"Who's Bad?" at the 9:30 Club: A Tribute to Michael Jackson

Oh MJ, how we hardly knew ye.

Since his untimely death, fans of Michael Jackson have gathered in cities across the world to celebrate the pop icon’s extraordinary and controversial life. Some communities broke into impromptu vigils, while others took to the streets with boomboxes to sing along with his countless hits. Here in the District, we went out dancing at the 9:30 Club.

When MJ tribute band Who’s Bad? booked their show in the world-famous D.C. rock club, they had no idea what a momentous event it would turn out to be. As the unfortunate news hit the airwaves Thursday afternoon, the few remaining tickets to Friday night’s concert – the first to be performed in memoriam of the pop star - sold out almost immediately. In response to the sudden upswell in demand, Who’s Bad? agreed to a second 11 p.m. show.

Billed as “The Ultimate Michael Jackson Tribute Band,” Who’s Bad? did not disappoint the anxious crowd. The band explored MJ’s full (pre-crazy) catalogue - from the Jackson Five to “Thriller,” to “Black or White” – each with the requisite wardrobe changes. The faux-Jacko’s vocals were eerily similar to the real King of Pop’s, while his dance moves were a respectable homage to MJ's breathtaking footwork (despite an unfortunate lack of moonwalking). Notable crowd favorites in the nearly two-hour set included “Billy Jean,” “ABC,” “Thiller,” “Smooth Criminal,” and “Man in the Mirror.” But no "PYT?" That's just inexcusable.

There are few individuals that have managed to touch as many lives as Mr. Jackson. Over the past three decades, MJ redefined American music, fashion and the entire notion of worldwide fame. After years of concentrating on the negative aspects of his troubled life, it’s refreshing to see a collection of Washingtonians come together to genuinely salute Jackson’s remarkable contributions to American culture. He will surely be missed in the nation’s capital.

http://dc.metromix.com/music/essay_photo_gallery/whos-bad-at-the/1284431/content

Recap: Metric at 9:30 Club

In the nearly four years since its last studio recording, Toronto-based synth-pop outfit Metric has been fragmented by solo projects and personal journeys. Lanky lead singer Emily Haines—who’s been pitching tents in young men’s skinny jeans since 2001—re-launched a successful solo career in 2006 and subsequently retreated to Buenos Aires to concentrate on songwriting for the band’s reunion. Guitarist James Shaw passed the time on tour with Broken Social Scene, while bassist Josh Winstead and drummer Joules Scott-Key branched off to form their own dance-punk duo, Bang Lime. Fresh off the April release of their fourth full-length, Fantasies, Metric reassembled last night at the 9:30 Club, spotlighting the band’s evolution from the politically charged new wave hooks of its past to a more sincere, polished post-punk aesthetic.

American duo Smile Smile and Canadian quartet Sebastien Grainger & The Mountains opened the show. Smile Smile’s set was a sufficient teaser for the following bands—the kind of simple, acoustic guitar-driven ditties you’d expect to hear during the climactic ending of any teen drama on the WB. The sound from Sebastien Grainger & The Mountains (fronted by the former drummer/singer of Toronto’s Death From Above 1979) was considerably livelier. Grainger’s self-proclaimed “fuck-rock” came alive in “Renegade Silence,” showcasing a Prince-esque union of hard rock riffs and funky dance backbeats.

Omitting several of the synth-laden gems for which the band is best known, Metric’s set consisted primarily of tracks from its latest LP. In the end, the set would include only one track from the group's 2003 breakthrough album, Old World Underground, Where Are You Now? (“Dead Disco”), and four from its well-received 2005 follow-up, Live It Out (“Handshakes,” “Empty,” "Monster Hospital," and “Live It Out”). But that’s not to say that the early singles were missed.

After getting off to a slow start with the murky “Twilight Galaxy,” Haines and the crew gradually increased into a more dance-y groove with “Help I’m Alive” and “Satellite Mind.” In many of the new tracks, specifically “Gold Guns Girls” and “Sick Muse,” Haines’ synthesizer was pushed into the periphery, allowing Shaw’s skillful guitar to drive the melody. The bubbly new single “Gimme Sympathy” and upbeat classic “Dead Disco” were evident crowd favorites, each sparking dance circles and a sea of choreographed fist pumps (oh, so many fist pumps). As expected, Haines’ mezzo-soprano vocals were spot-on throughout the set, seamlessly swinging from near-screeching grit to satin smooth falsetto, like Deborah Harry in her prime.

The set’s only noticeable glitch was its closing encore—a muted serenade rendition of the title track from Live It Out. It was an unfortunately bland take on a usually stellar song, leaving the audience almost begging for one last scorching synth riff.

Haines’ lyrics often leave something to be desired (like the chorus from "Twilight Galaxy": “I’m higher than high / lower than deep / I'm doing it wrong / singin' along”), and the same can be said about her onstage chatter between songs. Though she sacarely communicated with the audience, Haines rambled on about “zebras destroying tigers in a fit of misunderstanding” and her disgust for “giant cheeseburger faces devouring the planet,” and she described one song as the “Metric ‘Free Bird’—everyone needs one.” (Yeah, we’re not sure what that means, either). But to her credit, Haines did tone down her usual political-activist rhetoric during the show, acknowledging that the crowd didn’t “need [her] to tell [them] what’s wrong with the world today—we’re all well aware what, at this point, our obstacles are as a generation.” From Thursday night’s performance, it’s clear that Metric’s recent hiatus helped the band to successfully work through a few obstacles of its own—exploring new sonic territory without abandoning its indie-pop-addicted fanbase.

http://www.avclub.com/dc/articles/metric-at-930-club,29435/

Playing "a round" with Playmates

To most middle-aged American men, the idea of skipping work on a Friday to booze it up on a golf course is enough to evoke a feeling of euphoria. So what happens when you add a slew of well-endowed, flirtatious women and a pair of Playboy Playmates to the mix? Well, apparently that’s when gentlemen start reaching for their checkbooks.

Washington D.C. Playboy Golf Scramble packed in over 24 hours of partying, including a VIP pre-party at Midtown Lounge, the 18-hole tournament at Leesburg’s picturesque Raspberry Falls Golf & Hunt Club and an after-party at downtown’s Skye Lounge. Ninety local ametuers registered to compete on Friday for an invitation to the national semi-final round in Las Vegas. After that, the top golfers will advance to the championships in L.A. and (more importantly) the 2009 Playboy VIP Player's Pajama and Lingerie Mansion Party. In addition to the tournament, dozens of buxom bombshells from throughout the Metro area and beyond came out for a chance at a spot on the final Girls of Playboy Golf team, with the possibility of a full spread in Playboy.

“We tried to put together an upscale event – one that brings the Playboy lifestyle to the sport,” explained Vice President of Playboy Golf, Ajay Pathak. “We’re not trying to compete with the PGA Tour…it’s just an opportunity to entertain our clients and help them not to be intimidated by the game. They can just go out and swing a few balls, and the game gets enhanced with the girls there with them.” The District is one of 28 stops on the Playboy Golf tour, including cities in Canada and Australia. In coming years, the tour will continue to expand to South Africa, China and Europe.

It’s easy to understand how Playboy Golf has managed to draw such a large audience for an entire decade. The tournament effectively merges the iconic magazine’s sex appeal with suburbia’s most popular masculine pastime – all for the negligible registration fee of $450 (ha!). Though one might reasonably expect the event to have a creepy voyeuristic vibe, the day was surprisingly laid back and social – more reminiscent of a corporate networking event than a chauvinistic gawkfest. The tournament’s handicap-friendly “scramble” format attracted a noteworthy range in ability, pairing shank-happy hackers with impressive pseudo-professionals. There were even one or two female golfers peppered in the tournament’s field - a bit of a surprise, unless of course you consider the stereotyped sexual tendencies of the LPGA.

Sure, one could argue that such events promote a regression to antiquated gender roles, but it's probably best to just take Plaboy Golf for what it is. After all, sometimes a guy just needs to get away from it all for an afternoon and appreciate the stunning beauty of God’s natural creations (OK - maybe not always natural).

http://dc.metromix.com/events/article/playing-a-round-with/1252882/content

Cultural catch-up: The Duke Ellington Jazz Festival

Believe it or not, avant-garde music in the nation’s capital wasn’t always restricted to experimental rock shows in row house basements in Petworth. Before there was dance-punk, hardcore, or go-go, the District was a jazz town. Ninety-three years ago, patrons of Black Broadway’s True Reformer Hall (current corner of 12th & U Sts. NW) paid a nickel at the door to see a teenaged Duke Ellington tickle the ivories onstage for the first time. How’s that for indie cred?

Each year, Washington, D.C., celebrates the timeless legacy of its most famous resident through the Duke Ellington Jazz Festival, an 11-day series of concerts, discussions, and workshops. Now in its fifth year, this year's festival honors the city of New Orleans and includes more than 100 performances in nearly 50 venues scattered throughout the District.

The festival's opening weekend included “Jazz N’ Family Fun Days” at Dupont Circle’s Phillips Collection museum on Saturday. In addition to kid-friendly attractions, like an “Instrument Petting Zoo” and a concert from the Deal Middle School Jazz Combo, the event featured notable performances by the Reginald Cyntje Trio, the Brian Settles Duo, and jazz violinist David Schuman, who improvised in the museum’s gallery in response to works of art.

To an extent, D.C.’s once-ubiquitous jazz scene has persevered over the decades through local landmarks like Blues Alley, Bohemian Caverns, Twins Jazz, and (more recently) HR-57. But let’s forego the baloney: To most Washingtonians, jazz is barely a blip on the cultural radar—a trip to a jazz club is less a nod to one of the few distinctly American traditions and more an effort to conjure a little extra romance on a date. With an onslaught of top-notch jazz descending upon the nation’s capital over the next week, now’s a better time than ever to catch-up with the oft-neglected genre. Having trouble navigating the week’s robust schedule of performances? The A.V. Club has whittled down the festival to a few must-sees:

Free performances worth your time:

Wednesday, June 10: Tony Madruga
The Cuban-American prodigy is quickly becoming one of the most widely discussed jazz/classical pianists in the country. Pretty impressive—especially since he’s only 14 years old.

Thursday, June 11: Berklee College Of Music All-Stars featuring the Roy Guzman Quintet
As the name implies, this five-piece ensemble is composed of the most capable jazzmen from one of the nation’s premier musical institutions. The group displays a refreshing blend of polished composition and free, explorative improvisation.

Saturday, June 13: Terence Blanchard Quintet
New Orleans-born trumpeter Terence Blanchard is well known throughout the jazz community for his hard bop lines and African-fusion style. But he is perhaps most famous for his four Grammy awards (including the 2008 Best Jazz Instrumental Solo for the track “Be-Bop”) and contributions to more than 50 film scores.

Ticketed performances worth your cash:

Wednesday, June 10: Paquito D’Rivera and Dr. Michael White
With nine Grammys under his belt (in both jazz and classical categories), saxophonist and clarinetist Paquito D’Rivera is one of the genre’s modern titans and the current artistic advisor for the Duke Ellington Jazz Festival. He shares the stage with Dr. Michael White, a revered master of traditional New Orleans jazz.

Thursday, June 11: Gil Scott-Heron
Best known for his 1970 single, “The Revolution Will Not Be Televised,” Gil Scott-Heron is an icon of the spoken-word soul movement of the late ’60s and early ’70s. What better way to celebrate jazz than with a militant poet performing in a venue that claims to be “the nation’s oldest continuing jazz supper club”?

Friday, June 12, & Saturday, June 13: Thad Wilson And Friends Salute Louis Armstrong
The 15-person Thad Wilson Jazz Orchestra big band is one of the best local acts around, and even novices might be able to recognize a few of the songs composed by jazz’s most famous trumpeter.

Friday, June 12: Antonio Parker Quartet
Another local jazz gem, Antonio “Hot Potato” Parker is known for his “straight ahead” approach to the art. Technically, Parker's performance isn't an official part of this year's DEJF, but it's still worth catching: His improvisation is noticeably toned down compared to other modern saxophonists, demonstrating a sense of tradition rather than experimentalism.

Friday, June 12, & Saturday, June 13: Marlon Jordan Quartet
One of the original members of the early-'80s New Orleans supergroup the Young Lions, trumpeter Marlon Jordan packs boppish lines with unexpected power. Jordan’s jazz knowledge is immense, and his shows have been touted as a medley of the entire jazz trumpet tradition.

Monday, June 15: Celebrating A Jazz Master: Ellis Marsalis—Branford, Wynton, Delfeayo, Jason Marsalis, Harry Connick Jr., and Dr. Billy Taylor
If you can score a ticket, you’ll be treated to a collective of some of the finest jazzmen in world—including Ellis Marsalis’ four sons. Exclusive tickets are still available through the Duke Ellington Jazz Festival Ovation Society.

http://www.avclub.com/dc/articles/cultural-catchup-the-duke-ellington-jazz-festival%2C28913/

Putt, Putt, Chug! (H Street Country Club review)

Remember the last time you were drunk on a putt-putt course? You know, when you dry humped the oversized clown head and got your shirttail stuck in the windmill? Honestly, if they didn’t want their patrons to go skinny dipping in the water hazard, they should have made that clear when they handed out the score cards and tiny pencils.

Well, you're in luck. No longer will the resulting restraining order prevent you from combining the only two true passions in your life: binge drinking and obstructed short-distance putting. Now that the much-anticipated H Street Country Club is open for business, putt-putt has finally infiltrated the D.C. nightlife scene.

It’s a bit of a surprise that the concept hasn’t already been done in the District. At first look, HSCC is simply a laid-back bar with a subtle golf theme, accented by faux mahogany lockers along the walls on the first floor. Patrons sip moderately overpriced cocktails at an extended bar while gamers take advantage of adjacent pairs of pool tables, shuffleboards and ski-ball machines. Considered on its own, the first floor is a solid bar – but that’s only the beginning of HSCC’s appeal.

When you trek upstairs, you’ll find a veritable tale of two venues: on one end, a relaxed, casual dining room; and on the other, a bright and bustling nine-hole miniature golf course. That's right - mini golf in a bar. Sure, a reasonable person might question the wisdom of mingling metal-headed putters, flying golf balls and tequila in a confined space; but no one likes a naysayer. It’s all in good fun – well, at least until the first drunk kid tosses his putter into the dining room after missing a two-foot putt.

http://dc.metromix.com/bars-and-clubs/bar_review/putt-putt-chug/1222862/content