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Baltimore’s state-of-the-art arena highlights spring arts scene

Lizzo, Janet, Bruce, Joan Jett and more to christen renovated space

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Monica Ikegwu. Open/Closed. 2021. (Image courtesy of the artist and Galerie Myrtis)

For years, Baltimore missed out on performances by big-name musicians, comedians and others because it didn’t have a 14,000-seat arena capable of attracting them, but not anymore.

Starting in April, more than a dozen acts will be coming to town when the CFG Bank Arena at 201 West Baltimore St. — formerly known as the Royal Farms Arena — reopens following a $200-$250 million renovation designed to turn it into a state-of-the-art sports and entertainment venue.

The arena’s reopening after more than a year of construction is one of the highlights of the spring arts season in Baltimore, along with new exhibits at the Baltimore Museum of Art; new shows at the Hippodrome and Lyric; a new book festival, a John Waters book signing and other events around town. 

On April 7, Bruce Springsteen and The E Street Band will be the first performers to appear at the CFG Bank Arena, a concert that’s being billed as opening night for the refurbished and rebranded hall.

The Boss will be followed by: Eagles Hotel California Tour, April 8; Straight Jokes No Chaser, April 14; Jeff Dunham Still Not Canceled, April 15; Adam Sandler, April 21; New Edition: Legacy Tour with Keith Sweat, Guy and Special Guest Tank, April 22; Monster Jam, April 28 to 30; AEW Dynamite, May 3; Lizzo, May 9; Janet Jackson: Together Again with Special Guest Ludacris, May 13; Anita Baker: The Songstress with the Legendary Babyface, May 14; blink-182 Tour 2023, May 26; Stars on Ice, June 2; Bryan Adams: So Happy It Hurts 2023 with Joan Jett and The Blackhearts, June 6, and Dude Perfect PandaMonium, June 25.

Performances scheduled for later in 2023: Chris Stapleton’s All-American Road Show; Thomas Rhett, Lionel Richie and Earth, Wind & Fire, and Kiss – the End of the Road Tour. The CFG Bank Arena website is cfgbankarena.com.   

Owned by the City of Baltimore, the arena opened in 1962 as the Baltimore Civic Center and later was renamed the 1st Mariner Arena (2003 to 2013) and the Royal Farms Arena (2014 to 2022). It was one of the first places The Beatles appeared during their augural trip to America in 1964, and Martin Luther King Jr. spoke there in 1966. The Baltimore Bullets and Baltimore Clippers played there for many years. 

As the arena grew older, city officials contemplated constructing a replacement elsewhere but couldn’t decide on a location. They eventually opted to keep the existing venue and bring in a new management team to upgrade it to be competitive with other East Coast arenas. The decision was part of a larger effort to revitalize the west side of downtown Baltimore, where a new building for the city’s historic Lexington Market recently opened several blocks away.

The CFG Bank Arena team is led by the Oak View Group of Los Angeles, in association with Thirty Five Ventures, the investment company of NBA player Kevin Durant and his business partner, Rich Kleiman, and recording artist Pharrell Williams. The Oak View Group team funded the improvements in return for rights to manage and lease the facility, and it’s offering seat leases as part of the ticketing options.

Renovation work began in early 2022 and included a revamped seating configuration; new concourses, restrooms, and concessions areas; updated mechanical systems and a redesigned exterior. The refurbished arena had a test run last month, when Baltimore hosted the Central Intercollegiate Athletic Association’s Men’s and Women’s Basketball Tournaments, but there was still more work to finish. Starting in April, managers say, all the renovations will be complete and it will be ready for the entertainers.

Visual arts events

Baltimore Museum of Art, 10 Art Museum Drive (artbma.org): From April 5 to July 16, the BMA will present “The Culture: Hip Hop and Contemporary Art in the 21st Century.” Coinciding with the 50th anniversary of the emergence of hip hop in the 1970s, the exhibit will examine the global phenomenon of hip hop and its impact on music, fashion, technology and the visual and performing arts.

More than 90 works of art and fashion, including many by LGBTQ artists, will show the many ways hip hop has influenced contemporary society. According to the BMA, queer artists with work in the exhibit include: Lauren Halsey; Rashaad Newsome; Mark Bradford; Julie Mehretu; Dapper Dan; Telfar Clemens; Tschabalala Self; Amani Lewis; John Edmonds; Nina Chanel Abney; Jonathan Lyndon Chase; Caitlin Cherry; Devan Shimoyama; Texas Isaiah; Shabez Jamal; Eric N. Mack and Rozeal. Non-cisgender artists include Isaiah, Chase, Lewis and Jamal. 

The exhibit is co-organized by the BMA and the Saint Louis Art Museum. One of the curators is Asma Naeem, the BMA’s new Dorothy Wagner Wallis Director. Other curators include Gamynne Guillotte, the BMA’s chief education officer, and Hannah Klemm and Andrea Purnell, from the Saint Louis museum.

Also opening at the BMA this spring: “Histories Collide: Jackie Milad x Fred Wilson x Nekisha Durrett,” April 26, 2023 to March 17, 2024: New works by Milad and Durrent in dialogue with Wilson’s Artemis/Bast (1992); “Martha Jackson Jarvis: What the Trees Have Seen,” May 7 to October 1, 2023, featuring mixed media works by Jarvis that imaginatively trace a free Black militiaman’s journey from Virginia to South Carolina in the American Revolution; “Recasting Colonialism: Michelle Erickson Ceramics,” May 7 to October 1, 2023; “The Matter of Bark Cloth,” May 7 to October 1, 2023, and “Wild Forms: Fauve Woodcuts,” May 14 to October 15, 2023.

American Visionary Art Museum, 800 Key Highway: The main exhibit is “ABUNDANCE: Too Much, Too Little, Just Right” (Championing good, honest work from the hand and the heart), curated by Gage Branda. Also: AVAM’s Logan Visionary Conference 2023, March 19, 2 p.m. to 4 p.m.; Kinetic Sculpture Race, May 6.

Walters Art Museum: 600 North Charles St. (thewalters.org): “Quiet Beauty: The Watercolors of Leon Bonvin,” opened in February; “Arts of the Medieval Mediterranean,” is ongoing, and “Across Asia: Arts of Asia and the Islamic World,” a new installation of the museum’s Asian and Islamic collections, opens April 23.  

The Peale, 225 Holliday St. (thepeale.org): “Compensation for Loss” exhibition, March 19 to April 30, and Submersive Productions Performances: Katalepsis, March 24 to April 30.

Maryland Center for History and Culture, 610 Park Avenue (mdhistory.org): “Claire/McCardell,” an exhibit about Claire McCardell, an influential designer of women’s clothing from the 1930s to the 1950s and beyond; “Discover Maryland;” “The Unfinished Revolution: Maryland in the Wars for Independence,” and “Passion and Purpose: Voices of Maryland’s Civil Rights Activists.”

Baltimore Museum of Industry, 1415 Key Highway (thebmi.org): “Fire & Shadow: The Rise and Fall of Bethlehem Steel,” documenting the 125-history of the Sparrows Point steel mill.

B&O Railroad Museum, 901 West Pratt Street (borail.org):  New permanent exhibit: “Freedom Seekers on the B&O Railroad.”

Waverly Book Festival (waverlymainstreet.org): A new book festival organized to replace the Baltimore Book Festival, 32nd and Barclay streets and other locations, April 28 to 30.

John Waters at Atomic Books, 3620 Falls Road (atomicbooks.com): As part of a book tour for the release of the paperback version of his novel, “Liarmouth: A Feel Bad Romance,” writer and filmmaker John Waters will sign books on May 12 starting at 7 p.m. 

Performing arts events

Hippodrome Theatre, 12 South Eutaw St., (Baltimore.broadway.com): Spring shows include: To Kill A Mockingbird, March 14 to 19; Respect – Aretha Franklin Tribute, March 23; Aziza, March 25; Lewis Black, April 2; Hadestown, April 12 to 22; Rock From The Heart, April 22; Shen Yun Performing Arts, April 28-30; Dino Ranch Live, May 6; Six the Musical, May 9 to 14, and Frozen, June 7 to 18.

The Lyric Baltimore, 140 West Mount Royal Ave., (lyric.baltimore.com): Royal Comedy 2023: Sommore, Bruce Bruce, Lavell Crawford and Special K, March 18; Hits! The Musical, March 19; Killer Queen, March 25; Bored Teacher Comedy Hour, March 31; Good Friday: Carl Thomas, Lyfe Jennings and Christopher Williams, April 7; Brit Floyd, April 15; Soul Marathon: Bloodstone, April 22; Yes Epics & Classics featuring Jon Anderson and The Band Geeks, May 6; Fortune Feimster, May 19; Boz Scaggs, May 20; Puscifer, June 1; John Mellencamp, June 2; Kansas – The Band, June 3; Luis Angel, June 4; Bad Friends Podcast: Andrew Santino and Bobby Lee, June 16; Stephen Sharer, June 17, and Les Claypool’s Fearless Flying Frog Brigade and W.I.T.C.H. 

Creative Alliance, 3134 Eastern Ave. (creativealliance.org): The High & Wides with Hannah Lee Thompson, March 31; 2023 Marquee Ball, April 22; Alison Crockett Presents Echoes of an Era: The Jazz Sides of Chaka Kahn, April 28, Ngaiire, May 5; Brandee Younger, June 22, and Madison McFerrin, June 23. 

Baltimore Center Stage, 700 North Calvert St., (centerstage.org): Tiny Beautiful Things, March 9 to April 2.

Everyman Theatre, 315 West Fayette St. (everymantheatre.org): The Sound Inside, March 7 to April 2; Harvey, April 25 to May 21, and The World Goes Round, June 6 to July 2.

Arena Players, 801 McCulloh Street (arenaplayersinc.com): Open Admissions and When Men Reduce as Women Do, March 17, 18, 19, 24, 25, 26, 31 and April 1 and 3; Sizwe Banzi is Dead, April 21, 22, 23, 28, 29, 30, May 5, 6, and 7, and Nina, May 26, 27, 28, June 2, 3, 4, 9, 10, 11, 16, 17 and 18.

Live! Casino Hotel Maryland, 7002 Arundel Mills Circle, Hanover, Md., (maryland.livecasinohotel.com): Patti LaBelle, March 10; Air Supply, March 11; Hoops Fest Watch Parties, March 14; Lovers in the Night Spring Concert, March 19; Mixed Martial Arts: Shogun Fights, March 25; Jerry Seinfeld, May 19, and Kevin Hart, June 11. 

Baltimore Soundstage, 124 Market Place, presents the Hell in the Harbor Festival over the Memorial Day weekend, May 27 and 28. Its complete spring lineup for March to June, with dozens of acts, is on its website, Baltimoresoundstage.com.

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Nightlife

D.C.’s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.’s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurant’s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putin’s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ‘Get Wet’ pool party with David Brown’s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasn’t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity “allowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,” says Koussari-Amin.

CTRL pressed pause when Town shut down, which “was a huge loss to the LGBTQIA+ community and D.C. nightlife in general,” says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

“When it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,” he says, noting that “they also have distinct styles and interests.” Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 “It seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.”

“CTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,” adds Jordan, noting that for him, it’s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration “is driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, … We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,” as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises “to have all sorts of weird and wacky handouts like we used to.”

After the March premiere, April’s party is “CTRLella”, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; they’re also looking to be a central part of Trade’s expansion into the adjacent space.

 Koussari-Amin says that “the event’s signature experience [is] a lynchpin in connecting D.C.’s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.” 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. “CTRL is the kind of party that represents what people want. It’s just a real party by real people that just want to hear good music and dance with their friends.”

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Celebrity News

HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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Movies

Neo-noir ‘Femme’ offers sexy, intense revenge fantasy

A work of real and thrilling cinematic vision

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George MacKay and Nathan Stewart-Jarrett star in ‘Femme.’ (Photo courtesy of Utopia)

They say “revenge is sweet,” and it must be true. Why else would so many of our popular stories, dating all the way back to “Medea” and beyond, be focused on the idea of getting “even” with the people who have done us wrong?

It’s a concept with obvious appeal for anyone who has felt unjustly used by the world – or, more accurately, by the people in it – but that has particular resonance, perhaps, for modern queer audiences, long used to being relegated to the status of “victim” in the narratives we see on our screens. In “Femme” — the new UK indie thriller helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, now in limited theatrical release and expanding wider over the next two weeks — it provides the irresistible hook for a gripping tale of calculated vengeance in the face of anti-queer violence. Like the best of such stories, however, it’s as much a cautionary tale as it is a wish-fulfillment fantasy.

Set in London, it centers on Jules (Nathan Stewart-Jarrett), aka Aphrodite Banks, a popular drag performer in the city’s queer club scene who, after a performance one night, steps out in full costume to buy a pack of cigarettes and becomes the victim of a traumatic “gay bashing” incident at the hands of a young man goaded to violence by a thuggish gang of friends. Months later, though he’s recovered from his physical injuries, he is still deeply affected by the inner scars that linger. Robbed of the confidence that allowed him to perform, he’s withdrawn into a reclusive life, until concern from his friends and housemates prompts him to finally venture out into the world for a night of cruising at a gay sauna – where he encounters his bully doing the same thing. 

Unrecognizable and anonymously masculine out of his drag persona, Jules finds himself beginning a dangerous and duplicitous game in which he plans to “out” his former attacker – whose name, as he learns, is Preston (George MacKay) – in the most humiliating way possible. As his scheme begins to play out, however, he encounters an obstacle: in getting to know the closeted Preston, he is surprised to discover not only empathy for someone living their life in terrified camouflage, but a mutual attraction that develops despite the horrific history between them.

Framed as a self-described “neo-noir” story, a designation that implies a certain flavor of moral ambiguity as much as it does a tense and shadowy tale of intrigue or a psychologically complex tone, it’s a movie that relies heavily on style in order to sell its conceptual premise. Realistically, we might question the boldness that permits our protagonist to enact such a potentially hazardous scheme, but in the context of its genre trappings we are lulled into accepting it. And while most of us are likely “jaded” enough to question the possibility of tenderness between its two leading characters, the accepted conceits of the film noir form are enough to sell it to us – or at least allow us to grapple with it alongside Jules, whose righteously Machiavellian master plan is threatened by the feelings he “catches” in spite of himself.

That, of course, is part of the whole point. “Femme,” though it establishes itself by virtue of its very title as a testament to the struggle to “pass” for straight in a world that places a value judgment on perceived adherence to a strict norm for gender and sexuality, hinges on the idea that such things aren’t quite as clear-cut as we want to make them. Despite the black-and-white certainty we cling to when it comes to the subject of abusive or toxic relationships, there’s an emotional component that can only be ignored or dismissed at our peril, and even our most resolute intentions can be undermined by the shades of gray we discover in our hearts. 

Freeman and Ng – who also wrote the screenplay, adapting their own BAFTA-nominated short film from 2021 (starring Harris Dickinson and Paapa Essiedu) into a feature-length expansion – seem bent on challenging our snap judgments, on forcing us to sympathize with our oppressors by showing us the ways in which they, too, are prevented from living a fully authentic life by the expectations of their cultural environment. Even more challenging for many modern audiences, perhaps, may be the unavoidable observation that, in enacting his plan of revenge, Jules crosses the line between being a victim and being a victimizer – a fine point that may trigger uncomfortable implications in a social environment that has become marked by divisive moral constructs and hardline ethical posturing.

Before we scare you off with discussion of high-concept themes and “culture war” rhetoric, however, it’s crucial to bring up the elements that lift “Femme” above and beyond the level of so many such narrative films and makes it a somewhat unexpectedly potent piece of cinematic storytelling – and all of them have to do with the skill and intention behind it.

As to the former, the movie’s first-time directors manage a remarkable debut, steeping their film in moody, genre-appropriate visuals and murky morality. They pave a path beyond the easy assessments proscribed for us by conventional thinking, and force us to follow our sympathies into a disquieting confrontation between what we “know” as right and what we feel as true; at the same time, they push back against any natural sentimentality we might have about the situation, stressing the toxicity of the relationship in the middle of their film, the ironically-reversed insincerity of its dynamic – and, perhaps most importantly, the reality of the defining circumstances around it. While we might find ourselves longing for a happier resolution than the one we expect, the film makes no pretense that these two men might overcome the deep denial and traumatic associations – not to mention the calculated lack of honesty on the side of its de facto protagonist, to achieve some kind of “happy ending” between themselves. Nevertheless, we hope for it, in spite of ourselves.

That delicate dynamic works largely because of the movie’s lead actors. Both Stewart-Jarrett (“Candyman”) and MacKay (“Pride”, “1917”) deliver fully invested, utterly relatable performances, finding the emotional truth behind their interactions with as much palpable authenticity as they bring to the chemistry between them. They force us to abandon our preconceived ideas about each character by finding the human presence behind them, and it makes the story’s final outcome feel as heartbreaking as it does inevitable.

As for intention, “Femme” – which premiered at last year’s Berlin International Film Festival and went on to gather acclaim across the international film fest circuit – might be a little hard to take for the easily triggered, we won’t deny it. Still, it’s a work of real and thrilling cinematic vision that goes beyond easy morality to highlight the tragedy that comes from being forced to live behind a mask for the sake of societal acceptance. It’s also exciting, smart, and unexpectedly sexy – all of which make it a highly- recommended addition to your watchlist.

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