Washington City Paper (February 12, 2016)

Washington

CITYPAPER

Folio line

food: trucking through

winter25

politics: d.c.’s Ag

prepAresfor 2016

7Free Volume 36, no. 7 WashingtonCityPaPer.Com February 12–18, 2016

Renwick Gallery Curator-in-Charge Nicholas R. Bell discusses the success of the museum’s “Wonder” exhibition. 16 By ElEna Goukassian / photoGraphs By darrow montGomEryRenwick Gallery Curator-in-Charge Nicholas R. Bell discusses the success of the museum’s

“Wonder” exhibition. 16 By ElENa GoukassiaN photos By daRRoW moNtGomERy’Gram Slam2016 spRiNG aRts Guide iNside

2 february 12, 2016 washingtoncitypaper.com

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washingtoncitypaper.com february 12, 2016 3

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INSIDE16 ’Gram slamHow the Renwick Gallery’s “Wonder” won Instagram

By Elena Goukassian

Photos by Darrow Montgomery

4 ChatterDistriCt line 7 Loose Lips: Karl Racine

seeks to stay in control 9 Pet Block: Is it legal to effectively

ban pets in public housing?10 City Desk: Permits, mapped11 Gear Prudence12 Unobstructed View14 Savage Love15 Straight Dope21 Buy D.C.

D.C. FeeD 23 Keep on Truckin’: How food

trucks survive the winter 25 Grazer: Restaurant Additions25 Underserved: Provision No. 14’s

Redenbacher Old Fashioned25 The ’Wiching Hour:

Pennsylvania 6’s Strip Steak Sandwich

arts27 Theater: Klimek on Sweat,

Paarlberg on Señorita y Madame: The Secret War of Elizabeth Arden and Helena Rubinstein

29 Short Subjects: Zilberman on Deadpool

30 Galleries: Capps on “Maggie Michael: A Phrase Hung in Midair as if Frozen”

32 Speed Reads: Villacorta on Get a Grip

33 Disco: Galil on Magrudergrind’s II

City list35 City Lights35 Music39 Theater41 Film

42 ClassiFieDsDiversions43 Crossword

“There is no secreT room aT The office of The aTTorney General or in my residence where we are ploTTinG ouT whaT’s GoinG To happen in 2016.”—paGe 7


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CHATTERState of the WardsReadeR lol can’t wait to kick Yvette Alexan-der off the D.C. Council, not for the councilmember’s poli-cy stances but for her alleged dietary choices: “Bye Yvette....and take your potato chip eating self off the dias. LaRuby make way for a real man because Trayon is coming” Chips, away! But what about Brandon Todd, whom LL predict-ed in his story “Ward War III” will “cruise to reelection in the mayor’s old seat”? Readers weren’t having it. Marvin E. Adams wrote, “I find it incredulous beyond comprehension one would conclude Council member Todd’s campaign for reelection will be a cake walk. Let me state, with emphasis, there is only one way Todd get’s reelected: There is a replay of last year’s special election, with respect to the number of candidates... I’m hoping Ward 4 will not be hoodwinked and bamboozled this time around.” sick-of-green-in-W4 griped in reply, “I certainly hope you are correct. I have never voted for Bowser, did not vote for Todd and will not vote for either of them in the future.” And Green Team exhaustion has of-ficially set in. But Arf pointed out it’s probably an inevitable win. “Why do you believe someone better than Todd is go-ing to come out of the woodwork? ... I haven’t seen anybody better materialize, despite all the degrees and political ex-perience we know live in Ward 4. He’s willing to work hard for it, so let the kid try.” None other than Will Sommer, LL himself, waded in, backing up Arf: “Everyone doubting that Todd is cruising to re-election: show me the candidates who can beat him. Right now, they aren’t there, and petitions are due next month.” The good news is we’ll all have something to quarrel over for some time if (when?) he wins reelection. —Emily Q. Hazzard

Department of Corrections: Due to a reporting error, last week’s theater feature, “The Next Stage,” originally stated that Flying V partnered with the Hillyer Museum and Theater J. The company, in fact, partnered with the Hillwood Museum and The Rockville JCC.

Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to [email protected].

In which readers white-knuckle their pearls over Brandon Todd

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LOCAL ADvERTiSiNg: (202) 332-2100 FAx: (202) 618-3959, [email protected]

vOL. 36, NO. 7, FEB. 12–FEB. 18, 2016 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.

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© 2016 All rIgHTs rEsErVEd. no pArT of THIs puBlIcATIon mAy BE rEproducEd wITHouT THE wrITTEn pErmIssIon of THE EdITor.


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Dear Readers of Washington City Paper: We care what you think. Really, we do. We ask you again for your favorite haunts, your favorite bartender, your favorite vegetarian joint, your fa-vorite bike shop, and, of course, best local band. Let’s celebrate D.C. Let’s define what we love most about living here. Let’s Vote.


7

DISTRICTLINELoose Lips

Independent Counsel Attorney General Karl Racine survived 2015. Here comes 2016. By Will Sommer

In 2015, newly elected District Attorney General Karl Racine man-aged to hang on to much of his of-fice’s power in its first year as an elected position.

“I think we had a spectacular year,” Racine says.

Now that 2016 is here, Racine has another challenge: doing it again. In his second year in office, Racine hopes to hold off any attempts by Mayor Muriel Bowser to chisel away at his office’s re-sponsibilities—and maybe get a bigger budget in the meantime.

Racine won the District’s first elect-ed attorney general term in November 2014, after months of wrangling be-tween the D.C. Council, the D.C. Board of Elections, and attorney general hope-ful Paul Zukerberg over whether the referendum-mandated election would actually happen.

Hefty political contributions and loans from his personal fortune vault-ed Racine into office, though he’s still fundraising to pay back the loans. En-dorsements from Washington establish-ment types ranging from the Washing-ton Post editorial board to Bill Clinton didn’t hurt.

After taking office in January, Racine found the position slipping away from him almost immediately. New Mayor Muriel Bowser, who had voted in favor of delaying the attorney general elec-tion while she was still on the Council, moved in April to take approval for city development deals and other projects out of OAG and into her own legal staff.

“Demonstrating my complete naivete, I was surprised that the job would so rapidly become political,” Racine says.

Racine, fearing that his entire office would

be subordinated to Bowser, managed to fend off the mayoral maneuver. He got help from simpatico councilmembers like Ward 5 Coun-cilmember (and prominent Bowser antago-nist) Kenyan McDuffie.

“It became absolutely important for us to understand how politics is played in the Dis-trict of Columbia,” Racine says.

Racine has succeeded in keeping his of-fice’s responsibilities out of the mayor’s of-fice for now, ensuring that he can keep op-posing Bowser. In November, he blasted the campaign finance loophole that allowed Bowser supporters to take unlimited con-tributions through now-closed political ac-tion committee FreshPAC. (Racine says he’s

working on legislation with new restrictions on political contributions.)

Racine sued the owners of a decaying Con-gress Heights property that has ties to two prominent Bowser supporters in Ward 8, something Racine says he isn’t sure he would have been able to do if his office had been more closely tied to the mayor’s. And Racine’s OAG

Karl Racine wants to keep his office independent from the mayor’s.

Dar

row

Mo

ntg

om

ery

In the latest round of ChurCh v. Bike Lane,the discourse was more civil, but the outcome is still unclear. washingtoncitypaper.com/go/bikelane


8

DLalso opposed a portion of Bowser’s marquee crime bill that would have allowed police to search the homes of violent offenders who are on supervised release.

“We would, I’m sure, have been request-ed—directed—to support the legislation,” Racine says. “We did not, because we’re in-dependent.”

But Bowser and Racine aren’t always in op-position. In January, Walmart pulled out of two planned stores in Ward 7—convenient-ly ditching the two stores that were likely to be the least economically viable—after open-ing three stores on the west side of the Ana-costia River. Racine says OAG has been talk-ing to Bowser’s administration about potential legal action against Walmart. The District al-most certainly can’t force Walmart to open the stores, but the city might be able to get dam-ages by leveraging the retailer’s leases, accord-ing to Racine.

Attempting to preserve his office’s respon-sibilities inspired Racine to politick the Coun-cil, a tactic he’s now hoping to use to get more money in the coming budget cycle to hire new staffers. For one thing, Racine wants his office to receive a cut of the settlements and court judgments OAG wins on the District’s behalf.

To some Wilson Building watchers, it’s clear that Racine’s tactics in ensuring a friend-ly Council go beyond power lunches. After for-mer at-large hopeful Robert White lost a bid for a seat November 2014, Racine hired him to work his community relations office.

Racine did the same with Ward 8 Council candidate Trayon White, who narrowly lost to Bowser favorite LaRuby May. Now both Robert White and Trayon White are running again, facing Bowser-backed candidates in the at-large and Ward 8 races, respectively.

Given that Racine’s current position hing-es on narrow Council voting margins and al-lies in control of certain committee chairman-ships, the prospect of both Whites landing on the Council after next June’s primary must be appealing to Racine.

Racine will lavish praise on his former em-ployees—Trayon White, he says, goes to “pockets of this city where many politicians never go.” But he says he isn’t trying to build a Racine-friendly Council bloc.

Still, Robert White even uses the politi-cal firm that helped put Racine in the attor-ney general’s chair. Racine claims LL is seeing a strategy where there isn’t one.

“There is no secret room at the Office of the Attorney General or in my residence where we are plotting out what’s going to happen in 2016,” Racine says. CP

Got a tip for LL? Send suggestions to [email protected]. Or call (202) 650-6925.

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9

DISTRICTLINEDog BlockerThe D.C. Housing Authority’s strict pet policy is illegal, advocates say. By Sarah Anne Hughes

In 2013, the ASPCA and Washington Humane Society were working on a study on animal relinquishment when they noticed a trend: Housing was one of the main reasons people were giving up their pets. This led to another discovery.

“We realized that there was this very re-strictive pet policy in place in D.C. public housing projects,” says ASPCA Director of Regulatory Affairs Deborah Press.

Since 2005, the D.C. Housing Authority has maintained a near-ban on pets in build-ings it own and manages. Tenants with a dis-ability who require a service animal may re-quest a reasonable accommodation; and residents who lived in a senior-only or fam-ily building before the new regulation went into place were able to keep their pets.

But every other pet owner has since faced a difficult choice: Get rid of your pet or lose the housing. This, some advocates for pets and owners claim, is a violation of federal law as the elderly and people with disabil-ities have a legal right to pet ownership in public housing.

One resident of a DCHA-run building, who asked to keep his identity and place of residence anonymous, says he gave up his dog of 15 years in order to accept housing.

“I was pissed off about that,” says the res-ident, who moved into the building three years ago. “I was really, really pissed off.” His dog was “not vicious or nothing like that, because she was nice and trained un-der me,” he says.

Some pets do cause problems, the resi-dent admits. “I don’t think they’re prop-erly trained.” But he doesn’t understand why everyone who lives in DCHA housing should be punished for the bad behavior of a few owners.

In its argument, the ASPCA points to a section of the Housing and Urban-Rural Recovery Act of 1983, which states that “no owner or manager of any federally assisted rental housing for the elderly or handicapped may as a condition of tenancy or otherwise prohibit or prevent any tenant in such hous-ing from owning common household pets.”

In July 2015, at the request of the ASP-CA, HUD’s D.C. Field Office director, Mar-

vin Turner, sent a letter to Del. Eleanor Holmes Norton stating that department had reviewed DCHA’s pet policy. The hous-ing authority, Turner wrote, “remains re-sponsible for compliance” with that section of the Recovery Act. “In summary HUD will work with DCHA to implement the de-partment’s regulations governing pet poli-cies and to ensure that the agency is in com-pliance,” Turner wrote.

A spokesperson for HUD said the depart-ment “is reviewing the legal opinions pro-vided by both DCHA and ASPCA and will provide DCHA a letter with the depart-ment’s position shortly.” She was unable to specify a timeline, however.

DCHA has maintained that its pet pol-icy is in the best interest of its tenants.

DCHA Executive Director Adrianne Tod-man wrote in an August 2015 letter that the change to its pet policy more than a decade ago “went through a rigorous public hear-ing process.”

“DCHA has received overwhelming sup-port from our resident council leaders,” Todman wrote. She added that HUD ap-proved the DCHA Moving to Work plan—which gives public housing authorities greater discretion in spending federal funds and allows them to seek exemptions—that changed the pet policy. (Advocates believe this may have been an oversight.) In its most recent MTW, DCHA noted “cost sav-ings with respect to the potential wear/tear of units and common areas related to the restrictions placed on pet ownership with the establishment of the agency’s pet pol-icy.”

“DCHA has a policy that was designed with the residents of public housing, and reflects their concerns about animals at the properties,” says DCHA spokesperson Rick

resident has ever contacted the Council of-fice or member complaining about their in-ability to... own a pet.”

The DCHA resident, however, says “when it comes to us, it’s a very big deal.”

He says he suffered a job-related injury and can no longer work, and now badly miss-es his pet. “That was like my No. 1 compan-ion, always by my side,” he says. “Coming here, it’s taken a lot out of me, where now I just keep to myself a whole lot.”

WHS’ Scott Giacoppo says as public housing buildings close, residents who have been hiding pets are surrendering them to shelters. “Some of the cats in particular are ending up outside,” he says.

“There are already pets in housing,” Press says. “It’s just that they are unregu-lated, and it’s a bad situation for the pets and for the owners.”

Giacoppo says both WHS and ASPCA “want to be a partner with D.C. in making [a new pet policy] work.”

Under the Recovery Act, public housing authorities are able to impose “reasonable” regulations on pet ownership, such as re-quiring licensing and registration, charging a pet fee, and restricting the size or breed of the animal. Agencies may also remove pets deemed a “nuisance.”

Giacoppo says WHS offers no- or low-cost vaccination and spay-neuter services as well as other kinds of assistance. “[Public housing residents] love and want to take care of their animals just like anyone,” Giacoppo says. “Whatever the problem would be, we would help them.”

If DCHA changed its pet policy, the res-ident says he would “most definitely” get another dog. “It’s a great pleasure to have a companion like an animal somewhere around you,” he says.

It’s not clear exactly how many tenants a change in policy would affect. DCHA says 14 of its 52 public housing developments serve seniors and people with disabilities. Because DCHA gives preference to these two groups, the ASPCA believes the federal statute could apply to all public housing buildings.

Press says the ASPCA is not “naive” to the many challenges DCHA is facing. “We’re also sensitive to the unfairness of denying public housing residents the comfort of a pet.” CP

“No one should have to choose between their

home and their pet.”

White. “Families that need the support of a service animal are always welcome to have one. We will continue to work with HUD and our customers on what is best for the communities we serve.”

ASPCA representatives have done a few outreach meetings to DCHA resident lead-ers, Press says, and were “received warmly and enthusiastically.”

“This is an issue that is really important to a lot of people who’ve had to give up pets to move into public housing or who could ben-efit physically or emotionally from pets,” she says. Press says these meetings “contra-dict” DCHA’s assertion that the current pol-icy is popular with residents.

“No one should have to choose between their home and their pet,” Press says. “And

we’re hearing from a lot of people who are be-ing faced with that very difficult position.”

Councilmember Mary Cheh, whose of-fice ASPCA and WHS approached with concerns about DCHA’s pet policy, says she would like to “see a tolerant, open attitude about” pets. “They have to reconsider their position,” Cheh says of DCHA. She adds that it’s preferable for DCHA to work out the issue with the ASPCA and WHS, but that a legislative fix is an option.

“If you’re living in public housing, you’re suffering economically. We shouldn’t add to the burden,” Cheh says. “It’s particularly harsh to impose these limitations.”

David Meadows, spokesperson for Councilmember Anita Bonds, whose office was likewise approached, says she “believes that [pet] ownership should be allowed in accordance with HUD guidelines and if per-mitted, rules that are applicable to the gen-eral population should be applied to public housing properties as well.” He added, “To my knowledge, not a single public housing


10

DISTRICTLINE City Desk

Brick, Brick… Boom!D.C. is undergoing a construction boom that is dramatically altering the city’s built environ-ment. To keep up with a growing population and increasing demand for urban living, vacant lots are being developed and new apartment buildings are rising to the height restriction around the District. Since 2012, the D.C. residential construction explosion has touched most of the city, with the exception of historically preserved neighborhoods including Capitol Hill, Dupont Circle, and Georgetown. Clusters of new residential buildings appear in the Northwest and South-east corners of the District, along with Brookland, Edgewood, and the corridors of Shaw, Lo-gan Circle, and H Street NE. More than 1,000 of the new buildings are single-family homes. These are largely con-centrated around the perimeter of the District while more of the inner-city development is multi-family. New buildings in Southwest are almost exclusively apartments, helping to put neighborhoods like Navy Yard on track to be the most densely populated in the city. The H Street NE corridor and lower Northwest neighborhoods are a mix of duplexes and larger apartment buildings. The data here shows permits issued, which precede construction completion by months or even years for larger projects, since 2012. With more than 30 permits for new residen-tial buildings already issued in 2016, the District landscape will continue to change for some time. —Kate Rabinowitz

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Tomorrow’s History Today: This was the week that Mayor Bowser announced what would replace the D.C. General family shelter—smaller facilities in each ward.


11

Gear Prudence: Sometimes I ride on the side-walk, especially on roads that have very fast cars. Because I’m scared. The other day, a cyclist rid-ing on the road passed me and yelled at me for riding on the sidewalk, insisting that I should ride on the road instead. Riding on the sidewalk isn’t illegal there, and I don’t feel safe riding in the road! On the other hand, I’m new to biking, so is this something that I just need to get over? —Shouting Idiot Dashes Esteem

Dear SIDE: Here’s the deal: Unless it’s about fleeing from a burning building or escaping an imminent shark attack, heeding the advice yelled at you by strangers is almost never the op-timal strategy. The other cyclist was likely try-ing to convey assorted concerns with sidewalk cycling, which is subpar due to potential con-flicts with pedestrians and/or with drivers at driveways and other intersections.

Over time, you might become more comfort-able around high-speed traffic, but until then (or always), if riding on the sidewalk where it’s legal is the difference between you feeling safe or not (or the difference between you bicycling or not) then you do what you have to do, yelling strangers be damned. Just be careful and espe-cially deferent to pedestrians. —GP

Gear Prudence: There are three bicy-cle emojis. Can I use them interchangeably or does each have its own special meaning? —Three! Which Emojis Elicit Themes?

Dear TWEET: Two of the emojis depict bi-cycle and rider, and one emoji depicts a rider-less bicycle. Of the bicycle-with-rider emojis, one displays a mountainous background; this emoji is only accessible when your phone’s al-timeter registers sufficient distance above sea level. Large swaths of people living in the Mid-west and in low-lying coastal areas do not even know this emoji exists. Both riders in the road-cycling and mountain-biking emojis wear hel-mets, so you’re less likely to see these emojis in Amsterdam or Copenhagen.

The bicycle-without-rider emoji is suit-able for all contexts, though the bicycle de-picted looks awfully lonely. Be sure to use this emoji in conjunction with smiley face emojis or heart emojis to indicate that it is loved. If you are riding an e-bike, please pair this emoji with the battery emoji. In no situation should you pair the bicycle emoji with the sy-ringe emoji or you will face a two-year ban from both cycling and texting. Also, whenev-er using the bicycle emoji, be mindful of the various car, truck, bus, and stoplight emojis. Share the, um, tweet. —GP

Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling? Email [email protected].


12

UNOBSTRUCTEDVIEWJoe House: D.C. Sports GuyBy Matt Terl

Even before Bill Simmons was a national pundit with an HBO deal and his own podcast-ing network, back when he was just the Bos-ton Sports Guy, he was including his friends in his columns. It’s a big part of what created the every-dude persona that served as the foun-dation to Simmons’ career: He talked about the games like you did, about how he and his buddy J-Bug watched the Celtics, or how he fought with Jack-O about the Yankees.

Or how his buddy Joe House loved the Wash-ington teams.

As Simmons’ profile got bigger, his buddies not only remained a part of his anecdotes, they started appearing on his podcasts and, once he was running ESPN’s boutique Grantland im-print, contributing articles or starring in vid-eos. Now, despite having a day job in con-sulting totally unrelated to sports writing or commentary, Joe House has a regular week-ly podcast with Simmons and a public pro-file with a huge following on Twitter. Which, in turn, is how one of the most download-ed sports podcasts on the Internet winds up spending a few minutes every Friday discuss-ing D.C. sports while dishing out betting ad-vice and statistical trends.

Fascinated, I reached out to House for an explanation. He sums the situation up pret-ty bluntly: “The increase in opportunities I’ve had to interject my corny two cents into the ceaseless cycle of voices and pixels boils down to one simple fact of fate: I’m a dude who is friends with a dude who worked his ass off for two decades (and counting) to achieve a national voice.”

Don’t underestimate that voice. Simmons’ podcast, even without the benefit of an ESPN boost anymore, has a half-million regular lis-teners and racked up 27 million downloads in four months on his own. It’s near the top of most podcasting charts.

House is D.C. through and through—enough so that he won’t call himself a D.C. native because he grew up in Silver Spring, even though he went to high school in D.C. and has lived in the city since 1994. His D.C. sports memories sound like the montage from a local sports TV special: Capitals games in the mid-1970s and “Thank Brooks Day” at Memorial Stadium in 1977; Bullets games in ’79 and Pigskins games from the early Joe Gibbs years.

Let’s put his Twitter followers in perspec-tive: At 42,000, House has more followers than Washington Post Pigskins beat writer Mike Jones (28,000) or ESPN Pigskins beat writ-

er John Keim (32,000), and is close to a popu-lar local radio voice like Chad Dukes (55,000). As a person discussing D.C. sports, House has as much reach as anyone, a fact that he seems more amused than impressed by. “The day ev-erything got real for me was the day @wzzntzz started following me on Twitter,” he says (which is about as D.C. sports fan as you can get).

“It’s obviously fun having a place to say bad things about Dan Snyder that people all over can hear,” he notes, but then immediate-ly turns the conversation to the woeful state of D.C. sports in general. He’s low-key about his on-air contributions, namechecking a half-dozen different writers he reads to inform any analysis he does, also noting that he credits them on the show when he cites them.

This is House’s favorite experience as part of his quasi-celebrity: When Simmons and his Grantland crew met President Obama at the White House, House managed to get a spot in the group. When the time came for a photo with the president, House, a tall guy, lined up behind Obama and Simmons to avoid blocking anyone.

“Wouldn’t you know it,” House tells me, “The Prez took me by the shoulder saying ‘No, no, no one in back,’ and slid me in next to him bumping Simmons over a spot. So the pic is of a whole crew and me next to the president. Lifetime achievement. Simmons has never forgiven me.”

Speaking of trading places: Simmons’ rise in the media world has been matched by his hometown’s ascent from lovable sports waste-land to insufferable city of champions, while House has been stuck in the D.C. sports dol-drums that whole time.

“It has really been a challenge over the years to take the relentlessly underwhelming/medi-ocre/disappointing/under-delivering dose that the local teams have served up, while each and every goddamned Boston franchise has won at least one title,” House notes. “I have enjoyed it as much as an enema.”

The parallel is not lost on House. “When Simmons and I were in school in the late ’80s [and] early ’90s,” he says, “the sports scene in Boston was in a pretty similar place as D.C.” Now, however, it’s been such a long drought that he says he has “literally no idea how I’m going to feel when one of the locals finally breaks through.”

Whenever it does happen (he’s hoping for this year’s Caps squad), at least he’ll have the opportunity to easily tell an awful lot of people all about it. CP

Follow Matt Terl on Twitter @matt_terl.

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SAVAGELOVEGay male in my late 20s. I recently ended things with a guy. Our relationship started as a strict-ly sexual one. We’re both involved in the kink scene in our city and have interests that align in a particularly great way. Quickly it became clear there was a real connection. The next two months were great! I had a toothbrush at his place within three weeks. But early on, I noticed that he was a much more extroverted person than I was. He would laugh loudly at movies, work the room at parties, say things about kink in the middle of crowded restaurants. I prefer to blend in. Ini-tially I thought of this as “the price of admis-sion,” one I was willing to pay, but it soon became tiresome. I ended things, telling him that there were conflicts with our personalities that made a relationship difficult, not specifying what. He fell for me—he’s stated it over and over—but I don’t want him to think he has to change who he is to be with me. I’m confused, Dan. I loved be-ing in a relationship again (I’ve been single for a VERY long time), the sex is great, and find-ing someone who shares your kinks and you’re at-tracted to emotionally is rare. We have a ton in common when he’s being down-to-earth. He’s asking me to reconsider. Was I right to end this? —Tired Of Being Single

He shouldn’t have to change who he is to be with you, TOBS, but what if he wants to?

It’s unlikely he’ll morph into an always-quietly-tittering, always-discreetly-kinking introvert, just as you’re unlikely to morph into a braying, oversharing extrovert. But if mak-ing an effort to dial it back is the price he has to pay to be with you—along with reserving con-vos about his kinks (and, by inference, your kinks) for fetish clubs and play parties—why not let him decide if he’s willing to pay?

Gays represent a tiny percentage of the general population, TOBS, and kinky gays represent a not-so-tiny-but-still-smallish percentage of the gay population. I don’t think you have to marry this man, regard-less of his flaws, just because you’re gay and your kinks align. But you should think twice about discarding a guy who’s gay and kinky and whose company you enjoy most of the time just because he gets on your nerves now and then.

At the very least, you owe it to yourself, just as you owe it to him, to be specific about the reasons you pulled the plug—because he might want to make an effort to win you back.

There’s a lot that’s good here—your kinks align (rare!) and you enjoy spend-ing some-but-not-all of your time togeth-er (common!)—and there are always work-arounds for the bad. An example from my own life: My husband is way more extrovert-ed than I am. So sometimes he goes to movies, restaurants, clubs, and concerts without me. I stay home and read or sleep or clean. And

then, when he gets home, we have something to talk about—how the movie was, whether the restaurant was any good, who was out at the clubs, and if there were any cute boys in the band. He doesn’t make me go out; I don’t make him stay home. It’s a work-around that works for us.

With some effort, TOBS, you could find the work-arounds that work for you two: He makes an effort, when you nudge him, to dial it back; he goes to comedies with his friends, dramas with you; if he’s working a room, he won’t take offense if you slip into another room.

Give it—give him—a chance. —Dan Savage

I’m a gay male college student in a healthy D/s relationship with a bisexual guy. My boyfriend posts pictures of our kink sessions to his Tum-blr. (No faces.) A trans woman active in campus queer politics confronted me today. Ze had seen my boyfriend’s Tumblr (!) and recognized me (!!!). Ze demanded I stop engaging in BDSM because ze has to see me on campus and knowing my boyfriend “controls and abuses” me is trig-gering for zir. Ze said images of me in medical restraints were particularly traumatizing. Ze was shaking and crying, and I wound up com-forting zir. I stupidly let zir think I would stop. Now what? —Scenario Utterly BananasP.S. Ze also threatened to out my boyfriend if ze saw new pictures go up on his Tumblr. My boyfriend is already out—about being bi and be-ing kinky—so he laughed it off. But how fucked up is that?

You tell this woman you take orders from your boyfriend, SUB, not from random cam-pus nutcases. You advise zir to stay away from Tumblr porn ze finds traumatizing. And if ze pushes back, you explain to zir that if any-one’s being controlling and abusive here, it’s zir. And if ze starts shaking and crying, SUB, direct zir to the student health center.

And for your own protection, SUB, tell zir all of this with at least one witness present. Document everything, and if ze keeps getting in your face about your consensual, nonabu-sive D/s relationship, take the ironic step of filing a restraining order against zir. —Dan

I’m a 24-year-old gay male. My boyfriend and I have been together for just over a year. I have a hang-up when it comes to anal sex. I like bot-toming, and I’ve had my fair share of great ex-periences, but I’ve bottomed only once with my boyfriend. I think I’ve identified why: The cer-emonies around anal sex (the lube and condoms part) turn me off due to the smell of the lube and the sound of the condom wrapper. It brings up memories of times when I didn’t have a great time bottoming. Additionally, he is a little bigger than

most, so there’s that. What do you suggest? Would it be as simple as finding a lube that doesn’t smell so much? When I top him, which is something we both enjoy, there isn’t a problem. —Wants Anal Now, Goddamnit!

Usually when someone complains about an unpleasant smell associated with anal sex… lube isn’t the issue. But that’s an easily solved problem, WANG, so easily solved that you bundled the answer up with your question: There are 10 million brands of lube on the market, kiddo. Shop around until you find one that doesn’t offend your nostrils.

As for the condom-wrapper issue, try open-ing condoms 10 or 20 minutes in advance. Condoms are likelier to be an interruption—one that derails hot butt sex—if you wait until the split second before penetration to bust one out. Open condom packets early, WANG, and put the condom on the BF during foreplay. That way, if the fumbling deflates your bot-tom-boner (which is a state of mind), you’ll have time to make out, roll around, rim each other, stroke yourself—whatever it takes to get your bottom-boner back.

To get a handle on your performance anxiety and those negative associations—bad memo-ries of lousy experiences, fear of your boy-friend’s big ol’ dick, concerns about whether you’ll have to bail—get some butt toys of vary-ing sizes, and use ’em when you’re alone. With no boyfriend around to disappoint, the pene-tration will be about your pleasure. In a month or two, with a little effort and non-stinky lube, you’ll have built up a store of positive associa-tions and gained some confidence.

And finally, WANG, if nothing works… maybe you’re a top? —Dan

Send your Savage Love questions to [email protected].

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THESTRAIGHTDOPEIf plug-in cars become a reality, how will we pay for highways without a federal gas tax? —Steve Phelan

You’re right that relying on a federal gas tax to pay for highway upkeep is an unsustain-able scenario, Steve, but you’re not exactly describing some distant carbon-free future. It ain’t working now, either.

Consider: The nation’s roadways are sup-ported by a tax on gas that goes into the High-way Trust Fund, established in 1956 to help build the interstate system. This arrangement derives from the quaint notion that the feds should be responsible for a few basic infra-structure-related commitments—say, driv-able roads. But that proposition’s been in question at least since 1993, which was the last time Congress could agree to raise the gas tax (currently 18.4 cents per gallon for regu-lar, 24.4 cents for diesel). According to one es-timate, adjusted for inflation the value of the tax fell 28 percent from 1997 to 2011.

To put it mildly, we’re not keeping pace. A recent study by the American Society of Civ-il Engineers found that the U.S. will need to invest $2.7 trillion by 2020 to maintain roads, bridges, and transit systems. The federal levy (there are state and local taxes, too) currently pulls in about $30 billion a year, which, you’ll notice, isn’t quite going to make it. We can ex-pect things to get worse. Not only has the tax not gone up; gas sales have been more or less stagnant since 2002. And the Department of Energy expects revenues to decline as much as 21 percent (from 2013 levels) by 2040.

Most of that has to do with stricter fuel-economy standards, and not a whole lot with any widespread adoption of electric cars. Indeed, in 2014 Americans bought a mere 123,000 new electric vehicles, out of a total of 16.5 million new vehicles sold nationwide. According to government projections, just 7 percent of the cars on the road in 2040 will be hybrid or electric-powered. So, to sum up:

1. Some means are needed for dramatical-ly increasing the revenue going to U.S. roads, bridges, etc.

2. Electric vehicles, while depriving the trust fund of a little bit of cash, won’t make the situ-ation appreciably worse than it already is.

Still, if we figure out a way to wean our-selves from the gas tax now, we’ll be better equipped for some eventual future that in-volves more widespread use of electric cars and other non-gas-burning vehicles. (High-speed long-distance rail? Hey, a guy can dream . . .) Ideas floated in this regard include a federal tax on the purchase of new vehicles, an annual tax on vehicle registrations, and a mileage-based tax.

Of these, the mileage-based user fee, or MBUF, seems to have the greatest traction. Cal-ifornia is currently looking for 5,000 volunteer

drivers for a pilot program to determine the fea-sibility of such a regime; Oregon has signed up more than 1,000 since last July. It makes sense on its face, but some logistical issues present them-selves: How, for instance, to track the mileage? One way would be an annual odometer inspec-tion, but doing away with the relatively pain-less per-gallon tax add-on and replacing it with a yearly lump sum is going to be a tough sell for consumers. What about a device in the car that records mileage continuously—say, via GPS? This raises obvious, and understandable, con-cerns about privacy; it’s not like the government doesn’t have access to enough of your personal data already. A study undertaken by the Colo-rado Department of Transportation investigat-ing the idea of an MBUF system neatly encap-sulates the challenges to its implementation: the authors concluded that Colorado would be best off as a “near follower,” rather than a “national leader,” in adopting MBUF. In other words, let somebody else figure out the details, and then we’ll think about it.

That’s at the state level, of course. Might such a system be adopted nationally, such as meets the funding needs of the country’s crumbling transportation infrastructure? Don’t be ridiculous. Meanwhile, this time last year President Obama had just floated a plan to bolster the transportation fund with a 14 percent repatriation tax on offshore cash held by U.S. corporations—a perfectly fine pro-posal, and one with zero chance of becoming reality in the current political climate.

It’s possible we’re not thinking nearly far enough outside the box here. A recent Wall Street Journal article suggested that, with the dual advent of self-driving cars and ride-sharing concepts such as Uber, individual ve-hicle ownership might swiftly be on its way out—and good riddance: the piece noted that in the U.S., the usage rate for cars is 5 per-cent, meaning that the other 95 percent of the time they just sit in the driveway. In the par-adigm-shifting scenario envisioned, travelers wouldn’t own their driverless cars; they’d pay by the mile. This still doesn’t solve how to pay for roads, of course. Some things even Silicon Valley can’t fix. —Cecil Adams

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How did you come about with the idea for “Wonder”?

The show really came about in answer to a funny question, which is “Why is a mu-seum?” It’s an odd question. “Why do you have a museum? What is it for? Why do we need them? Why should we care about them? Why should we strive to maintain them instead of letting them go?” And I started to think about [it]. “Well, what do we hope to experience at a museum? What are we really looking for there?” And there’s all sorts of answers in terms of education and understanding history and where you come from.

Entertainment, of course, is a loaded part of that quotient, but I think there’s some-thing more profound at play, and that’s the opportunity to experience wonder. That’s not something we’ll experience always. In fact, I think each of us is lucky to experience it a handful of times in our life in a museum setting, and it will be different for every per-son. It depends on such subjective forces that you never know what kind of thing or what kind of context will help somebody to expe-rience wonder. But I think that as museums, one of the cornerstones of our service to the public is to create a space with the opportu-nity for subjective, intensive encounters with art, be those what they may.

And so then I was confronted with an even more difficult question, which was, “How do you purposely—not just by chance—give peo-ple the opportunity to experience wonder?”

I was looking for artists that are really ad-ept at activating architectural space, because I think in all of this what’s important to cir-cle back around to is the fact that you have to come here to experience it. It’s not going to be the same on Instagram or in a newspaper or in the Washingtonian. You have to be there yourself. You have to put your physical self in the museum to understand its value and the potential for that experience.

So right after we closed, I started to call these artists up and said, “Look, you don’t know me, but this is the Renwick Gallery, this is what it’s about, this is what this build-ing is like, and here is this idea of trying to tease out wonder as an experience that you can have. I think that your work already does that so let’s talk about doing it all together.” And they all came to the museum.

To what do you owe the exhibition’s success? Do you think it’s the concept of wonder as you described it before, or is there something else going on?

I think there are different reasons that peo-ple have come. I think one is that we got great press. I think [that’s] the reason for why people came at the very opening, because of course there was no word of mouth. There was just a press office article. Once people came, I think we’ve had incredible word of mouth. I mean that both in person and I see countless com-ments, comment cards, and posts online, and

Renwick Gallery Curator-in-Charge Nicholas R. Bell discusses the suc-cess of the museum’s “Wonder” exhibition. photographs by darrow montgomery

By Elena Goukassian

Even if you haven’t seen the Renwick Gallery’s “Wonder” exhibition in person, you’ve likely seen the Instagram photos: its walls of geometric insect designs, room-spanning rainbow strings, selfies taken with-in wondrous stick shelters.

After undergoing two years of renova-tions, the Renwick reopened in November to more fanfare than anyone could have pre-dicted. On the first day alone, about 9,000 people queued up to see the craft muse-um’s celebratory exhibition. (In years past, this same number of people would’ve been spread out over a whole month.) Even now, months after its reopening, hundreds of vis-itors continue to stream into the museum daily to experience “Wonder,” a museum-wide exhibition that completely transforms the interior of the Renwick—the first struc-ture in the United States built specifically as an art museum.

Filling the Renwick with nine room-sized installations by as many contemporary art-ists (Jennifer Angus, Chakaia Booker, Ga-briel Dawe, Tara Donovan, Patrick Dough-erty, Janet Echelman, John Grade, Maya Lin, and Leo Villareal), the Renwick’s curator-in-charge, Nicholas R. Bell, remains exuber-antly surprised by the exhibition’s populari-ty. Bell comes from a background in material history and culture, not the more tradition-al art history route. He’s been at the Ren-wick since 2009 and has been responsible for a handful of successful exhibitions, includ-ing 2012’s popular 40th anniversary show, “40 under 40: Craft Futures.”

With “Wonder,” however, Bell has not only redefined what the Renwick Gallery is but what it can be: an interactive museum that engages visitors through the veil of so-cial media. Recently, Washington City Paper sat down with Bell to talk about how “Won-der” came about, why it resonates with so many people (but not with everyone), what it’s like curating a museum in the age of self-ies, and the evolving definitions of craft.

This interview has been edited for length and clarity.

’Gram Slam


18

so forth saying, “I went, and then I came back with my parents and I came back with my friends.”

And the other has been that social media has allowed people not only to show people what the exhibit looks like but to tell them about it. I keep saying this, but the most exciting part of Instagram, for me, is not the photographs; it’s the comments. I love seeing the things that people say about their visits when they post those photographs, because it’s a way for us to sort of eavesdrop on the public and to hear how people genuinely express their feelings about the experience at the museum when they’re not even saying it to us.

Because it’s always so crowded, do you feel like the crowds are getting in the way of other people experiencing what’s going on?

I don’t think so. I think there are different kinds of experiences. I’m in here first thing in the morning, and this morning even, I walked around and made sure everything was where it should be, and I was the only person in the galleries. And that is a completely different experience than being in here with thousands of people. But it’s not a better experience. I watch people come through here by the hun-dreds an hour and what I’ve noticed is strang-ers sharing some kind of joint moment. People connecting with each other over their appreci-ation of the work.

In fact, I read our last couple of week’s com-ment cards just before you came, and one of them said something like, “It’s so interesting to see strangers making eye contact with each oth-er, smiling at each other, kind of following each other through the galleries.” I think there’s something about the way that you can experi-ence these galleries that makes people want to do it with other people, even if you come by yourself. I think that’s very meaningful.

Do you feel that people taking photos all the time distracts them from actually experiencing the art?

I take a decidedly non-partisan view on that. I know many people will come through here and take zero photos. And many people will come through here and take many, many pho-tos. I don’t think it is the role of the muse-um to judge who is having a more profound or meaningful experience. I think that those peo-ple can decide perfectly well for themselves what makes the best experience for them. That is certainly a debate within our culture right now. It seems to be a hot topic at the mo-ment. I’m perfectly happy for us to be a sort of ground zero for people to test out how they really truly feel about that themselves.

Do you feel like you would have such huge lines out the door if you said “no photos” or if you had a “no photos” day?

What about many artists who today just have the people in their studio make their works? All those people working in those studios are craftspeople.

Yes, they are. But would you call the artist a craftsperson? Or are they merely a designer?

Do I consider the artist to be a craftsperson in that regard?

Yes.

That’s a good question. This is going to be a disappointing answer for you probably, but the truth is, a lot of people often want to engage me in some sort of hairsplitting be-tween “what is an artist?” [and] “what is a craftsperson?”

The more time I spend at the Renwick, the less value I put into nomenclature and strict disciplinarity. It’s all such a big gray area. And really, what we’re trying to do here is, instead of putting people in boxes and saying, “Oh no, no, no, no. You are an artist, and you’re a craftsperson. Never the two shall meet,” [we’re] saying “Let’s look at how people en-gage with making: How is making a part of our culture?”

So, I’m a lot less interested in giving peo-ple titles than I am in trying to tease out how craft exists less as a discipline than as it does as a way of approaching life. Because I think throughout the modern period—really from the Industrial Revolution on—we’ve been re-ally struggling with the idea of what our values are around how things come into being, how things are created, and what that says about us as different peoples. And we are the appropri-ate place to have that conversation.

There have been a lot of comparisons between the Renwick and the Hirsh-horn, though the Hirshhorn is a contem-porary art museum and this is a craft museum.

I’ve heard a number of comparisons between us and the Hirshhorn since we reopened, which I think is funny.

Because you have these contemporary artists, who have also shown in the Hirshhorn.

I guess you’re right, except, I think, if you were going to show something much more concep-tual, it would make absolute sense in the Hir-shhorn. What these artists have in common is that they are heavily invested in the making of their artworks. This is not conceptualism. It’s not minimalism. But it is really about creation. This is about creating objects and how we in-teract with those objects and what they mean

I think that people are coming for the art. They may have a different experience, but not for a second do I think people will stop com-ing to the museum if they couldn’t take pic-tures. But I do think that it encourages them thoroughly to have a different quality of expe-rience, because they can.

Would you consider it? It could be an interesting experiment to have a “no photos” day.

I’ve been asked this a number of times now. Should we have a “no photos” day? It would be interesting, but what I don’t like about the idea is that it renders judgment. It says [that] by taking photographs, you are somehow devaluing your museum visit. “Why don’t you come here and have a bet-ter visit?” That’s how I read it. To which I say, “We’re not the right person to tell you that.”

The Renwick Gallery defines itself as a “contemporary craft museum.” How do you define craft these days?

I have a whole bookshelf about that question.

What about with modern technologies—like the maker movement and 3-D-print-ed art—is that considered craft?

I think it can be.

But how do you distinguish what’s craft and what isn’t?

There are many, many definitions of craft. Some of it we pay more attention to in this museum than others. Look at what’s called modern craft, which is essentially the way that craft has been thought about since the Industrial Revolution. Suddenly, once you have mass industrialization, making becomes something that you think about critically, as opposed to something that you just do. [A] great design historian in England came up with a definition that I like very much, in the ’60s. He called it “workmanship of risk” ver-sus “workmanship of [certainty].” Instead of saying, “Did you use tools or did you use technology? Did you use a 3-D printer?” [we should ask], “Did the end result of what you were trying to do rely on your skill or not? Did it rely on you somehow being skilled in such a way that you manifested the appropri-ate outcome? Or was that outcome done re-ally by pushing a button?”


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How is technology changing the nature of curating museums?

You’re able to do a lot more from your chair than you used to be able to.

But how are you setting things up dif-ferently?

You know, I think throughout the field, there is a temptation to use more and more technol-ogy in the galleries, and that’s a double-edged sword. On the one hand, they can offer us differ-ent ways of connecting to information than we had before, and there is value. And I’m think-ing for example of touchscreens and throwing up new video content and so forth or having QR codes in galleries. I don’t know if you saw the “Greek Slave” upstairs, where you have the QR code. You can download the 3-D scan. So that’s great. I love that. But it is really easy to overdo it, and if there’s anything we’ve learned from the last two months, it’s that there is no substitution for the real thing. People will con-tinue to visit museums to experience authen-ticity, as loaded a term as that is. People want to see what they imagine to be the real thing.

Some of the greatest and most profound muse-um experiences I’ve had are in places like the Fre-er-Sackler, because I will walk into a gallery there and see something that is 5,000 years old that was made by a person, and it will blow me away. No technology, no emerging technology or digital technology can replicate that experience. CP

for us. And I think that was key [for] the art-ists that I selected for the show. It couldn’t just be, “Oh I put some text on the wall and maybe there’s a strobe light somewhere or drew some lines on the floor.” That’s not going to cut it at the Renwick. It has to have that sensitivity to materials and to making.

A lot of critics have written reviews of this show saying that it’s either not seri-ous enough—too Instagrammable—or not craft.

I just have to say, “too Instagrammable?” Is it a crime to have something be photogenic?

No, but some critics have written that there’s not enough substance to the art-works. What do you say to people who say that? And why do you think there’s this disconnect between the critics and the audience?

I don’t think it’s that clean cut. I disagree with them obviously. Otherwise I wouldn’t have thrown two years of my life into it.

Of course, but what would you say to prove them wrong?

I’ve read a handful of critical reviews that say, you know, it’s not their cup of tea. I think if I

somehow did the impossible and pleased ev-erybody, I would’ve done something wrong. A, it’s just not realistic, but, B, if you’re making everyone happy, somehow you’re not doing anything original. I have seen such re-views, for example from your newspaper.

I didn’t write that one.

I know you didn’t. And I simply don’t agree. I don’t want to get into a whole detailed re-buttal of [Washington City Paper contribu-tor] Kriston [Capps] or some other person. But I will say that there is the exhibition that you come [to] see. And then, the book I wrote about it is there almost as a shadow exhibi-tion. So, I thought that if our specific goal was to somehow elucidate or to somehow create a space for this very specific response type, which is completely different than anything we’d ever tried to do before, it needed to be largely unmediated.

And I know that, for example, [Philip] Ken-nicott [of the Washington Post] said, “Oh you know, the book is great, but there’s so little in-formation on the walls.” Well that was on pur-pose. That was because I think that the more information I put into the galleries, the more I would be mediating people’s experience, in-stead of saying, “Just come and feel this,” be-cause, really, I’m looking not simply for an intellectual connection. I’m looking for a phys-iological connection to the space. Come and experience this. I didn’t want to get in people’s

way of having them have that moment.

So it’s more democratized, the show in general. You have families and all kinds of people who might not normally go to an art museum.

It’s true. Just in the comments I read to-day, somebody wrote to us that they’d gone through the galleries and taken turns with their son. They would each take turns cover-ing their eyes and having the other person de-scribe to them what they were seeing. And I thought that was the coolest thing. I should do that with my kids. So, like, what does this look like to an eight-year-old? If you haven’t seen it before, and then uncovering your eyes and seeing how different it is for you.

And I thought that was great, but yes, it was specifically designed to connect with people of all ages, because it is meant to be an emotion-al experience. It is not meant to be something where it’s like, “Oh, well you have to have this background in Western thought, otherwise you don’t really understand what ‘Wonder’ is.”

I want people to walk in and say, “Wow, I’ve never seen anything like this. What is that? What is it about? How did it get in here? What is it made out of? How did they do that?” Be-cause in that 90 seconds or two minutes that they’re thinking through that, nothing else is going on in their life. And that right there jus-tifies the museum as a physical place to go.


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DCFEEDDCFEED(cont.)

YOUNG & HUNGRY

Keep on Truckin’As winter weather hits hard, food trucks look for ways to survive until spring

By Jessica Sidman

For at least three months of the year, Doug Povich knows his Red Hook Lobster Pound food trucks are going to lose money. He sends them out anyway.

Povich says he’s lucky to make it halfway to his break-even point from December through mid-March. He’s only able to make it through with reserves from the busy spring and sum-mer season, plus catering gigs and other revenue streams like UberEats. (Yes, mobile vendors sometimes rely on other mo-bile vendors to deliver food.)

It’s no secret that food truck sales drop along with temper-atures, but February can be one of the most brutal months. Some trucks close for the season. Others like Red Hook Lob-ster Pound suck it up, knowing they’ll lose money. Those with low food or operating costs are able to stay open and make some profit. And nearly everyone is looking for other revenue streams that sometimes have little to do with the truck itself.

“By and large, people are happy to break even,” says Povich, the chairman of the DMV Food Truck Association.

Sloppy Mama’s Barbeque owner Joe Neuman began tracking the correlation between weather and sales last year and ultimately decided that it’s not worth going out when the tem-perature drops below 40 degrees. On a recent 42-degree day with 15-mph winds, Neuman let his staff decide if they needed the hours. “They were like, ‘No, don’t worry about it,’” Neu-man says. “Because they don’t like going out either and doing nothing, just sitting on the truck freezing their asses off.”

While a burger truck, which grills to order, can save the patties for another day, Sloppy Mama’s food doesn’t keep well. So while Neuman might be able to repurpose some brisket in the baked beans, any unsold meat is more likely to be a lost expense.

Right now, Neuman says Sloppy Mama’s is losing money, “but not that much.” “If we were sending the truck out every day, we’d be losing more money,” he says.

Some cuisines fare better than others in the winter because of their seasonal appeal. Ice cream, obviously, doesn’t sell so well, and many of the frozen treat vehicles hibernate for the winter. Ball or Nothing owner Rob Miller says he’s also seen taco trucks particularly struggle, but his meatballs are more suited for sweater (or parka) weather. He manages to turn a profit, but his winter sales are about 30 to 50 percent lower than his peak summer sales.

Just don’t call it a speakeasy: A new cocktail bar called The Armory is opening below Rebellion on 18th Street NW. Read more at washingtoncitypaper.com/go/armory.

Some food trucks hibernate during the winter, when profits can be low or nonexistent.

Dar

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24

DCFEED(cont.)Miller has also found people at certain lo-

cations seem to be more adverse to venturing out in bad weather than others. “State De-partment, for example, if the weather’s not good, that place is useless,” he says. “Frank-lin [Square] will come out for anything. I love them.”

Meanwhile, BBQ Bus co-owner Che Rud-dell-Tabisola, the executive director of the DMV Food Truck Association, says he’s breaking even. He says his truck does 75 per-cent of its volume between May and October, when there are tons of festivals and the truck is out seven days a week. “By the time you get to February or March, your cash flow, you can’t wait for that first spring day,” he says. He also uses the slower months to plan for the year ahead and start booking events and festivals.

Winter is also physically tough on trucks. On very cold nights, Ruddell-Tabisola has to put a space heater next to the hot water heater so the pipes don’t freeze and crack. He doesn’t want to make such repairs when the cash flow is al-ready tight.

La Tingeria owner David Pena says his en-gine blew out right before the December hol-idays, but he doesn’t plan to get his Mexican food truck up and running again until mid-March. “We already know the winter’s pret-ty slow, so why fix the engine right now?” Pena says. “We’re about to fix it in the upcoming months, so we can be back during the spring.”

Plus, Pena worries that the cold and snow will only cause further problems for the truck. In the past, he says he’s had trouble getting his propane to work properly in below freez-ing temperatures.

Instead, Pena is focusing on catering, as he’s done for the past two winters when he also suspended the truck’s operations. He says he manages to make some money in the winter from special events. Recently, for example, he ran a Super Bowl promotion offering 40 tama-les for $60.

Last February, only 145 trucks registered for parking with the Department of Consumer and Regulatory Affairs—the lowest number in any part of 2015. During the summer, at least 200 trucks registered each month, peaking at 223 in September.

Mobile vendors who stick it out in the win-ter do so in large part to hold onto and support their employees.

Povich says some of his employees have been with him since he launched Red Hook Lobster Pound almost six years ago. The turnover rate in the food truck industry is bad enough, so many operators don’t want to lose reliable people who know their businesses.

Povich has done the math on whether it would be better to just give the staff a three-month paid vacation or to “limp through” the winter with catering and holiday parties.

“We’ve just decided it’s better to keep the name of the brand out there and keep it open.”

Plus, going out, even if it’s not profitable, can breed future business. “The food truck is a roll-ing billboard,” Sloppy Mama’s Neuman says. “I send the truck out, we get catering jobs.”

Neuman says it also maintains a loyal cus-tomer base. Sloppy Mama’s served a measly 18 people in Tysons Corner the other day. But Neuman says they’re all regulars who eat at his truck every time he’s there. “Obviously, you want to make money, but when my wife and I started the business, it wasn’t, ‘OK how much money can we make?’ It was ‘How many peo-ple can can we make happy?’”

Neuman has also found an alternate revenue stream through pop-ups. He’s done a series of collaboration menus at Brookland’s Fin-est. Now, he’s popping up Mondays at Du-pont Circle German beer garden Sauf Haus. His next move is a permanent menu takeover at Solly’s Tavern beginning in March. (Still, he’ll continue to operate the truck.)

And it’s not just restaurants or bars where food truck operators are showing up. Flik Hospitality Group, a subsidiary of Com-pass Group USA which manages food servic-es for office buildings and other venues, re-cently began partnering with food trucks to serve Greensboro Station Cafe, a cafete-ria on the ground floor of the SAIC Tower in Tysons Corner. Different food truck opera-tors, including Red Hook Lobster Pound and Ooh DaT Chicken, rotate through the kitch-en three days a week. “The jury is still out on how successful it will be, but I thought it was an interesting move,” Povich says.

Even with the alternate revenue streams, everyone is still vying for the top spots in the monthly D.C. parking lottery in the winter. Povich says Farragut Square brings out the most business, followed by Metro Center. He also does well on a private lot that the DMV Food Truck Association manages in Tysons Corner.

Ultimately, Povich says his goal is to open a brick-and-mortar spot for Red Hook Lob-ster Pound.

“I think that’s everybody’s goal once they’ve been in this food truck business a while,” he says. “I know everybody says the restaurant business is hard, but this is crazy hard.”

Povich has been looking for locations for three years and may finally be coming close. He says the restaurant would help level out his cash flow and better allow his employees to work through the off-season.

“That’s what keeps me going during the winter,” he says. “It’s worth losing all the money if I can pull this thing off.” CP

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Restaurant AdditionsFebruary is already turning out to be a busy month for yet more restaurant and bar openings, including some of the year’s most anticipated. In case you blinked and missed one, here’s a shorthand synopsis you won’t need to stare at too long. —Jessica Sidman

DCFEEDGrazer

Belgian beer - Stella + sour + funky + more

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Overall score (1 to 5): 2. With a price tag at nearly $20, you’d expect this sandwich to both taste great and keep you full. Con-suming the entire sandwich will offset your hunger pangs for a few hours, but when the primary ingredient is poorly prepared, this sandwich doesn’t justify putting down an entire Jackson. —Caroline Jones

agrodolce onions, fontina cheese

Thickness: 4 inches

Pros: The warm, perfectly toast-ed roll envelops the ingredi-ents in a soft pillow. Broccolini,

a veggie not regularly found on sandwiches, provides a pleasant bitterness, while the tangy on-ions add sweetness—plus a hint of citrus—that cuts through the

slightly dull steak.

Cons: Apart from being very under-salted, each slice of

steak feels dry and crumbly. The piles of broccolini overwhelm the rest of the sandwich, and the tiny amount of fontina

THE’WICHINGHOUR

Komi and Little Serow alums - a tasting menu +

vaguely Mediterranean in-fluence + seaweed sour-

dough + lamb ribs for two + housemade pastas +

eclectic wines = Tail Up Goat (1827

Adam Mills Road NW)

Pizzas inspired by the 13 colonies - historical ac-

curacy + pricing that cor-relates to historic years + blackboards listing local

ingredients + cocktails on draft + a wall made out of nickels - tails-up coins =

Declaration (804 V St. NW)

Hank’s Oyster Bar - the oysters + 14 housemade pastas + gluten-free fusilli + pasta samplers + Italian-style meats and fish + ne-

gronis + barn doors = Hank’s Pasta Bar

(600 Montgomery St., Alexandria)

Fancy cocktail prix-fixe menu + ticketed reserva-

tions + ingredients like kelp water and oyster leaf +

old fashioneds + highballs + rare spirits - bar stools +

leather armchairs = Columbia Room

(124 Blagden Alley NW)

what we ate last week: Moules frites, $19.50, Le Diplomate. Satisfaction level: 4.5 out of 5

what we’ll eat next week: Bicky burger, $14, The Sovereign. Excitement level: 4 out of 5

What: Redenbacher Old Fashioned with popcorn-infused Lyon white rum, brown sugar, and Angostura bitters.

Where: Provision No. 14, 2100 14th St. NW

Price: $13

What You Should Be Drinking Remember trying to pass the popcorn Jelly Bel-ly off to friends as pineapple or lemon? Provi-sion No. 14’s Redenbacher Old Fashioned—starring popcorn-infused white rum—tastes just like America’s most misunderstood jel-ly bean. But it’s time to give this flavor a sec-ond chance. Bartenders Glendon Hartley and Chad Spangler put a lot of elbow grease into the “fat-washed” infusion. The team pops two bags of Redenbacher popcorn per bottle of Lyon Distilling Co. white rum. “We want-ed that same flavor and profile that you get at home rather than what you get at restaurants with popcorn makers,” Spangler says. The popcorn is vacuum-sealed in a bag with the rum and cooked sous vide for six hours before it’s frozen, defrosted, and strained. The tech-nique leaves behind butter flavor, not fat. Only demerara sugar syrup and Angostura bitters join the buttery rum in the finished drink.

Why You Should be Drinking It Provision No. 14’s take on an old fashioned enables those not on the brown liquor band-wagon to experience the trending cocktail. “A lot of people don’t know that old fashioned doesn’t necessarily mean whiskey,” Hartley says. “When someone asks me for one, I ask if they want brandy or rum because those are two things I love making them with.” While it’s a smooth, savory sip, imbibers remain a lit-tle cagey about ordering the cocktail. Fortu-nately, the restaurant has found an audience for the popcorn-infused rum : “One of the things people ask for are buttery nipple shots, but we don’t carry Buttershots liqueur, so I’ll put the popcorn rum with Bailey’s,” Spangler says. “People seem to enjoy it.”

—Laura Hayes

UnderservedThe best cocktail you’re not ordering


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OF LAND

& SEA

MASON BATESÕS KC JUKEBOX

Journey through aural landscapes evoking tropical islands, rambling rivers, and swirling seas in this concert of contemporary music inspired by geography.

February 22 at 8 p.m. Theater Lab

FREE AFTERPARTY!Following the concert, stay for the free after party featuring a cash bar. Each patron will receive a

voucher good for one complimentary beverage, including the evening’s signature cocktail.

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

New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin.

WITH POST-CONCERT DJ

DJ Moose (Daniel Ssebowa Musisi)


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CPARTS

Some ASSembly RequiRedSweatBy Lynn NottageDirected by Kate WhoriskeyAt Arena Stage to Feb. 21

Working “the line” in a factory is a repetitive, physically grinding bore, but it’s a living. Or rather, it was. The dignity-obliter-ating race to the bottom whereby manufac-turers seek ever-cheaper labor and the grim consequences for eight residents of a Pennsyl-vania city are the subject of Lynn Nottage’s tragedy Sweat. If that sounds like a hard sit, your instincts have not misled you.

The piece begins and ends in 2008, but flashes back for most of its two-and-a-half hours to the year 2000, when some could see the cliff approaching but no one knew how deep the chasm would be. The setting is Reading, Pa., a city of about 88,000 that in the 2010 census just beat Flint, Mich. as the most impoverished mid-sized community in the nation. All of the 2000-era scenes take place at a bar where three middle-aged wom-

en who’ve worked the line since high school go to blow off steam. Rumors that manage-ment will demand big concessions from the union at the upcoming contract talks have ev-eryone on edge.

When Cynthia (Kimberly Scott), an Af-rican-American woman, is promoted and charged with delivering bad news to the rank-and-file, her white pals Tracey and Jes-sie (Johanna Day and Tara Mallen) are quick to accuse her of selling out and of having af-firmative action to thank for her good fortune. Cynthia and Tracey have both secured jobs at the same plant for their recent high school-grad sons; add in Jack Willis as Stan, who re-tired from the factory after an injury and now tends bar, and that’s three generations of la-bor drowning their sorrows in the same little room. Reza Salazar’s Oscar—the son of Cen-tral American immigrants—works at the bar, too, but when he asks Tracey to help him get a better-paying job at the factory, she turns him down flat.

Kate Whoriskey staged Sweat for the Or-egon Shakespeare Festival, and the world-premiere 2015 production is now making its D.C. debut at Arena Stage. Nottage and Whoriskey, who previously collaborated on 2003’s Intimate Apparel and the 2009 Pulit-

zer Prize winner Ruined, interviewed resi-dents of Reading as research for Sweat. Par-ticularly authentic are Nottage’s observations about how shared hardship can uncork racial discord that stays bottled up in sunnier times, and how entitlement has a way of snuffing out generosity. Tracey and her son Jason (Stephen Michael Spencer) slide into base bigotry to explain their misfortune, while dismissing the economic news disbursed through expository bursts of CNN on the bar TV as “bullshit.” (John Lee Beatty’s detailed revolving set is ut-terly convincing as a dive bar, except for the fact that the TV is tuned to cable news.)

Sweat’s stumbling block isn’t a lack of au-thenticity, but a lack of imagination. It’s an earnest dramatization of an existential prob-lem, one that can only grow more dire as a shrinking sliver of the U.S. population con-trols a swelling percentage of the wealth. In the passages where Nottage lets her skills as a storyteller (and too infrequently, as a joke-teller) soar, the results are undeniably pow-erful—for example, when Mallen performs a drunken monologue about a trip she and her ex planned long ago, one she now knows she’ll never take. But her intention here is less to entertain than to bear witness to the suf-fering of an entire class of Americans—not,

generally speaking, the one that goes out to see new plays.

Fair enough. I just wish there were some-thing here that Bruce Springsteen hasn’t al-ready illuminated, again and again, in the space of four-and-a-half minutes, with a melody to keep us listening. Nottage wants us to feel how the tedium of these charac-ters’ lives feeds their bitterness, but her method—writing scenes of angry recrimi-nation among friends that feel repetitive and tedious—makes me more inclined to clap my hands over my ears than to lean in. There is a nagging sense that we the audience are be-ing lectured, and maybe that’s appropriate: There are a lot of fatcats in these seats, after all. But there probably weren’t many when it played in Ashland, Ore., and there prob-ably won’t be if it ever gets to Reading, Pa. —Chris Klimek

1101 Sixth St. SW. $55–$100. (202) 554-9066. arenastage.org.

WAR of the RougeSSeñorita y Madame: The Secret War of Elizabeth Arden and Helena RubinsteinBy Gustavo OttDirected by Consuelo TrumAt GALA Hispanic Theatre to Feb. 28

There aren’t many places a Venezuelan government official would be applauded by the president of the Hispanic Chamber of Commerce, but Gala Theatre brings togeth-er strange bedfellows. In this instance, it’s for Venezuelan playwright Gustavo Ott’s ribald dramatization—bordering on farce—of the rivalry between two onetime giants of the cosmetics business, Helena Rubinstein and Elizabeth Arden.

Ott’s play is surprisingly engaging for an otherwise obscure subject (with no particu-lar Latino connection, Gala’s usual niche; the play is in Spanish with English surtitles). To-day, Rubinstein’s and Arden’s legacies persist in much reduced form, their products rele-gated to the outer wings of Macy’s beauty de-partment by bigger names like Estée Lauder and L’Oréal. The latter now owns Rubin-stein’s line, and while Arden’s company still exists under new ownership, it’s moved more into the celebrity fragrance market, with

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A hectoring portrayal of working-class Pennsylva-nians gets bogged down in its lack of imagination.

9:30 Club is debuting its own musical variety show on PbS this spring. washingtoncitypaper.com/go/liveat930


28

CPARTS Continued

smells from Justin Bieber, Nicki Minaj, and Taylor Swift. But a century ago, the two were the undisputed leaders of an industry they had largely built from scratch. Rubinstein took skin creams from hospital burn wards to every mall in the world, using aggressive marketing, value-based pricing, and dubi-ous scientific claims to perfect the great for-mula of American capitalism—scaring inse-cure people into buying something they don’t need. Arden made makeup, associated at the time with prostitutes, respectable for the rul-ing class and developed new marketing tech-niques like in-store makeovers.

They also hated each other’s guts, and Ott and director Consuelo Trum draw ter-rific humor from this vicious contest with performances by Ana Verónica Muñoz and Luz Nicolás. Whether or not they are true to life (the two women never actually met in person, but the play invents such an en-counter), their characterizations are perfect foils for one another: Muñoz, as Rubinstein, is alternately haughty, paranoid, and driv-

en to social climbing by her estrangement from her Jewish-Polish parents who couldn’t quite fathom having a business magnate for a daughter. Nicolás, one of the most con-sistently electrifying actors in D.C. theater, plays Arden as some kind of mad banshee, crawling over the stage and shrieking ob-scenities about her rival. Both are gleefully vulgar, Arden’s insults seasoned with a re-flexive anti-Semitism, which got her in bed with the Nazis in the ’30s.

The historical settings, spanning turn-of-the-century Poland to Australia, Paris, and 1960s New York, are not quite as evocative as the trash-talking. The World War II scenes are a perfunctory detour into now-we’re-being-serious territory that doesn’t jibe with the rest of the play’s slapstick, or even with the World War I–era scenes of Rubinstein and Arden taunting each other over the backs of chairs in an irreverent allusion to trench warfare. Their real-life interactions with artists and authors such as Hemingway, Matisse, Picasso, and Proust get passing mention (mostly played for

laughs about Rubinstein’s ignorance of those she patronized); so does their role in the wom-en’s suffrage movement, including one of Ar-den’s more notable marketing schemes, orga-nizing a voting rights march that doubled as an advertisement for her lipstick.

The simple stage design of paired desks and doors (Arden’s in her trademark red) doesn’t offer much sense of time or place, but is supplemented by black-and-white projec-tions of the actors being filmed in real time, illustrating Ott’s framing device: an end-of-life interview with the two women by a belea-guered reporter played by Cecilia De Feo.

Señorita y Madame isn’t much of a history lesson, or a business lesson, though it touch-

es on everything from the rise of fascism to the rise of modern advertising (with some wry observations by Arden on the intersection of the two). It can be seen as a feminist allego-ry, from a kind of Beyoncé, CEO-as-femi-nist-icon perspective. But it’s more of a cau-tionary tale than a celebration: two of the first self-made millionaire women whose personal squabbles blinded them to the Charles Rev-sons, Max Factors, and other male corporate competitors who would eventually overtake and absorb the empires they created.

—Mike Paarlberg

3333 14th St. NW. (202) 234-7174. $20–$42. galatheatre.org.

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Gala goes beyond its niche and finds success at the cosmetics counter.


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FilmShort SubjectS

Crass aCtion HeroDeadpoolDirected by Tim Miller

Marvel’s biggest antihero is Deadpool, who made his comic book debut in 1991. Un-like other costumed fighters with superpow-ers, this costumed fighter with superpowers traffics in dirty jokes, genuine bloodlust, and a cheeky breaking of the fourth wall. He is rebellious like a preteen boy who just discov-ered The Jerky Boys; he celebrates profan-ity for its own sake and rarely breaks from a formula. The new film Deadpool contin-ues in that tradition. It contains everything that made the character a cult hit, and yet it doesn’t use that freedom to accomplish any-thing interesting or genuinely subversive.

When we first meet Deadpool (Ryan Reynolds), he’s getting ready for a car chase. The chase involves exploding heads, severed limbs, and a borderline sociopathic disdain for civilian wellbeing. Director Tim Miller might have shot the sequence with verbal wit, except Miller and his screen-writers Paul Wernick and Rhett Reese have a clumsy framing device. They jump be-tween the chase and a protracted origin story, one that takes up the majority of the film’s already crisp running time. Includ-ing the flashbacks, the origin story takes well over an hour.

We learn that Deadpool started as Wade Wilson, a fast-talking mercenary who falls in love with Vanessa (Morena Baccarin). The relationship requires Wade to feel feelings, except when he learns he has cancer and ig-nores the implied partnership with his spe-cial lady. A mysterious stranger tells Wade he can cure the cancer and give him super-powers, so Wade abandons Vanessa only to discover the stranger plans to use him as a mindless super-soldier. Wade escapes, obvi-ously, and spends the rest of the film exact-ing revenge on his captors.

Reynolds is a naturally charismatic actor, and the Deadpool mask does a disservice to his expressive eyes. Still, Wilson is a total motormouth, and most of Deadpool’s jokes are one-liners that ignore drama and charac-ter development. Miller and his screenwrit-ers tilt toward intrigue when they see Wil-son’s jokes as a personality flaw, but most of the time they celebrate his asides for their own sake.

Deadpool takes a kitchen-sink approach that recalls the spoof films of the Zucker brothers and Mel Brooks, so some jokes land better than others. Deadpool is funniest when Wilson upends traditional superhero mascu-linity. There’s a throwaway gag when his tiny hand rejuvenates, and another as he takes a dildo up the ass. The vast majority of Dead-pool’s humor is adolescent to a fault. There is nothing wrong with poop jokes—indeed, poop is often the funniest bodily excretion—except Deadpool treats them as asides to ma-terial that’s already too thin.

The other significant plot departure is the love story—Wilson fights to save Vanessa, not the world—yet she’s not quite a fully formed character; more of a “friends with benefits” Cool Girl cliché. This is a teenager’s ideal of a girlfriend, which is another of this film’s su-perficial, easy forms of subversion.

Other superheroes help out Deadpool—the X-Men heroes Colossus and Negason-ic Teenage Warhead—and the script uses them as a chance to comment on tropes of the X-Men franchise. All of these jokes are predictable, just like Stan Lee’s perfuncto-ry appearance. A more rebellious Deadpool would comment on how its climax looks just like every other Marvel climax, but instead there’s safety to the tone that veers only from amusing to dull.

Unlike other films from Marvel, Deadpool feels like a labor of love. Reynolds, Miller, and the others clearly have an affinity for the character, and their energy creates the iron-ic feeling that they should have had gone fur-ther. The ubiquity of Marvel and superhero films means that they deserve to be knocked down a peg or two.

The adaptation of Watchmen did that, al-beit without much humor, and perhaps the issue with Deadpool is that it’s too close the source. The transition to film should arrive with more sophistication, and Deadpool de-fiantly pretends it does not require any. This is a film that would rather nibble than bite. —Alan Zilberman

Deadpool opens Friday in theaters everywhere.

Voting ends March 1.

HITTING NEWSTANDS APRIL 7


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Galleries

“Maggie Michael: A Phrase Hung in Midair as if Frozen” At the American University Museum at the Katzen Arts Center to March 13

By Kriston Capps

One perfect moment tucked away in Maggie Michael’s mid-career painting survey shines through the show. It’s a sequence of four of her “Clone” paintings, early works that saw the artist pour latex into puddles and careful-ly maneuver them to produce mirror-image pools of paint. This is a moment that the American University Museum at the Katzen Arts Center does its best to bury.

Like cells divided by meiosis, Michael’s clones demon-strate her twin impulses as a painter. She strives for abstrac-tions that address the big questions: totemic themes, such as nature’s dual identity as life-giver and lifetaker. Yet she also pushes painterly strategy to the forefront, pressing form for-ward as an engine for content. “A Phrase Hung in Midair as if Frozen” succeeds in showcasing both of these impulses in Michael’s work, narrative and tactical. And despite some mis-steps, the show makes the case for her as the strongest painter to emerge from D.C. in a generation.

For “A Phrase Hung in Midair as if Frozen,” curator Sar-ah Newman has avoided any simple chronological or stylistic categorization. While a sampling of her older poured paint-ings are presented together in one gallery (including those 2002- and 2003-era “Clone” paintings, sentenced to a cor-ner), the rest of the show hums with paintings from across Michael’s 15 years or so in the District. Hung all at once this way, they illustrate the fact that her work has never evolved in a linear direction.

As always with shows at the museum, Michael’s survey is wedged into too tight of a space. The sharply curved walls, along with several irregular galleries in the EYP Architec-ture & Engineering–designed building, have never been forgiving for painting shows. But it’s the museum’s insis-tence on stuffing the galleries chock-a-block with exhibits that makes the museum so hard on viewers. No show in the building’s history has ever been given the room it needs to breathe. On the night of the opening of Michael’s show, for example, three other large surveys also opened (all of them starring female artists, a meta conceit). So much program-ming means that shows are shoved up against every corner and crevice of the institution.

Newman turns these restraints to her advantage, for the most part. At least two-dozen paintings in “A Phrase Hung in Midair as if Frozen” are installed salon-style on one large wall on the museum’s third floor. This lets out some of the pressure on the rest of the show, which stretches out to fill the remaining third-floor galleries. But the salon-style hang-ing also raises a point about Michael’s work and her place in art history.

Along the spectrum of American abstract painters, Mi-chael falls somewhere between Jackson Pollock and Agnès Martin. Perhaps unstably so—not at the midway point, but rather lurching backward and forward between Pollock’s to-talistic abstraction and Martin’s grid-oriented reductivism. In a catalog essay, Olivier Schefer describes Michael’s simul-taneous appraisal of order and chaos as “a unique and unex-pected encounter of two major and antithetical tendencies of modernism.”

The salon hanging teases out a different dimension of Michael’s work, a vector that runs orthogonal to the whole Pollock–Martin continuum. Think of either of these paint-ers’ works in a museum: They stand alone—severe, stand-off-ish, iconic. There’s more give-and-take between Mi-chael’s paintings, by comparison. Her works flow in fluid sequences, borrowing liberally from prior arcs in her ca-reer. Paintings by Michael read like phrases of a long and winding sentence.

“A Phrase Hung in Midair as if Frozen” is a success for sussing out this quality of Michael’s art: that she only ever adds to her vocabulary, never discarding brushstrokes or applications. Text surfaces rarely in Michael’s paintings,

but not all at once; she’s returned to letterforms sever-al times. The same goes for spray paint, scrapes, stains, and so on. Three paintings from Michael’s “Perfect X” se-ries, hung along a single wall adjacent to the salon room, show how she mines certain concepts over and over. While they’re newer works, the Xs are cousin to the Os she first showcased back in 2002.

In places, especially the large-format salon hanging, the busy nature of the show underscores something frenetic about Michael’s work. It’s easy to see the repetitions across her career, as one kind of brushstroke resurfaces in a total-ly different painting 10 years later. What gets lost is some-thing narrative: There are too few opportunities to isolate and compare certain elements (for example, the way the feminine figure appears over and over, across all kinds of works). Paintings as loud as Michael’s are bound to take up every part of a space they’re given. The only disappointment in her mid-career survey is that they weren’t given more. CP

4400 Massachusetts Ave. NW. Free. (202) 462-1601. ameri-can.edu/cas/museum.

Express Yourself A mid-career survey of Maggie Michael’s abstract paintings sometimes struggles to be seen at the American University Museum.

“No Symbols Where None Intended” by Maggie Michael; 2015


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c h a r l e s - S t e c k - P h o t o g r a p h yw e d d i n g s , - p o r t r a i t s , - h e a d s h o t s - a n d - m o r e !

[email protected]

www.steckphotography.com


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BooksSpeed ReadS

If It AIn’t BrokeGet a GripTexas Review Press; 2015

Lisa works at her father’s statuary business selling stone squirrels, fairies, frogs, hedgehogs, Alices in Wonderland, Jesuses, cherubs, and, of course, gnomes—Big Pat’s best-selling item. But the lawn ornament that Lisa’s mother chose to decorate the family’s own backyard—just behind the business—doesn’t include any of those whimsical charac-ters. It’s a bird bath made of “just plain gran-ite with sharp, sensuous lines, unapologetic for its functional strength, its elegant simplic-ity.” Lisa finds herself gazing at this bird bath on her 40th birthday, reflecting on its similar-ity to her mother and how her own life looks more like her sunken grocery-store birthday cake. “The dark sink hole in the white sug-ary surface looks angry and deep and is a little like the feeling you have in your chest,” Lisa thinks. She has plenty to be upset about: Her ex-boyfriend, whom she may still be in love with, is engaged to a much younger wom-an; she lives in the garage apartment behind the family business; and her mother died of a brain aneurysm when she was 12 years old.

Lisa’s messy life is typical of the characters

in Get a Grip, Baltimore-based writer Kathy Flann’s collection of short stories. Mrs. Polasky is a widow with debilitating neuropa-thy whose husband dies of a cocaine-induced heart at-tack in the middle of a tryst with a younger employee. Two Estonian brothers from a violent Baltimore neigh-borhood lose their chance at college basketball scholar-ships when their bus breaks down. Alexander is an alco-holic executive whose wife gives birth to stillborn twins and then leaves him for his competitor.

Flann imagines an im-pressively diverse set of lives. But the characters are unified by their misfortune and their struggle to “get a grip” on their lives as they yearn for higher callings. Nearly all of the characters have a spouse, child, or par-ent who died prematurely or abandoned them, some-times both. Emerging from these losses is a tendency toward self-destructive be-havior. Lisa helps her ex-boyfriend plan his propos-

al to his girlfriend, even though she knows he still has feelings for her, which she returns. Ned refuses to go to the hospital after he gets in a bad bike crash. Franz smokes weed a week before his new job’s drug test. It’s clear that Flann is interested in how people’s self loathing causes them to resist help or happi-ness, often injuring those who love them in the process. But these characters are so bro-ken it’s almost unbelievable. Flann seems so eager to make things happen in her stories that they resemble TV dramas in which in-creasingly absurd events unfold in order to coax the viewer to tune in the next week.

All the action comes at the expense of in-sight into the characters’ thoughts and feel-ings, which makes it difficult to understand and believe their subsequent behaviors. This is because the characters’ thoughts of-ten don’t reflect the way most people think; they’re too complete, too expository: “Now, he knows, in a way he hasn’t before, that peo-ple hide inside themselves and outside them-selves, as if they are avoiding enemy fire, as if they are at war.”

Flann would be better off keeping the sto-ries simple, like the bird bath in the title sto-ry, which sticks in Lisa’s mind long after it is gone. Perhaps it is telling that a gnome—rather than the bird bath—appears on the book’s cover. —Natalie Villacorta

KC Jazz Club • Performances at 7 & 9 p.m. in the Terrace Gallery.No minimum. Light menu fare available.

Discovery Artist in the KC Jazz Club

Matthew WhitakerThis fast-rising, 14-year-old Discovery Artist—who’s performed with the likes of Roy Ayers, Jon Batiste, the New York Pops Orchestra, and Christian McBride—brings his incredible prowess on the electric keyboard and B-3 organ to the KC Jazz Club. Friday, February 12 Best availability 9 p.m. Discovery Artists in the KC Jazz Club are supported by The King-White Family Foundation and Dr. J. Douglas White.

KENNEDY CENTER

Jason Moran, Artistic Director for Jazz

2015–2016 Season

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

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

KC Jazz Club

A Family Affair

The Whitfield Family BandMaking its Kennedy Center debut with selections from its newest recording, The Whitfield Family Band continues the jazz tradition of familial, intergenerational performance.Saturday, February 13This performance is made possible through the generous support of The William N. Cafritz Jazz Initiative.M

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KC Jazz Club

Joe Lovano Village Rhythms Bandfeaturing Liberty Ellman, Michael Olatuja, Abdou Mboup, and Otis Brown III with special guests Judi Silvano and Tim HagansFor two nights, the Village Rhythms Band showcases the linear relationship between West African music and jazz in a way that is unique to Joe Lovano’s voice--warm, sinuous, and constantly moving over an emphatic pulse.Friday & Saturday, February 19 & 20 Best availability 9 p.m.


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MusicDiscography

Scion of the timeSII Magrudergrind Relapse Records; 2016

Earlier this month, Toyota put an end to Scion, a 13-year-old brand made with young people in mind. Executives failed to magne-tize millennial drivers as the recession had its way with the company’s target audience, but in an effort to woo twentysomethings, Scion became an unexpected focal point for disparate underground sounds. As a way to get its name in front of youngsters, Scion funded and released music by subversive hip-hop, electronic, and metal acts. Among them: D.C. grindcore three-piece Magru-dergrind. Dogmatic grind fans considered the result of that partnership, 2010’s Crush-er EP, a failure by association, but Magrud-ergrind never let anyone else’s ethical code warp its sense of what feels right—and what sounds right.

Magrudergrind have largely been silent in the six years since Crusher. But late last year, the group publicly put the wheels in motion for the imminent release of an al-bum called II. Its third full-length album comes amid noticeable changes for Magru-dergrind. II is the band’s first album for venerable underground metal label Re-lapse Records. This is the first album with-out workhorse drummer Chris Moore, who joined Magrudergrind shortly after vocalist Avi Kulawy launched the group as a student at Walter Johnson High School in 2002 (full

disclosure: I attended Walter Johnson at the same time). Moore was Magrudergrind’s last residential link to this city: Kulawy and guitarist R.J. Ober now call Brooklyn home, and its new drummer, Casey Moore, plays in a hardcore-heavy Brooklyn grind outfit Psychic Limb.

Location change notwithstanding, Magrudergrind’s outsider spirit remains pivotal to its cause. That spirit developed while the group evolved in a D.C. scene unsure of what to make of its unassail-able blast beats, insurrect guitar riffs, and acid-ic squalls. Gone, in part, is some of the grit and grime that clung to the band’s fre-netic assaults—no matter how much whiplash its songs might induce. II is crys-talline, a reflec-tion of Magru-dergrind’s adroit precision.

Ma g ruder-grind lashes out against the dregs of hu-manity with a robotic accuracy and the kind of speed Internet companies claim to control. Its relentless, nonstop intensi-ty—large portions of II rarely leave a sec-onds reprieve, not nearly enough time for the heat-vapor to emerge from Ober’s gui-tar—is fit for this exhausting information age. Contemporary issues burble through-out II: The previously released “Sacrificial Hire” concerns the fog of conformity that keeps blood flowing through Jihadist move-ments, though it’s hard to make out specific lyrical points from a single pass of the min-ute-and-a-half blitz.

Kulawy’s confrontation, acerbic lyrics and singing make up a fraction of Magru-dergrind’s hurricane approach. II requires multiple listens to begin to unravel the band’s complex direction. During one lis-ten I was so enraptured by Moore’s drum-ming, which moves like a sped-up imperi-alist march but propelled with a rebellious heart, that Ober’s guitars and Kulawy’s screams passed like trucks on the high-way. The band’s desire to explore differ-ent speeds, and its innate sense of when to do so, makes II a bruiser. When the melod-ic swing of “Icaro” comes into the picture, it’s easier to want to return for more lumps. —Leor Galil

Caption TK

7719 Wisconsin Ave., Bethesda, MD(240) 330-4500

Two Blocks from Bethesda Metro/Red LineFree Parking on Weekends

F E B R U A R Y

A P R I L

M A Y

FRIDAY,FEBRUARY 26RAHSAAN PATTERSON

FRIDAY,APRIL 22CAMEO

MONDAYMAY 2

SNARKY PUPPY

F 12, S 13 & SU 14 RETURN OF THE GENTLEMEN JEFF BRADSHAW & ERIC ROBERSON - 3 DAYS, 3 SHOWS, A LOVER’S WEEKEND

S 27 JOE CLAIR & FRIENDS COMEDY SHOWSU 28 BBJ 3 YEAR ANNIVERSARY FEATURING THE DUKE ELLINGTON ORCHESTRA BRUNCH & EVENING SHOWS

M A R C H

THURSDAYMARCH 24 +

FRIDAY MARCH 25AN EVENING WITH LALAH HATHAWAY

TH 10 & F 11 KENNY LATTIMORE


34

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

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

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

HAPPY HOUR DRINK PRICES AFTER THE SHOW AT THE BACK BAR!

9:30 CUPCAKES The best thing you could possibly put in your mouth. Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA.

www.buzzbakery.com930.com

MANY MORE SHOWS ON SALE! 930.comThe best thing you could possibly put in your mouthCupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com9:30 CUPCAKES

Big Head Todd and the Monsters w/ Mike Doughty ...................................Th 11Graveyard w/ Spiders Early Show! 6pm Doors .....................................................F 12STEEZ PROMO PRESENTS SNAILIN USA TOUR PT. 2 FEATURING Snails w/ Must Die ......................................................................................................F 12

ALL GOOD PRESENTS The Devil Makes Three w/ Langhorne Slim .................................................... Su 14

THIS WEEK’S SHOWS

FEB 13 SOLD OUT!

Unknown Mortal Orchestra w/ Lower Dens .................................................W 17Ralphie May This is a seated show. Early Show! 6pm Doors ..........................Th 18ALL GOOD PRESENTS The Soul Rebels Sound System feat. Talib Kweli Late Show! 10pm Doors .Th 18ALL GOOD PRESENTS Anders Osborne w/ Amy Helm and The Handsome Strangers ........................F 19

Josh Ritter and The Royal City Band w/ Elephant Revival ..........................W 24Ty Segall and The Muggers w/ CFM & AXIS: SOVA ......................................Th 25ALL GOOD AND DALE’S PALE ALE PRESENT Steep Canyon Rangers w/ Only Lonesome Early Show! 6pm Doors .............F 26ALL GOOD PRESENTS BoomBox w/ Ben Silver (Orchard Lounge) Late Show! 10pm Doors................F 26STEEZ PROMO PRESENTS The Floozies w/ Russ Liquid & Sunsquabi ....................................................Sa 27Johnnyswim ...................................................................................................M 29

Wolfmother w/ Deap Vally ............................................................................... W 2Pat Green & Randy Rogers Band .................................................................Th 3Drive-By Truckers w/ Thayer Sarrano ...................................................F 4 & Sa 5Ra Ra Riot w/ Sun Club ................................................................................... Su 6ALL GOOD PRESENTS Twiddle w/ LITZ.............................................................................................Th 10ALL GOOD PRESENTS Railroad Earth .................................................................................. F 11 & Sa 12Brian Fallon and The Crowes w/ Austin Plaine...........................................Tu 15Goldlink w/ Esta ..............................................................................................W 16Cowboy Mouth w/ Dingleberry Dynasty .........................................................Th 17Galactic w/ The Bright Light Social Hour ............................................. F 18 & Sa 19AEG LIVE PRESENTS Pusha T w/ Lil Bibby & G Herbo ......................................................................W 23G. Love and Special Sauce ..........................................................................Th 24Savages ..........................................................................................................Su 27

THE BLUEGRASS SITUATION AND ALL GOOD PRESENT The Infamous Stringdusters feat. Nicki Bluhm (F 1 - w/ Della Mae • Sa 2 - w/ Paper Bird) ...............................................F 1 & Sa 2Ben Harper and the Innocent Criminals w/ Christopher Paul Stelling ..Su 3 & M 4

FEBRUARY

MARCH

FEB 23 SOLD OUT! SECOND NIGHT ADDED!

APRIL

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

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

Hey Marseilles w/ Bad Bad Hats ...F FEB 12SafetySuit w/ Connell Cruise .............. Tu 16Kat Dahlia ............................................W 17

Vinyl Theatre & Finish Ticket w/ Irontom ........................................... Tu 23

Moon Hooch w/ Box Era ......................W 24

I .M.P. PRESENTS

Echostage • Washington, D.C.

2135 Queens Chapel Rd. NE • Ticketmaster

I.M.P. & STEEZ PROMO PRESENT

BIG GIGANTIC w/ Mija .................................................................. FRI APRIL 8On Sale Friday, February 12 at 10am

JUST ANNOUNCED!

Kid Cudi All 12/10 tickets will be honored. .....................................................FEBRUARY 11

Umphrey’s McGee w/ Tauk ........................................................................FEBRUARY 12Coheed and Cambria w/ Glassjaw • I the Mighty • Silver Snakes ................MARCH 2Logic w/ Dizzy Wright ...................................................................................................MARCH 31Bloc Party w/ The Vaccines ......................................................................................... MAY 19

THIS THURSDAY!

THIS FRIDAY!

1215 U Street NW Washington, D.C.

COMEDY BANG! BANG! LIVE! STARRING Scott Aukerman with guests Paul F. Tompkins & Lauren Lapkus w/ Neil Campbell ..................................MAY 9

On Sale Friday, February 12 at 10am

CITIZEN COPE (An Intimate Solo / Acoustic Performance) ............ APRIL 1On Sale Friday, February 12 at Noon

JUST ANNOUNCED!

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

STORY DISTRICT’S

Sucker For Love ........................................................................................FEBRUARY 13AEG PRESENTS

R5 w/ Ryland & Parade of Lights ....................................................................FEBRUARY 23Laurie Berkner Band ...............................................................................FEBRUARY 28Vicente Amigo .................................................................................................... MARCH 6Yamato - The Drummers of Japan ........................................................... MARCH 16Joe Satriani ............................................................................................................APRIL 2Jewel (solo acoustic) w/ JD and The Straight Shot .............................................APRIL 7AEG LIVE PRESENTS

Welcome to Night Vale ...........................................................................APRIL 18 & 1993.9 WKYS AND MAJIC 102.3 PRESENT

Plastic Cup Boyz.................................................................................................. MAY 29

THIS SATURDAY!

Merriweather Post Pavilion • Columbia, MD

I.M.P. & AEG LIVE PRESENT

PENTATONIX w/ Us the Duo................................................................. MAY 12

MIRANDA LAMBERT w/ Kip Moore & Brothers Osborne ......AUGUST 25On Sale Friday, February 12 at 10am

JUST ANNOUNCED!

M3 ROCK FEST FEATURING

Tesla • Vince Neil • Kix and more!..................................................APRIL 29 & 30Jason Aldean w/ Thomas Rhett • A Thousand Horses • Dee Jay Silver ................MAY 7Kenny Chesney w/ Old Dominion .................................................................... MAY 19Twenty One Pilots ........................................................................................JUNE 10Ellie Goulding ............................................................................................................ JUNE 13Tame Impala w/ M83 ............................................................................................ JUNE 16The Cure w/ The Twilight Sad..................................................................................... JUNE 22Modest Mouse / Brand New .........................................................................JULY 12

• For full lineups and more info, visit merriweathermusic.com • 930.com

JASON ALDEAN w/ Thomas Rhett and more! ........................MAY 7KENNY CHESNEY w/ Old Dominion ......................................MAY 19MIRANDA LAMBERT ..................................................... AUGUST 25WPOC WEEKEND IN THE COUNTRY ................................ DATE TBA

Buy one ticket, attend four shows. Sit in the same seat for each show!

LAWN TIX COMBO ONLY $150 FOR ALL FOUR SHOWS!


35

CITYLIST Music . . . . . . . . . . . . . . . . . . . . . . . . .35Theater . . . . . . . . . . . . . . . . . . . . . . 39Film . . . . . . . . . . . . . . . . . . . . . . . . . . .41

SearCh LISTIngS aTwaShIngTonCITYpaper.Com

Music

FridayRock9:30 Club 815 V St. NW. (202) 265-0930. Graveyard, Spiders. 6 p.m. $25. 930.com.

birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Renaissance. 7:30 p.m. $29.50. birchmere.com.

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Umphrey’s McGee. 6 p.m. $35. echostage.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Tom Principato, Bobby Thompson & Friends featur-ing Ron Holloway. 8 p.m. $15–$18. gypsysallys.com.

the hamilton 600 14th St. NW. (202) 787-1000. Speakers of the House. 10:30 p.m. Free. thehamiltondc.com.

iota Club & Café 2832 Wilson Blvd., Arlington. (703) 522-8340. The Dawn Drapes, Illiterate Light, Peyote Pilgrim. 8:30 p.m. $10. iotaclubandcafe.com.

roCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Heavy Breathing, Time is Fire, Smoota. 9 p.m. $12. rockandrollhoteldc.com.

u street musiC hall 1115 U St. NW. (202) 588-1880. Hey Marseilles, Bad Bad Hats. 7 p.m. $15. ustreetmusichall.com.

Villain & saint 7141 Wisconsin Avenue, Bethes-da. (240) 800-4700. Pebble to Pearl. 9 p.m. $10–$12. villainandsaint.com.

Funk & R&Bamp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Julia Nixon. 8 p.m. $25–$35. ampbystrathmore.com.

bohemian CaVerns 2001 11th St. NW. (202) 299-0800. Aaron “Ab” Abernathy with band Nat Turner. 7:30 p.m. & 10:30 p.m. $25–$77. bohemiancaverns.com.

Dar Constitution hall 1776 D St. NW. (202) 628-4780. Valentine’s Soul Jam: The Stylistics, Dra-matics, New Birth, Blue Magic. 8 p.m. $47–$125. dar.org.

howarD theatre 620 T St. NW. (202) 803-2899. Amel Larrieux. 7:30 p.m. $37.50–$75. thehowardtheatre.com.

ElEctRonic9:30 Club 815 V St. NW. (202) 265-0930. Snails, Must Die. 11 p.m. SOLD OUT. 930.com.

flash 645 Florida Ave. NW. (202) 827-8791. Josh Wink. 8 p.m. $5–$12. flashdc.com.

JazzbethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Eric Rob-erson. 8 p.m. $50–$60. bethesdabluesjazz.com.

mr. henry’s 601 Pennsylvania Ave. SE. (202) 546-8412. The Kevin Cordt Quartet. 8 p.m. Free. mrhenrysdc.com.

twins Jazz 1344 U St. NW. (202) 234-0072. Euge-nie Jones. 9 p.m. & 11 p.m. $20–$25. twinsjazz.com.

BluEsmaDam’s organ 2461 18th St. NW. (202) 667-5370. Lex Grey & The Urban Pioneers. 10 p.m. Free. madamsorgan.com.

countRyfillmore silVer spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Stars ‘n Guitars with Craig Morgan, Kelsea Ballerini, Easton Corbin, Granger Smith, Brothers Osborne, Maren Morris. 8 p.m. $25. fillmoresilverspring.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Zachary Lucky. 7:30 p.m. Free. gypsysallys.com.

the hamilton 600 14th St. NW. (202) 787-1000. Chatham County Line. 8:30 p.m. $17–$22. thehamiltondc.com.

best Coast at 9:30 Club, feb. 16

2047 9th Street NWlocated next door to 9:30 club

BRING YOUR TICKETAFTER ANY SHOW AT

Club TO GET A

FREE SHOT!

HAPPY HOUR:$2 TUESDAY

$3 THURSDAY$4 FRIDAY

(ALL DRAFTS AND RAIL)

Serving EVERYTHING

from BURGERS to

BOOZY SHAKES

SUNDAY FUNDAY

with Keenan & Smudge

3-7pm every Sun. Nov-Feb

Come for brunch, stay for the party!

60S-INSPIRED DINER


36

FolksongbyrD musiC house anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Sara Curtin, Lauren Calve, Marian McLaughlin. 9 p.m. $10–$12. songbyrddc.com.

WoRldgw lisner auDitorium 730 21st St. NW. (202) 994-6800. Ladysmith Black Mambazo. 8 p.m. $40–$70. lisner.gwu.edu.

dJ nightshowarD theatre 620 T St. NW. (202) 803-2899. The Prince & Michael Jackson Experience with DJ Dave Paul. 11 p.m. $12–$15. thehowardtheatre.com.

Vocalatlas performing arts Center 1333 H St. NE. (202) 399-7993. Gay Men’s Chorus of Washington: Rock Creek Singers and Potomac Fever. 8 p.m. $20–$39. atlasarts.org.

saturdayRockblaCk Cat 1811 14th St. NW. (202) 667-4490. Voivod, Vektor, Eight Bells. 9 p.m. $20. blackcatdc.com.

the hamilton 600 14th St. NW. (202) 787-1000. Flow Tribe, The Trongone Band. 8:30 p.m. $15–$25. thehamiltondc.com.

roCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Grizfolk, Knox Hamilton. 8 p.m. $15. rockandrollhoteldc.com.

Funk & R&BhowarD theatre 620 T St. NW. (202) 803-2899. The-Dream. 8 p.m. $25–$100. thehowardtheatre.com.

ElEctRoniceChostage 2135 Queens Chapel Road NE. (202) 503-2330. Galantis, Matthew Koma, CID. 9 p.m. $36.80. echostage.com.

Jazzbarns at wolf trap 1645 Trap Road, Vienna. (703) 255-1900. Bill Frisell. 7:30 p.m. $35–$40. wolftrap.org.

bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Eric Rob-erson. 8 p.m. $50–$60. bethesdabluesjazz.com.

bohemian CaVerns 2001 11th St. NW. (202) 299-0800. Integriti Reeves. 7 p.m. & 10 p.m. $25–$77. bohemiancaverns.com.

mr. henry’s 601 Pennsylvania Ave. SE. (202) 546-8412. Kim Scudera with Batida Diferente. 8 p.m. Free. mrhenrysdc.com.


BluEsbirChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Tab Benoit with Patty Reese. 7:30 p.m. $29.50. birchmere.com.

WoRldstate theatre 220 N. Washington St., Falls Church. (703) 237-0300. Bebel Gilberto. 7 p.m. $35–$38. thestatetheatre.com.

BUY TICKETS AT THE BOX OFFICEOR ONLINE AT THEHOWARDTHEATRE.COM

202-803-2899

GREGORY PORTERJAZZ AT THE HOWARD

KICKING OFF VALENTINES DAY WEEKENDPRODUCED BY JILL NEWMAN PRODUCTIONS

& BLISSLIFE ENT

THU FEBRUARY 11TH

AMEL LARRIEUX

THE PRINCE & MICHAEL JACKSONEXPERIENCE

FRI FEBRUARY 12TH

FRI FEBRUARY 12TH

MAYSA VALENTINE'S DAY SHOW

VALENTINE'S DAY BRUNCH FEAT.MARCUS JOHNSONSUN FEBRUARY 14TH

AVERY WILSON

SUN FEBRUARY 14TH

MON FEBRUARY 15TH

SOLD

OUT!

DALEYFRI FEBRUARY 19THGIANMARCO

AN EVENING WITH COMEDY AT THE HOWARDSAT FEBRUARY 20TH

PAUL REISER SUN FEBRUARY 21STK’JON

MON FEBRUARY 22NDJADAKISS

TUE FEBRUARY 23RDA CONVERSATION WITH

“ART, SEX, & DISOBEDIENCE”PUSSY RIOTTHU FEBRUARY 25TH

NAUGHTY BY NATURE25TH ANNIVERSARY TOUR

FRI FEBRUARY 26THMORGAN HERITAGE& BLACKALICIOUS SUN FEBRUARY 28TH

A DRAG SALUTE TO THE DIVAS

12

14 BURLESQUE-A-PADES IN LOVELAND feat. ANGIE PONTANI, The Maine Attraction,

Perle Noire, Helen Pontani, Cherie Nuit, Sunny Sighed & Bal’D Lightening, The Pontani Sisters and host MURRAY HILL

15 TANYA TUCKER 16 JACKIE GREENE Hollis

Brown

18 THE MARSHALL TUCKER BAND19 JUNIOR BROWN Ruthie &

The Wranglers

21 JEFFREY OSBORNE22 LEON RUSSELL Jefferson

Grizzard

23 THE ROBERT CRAY BAND24 JOE PUG Owen

Danoff

25 ALTAN26 FIREFALL & PURE PRAIRIE LEAGUE27 THE FOUR BITCHIN’ BABES 28 An Evening of Musical & Political

Humor with MARK RUSSELL Mar 1 GAELIC STORM 2 WYNONNA & The Big Noise “Stories & Song” w/Tim & Myles Thompson

3&4 RACHELLE FERRELL5 HARMONY SWEEPSTAKESA CAPELLA FESTIVAL 2016

6 WATCH Awards 2016 7pm

8 JESSE COOK10 LEO KOTTKE11 KATHY MATTEA 13 Jerry Douglas Presents

EARLS OF LEICESTER14 LIZZ WRIGHT Maia

Sharp

15 TAL WILKENFELD 17 DWELE18 MARSHALL CRENSHAW

& THE BOTTLE ROCKETS(All 1/22 tix honored)

20 AMERICA Don Chapman & Larry Burnett

22 BIG BAD VOODOO DADDY presents

with special guest BRETT DENNENSunday, May 15, 7:30pm

Tickets On Sale Now through Ticketmaster.com 800-745-3000

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

Feb

----------

Winter Tour 2016Songs for

All Our Times

Feb29

THE AVETT BROTHERS

1811 14TH ST NWwww.blackcatdc.com

@blackcatdc FEBRUARY SHOWSFRI 12 CHURCH NIGHT FRI 12 CMPVTR_CLVB

SAT 13 VOIVODSAT 13 MY ROCK & ROLL VALENTINE VARIETY SHOW / BURLESQUE

SUN 14 CHAD AMERICA’S 17TH ANNUAL VALENTINE’S DAY ROCK’N’ROLL DANCE PARTYSUN 14 PROTOMARTYR PRIESTSMON 15HUNTER VALENTINETUE 16 CHUCK RAGANWED 17 FILM SCREENING: POSITIVE FORCE: MORE THAN A WITNESS

THU 18 KEEPSFRI 19 RIGHT ROUND UP! 80S ALT POP DANCE PARTY

FEB 19 BLACK BROADWAY (21+)

SAT 20 CRYFEST CURE VS SMITHS DANCE PARTY

SAT 20 DEAR CREEKFRI 26 PISSED JEANS DOWNTOWN BOYS

TAKE METRO! WE ARE LOCATED 3 BLOCKS FROM THE

U STREET/CARDOZO STATIONTO BUY TICKETS VISIT TICKETFLY.COM

VOIVOD SAT FEB 13

CHUCK RAGANSAT FEB 16


37

bohemian CaVerns 2001 11th St. NW. (202) 299-0800. Loide. 6:30 p.m. & 9:30 p.m. $25–$77. bohemiancaverns.com.

howarD theatre 620 T St. NW. (202) 803-2899. Maysa. 8 p.m. $40–$90. thehowardtheatre.com.


BluEs9:30 Club 815 V St. NW. (202) 265-0930. The Devil Makes Three, Langhorne Slim. 8 p.m. $22.50. 930.com.

barns at wolf trap 1645 Trap Road, Vienna. (703) 255-1900. Marcia Ball. 7:30 p.m. $35–$40. wolftrap.org.

maDam’s organ 2461 18th St. NW. (202) 667-5370. The B.T. Richardson Band. 9 p.m. Free. madamsorgan.com.

opERageorge mason uniVersity Center for the arts 4400 University Drive, Fairfax. (703) 993-2787. Virginia Opera: Romeo and Juliet. 8 p.m. $48–$98. cfa.gmu.edu.

classicalsixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Roomful of Teeth & American Con-temporary Music Ensemble. 8 p.m. $35. sixthandi.org.

Vocalatlas performing arts Center 1333 H St. NE. (202) 399-7993. Gay Men’s Chorus of Washington: Rock Creek Singers and Potomac Fever. 5 p.m. & 8 p.m. $20–$39. atlasarts.org.

sundayRockblaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Protomartyr, Priests, Protect-U. 7:30 p.m. $15. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. The Mile-stones, The Humble, YUM. 8:30 p.m. $8. dcnine.com.

galaxy hut 2711 Wilson Blvd., Arlington. (703) 525-8646. Buck Gooter, Don Zientara. 9 p.m. $5. galaxyhut.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Half Step, The Fat Catz. 8 p.m. $14. Westerly Park. 8 p.m. Free. gypsysallys.com.

musiC Center at strathmore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Alan Cumming. 8 p.m. SOLD OUT. strathmore.org.

sixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Laura Jane Grace and The Devour-ing Mothers, Dave Dondero. 8 p.m. $20–$23. sixthandi.org.

ElEctRonicu street musiC hall 1115 U St. NW. (202) 588-1880. Alison Wonderland, Golden Features, 2rip vs. The Banditz. 10 p.m. SOLD OUT. ustreetmusichall.com.

Jazzamp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Chaise Lounge. 8 p.m. $30–$40. ampbystrathmore.com.

bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Eric Rob-erson. 7:30 p.m. $50–$60. bethesdabluesjazz.com.

blues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Marion Meadows. 7 p.m. & 10 p.m. $85. bluesalley.com.

opERageorge mason uniVersity Center for the arts 4400 University Drive, Fairfax. (703) 993-2787. Virginia Opera: Romeo and Juliet. 2 p.m. $48–$98. cfa.gmu.edu.

classicalphillips ColleCtion 1600 21st St. NW. (202) 387-2151. Várjon-Baráti-Várdai Piano Trio. 4 p.m. $15–$30. phillipscollection.org.

MondayRockbarns at wolf trap 1645 Trap Road, Vienna. (703) 255-1900. Graham Nash. 8 p.m. $80–$90. wolftrap.org.

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Hunter Valentine. 7:30 p.m. $12. blackcatdc.com.

galaxy hut 2711 Wilson Blvd., Arlington. (703) 525-8646. Caz, Scotch Bonnets. 9 p.m. $5. galaxyhut.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Dressy Bessy, Old Monk. 8 p.m. $10–$12. gypsysallys.com.

Funk & R&BhowarD theatre 620 T St. NW. (202) 803-2899. Daley, Avery Wilson. 8 p.m. $20–$35. thehowardtheatre.com.

maDam’s organ 2461 18th St. NW. (202) 667-5370. One Nite Stand. 9 p.m. Free. madamsorgan.com.

aye nako at st. stephen’s Church, feb. 14


38

Jazzblues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Jazzy Blu. 8 p.m. & 10 p.m. $20. bluesalley.com.

countRybirChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Tanya Tucker. 7:30 p.m. $55. birchmere.com.

classicalkenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. Budapest Festival Orchestra with Iván Fischer, conductor, Marc-André Hamelin, piano. 8 p.m. $55–$120. kennedy-center.org.

tuesdayRock9:30 Club 815 V St. NW. (202) 265-0930. Best Coast, Wavves, Cherry Glazerr. 7 p.m. $30. 930.com.

barns at wolf trap 1645 Trap Road, Vienna. (703) 255-1900. Graham Nash. 8 p.m. $80–$90. wolftrap.org.

birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Jackie Greene with Hollis Brown. 7:30 p.m. $20. birchmere.com.

blaCk Cat 1811 14th St. NW. (202) 667-4490. Chuck Ragan & The Camaraderie, Cory Branan. 7:30 p.m. $15. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. The Loved Ones, Friendship Commanders. 8 p.m. SOLD OUT. dcnine.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Shaun Hopper. 8 p.m. $15. gypsysallys.com. Open Mic Night. Free. gypsysallys.com.

u street musiC hall 1115 U St. NW. (202) 588-1880. SafetySuit, Connell Cruise. 7 p.m. $20. ustreetmusichall.com.

Funk & R&BmaDam’s organ 2461 18th St. NW. (202) 667-5370. Clusterfunk. 9 p.m. Free. madamsorgan.com.

Jazzblues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Michelle Walker. 8 p.m. & 10 p.m. $20. bluesalley.com.

WednesdayRock9:30 Club 815 V St. NW. (202) 265-0930. Unknown Mortal Orchestra, Lower Dens. 7 p.m. $25. 930.com.

Dar Constitution hall 1776 D St. NW. (202) 628-4780. Bryan Adams. 8 p.m. $43–$89.95. dar.org.

DC9 1940 9th St. NW. (202) 483-5000. Timmy’s Organism, Video, and Regression 696. 8:30 p.m. $10–$12. dcnine.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Vanessa Silberman. 7:30 p.m. Free. Big Sam’s Funky Nation, 8 Ohms Band. 8 p.m. $12–$15. gypsysallys.com.

u street musiC hall 1115 U St. NW. (202) 588-1880. Kat Dahlia. 7 p.m. $20. ustreetmusichall.com.

ElEctRonicflash 645 Florida Ave. NW. (202) 827-8791. Tycho. 8 p.m. $30. flashdc.com.

JazzbethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Kevin Howard. 8 p.m. $15. bethesdabluesjazz.com.

blues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Indigo Love tribute to Sarah Vaughan. 8 p.m. & 10 p.m. $25. bluesalley.com.

twins Jazz 1344 U St. NW. (202) 234-0072. Nathan Hook. 8 p.m. & 10 p.m. $10. twinsjazz.com.

countRymaDam’s organ 2461 18th St. NW. (202) 667-5370. Big Virginia Sky. 9 p.m. Free. madamsorgan.com.

mansion at strathmore 10701 Rockville Pike, Rockville. (301) 581-5100. The Bumper Jacksons. 7:30 p.m. Free. strathmore.org.

classicalkenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Conservatory Project: Students from the San Francisco Conservatory of Music. 6 p.m. Free. kennedy-center.org.

dJ nightsroCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Daybreaker. 6 a.m. $21.60–$37.05. rockandrollhoteldc.com.

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39

musiC Center at strathmore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Baltimore Sym-phony Orchestra: An Evening with Sutton Foster. 8 p.m. $40–$104. strathmore.org.

gospElbarns at wolf trap 1645 Trap Road, Vienna. (703) 255-1900. The Jones Family Singers. 8 p.m. $25. wolftrap.org.

theateragents of azeroth The Washington Rogues present this new work based on Edward Snowden’s revelation that NSA and CIA agents spent much time and money investigating World of Warcraft online communities. The company wonders what the agents found and question the surveillance of our online activity in Jennifer Lane’s new play. Flash-point Mead Theatre Lab. 916 G St. NW. To Feb. 14. $15–$20. (202) 315-1305. culturaldc.org.

antigone proJeCt: a play in 5 parts Five female playwrights present their personal takes on Sophocle’s Antigone, imagining it in different places and times, as part of this evening-length work. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. Feb. 17 to March 6. $15–$40. (443) 518-1500. repstage.org.

between riVersiDe anD Crazy A disgruntled ex-cop battles to keep an enormous rent-controlled apartment and put down his demons in this dark, Pulitzer Prize-winning comedy from author Stephen Adly Guirgis, whose previous play, The Motherfuck-er With the Hat, played to acclaim at Studio three seasons ago. Studio Theatre. 1501 14th St. NW. To Feb. 28. $20–$86. (202) 332-3300. studiotheatre.org.

br’er Cotton Tearrance Chisholm’s play follows Ruffrino, a young man determined to break out of his quiet family and assert himself in the world in the wake of the Black Lives Matter movement. Catholic University of America. 620 Michigan Ave. NE. To Feb. 20. $5–$15. (202) 319-4000. cua.edu.

Carmen: an afro-Cuban Jazz musiCal Tony-nominated director Moisés Kaufman writes and directs this new adaptation of Georges Bizet’s opera. The setting moves to 1950s Cuba and Carmen works as an arms smuggler, but the central story of two lovers divided by outside forces remains as timeless as ever. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 6. $18–$75. (301) 924-3400. olneytheatre.org.

the City of ConVersation In this play tailor fit for D.C., a Georgetown hostess crafts political alliances and faces off with foes from the comforts of her living room, only to have her world rocked by the arrival of her son’s conservative wife. Doug Hughes directs the area premiere of Anthony Giardina’s comedy. Arena Stage. 1101 6th St. SW. To March 6. $55–$90. (202) 488-3300. arenastage.org.

Collaborators John Hodge’s dark comedy imagines a conversation and relationship between Russian writer Mikhail Bulgakov and Joseph Stalin. Spooky Action’s production features a variety of local actors, including Joe Duquette and Paul Reis-man. Spooky Action Theater. 1810 16th St. NW. To March 6. $25–$35. (301) 920-1414. spookyaction.org.

Constellations A theoretical physicist and a beekeeper might not fall in love in a typical environ-ment, but in this play by Nick Payne, they find them-selves drawn to each other. David Muse directs this show as part of the Studio X series. Studio Theatre. 1501 14th St. NW. To March 6. $20–$55. (202) 332-3300. studiotheatre.org.

the CritiC anD the real inspeCtor hounD Shakespeare Theatre Company opens 2016 with two plays in one evening, both behind-the-scenes looks at life in the theater. Jeffrey Hatcher’s adapta-tion of Richard Brinsley Sheridan’s 18th-century comedy The Critic is followed by Tom Stoppard’s The Real Inspector Hound, a mystery about two critics who become suspects when they see a murderous play. Lansburgh Theatre. 450 7th St. NW. To Feb. 14. $20–$108. (202) 547-1122. shakespearetheatre.org.

thursdayRockbirChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Marshall Tucker Band. 7:30 p.m. $45. birchmere.com.

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Keeps, Church Girls. 7:30 p.m. $12. blackcatdc.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Willies Light. 7:30 p.m. Free. Elise Testone, The Watt Brothers. 8:30 p.m. $12–$15. gypsysallys.com.

roCk & roll hotel 1353 H St. NE. (202) 388-ROCK. Georgetown Cabaret. 8 p.m. $12. rockandrollhoteldc.com.

sixth & i historiC synagogue 600 I St. NW. (202) 408-3100. Where’s the Band? with Chris Con-ley (Saves The Day), Dan Andriano (Alkaline Trio), Matt Pryor (The Get Up Kids), Anthony Raneri (Bay-side), and Andy Jackson (Hot Rod Circuit). 8 p.m. $16–$19. sixthandi.org.

VelVet lounge 915 U St. NW. (202) 462-3213. The Chariots, The Captivators. 9 p.m. $5. velvetloungedc.com.

Villain & saint 7141 Wisconsin Avenue, Bethes-da. (240) 800-4700. The Shift. 8 p.m. $7–$10. villainandsaint.com.

Funk & R&Bthe hamilton 600 14th St. NW. (202) 787-1000. Meshell Ndegeocello, Chargaux. 7:30 p.m. $37–$46.50. thehamiltondc.com.

ElEctRonicflash 645 Florida Ave. NW. (202) 827-8791. Lum. 8 p.m. $10. flashdc.com.

u street musiC hall 1115 U St. NW. (202) 588-1880. Timo Maas, Jandro. 9 p.m. $10. ustreetmusichall.com.

Jazzblues alley 1073 Wisconsin Ave. NW. (202) 337-4141. Kim Waters. 8 p.m. & 10 p.m. $43–$48. bluesalley.com.

bohemian CaVerns 2001 11th St. NW. (202) 299-0800. Christie Dashiell. 7:30 p.m. & 9:30 p.m. $18–$23. bohemiancaverns.com.

howarD theatre 620 T St. NW. (202) 803-2899. Living Colour. 7:30 p.m. $25–$60. thehowardtheatre.com.

twins Jazz 1344 U St. NW. (202) 234-0072. The Twins Jazz Orchestra. 8 p.m. $5. twinsjazz.com.

countRyDC9 1940 9th St. NW. (202) 483-5000. Freakwater, Jaye Jayle. 9 p.m. $12. dcnine.com.

fillmore silVer spring 8656 Colesville Road, Sil-ver Spring. (301) 960-9999. Eli Young Band. 8 p.m. $20. fillmoresilverspring.com.

hill Country liVe 410 7th St. NW. (202) 556-2050. Jason Eady, Mike & the Moonpies. 8:30 p.m. $10–$15. hillcountrywdc.com.

mr. henry’s 601 Pennsylvania Ave. SE. (202) 546-8412. By & By. 8 p.m. Free. mrhenrysdc.com.

hip-hop9:30 Club 815 V St. NW. (202) 265-0930. The Soul Rebels Sound System featuring Taleb Kweli. 10 p.m. $25. 930.com.

classicalmansion at strathmore 10701 Rockville Pike, Rockville. (301) 581-5100. Dan Tepfer’s Acoustic Informatics, International Contemporary Ensemble. 7:30 p.m. $30. strathmore.org.


40

equus A troubled young man’s obsession with horses turns violent and a dedicated psychiatrist attempts to figure out how to treat the situation in this dark drama by Peter Shaffer. Constellation Theatre at Source. 1835 14th St. NW. To Feb. 14. $20–$45. (202) 204-7741. constellationtheatre.org.

eretz ChaDasha This documentary-style play looks at the many Sudanese refugees who fled their country and took up residence in Israel. Told from the perspective of young Israeli actors, the produc-tion is led by Michael Bloom, former artistic director of the Cleveland Playhouse. Woolly Mammoth The-atre, Melton Rehearsal Hall. 641 D St. NW. Feb. 16 to Feb. 28. $20–$50. (202) 393-3939. woollymammoth.net.

father Comes home from the war (parts i, ii, & iii) Suzan-Lori Parks’ play follows a slave from his West Texas home to the Confederate battle-fields. To deepen the emotion of the work, Parks incorporates plot elements from ancient Greek dramas into this messy and powerful work. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Feb. 28. $36–$66. (240) 644-1100. roundhousetheatre.org.

the glass menagerie Ford’s presents Tennessee Williams’ dark drama about Amanda, a mother trying to create a suitable life for her dependent adult children. When a suitor arrives to meet her shy daughter, Laura, Amanda must figure out how to connect reality with her dreams for her family. Ford’s Theatre. 511 10th St. NW. To Feb. 21. $20–$62. (202) 347-4833. fordstheatre.org.

guarDs at the taJ Two guards tasked with over-seeing the completion of the Taj Mahal are assigned to do something so gruesome that it will alter their lives and relationship for years to come in this tragi-comedy from playwright Rajiv Joseph. Woolly Mam-moth Theatre. 641 D St. NW. To Feb. 28. $43–$68. (202) 393-3939. woollymammoth.net.

legaCy street In the world premiere of Lauren Jane Redmond’s play, a group of residents struggle to piece their lives back together following the takedown of a local drug lord. Catholic University of America. 620 Michigan Ave. NE. To Feb. 21. $5–$15. (202) 319-4000. cua.edu.

a miDsummer night’s Dream Favorite local actors, including Holly Twyford and Erin Weaver, appear in Aaron Posner’s new staging of Shake-speare’s magical comedy about challenged lovers, fairies, and donkeys. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To March 13. $35–$75. (202) 544-7077. folger.edu.

piCasso at the lapin agile Steve Martin’s absur-dist comedy set in a Paris cafe finds Albert Einstein and Pablo Picasso interacting right before both of them become important figures in the science and art worlds. Meeting crazy bystanders as they discuss the events of the world, the two icons become humanized and silly in Martin’s play. Keegan The-atre at Church Street Theater. 1742 Church St. NW. To Feb. 14. $30–$40. (703) 892-0202. keegantheatre.com.

roaD show Signature presents its 26th musical by Stephen Sondheim, this time taking on the story of two brothers who spend their days traveling around the world, from Alaska to India to Boca Raton. Gary Griffin directs this production, which he originally created at the Chicago Shakespeare Theater. Sig-nature Theatre. 4200 Campbell Ave., Arlington. To March 13. $40–$72. (703) 820-9771. sigtheatre.org.

romeo anD Juliet Synetic Theater brings back its popular silent production of the classic tale of young love and tragic loss seven years after it debuted. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To March 27. $15–$60. (866) 811-4111. synetictheater.org.

señorita y maDame: the seCret war of eliza-beth arDen anD helena rubinstein Gustavo Ott’s comedy about dueling women at the heads of the marketing and cosmetics world and the conflicts that impact their careers is brought to life by Consuelo Trum. GALA Hispanic Theatre. 3333 14th St. NW. To Feb. 28. $20–$42. (202) 234-7174. galatheatre.org.

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41

shake loose: a musiCal night of blues, mooDs, anD iCons This new revue pays tribute to Thomas Jones II, William Knowles, and William Hub-bard, the composers of popular musicals, like Three Sistahs, Bessie’s Blues, and Harlem Rose, that have previously been hits at MetroStage. MetroStage. 1201 N. Royal St., Alexandria. To March 6. $55–$60. (703) 548-9044. metrostage.org.

the sisters rosensweig Three sisters come together to celebrate a birthday and reconnect after being apart in this classic comedy by Wendy Was-serstein. Theater J. 1529 16th St. NW. To Feb. 21. $27–$57. (202) 777-3210. theaterj.org.

st. niCholas A mad theater critic follows an actress to London with disastrous results but somehow connects with a vampire eager to offer him a new job opportunity in this ridiculous comedy from play-wright Conor McPherson. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Feb. 21. $40–$50. (240) 582-0050. stageguild.org.

sweat Arena Stage presents the world premiere of Lynn Nottage’s play about factory life at the turn of the 21st century. When workers in one Pennsylvania town hear rumors of layoffs and encounter a horrific crime, each character must figure out how to move forward when the future seems uncertain. Arena Stage. 1101 6th St. SW. To Feb. 21. $55–$110. (202) 488-3300. arenastage.org.

when the rain stops falling Michael Dove directs this production of Andrew Bovell’s family drama that spans multiple generations and loca-tions to tell the story of fathers and sons, mothers and daughters, and the events that happen over the course of 80 years. 1st Stage. 1524 Spring Hill Road, McLean. To Feb. 28. $15–$30. (703) 854-1856. 1ststagespringhill.org.

FilMthe ChoiCe Two young neighbors living in bucolic Beaufort, S.C. fall in love in this film adapted from the Nicholas Sparks novel of the same name. When Gabby falls into a coma following an accident, her

boyfriend Travis must decide whether to keep her

alive or let her go. (See washingtoncitypaper.com

for venue information)

nDeaDpool A soldier, subjected to a strange

experiment, develops advanced healing pow-

ers and goes on to use his strength to take on the

man who almost killed him in this film based on the

Marvel character. Starring Ryan Reynolds, T.J. Miller,

and Morena Baccarin. (See washingtoncitypaper.

com for venue information)

hail, Caesar! George Clooney, Tilda Swinton,

Channing Tatum, and many more stars appear in

the Coen brothers’ latest caper, which follows the

humorous rescue of a famous actor after he is kid-

napped by a mysterious group. (See washingtoncity-

paper.com for venue information)

nhow to be single Dakota Johnson and Rebel

Wilson play two ladies in search of love, com-

panionship, and good sex in New York City in this

romantic comedy directed by Christian Ditter. (See

washingtoncitypaper.com for venue information)

priDe anD preJuDiCe anD zombies Elizabeth

Bennet is pursued by Mr. Darcy and the undead in

this adaptation of Jane Austen’s novel that finds

England overrun with these creepy menaces. (See

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nzoolanDer 2 Ben Stiller assumes his super-

model alter ego one more time in this sequel

that finds Derek zoolanDer working with Inter-

pol to stop the assassination of models around the

world. Co-starring Will Ferrell, Owen Wilson, and

Penélope Cruz. (See washingtoncitypaper.com for

venue information)

Film clips are written by Caroline Jones.

keeps at black Cat backstage, feb. 18

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WASHINGTON LATIN PUBLIC CHARTER SCHOOLREQUEST FOR PROPOSALSVan/BusIssued: February 12, 2016Washington Latin is soliciting proposals from qualifi ed vendors to provide sales of a van or bus for transportation purposes.Questions and proposals may be e-mailed directly to Washington Latin PCS ([email protected]) with the subject line as the type of service, Van/Bus. Deadline for submission is 12 noon on Friday, February 19, 2016. E-mail is the preferred method for responding, but you may also mail proposals and supporting docu-ments to the address below. All materials for proposals must be in our offi ce by the above deadline. Washington Latin Public Charter SchoolAttn: Business Offi ce5200 2nd Street, NWWashington, DC 20011

Legals

Briya/Bridges Public Charter Schools

Request for Proposals

Dental Equipment

Bridges Public Charter School and Briya Public Charter School, through the Mamie D. Lee, LLC partnership herewith invite all interested parties to submit pro-posals to provide Dental Equip-ment for the proposed Dental Clinic in a permanent facility for its subtenant Mary’s Center. The required substantial completion date for the project September 15, 2016. The complete RFP can be obtained by contacting Bob Waechter at bw@cpmfi rm.com . RFP’s will be distributed starting on Monday, February 15th, and are due by 5:00 p.m. on Friday, February 26th.

Ingenuity Prep Public Charter School solicits proposals for a strategic planning consultant.

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Legals

SUPERIOR COURT OF THE DIS-TRICT OF COLUMBIAPROBATE DIVISIONName of Decedent, Maria A. McAteeNotice of Appointment, Notice to creditors and Notice to Unknown Heirs, Linda B. Schilder and . Dan-iel D. McAtee, whose addresses are: 43 Crosstree Patio, Hilton HeadIsland, SC299267/ 3100 Connecticut Ave. NW, #235 WDC 20008 were appointed Personal Representative(s) of the estate of Maria A. McAtee who died on August 7, 2015 with a Will and will serve without Court supervi-sion. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to suchappointment (or to the probate of decedent’s Will) shall be fi led With the Register of Wills, D.C.,Building A,515 5th Street, N.W., 3” Floor, Washington, D.C. 20001, on or before 8/4/16. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or fi led with the Register of Wills with a copy to the undersigned, on or before 8/4/16, or be forev-er barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its fi rst publication shall so inform the Register of Wills, including name, address and relationship.Date of fi rst pubfi cation: 2/4/16. Personal Representatives: Linda B. Schilder, Daniel D. McAtee. TRUE TEST COPY /s/ ANNE MEISTER Register of Wills. Name of Newspapers: DWLR, WASH-INGTON CITY PAPER. Pub Dates: Feb 4, 11, 18, 2016.

SUPERIOR COURT OF THE DIS-TRICT OF COLUMBIA PROBATE DIVISION -2015 ADM 1310Name of Decedent: Nathaniel ClarkNotice of Appointment, Notice to Creditors and Notice to Unknown Heirs: Heather Brown, whose address is 17808 Grener Cove Pfl ugerville TX 78660 was ap-pointed Personal Representative of the estate of Nathaniel Clarkwho died on October 25, 2015 without a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be fi led with the Register of Wills, D.C., - Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before 8/11/16. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or fi led with the Register of Wills with a copy to the undersigned, on or before 8/11/16 or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publi-cation shall so inform the Register of Wills, including name, address and relationship.Date of fi rst publication:Feb. 11, 2016 /s/ Heather Brown. TRUE TEST COPY /s/ ANNE MEISTER Register of Wills. Name of Newspapers: DWLR, WASH-INGTON CITY PAPER. Pub Dates: Feb. 11, 18, 25, 2016.

Legals

The Cesar Chavez Public Charter Schools is looking for a qualifi ed contractor that will work directly with the Marketing & Communications Manager to support and enhance the Chavez Schools’ mission and brand in the local and national media land-scape and assist Chavez Schools CEO in securing partnerships, speaking engagements, etc... The full text of the proposal is available upon request by sending an e-mail to: [email protected]. Proposals are due to [email protected] no later than 2:00PM on Feb. 29, 2016.

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NE DC rooms for rent. $650/mo. utils plus cable included. $400 security deposit required Close to Metro and parking available. Use of kitchen, very clean. Seeking Professional. Call 301/437-6613.

Business Opportunities

PAID IN ADVANCE! Make $1000 A Week Mailing Brochures From Home! No Experience Required. Helping home workers since 2001! Genuine Opportunity. Start Immediately! www.TheIncome-Hub.com

Computer/Technical

Oracle Applications DBA - Up-grade, Implement, Patching and Support s/w applications using Oracle E-Business R12.x/11i, Oracle Database 11g/10g w/ Data-base backup, upgrade, patching, DataGuard,RAC, ASM, Perfor-mance Tuning. Must be willing to travel & reloc to unanticipated client locations throughout the US. Reqs BS in comp sci, eng or rel w/5 yrs exp on the above mentioned skills and duties. Mail resumes to Sumeru Inc, 2401 15th St NW, Washington DC 20009

General

Are you a Ballroom Dance Instructor Seeking a Few Extra Hours Each Week? 55 and up community in Mt. Juliet seeking experienced ballroom dance in-structor to work 1 day for 6hr time-frame. Private lessons outside of that timeframe also encouraged. Immediate fi ll. Please contact Erin at: [email protected] for more information.

AIRLINE CAREERS begin here – Get started by training as FAA certifi ed Aviation Techni-cian. Financial aid for qualifi ed students. Job placement assis-tance. Call Aviation Institute of Maintenance 800-725-1563

Miscellaneous

Supervisor, Newsroom at SiriusXM Radio: Supervise op-eration of the sports newsroom. Coordinate feeds, personnel, editing of sports sound and op-eration of equipment. Work will include evenings, weekends, and some holidays. Record interviews and edit them for later use. Take in ISDN, and satellite feeds of interviews and shows. Apply at : https://careers-siriusxm.icims.com/jobs/11253/supervi-sor%2c-newsroom/job

Miscellaneous

Update your skills for a better job! Continuing Education at Community College at UDC has more than a thousand certifi ed online & affordable classes in nearly every fi eld. Education on your own. http://cc.udc.edu/con-tinuing_education

Counseling

GEORGETOWN PSYCHO-THERAPY. individual, cou-ples, group. Experienced,-caring PH.D. therapist.drwendellcox.com, (202) 333-6606.

Financial Services

Are you in BIG trouble with the IRS? Stop wage & bank levies, liens & audits, unfi led tax returns, payroll issues, & resolve tax debt FAST. Call 844-753-1317

Get the IRS off your back! They do not give up until you pay. Tax Solutions Now will get you the best deal. Call 800-691-1655

Home Services

CLEANING of Home or Offi ce at affordable rates. Hard work-ing, Honest and dependable. Call Evie’s Services. 571 295 1984

Antiques & Collectibles

COMIC BOOK & SPORTS CARD SHOW SHOFF PROMOTIONSOn SUNDAY FEBRUARY 21 10am-3pm the Hall at the Annan-dale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 will be full of dealers selling their collect-ibles such as: Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards from the 1880’s to the present PLUS Sports Cards- baseball, football, basketball & hockey - vintage to the present and sports memora-bilia & Toys & Vintage Records too. and Hobby supplies for all your collecting needs. Something for Everyone. See you SUNDAY FEBRUARY 21 INFO: shoffpromotions.com or 301-990-4929 * One Dollar ($1) OFF normal $3 Admission with this Notice; 18 & under FREE

Clothing/Jewelry & Accessories

Goldtone Timex Ladies Watch Like New-$10-It works great, analog, cost 50.00 and only 6 months old. Cash only. Please call Joy at 202-333-1576. I live in Washington, DC.

More Local Numbers: 800-777-8000 www.guyspyvoice.com

Ahora en Español/18+

60 MINUTES FREE TRIALTHE HOTTEST GAY CHATLINE

1-202-448-0091


Garage/Yard/Rummage/Estate Sales

BIG SALE in Dupont Circle home. Antiques, furniture, lamps, orien-tal rugs, art work, kitchen goods, glassware and some really unusu-al items, including a 1983 Chrys-ler. Feb 13 - 14. 1721 S Street, NW 11am-4pm.

Miscellaneous

Aero Pilates Machine. Never used. Wife bought with good in-tentions. Folds in half. Comes with two DVDs, exercise chart and manual. Bought for $450. Asking $290. Must be cash. 301-503-1113.

Viagra!! 52 Pills for Only $99.00. Your #1 trusted provider for 10 years. Insured and Guaran-teed Delivery. Call today 1-888-403-9028

Cash for rugs! Old, new, any size, handmade or machine made, any condition considered. 301-520-0755.

Cash for Estates/downsizing! Jewelry to furniture, etc. Call 301-520-0755.

New book on sale: Unwelcomed Immigrants In America details the struggles of immigrants to adopt in America and racism facing mi-norities in this country. UNWEL-COMED IMMIGRANTS IN AMERI-CA Offers Look into Immigrant Experience. Oscar Hughes Price has recently released a book that sheds light on the challenges that immigrants face in their pursuit of a new life and home. “Unwel-comed Immigrants in America” (published by Xlibris) captures in searing detail the experiences and struggles of the author as a black immigrant of Haitian descent nav-igating his way through the United States. Price was born in Haiti and moved to New York in his mid-twenties. In his book, he de-scribes his experiences and ob-servations as an immigrant in America. His candid account ex-poses many harsh realities while giving voice to the thousands of immigrants and minorities like him who must overcome racial discrimination. “I am a black male who migrated to the United States from a foreign country and who has been stigmatized,” Prices says. “I bring not only an intimate glimpse into my experiences as an immigrant but also that of a Hai-tian male in addition to the black male’s perspective and experience in America.” With the recent clamor for equal rights, “Unwel-comed Immigrants in America” will prove to be a relevant and timely resource on the topic of immigration and discrimination. This book goes beyond immigrant issues, and crossed over to ex-pose many social issues. Book content: BLACK FEMALES UN-DER DURESS, challenges Steve Harvey’s “ recommendation” to black females, to “ act like a lady, think like a man...” CHILD SUP-PORT IN AMERIKKKA, argued about the unfairness in the sys-tem’s application in child support. ABOUT LGBT, takes on the issue in black and white. In THE CIVI-LIZED JUSTICE SYSTEM, reveals how the justice system is a farce. In BLACK MALES AS THE ATLAS MAN, black males are presented

Miscellaneous

p

as the most discriminating against in this country, and all over the world. In UNWELCOMED AND STIGMATIZED, the plight of Mexi-cans and other South American laborers is exposed. And the fi -nancial favoritism enjoying by other ethnic immigrants in the United States. In HOSPITALITY IS COLOR, customer services is pre-sented as an other aspect of white privilege. Even when blacks are on the other side of the counter, as customers, they’re still being dis-criminated against. In HIP HOP PARADE, the demonization of black music, especially hip hop, is demystifi ed. The question about black males apparent obsession with big booties, is answered. And when black people became aware of their bodies. In ROMAN GLAD-IATORS REBORN, athletes are lik-en to old Roman gladiators fi ght-ing in Roman Colosseums. To please the higher ups. Black ath-letes contribution to the world of sport is highlighted. IN EDUCAT-ED FOOLS, exposed the cocki-ness from certain educated blacks toward those without an educa-tion. Alienating theirs, in their pursuit of racial integration with whites. Talks about affi rmative action. How even when most blacks have an education, that doesn’t mean they can earn them-selves better lives in this country. In HAITIANS AND VOODOO, the truth is being revealed about Hai-tian vodou, what it’s really all about. Why Toussaint drafted a constitution that was against it. In WHEN WHITE SUPREMACISTS ATTACKED HAITI, the argument is made about how since the fi rst American occupation of Haiti (1915-1934), through the second, and their continued interference in Haiti’s affairs, not to mentioned their military base in the country, is keeping the country from mov-ing forward. RELIGIOUS JUNKIES talks about the hypocrisy in the two major religions of the planet. In THE BIRTH OF RACISM AND GLOBALIZATION OF WHITE SU-PREMACY, intimate details are revealed about white supremacy: How and when, where, why racism was created. And when it was pre-sented a gospel to the rest of the world. Find out about these sub-jects in the book and more, as much interesting. “Unwelcomed Immigrants in America” By Oscar Hughes Price Hardcover

Cars/Trucks/SUVs

NEED A CAR, TRUCK of SUV?Over 1,000 vehicles in stock from 2011-2015!Financing for “ALL” credit situ-ations!Call Jason @ 202.704.8213-Laurel MD

,RAD A CEEN ?VUf SK oCUR T

D l MeruaL-3128.407.20n @ 2osal JlaC

!sniota-utist iderc” LLA“r ofg nicnaniF

!5012-1012m ork fcotn ss ielcihe0 v00,r 1evO

04 Toyota Tacoma Crew Cab TRD Off Road PreRunner SR5 $3000 Clean tile, Gas, Auto-matic, Impulse Red interior/ TAN exterior color, 76K miles (681) 404-0630

A-1 DONATE YOUR CAR FOR BREAST CANCER! Help United Breast Foundation education, prevention, & support programs. FAST FREE PICKUP - 24 HR RE-SPONSE - TAX DEDUCTION 855-403-0215

CARS/TRUCKS WANTED!!! We Buy Like New or Damaged. Run-ning or Not. Get Paid! Free Tow-ing! We’re Local! Call For Quote: 1-888-420-3808 (AAN CAN)

Bands/DJs for Hire

DJ DC SOUL man. Hiphop, reg-gae, go-go, oldies, etc. Clubs, caberets, weddings, etc. Contact the DC Soul Hot Line at 202/286-1773 or email me at [email protected].

Events

A world-renowned illusionist and entertainer, Ivan Amodei delights in creating one of a kind stage ex-periences using a blend of mag-nifi cent magic, music, drama and comedy that transport you, the audience into a fantastic new world! Utterly enthralling, Amo-dei’s myriad talents range from daring telekinesis to dazzling te-lepathy, and much more, includ-ing inspiring and dazzling world-class illusions!Featuring an incredible score in-cluding everything from Mozart to Hans Zimmer and Celine Dion’s concert Cellist, Intimate Illusions is a spectacular, spontaneous and witty show about destiny, cour-age, life and love is most defi nitely like nothing you’ve ever seen be-fore! http://www.ivanamodei.com

COMIC BOOK & SPORTS CARD SHOW SHOFF PROMOTIONSOn SUNDAY FEBRUARY 21 10am-3pm the Hall at the Annan-dale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 will be full of dealers selling their collect-ibles such as: Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards from the 1880’s to the present PLUS Sports Cards- baseball, football, basketball & hockey - vintage to the present and sports memora-bilia & Toys & Vintage Records too. and Hobby supplies for all your collecting needs. Something for Everyone. See you SUNDAY FEBRUARY 21 INFO: shoffpromotions.com or 301-990-4929 * One Dollar ($1) OFF normal $3 Admission with this Notice; 18 & under FREE

Volunteer Services

Defend abortion rights. Wash-ington Area Clinic Defense Task Force (WACDTF) needs volunteer clinic escorts Saturday morn-ings, weekdays. Trainings, other info:202-681-6577, http://www.wacdtf.org, [email protected]. Twitter: @wacdtf

Counseling

Pregnant? Thinking of Adop-tion? Talk with a caring agency specializing in matching Birth-mothers with Families Nation-wide. Living Expenses Paid. Call 24/7 Abby’s One True Gift Adop-tions. 866-413-6293. Void in Illi-nois/New Mexico/Indiana.

Health & Beauty Products

PENIS ENLARGEMENT MEDI-CAL PUMP. Gain 1-3 Inches Per-manently! Money back guarantee. FDA Licensed since 1997. Free Brochure: Call (619) 294-7777 www.drjoelkaplan.com

ELIMINATE CELLULITE and Inches in weeks! All natural. Odor free. Works for men or women. Free month supply on select packages. Order now! 844-244-7149 (M-F 9am-8pm central)

Licensed Massage& Spas

RELAXING SOOTHING [email protected] come to me for my gentle-ness and knowledge of the body. I listen to your needs and pres-ent the massage appropriate for them. Reduce your stress, relax your mind, energize your body and restore your balance. Private offi ce in the Palisades. MacArthur Blvd., NW, DC. Outcalls welcome. Appointment only.

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ACCENTWALLSBy BrENdAN EmmETT QuigLEy

LAST WEEK: QUEUE AND CRY

1 2 3 4 5 6 7 8 9 10 11 12 13

14 15 16

17 18 19

20 21 22

23 24 25 26 27

28 29 30 31 32 33

34 35 36

37 38 39

40 41 42

43 44 45

46 47 48

49 50 51 52 53

54 55 56 57 58 59

60 61 62

63 64 65

Across 1 Curly hair or

colorblindness, e.g.

6 Finland’s neighbor: Abbr.

9 Spoiled, with “on”

14 Gut feeling 15 Actor Vigoda

who finally made good on that Internet meme this year

16 Egg producer 17 Maze word 18 Author who

coined the words “multicolor” and “normality”

19 Really tiny 20 Evil twin 23 Go back 26 Maze path 27 Hurricane

aficionado 28 Russian czar

nicknamed “The Great”

30 Banish forever 31 ___: Miami 34 Like close

baseball victories

35 Rural address abbr.

36 Pipe down? 37 Embassy official 40 Chugs on all

cylinders 41 Short drink 42 Model railroad

scale 43 Big voting

bloc: Abbr. 44 Bursitis joint 45 Kind of potato 46 Put on a face 47 French courtesy

title, briefly 48 Goes overboard

at a party, briefly 49 Bill Clinton’s

secretary of transportation

54 Maker of the TLX, RDX, and ILX

55 Have red ink 56 Dublin theater 60 Derailleur part 61 Place to take

a stand at a frat party

62 Get rid of 63 E-ZPass charges 64 Funny pair? 65 Mail drop off, for

the lazy postman

Down 1 Nice hot drink? 2 Hose problem 3 Crumb attacker 4 Not neat 5 It can really fill

out a room 6 Dover diaper 7 Pit reed 8 Recites

effortlessly 9 Buck passer? 10 Lowe’s purchases 11 Strong bite 12 Lake that the

Detroit River flows to

13 Zep’s “___ Mak’er”

21 Dull feeling 22 “I win!” 23 Earth science

chapters? 24 First film to win

11 Oscars 25 Reserve squads 29 Goes wrong 30 Hang around

a window? 31 David of

31-Across 32 Set up a blockade 33 Pictures of

Hawaii, perhaps? 36 Remembered

Marines, briefly 38 Soft drink with

the “It’s Mine” ad campaign

39 Chills, maybe 44 Books with suras 46 Risk exposure 47 Digital video

formats 49 Often-checked

thing 50 Bounce back? 51 Two-way 52 Western writer

Wister 53 Share a side with 57 “U mad ___?” 58 Swelled head 59 “I heard ya”

S T A R J O H A N O V E RH O L A I R A B U O I L YA F E W M C D L T C A K EQ U E E R M A J E S T Y

G U Y O U T P U TS E D G E L A W G E E S EL U I S B E E R B A S Q U EA R G H E A R O U T U R NM O S Q U E P I T S C O P SO P I U M S E E S U D S YN A T I O N G E T

B R U S Q U E A S I D EJ A M B M O U R N O D O RA X E L B L I G E F E R NM E T E S I Z E S F A M E

T R A I T N O R D O T E DH U N C H A B E O V A R YE N T E R P O E E E N I E

D O P P E L G Ä N G E RE B B W A Y S O T SP E T E R I D O O M C S IO N E R U N R F D M A I NC H A R G Ê D A F F A I R E SH U M S N I P O G A U G ES R S K N E E R U S S E T

P O U T M M E O D SF E D E R I C O P E Ñ AA C U R A O W E A B B E YC H A I N K E G P U R G ET O L L S E N S S T O O P

Documents

Washington City Paper (February 12, 2016)