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This post was written by Hatchet reporter Crystel Sylvester

One professor wants to highlight women’s music at the Textile Museum.

Bonnie Morris, an adjunct women’s studies professor, led a seminar at the museum Wednesday where she discussed a history of women’s music and its important in women’s rights movements.

Her first step was donating an album called “Oregon Mountains” by musician Woody Simmons to the museum. Simmons was also present at the talk and Morris played one of her tracks for the audience.

To illustrate the issues the women’s music movement touched upon, Morris played other tapes by artists like 1940s jazz singers Trixie Smith and the International Sweethearts of Rhythm, as well as modern singers like Faith Nolan.

She said that in the 1970s, the movement changed the women’s music scene at a time when women were only used in bands for their images and appearances.

“What pissed off feminists during the anti-war movement was that women were still being objectified,” Morris said.

She saod that every time period of women’s music has been integral in women’s history and that it has mainly been a subculture ignored by mainstream media.

Morris has written 11 books, with another called “The Disappearing L,” coming in August 2016. She teaches introduction to women’s studies and several other women’s studies classes at GW and Georgetown University.

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This post was written by Hatchet reporters Regina Park and Crystel Sylvester

Hip-hop and classical music are coming together at the Kennedy Center next month.

Rapper Kendrick Lamar is set to perform a collaboration with the National Symphony Orchestra live at a one-off concert on Oct. 20, The Washington Post reported Monday.

Lamar and the NSO Pops will perform classical remixes of hits from Lamar’s acclaimed third studio album, “To Pimp a Butterfly”, which was released last March. The album contains hits like “King Kunta,” “Alright” and “Wesley’s Theory.”

A Compton, Calif. native, Lamar is also known for his collaborations with famous artists and verses on popular tracks like Taylor Swift’s “Bad Blood” and “Radioactive” by Imagine Dragons.

Although this will be the rapper’s first collaboration with the NSO, the orchestra has performed with several other artists before, including Phish’s lead singer Trey Anastasio. Last year, rapper Nas performed a setlist that inlcuded his hit “Illmatic” with the orchestra at the same venue.

Tickets will go on sale to Kennedy Center members this Tuesday at 10 a.m. and will open to the general public Wednesday at 10 a.m. Prices start at $35, with the best seats going for $99.

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Drake pumped up the crowd at Landmark Festival on Saturday. Jordan McDonald | Hatchet Staff Photographer

Drake pumped up the crowd at Landmark Festival on Saturday. Jordan McDonald | Hatchet Staff Photographer

From Coachella to Lollapalooza, some summer music festivals have become an event where talented artists are overshadowed by obnoxious, and often underage, crowds.

But perhaps because Landmark Festival, which made its debut this Saturday and Sunday, stood for a cause, the crowd seemed more tame. Alongside the flower-crown-and-flannel-wearing millennials were young couples pushing strollers and even a few guests that appeared to be the same age my own parents.

Over two overcast days, Landmark brought together about 40 artists with ticket proceeds going toward the Trust for the National Mall, a nonprofit partner of the National Park Service devoted to preserving the Mall.

Some booths around the festival grounds at West Potomac Park allowed guests to take trash bags that they could use to clean up littered beer cans; they could return the full bags at the end of the day to receive prizes. Other vague appeals to activists in the crowd included the “What do you march for?” wall on which guests scribbled down causes and issues that inspired them – everything from “women’s rights” to “dad bods.”

But it was clear that most people just came for the music.

Drake, Saturday night’s first headliner, captivated the crowd with his powerful stage presence. After a day of running around the festival grounds, I didn’t think I had it in me to withstand the tightly packed horde of high schoolers surrounding his stage for two hours. But as soon as the Canadian rapper hit the stage, I miraculously found the energy to sing and dance to every song on the setlist.

Drake didn’t miss a beat as he breezed through a repertoire of his most popular songs and verses, both old and new – from “Headlines” to “Hotline Bling” and “Back to Back,” his latest diss track against rapper Meek Mill. Some of the onstage gimmicks – like fireworks, excessive airhorns that punctuated each song and his (probably) insincere declarations that this performance was his favorite one yet – were harmless, but grew tiresome after a while. He also apologized, on behalf of God, for the rain. Thanks, Drake.

The Strokes, led by front man Julian Casablancas, headlined Landmark Festival. Jordan McDonald | Hatchet Staff Photographer

The Strokes, led by front man Julian Casablancas, headlined Landmark Festival. Jordan McDonald | Hatchet Staff Photographer

Closing out the festival on Sunday night, The Strokes lived up to everything you’d expect from a headliner, rocking out with powerful vocals and guitar solos on classics like “Hard to Explain” and “Last Nite.” In between tracks, frontman Julian Casablancas – who was inexplicably sporting sunglasses at 9 p.m. – provided entertaining (albeit mumbly) banter with the audience. The performance wasn’t reserved but it definitely wasn’t over-the-top. The band arrived on stage more than 15 minutes late and left the stage about 10 minutes early, without responding to audience chants for an encore.

Alt-j’s performance drew one of the biggest crowds of the weekend, but the band lacked the stage presence that makes concerts memorable. Even during fast-paced songs like “Left Hand Free,” the band remained stiff and motionless. Performing at the same time on the other side of the park, English folk singer George Ezra played a much more lively and intimate set, which included his soulful radio hit “Budapest” and a crowd-pleasing cover of Macy Gray’s “I Try.”

Some of the smaller, lesser-known bands offered the most memorable performances. On Saturday afternoon, The Mowgli’s were all smiles, bouncing around stage at a down-to-earth performance of feel-good love songs like “Whatever Forever” and “Say It, Just Say It.” On Sunday evening, CHVRCHES’ synthetic beats, accompanied by lead singer Lauren Mayberry’s sweet vocals, were electrifying.

The D.C. Eats food tents, curated by chef Jose Andres, attracted some of the largest crowds at the festival, offering

CHVRCHES drew one of the bigger crowds at the weekend's Landmark Festival. Jordan McDonald | Hatchet Staff Photographer

CHVRCHES drew one of the bigger crowds at the weekend’s Landmark Festival. Jordan McDonald | Hatchet Staff Photographer

everything from sushi to vegetable-infused lemonade. I decided to skip the more popular vendors like Shake Shack and Ben’s Chili Bowl, and instead headed over to the tent for Duke’s Grocery, an East London-style eatery in Dupont Circle. The $9 “posh” BLT sandwich – with avocado and garlic aioli – and $8 corn-on-the-cob – with tangy cotija cheese, spicy sauce and cilantro – were pricey but satisfying takes on two classics.

Because of Landmark’s toned-down take on activism, anyone seeking a crowd that was passionate about saving the world should have probably taken the trip to New York for the weekend to catch Global Citizens Fest. And die-hard festival-goers expecting to rave came to the wrong place. But for everyone in between who just wanted to enjoy the music, Landmark made a promising start as a new tradition for D.C. residents.

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Wednesday, Sept. 23, 2015 9:29 a.m.

H Street Festival celebrates 10 years

by hrogers

The annual H Street Festival celebrated its 10th year on Sept. 19.

It spanned 10 blocks in Northeast D.C. and featured food and entertainment.

“It seems like a massive block party,” sophomore Diehl Sillers said.

Some vendors like Shawn Theron, who sells his art out of his truck, have been coming to the festival for almost as long as it’s been around.

“I love seeing all the people,” Theron said.

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Saturday, March 7, 2015 5:11 p.m.

Q&A: GW alumni Jukebox the Ghost

This post was written by Hatchet staff writer Ariana Mushnick.

Ben Thornewill, Jesse Kristin and Tommy Siegel lived in Amsterdam Hall when it was called New Hall, where a close friendship around music evolved into their band, Jukebox the Ghost.

Jukebox The Ghost

Ben Thornewill in March 2010 at the Black Cat. File Photo by Francis Rivera | Senior Staff Photographer

Just over a decade since their days as GW students, the bandmates have released four studio albums and played hundreds of shows across the country. Vocalist Ben Thornewill talked to The Hatchet about Shania Twain, California and walking by the White House on a snow day. The trio will perform at the 9:30 Club on March 10.

The three of you met while you were students at GW. What were your times like here?

Ben Thornewill: We were all in the same dorm for sophomore through senior year. We played at every frat party, benefit show, casino nights – all of it. We worked out our kinks while we were there, and once we graduated, we started touring and doing it for real.

It was always my goal to make it a career. Tommy was a journalism major, Jesse [studied] biology and I was the one who was studying music. So in my mind, I was like, ‘Yeah, we’re gonna do this.’ I had to talk them out of more lucrative careers.

What were your favorite things to do in D.C.?

BT: I loved living by the monuments. One of my favorite moments was on a snow day and I walked in the middle of the night to the White House and saw it right before they they started clearing the paths. I think just living in D.C. and having the chance to see the city in those more private, quiet moments is awesome.

You’re now on your biggest U.S. tour to date, and you recently performed on ‘Conan.’ How does it all feel?

BT: It’s wonderful. We’ve had a bunch of really fantastic sold-out shows in L.A. and Chicago, New York and San Francisco, and hopefully D.C. as well. Conan was an absolute whirlwind. He’s very kind and very tall.

It’s been a really encouraging tour. It feels like there’s an energy throughout it [and] it feels like big things are happening.

Did you ever go to shows at the 9:30 Club and envision yourself playing there?

BT: I went to many shows at the 9:30 Club, [but] I never even envisioned myself playing there because I was just hoping to play the Black Cat. That was our big goal. I thought, ‘Oh, maybe one day.’

You just released your fourth album, and it’s more pop-y than your previous albums. Did you have a vision for the album?

BT: We always want to try to not make the same record twice. We wanted to make a record that was a little more, I guess, on-the-nose pop songs, an album that you could put on at a party and listen to all the way through. We [recorded] 50 odd songs and whittled it down to the 11. I think from start to finish we probably spent nine or 10 months on it.

Do any songs on the album carry a particular meaning for you?

BT: Each song has its place and moment in history. ‘Hollywood’ is the one that’s the most exciting and most engaging [live]. Jesse, the drummer, gets out from behind the drum kit and sings it jazz style. It’s a big showpiece and I love that song.

You’ve been together for over a decade. How has the band evolved?

BT: Almost indescribably. We’re now approaching 30 [years old], and we were 18 [and] 19 when we started it. So we’ve aged, which is doing whatever it does to us. And from the beginning, we were just like idiots living in a dorm and sleeping on the floor to make a record in North Carolina, and now we’re at like 900 shows.

We’ve been touring for eight to nine years, so it’s a whole different ballgame. It’s a constant evolution. I think fundamentally we’re the same people, but it’s nice not sleeping on floors anymore.

Who is your No. 1 music idol?

BT: That’s a good question. Beethoven? Yeah, that can be my answer. Otherwise, I can only think of like smart-ass answers like Shania Twain. She’s touring again.

I’ve heard you play covers during your shows. Is this a tradition, and how do you decide what to cover?

BT: It’s definitely a tradition. It came from our days at GW when we’d play parties and stuff, and people would only want to hear so many original songs. They would want to hear something that they know. So we’d always do something like a nod to the audience.

About a year ago, I very jokingly said what if we did ‘Man! I Feel Like a Woman!’ And we were like, ‘Fuck it. Let’s try it.’ And it kills. It’s one of the best covers we’ve done. That’s how it goes. It’s a joke conversation that often ends up being like, alright, let’s try it, and sometimes it works.

What’s the last concert you went to?

BT: Sara Bareilles, who is an such an extraordinary performer. It’s not only the last concert I’ve been to, but like one of the most impressive performances I’ve ever seen. She’s so personable and has such an extraordinary voice. It really blew me away. I didn’t expect to like [her] as much as I did.

When you’re back in New York, what do you do in your free time?

BT: This is the problem with interviews, because all I want to say is masturbation, which I can’t say, like I’m not allowed to say that.

I read a lot, hang out with friends, probably don’t go to rock clubs because that’s all we do. We’re always writing, we’re always making music, so it’s sort of like a continuation of what we do and who we are on the road, just we don’t have to sleep in Holiday Inn Expresses anymore.

What’s your source of creative inspiration?

BT: Life, music, stuff. Paying attention to the world around you, that’s mostly it. And masturbation.

It looks like you guys had a great time filming the music video for ‘The Great Unknown.’ What was that like?

BT: Truly, it was an awesome time. We started in L.A. in the studio that we recorded the album in, drove up the Pacific Coast Highway, just stopped at beautiful national parks, set up the instruments and just played and filmed it. It ended with a party in San Francisco. All of that was perfect. The best music video experience we’ve had.

Anything you want to say to current GW students?

BT: Masturbation. No. Be weird. Subvert the people. Subvert the man. Screw with everything.

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Monday, Feb. 9, 2015 10:22 p.m.

Monday Mix and Editors’ Picks

Monday Mix

Here are a few tracks The Hatchet staff listened to while editing the Sex Issue. Happy listening.

Editors’ Picks

Music | Jeanine Marie, Culture Editor

This week’s pick: “Repetition” by Purity Ring

The lovely Canadian duo hasn’t made an album since 2012, so I’ve waited anxiously for this latest work. Purity Ring has released three singles, and this BBC teaser doesn’t disappoint. (“Repetition” starts at 8:35 minutes.)

Television | Robin Jones Kerr, Opinions Editor

This week’s pick: “Saturday Night Live” 40th Anniversary Special

Where will you find Jerry Seinfeld, Eddie Murphy, Maya Rudolph and 50 other comedians this Sunday? On NBC for the 40th Anniversary Special of “Saturday Night Live.” The star-studded event is sure to cap off your long weekend with lots of laughs.

Lit | Nora Princiotti, Sports Editor

This week’s pick: “When the Game Was Ours” by Larry Bird and Earvin “Magic” Johnson, with Jackie MacMullan

Study up with this candid read about the notoriously competitive basketball stars before March Madness begins.

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Tuesday, Jan. 13, 2015 5:23 p.m.

Spring concert preview

This post was written by Hatchet staff writer Samuel Pfister. 

As the new semester begins, it’s easy to feel stressed by the prospect of another busy season. Instead of your syllabi, check out the best artists hitting the stage this spring, from a jazz legend to a “Trap Lord” to GW alumni, and give yourself a chance to expand your musical horizons.


Greensky Bluegrass will take the stage at the 9:30 Club at the end of this month. After releasing their eighth studio album in September, the band announced a huge tour from New York to Texas that includes two stops in the District on Jan. 30 and 31.

A true jam band with strong bluegrass roots, Greensky Bluegrass is known for collaborating with artists like Bill Kreutzman, formerly of the Grateful Dead, country band Railroad Earth and Bela Fleck, who recently played a show at Lisner Auditorium. This show is a chance to delve into an alternative musical genre without breaking the bank.

9:30 Club, 815 V St. NW. 7 p.m. $20


For those looking for something a little more contemporary, A$AP Ferg is coming to D.C. to perform at The Fillmore on Jan. 18. A$AP Ferg is one of underground hip-hop’s up-and-coming artists after a successful 2013 release of his debut album, “Trap Lord.”

The Fillmore, 8656 Colesville Road, Silver Spring, Md. 8 p.m. $37.50


A pioneer of the genre, Roy Ayers stops by the District’s Blues Alley jazz club playing a show each night from Feb. 5 to 8. Ayers was one of the first jazz musicians to bring elements of hip-hop and rap into his music.

Blues Alley, 1073 Wisconsin Ave. NW. 8 p.m. $45


One of the best indie acts visiting D.C. in the spring is singer-songwriter Damien Jurado. Known for his lo-fi folky recordings, Jurado takes the stage at the Rock & Roll Hotel on Feb. 3.

The Seattle native entered the music scene in the late ’90s, and his 2014 album, “Brothers and Sisters of the Eternal Son,” brought him into the modern era with spirited beats like “Metallic Cloud.”

Rock & Roll Hotel, 1353 H St. NE. Doors at 7 p.m. $15


Dr. Dog comes to town Jan. 22. Hailing from West Grove, Pa., the psychedelic band always puts on a performance filled with distorting sounds and fantastic light shows. Concert-goers get to experience a modern act drawing on influences like The Beatles and The Beach Boys.

9:30 Club, 815 V St. NW. 7 p.m. $30


The 9:30 Club is hosting an assortment of indie-pop acts that are must-sees for any music lover. On March 10, GW alumni band Jukebox the Ghost hits the club to promote their self-titled album.

Former students Ben Thornewill, Tommy Siegel and Jesse Kristin draw on piano influences and strong lyricism in their music, which scored them a contract with Yep Roc Records last year.

9:30 Club, 815 V St. NW. 7 p.m. $18

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Monday, Sept. 8, 2014 9:07 p.m.

Monday Mix and Editors’ Picks

To make Mondays a little more bearable, The Hatchet presents Monday Mix and Editors’ Picks. We have a soundtrack to beat the back-to-school blues and a curated list of the latest and greatest in music, film and literature. Check back with us every week for new top picks.

Monday Mix

Miss summer already? Let this mini mix remind you of simpler, warmer times.

Editors’ Picks

Film | Emily Holland, Culture Editor

This week’s pick: “The Disappearance of Eleanor Rigby”
This film, which has stayed within festival circuits since its debut in 2013, is finally being released in small art theaters across the country Sept. 19. Jessica Chastain and James McAvoy star in this double-sided love story, visually portraying this representation of the classic idiom, “There are two sides to every story.”

Music | Morgan Baskin, Assistant Culture Editor

This week’s pick: Radiohead’s music app, PolyFauna
Radiohead dropped some new tracks via their music app Sept. 1, so download PolyFauna for fresh artwork and a possible taste of what the band’s new album will sound like.

Lit | Tatiana Cirisano, Contributing Culture Editor

This week’s pick: Billy Collins, former U.S. Poet Laureate
If you (tragically) couldn’t make it to former U.S. Poet Laureate Billy Collins’ talk at the National Book Festival, tune into the event’s podcast to hear what you missed. With a combination of dry wit, sudden artistic depth and unexpected twists, Collins’ poems range from funny to sarcastic to touching. Check out “Forgetfulness” and “Budapest”.

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Photo by Jason Thrasher, courtesy of All Eyes Media.

Photo by Jason Thrasher and courtesy of All Eyes Media.

This post was written by Hatchet staff writer Everly Jazi.

A band out of legendary music center Athens, Ga., Futurebirds has played with every group from Band of Horses to Grace Potter and the Nocturnals.

The indie rock band, which promises “laid-back country-rock with an atmospheric, psychedelic twist” will play at the Black Cat on Saturday. Tickets are $15.

Frontman Carter King took a break from the last day of mixing at the Chase Park Transduction studio to talk about the band’s new album, “Baba Yaga.” The interview has been edited for length.

Hatchet: What made you decide to name your second album “Baba Yaga?” How do the witch’s two sides relate to you?

King: You already hit the nail on the head with the two sides of the Baba Yaga character. She’s this ugly horrible witch who lives down in the woods and she eats kids who wander too far into the woods. But she’s also very important to the hero’s quest. She always provides something crucial to the process or to the journey. That last record was a pain in our ass a lot of the time. There were some dark moments where we felt like kids out in the woods being eaten by this thing. But you know what? I saw through and got to the other side and realized the goodness in it as well.

Hatchet: Why do you think you had a hard time releasing this album?

King: We were just caught up in finding the perfect way to send it out into the world. It’s not hard to release records these days. You can go to the Bandcamp site for free and put your record up. We were just struggling ourselves with making sure we gave it the perfect opportunity to succeed and get to as many ears as we could.

Hatchet: As you have become more well-known, toured and talked on radio stations, how have band members’ lives changed?

King: Things have changed and they haven’t changed at all at the same time. That was a stupid answer, but when we started the band we were like, ‘Shit, I mean, if we could play the 40 Watt Club [in Athens, Ga.], that’s all I want to do and then quit.’ And we did that, and I was like, ‘What else can we do?’ We can go on tour. We can play these places, and we’ve gotten to play these incredible venues and KEXP [90.3 FM] and just go on tour with these big bands and bands that you’re fans of and you’re like, man, this is great, you know? It’s all been great, but shit what else can we do? Got that under the belt, what’s next?

Hatchet: What was it like touring with the big names?

King:It’s cool because you get to play these huge venues and you’re like, ‘Shit, I never thought I’d be here on this stage in this amphitheater.’ But the whole time it’s like, ‘You have 30 minutes to load on, sound check if you want to.’ So you’re not like starry-eyed and ‘Oh, I just want to live in this moment forever.’ But the best part about it is, especially when you develop relationships with some of these bands, you just get to pick their brains and take a notepad with you so to speak. You can learn a lot from mistakes people have made, and by taking advice from people, you can avoid a lot of pitfalls.

Hatchet: You’re working on your new album. What should we expect?

King: What can I say? We just got done. We’re mixed. We’ve mixed 16 tracks, and we’re going to cut that down to 10 or 11 probably for the record. There’s a lot of stuff that’s kind of all over the place right now, but we have more faster tracks and we have more way slower tracks. It’s less kind of in the middle than the last one. The tempos stand a little more.

Hatchet: What will you bring to the Black Cat?

King: Ourselves. That’s it. Just our smiles and good intentions.

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This post was written by Hatchet staff writer Tatiana Cirisano.

It’s exciting to see that spring is finally here, but we all need a break from snapping Instagrams of cherry blossoms. This week, dodge the hordes of flower-enamored tourists in favor of these venues.

Feast on gourmet grilled cheese and wine at GCDC

Photo from the GCDC Facebook page

Photo from the GCDC Facebook page

Saturday’s National Grilled Cheese Day has come and gone, but with D.C.’s new gourmet grilled cheese joint, every day is a chance for celebration. Since GCDC’s April 11 opening, cheese-lovers have lined up to try unique flavor combinations like the District Cemita, with chorizo, avocado, and a spicy salsa on pain levain. By night, GCDC transforms into a classy wine-and-cheese bar, offering up cocktails, cheese plates, and savory bites.

Grilled Cheese D.C., 1730 Pennsylvania Avenue NW, open 11 p.m. to 3 p.m. and 5 p.m. to 9 p.m.

Browse iconic snapshots at the National Portrait Gallery’s ‘American Cool’

National Portrait Gallery | Photo used under the Creative Commons License.

National Portrait Gallery | Photo used under the Creative Commons License.

With only a few weeks of classes remaining, now is the time to check out “American Cool” (or to return for one last look). The exhibit includes photographs of popular actors, political activists, writers and singers of the past century, each figure carefully chosen using a “historical rubric” of coolness. Photographs of pop culture icons like Jimi Hendrix, Hunter S. Thompson, and Madonna line the walls of the exhibit, arranged in order by generation to show the evolution of “cool” in American culture.

The National Portrait Gallery, 8th and F streets NW, 11:30 a.m. to 7 p.m. daily.

Kill Paris & Candyland @ U Street Music Hall

Throw on some neon and pretend you’re at Coachella with back-to-back sets by DJs Kill Paris and Candyland, who will perform Thursday at D.C.’s U Street Music Hall. Candyland’s head-banging drops and heavy bass will combine with Kill Paris’ futuristic, funky beats for a match made in EDM heaven, bringing the best of both artists together for utter musical mayhem. Expect trippy visuals and erratic lightshows.

U Street Music Hall, 1115 U Street NW, Thursday, April 17 at 10 p.m., tickets: $20

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