca Marciano) builds some bigscreen-worthy tension, following Nick as he concentrates really hard while simultaneously navigating the mission Escobar gave him and trying to get around it. It’s the night before Escobar is to surrender to police (the film jumps to 1991), and he has a grand plan to protect his assets.

The problem, though—if you haven’t picked up on it—is Hutcherson. For a few scenes, his Hunger Games-honed expressions of panic make him believable as someone who finally realizes he’s in over his head. But not once do you buy Joshy as a dude who can suddenly pick up a gun and yell things like “Don’t be stupid!” as he makes his escape.

Traisac, too, is merely a bewildered beauty, but since Maria is underwritten to the point of disrespect, all the actress can do is smile

smile smile and then freak freak freak.

Del Toro could have chewed the palm trees to help lift Escobar to total camp; actually, though, he’s rather chilling, with a look that can be alternately interpreted as “I’m going to kill you,” “I’m signaling that guy over there to kill you,” or “Don’t worry, it’s cool.” A late-chapter speech, scene, and frozen last shot, however, calls it: You may consider shedding a tear when the pressure’s on and the blood spills, but by the time the credits roll, you’ll be laughing like you just —Tricia Olszewski did a line.

Escobar: Paradise Lost opens Friday at the Angelika Pop-Up and ArcLight Bethesda.

glance like a mawkish depiction of mental illness, a twee domestic fairytale that smooths over the rough edges of its subject. To wit: In an early scene, the father, Cam (Mark Ruffalo), rides a bicycle in a Speedo in the middle of winter. And even when he goes dark, it’s not quite as serious as we expect—he drinks and smokes, but causes no harm to himself or his kids.

But the key to appreciating Infinitely Polar Bear is understanding that it’s not an issue movie; it’s a memoir. Writer-director Maya Forbes based the film on her own upbringing with a bipolar father in Boston. As such, we see the story through the eyes of the children, Amelia and Faith, the latter of whom coins the film’s title (she can’t remember the

ing to indicate that Cam is ready for the responsibility. He goes out drinking and leaves the kids home alone. He waltzes them into a stranger’s home and asks for a tour under the dubious proposition that his great-grandmother was born there. When the kids push him, he reacts like a child himself, screaming, cursing, and throwing things. (In one scene, he drops them off at school after an argument and screams out the window, “Have a nice fucking day!”) Forbes gets the tone just right: The opening scenes are home movies of the family during the good times, before his breakdown, and while the film eventually abandons that formal technique, its impact lasts. Infinitely Polar Bear never feels like

A risky depiction of mental illness rings true.

Peeta’s not a credible criminal.

Family mood Infinitely Polar Bear Directed by Maya Forbes

Infinitely Polar Bear really shouldn’t work.

The story of a manic-depressive father raising two girls in the late 1970s looks at first

30 june 26, 2015 washingtoncitypaper.com

term “bipolar”). After their father’s first mental breakdown, his wife Maggie (a winning Zoe Saldana) realizes the family cannot live on her low salary, so she hatches a plan: She’ll go to New York, get her business degree in a year and a half, and allow Cam, fresh out of a halfway house, to take care of the kids.

It’s a high-stakes situation, as there’s noth-

anything less than the smoothed-over memories we all have of our own childhoods.

Often considered a thinking man’s movie star, Ruffalo gives an electric performance in sync with Forbes’ mission, painting a convincing portrait of a brain on overdrive. Given the film’s rosy tone, Cam spends more screentime than not as a playful eccentric, and Ruffalo appears to be having way more fun than he ever could as the Hulk.

It’s an astonishingly risky approach by both Forbes and Ruffalo that leaves them open to criticism from groups rightly concerned with accurate depictions of mental illness. Still, there’s something brave about taking a dark, painful subject matter and choosing, matterof-factly, to be whimsical instead of morose.

Of course, it helps that it’s authentic: Anyone who’s ever had a relationship with a person suffering from mental illness knows that it’s not all doom and gloom. It can be painful, and it can be joyful, and often both at once. Infinitely Polar Bear gets this right, and it’s enough to make anything it gets wrong seem unimportant.

—Noah Gittell Infinitely Polar Bear opens June 26 at E Street Cinema.

TheaTerCurtain Calls The Good Book

A parade of dudes in cargo shorts and Keen sandals schlepping to the Kennedy Center can only mean one thing: The Book of Mormon is back for another summer run at the Kennedy Center. The 2013 tour stop, you may recall, shut down the Kennedy Center’s website not once, but twice when tickets went on sale in stages. The major difference between the debut run and this reprisal is that seats are easier to come by, although you’ll still have to line up for a $25 standing-room-only ticket, or pay nearly $100 bucks to sit pretty much anywhere but the balcony.

Otherwise, it’s not so much the musical that has changed, but that the tide of success continues for so many cast and creatives associated with the show. The original actors who played missionaries Elder Cunningham and Elder Price when the show opened on Broadway have gone on not to save hundreds of lost souls but to become major stars in film (Josh Gad, ever heard of Frozen?) and TV (Andrew Rannells, some show called Girls).

Even the lead’s replacements seem charmed: Ben Platt, who spent a year sniffling and sputtering as Elder Cunningham, got to star in Pitch Perfect 2 and will also take the lead in the maybe-Broadway bound musical Dear Evan Hansen, which opens at Arena Stage next month.

Mormon’s director and choreographer Casey Nicholaw continues to bemuse audiences with his codpiece fetish and penis joke prowess. He received a Tony nomination this year for Something Rotten!, a Shakespearean spoof that features an ensemble full of closeted gay Puritans instead of Mormons. In fact, seeing the two shows so close together, as I did this spring, and noting their similarities shed a divine light on why Mormon continues to be so popular. Both tackle novel subject matter (for musicals) and tap into nearly universal curiosities (What the fuck do Mormons believe? Who the fuck was Shakespeare anyway?) Both quote musicals from the past, from Wicked to Annie.

Both are ridiculously profane, though Mormon was written by the creators of South Park while Rotten! was penned by a former contemporary Christian songwriter. Go figure.

But perhaps most importantly, they both follow very traditional formulas: really rousing opening numbers. Tap dance breaks with sequins and razzle-dazzle. A song in which the costumes totally jump the shark. A heartfelt buddy comedy. A budding romance. Great comic timing. People will keep coming to Book of Mormon because it gives audiences what they want, plus explains why those guys in

Handout photo by Joan Marcus

The Book of Mormon

By Matt Stone, Trey Parker, and Bobby Lopez Directed by Trey Parker and Casey Nicholaw At the Kennedy Center to Aug. 16

The Broadway favorite is back in D.C., and still worth braving the cargo shorts and sandals crowd to see. black ties and white shirts keep knocking on your door. I mean, ring doorbells, as the ensemble members do in the memorable opening number.

If I had to put money on an actor in the current touring cast whose career is nearing a conversion, I’d go with Candace Quarrels, who stars as the Ugandan ingénue. She’s just a sophomore at Belmont University, but has a sweet voice and naïve sincerity you never doubt. David Larsen, however, plays Elder Price with a tongue-in-cheek grin that becomes slightly grating, while Cody Jamison Strand, as Cunningham, is a charming physical comedian. The energetic ensemble playing the African villagers arguably outshines this particular bunch of clean-cut chorus boys playing the Mormon missionaries.

Production values are still reasonably strong, although lighting designer Brian MacDevitt, a University of Maryland professor who lives in the area, should probably check in to see why some of his cues appear to be off. The fake stained glass rimming the stage continues to blink purple and blue while a statue of the angel Moroni keeps blowing his trumpet at the proscenium’s apex.

The story of Moroni is mockingly recounted in the musical, as is much of Mormon history, with members of the ensemble dressed like museum diorama mannequins. Elder Cunningham embellishes the good book in his attempts to save the natives. “Those Mormon stories are really fucking weird,” remarks an elder in the Ugandan tribe. He’s right. But as long as good theater is about good storytelling, Book of Mormon will keep selling out.

—Rebecca Ritzel

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2700 F St. NW. $25–$250. kennedy-center.org washingtoncitypaper.com june 26, 2015 31

GalleriesSketcheS This ExhibiT Kills FascisTs “Hipster Fascism” At the Fridge to July 12

age to muster the same serendipity in more formal presentations. Even a punk alternative space like the Fridge can’t help but defang street artists’ work. Consumption is the true hipster fascism, or something.

There’s still some fun to be had in “Hipster Fascism,” though. Boyle and Ryan Florig built “Condo Suit,” a practicable men’s suit, from “liberated condo development banners,” per the gallery. “Watch Your Time,” a video by Florig, follows a character (played by local musician Bryan Gerhart of Baby Bry Bry) wearing “Condo Suit” as he goes about his day in the District: picking

Finally, someone’s going to give those snooty bike mechanics what for. The point of “Hipster Fascism,” an art exhibition at the Fridge, must be to tell those pointy vinyl heads and uptight sherry nerds—all the vegan pastry chefs who lived in Ivy City before it was cool—what everybody thinks of them. Or is it the other way around? Might “Hipster Fascism” be an authoritarian assembly, a Svenoniusian rally?

Aux armes, citoyens!— but with a chill dress code and maybe a pirate radio hour?

Drat: “Hipster Fascism” is neither especially hip nor terribly fascist.

It’s a downright populist exhibition, filled with art that expresses the sort of political sentiments that, these days, lead on MSNBC and trend on Twitter.

Organized by Graham Boyle, “Hipster Fascism” is earnest and urgent in addressing police violence, cultural mayhem, and the value of black lives and real estate alike, though not without a few winks of its own.

Gregg Deal contributes several graphic works having to do with the cultural appropriation of Native Americana, but his message is a bit garbled. One painting shows what might be a woman wearing a head- “Condo Suit” by Graham Boyle and Ryan Florig (2015) dress inside an officiallooking seal. Around the oval’s perimeter up a nitro iced coffee, dropping by the bierare the words, “My Privilege Your Culture.” garten, walking a frou-frou dog in a tutu— The spray-painted piece summons to mind doing Condo Suit Man things. Yeesh, that the shameful persistence of the name of the bagpipe soundtrack, though.

And there’s more fun to come: Eames Washington professional football team without saying anything about it per se, or really Armstrong, the D.C. doyen of performance anything at all. This artwork by Deal hews art, and other artists are adding to the show so close to the style of Shepard Fairey that it with live installations. But why “Hipster Fascism”? Maybe some of those performanccould be a piece of appropriation all its own.

GAIA and LMNOPI, two popular street es will address those questions of authority artists, offer up traditional fare: collage and and elitism implied by the title. As it stands, paintings, respectively. Muralist artworks it’s more of a passive activist forum: inviting, —Kriston Capps tend to lose their teeth in a gallery setting; even democratic. works made with the inevitable yet unforeseeable street encounter in mind never man- 516 1/2 8th St. SE. Free. thefridgedc.com 32 june 26, 2015 washingtoncitypaper.com

BooksSpeed ReadS

LeDroit Arc Flying Home: Seven Stories of the Secret City

By David Nicholson Paycock Press, 160 pps.

Shaw before condos, Bloomingdale before group houses—the “secret city” in Flying Home’s subtitle refers to the D.C. of yore, forever a city that’s more than monuments. Think Chocolate City, U Street music halls of yesteryear, and aging Washington Grays ballplayers. Picture tough guys who loiter with little red wagons and steal peaches, men at the barbershop gossiping into the evening. Imagine the Lincoln Theatre in its movie-reel prime. In Flying Home, seven stories anchored around LeDroit Park, referred to as the Street, dip and dive across decades and seasons.

Characters in Flying Home weave through the entire volume; read closely to catch a glimpse of one story’s main character appearing in another, 40 years later. People make sacrifices to adapt to their changing circumstances and choose sides for the sake of being loved.

A young boy, homesick for the Caribbean, yearns to understand his new environment.

A middle-aged man drives with his teenage daughter from their upper Northwest home back to the Street, where he’s from, slipping into his old vernacular from the comfort of

his BMW. In Flying Home, Vienna’s David Nicholson, a former editor of the Washington Post’s Book World, conjures myriad ways a person can be in two places at once while occupying neither.

The Street is a changing climate, and in broad strokes, Nicholson employs shifting attitudes toward race and class to shape his characters’ lives.

Take the evolution of employment: In one early story, a man who’s worked at a shop for 17 years is given three days’ termination notice. A decade or so later, we meet a black woman who does housekeeping work for a white couple in Cleveland Park—she is dignified and autonomous, but she still suffers pinpricks of inequality. Closer to the present, the BMW driver who now lives in upper Northwest encounters a former acquaintance on the Street. “Shee-it,” she says when she recognizes him. “Probably got some white folks working for you.

Now I know you doing good.”

This old friend, she’s not doing good. Opportunities for the Street’s black residents improve over the years, but racial injustices persist, and individual lives splinter into different directions. The characters strive to connect across the divides.

Music also marks the passage of time. We start with James Brown and end with Jimi Hendrix, with shout-outs to hip-hop and sexy nightclub numbers in between. “Music’s always contained secrets that could get you killed,” postulates one stunning passage.

A spiritual can tell you the location of a camp meeting and time of a runaway’s departure; a love ballad could lead you to court the wrong person. The final story in Flying Home, “Saving Jimi Hendrix,” is the most expository—I read it as an essay. Nicholson describes the power of Hendrix as a black artist who “offered the possibility of a way that was neither black nor white but both.” It’s a fitting final piece for a book that inspires hope without sappiness, that captures pain but celebrates love.

Flying Home will be a swift and gratifying read for anyone who takes pride in calling this mystifying city her home. When I finished, I went for a walk up Florida Avenue in Bloomingdale, blocks I’ve walked countless times before. With these brand-new secret stories reflecting back at me from the Street, their character and history broke through anew.

—Natalie Murchison Nicholson will read at Upshur Street Books on June 28. washingtoncitypaper.com june 26, 2015 33

34 june 26, 2015 washingtoncitypaper.com

CITYLIST Music

Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. The Morrison Brothers Band. 8 p.m. $20. 930.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Hamell On Trial. 7:30 p.m. Free. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Walker Lukens. 8:30 p.m. $14–$17. thehamiltondc.com. howard TheaTre 620 T St. NW. (202) 803-2899.

The Damnwells. 7 p.m. $15. thehowardtheatre.com. roCk & roll hoTel 1353 H St. NE. (202) 388-ROCK. Ceremony. 7:45 p.m. $12–$14. rockandrollhoteldc.com. u sTreeT musiC hall 1115 U St. NW. (202) 5881880. The Shadowboxers, The Walking Sticks. 7 p.m. $15. ustreetmusichall.com. wolf Trap TheaTre-in-The-woods 1551 Trap Road, Vienna. (703) 255-1900. Recess Monkey.

10:30 a.m. $10. wolftrap.org.

ElEctRonic eChosTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Deorro, Dirty Audio, Zoo Funktion, Iez. 9 p.m. $30. echostage.com. flash 645 Florida Ave. NW. (202) 827-8791. Axel Boman. 8 p.m. $8. flashdc.com.

Jazz birChmere 3701 Mount Vernon Ave., Alexandria.

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

Twins Jazz 1344 U St. NW. (202) 234-0072. Mark Meadows & Somethin’ Good. 9 p.m. & 11 p.m. $15. twinsjazz.com.

Music . . . . . . . . . . . . . . . . . . . . . . . . .35 Books . . . . . . . . . . . . . . . . . . . . . . . . 4 0 Galleries . . . . . . . . . . . . . . . . . . . . . 4 0 Dance . . . . . . . . . . . . . . . . . . . . . . . 4 2 Theater . . . . . . . . . . . . . . . . . . . . . . 4 2 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .43

SearCh LISTIngS aT waShIngTonCITYpaper.Com

CITY LIGHTS: FRIDAY

NEAR NORTHEAST The best summer songs transport listeners to another time and place, even if they can’t escape the concrete confines of the office for a vacation this weekend. So it’s appropriate that local ambientfolk group Near Northeast will celebrate the release of its first album, full of songs that sound both familiar and otherworldly, during the dog days. Kelly Servick, Austin Blanton, Avy Mallik, and Alex Pio began playing together a year ago; since then, they’ve brought their melodic tunes to April’s Kingman Island Bluegrass Festival and May’s UpRising Fest. Now, for the release of Curios, the group will perform at Trinidad’s newest venue, the Logan Fringe Arts Space, with fellow local artists Andrew Grossman, Takunda Matose, and Lenclair. When the quartet picks up its instruments to play “Delmarva,” a delicate pop song dressed with surf sounds, the crowd will dream of days spent on the shores of Delaware.

Near Northeast performs with Andrew Grosman, Takunda M., and Lenclair at 8 p.m. at the Logan Fringe Arts Space of Capital Fringe, 1358 Florida Ave. NE. $8. (202) 737—Caroline Jones 7230. capitalfringe.org.

saturday

TH 25 THE DRAMATICS FEAT. LJ REYNOLDS S 27

M 29 DARYL DAVIS PRESENTS WITH DANIEL PRICE T 30

THURSDAY JULY 2

LOOSE ENDS

FEATURING JANE EUGENE TWO SHOWS

velveT lounGe 915 U St. NW. (202) 462-3213.

Gravity Lens, My Enemy Complete, ZeroMercury.

9:30 p.m. $8. velvetloungedc.com.

ComeT pinG ponG 5037 Connecticut Ave. NW. (202) 364-0404. Mark Sultan BBQ, The Ar-Kaics, Jacques Le Coque. 10 p.m. $12. cometpingpong.com.

beThesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Daryl Jr. Cline & The Recliners, Julia Nixon. 8 p.m. $20. bethesdabluesjazz.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Kerri Powers. 7:30 p.m. Free. The Golden Road. 9 p.m. $10–$14. gypsysallys.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Pieces of a Dream. 7:30 p.m. $55. birchmere.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Magic Bus. 10:30 p.m. Free. thehamiltondc.com.

ElEctRonic

WoRld blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m. & 10 p.m. $25. bluesalley.com.

Vocal kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. The YMCA Jerusalem Youth Chorus. 6 p.m. Free. kennedy-center.org.

merriweaTher posT pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Fall Out Boy, Wiz Khalifa, Hoodie Allen, DJ Drama. 7 p.m. $40–$75. merriweathermusic.com. roCk & roll hoTel 1353 H St. NE. (202) 388-ROCK. Mission Of Burma. 8 p.m. $15. rockandrollhoteldc.com. u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Sondre Lerche. 7 p.m. $15. ustreetmusichall.com.

VOCAL WORKSHOP SHOWCASE

J U L Y

Rock

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Luke Bryan, Randy Houser, Dustin Lynch. 7 p.m. $30.75–$70.75. livenation.com.

DARYL JR CLINE & THE RECLINERS FEATURING JULIA NIXON

SU 28 THE AVON LUCAS PROJECT

zoo bar 3000 Connecticut Ave. NW. (202) 2324225. Swamp Keepers. 9 p.m. Free. zoobardc.com.

hylTon performinG arTs CenTer 10960 George Mason Circle, Manassas. (703) 993-7759. Rosanne Cash. 8 p.m. $45–$65. hyltoncenter.org.

FRIDAY JUNE 26

THE PLATTERS

BluEs countRy

J U N E

Funk & R&B

Twins Jazz 1344 U St. NW. (202) 234-0072. Mark Meadows & Somethin’ Good. 9 p.m. & 11 p.m. $15. twinsjazz.com.

BluEs zoo bar 3000 Connecticut Ave. NW. (202) 2324225. Bruce Ewan. 9 p.m. Free. zoobardc.com.

TRIBUTE TO LEGENDS OF MOTOWN & SOUL

M5

TRIBUTE TO DONNY HATHAWAY W/ SAMUEL PRATHER, BRANDON COMBS

WEDNESDAY JULY 8

9:30 Club 815 V St. NW. (202) 265-0930. Snakehips.

10 p.m. $20. 930.com.

Jazz

F3

ALAIN NU

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

washingtoncitypaper.com june 26, 2015 35

countRy

countRy

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Luke Bryan, Randy Houser, Dustin Lynch. 7 p.m. $30.75–$70.75. livenation.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brandy Clark. 7:30 p.m. $29.50. birchmere.com.

Folk amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Robin & Linda Williams.

8 p.m. $35–$45. ampbystrathmore.com.

WoRld blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m. & 10 p.m. $25. bluesalley.com.

Vocal kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Chicago Children’s Choir. 6 p.m.

Free. kennedy-center.org.

sunday Rock

WoRld blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Joyce Moreno. 8 p.m. & 10 p.m. $25. bluesalley.com.

Hip-Hop u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Turquoise Jeep, Oxymorons. 7 p.m. $18. ustreetmusichall.com.

Vocal kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Tapiola Chamber Choir. 6 p.m.

Free. kennedy-center.org.

Monday Rock

dC9 1940 9th St. NW. (202) 483-5000. PINS, Beverly.

9 p.m. $10–$12. dcnine.com.

blaCk CaT 1811 14th St. NW. (202) 667-4490. The Adolescents, The Weirdos, History Repeated.

7:30 p.m. $20. blackcatdc.com.

howard TheaTre 620 T St. NW. (202) 803-2899.

F**ked Up, Doom Squad. 8 p.m. $15. thehowardtheatre.com.

dC9 1940 9th St. NW. (202) 483-5000. Torres. 9 p.m. $12. dcnine.com.

Jazz

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Train, The Fray, Matt Nathanson.

7 p.m. $25–$79.50. livenation.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

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

Jazz zoo bar 3000 Connecticut Ave. NW. (202) 2324225. Mike Flaherty’s Dixieland Direct Jazz Band.

7:30 p.m. Free. zoobardc.com.

Vocal kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Australian Children’s Choir, Los Angeles Children’s Chorus. 6 p.m. Free. kennedy-center.org.

CITY LIGHTS: SATURDAY

BUNJI GARLIN Trinidadian artist Bunji Garlin, who since 1998 has been popular in the Caribbean diaspora thanks to his exuberant, rhythmic soca dance music, has built a wider following in recent years. His 2012 single “Differentology” is no formulaic island party track. Sure, it’s about showing off swagger during the annual Carnival parade, but the joyful song’s catchy melody, chanted verses, and distinctive beats sound just as good at home on the couch as they do in a festival celebration. It’s even been featured on an episode of Grey’s Anatomy and blasted in NBA arenas. Garlin’s 2013 track “Carnival Tabanca” further boosted his tunesmith reputation with its wistful melody and lyrics about longing for the masquerade season. Still, Garlin’s music is far from easy listening—he has plenty of cuts that feature his gruff, speedy vocals over minimalist techno-esque pounding.

While those frenetic numbers will get folks moving, it’s the melodic ones that will have them jubilantly singing along and waving their home country’s flags. Bunji Garlin performs at 9:30 p.m. at the Howard Theatre, 620 T St. NW. $30. (202) 8032899. thehowardtheatre.com.

—Steve Kiviat

36 june 26, 2015 washingtoncitypaper.com

washingtoncitypaper.com june 26, 2015 37

---------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 Karen Jonas 25

MASON JENNINGS 27 PIECES OF A DREAM Sam 28 BRANDY CLARK Grow 29 THERIPPINGTONS feat. RUSSFREEMAN Grayson 30 LOS LONELY BOYS Capps July 3 BILAL w/ ANGELAJOHNSON

9

ROBERT EARL KEEN w/Hello Strangers

‘The Bluegrass Sessions’

JASON D. WILLIAMS The & DALE WATSON Lonestars

10

11 9th Annual Mike Seeger Commemorative

OLD TIME BANJO FESTIVAL 12 SOUTHSIDE JOHNNY & The Asbury Jukes 14,15 TOAD THE WET SPROCKET 16-18 THE BACON BROTHERS 19 AMBROSIA 20 JONNY LANG 21 STEELEYE SPAN featuring MADDY PRIOR

PETER WHITE & RICHARD ELLIOTT

23

THEBUMPERJACKSONS &JUNIORLEAGUEBAND 31 PHIL PERRY Aug 1 MARTY STUART

Album Release Show EP Release Show

25

& His Fabulous Superlatives w/Christian Lopez Band

3

JORGE DREXLER

GRAHAM NASH 6 KASEY CHAMBERS 7 KIM WATERS 13 PRESERVATIONHALLJAZZBAND 5

CITY LIGHTS: SUNDAY

CAT ON A HOT TIN ROOF If you think D.C. summers are hot, be glad you’re not part of the Pollitt family. The dysfunctional clan at the heart of Tennessee Williams’ Pulitzer Prize-winning Cat on a Hot Tin Roof come together one sweltering summer night for what devolves into the most awkward birthday party in all of American theater. Dupont Circle’s Keegan Theatre first staged this play in 2001, with co-artistic directors Mark A. Rhea and Susan Marie Rhea playing the troubled Brick and Maggie. Now they’re reviving the classic, this time as codirectors, to launch a new season and christen the stage of the newly renovated Andrew Keegan Theatre. If you’ve only ever seen the movie adaptation starring Elizabeth Taylor and Paul Newman, now’s your chance to see the dude-on-dude romance that was censored from the screenplay. The play, written a year after Brown v. Board of Education, also sends up the Southern racial codes and faux gentility. It’s not just hot—it’s scathing.

The play runs June 27 to July 26 at Keegan Theatre, 1742 Church St. NW. $25–$36. (202) —Anya van Wagtendonk 265-3767. keegantheatre.com.

tuesday Rock

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Los Lonely Boys. 7:30 p.m. $29.50. birchmere.com. blaCk CaT 1811 14th St. NW. (202) 667-4490. San Cisco, the Prettiots. 7:30 p.m. $15. blackcatdc.com. wolf Trap filene CenTer 1551 Trap Road, Vienna.

(703) 255-1900. John Fogerty. 8 p.m. $40. wolftrap.org.

ElEctRonic

Presents

presents

Washington DC Tickets On Sale Now! through Lisner.org or call (202) 994-6800.

SCOTT BRADLEE’S

MEYERHOFF SYMPHONY HALL November 3, 2015, 8:00pm BALTIMORE, MD

Tickets on sale Fri. June 19 at 10am through Ticketmaster.com or call 800-745-3000

38 june 26, 2015 washingtoncitypaper.com

kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. TUTUMA. 6 p.m. Free. kennedy-center.org.

thursday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Powerman 5000, Soil, 3 Years Hollow. 7 p.m. $25. 930.com.

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Def Leppard, Styx, Tesla. 7 p.m. $25–$140. livenation.com.

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

u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Ximena Sarinana, Alex Ferreira. 7 p.m. $15. ustreetmusichall.com.

Jazz

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Andaiye. 8 p.m. & 10 p.m. $20. bluesalley.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Eric Felten Jazz Orchestra. 8 p.m. & 10 p.m. $27.50. bluesalley.com.

THEMILKCARTONKIDS Wednesday

Sept. 10, 8:00 pm

WoRld

Folk

Rock

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Milkweed. 7:30 p.m. Free. gypsysallys.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

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

The hamilTon 600 14th St. NW. (202) 787-1000.

Red Molly. 7:30 p.m. $18–$25. thehamiltondc.com.

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

Darkest Hour, Dead To Fall. 7:30 p.m. $15–$18. blackcatdc.com.

Jazz Twins Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter. 8 p.m. & 10 p.m. $10. twinsjazz.com.

WoRld howard TheaTre 620 T St. NW. (202) 803-2899.

Freshlyground. 8 p.m. $25. thehowardtheatre.com. kennedy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. El Trio de la Estudiantina Municipal de Ayacucho and Tradiciones Carumeñas. 6 p.m.

Free. kennedy-center.org.

washingtoncitypaper.com june 26, 2015 39

Books

roberT beaChy Learn about the development of Berlin as an international destination for the LGBT community long before Christopher Isherwood published his Berlin Stories in Beachy’s new book, Gay Berlin: Birthplace of a Modern Identity. Politics & Prose.

5015 Connecticut Ave. NW. June 27, 6 p.m. Free.

(202) 364-1919. william s. Cohen The author, a former secretary of defense under President Clinton, discusses his novel Collision, which follows a national security adviser as he pursues gunmen and discovers a plot involving an asteroid. Politics & Prose. 5015 Connecticut Ave. NW. July 2, 7 p.m. Free. (202) 364-1919. rebeCCa dinersTein The poet reads from her first novel, The Sunlit Night, about two different individuals who seek solace on a Norwegian archipelago. Busboys and Poets Takoma. 234 Carroll St. NW. June 29, 6:30 p.m. Free. (202) 726-9525.

JessiCa feChTor After suffering from a brain aneurysm, the author is forced to relearn basic life tasks. She documents her recovery through cooking in Stir: My Broken Brain and the Meals that Brought Me Home.

Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. July 1, 6:30 p.m. Free. (202) 387-1400. masha Gessen In The Brothers: The Road to an American Tragedy, journalist Gessen looks into the past actions of Boston Marathon bombers Tamerlan and Dzhokhar Tsarnaev. Busboys and Poets Brookland.

625 Monroe St. NE. June 30, 6:30 p.m. Free.

Jon paperniCk, alan Cheuse, Jessamyn hope The novelists discuss their latest works. Papernick reads from The Book of Stone, a psychological thriller; Cheuse reads from Prayers for the Living, imagined conversations between a grandmother and her companions; and Hope reads from Safekeeping,a story of loss and starting over. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. June 29, 6:30 p.m.

Free. (202) 387-1400.

evan Thomas The author, a former editor at large of Newsweek, tells the story of Richard Nixon’s complicated and ultimately futile presidency in Being Nixon: A Portrait in Light and Shadow. Politics & Prose. 5015 Connecticut Ave. NW. June 26, 7 p.m. Free.

(202) 364-1919. neely TuCker Tucker, a Washington Post reporter, reads from his new novel, Murder, D.C.. Politics & Prose. 5015 Connecticut Ave. NW. July 1, 7 p.m. Free.

(202) 364-1919.

Gayle wald In It’s Been Beautiful: Soul! and Black Power Television, Wald examines Soul!, the first public television program to examine African-American culture and politics, and its impact on future television programming. Politics & Prose. 5015 Connecticut Ave. NW. June 28, 5 p.m. Free. (202) 364-1919.

Galleries

adamson Gallery 1515 14th St. NW, Suite 202.

(202) 232-0707. adamsongallery.jimdo.com. Closing: “Gordon Parks: A Segregation Story.” Photographs chronicling racial segregation throughout America by the late Life magazine photographer Gordon Parks.

April 11–June 27. arlinGTon arTs CenTer 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org. Closing: “2015 Spring SOLOS.” Former AAC curators Andrea Pollan and Jeffry Cudlin judge this annual exhibition of work by emerging artists. Featured participants include Bradley Chriss, Nichola Kinch, Kate Kretz, Ariana Lamb, Nate Larson, Dan Perkins, and Paul Shortt.

April 18–June 27. arTisphere 1101 Wilson Blvd., Arlington. (703) 875-1100. artisphere.com. ongoing: “Bruised.” Local animator Safwat Saleem and WAMU’s Rebecca Sheir curate this new participatory art project that invites visitors to share their stories of defeat. Saleem will then animate the stories and display them on screens throughout the building. April 15–July 31.

CITY LIGHTS: MONDAY

“BOLD AND BEAUTIFUL: RINPA IN JAPANESE ART” The 1500s were a time of ruinous wars in Japan. The 1600s? A time of artistic renewal. In Kyoto, two merchants began to work in a style that recalled Japan’s earlier Heian period, using bold colors and glittering gold and silver pigments in a modernized twist to produce decorated scrolls, textiles, lacquerware, and ceramics. The painter Tawaraya Sōtatsu and his atelier created landscapes using techniques like tarashikomi (“dropping in”), putting paint to still-wet surfaces to create ripples and pools. Hon’ami Kōetsu, a master calligrapher, would pen his characters over Sōtatsu’s painting in a pairing now held up as one of the most important artistic collaborations in Japanese history. Later artists would study their work, continuing the style that became known as Rinpa, which crossed the world and influenced French artists like Gauguin and Van Gogh. Thirty-seven objects created by the original masters and their later disciples are now on display at the Freer Gallery. Come October, the Sackler hosts its own Sōtatsu exhibit, the first major retrospective on the artist in the Western Hemisphere, so start studying your glossary of Japanese art terms now.

The exhibition is on view daily 10 a.m. to 5:30 p.m., to Jan. 3, at the Freer Gallery of Art, —Emily Walz Jefferson Drive and 12th Street SW. Free. (202) 633-4880. asia.si.edu.

40 june 26, 2015 washingtoncitypaper.com

UPTOWN BLUES

WELCOME INTERNS SPECIAL Mondays - Burger + Beer $10 Fri. June 26 Swamp KeeperS Band red Sat. June 27 Bruce ewan thhearmonica King

Sun. June 28 miKe Flaherty’S dixieland Sat. July 4 Fourth oF July!

Fri. July 10 SooKey Jump BlueS Band

HAPPY HOUR M-F • 4-8 1/2 Priced aPPetizers 3000 Connecticut Avenue, NW (across from the National Zoo)

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WITH PARACHUTE

THEHAMILTONDC.COM washingtoncitypaper.com june 26, 2015 41

CITY LIGHTS: TUESDAY

DC’s Legendary Jazz Club

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

Braxton Cook meets

Heidi Martin

Butcher Brown

Wednesday Jun 10th

(vocals)

Russell Gunn Fri & Sat

Ayanna Gregory Sunday

MASHA GESSEN

Jun 5th & 6th

Jun 7th

Bohemian Caverns Artist in Residency

Gretchen Parlato Thur & Fri Jun 11th & 12th

Lionel Loueke

Nicholas Payton Tuesdays Sat & Sun Jun 13th & 14th

Christie Dashiell

AFRO Horn

The Greater U St. l Ju Jazz Collective

Bohemian Caverns Jazz Orchestra wspg

n Ju

Sun 6/14

Matinee Performance

presented in conjunction w/ Transparent Productions

Oliver Lake Mon Jun 15th

Bohemian Caverns Jazz Orchestra Christie Dashiell Mondays @ 8pm "This group is something special." ~ Mike West (CityPaper)

Tues Jun 15th

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!

W O N Y L P AP ARTS & CRAFTS FAIR

Journalist Masha Gessen has chronicled the lives of members of the revolutionary Russian punk band Pussy Riot, taken on Vladimir Putin’s oppressive policies, and explored her own genetic mutations in order to explain how the human genome works.

As a gay Russian expat, Gessen is able to report on these topics with a certain amount of familiarity, and her latest volume is no different. In The Brothers: The Road to an American Tragedy, she uses her own childhood experience as a Russian immigrant to the Boston area to tell the story of the Tsarnaev brothers and how they came to set off bombs at the Boston Marathon. As Gessen explores the family’s vastly different experiences in central Asia and Massachusetts, she builds a slightly more nuanced narrative and explains why two siblings could develop such anti-American sentiments in a short amount of time. When Gessen discusses her work with readers at Busboys and Poets, she’ll integrate her personal experiences into stories of her journalistic endeavors. Masha Gessen reads at 6:30 p.m. at Busboys and Poets Brookland, —Caroline Jones 625 Monroe St. NE. Free. (202) 636-7230. busboysandpoets.com.

aThenaeum 201 Prince St., Alexandria. (703) 5480035. nvfaa.org. ongoing: “Saturate.” Six artists respond to the theme of water through painting, printmaking, glass, and sound works in this new group show. June 4–July 19. brenTwood arTs exChanGe 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks. com. ongoing: “At War With Ourselves—A Visual Art Response.” Members of the Black Artists of DC respond to poet Nikky Finney’s rumination on race and contribute to the national conversation on the black experience in America through visual art.

May 25–July 18. ongoing: “Kristi Kelly.” New glasswork and bead decorations from the local artist.

May 2–July 4.

Cross maCkenzie Gallery 2026 R St. NW. (202) 333-7970. crossmackenzie.com. Closing: “New Talent.” Emerging artists, including abstract painter, display work at this group show. June 5–June 28. flashpoinT Gallery 916 G St. NW. (202) 3151305. culturaldc.org. ongoing: “Meandering Cities.”

Artist Rachel Schmidt creates this mixed-media sculptural installation inspired by the idea of urban wilderness. June 5–July 3. foundry Gallery 1314 18th St. NW. (202) 463– 0203. foundrygallery.org. Closing: “Patsy Fleming.”

New paintings by abstract artist and Foundry Gallery member Fleming. June 3–June 28.

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GoeThe-insTiTuT washinGTon 812 7th St. NW. (202) 289-1200. www.goethe.de/washington. ongoing: “Take It Right Back.” Sculptural works inspired by plants and other natural materials by German artist Paula Doepfner. May 5–July 3.

GreaTer resTon arTs CenTer 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org. ongoing: “Installation.” Sculptor Patrick Dougherty installs a new piece in Reston’s Town Square Park and the Arts Center showcases images of his other large-scale works around the world. April 16–July 3. ongoing: “Patterson Clark.” The Washington Post’s “Urban Jungle” columnist presents a series of works printed on wood carved from invasive tree species.

April 16–July 3. hemphill fine arTs 1515 14th St. NW. (202) 2345601. hemphillfinearts.com. ongoing: “William Christenberry.” Images of rural Alabama by the American photographer. June 10–Aug. 1. hillyer arT spaCe 9 Hillyer Court NW. (202) 3380680. artsandartists.org. Closing: “Evan Reed.” New

42 june 26, 2015 washingtoncitypaper.com

sculptures by artist and Georgetown University professor Reed. June 5–June 27. Closing: “Dane Winkler.” Paintings and sculptures by Adelphi-based artist Winkler. June 5–June 27. Closing: “Hsin-Hsi.” New pencil drawings by artist Hsin-Hsi Chen.

June 5–June 27. honfleur Gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Closing: “Under Pressure.” Paintings that explore themes of chaos and world politics by local resident and artist Rush Baker. May 8–June 26. old prinT Gallery 1220 31st St. NW. (202) 9651818. oldprintgallery.com. ongoing: “Resonant Terrain.” Photographs and prints of landscapes and seascapes from the 20th and 21st centuries.

April 17–July 11. vivid soluTions Gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Closing: “3 Millimeters.” Local photojournalist Greg Kahn chronicles the impact of rising sea levels on the residents of Maryland’s Eastern Shore, many of whom work as watermen. May 8–June 26. zeniTh Gallery 1429 Iris St. NW. (202) 783-2963. zenithgallery.com. ongoing: “Lucent Moments.”

Photorealistic skyscapes and brightly colored works by artist Emily Piccirillo. May 29–July 4.

dance

Chamber danCe proJeCT The contemporary dance company incorporates ballet into its athletic compositions; in D.C., they perform two repertory programs set to music by Sergei Prokofiev, Chia Patino, and Phillip Glass. Lansburgh Theatre. 450 7th St. NW. June 26, 8 p.m.; June 27, 2 p.m.; June 27, 8 p.m.; June 28, 2 p.m.; June 28, 7:30 p.m. $18-$70. (202) 547-1122. shakespearetheatre.org. marinera viva!!! Discover the national dance of Peru at this showcase presented as part of the Smithsonian Folklife Festival. Kennedy Center Millennium Stage. 2700 F St. NW. June 30, 6 p.m. Free. (202) 4674600. kennedy-center.org.

theater

The book of mormon The Broadway musical about two missionaries and their misadventures in Africa arrives at the Kennedy Center for an extended summer stay. Kennedy Center Opera House. 2700

F St. NW. To August 16. $43-$250. 202-467-4600. kennedy-center.org.

CabareT Wesley Taylor stars as the Emcee in this classic musical set at a Berlin nightclub during the Nazis rise to power. An American journalist and a nightclub singer begin a tumultuous affair but the political changes forces an end to their carefree way of life. Signature Theatre. 4200 Campbell Ave., Arlington. To June 28. $29-$95. (703) 820-9771. signature-theatre.org.

CaT on a hoT Tin roof The company celebrates its return to the renovated Church Street Theatre with a new production of the Tennessee Williams classic about the family living on the Mississippi Delta plantation of cotton tycoon Big Daddy Pollitt. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To July 25. $25-$36. (703) 892-0202. keegantheatre.com. impossible! a happensTanCe CirCus The lively players from Happenstance Theatre travel back to the1930s and 1940s in this inventive circus performance that incorporates acrobatics and acts of wonder. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To July 12. $20. (240) 644-1100. roundhousetheatre.org. las polaCas: The Jewish Girls of buenos aires This somber new musical tells the story of thousands Polish-Jewish women who were lured into prostitution by a slave trading organization in early 1900s Argentina from the perspective of Rachela, a young woman whose dreams disappear under these horrific circumstances. GALA Hispanic Theatre. 3333 14th St. NW. To June 28. $20-$50. (202) 234-7174. galatheatre.org.

The madwoman of ChailloT WSC Avant Bard presents a new translation of Jean Giraudoux’s play about four women who come together with a group of street friends to overthrow radical capitalists.

Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington. To June 28. $10-$35. (703) 418-4808. wscavantbard.org. oCCupied TerriTories Mollye Maxner’s play draws inspiration from Euripides’ The Trojan Women and examines how the history of war impacts our bodies, spirits, and relationships with each other. Anacostia Playhouse. 2020 Shannon Place SE. To July 5. $20-$35.

(202) 544-0703. anacostiaplayhouse.com.

Tales of The allerGisT’s wife An Upper West Side professional luncher finds herself in the midst of a midlife crisis when she unexpectedly reunites with a mysterious childhood friend. Charles Busch’s lively comedy explores what happens when her happy, obligation-free life is upset and how her family responds.

Theater J. 1529 16th St. NW. To July 5. $30-$65. (202) 518-9400. theaterj.org.

TarTuffe Moliere’s indictment of religion and its associated hypocrisy comes to Sidney Harman Hall in a co-production with Berkeley Repertory Theatre and South Coast Repertory Theatre. Sidney Harman Hall.

610 F St. NW. To July 5. $20-$110. (202) 547-1122. shakespearetheatre.org.

FilM

apu TriloGy Satyajit Ray directs these n The three films about a young Bengali boy named Apu and his subsequent coming of age. Based on

CITY LIGHTS: WEDNESDAY

DARKEST HOUR Two decades ago, Darkest Hour was just a band from my high school, and, like most high school bands, not particularly good. The group that eventually became D.C.’s kings of metal evolved from a series of sludgy bands with names like WD-40 and Indivision, and started out releasing plodding, down-tuned dirges on labels with names like Death Truck Records. At some point, though, guitar wiz Mike Schleibaum started listening to a lot of At the Gates and In Flames, and the band took a sharp turn toward Swedish death metal, a subgenre that was more complex, more melodic, and a hell of a lot more fun. Darkest Hour went on to release a bunch of terrific albums and enter the running for D.C.’s hardest working band by repping the District—the group wrote a fight song for the Capitals—and embarking on frequent tours. The album that heralded Darkest Hour’s arrival as a truly great band, 2000’s The Mark of the Judas, disappeared with its label, M.I.A., which folded soon after releasing it.

Fortunately, it’s just been re-released in time for the band’s 20th anniversary show.

You’ve come a long way, guys, and we’re proud of you. Darkest Hour performs with Dead to Fall and Loud Boyz at 7:30 p.m. at the Black Cat, 1811 14th St. NW. $15–$18.

—Mike Paarlberg (202) 667-4490. blackcatdc.com.

washingtoncitypaper.com june 26, 2015 43

the novels by Bibhutibhushan Bandopadhyay, the films are recognized as some of the finest films to come out of India. (See washingtoncitypaper.com for venue information) dope High school friends and bandmates bond over their love of ‘90s hip-hop. After getting wrapped up with a drug dealer and accidentally picking up his stash, they must outsmart the thugs sent out to get them. (See washingtoncitypaper.com for venue information) eden Learn about the origins of electronic dance music in this French drama directed by Mia Hansen-Løve. (See washingtoncitypaper.com for venue information)

n

esCobar: paradise losT Benicio del Toro stars as the notorious Colombian drug kingpin in this drama about a young man who is drawn into the family business when he starts dating Escobar’s niece.

(See washingtoncitypaper.com for venue information)

n

infiniTely polar bear A father struggling n with bipolar disorder tries to win back the affection of his estranged wife and daughters in this family drama written and directed by Maya Ford. Starring Mark Ruffalo and Zoe Saldana. (See washingtoncitypaper.com for venue information) inside ouT Amy Poehler and Mindy Kaling give voices to the feelings of joy and disgust in this animated movie about a young girl who moves from the Midwest to San Francisco and handles the situation with some help from her emotions. (See washingtoncitypaper.com for venue information)

liTTle Chaos A French garden designer is n arecruited to create a garden for Louis XVI’s Versailles and finds that her life evolves as she falls in love with another landscaper. Alan Rickman directs this drama starring Kate Winslet and Stanley Tucci. (See washingtoncitypaper.com for venue information) max When a soldier is killed in action, his family n must figure out how to cope with the loss and the additional responsibility of taking care of the dog he worked with while deployed. (See washingtoncitypaper.com for venue information) overniGhT A couple, played by Adam n The Scott and Taylor Schilling, moves to Los Angeles and befriends another couple they meet at the park.

When they agree to meet for dinner with their children, the night quickly devolves in ways both weird and wild. Patrick Brice directs this comedy also starring Jason Schwartzman. (See washingtoncitypaper.com for venue information) Ted 2 Mark Wahlberg and Seth MacFarlane n reunite in this sequel to the 2012 comedy about a man and his teddy bear best friend. In this film, Ted must prove that he is human in order to retain custody of his unborn baby. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones.

CITY LIGHTS: THURSDAY

“PRIMORDIAL LANDSCAPES: ICELAND REVEALED”

Black sand beaches, lush natural pools against mountainous backdrops, and the midnight sun: Iceland is a land like no other. In order to understand how this volcanic, otherworldly island has remained mostly untouched, it’s best to see the nation up close, and capturing Iceland’s breathtaking but alien landscape is a task for an artist who understands nature on an holistic level. Naturalist and photographer Feo Pitcairn’s “Primordial Landscapes,” the latest photography exhibition at the National Museum of Natural History, takes viewers on a spellbinding trip to a paradise of ice, water, and green hills.

Pitcairn has been behind some of the photography world’s most beautiful landscape exhibitions; in addition to images of Iceland, his portfolio includes stunning takes on Antarctica, Costa Rica, and Botswana. His new photos reveal how Iceland’s melting glacier peaks, geysers, and cliffs can impact the lives of the rest of us. The exhibition is on view daily 10 a.m. to 5:30 p.m. at the National Museum of Natural History, 1000 Constitution —Jordan-Marie Smith Ave. NW. Free. (202) 633-1000. mnh.si.edu.

44 june 26, 2015 washingtoncitypaper.com

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Adult Employment

Contents:

Adult..............................................46 Community...................................47 Employment.................................46 Health/Mind, Body & Spirit ...............................47 Housing/Rentals.........................46 Legals Notices ............................46 Music/Music Row ......................47 Real Estate...................................46 Services ........................................47

Diversions

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NORTH CAROLINA IN THE GENERAL COURT OF JUSTICE DISTRICT COURT DIVISION DUPLIN COLTNTY FILE NO: 15 CVD 163 MONICA FAISON EVANS Plaintiff vs.

IRA WAYNE EVANS Defendant.

NOTICE OF SERVICE OF PROCESS BY PUBLICATION TO: IRA WAYNE EVANS, the above named defendant.

TAKE NOTICE that a pleading seeking relief against you has been filed in the above entitled action. The nature of the relief being sought is an Absolute Divorce.

You are required to make defense to such pleading not later than July 21, 2015, said date being 40 days from the first publication of this notice, or from the date complaint is required to be filed, whichever is later, and upon your failure to do so the party seeking service against you will apply to the court for the relief sought.

This is the 9th day of June, 2015.

S. Reginald Kenan Attorney for Plaintiff 106 West Hill Street Post Offi ce Box 472 Warsaw, N.C. 28398 NC State Bar: 9300 Telephone: 910-293-7801 Facsimile: 910-293-7431

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Legals AT&T Mobility Services, LLC (AT&T) proposes to upgrade an existing telecommunications facility located at 3720 Farragut Ave in Kensington, Montgomery County, MD (Project 31016).

In accordance with the National Historic Preservation Act of 1966 and the 2005 Nationwide Programmatic Agreement, AT&T is hereby notifying the public of the proposed undertaking and soliciting comments on Historic Properties which may be affected by the proposed undertaking. If you would like to provide specifi c information regarding potential effects that the proposed undertaking might have to properties that are listed on or eligible for listing in the National Register of Historic Places and located within 1/2 mile of the site, please submit the comments (with project number) to: RAMAKER, Contractor for AT&T, 1120 Dallas St, Sauk City, WI 53583 or via e-mail to history@ramaker.com within 30 days of this notice.

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Computer/Technical Sr. Computer Programmer (Network Security) (National Placement out of Fairfax County, VA) Candidate will create modify & test code, forms & script that allow comp apps to run. Will work w/specifications created by dvlps. Will assist dvlp by analyzing user needs & designing sw solu. Will dvlp & write comp programs to store locate & retrieve specific docs, data & info. Must have minim of MS Degree in Comps, Eng’g or IT. Although candidate does not req exp they must have college coursework or internship in Programming; & Compr Architecture. In addition, must have coursework or internship in Comp Networks; & Network Security. Any suitable combo of educ, training or exp is acceptable. Able to travel/relocate to unanticipated client sites as http://www.washingtoncineeded. 9-5, 40 hrs/wk. Salary typaper.com/ $82,971Yr. Ref# SCN–0115 SC Resume to Software Catalysts, LLC 131 Elden Street, Suite 302, Herndon, VA 20170. Software Catalysts is EOE M/F/V/D.

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

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