DOCSLIB.ORG

Swingin' Through the Music Capital

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Proofed by: phadkep Time: 10:46 - 01-19-2007 Separation: C M Y K HIGH-RES PROOF. IMAGES ARE RIPPED. FULL PROOF INTEGRITY. Product: SOURCE LayoutDesk: SOU PubDate: 01-21-07 Zone: DC Edition: EE Page: RDTRIP C M Y K M8 SOURCE 01-21-07 DC EE M8 CMYK M8 Sunday, January 21, 2007 DC x The Washington Post RoadTrip Swingin’ Through the Music Capital WHERE: Alexandria and Washington. Chuck Brown mixed funk with Latin C O N percussion to invent go-go at the N WHY: A lizard king in Old Town, de-funked venues and a military E C long-gone Maverick Room. T IC man. U “Bustin’ Loose” by Chuck Brown T A V E N U HOW FAR: About 17 miles, or one hour with stops. E DISTRICT OF COLUMBIA The house where Duke Ellington was delivered n Washington, the military and presidents seem to garner was torn down to make room for a post office. all of the big monuments, while the area’s musicians are re- “East St. Louis Toodle-Oo” by Duke Ellington duced to the record bin. But not always. On a magical tour of musical landmarks, fans can pay homage to local per- The rowhouse that contains formers, and as a bonus, we’ve supplied a playlist to help re- Beat Records Crooked KALORAMA ROAD e graced the create that live experience (see map for song selections). used to be a commun Singing sensation Marvin Gay , now vacant. 11TH ST. I performance space called Madam al M Howard Theater Let’s start at the end, beautiful friend. The Alexandria water- AS Bohemian stage of the Organ (no W S over ” w a bar up t ’s AC Caverns RHODE ISLAND IS H FLORIDA AVENUE aft” and “Distant L front was a favorite haunt of Jim “The Lizard King” Morrison. he street C U 16TH ST. U ST. “Witchcr ). O SE AVENUE e “Banned in D N T T ST. 4TH .C.” b S TS (live) by Marvin Gay Slither down to the dock behind the Torpedo Factory Art Center y Bad IN STREET Brains AV 18TH ST. A E T ST. V . and look out over the Potomac. “Horse Latitudes” is the only Doors E LINCOLN ROAD N U song believed to be based on a poem Morrison wrote while attend- E 33RD ST. WARD DUPONT NORTH CAPITOL STREET O ST. CIRCLE ing what was then George Washington High School in Alexandria. PLACE 22ND . STREET AVE FLORI Ice cream parlors don’t sound very punk, but in the early 1980s Georgetown’s Haagen-Dazs store M ST. PE ORK M ST. DA AVEN NN NEW HAMPSHIRE W Y . AV 7TH STREET NE was once a steady gig for hard-core E E. AVENUE U rockers Ian MacKaye and Henry Rollins used to scoop together at Y G E E K punks Ian MacKaye and Henry Rollins. RID MT. VERNON SQUARE the Georgetown Haagen-Dazs (Cappuccino’s Pizza now inhabits B WASHINGTON CIRCLE “Minor Threat” by Minor Threat, that site). Rollins later joined Black Flag, and MacKaye co-founded “TV Party” by Black Flag K STREET (BENEATH F ST. WHITEHURST FREEWAY) 395 2ND STREET local label Dischord Records. Decades later, Dischord is still churn- 11TH ST. 66 PEN ing out albums in Arlington. N. A 66 VE. CONSTITUTION AVENUE 66 Make your way east to the West End for a quick stop at 2129 Ward Pl. Can’t find it? All that remains of Duke Ellington’s home is INDEPENDENCE AVENUE a commemorative plaque listing that address. (Hint: It’s next to the 110 G post office’s drop boxes.) In 1923 the budding jazz pianist and com- .W John Philip Sousa’s . M birthplace 6TH STREET 7TH STREET Meet the Beatles EM ’ first U poser split town to form a band in Harlem, N.Y. Ellington called it . 395 G ST. the .S. concert v PK Washington enue, W Coliseum. the Washingtonians. Years later, the favor was returned with the Y. “I W L STREET ant to Hold Yo naming of the District’s Duke Ellington School of the Arts. M ST. Beatle ur Hand” by th s, “Pump Me Up e In Adams Morgan, drop by Crooked Beat Records and ask own- 1 ” by Trouble Fun k er Bill Daly about how hard-core/reggae outfit Bad Brains used to 110 The venerable 9:30 club 295 27 was named after its original play upstairs in the early ’80s. Then have him crank up “Banned in address: 930 F St. NW. D.C.” for a flashback moment. 395 "Waiting Room" by Fugazi Farther east, on U Street, descend into the basement of the Bo- ound hemian Caverns jazz club and you’ll quickly see why it’s called “the or an evening of undergr Cave.” The stalactites were one of the club’s signature features dur- Settle in f erns. VIRGINIA jazz at Bohemian Cav ing U Street’s “Black Broadway” heyday, as were such A-list musi- e Ellington “Satin Doll” by Duk When they were unknowns, U2 and cians as Ellington. Now, the Caverns mixes up the music format, Dave Matthews played the Bayou, but co-owner Omrao Brown says “every Friday and Saturday night ARLINGTON COUNTY which was leveled for the Loews is straight-ahead jazz.” (now AMC) cinema. Fast-forward to the 1970s, when funk band Parliament renamed “I Will Follow” by U2, “Ants D.C. the C.C. — the Chocolate City. Washingtonian Chuck Brown 1 Marching” by Dave Matthews Band busted go-go loose at the Maverick Room in Northeast, but before you thump and boom your way over there, note that the club has been demolished. Driver’s There’s more go-go by Union Station. Homegrown acts such as route Brown, Rare Essence and Trouble Funk pumped it up and dropped the bomb at the Washington Coliseum. The venue is now an indoor parking lot, but ask the attendant if you can peek inside. For a swan song, march over to Southeast to the childhood resi- r e v dence of John Philip Sousa, who composed such famous tunes as i R 295 “Stars and Stripes Forever.” His house has a plaque, but wander c A y a over to the Marine Barracks Annex to see his official statue. He was oung Jim Morrison haunt m 400 o fishermen ed the t a military man, after all. ’s pier that w o the Torpedo F as once behind P actory Art Center — Scott Elder “Horse Lat . ALEXANDRIA itudes” and “B On Through” by the Doorreak MARYLAND e is a few s s birthplac Road Trip maps are available online at www. John Philip Sousa’ workplace, the . washingtonpost.com/roadtrip, as are addresses and T cks’ march from his old KIN S blo G STREET acks. hours of operation (be sure to check before you go). Have an 95 Marine Corps Barr ” by John Philip Sousa Start 495 on Post idea for a trip? E-mail [email protected]. 0 2 N “The Washingt O 1 I here N MILES U WEDNESDAY IN STYLE Escapes visits gay-friendly B&Bs in Va. MAP BY JEROME COOKSON FOR THE WASHINGTON POST; PHOTOS BY SCOTT ELDER FOR THE WASHINGTON POST re: Source Letter From a Reader My boyfriend and I always enjoy reading the Sunday Source, especially the weekly Road Trip. And it was so wonderful to learn about the animals Own a thing of beauty. at the Maryland Zoo in Baltimore featured Jan. 14 [Dreaming of a White Winter]. Feeling adventurous, we took the drive the very next day — only to find the zoo is closed the entire months of January and February! Thankfully, Baltimore is full of wonderful things to do. — Kathryn Kelly and Thomas Bell, Washington Got something to say? E-mail [email protected]. Child’s Play IMPROV MUSICAL CHILDREN’S JOURNEY TO THE WORLD’S THEATER: NOW THIS! KIDS! — EDGE: A FOLKTALE IN THE IRISH Today at noon. Professional improv TRADITION — Opens Saturday. cast Now This! turns audience Through Feb. 11. Ages 5 and suggestions into songs, comic older. The Deaf Access Company sketches and musical fairy tales. performs a play filled with Irish Arlington Cinema ’N’ Drafthouse, folklore, quests and more. 2903 Columbia Pike, Arlington. $6. Imagination Stage, Christopher 703 486-2345. and Dana Reeve Studio Theatre, 4908 Auburn Ave., Bethesda. STRINGS N’ THINGS: RHYTHMS $10. 301-280-1660. AROUND THE WORLD — Wednesday at 10:30 a.m. The musical STRAWBERRY SHORTCAKE performance includes sounds from — Saturday at 10 a.m. The Japan, Spain and Argentina. Peculiar Purple Pieman tries to Harmony Hall Regional Center, John steal Strawberry Shortcake’s Addison Concert Hall, 10701 dreams in the animated film. The Livingston Rd., Fort Washington. $5. Avalon Theatre, 5612 301-203-6070. Connecticut Ave. NW. $5. Search the Washington Post photo archive and 202-966-6000. NATIONAL PIE MONTH — purchase your favorite images — of nature, a Wednesday at 3 p.m. Ages 6-17. RARITY REVEALED FAMILY Taste pies in honor of the holiday DAY — Saturday, 1-3 p.m. created by the American Pie Council. Benjamin Miller is one of four monument, a history-making moment or even College Park Youth Services Center, people to have completed a U.S. 4912 Nantucket Rd., College Park. postage stamp collection. Learn Free. 301-345-4425. about him and see his collection. someone you know. Frame, mat and display National Postal Museum, 2 GLOUGLOU: THEATRE DE Massachusetts Ave. NE. Free. them. Or have them printed on mugs, QUARTIER — Thursday-Friday at 202-633-1000.
Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson

    “Grunge Killed Glam Metal” Narrative by Holly Johnson

    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
  • Rill^ 1980S DC

    Rill^ 1980S DC

    rill^ 1980S DC rii£!St MTEVOLUTIO N AND EVKllMSTINO KFFK Ai\ liXTEiniKM^ WITH GUY PICCIOTTO BY KATni: XESMITII, IiV¥y^l\^ IKWKK IXSTRUCTOU: MR. HiUfiHT FmAL DUE DATE: FEBRUilRY 10, SOOO BANNED IN DC PHOTOS m AHEcoorts FROM THE re POHK UMOEAG ROUND pg-ssi OH t^€^.S^ 2006 EPISCOPAL SCHOOL American Century Oral History Project Interviewee Release Form I, ^-/ i^ji^ I O'nc , hereby give and grant to St. Andrew's (interviewee) Episcopal School llie absolute and unqualified right to the use ofmy oral history memoir conducted by KAi'lL I'i- M\-'I I on / // / 'Y- .1 understand that (student interviewer) (date) the purpose of (his project is to collect audio- and video-taped oral histories of first-hand memories ofa particular period or event in history as part of a classroom project (The American Century Project). 1 understand that these interviews (tapes and transcripts) will be deposited in the Saint Andrew's Episcopal School library and archives for the use by ftiture students, educators and researchers. Responsibility for the creation of derivative works will be at the discretion of the librarian, archivist and/or project coordinator. I also understand that the tapes and transcripts may be used in public presentations including, but not limited to, books, audio or video doe\imcntaries, slide-tape presentations, exhibits, articles, public performance, or presentation on the World Wide Web at t!ic project's web site www.americaiicenturyproject.org or successor technologies. In making this contract I understand that I am sharing with St. Andrew's Episcopal School librai-y and archives all legal title and literary property rights which i have or may be deemed to have in my inten'iew as well as my right, title and interest in any copyright related to this oral history interview which may be secured under the laws now or later in force and effect in the United States of America.
  • UNDERNEATH the MUSIC Ellington

    UNDERNEATH the MUSIC Ellington

    ABSTRACT Title of Document: UNDERNEATH THE MUSIC Ellington Rudi Robinson, Master of Fine Arts, 2008 Directed By: Professor, Jefferson Pinder, and Department of Art I see my work as an expression of a young man growing up in a household of music, books, and highly influential people. During the crack era that becomes prevalent under the tenure of President Reagan. The influences of the past will be the guides to surviving in a time when many friends parish as victims from the abundance of violence. The influences and tragedies are translated into motifs that are metaphors combined to create forms of communication. The hardwood floors, record jackets, tape, and railroad tracks provide a catalyst. These motifs are combined and isolated to tell an intense story that is layered with the history of the Civil Rights Movement, hip hop culture, drugs and music. The work is a conduit to release years of pain dealing with loss and oppression. It is also a vehicle to celebrate the philosophy that joy and pain are synonymous with life. UNDERNEATH THE MUSIC By Ellington Rudi Robinson Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts 2008 Advisory Committee: Professor Jefferson Pinder, Chair Professor Patrick Craig Professor Margo Humphries Professor Brandon Morse Rex Weil © Copyright by Ellington Robinson 2008 Preface The smell of the coffee bean aroma surrounded by the books and music, the phone rings. “Good afternoon, thank you for calling Borders Books and Music, how can I help you?” “El! What’s up man, I have some bad news.” This is an all too familiar greeting.
  • Council of the District of Columbia Committee of The

    Council of the District of Columbia Committee of The

    C OUNCIL OF THE DISTRICT OF COLUMBIA C O MMITTEE OF THE WHOLE COMMITTEE REPORT 1350 Pennsylvania Avenue, NW, Washington, DC 20004 DRAFT TO: All Councilmembers FROM: Chairman Phil Mendelson Committee of the Whole DATE: December 17, 2019 SUBJECT: Report on Bill 23-317, the “Go-Go Official Music of the District of Columbia Designation Act of 2019” The Committee of the Whole, to which Bill 23-317, the “Go-Go Official Music of the District of Columbia Designation Act of 2019” was referred, reports favorably thereon, with amendments, and recommends approval by the Council. CONTENTS I. Background and Need .................................................................1 II. Legislative Chronology ...............................................................3 III. Position of The Executive ...........................................................4 IV. Comments of Advisory Neighborhood Commissions .................4 V. Summary of Testimony ...............................................................4 VI. Impact on Existing Law ..............................................................6 VII. Fiscal Impact ...............................................................................6 VIII. Section-by-Section Analysis .......................................................7 IX. Committee Action .......................................................................7 X. Attachments .................................................................................7 I. BACKGROUND AND NEED Bill 23-317, the “Go-Go Official Music of the District
  • Go-Go, Yesterday and Today

    Go-Go, Yesterday and Today

    Brown and the Soul Searchers, Trouble Funk, Lead Go-Go, Yesterday Head, Hot, Cold Sweat, Cro Magnum Funk, Stacy & the Soul Servers, Class Band & Show, Mouse and Today Trap, The Shadows, and go-go icons including Ice Berg Slim and Big Tony, began to add the "live" by Iley Brown II features of go-go to their shows or recordings: he early 1970s in Washington, D.C., choreography, smoke and fog machines, go-go marked the beginning of a new musical dances, and extended instrumental solos including T sound that was still untitled. Basements in the trademark cowbells, whistles, and drum and neighborhoods throughout the city were convert­ conga solos added to known radio songs popular­ ed into after-school stages and rehearsal halls for ized by local radio stations. Radio hits that became budding bands and musicians. In many parts of go-go hits were "Family Affair" by Experience the city, an organist would meet up with percus­ Unlimited, "Run joe" by Chuck Brown, and sionists and drummers, who "Trouble Funk Express" by in turn would know of a Trouble Funk, which is a horn player. Bands were cob­ take from "Trans Europe bled together, and bonds Express" by Kraftwerk. were formed. In live performances audi­ To satisfy audiences of ences engaged the bands in teenagers, young adults, and call-and-response segments grown-ups, local "funk" of songs, usually during bands would play the radio percussion breaks ranging hits of Mandrill, Kool & The from a three-minute teaser Gang, New Birth, Average - a short percussion solo White Band, or Herbie with strains of the radio Hancock, among others.
  • Ahead of Their Time

    Ahead of Their Time

    NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending.
  • Natalie Hopkinson Go-Go Live The Musical Life and Death of a Chocolate City Natalie Hopkinson

    Natalie Hopkinson Go-Go Live The Musical Life and Death of a Chocolate City Natalie Hopkinson

    Go-Go Live ★ The Musical Life and Death of a Chocolate City ★ Natalie Hopkinson Go-Go Live The Musical Life and Death of a Chocolate City Natalie Hopkinson “Natalie Hopkinson knows the music, the heartbeat, and the people of Washington well, but Go-Go Live: The Musical Life and Death of a Chocolate City is much more than a book about D.C.’s indigenous sound. It is a vital, lively, and ultimately inspiring look at the evolution of an American city.”—George Pelecanos, writer and producer of The Wire and Treme “Taking us into the little-studied terrain of go-go, the cousin of hip-hop born and bred in Washington, D.C.¸ Natalie Hopkinson reveals go-go as a lens for seeing, in stark colors, how the economy, politics, and especially the drug trade have traduced black communities around the world.”—Henry Louis Gates Jr., Alphonse Fletcher University Professor, Harvard University Go-go is the conga drum–inflected black popular music that emerged in Washington, D.C., during the 1970s. The guitarist Chuck Brown, the “Godfather of Go-Go,” created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses that sold tickets to shows and recordings of live go-gos. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, backyards, and city parks.
  • Sugar Hill Label Album Discography

    Sugar Hill Label Album Discography

    Sugar Hill Label Album Discography SH 245 - Rapper’s Delight – Sugar Hill Gang [1979] Here I Am/Rapper’s Reprise (Jam-Jam)/Bad News//Sugar Hill Groove/Passion Play/Rapper’s Delight SH 246 – The Great Rap Hits – Various Artists [1980] 12” Vinyl. Spoon’nin’ Rap – Spoonie gee/To the Beat (Ya’ll) – Lady B/Rapping and Rocking the House – Funky Four Plus One//Funk You Up – The Sequence/Super Wolf Can Do It – Super-Wolf/Rapper’s Delight – Sugarhill Gang SH 247 – Kisses – Jack McDuff [1980] Kisses/Say Sumpin’ Nice/Primavera/Night Fantasies//Pocket Change/Nasty/Tunisian Affair SH 248 Positive Force – Positive Force [1980] Especially for You/People Get on Up/You’re Welcome//Today It Snowed/We Got the Funk/Tell Me What You See SH 249 – The 8th Wonder – Sugar Hill Gang [1981] Funk Box/On the Money/8th Wonder//Apache/Showdown/Giggale/Hot Hot Summer Day SH 250 – Sugar Hill Presents the Sequence – Sequence [1980] Simon Says/The Times We’re Alone/We Don’t Rap the Rap//Funk a Doodle Rock Jam/And You Know That/Funky Sound/Come on Let’s Boogie 251 252 253 254 SH 255 – First Class – First Class [1980] Give Me, Lend Me/Let’s Make Love/Coming Back to You/No Room For Another//I Wasn’t There/Lucky Me/Going Out of My Head/Hypnotize 256 SH 257 – Hard and Heavy – Wood, Brass and Steel [1980] Re-Entry/Open Up Your Heart/Long Live Music/Love Incognito/Be Yourself//Are You Busy/Superstar/Welcome/Space Walk/Fly with the Music 258 SH 259 – Brother 2 Brother – Brother to Brother [1980] Backlash/I’ve Been Loving You/I Must’ve realized/Latin Me//Let Me Be for Real/Love
  • Cosmic Closet Lishments; for the Most Part, They Are Run by Very Nice People Who Are Trying to Give Club & Streetwear for Girls This Music an Outlet

    Cosmic Closet Lishments; for the Most Part, They Are Run by Very Nice People Who Are Trying to Give Club & Streetwear for Girls This Music an Outlet

    ' . Fugazi-Red Medicine "This CD is $8, postpaid." This quote can be found at the bot- boys from D.C. haven't lost the Fugazi ferocity, but it is a bit differ- tom of every one ofFugazi's last five releases, including their latest, ent. Red Medicine. Not much has changed for these messiahs of the in die The vocal tracks seem to be split about evenly between ex-Minor world. All their concerts are still five dollars, and they are still with Threat singer, Ian Mackaye, and Guy Picciotto. Mackaye sings on Dischord Records. Where most bands have managed to catapult "Back to Base," which is probably the most up-to-speed song on the themselves into the big money-making arena, Fugazi manages to album. He opens with ~ distinctive borderline yell, "Autonomy is a do just fine looking out from below. world of difference/ they're creeping around but they know they Red Medicine is undoubtedly Fugazi's most experimental al- can't-come in." bum to-date. But what about old Fugazi? I thought the same thing, The album is filled with a lot of moments with great musical but thinking about it, I realized that being diverse and reinventive value and then some. Highlights include, "Birthday Pony," the in- is a very good thing. Would you want to play the same· kind of.stuff strumental "Combination Lock" and the energetic "Downed City." over and over again? In the album opener, "Do you like me?" the Their tempo has slowed and their concentration on playing good intro sounds like someone is dropping his guitar, setting anticipa- music has intensified.
  • RFP for Design-Build Services

    RFP for Design-Build Services

    D.C. DEPARTMENT OF GENERAL SERVICES REQUEST FOR PROPOSALS DESIGN-BUILD SERVICES FOR THE CHUCK BROWN MEMORIAL September 24, 2013 Proposal Due Date: October 18, 2013 by 2:00 p.m. EDT Preproposal Conference: October 3, 2013 at 3:00 p.m. EDT to be held at: Frank D. Reeves Center 2nd Floor Community Room 2000 14th Street, NW Washington, DC 20009 Contact: Thomas D. Bridenbaugh Leftwich & Ludaway, LLC 1400 K Street, NW Suite 1000 Washington, D.C. 20005 Phone: (202) 434-9100 Solicitation Number: DCAM-14-CS-0059 Executive Summary The Department of General Services (“Department” or “DGS”) is issuing this Request for Proposals to engage a design-builder to provide design-build services for the Chuck Brown Memorial, to be located on the western side of Langdon Park which is located at 2901 20th Street, NE, Washington, DC. The District desires to create a lasting and meaningful memorial to Chuck Brown, and the Department has commissioned a concept design for the memorial which is attached hereto as Attachment A (the “Concept Design”). The design-builder engaged through this procurement will be required to further develop the Concept Design and to construct the memorial no later than May 1, 2014 (the “Project”). In general, the Project will include a memorial wall made from concrete with a metal screen with photo images of Chuck Brown, and which lists Chuck Brown’s discography in metal lettering; a minimum of five (5) large outdoor interactive instruments embedded in a concrete pad, to be located adjacent to the existing playground; lighting directed at the memorial wall and memorial entrance wall; signage with raised metal lettering; landscaping (including cherry trees) and sod; new sidewalks and pervious pavers; storm water management initiatives; and decorative treatment to the exterior of the existing electrical buildings on the site.
  • 2400 Tulane Ave. 822-9907

    2400 Tulane Ave. 822-9907

    915 .. ·~ . new tnustc• Ivan Bodley 37 TargetzAnd it Burns "Okay all ofyou rock and roll hopefulls and Exploding out of Chattanooga, TN. not cookie/and morons, let me tell you a few things unlike their infamous locomotive, And it about my favorite industry. " - Joe Burns, produced by former R.E.M. producer Pop-o-pie Don Dixon, is another massive debut lp. Their uniquely targeted song "Ring of Fire" It is easy to adopt Joe's cynicism about this is a much-covered song from the Carter­ wild and crazy business we call "music" but I Cash family's repertoire and immediately hope I can offer some spark in the void that is gives the listener insight as to just where the industry we call "recording." these four young men are shooting from. I am often asked, "Hey, Ivan, what's Their sound conjures up images of the Alarm, new," and am equally often reduced to a Mignight Oil and other new music rockers shivering mass of molten cholesterol as my while remaining unique and innovative. brain overloads at the sheer volume of the Cruzados Cruzados new releases each week. So I've spent some A major label debut for this four man outfit time meditating high atop our broadcast formerly known as the Plugz, Cruzados is tower to collect my thoughts so I can offer quickly indentified as a fusion of several West only a few of my favorites. Coast sounds including Mexican, surf rock, What is This What is This punk and good old rock and roll. This project Now reduced to a trio, this Hollywood­ is amazingly accessible and well produced, based outfit combines tasteful and effective not unlike a harder rocking yet smoother elements of funk, rock and soul to create their cruising Los Lobos.
  • Dischord Records 3819 BEECHER ST

    Dischord Records 3819 BEECHER ST

    FUGAZi "First Demo" dischord rEcords DIS181 DIS181CD 11-song CD DIS181V 11-song LP+MP3 Release Date: November 18, 2014 Ian MacKaye - vocals, guitar Guy Picciotto - vocals Joe Lally - bass Brendan Canty - drums In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape. Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song ("Break In"). It would be nearly another year before he would start playing guitar with the band. At that time, the studio was still located in the basement of engineer Don Zientara's family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi's longtime sound engineers, joined the band for the initial tracking. The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour.