Arts Desk

Don’t Be Bored: Diogo Nogueira and Kill All Redneck Pricks

Diogo Nogueira wanted a career as a professional soccer player. But when he hurt his knee after two years with the Cruzeiro team, it was time to change jobs. The Brazilian vocalist’s late father João Nogueira, a samba star, brought his son to shows and jam sessions, often putting him behind the microphone. Diogo began performing, and in 2007, released his debut album, Cidade do Samba. He won a Latin Grammy in 2010, and he now hosts and performs on a weekly network samba television show in Brazil. On his albums, Nogueira occupies a higher range than his baritone father, but he conveys the same mix of romanticism and joy (the word “amor” appears in three song titles on his 2009 album, Tô Fazendo a Minha Parte). But he’s not just a suave balladeer: The singer has also written and performed energetic carnival anthems. Count on hearing a little from both categories at his concert tonight. 8 p.m. at the Artisphere Ballroom. $25. (Steve Kiviat)


Tomorrow night at U Hall, DJs Tittsworth and Klever make their debut as—wait for it—Kleavage. It should be a respectable evening of brandy-swirling and a sing-along 'round the family piano. 10 p.m. $10. 21+ without advance tickets.

If you'd rather stray from the tats and caps, maybe check out The Singles Club at DC9 with DJ Heartbreak Beat and longtime Razzmatazz DJ William Alberque. Expect to hear Britpop, electropop, and girl pop, which I didn't realize was a genre. 9 p.m. Saturday. $5, or free before 10:30 p.m. 21+.

Sunday, rock promoter Sasha Lord debuts a new monthly at Cafe L'Enfant in Adams Morgan called Redeem Your Soul on Sunday. From her email blast: "Think swampy, that new/oldish garage sound, girl represented, arty, soulful heartache, that space age sound, Parisians in love, danceable beats and head nodding." With DJ Baby Alcatraz. 9:30 p.m.


When British choreographer Christopher Wheeldon was creating a new Swan Lake for the Pennsylvania Ballet in 2004, he photocopied pictures of every Degas dance painting he could find and plastered the images all over the studio walls. Saturday, the Phillips Collection puts that creative process in reverse. The museum has 30 real Degas works hanging on the walls, and while you can’t see dancers in the flesh, you can attend a screening of Wheeldon’s Swan Lake, as performed in 2009 by Germany’s Badisches Staatstheater Ballet. The screening coincides with the final weekend of the museum’s special exhibit, Degas’ “Dancers at the Barre: Point and Counterpoint,” which closes Sunday. The exhibit features ballerinas in less-than-flattering positions, stretching, flexing, and futzing with their shoes. “What struck me most of all was how accurate all these paintings are in their depiction of the rehearsal process and how things haven’t really changed,” Wheeldon says in an interview with Wall Street Journaldance writer Robert Greskovic. The Swan Lake showing also opens a Wheeldon-heavy ballet season in Washington: In April, the New York City Ballet will perform an as-yet-untitled new Wheeldon work, and on Feb. 1, American Ballet Theatre will give the Washington premiere of his Thirteen Diversions. Guess who will be the starring dancer? Sarah Lane, Natalie Portman’s Black Swan body-double. Because in the ballet world, Swan Lake is never more than a few steps away. The film shows at 2 p.m. at the Phillips Collection on Saturday. $10-$12. (Rebecca J. Ritzel)


Karp came together for two principal reasons: 1) Jocks fucking suck, and 2) There’s nothing else to do in Tumwater, Wash. A target for bullies in high school, Chris Smith started a newsletter called “Kill All Redneck Pricks.” He borrowed the name for his band, Karp, which was hatched later in a note exchanged with his buddy Jared Warren. The band, wrote Smith, “would probably be set up like this: You, bass. Scott, duh. Me, vocals. But at times everyone needs to pukishly scream.” After a period practicing in a three-walled shack behind Warren’s mom’s house, Karp went on to become one of Washington’s best and loudest post-grunge bands. Bill Badgley’s 2011 film, Kill All Redneck Pricks: A Documentary Film About a Band Called Karp, tells the trio’s story, beginning with its unassuming origins as a clique of angry, dorky kids who had no idea how to be rock stars. Karp’s first national tour, with the rising star Beck, was awkward: Three kids recently out of high school didn’t know they weren’t supposed to break into bands’ dressing rooms and steal their beer. They later struggled through crises—Smith attempted suicide and got hooked on heroin—and disbanded in 1998, splitting off into other groups. (Warren even went on to join The Melvins. Rock ‘n’ roll wishes do come true.) In 2003, drummer Scott Jernigan died in a boating accident on Lake Washington. Badgley’s documentary brings together a cast of Olympia musicians eager to tell stories about Karp’s onstage antics and ear-splitting shows. But despite the aggro act, their roots showed: Kathleen Hanna had Karp pegged for high-school outcasts right away. The film shows at 8 p.m. Sunday at Black Cat Backstage. $6.

Addendum: PUNK

This punk-rock announcement comes forwarded from our dear leader Jonathan L. Fischer: Venomous World Fest is happening tomorrow in Petworth, with a slate of bands that hearkens back to the Wilson Center's golden years—only with online ticketing. It's so punk, it's listed on Craigslist. (But it's not too punk for Facebook.) $8 for eight bands. 4 p.m.

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  • Gary Arseneau

    January 7, 2012

    The Hirshhorn loaned a non-disclosed 3rd-generation-removed posthumous -brass- forgery, falsely attributed to Edgar Degas, to the Phillips Collection's Degas exhibition.

    The Phillips Collection's is misrepresenting this non-disclosed 3rd-generation-removed posthumous -brass- forgery as a bronze sculpture by Degas that he supposedly used as a model to draw a pastel also in this exhibition.

    As members of the Association of Art Museum Directors, the Phillips Collections and Hirshhorn endorse the College Art Association's ethical guidelines on sculptural reproduction. In part, it states: "any transfer into new material unless specifically condoned by the artist, is to be considered inauthentic or counterfeit, and should not be acquired or exhibited as works of art."

    Since the dead don't sculpt, much less condone, any posthumous casting in bronze, much less brass, would be considered "counterfeit" by AAMD members Phillips Collections and Hirshhorn.

    It is very troubling, these museums do not practice what they preach.

    Caveat Emptor!

    Gary Arseneau
    Fernandina Beach, Florida