Washington City Paper (March 29, 2019)

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One Day What did you do last Friday?

P. 10 Photographs by Darrow Montgomery

NEWS: COUNCILMEMBER BONDS SPEAKS, BRIEFLY 4 SPORTS: MENTAL HEALTH FOR STUDENT-ATHLETES 8 ARTS: D.C.’S ANNUAL MUSIC AWARDS ARE BACK 17

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INSIDE

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COVER STORY: ONE DAY

10 Moments and scenes from 24 hours of life in the District

DISTRICT LINE 4 Housing Complex: A housing reporter’s quest to interview the chair of the D.C. Council’s housing committee 6 Loose Lips: The DC Democratic State Committee can’t decide how to punish Jack Evans.

SPORTS 8

Mind Games: Division I athletic programs make mental health resources available to student-athletes.

FOOD 16 Baked and Fired: Where to sample grilled, baked, or broiled oysters 16 Top of the Hour: Bodega’s discounted wine and $5 snacks 16 Roasted: Bourbon Coffee in Foggy Bottom

ARTS 17 Double Wammie: The area’s longrunning local music awards return with a weekend-long celebration.

18 Curtain Calls: Jones on Ford’s Theatre’s Into the Woods, Rudig on Keegan Theatre’s Hands on a Hardbody, and Thal on Theater J’s The Jewish Queen Lear 20 Short Subjects: Gittell on The Beach Bum and Zilberman on The Brink 21 Discography: West on Samuel Prather’s G.O!

CITY LIST 23 Music 26 Theater 27 Film

DIVERSIONS 29 29 30 31

Savage Love Gear Prudence Classifieds Crossword

DARROW MONTGOMERY 1000 BLOCK OF N STREET NW, MARCH 22

EDITORIAL

EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: MATT COHEN FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG CITY LIGHTS EDITOR: KAYLA RANDALL LOOSE LIPS REPORTER: MITCH RYALS HOUSING COMPLEX REPORTER: MORGAN BASKIN STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: STEPHANIE RUDIG CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, ERIN DEVINE, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, CHRIS KELLY, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, JULYSSA LOPEZ, NEVIN MARTELL, KEITH MATHIAS, PABLO MAURER, BRIAN MCENTEE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, MATT TERL, SIDNEY THOMAS, DAN TROMBLY, JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE Bonding Time

D.C. Council housing committee chair Anita Bonds has never agreed to a sit-down interview with this housing reporter. So we staked her out.

By Morgan Baskin During one of Housing Complex’s first days on the job last March, she went to the John A. Wilson Building to introduce herself to one lawmaker in particular: At-Large Councilmember Anita Bonds, who also chairs the body’s Committee on Housing and Neighborhood Revitalization. Bonds shook this reporter’s hand over the dais, and said of housing policy: “It’s just so complicated.”

Housing policy, land use, urban development, homelessness—these are nuanced, sensitive, wonky issues, undeniably complicated. And in the months since that conversation, HC has spent considerable effort trying to get Bonds to talk about her work, including attempts to discuss bills she herself introduced.

But not once has the councilmember agreed to a sit-down interview or phone call in that time.

We’ve had some run-ins. In June of 2018, this reporter attended Councilmember Bonds’ 2018 primary watch party at the National Democratic Club. At the time, when HC greeted Bonds, who was surrounded by campaign and Council staff, she replied that City Paper historically “hasn’t been very fair” to her. (City Paper had recently published an article detailing the big-name donors who contributed to her campaign.) So after Bonds officially won another term, HC again reached out to her staff in an attempt to schedule an extended interview.

“I’m extremely interested in having an open conversation with CM Bonds about her specific goals for this Council period [...] She mentioned several times last year that she was unhappy with the way she’s been covered in City Paper and other outlets. I think this would be a great opportunity to better understand her vision for her committee and hear more about what kind of policy she’ll plan on backing over the next two years,” HC wrote to her communications staff on Jan. 4.

Months of email-volleyball later, and no dice. Bonds most recently denied a request

HOUSING COMPLEX

ments in total that have been made in housing. I would naturally be excited about it because, you know the situation with housing in the District of Columbia. So it’s—I feel like it’s finally coming to a head, this issue of a housing crisis. And one where we’ve got to provide for all of our residents, so that’s what is very much at the top of my thought process as it relates to housing.

I am very much aware that we have attempted over the years to address what we consider our most vulnerable in housing.

That’s how we got so much emphasis, you know, a couple of years ago on the homeless population. So now it looks like we’re thinking a great deal about those that are not homeless but could very easily be homeless if prices continue to escalate and their incomes remain stagnant. So that’s, that’s what I see in the mayor’s budget as a way to begin to address that population.

Years ago we had a great emphasis, the government had a great emphasis on workforce housing. That seemed to have been where we needed to be and um, somehow that kind of petered out. We thought that if we addressed the issue of firefighters and police officers and teachers, well, then we were getting there. And yes, that’s a big part of workforce housing. But there are others that are in workforce, it’s sort of like our lower-middle class from many years ago.

HC: There has been, as you know, criticism [from] a lot of organizations that say the mayor’s budget doesn’t do enough to invest in permanent supportive housing, targeted affordable housing, ERAP (Emergency Rental Assistance Program), because the proposal meets only a fraction of the total need—

for comment on the mayor’s proposed fiscal year 2020 budget, which the councilmember has lauded for its investment in the construction and preservation of affordable housing.

So on March 26, two days ahead of the housing committee’s first budget oversight hearing, HC went to the councilmember’s office and waited for her to show up. At first, staff warned that Bonds wouldn’t be available until 3 p.m. But shortly after she arrived at 10:30, her communications director agreed to coordinate an interview at “a hard 10 minutes.” Below is a transcript of that conversation, which

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clocked in at just under nine. It has been very lightly edited for clarity.

Housing Complex: I wanted to talk to you a bit about the budget ahead of Thursday’s budget oversight hearing. I know you’ve been very vocally supportive of what the mayor has proposed. But I’d love to hear a little bit more about what specific investments you’re excited about.

Anita Bonds: I’m excited about the invest-

AB: —Well that’s a little contrary to what I read. One of the groups said, in fact, they gave the mayor high marks for investing in permanent supportive housing. Where they differ with her is not having enough vouchers, in their estimation, um, and you know I’m not sure I know where those figures come from. I look to the government to be wise and thoughtful and accurate in their count. So if any of the groups have some real data, I certainly would like to see it and have an opportunity to digest it.

HC: What do you think about what the mayor has invested in public housing? More broadly, do you think that the state of public housing warrants a greater investment in its maintenance, repair, or operational funds?

DISTRICTLINE AB: Alright, well let me answer it my way. Because that was a loaded question. I would be crazy living here all my life and not being able to observe what public housing looks like, what people have said, over the last four years in my hearings they’ve said that public housing is deteriorating where they live. There are many problems in the interior of their units, so yes I’m concerned.

But one of the things that I have to grapple with is this issue of the fact that public housing is federal housing. HUD has decided most recently that it’s almost going to disinvest in public housing. So across the country we’re faced with the same kind of issues [as we are] here, and that is, you know, diminishing, if any, receipts from HUD. And now the local jurisdictions have to take care of the public housing stock. We happen to have one of the more robust stocks in all of the country and so it’s going to take us a while.

I am happy that the Authority and its leadership did their assessment when the new leader came on last year in the fall. I asked him, I said, tell me please, what will it take to—not make it beautiful, but make the properties you know very livable, inviting, for the residents. [Ed. note: DCHA Director Tyrone Garrett joined the Authority in 2017, not 2018.] So he came back and he said, [sighs] that’s more than a billion dollars. I said OK, now tell us, what categories? Categories of, how many roofs, you know, what have you?

He said, well let’s not go at it that way. Let’s go at it from the standpoint of, let’s talk about the interior. Let’s talk about removing mold and lead and what have you. [...] Hence he came up with a number––I think $343 million necessary to immediately go out and make some changes. We even found lead, you probably know about this, at Park Morton.

And so Park Morton is public housing, but it’s in this new package that we call New Communities [Initiative], where the city is going to put forth all these dollars for renovation. So we did get a little bit of money allocated for that.

I think it takes about $6 million, and I believe we came up with about $6 million to fix that.

People are going to say, why are you putting money in property that next year may be demolished? Well, people live there, that’s why we’re putting money in it today. So those are the kind of things I know are going on. I know that ultimately because of the independence of the agency, it may have a bond issue. And I’m very excited about that. Because it will mean that it can raise money to do the necessary repairs.

HC: To follow up on this issue of the $343 million—it is a sizable ask, and I don’t even know that the Housing Authority has asked the Council for that full amount. But with the mayor’s budget, as you know, there’s a $15 to $20 mil-

lion fund for capital repairs, but [that’s] an appropriation from an earlier year that just hasn’t been used yet. So do you think that what the mayor has proposed this year is enough to address or chip away at that $343 million that DCHA needs?

AB: I think ... I’m not sure. We haven’t gotten the survey yet. I think the housing—I have asked the Housing Authority to be very specific about how much they need based on how much can they spend in this fiscal year. To do that for the next three years. Their proposition of $1.3 billion covers, oh, maybe 15 years. Well, you know all of this, so there you go.

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Emmanuel Brantley, Bonds’ communications director, then interjected to say that the councilmember “need[ed] to go upstairs” for a Committee of the Whole hearing. He advised City Paper to send follow-up questions via email. These are the questions we sent the councilmember, who did not respond: 1. You remarked that the mayor’s $20 million investment in workforce housing compensated for other initiatives to deliver affordable middle-class housing that “petered out” over the years. What were some of these successful initiatives that D.C. stopped investing in, and would you continue to support them in the next fiscal year?

2. You acknowledge that the mayor’s budget does not include significant additional financial support for new housing vouchers.

Would you recommend allocating more money for vouchers? Why or why not?

3. You bring up the lead that was discovered in Park Morton and acknowledge that there are people living in danger of those conditions. Would you support funding more vouchers to re-home existing residents interested in moving out of the property?

4. In response to my last question, you say “we haven’t gotten the [DCHA] survey yet.” DCHA made public the results from its housing survey in December. What information are you waiting on to determine how much money the city should invest in public housing?

5. Do you have any reason to believe that DCHA would not be able to spend any additional funds allocated to it by the D.C. Council?

6. You said that one of the things you “have to grapple with” is the “issue of the fact that public housing is federal housing.” To what extent do you believe local jurisdictions are responsible for compensating for the federal government’s lack of interest or ability in maintaining public housing?

CP

washingtoncitypaper.com march 29, 2019 5

DISTRICTLINE Committee to Redirect the Precedent

Members of the DC Democratic State Committee want to remove Jack Evans as the party’s national representative.

One recent stOp on Ward 2 Councilmember Jack Evans’ apology tour was the monthly meeting for the DC Democratic State Committee, the local party organization.

In early March, Evans walked to the stage at the Harold J. Gordon Building in Southeast to brief applause, acknowledged that he’d made mistakes, and asked a room full of local Democrats for forgiveness.

Evans’ plea came soon after about a quarter of the DSC members signed a rogue letter that called on him to resign from his post as national committeeman. In that position Evans represents D.C. on the Democratic National Committee and gets a spot on the local party’s executive committee. The letter went out without approval from the DSC’s leadership and has exposed divisions among the ranks over how to address the scandal surrounding Evans.

For the past several months, Evans has been under fire as news reports have raised questions about connections between his private consulting business and his D.C. Council office, and emails show he repeatedly tried to use his public position for private gain.

Now, there is a more formal effort to push Evans from his elected seat in the party. State committee members are expected to vote on a resolution during their next meeting on April 4 that calls for Evans to resign. The measure requires a majority vote to pass.

The proposed resolution also demands Evans disclose records of his consulting firm, NSE Consulting, LLC, including his list of clients, the amounts he was paid, and the nature of the work he did “so that District voters can decide whether his conduct in his elected and appointed roles has been appropriate and ethical.”

“We have to speak up about these things, and we can’t just feel good that we’re in the club,” says Renee Bowser (no known relation to Mayor Muriel Bowser), a Ward 4 committee member who supports the resolution.

LOOSE LIPS

“Some people, they don’t want to make waves.

They just want to be part of the club.”

Evans did not respond to requests for comment.

The proposed DSC resolution is only the latest attempt to strip Evans of his influential positions in D.C. politics.

Last week, the Council voted unanimously to reprimand Evans for violating the body’s Code of Official Conduct. The Council also gave initial approval to diminish Evans’ responsibilities as chairman of the Council’s Committee on Finance and Revenue. Those changes, which include removing his oversight of tax abatements and tax increment financing, require a second vote.

The reprimand stems from business proposals that show Evans peddling his influence and relationships gained as the District’s longest serving co un c i l me m ber to lobbying firms. In those p i t ch e s s e n t from his official Council email, which were first reported by the Washington Post, Evans also touts his position as chairman of the Wa s h i n g t o n Metropolitan Area Transportation Authority (WMATA) board and his membership in several other organizations, including the DC Democratic State Committee.

Evans is also currently the target of a federal criminal investigation into his private business dealings with a digital sign company. So far, Mayor Boswer’s office, the D.C. Council, and several of Evans’ clients have received subpoenas related to the U.S. attorney’s probe.

WMATA has launched an internal ethics investigation of its own, and Evans is also facing the beginning stages of an effort to recall him from the Council.

At-Large Councilmember Anita Bonds, who faced criticism as the longtime chair of

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the DSC, voted with the rest of the Council to reprimand Evans last week.

“I do believe Councilmember Evans went too far in his actions using his government resources,” Bonds said ahead of the Council reprimand vote. “I greatly appreciate the reprimand and greatly appreciate the fact that we are showing to the public and to ourselves that that kind of behavior will not be tolerated, and we will take immediate action to make it clear that something is awry at the Council.”

Bonds’ tenure at the head of DSC was plagued by members’ frustrations over mismanagement and lack of vision. She did not seek re-election as DSC chair last year. Bonds did not respond to LL’s requests for comment on the DSC resolution.

The 2018 election brought an infusion of new members into the local Democratic party who are seeking to revitalize the organization that has been best known for its dysfunction or wasn’t really known at all outside the political class.

Renee Bowser and others who signed the unsanctioned letter represent the belief that the party needed to respond much quicker to the allegations against Evans, as several other groups, including D.C. Working Families and Jews United for Justice, had. The first major news report in the Post about Evans’ ties to the owner of the digital sign company was published in December 2018.

“I was surprised that the party did not respond since he is our national committeeman,” says Kishan Putta, the party’s Asian American and Pacific Islander Caucus representative and a Ward 2 resident, who signed the letter. “I think that these are serious allegations, and the party should address them beDarrow Montgomery/File

By Mitch Ryals

cause he is our representative to the national Democratic Party. It’s important that our representative be credible and not be delegitimized by a federal investigation.”

That impatience led Todd Brogan, a Ward 4 committee member, to circulate the letter, which in turn frustrated those who felt restraint was a better approach.

“That disappointed me because it was starting to create some division within the organization, and that’s not something we want,” DSC Chairman Charles Wilson says. “It’s OK to disagree, but we have to do things where people feel like they’re a part of the conversation and it’s open and transparent how we came to that decision.”

Wilson says the allegations against Evans discourage him, but declines to say whether he supports the resolution. In talking with various members of the committee, he’s heard arguments on both sides. Some believe the scandal has no bearing on Evans’ ability to represent the Democrats, others want to wait for the federal investigation to conclude, and others, like Brogan, want blood.

“In my position as co-chair of voter outreach committee, that job is basically impossible while Jack Evans is at the head of the organization,” Brogan says. “It’s an embarrassment if we go into 2020 with Jack Evans as national committeeman, and would be an indication that the D.C. Democratic Party hasn’t changed.”

The DSC’s current set of bylaws require signatures from 10 percent of Democratic voters citywide to start the process to remove Evans from the committee, similar to the process to recall him from the Council.

During the committee’s search for an appropriate response, Wilson says, they realized the organization does not have a code of conduct and therefore no internal mechanism to discipline or remove a member.

(Wilson and a few other committee members met last week to discuss how to draft a code of conduct, which the whole committee will later vote to approve.)

The proposed resolution is only a request and has no power to compel Evans to resign.

CP

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Kelyn Soong

SPORTS

Baseball is back. And Nats Park is offering an assortment of new food, including oysters, empanadas, and house-steamed buns at the ballpark this season. washingtoncitypaper.com/sports

Mind Games

Stephanie Rudig

Local Division I universities are taking steps to meet student-athlete demand for mental health resources, but schools can do more.

By Kelyn Soong The acTion shoTs on Karen Tang’s social media accounts match the public image she tried to project. In them, she’s wearing a University of Maryland gymnastics leotard, a smile plastered across her face. The snapshots capture perfectly executed vault routines. For those viewing from the outside, Tang exudes joy.

But those photos obscure the truth. Tang was struggling. Her anxiety levels would spike during the vault. Subconsciously, she says, the event scared her. A bad practice would ruin her day, and she didn’t know how to express her feelings to her coaches.

It took seeing a sports psychologist for Tang to identify and uncover those issues. By that point, she was more than halfway through her senior season.

“I think growing up I always had anxiety,” she says. “I never really identified it until college. I come from a very traditional Asian household. My mom doesn’t believe in men-

tal health issues. I always thought normal people didn’t have mental health problems. When I was in college, I had a variety of challenges: mentally, emotionally, physically.”

Like most collegiate programs, Maryland did not have a full-time sports psychologist in the athletics department. Tang, who finished competing at the collegiate level in 2015, can’t recall the team ever bringing anyone in to talk to the athletes about mental health. The psychologist she visited worked in the counseling center, located over a mile away from the Maryland athletics department on the sprawling College Park campus.

But some universities, including local programs in recent years, have taken steps to respond to the student-athletes’ needs. Tang hopes that means situations like hers will be spotted sooner.

“I wouldn’t change my experience,” she says. “Yes, I went through some mental health issues, but if I had the support I needed from the beginning, like freshman year … I think it would have just made me better if I had those

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resources in the beginning.” in 2014, The NCAA released a 120-page handbook, entitled, “Mind, Body and Sport— Understanding and Supporting Student-Athlete Mental Wellness.” Brian Hainline, the governing body’s chief medical officer, said in the introduction that the primary challenge from a health and safety standpoint for student-athletes is mental health and wellness.

“Only recently have we begun to fully understand the mental health component of being a student-athlete,” he wrote.

The resources seldom match the demand for sports psychologists at the collegiate level, including at the major Division I universities in the D.C. area. While athletic programs often have multiple physical trainers working fulltime, “the sports psychologist’s role in college sports has evolved more slowly than student-athletes’ needs,” psychologists Chris Carr and Jamie Davidson noted in a blog post written for the NCAA in conjunction with the release of the 2014 handbook.

Few programs have a full-time sports psychologist or mental health professional on staff, and others rely on the school’s counseling center or a part-time consultation model, which can present hurdles for student-athletes.

American University works with Brian Levenson, a mental performance coach who has a master’s degree in sports psychology from John F. Kennedy University, but he defers clinical help to the school’s counseling center. The George Washington University also relies on its counseling center to provide mental health services for its student-athletes.

“If you have somebody in-house, that’s always helpful,” says Chris Hennelly, the associate athletic director of student-athlete health, well-being, and performance at GW, “but we’re very fortunate to have a very good system in place with trusted and valued campus partners.”

Other local schools in recent years have incorporated the NCAA’s ideal model—and the one Tang, now 26, wishes she had: a full-time athletics department sports psychologist.

Maryland hired Dr. Michelle Garvin, the director of clinical and sports psychology, to its athletic staff in the summer of 2017, and Parker Tims, a clinical social worker and licensed counselor, joined the Terps last year.

Both work within the athletics department inside XFINITY Center.

At Howard, Dr. Lisa Haileab has been the athletic department’s sports psychotherapist since October 2017. She has a PhD in counseling psychology from Howard and is working on getting certified to become a licensed sports psychologist.

“I’m positive about the growth,” says Garvin, a licensed psychologist in the state of Maryland.

“Colleges are recognizing this, and creating positions, which is really encouraging.”

Georgetown University has an embedded head of athletics counseling service that works fulltime within the athletics department, according to Shawn Hendi, the associate athletics director for student-athlete health and wellness. The sports psychologist position, which the school recently filled, is overseen by the Counseling and Psychiatric Services (CAPS) on campus.

Having someone housed within the athlet-

SPORTS ics department can be critical.

“Proximity is a huge factor for two reasons,” says Garvin. “Time demand, walking across campus could take 15 minutes … Also being housed in athletics allows us to build relationships with student-athletes that we aren’t even meeting with. It helps with stigma reduction, and then the culture of athletics, it helps to have someone who understands what that looks like. That’s really important as well.”

Daniel, a sophomore on the Howard football team, went into his first meeting with Haileab with low expectations. He had never been to therapy before and his attitude toward it had been shaped by images of someone sitting in a chair, quietly listening, but not offering much help.

He soon discovered that wasn’t the case.

“I guess the stereotypical [thinking of] this is just a person who’s going to write down my problems and then do nothing about it,” says Daniel, “but Dr. H, she’s really helped me a lot since I’ve been at Howard. I’m greatly appreciative of her.”

(City Paper is identifying the player with a pseudonym because he spoke on the condition of anonymity.)

Student-athletes are expected to excel in their sport in addition to dealing with the challenges of being a full-time student. Players in high-profile revenue sports like football and basketball have the added pressure of being recognized on campus. They are, in some cases, teenage celebrities.

Not everyone can handle this role successfully, and the feeling can be isolating.

“I’m a football player so I’m supposed to be seen as tough, barely go to class,” Daniel says, “but that’s not what football is all about. We actually go to class, and we actually struggle with day-to-day activities outside of football.”

Social media can also play a role, as it did for Tang. The photos of a happy, healthy athlete may serve as a mask for unspoken problems.

“People always feel like they need to put their best selves in front,” says Tang. “I think it’s harder to stand out. I think social media tries to help, but is also a bad influence.”

“Everyone is just advertising the best versions of themselves,” adds Haileab. “It can contribute to the development of anxiety, that you’re only celebrated if you’ve won.”

In recent years, professional and high-profile athletes like NBA star Kevin Love, NFL wide receiver Brandon Marshall, and Olympic swimmers Michael Phelps and Allison Schmitt have opened up about their mental health struggles, helping to destigmatize mental health disorders.

Their stories may encourage athletes at all levels to realize it’s OK to seek help, that it doesn’t mean you’re weak.

“I just think it’s very important to look at the

pedestal in which we may place student-athletes or different teams, where they can constantly be held to such a high standard that it’s unrealistic, and they have to adhere to these perfectionistic norms,” Haileab says. “It’s important to help them see it’s OK to make mistakes. It’s OK to have issues, and it’s something that can be worked through.”

By working with Haileab, Daniel says his performance on the field improved as a result of a boost in self-esteem. It made him look at football, and his stature on campus, with a different perspective. He started playing with more confidence.

“I always speak about how we provide mental health and sports performance services, but can’t separate those two, they’re intrinsically linked,” says Garvin, the Maryland sports psychologist. “There doesn’t have to be something wrong to work with us. We’re here to enhance performance and mental health and life experience.”

Having Haileab accessible at Burr Gymnasium also made a difference for Daniel. The counseling service, where Haileab also has an office, is a seven- to eight-minute walk from the athletics department. He now meets her about once a week, including during the offseason, and has no plans to stop.

“Being at Howard became easier after I started seeing Dr. H more,” Daniel says. “I meet with her for a one-hour session. I get everything off my chest, and after that I just feel good.”

Working With a sports psychologist changed Tang’s life. Her communication with her coaches improved, and she felt more confident while performing under pressure. The need to prove herself on social media subsided.

She competed on the vault at 13 meets her senior year and tied a school record and set a personal best twice on bars in 2015 during her fourth year on the team. (Tang did not compete her freshman season.)

Tang is inspired by the fact that Maryland athletics now has a full-time sports psychologist. It’s a step in the right direction, she believes. But one person, Tang adds, can only do so much. She points out that she didn’t connect with the first psychologist she tried. That doctor worked in D.C. and didn’t have a deep understanding of gymnastics.

If money wasn’t an issue, she says, a student-athlete would be able to meet with someone who played their sport. “My sports psychologist understood what my mental block was, understood skills I was doing,” Tang says.

Garvin is hopeful more change is coming.

“I’d ideally love to see sports psychology as integrated as sports medicine and strength and conditioning,” she says. “I don’t know what that looks like in terms of numbers, but we plan to continue growing.”

CP

Thursday, April 4th Help provide home-delivered meals to neighbors living with HIV/AIDS, cancer or other serious illnesses.

www.foodandfriends.org/diningout

Chained dogs suffer day in and day out.

They endure sweltering temperatures, hunger, and thirst and are vulnerable and lonely. Keep them inside, where it’s safe and comfortable.

Photo: Don Flood (donfloodphoto.com) • Makeup: Mylah Morales, for Celestine Agency Hair: Marcia Hamilton, for Margaret Maldonado Agency • Styling: Natalie and Giolliosa Fuller (sisterstyling.com)

washingtoncitypaper.com march 29, 2019 9

The news can’t tell you everything about life in Washington, D.C. Take March 22nd, for example. National stories portrayed D.C. as a political circus that Friday.

President Trump, who left for Mar-a-Lago in the morning, said he will nominate an ally to the Federal Reserve and reversed sanctions against North Korea that did not yet exist. And then in the evening, just as the East Coast was heading home from work, the Mueller Report came out—an anti-climax nearly two years in the making.

“Where’s the Mueller Report? Washington Can Barely Handle the Anticipation,” read a New York Times headline that afternoon.

City Paper writers were reporting all over D.C. at the time, and Washingtonians seemed to be handling the anticipation just fine. D.C. is home to some 700,000 people whose lives don’t often make the newspapers.

Starting before 5 a.m., City Paper set out to document that side of D.C.—the one that doesn’t show up on network news shows. Our last reporter went to bed well after midnight. We didn’t witness any collusion, but the mundane moments we did see mean as much as the big ones we didn’t.

On Friday, March 22nd, locals danced and played the lottery and wondered when their children would be born. They drank and made art and fought for their homes and laughed. And now that’s in the news, too.

—Will Warren

One

Preparing for a child, creating a cake, navigating restaurant, getting ready to go on stage:

Pacers Running

Pacers Running, 14th Street NW The city is asleep, and yellow street lights reflect off the shallow puddles and illuminate stray pieces of trash on the otherwise deserted sidewalks. Cars sit idly along the darkened lanes. One at a time, the runners appear, walking through the cold drizzle into the unoccupied Pacers Running.

The empty store provides temporary relief from the 20 mph wind for the 10 runners huddled inside. Some put on layers, while others strip down to shorts. One runner, Petros Abra-

ha, adjusts his 8-pound weight vest around his red Marine Corps Marathon long-sleeve shirt.

They wait for instruction.

“Okay, let’s run Georgetown,” Kayla Nicolay tells the group. “Go down Q Street, and then we’ll get to the Exorcist stairs.”

At 5:06 a.m., the runners head out of the store. The dedicated group, led this morning by Nicolay, meets three times a week at 5 a.m.—hours before sunrise. For about five miles on Mondays, Wednesdays, and Fridays, the streets of Northwest D.C. belong to them.

Some of them also do an 8 a.m. social run on Saturday mornings.

“It’s like my church,” says Keri Kohler, who has run with Pacers since 2010. That’s how she explains the camaraderie of these runs

10 march 29, 2019 washingtoncitypaper.com

to her mother.

Once they arrive back at the store, some 50 minutes later, the runners break off.

About half stop by the local Peet’s Coffee.

Some head home to get ready for work. Katie Hatt, a regular since 2015, runs down to the National Mall for an extra seven miles.

—Kelyn Soong

N Street Village, N Street NW Clients file into the main room at the Day

Center, taking seats at tables and waiting until 8 a.m. when they can eat their choice of biscuits, jelly, oatmeal, cereal, and fruit.

Each numbered table has a centerpiece with donated white roses. The radio is tuned to Majic 102.3—“the real sound of the DMV.” Everyone enters the Village through a green, peaceful courtyard. The welcoming haven for women experiencing homelessness opens at 7 a.m. and offers daily meals, showers, laundry, clothing, and wellness activities each day of the year.

Nicole Comrie Brazelton, an attorney who works in crisis management, began volunteering at the Village in 2013. She used to live nearby and would see the women she’d served at stores or on the Metro. “They were

Day

court without an attorney, closing a neighborhood Thousands of little dramas make a day in D.C.

Photographs by Darrow Montgomery

NW. The walk from there to the doctor’s office should take another 2 minutes, but we walk slower. We walk slower together now because she’s late in the pregnancy.

There is an elevator waiting in the lobby, but the other elevator passengers want off at floors lower than ours, so we keep stopping.

Doors open, doors close. We arrive 3 minutes after our scheduled 8:45 appointment was supposed to begin. Check-in takes 17 seconds (Name? Ok. Wait there.) and we sit on the ugly paisley-patterned waiting room chairs for another half minute before we are called back to the room where the appointment will be.

That room has no clock, but a calendar is halfvisible under a copy of Vanity Fair magazine.

“Step back outside so I can take your weight,” the nurse says to my wife. After the nurse finishes asking some other cursory questions, she leaves.

We wait 6 minutes and 17 seconds for the doctor. When he arrives, he makes small talk for a bit, then asks about cervical mucus. He tells us that we’ll know it’s real labor when the

scheduled, orderly lives. We receive updates on our phones telling us where to be when and reminders to schedule reminders to update our schedules. But with the pregnancy, since we have no exact when, we harp on how long. How many weeks. How many minutes between contractions. How much time until the next appointment. We count everything with exacting precision as we wait for our lives to change immeasurably.

—Brian McEntee

District of Columbia Courts, Landlord and Tenant Branch, 4th Street NW 93 cases at Landlord and Tenant Court today: 93 people fighting to keep their homes. Every eviction in the city gets a hearing here, and last

Lola my neighbors,” she says. “The most important part of this life is human connection.”

Today, she’s serving breakfast.

Belva, who currently lives in a shelter, has been visiting the Village for four months. She decided to try it because she wanted to step out and see what else was out there. “It’s a clean environment. The people are nice and friendly,” she says, glowing with calm. “Two thumbs up.”

Belva believes in working hard but then relaxing. “I don’t have a job right now, but it’s on the way. When it comes, I know I’ll be able to do some wonderful things.”

—Diana Michele Yap

Leni and Alex Attas

George Washington University Medical Faculty Associates, Pennsylvania Avenue NW It takes 49 seconds to get from the bottom of the Foggy Bottom Metro escalator to the top, and if you catch the light wrong, you have to wait up to 45 more seconds to cross 23rd Street

contractions are 5 minutes apart and regular.

You can time them, he tells me. He says the baby can come 2 weeks before the due date or 2 weeks after, but according to him at least, no one stays pregnant forever. The whole thing takes 12 minutes.

This is the last scheduled doctor’s appointment before our first child is due. Our friends with kids laugh at us when we talk about due dates and schedules as if they mean anything.

You just have to wait. Savor it, they say.

My wife and I are not in the habit of not knowing when things will happen. We live

year, there were 31,000 filed. As people trickle into the courtroom, Judge Sherry Trafford— who has a kind but austere face, with sky-high cheekbones and long, silvery hair—explains the basic rules of eviction proceedings.

They’re complicated, so while Trafford practices her speech almost daily, it takes her about half an hour to get it out. She defines a lot of the legal jargon the cases will hinge on, and then warns about the ways that tenants can be taken advantage of: The lawyers here don’t work for the District, she emphasizes, only for the people who hire them, and it’s im-

washingtoncitypaper.com march 29, 2019 11

portant that when you’re talking to a lawyer, you know who they work for. Likewise, she says, “you are not required to enter any agreement,” and you should not sign anything you don’t understand.

By the time she’s finished, the courtroom seats are full.

Now it’s time for roll call. The court clerk reads through the cases one by one, and people announce their presence. Almost all of the tenants are there without an attorney, and they stand up to say their name when called.

For the handful of lawyers in the room— most of whom represent several large land-

to talk: “You won’t believe the tricks they pull.”

She’s here to support her fiancé, whose landlord claimed that he owed $11,000. That would mean he hadn’t paid rent for a year and a half, which Deedee says is simply a lie. “They figured poor people don’t keep records,” she says. Fortunately, her fiancé does keep his receipts, so it wasn’t hard to get the case cleared up.

93 cases is a relatively slow day for this court, and by 1:30, the final hearing is winding down.

No one is left except the clerks, the judge, and a single designer-clad attorney. The tenant isn’t present, so after a brief discussion, the lawyer is able to easily seal an eviction. He straightens

different nationalities, ethnicities, and racial and socioeconomic backgrounds, and they live in D.C., Maryland, and Virginia. Some have never given birth, some have, and one brought her young baby to the workshop. Every few minutes, the baby makes cooing and gurgling sounds as his mother gently rocks him in her arms.

A table near the front of the room holds a myriad of workshop materials—a cervical dilation chart display, birth books and films, baby dolls for demonstrations, an assortment of extra sticky notes so the attendees can write down questions and stick them on a front wall.

Gloria Gomez lords—the Court is like a second office. When a big property owner is aggressive in filing for eviction, the cases come in batches whenever rent is due. Today, the clerk calls about twenty cases for Eagle Point Management backto-back-to-back. Their lawyer, Gary Wright, keeps his head in his papers as he announces his name for each. Sometimes, when the tenant hasn’t shown up, he asks for a “default judgement,” which means that the landlord is now authorized to turn the resident out. In 30 seconds, six Eagle Point apartments have been cleared for eviction.

Upstairs, the hallway is packed with people waiting their turn at the Landlord and Tenant Resource Center, where Judge Trafford has pointed everyone to get help navigating the process. Law students and attorneys scurry around, plucking people out of line to give them advice and—so far as the Center’s limited resources allow it—connect people who have complicated cases to legal representation.

Deedee has been waiting at the Center for two hours and she seems relieved for a chance

his tie, and turns around to face an empty room.

—Joshua Kaplan

The Potter’s House, Columbia Road NW For 15 years, Nicole Heidbreder has watched babies enter the world. She’s seen the power in mothers’ bodies and in their minds, through home births and hospital births and birth center births, cesarean sections and vaginal births, births in beds, in tubs, on the toilet, and in the shower. As a doula and labor and delivery nurse, she’s seen women believe they aren’t strong enough to deliver, they just can’t do it—and then they do.

No one in her four-day doula workshop is the same. Nearly 30 women—and one man— have come together to learn about labor and childbirth and the role of a doula. They’re of

12 march 29, 2019 washingtoncitypaper.com

Heidbreder asserts one thing for the workshop: no apologies. No one is allowed to apologize for anything they ask or anything they say.

After attending hundreds of births, she knows it’s most important for people to feel encouraged, and never to feel ashamed of being human. On a brisk morning, this is the warmest, most supportive room in the District.

—Kayla Randall

proach her kennel, body coiled tight on her bed. Lisa Stemcosky and Alex Attas are set to evaluate her behavior, as they do with many dogs throughout the day, testing whether she will make eye contact, if she does well with being touched, whether she shows interest in playing, and if she guards her food. Passing an evaluation without any alarming behavior means going up for adoption quickly.

The team wants for Leni what they want for every animal in their care, what we all want for ourselves—a home.

They want good homes for sweet Leni and Kodiak, for their big boy Tarzan and even bigger boy Ghost, for older dogs like Zira, for cats Oscar and Lola, for young dogs Klaus and Kyle, and tiny puppy Heaven, who, at just a few months old, hasn’t quite got the hang of how

to properly eat treats.

Home is their salvation. On the list of things Humane Rescue Alliance animal behavior and training director Alexandra Dilley would like to see, from more large dog fosters to more volunteers interested in spending quality time with animals during weekdays, a good home for animals will always be first.

“Any home is better than a shelter,” Dilley says. “So many animals need homes.”

With what little time they may have with animals, staff try to help them overcome fears— of people, of other animals, of the outdoors.

Leni shines during her assessment, showing interest in toys and not guarding her food, not taking issue with being touched and giving some soft eye contact. She’ll be up for adoption later this very day.

—Kayla Randall

Humane Rescue Alliance, New York Avenue NE Loving Leni is laying eyes on her. She’s a 7-month-old hound mix with a fawn and white coat and a wound on her back at Humane Rescue Alliance. She’s beautiful, and she melts hearts.

She’s a little scared, shaking as staff ap-

Rayburn House Office Building, Independence Avenue SW The problem with being a member of Con-

gress, according to Del. Eleanor Holmes Norton, is that you spend too much time sitting down. Gesturing to her smart watch, she moves past the elevator, taking the stairs to the Rayburn Building’s garage.

She needs to get gas before driving to WETA’s studios in Arlington to appear on To The Contrary. On Pennsylvania Avenue SE, at one of the few places where an employee pumps your gas, she mentions that she would like to try out one of the electric scooters.

On the drive she says that D.C. feels very hopeful right now. The Democrats control the House of Representatives and a D.C. statehood bill may pass that body for the first time in history. That it will almost certainly fail in the Senate does not dampen her mood.

In WETA’s green room she diligently reads

“$500 Frenzy,” “CASH Celebration,” and “Blazin’ Hot Crossword.” They bet on numbers games and watch video horse racing on one screen while Keno plays on another.

Some iteration of the Tenley Market has stood here for more than 30 years. Until 2013, it was a typical convenience store with a popular sandwich deli. Long-time owner Lucy Park converted it to a liquor store. As Park operates the raised cashier station with other employees, she explains that while the deli was popular, it didn’t make much money.

But the lottery business is different. Tenley Market is the second-biggest seller of Power-

one in about 300 million. But smaller victories have gamblers coming back. As more than one gambler has remarked, somebody’s going to win. The trash can tells a different story.

—Tom Sherwood

cate with everyone in the neighborhood, some of whom have been her customers for years.

—Abby Cruz

Buttercream Bakeshop, 9th Street NW Columbia Heights, 14th Street NW As the go-go band jams out on their drums and

It is “midday” for the early risers who labor in the basement kitchen of Buttercream Bakeshop and lead decorator Alex Mudry-Till is ap-

Tenley Market Liquor through preparation materials, making notes as she goes, while the other panelists make small talk about the president and the 2020 elections. Norton chimes in only occasionally and gets up to peruse the station’s collection of jewelry.

Under the studio lights the group discusses the days’ issues. The guests—two younger Republicans, the delegate, and journalist Megan Beyer—agree more often than they disagree.

Later, in the hallway, Beyer asks her where she’s going next. “Back to the Capitol of the United States,” she replies. —Will Warren

Tenley Market Liquor, Wisconsin Avenue NW It’s mid-afternoon and the trash can at Tenley Market Liquor is overflowing with crumpled, lost dreams. The trash can has to be emptied several times a day, seven days a week.

Customers line up to buy lottery tickets and instant-winner scratch tickets with names like

Shenelle Clement ball tickets in the city. It’s one of only a handful of locations given “Agent plus” status, meaning it’s allowed to cash tickets up to $5,000 on-site.

“There is a certain aura that you feel here,” says regular Peter Boyce, watching the horses run. “I think I just won $35.” Boyce misses the deli sandwiches, but has made frequent stops here for years, along with a diverse crowd of workers, retirees, American University students, firefighters from next door and, of course, customers buying beer, booze, and wine.

Citywide, gambling nets the District more than $50 million a year. D.C.’s gamblers spend $160 million online and $49 million on scratch tickets. Lucrative sports gambling, just approved by the D.C. Council, is due to start in the fall. Tenley will look to get in on that, too.

The flashing lottery signs, alluring video games, billboard stapled with past winners, rolls of instant tickets, and that overflowing trash can create a club atmosphere. One sign that is missing? Your odds of winning Powerball or MegaMillions. They’re woeful. Just

keyboards, people begin to two-step side by side. While dancing on 14th Street in Columbia Heights on Friday afternoon, one by one they wait for Gloria Gomez, 52, to serve them fresh Salvadoran delicacies. Steam released from the hot sweet corn and milk drink perfumes the air. She ladles the liquid into foam containers, seals them shut, and wraps a napkin around the cup so that people don’t burn themselves.

Customers stare at the fried homemade snacks on display, debating whether to choose chicken taquitos or tostadas. While carefully pondering the decision, Gomez offers her suggestions, saying each were made “fresco” this morning. She points at the bags of freshly sliced mangoes or papayas, showing her variety of choices. Her cart on wheels holds the zip top bags of treats that she stuffs with homemade curtido (spicy slaw), pouring hot sauce on top per customer request. “Si or no?” she asks as she lifts the thermos filled with Spanish chile (hot sauce). Although she doesn’t speak any English, Gomez finds a way to communi-

plying flourishes of forest green to the top tier of a wedding cake. “It is like creating an original piece of art,” Mudry-Till says as she forms the frosting into airy layers, blending the buttercream into an oil canvas of emerald.

Around her, Shenelle Clement, a decorator, fires up a blowtorch and pipes icing in an elegant spiral as cake artist Jacqueline Litman presses out the petals of an edible flower, pulling the already paper-thin gum paste into a cherry blossom. Fridays in the kitchen are devoted to prep work and finishing up ornate confections like wedding cakes.

After squeezing in time to finalize a rainbow-inspired birthday cake, Mudry-Till moves on to the wedding cake’s base, smoothing the frosting in satisfying swipes and replicating her thoughtful strokes with the flat end of her painter’s spatula. When the cake is finally complete, she hoists it up and proceeds to navigate her way through the narrow space to the walk-in refrigerator where her creation will wait for the happy couple to whisk it away to the world above.

—Amy Guay

washingtoncitypaper.com march 29, 2019 13

Cheers @ the Big Chair, Martin Luther King Jr. Avenue SE Alicia waits outside nervously, unsure if she is going to enter Cheers @ the Big Chair, which is already packed. She hasn’t been before, and this is her last chance. Cheers closes tonight.

Inside, it’s a rare scene: a happy hour where everyone is actually happy. People nurse drinks and say goodbye to the restaurant’s famous crab fries. A pair of women point to a bowl of free condoms by the register. “They want you to be safe.”

As the DJ sets up, Ashley, who used to come here for karaoke on Thursdays, says she won’t sing tonight, but if she did, it would be Whitney Houston. “You have to have a good voice

still need to figure out what-in-the-funny I am going to talk about tonight. “Why do I do this to myself?” I have that same thought every Friday.

Every week my partners and I produce “Attack of the Comics,” a stand-up show at the Drafthouse Comedy Theater. Tonight I don’t have any gigs before our weekly show so I’m home with my family. At 8:30 p.m. I’m still asking myself, “What’s funny??!” Maybe I’ll talk about our road trip to Atlanta last weekend. My wife and I took our three children, all under the age of 8, on a nine hour drive. That’s not very funny; it’s a horror film.

The show starts at 11 p.m. and tonight comedian Nick Thune is our lead-in. It’s cool when we have a popular act on before us. It’s a good thing when people leave the earlier shows, see folks waiting in line for our “local” show, and decide to stay and see “what-the-funny” is all about. But this night I still need to figure out

ry in L’Enfant Plaza, to celebrate the arrival of spring, or at least some simulacrum of it.

Although the gallery is embedded in a brutalist stretch of Southwest, it isn’t hard to imagine the swaying motion of trees while watching viewers wave their arms at sensors embedded in the walls of the main gallery. There is a virtual breeze to “Hana Fubuki” (rough translation: “flower snow storm”), a wall-to-wall projection of dazzling digital cherry blooms by Akiko Yamashita and the highlight of ARTECHOUSE’s seasonal immersive display. The sensors follow the viewers; as they twist and twirl, so does the motion of the blooms in the wrap-around projection.

Dozens of people, some of them on dates— some of them almost certainly on first dates arranged through matching apps—perform this dance for an audience of three. First for the sensor, then for the screen (Instagram), and finally, perhaps, for a new friend. Their every motion

duction booth, stage manager Thomas Nagata consults the computers he’ll use to run tonight’s performance of Blood at the Root. He flips through a marked-up copy of the script, reviewing which sound and light effects he’ll need to cue, and anticipates it will be a straightforward show—it’s closing weekend and he’s run the Theater Alliance show roughly 20 times already.

Once he finishes his first check of the lights and projections, he descends from the booth and consults with assistant stage manager Rachel A. Walsh. Nagata will stay in the booth for the show’s duration unless, he says, “someone is literally on fire,” while Walsh will make sure everything on stage proceeds as planned, so this is their time to discuss any pressing issues. Tonight, the topic is the quick release of three nooses that fall from a locker in the play’s climactic scene, and Walsh has

Rachel A. Walsh for that,” I say. “Not here,” she says.

The neighborhood restaurant, which opened in 2015, closes tomorrow after failed attempts to renegotiate its lease. But everyone is all smiles.

The music starts and Ashley begins to dance.

“Everybody get on your phones, tell someone...” the DJ intones. “Let them know we’re going to be here all night. Celebrating.”

—Will Warren

Congress Heights SE It’s 5:30 p.m. and I’m done with my day job at the National Gallery of Art, and it’s time to put the finishing touches on tonight’s comedy show. I

what I’m going to talk about. I haven’t hosted in a month so I’m thinking “topical” when I look at the news feed on my phone, and boom, there it is, “The Mueller Report.” That’s five minutes of funny right there. To quote Fozzie Bear, “Wocka, Wocka, Wocka,” let’s make some laughter. It’s showtime!

—Haywood Turnipseed Jr.

triggers a virtual gust of cherry blooms swirling up the wall. Blossom-themed cocktails, enhanced by flirty augmented-reality animations when viewed through a phone screen, lend a chemical blush to the affair. Imagine couples waving their arms for a camera under a canopy of cherry blossom petals on a blustery April day. Then strip away the trees, the breeze, and the sunshine. It is a rite of spring, of sorts—peak something, for sure.

—Kriston Capps

ARTECHOUSE, Maryland Avenue SW A basement is the last place where lovers yearning for the caress of spring ought to be huddled.

Yet dozens of dates file two by two into ARTECHOUSE, the underground tech-art laborato-

14 march 29, 2019 washingtoncitypaper.com

Anacostia Playhouse, Shannon Place SE Standing in the Anacostia Playhouse’s pro-

climbed atop a ladder to adjust the noose that didn’t drop last night. With the set in place and fingers crossed, she begins 10 minutes of vigorous sweeping to prepare the stage for the actors.

As she sweeps, the black box fills with more personnel. Nagata, after checking in with director Raymond O. Caldwell, runs up to the booth to test a projection of a tree, comes back down to examine it, and is bombarded with requests. One actor wants a lighting check and Caldwell wants to ensure the American Sign Language interpreters hired for tonight’s performance will be well lit.

Then comes the problem: The lighting de-

signer set up the lights so that the interpreters will only be lit during dark scenes. Nagata enlists the help of Colin Hovde, Theater Alliance’s outgoing producing artistic director, and together they head back to the booth to figure out how to keep the interpreters lit throughout the performance.

“Gah! Gah! Gah!” On the ground, the actors start to warm up, running through a series of physical and vocal calisthenics. “I don’t know about you, but I’ve been waking up sore as hell,” Emmanuel Kyei-Baffour sighs to Deimoni Brewington. Caldwell and Theater Alliance literary manager Kat White, the evening’s house manager, circle the stage and discuss where they can squeeze in a few more seats for tonight’s sold-out performance. They decide more chairs can fit stage left, reasoning that the audience members in those seats can handle a moment of what Caldwell calls “boo-

Although the air is crisp on the streets of Takoma, people peel off their outer layers as they enter Takoma Station in Northwest. See on Friday nights, this tavern converts into a classic go-go spot for the over-40 crowd. African-American natives of the District have come to this bar to escape the week, as they always do. Some claimed their spot when happy hour began at 5 p.m. Couples and singles were already warming up the dance floor.

Multiple birthday parties and other kinds of celebrations have made their home here for the night. The wings with mumbo sauce fly out of the kitchen.

Around 11:35 p.m., Frank “Scooby” Sirius hits the stage with the Sirius Band to play that familiar sound. It’s go-go time. But this culture is not gentrification proof. Nor does it have to be. Just show it some respect.

Go-Go is that refuge natives seek when the

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VENTURE OUT Thomas Nagata ty in the face.”

White completes her final seating count just as Nagata announces “Open house in five minutes.” “Oh shit, son,” an actor replies. The cast begins their retreat to the dressing rooms and White heads to the box office. In the lobby, a crowd of eager theatergoers can’t wait for the show to begin.

—Caroline Jones

Takoma Station, 4th Street NW

politics become too much. Newcomers are welcome to indulge as well. But when you try to alter, dilute, or halt it, that’s where we draw the line. “I don’t have a problem with people moving here,” says Scooby.

“I think it’s really important for the newer people to understand exactly what we do.

Just understand the culture. Go-Go is a big part of that because it’s our own sound. It’s something you can’t get anywhere else.”

Indeed, you cannot.

Welcome to the real D.C. We’re family here. Come claim your spot on the dance floor.

—Candace Y.A. Montague

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washingtoncitypaper.com march 29, 2019 15

DCFEED

GRAZER

what we ate this week: Tuna and jicama ceviche with ponzu-tamarind sauce, ginger, and green onions, $18, El Sapo Cuban Social Club.

Satisfaction level: 3 out of 5. what we’ll eat next week: Avocado confit with young romaine lettuce and fermented blackberry vinegar, $14, Estuary. Excitement level: 3 out of 5.

Laura Hayes

Pearl Dive Oyster Palace ($11 for four) 1612 14th St. NW Pearl Dive didn’t invent Angels on Horseback, a dish that calls for baconwrapped oysters. The snack dates back to Victorian-era England. It first appeared in a cookbook, Savouries Simplified, in 1905. Pearl Dive jazzes them up with vin blanc and a vinegar reduction for pops of acid.

Baked and Fired

D.C. is oyster obsessed, so much so that starting Thursday, Nationals fans will be able to slurp them at the ballpark in sections 108 and 238. The versatility of the bivalve is boundless, from raw oysters perked up with stinging mignonettes to luscious fried oysters nestled in pillowy po-boys. But the preparations that deserve more love are the baked, broiled, and grilled varieties. In early spring, when the days are warm and nights are nippy, here are five places to enjoy buttery, still simmering oysters on the half shell.

—Laura Hayes The Salt Line ($16 for six) 79 Potomac Ave. SE Chef Kyle Bailey serves a half dozen baked oysters topped with housemade XO sauce, bacon, ginger, cilantro, sesame, and garlic bread crumbs. He uses Skipjack oysters harvested by famed local waterman Bunky Chance and serves them on vintage plates one of his business partners found while antiquing. They’re accompanied by a lime wedge, which compliments the Asian flavors of the XO sauce.

Roy Boys ($14 for four) 2108 8th St. NW Oysters Rockefeller is such a signature and historic New Orleans dish that it’s hard to imagine it originated out of a shortage of snails for escargot. The preparation was created by Antoine Alciatore in 1899. His restaurant, Antoine’s, has been open since 1840. The original Oysters Rockefeller recipe is supposedly secret, so restaurants must wing it. Roy Boys tops the baked oysters with spinach, shallots, garlic, lemon panko Parmesan, and Pernod cream.

Top of the Hour Hours: Sundays through Fridays from 4 p.m. to 7 p.m.

Amy Guay

Drink Specials: $6 specialty cocktails, $5 wine by the glass, $5 rail cocktails

Pros: Nestled between a Starbucks and a Patagonia on Georgetown’s most bustling strip, Bodega is a Spanish restaurant specializing in tapas and bullfighting decor. Belly up to one of the lounge’s two bars to enjoy $5 glasses of wine paired with a basket of free bread

Rappahannock Oyster Bar at The Wharf ($17 for six or $32 for 12) 1150 Maine Ave. SW Wharf newcomer Rappahannock Oyster Bar serves a classic rendition of charbroiled oysters using their proprietary oyster. Chefs top the Rappahannocks with herbed butter, Parmesan cheese, and basil panko breadcrumbs. Pair them with a high-acid white wine to balance out the buttery finish.

Other places to try baked, broiled, or grilled oysters: Old Ebbitt Grill, Johnny’s Half Shell, Republic, The Grilled Oyster Company, Union District Oyster Bar & Lounge.

onion, and egg omelet) and the dátiles con tocino (crispy fried dates wrapped in bacon) are favorites. The plates may be on the small side— they are tapas, after all—but the $5 price means you can mix and match until you’re full.

Where: Bodega, 3116 M St. NW; (202) 333-4733; bodegadc.com

Food Specials: Choose from 10 $5 pintxos (small snacks).

Hank’s Oyster Bar ($18 for six) Multiple locations The Hog Island-style barbecue oysters have been on the menu at Hank’s Oyster Bar since the restaurant opened. They’re Chef Jamie Leeds’ take on the grilled oysters served at iconic San Francisco restaurant, Hog Island Oyster Co. TABASCO Sauce gives the broiled oysters their signature kick.

in a festive red and black atmosphere.

Coming to Bodega with a bigger crew?

Split a pitcher of red wine sangria for $18 and share a selection of 10 flavorful snacks. The tortilla española (potato,

16 march 29, 2019 washingtoncitypaper.com

Cons: Happy hour is only available in the bar areas, so be sure to time your postwork sangria outing to ensure you can snag a spot. Here’s a tip: If the bar in the front is too crowded, walk to the back of the restaurant and look for high tops near the back bar. Happy hour is served there, and it’s a more intimate space.

—Amy Guay

Roasted Bourbon Coffee Where: 2101 L St. NW; (202) 525-1886; bourboncoffeeusa.com Time of visit: 1 p.m. on a Tuesday What I’m drinking: Pleasantly surprised to find rice milk as a non-dairy milk option, I gave it a try and ended up with a very sweet and light iced vanilla latte.

Ambiance: After launching in Kigali, Rwanda, Bourbon Coffee opened its first U.S. outpost in Foggy Bottom in 2009.

The airy coffee shop is furnished to suit a variety of purposes and people. For solo customers or couples, I recommend sitting in the cozy nook near the entrance or the window’s counter stools for people watching. Aesthetically, the space is designed to promote Bourbon’s philosophy of producing coffee that is “naturally crop-to-cup.” There’s an orangutan-orange wall with a map of the five Rwandan regions where coffee beans are sourced.

A vibrantly colored chalkboard lists food and drink options alongside the cafe’s core values: quality, sustainability, and direct trade. Tribal prints, framed photos, and baskets woven by Rwandan women adorn the walls. Near the restrooms, a community board has quick facts about Rwanda. Although the country is geographically the size of Vermont, its population of 10 million is about 16 times larger than that of the Green Mountain State, for example. The shop’s knowledge-based approach is strong, but not preachy. Its warm colors and personalized decor make it feel welcoming.

Vibe: People who patronize this location skew corporate, outfitted in professional and business casual attire. Half of them appear to come for meetings while a good number are buried in their laptops. Since most of the seating is centrally located, the space heats up as people settle in.

The sound of baristas brewing and blending drinks, combined with upbeat music and escalating conversations, sometimes make for a distracting environment, but it’s an overall comfortable vibe.

Wired: WiFi is available and most seats have access to outlets.

Perks: There’s a sizable food and drink menu with dozens of coffee and espresso drinks, including seasonal specialities, plus smoothies, breakfast items, and paninis.

—Christina Sturdivant Sani

CPARTS

The Scene Report: Listen to new music from Too Free, Dura, Tristan Welch, and more. washingtoncitypaper.com/arts

Double Wammie After a three-year absence, the Wammies—the region’s long-running local music awards—are back.

When Jeffrey Tribble Jr. found out that the Washington Area Music Association was closing, his first thought was, “What about the Wammie Awards?”

Since 1985, the Washington Area Music Association— WAMA, to the music community—has recognized and honored D.C.-area musicians with its own Grammys-like awards ceremony, the Wammies. But in July of 2018, plagued by financial woes and a declining membership, WAMA officially shuttered—and along with it, a decades-old tradition whose reputation among the region’s music community can be described as either essential or embarrassingly out of touch, depending on who you ask.

But Tribble Jr., who co-founded and serves as the CEO of the music education nonprofit The MusicianShip, was determined to keep the Wammies alive. So, after a near-death experience when WAMA dissolved, the long-running regional music awards are back, with a fresh mission, lofty goals, and a plan to make a once-faded awards show relevant again. But why?

“There’s amazing talent here. There are people who work diligently with a lot of fervor and a lot of zeal to make sure that they produce great art that not only contributes to the D.C. music fabric, but nationally and internationally a lot of D.C.-area artists are getting signed to major labels,” Tribble Jr. tells City Paper. “And that’s something that we should celebrate.”

This weekend, the new and improved Wammies—now under The MusicianShip’s control—will honor D.C.’s music community with a series of events. Scheduled programming includes an allday music conference focused on music education and networking at Dupont Circle’s Decades nightclub, and the titular awards show, taking place on Sunday at the Lincoln Theatre.

Founded in 1984 by John Simson, Michael Jaworek, Mike Schreibman, Tom Carrico, and Charles Stephenson, WAMA formed as a way to connect the region’s disparate but thriving music scenes. In the early ’80s, the D.C. area was known for its deep pocket of go-go and hardcore punk bands and artists, but its lesser-known folk, bluegrass, R&B, gospel, and jazz scenes thrived as well.

Simson and his co-founders first got involved in the music scene when they put together charity concerts and held music seminars, and that led to the idea of forming a regional music association. “Back in the early ’80s, there were several conversations around the D.C. music scene. And we sort of felt like there was a real need for [WAMA],” Simson says.

In 1984, WAMA officially formed as a membership-driven music nonprofit, with Simson running it for the first five years of its existence. The first Wammies were held in 1985 at GWU’s Lisner Auditorium. Both Joan Jett and country singer-cum-

MUSIC

breakfast sausage mogul Jimmy Dean attended that first ceremony, and awards were presented to Chuck Brown, The Nighthawks, Trouble Funk, Sweet Honey in the Rock, Root Boy Slim, The Slickee Boys, and Emmylou Harris, among other local legends. The following year, the Wammies were held at the Kennedy Center. “I still don’t know how we managed that,” Simson recalls. “[We] had some pretty remarkable beginnings.”

Simson stepped down from running WAMA in 1990, and Schreibman assumed the leadership role, acting as president until the association dissolved in 2018. The “remarkable begin-

Stephanie Rudig

By Matt Cohen

nings” Simson recalls didn’t last. Over the years, WAMA and the Wammies received its fair share of criticism and backlash from both the music community and music press—including in this publication—in the late ’90s and early aughts.

In 1998, City Paper contributor Steve Kiviat outlined WAMA’s “image” problems among the greater D.C.-area music community, noting that the organization’s critics “contend that WAMA seems less interested lately in helping lesser-known musicians make it than in stroking those who have already made it, such as Mary Chapin Carpenter.” (Simson, it should be noted, was Carpenter’s manager for the first 10 years of her career, he tells City Paper).

And in later years, critics knocked WAMA’s sometimes dubious nomination process for the Wammies, which often overlooked some of the area’s more innovative and critically acclaimed musicians and artists. As a dues-paying membership organization, WAMA let its members determine Wammie

nominees. If you weren’t happy with who was, or wasn’t, nominated for a Wammie, you could pay $30, become a member, and then your voice could be heard.

Of course, this process didn’t always go over so well for the Wammies. In 1998, D.C.-area singer and repeat Wammie winner Tony Gil admitted to gaming the WAMA system by harassing friends and acquaintances to join WAMA so they could nominate and vote for him. Gil wasn’t the only artist to do this, and in 2005, WAMA eventually enacted an “emeritus” status for repeat winners who had similarly gamed its system.

In 2014, WAMA had to redo its voting process after many votes were disqualified because only one artist, group, or recording was entered into a single category. It turned out a lot of WAMA members were just nominating and voting for themselves. And in 2016, the 30th annual Wammie Awards were ultimately postponed due to a “computer crash.” They fixed the problem, and the last Wammie awards were held on April 10, 2016 at The State Theatre in Falls Church.

To say the least, the Wammies have a tumultuous history.

And that history isn’t lost on Tribble Jr. “We were very well aware,” he says of the Wammies’ history.

“The first thing that you see when you Google the Wammies, you just see some of the reviews, most of which aren’t super, super positive. And so we used that as a baseline for making critical—and tough—changes.”

For starters, The MusicianShip isn’t a membership organization, and the nomination and voting process for the Wammies is far different than what WAMA did. “The membership was kind of homogenous,” Tribble Jr. says. “It was older and kind of all white. Not 100 percent white, but … it lacked diversity in terms of decision makers, the people who were winning awards … Not a lot of people who were younger, or minorities, knew what the Wammie Awards are.”

Instead of a membership-driven model, anyone can submit nominations for every category. The seven artists and bands with the most nominations become finalists, and a panel of more than 60 judges—comprised of local musicians, music journalists, radio hosts, DJs, and regional music industry insiders—decide the winners. The MusicianShip even created a rubric with a cohesive set of guidelines to help the judges decide on the winners .

“With this iteration, we tried to be more inclusive,” says Stacey Williams, a longtime WAMA board member who advised The MusicianShip in taking over the Wammies. “We’ve learned that we need to keep in step with the times. More things are digital, more things are online and keeping up with a faster pace.”

Simson, who served on the board of The MusicianShip and made the initial connection to transfer the Wammies over to them, is excited that the tradition he started all those years ago is going to live on with a new generation of D.C.-area music lovers.

“I’m just excited that it’s going to continue, we were all really disappointed when we thought it was going to die a quiet death,” he says.

For Tribble Jr., though, inheriting the Wammies isn’t just keeping a tradition alive—it’s celebrating and honoring the hard work that people in D.C.’s bustling music community put in. “They need to be acknowledged,” he says. “And I think the whole concept of being able to uplift and to provide a higher profile for these talented musicians and artists who are doing this good work is just critically important.”

CP washingtoncitypaper.com march 29, 2019 17

THEATERCURTAIN CALLS

MOM BOSS

Into the Woods

The Jewish Queen Lear

By Jacob Gordin Translated by Nahma Sandrow Directed by Adam Immerwahr At Georgetown University’s Davis Performing Arts Center to April 7

LOVELY, DARK, AND DEEP Into the Woods

Book by James Lapine Music and lyrics by Stephen Sondheim Directed by Peter Flynn At Ford’s Theatre to May 22 Stephen Sondheim iS a master of transforming ordinary events—turning a year older, a college graduation, an art exhibition— into transcendent, powerful anthems about, uh, being alive. Into the Woods, Sondheim and James Lapine’s musical that forces many fairy tale favorites into the same story, exists in a fantasy world but features human characters with emotional arcs more affecting than anything the Walt Disney Company could create.

In Ford’s Theatre’s new production of Into the Woods, the magic comes from the production team, and a cast of talented D.C. stage veterans perform the emotional labor.

The journey to happily ever after never runs smoothly, particularly when the problems of Jack, his mother, Little Red Ridinghood, her granny, Cinderella, Rapunzel, a baker, his wife, and the neighborhood witch intersect.

That makes the Ford’s production, which runs close to three hours, feel a little long, so the visual splendor that projection designer Clint Allen and lighting designer Rui Rita create helps keep things interesting for the many restless school groups that will no doubt attend a performance in the coming weeks.

Projecting the face of Karen Vincent onto a tree, for example, gives some permanence to the character of Cinderella’s mother. And when the Giant, whom Jack has wronged, de-

scends from the sky, she takes the form of a 25-foot shadow. The crew clearly had fun figuring out how to render the non-human characters, and the actors that play them—Tiziano D’Affuso as Milky White the cow and Christopher Mueller and Hasani Allen as wolves—enjoy the laughs they elicit from the audience.

Fun, it seems, is what Peter Flynn aims to create, and he succeeds. When the 20 performers flood the stage to sing the opening number, they appear giddy and move through Michael Bobbitt’s choreography with joy.

Mueller and Allen, switching from fur to finery to play Cinderella’s and Rapunzel’s princes, respectively, embody their characters’ Ken Doll doltishness on two versions of “Agony,” and Jade Jones steals scenes—and many baked goods—as a daring Little Red Ridinghood.

The problem with leaning into the fun of Into the Woods is that it masks the more interesting emotional arcs of the second act. Awa Sal Secka imbues the Baker’s Wife with intense familial devotion, but we don’t get the same sense of maternal love from Rachel Zampelli, the witch who so desires to keep her child safe that she locks her in a tower. By the time the cast sings “No One Is Alone” and “Children Will Listen,” two standards from the 20th century musical theater canon, audience members are shifting in their seats and ready for a laugh, not a life lesson. The wisdom Sondheim builds into those songs doesn’t stick without the full commitment of the actor and the viewer.

Beauty, both aesthetic and musical, remains, however, and if spending a night in a fantasy world where Cinderella can wear a sparkling gown, wed her handsome prince, then decide she’d rather be single, sounds appealing, then by all means enjoy this journey into the forest. If you look closely, you might even find some magic.

—Caroline Jones 511 10th St. NW. $27–$81. (202) 347-4833. fords.org.

18 march 29, 2019 washingtoncitypaper.com

Before the holocauSt, millions of Jewish people throughout Europe and around the world spoke Yiddish. Among the most popular and prolific Yiddish dramatists was Jacob Gordin, whose 1898 drama Mirele Efros receives its English language premiere, under the new title The Jewish Queen Lear, at Theater J, thanks to translator, playwright, and theater historian Nahma Sandrow.

Outside a hotel, lightning flashes and thunder crashes. Makhle (an engaging Sue Jin Song) sets the scene, establishing the audience as her confidante. She’s the maidservant to Mirele Efros (Valerie Leonard), the wealthy widow of a renowned rabbi. Mirele has brought her entourage from Grodno to Slutsk for the wedding of her eldest son, Yosele (Christopher Warren) to Sheyndele (Healy Knight). The in-laws, Khane-Dvoryre (Tonya Beckman) and Rav Nokhem (Karl Kippola), also come from auspicious rabbinical lines, but Nokhem’s constant declarations of, “So it is written,” coupled with Kippola’s highly expressive hand flourishes, seem like attempts to distract from the fact that he is less of a sage than his title indicates. Khane, meanwhile, is aggressively materialistic. Mirele knew the family was poor, but their crassness causes her to second guess the engagement, relenting only when the groom insists on his love for a bride who appears at first not to have inherited her parents’ faults.

Three years later, the in-laws from Slutsk have taken up habitation in the Efros household, and both Yosele and his brother Donye (Charlie Trepany) have become increasingly hedonistic. Soon, Sheyndele is demanding Mirele turn the business over to Yosele and Donye and dismiss the trusted business manager Rav Shalmen (Frank X). It is not long before the humiliated Mirele exiles herself from the household with Makhle in tow.

While Gordin drew inspiration from King Lear, the Ashkenazi Jews of the Polish cities of Grodno and Slutsk (now in modern-day Belarus) are not the warrior aristocracy of ancient Britain.

Living a segregated existence in Europe, the educated class was made of Yeshiva-educated rabbis, and scions of prominent rabbinical dynasties attracted business and authority. Mirele’s autocratic pride in secular matters is tempered by humility towards God, and her power is always tempered by an impulse to give charity. Tellingly, Gordin not only portrays the younger generation as inept at business but as uninterested in continuing the Efros family’s legacy of rabbinical scholarship and philanthropy. Yet Mirele is made of stronger stuff than Lear: Humiliation does not

lead her to madness.

Leonard creates a nuanced yet regal portrait of Mirele, possessed with sardonic wit and shrewd pragmatism guided by ethical wisdom, while subtly showing in her body language the toll that age and the ongoing conflict with her children and in-laws has from scene to scene. The loyalty Mirele inspires in Shalmen and Makhle is believable. Frank X, likewise, has a physical eloquence that gives his Shalmen dignity. Georgetown undergraduates Warren, Knight, and Trepany provide reliable support for the veteran cast members.

Director Adam Immerwahr has opted for the occasional knowing anachronism in a story set in the late 19th century Pale of Settlement. Fashions of Gordin’s time co-exist with ours, and the Judaism of the characters is a mixture of tradition and more recent innovations, perhaps representing an alternate history in which the Yiddish world did not suffer the cataclysm that was 20th century Europe.

Music director James Khoury has developed some gorgeous arrangements of Jewish liturgy including a niggun (a wordless melody offered as a prayer in Judaism) sung by the ensemble.

(Alana Dodds Sharp’s voice is a particular asset as the cantor.) Costume designer Ivania Stack has created an elegant wardrobe for Mirele: long cloaks with velvet collars, Japanese-print house frocks, and gowns fitting a woman whom Makhle likens to a czarina, while Andrew R. Cohen’s design for the Efros home, recurring rectangular panels in aquamarine, is a colorful container for a living room drama.

The Jewish Queen Lear is ultimately a melodrama of the sort that dominated the popular theater more than a century ago, but it is an exceptionally well crafted one, with its ethical themes granting gravitas to what was even then an exercise in nostalgia. Sandrow’s translation gives it a modern polish that keeps this gem of a lost world from feeling like an antique, but with this, the inaugural production of Theater J’s Yiddish Theater Lab, one wonders if there are more unconventional treasures awaiting rediscovery.

—Ian Thal 37th and O streets NW. $30–$69.

(202) 777-3210. theaterj.org.

PICKUP ARTISTS Hands on a Hardbody

Book by Doug Wright Music by Trey Anastasio and Amanda Green Lyrics by Amanda Green Directed by Elena Velasco and Mark A. Rhea At Keegan Theatre to April 6 it’S a common if unfair criticism of country music that all of the songs are about trucks, but in the twang-inflected musical Hands on a

THEATERCURTAIN CALLS Hardbody, that adage isn’t too far off the mark.

The show, based on a 1997 documentary of the same name, focuses on a group of strangers who enter a contest wherein they must keep their gloved hands firmly planted on a pickup truck with no leaning and minimal breaks. The last person standing wins the truck, as well as notoriety in their small Texas town.

Each character has a different reason for showing up, and their backstories and inner lives are slowly revealed via songs and stories.

It’s almost impossible not to compare Hardbody to A Chorus Line, a musical similarly structured around a group of varying personalities in a contest with each other that gives each player a defining moment. The owner of the dealership and his assistant are elevated in an office overlooking the stage, providing running commentary on the action from a seemingly godlike vantage point, not unlike A Chorus Line’s director. Like the rest of the cast, they too encounter economic anxiety and class issues.

The problem is that these problems are foregrounded, and what was likely subtext in the source material has been made text. Hardbody

and the choice of clips is thematically confusing.

One such instance occurs when Jesús (Andres Alejandro Ponce), a Mexican-American man who is the frequent target of racist jabs, finally gets his comeuppance in the second act number “Born in Laredo.” He proclaims himself to be “every bit the Texan you are,” yet footage of Mexican border checkpoints is shown, in direct opposition to the spirit of the song, and it doesn’t help that the lyrics are somewhat denigrating toward actual immigrants.

The show does better when it goes for warm humor and everyday struggles. Intrigue comes in the form of Heather (Caroline Dubberly), an airheaded truck lover who’s having an affair with the dealership owner, Mike (Josh Sticklin). The two are in cahoots to throw the contest so Heather can win, and together they sing “Burn That Bridge,” an early, upbeat number that helps pick up the tempo of some of the otherwise sleepy songs. As the contestants start to droop from the heat and sleep deprivation, the group rallies the deeply religious Norma (Shayla Lowe) with the high-spirited and wonderfully sung gospel number “Joy of

MON, APR 1 AND TUES, APR 2 TICKETS GO ON SALE AT 10 AM ON TODAYTIX

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BY LIZA JESSIE PETERSON DIRECTED BY TALVIN WILKS

APRIL 1 – APRIL 20

“A blistering critique of the American criminal justice system” Broadway World

Hands on a Hardbody

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!

MAY 19 H G U O ED THR EXTEND

3/18/19 2:34 PM

Grand

Hotel The Musical

has something like 14 different social issues that it wants to comment on, and it hammers them home like a Very Very Very Special Episode. Benny (John Loughney), a mean spirited guy who won the contest a few years back, serves as the main antagonist, needling his fellow contestants and dishing out very on-the-nose racist taunts and insults in an attempt to unnerve them. But— surprise!—Benny’s pain comes from the suicide of his son, a Marine who killed himself after serving in Afghanistan. Once he admits this to a fellow contestant, he suddenly realizes what a jerk he is, and decides apropos of nothing not to be racist anymore.

It’s increasingly popular for productions to introduce a multimedia element, but attempts to incorporate projections here mostly fall flat.

They’re directed at a background of fragmented triangles meant to resemble car dealership flags, making it difficult to parse out what’s on screen,

the Lord,” much of it performed sans orchestra and using the truck itself as a giant drum.

Janis (Valerie Adams Rigsbee), a mother of six who sees through Heather’s scheme and realizes the whole contest is a hopeless ruse brings comedic charm to the fiery “It’s A Fix.” The crowning of the winner feels very anticlimactic considering the entire show builds to that moment. Though each character gets a chance to share their story, too many people fight for stage time, making it hard to get invested in anyone in particular. When the whole gang is reunited onstage for an epilogue detailing where they all went after the contest, it feels like an afterthought. Rather than a fast and furious race to the finish, it’s an ambling ride down a dirt road. —Stephanie Rudig

A non-stop toast to the style, decadence and intrigue of the 1920s April 2 – May 19 SigTheatre.org 703 820 9771

1742 Church St. NW. $20–$62. (202) 265-3767. keegantheatre.com. washingtoncitypaper.com march 29, 2019 19

FILMSHORT SUBJECTS

DOWN AND OUT The Brink

Directed by Alison Klayman

COOL JERK The Beach Bum

Directed by Harmony Korine If Matthew Mcconaughey retired tomorrow, The Beach Bum would be the perfect end to his career. He plays Moondog, the poet laureate of Key West, a lovable miscreant with a penchant for weed, booze, and prostitutes. It’s who we have always suspected McConaughey to be in real life, ever since he was arrested for playing the bongos naked that one time, but has never quite been captured before on-screen. To put it another way: Take the creepy Wooderson from Dazed and Confused, McConaughey’s very first film role, send him to Florida, and wait 25 years. Moondog will emerge.

How much you enjoy The Beach Bum, the sun-spackled sixth feature from writer/director Harmony Korine (Spring Breakers) will likely depend on your tolerance for Moondog’s—or McConaughey’s—antics. To the locals, he is a legendary hedonist who sleeps with tourists, urinates in public, and manages to keep it together long enough to do a public reading every now and then, where he is showered with praise. But they don’t have to live with him. To his rich-girl wife (Isla Fisher), he is a creature from another dimension, whose refusal to play society’s games makes him attractive enough to be worth the trouble. His daughter (Stefania LaVie Owen) is the only real party pooper; when Moondog shows up late to her wedding and disrupts the ceremony by insulting her fiancé, she has the gall to complain.

Over the course of The Beach Bum’s 95 minutes, weed is smoked, drinks are drunk, and poems are composed. Believe it or not, there is a plot. Due to cosmic circumstances, Moondog is ejected from his house and cut loose from his wife’s fortune. The only way he can get it back, according to her wishes, is to write the follow-up book of poems he has

been putting off for years. Needless to say, the man is not suddenly imbued with urgency. He continues to fuck off, ends up in jail at one point, and eventually in rehab where he meets a partner-in-crime, a preacher’s son named Flicker (Zac Efron), who is an even bigger asshole than him.

It’s a fantastic trick of cinema enabled by an indelible lead performance. If you knew Moondog in real life, you would almost certainly tire of him within minutes, but Korine hews so close to his perspective that you can’t help but buy into his bullshit. Moondog has no attachments and seeks to live only in the present. He’s a Buddhist who can’t stop talking about his dick. McConaughey sees no contradiction there, and he leads you, trance-like, into sympathy with him through sheer commitment. He shows his ass—literally and figuratively—throughout, and is so unconcerned with being likeable that you can’t help but admire him despite his selfish ways. None of the other actors in the film—from Jonah Hill as Moondog’s sleazy Southern manager to Snoop Dogg as, essentially, Snoop Dogg—come close to reaching his orbit.

There are so many prestige elements in The Beach Bum, from the big stars to the gorgeous, naturalistic cinematography, you might be fooled into thinking it actually matters, but it’s really just a stoner comedy with some halfbaked observations about the artistic process.

The plot wraps around so that we ultimately see Moondog’s meanderings as some sort of drawn-out artistic process (leading to a book of poems that the film is named for), but that there is any endpoint to the story at all feels like a surprise. It’s like you got stuck at a party talking to a guy explaining his theory of everything, and long after you started trying to extricate yourself, he suddenly arrives at a salient point. Whether it’s worth the time you spent with him is a more complicated question.

—Noah Gittell The Beach Bum opens Friday in theaters everywhere.

20 march 29, 2019 washingtoncitypaper.com

Steve Bannon waS frightening when we did not know too much about him. There were few recordings of him speaking when he helped elect Donald Trump, and he liked his stature as the left’s arch nemesis (he spoke favorably about Darth Vader). For many viewers, the documentary The Brink will be the first real introduction to Bannon, as both a puppet master and an ordinary man. Director Alison Klayman does not have any sit-down interviews, and instead prefers a cinéma vérité approach. Her style does Bannon no favors, and parts of the film unfold like a far-right version of This Is Spinal Tap. Klayman picks up with Bannon after he already left the White House. In the wake of the Charlotteville protests, the administration ousted him, and Trump humiliated him on Twitter. When we see Bannon in his handsome Capitol Hill rowhouse, he is not licking his wounds, but looking for the next way he can ingratiate himself. Soft-spoken and schlubby, he seems more like a hobbyist than a supervillain. Still, his access to power is frightening: After the failed attempt to get Alabama’s Roy Moore elected, Bannon finds himself among far-right leaders all over Europe.

Bannon spends his days trying to normalize extremism, and to his credit, he is actually pretty good at it. He disarms people with his self-awareness and his well developed sense of irony, so his strategy is to introduce toxic ideology while people let their defenses down.

Parts of the film unfold like a thriller because this strategy just might work. In a debate with the “never Trump” neocon David Frum, Bannon almost seems reasonable because Frum cannot move beyond attacking the President’s character.

Like all far-right figures, Steve Bannon hates being called racist. There is a stretch in the film where he toys with the word “globalist,” and by using it to describe George Soros, the term takes on an antisemitic edge. There is a disarming scene where an aggressive journalist from The Guardian calls him on his bullshit, and Bannon has no response for his ongoing reliance on dog whistles. Once you see through his trick, he loses all his power. Darth Vader can choke people with his mind, while

Steve Bannon takes meetings in cargo shorts.

We know from recent history that Bannon’s post-Trump efforts have more failures than successes. Klayman does not humiliate him, exactly, but she uses hindsight and context as effective editing tools. When Bannon talks about the importance of keeping Republican control of the House, it is all the more satisfying because we already know what happens. The more interesting moments are what happen in between his endless meetings and conference calls. For such an influential and wealthy figure, he has little interest in the outside world or self care. When Bannon is in Venice for the premiere of another documentary about him, he stays in his hotel suite instead of enjoying one the most beautiful cities in the world. Between this and the private jets, Bannon has expensive taste for someone who purportedly wants to help the working class, and he never once thinks to address this irony.

You may have heard about American Dharma, the other Bannon documentary. It was directed by Errol Morris, a filmmaker who is known for his probing interviews. I have not seen Dharma (there are no plans to release it), but parts of The Brink are a rebuke of his interrogation style. In debates and interviews, Bannon can be smooth and alert. The façade erodes only when he appears visibly drunk or makes the same dumb one-liner to his younger female fans. This Is Spinal Tap had affection for its subjects, but Klayman has no such sympathy. She’s cautious around Bannon and maybe even respects him, and by the end of the film, she pushes him to the fringe of a more worrying, pervasive worldwide movement.

If The Brink were merely a takedown of Bannon, it wouldn’t be worthwhile. What makes it an intense, fascinating documentary is how it

uses Bannon to contemplate modern politics.

His strategic masterstroke is to realize that the political struggle is always advancing forward.

While the left focuses on Trump’s latest tweet or whatever, Bannon finds smaller movements and alienated people he can engage. He is not the best player in this game, and we only think he is because he is always a few moves ahead.

—Alan Zilberman The Brink opens Friday at Landmark E Street Cinema.

MUSICDISCOGRAPHY

ONE NATION UNDER HIS GROOVE G.O!

Samuel Prather Self-released Lest there be any doubt that G.O! is music unabashedly by and for D.C. audiences, the first track puts it right in your face. You couldn’t pack more go-go energy into it with a compressor: the drums and timbales, the cowbells, the horns (including impossibly funky solos by trumpeter Brad Clements, trombonist Greg Boyer, and tenor saxophonist Elijah Balbed, all veterans of The Chuck Brown Band), the background shout vocals, the lead guitar and vocal by Chuck Brown’s son Wiley. And, for the cherry on top, the song’s title and most frequent refrain is “I’ll Never Barry Marion.”

It sets the non-geographic tone for the album, too—not of go-go per se, but of the same variety that’s set by the band name itself: Groove Orchestra. The second album from multi-instrumentalist Samuel Prather, best known for his work in the D.C. jazz scene, is a tasting menu of polyrhythms of all varieties. Complex flavors, in other words, but with a simple through-line: soul.

It’s a bit of a cheat to blanket something as nebulous as soul with simplicity. Then again, to invoke the Justice Potter Stewart precedent, we know it when we hear it. It’s the thing thatdrenches Balbed’s solo on “I’ll Never Barry

Marion,” for example. It does the same to Shacara Rogers’ vocals on the poppier funk of “Tear the Rufus Off the Chaka” (for which the punny names, not the Parliament allusion, are the lodestar), to Christie Dashiell’s contemporary R&B stylings on “Can We Talk,” and to Prather’s doub l e - t ra cke d acoustic and electric guitars and limber piano solo on the South African pastiche “Sugar Cane Enabled.” The latter also features Donvonte McCoy on flugelhorn, sounding uncannily like the late South African jazz giant Hugh Masekela.

As should be obvious by now, pastiche makes up a large part of G.O!. In addition to the above, there’s “Puttin’ on Ayers,” echoing the moody ’70s soul-jazz of vibraphonist Roy (“Everybody Loves the Sunshine”) Ayers with Baltimore’s Warren Wolf handling the mallets.

One could be forgiven, then, for wondering if Prather and the Groove Orchestra establish their own identity, rather than just pursuing others’. The short answer is yes, indeed on this very track. A fourth of the way in, “Puttin’ on Ayers” goes into a double-time breakdown. Ayers’ atmospherics are still in the mix, but so is a post-hip-hop rhythmic and melodic language with acoustic bass (courtesy of Kris Funn), Afrocentric horn structures, and Wolf, then Prather (soloing on piano, though the drum track behind that solo is also him) in the solo spotlight.

It’s the same language that carries through to the two-part suite “Miss Timbo,” this time with a mood driven by ’80s-style synths (though of no specific reference) and, on part II, Motown-style vocals (on which bass vocalist Soloman Howard does a spot-on impression of the Temptations’ Melvin Franklin).

The breadth of ingredients, and combinations thereof, is astonishing. By the album’s end, the fadeout on the neo-soul-ish “Love Always Wins in the End,” even the loose concept of soul seems barely sufficient glue to hold such sprawl together. Prather himself must have some adhesive qualities, too.

—Michael J. West

“The world’s reigning male chorus” —The New Yorker Tickets from $25!

Mason Bates’s KC Jukebox

Chanticleer Sirens

San Francisco’s three-time Grammy®-winning male vocal group returns to the Kennedy Center performing music from Steven Stucky to Freddie Mercury. Kennedy Center Composer-in-Residence Mason Bates’s Sirens anchors this program.

April 2 at 7:30 p.m. | Family Theater Groups call (202) 416-8400

Kennedy-Center.org

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

(202) 467-4600 KC Jukebox is presented as part of The Irene Pollin Audience Development and Community Engagement Initiatives.

PART OF

VISIT KENNEDY-CENTER.ORG/DIRECTCURRENT

Listen to G.O! at washingtoncitypaper.com/arts. washingtoncitypaper.com march 29, 2019 21

22 march 29, 2019 washingtoncitypaper.com

CITYLIST Music 23 Theater 26 Film 27

Music

CITY LIGHTS: FRIDAY

FRIDAY

ELECTRONIC

MOUNTAIN MAN

9:30 CLUB 815 V St. NW. (202) 265-0930. Big Wild. 7 p.m. $25. 930.com.

JAKE XERXES FUSSELL MAR 29 | TOMORROW

FLASH 645 Florida Ave. NW. (202) 827-8791. Maceo Plex. 8 p.m. $20–$45. flashdc.com.

FOLK

TOM PAXTON & THE DONJUANS

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Mountain Man. 8 p.m. $25–$30. wolftrap. org.

APR 4

FUNK & R&B

THE SWINGLES

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Speakers of the House. 10:30 p.m. Free. thehamiltondc.com.

APR 5

A BANDHOUSE GIGS TRIBUTE TO XTC

HIP-HOP

GASTON HALL AT GEORGETOWN UNIVERSITY 37th and O streets NW. (202) 687-3838. Groove Theory Hip-Hop Showcase. 7:30 p.m. $7–$10. performingarts. georgetown.edu.

APR 6

CALIDORE STRING QUARTET JUHO POHJONEN, PIANO

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Lee Ritenour. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

POP

DC9 1940 9th St. NW. (202) 483-5000. Nightly. 7:30 p.m. $12–$15. dcnine.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Sasha Sloan. 8 p.m. $16– $18. songbyrddc.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Conan Gray. 7 p.m. $20. ustreetmusichall.com.

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. The Yardbirds with Jann Klose. 8 p.m. $35–$45. citywinery.com.

SATURDAY CLASSICAL

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. National Philharmonic: Sounds of New Orleans. 8 p.m. $20–$89. strathmore.org.

FUNK & R&B

THE ANTHEM 901 Wharf St. SW. (202) 888-0020.

Gary Clark Jr. 8 p.m. $45–$150. theanthemdc.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Got My Own Sound Band. 8 p.m. $20–$25. citywinery. com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Lee Ritenour. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

KENNEDY CENTER TERRACE GALLERY 2700 F St. NW. (202) 467-4600. Amir ElSaffar and Two Rivers Ensemble. 7 p.m.; 9 p.m. $20–$35. kennedy-center.org.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Methyl Ethel. 8 p.m. $13–$15. dcnine.com.

SCHUPPANZIGH & THE BIRTH OF CHAMBER MUSIC CHAMBER MUSIC AT THE BARNS

MACEO PLEX

APR 7

After three months touring, Maceo Plex will bring his finale to Flash, D.C.’s DJ-loving neon lounge. The techno connoisseur, known for Brooklyn warehouse raves and cosmic soundscapes, is an innovator. Spending decades as a producer and DJ, his success was slow to unfold. But today, Maceo Plex is top ranked on the ticket site Resident Advisor, and he sells out venues in Ibiza and Amsterdam. The Mutant Romance EP is the first from his MPLX project, a label he formed for experimentation. The tracks are simple yet prismatic, with a slow and spectral build of interlaced synths. Spacey, incremental, and a bit detached, the EP brings futuristic dreamscapes into sight. Maceo Plex has spent four years playing with his sound, and rumor has it that during the final set, he will set unreleased treasures free into the world. In 2014, at Boiler Room Berlin, he famously hypnotized the crowd with interstellar loops. If he can still enrapture an audience like that, an otherworldly evening is in store. Maceo Plex performs at 8 p.m. at Flash, 645 Florida Ave. NW. $20–$40. (202) 827-8791. flashdc.com.

—Tori Nagudi

ROBYN HITCHCOCK APR 11

THE SECRET SISTERS APR 19

FROM THE BUENA VISTA SOCIAL CLUB™

OMARA PORTUONDO LAST KISS

APR 23 + 24

WU HAN, PIANO GLORIA CHIEN, PIANO GILLES VONSATTEL, PIANO VIENNA TO PARIS

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Moonshine Society. 10:30 p.m. Free. thehamiltondc. com.

UNION STAGE 740 Water St. SW. (877) 987-6487.

Jared & the Mill. 7 p.m. $15. unionstage.com.

SUNDAY CLASSICAL

DUMBARTON OAKS 1703 32nd St. NW. (202) 3396401. The Knights and Kinan Azmeh. 7 p.m. $54. doaks.org.

NATIONAL GALLERY OF ART WEST GARDEN COURT 4th Street and Constitution Avenue NW. (202) 8426941. Fauré Quartett. 3:30 p.m. Free. nga.gov.

PHILLIPS COLLECTION 1600 21st St. NW. (202) 387-2151. Carolin Widmann and Gloria Chien. 4 p.m. $5–$45. phillipscollection.org.

CHAMBER MUSIC AT THE BARNS

FOLK KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. I’m With Her and Verona Quartet. 8 p.m. $29–49. kennedy-center.org.

FUNK & R&B

APR 26

RONNIE SPECTOR & THE RONETTES MAY 1 + 2

CITY WINERY 1350 Okie St. NE. (202) 250-2531.

Secret Society (Dance Floor). 7:30 p.m. $22–$25. citywinery.com.

32ND ANNUAL EVENING OF COMEDY

JAZZ

MAY 3 + 4

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Lee Ritenour. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

AND MANY MORE!

ROCK CITY WINERY 1350 Okie St. NE. (202) 250-2531. DBUK (Slim Cessna’s Auto Club), Norman Westberg (Swans).

7:30 p.m. $18. citywinery.com.

WOLFTRAP.ORG

washingtoncitypaper.com march 29, 2019 23

CITY LIGHTS: SATURDAY

LEIKELI47

New York City Ballet

Sterling Hyltin and Gonzalo Garcia in Opus 19/The Dreamer, photo by Paul Kolnik

Balanchine, Robbins & Reisen (Apr. 2, 3 & 7) Composer’s Holiday (Foss/Reisen) Kammermusik No. 2 (Hindemith/Balanchine) Opus 19/The Dreamer (Prokofiev/Robbins) Symphony in C (Bizet/Balanchine)

The first thing you’ll notice about Leikeli47 is the bandana-balaclava that conceals her face in every press shot and at every show. Unlike contemporaries like The Weeknd, H.E.R., and even the DMV’s once-masked GoldLink, the Brooklyn rapper hasn’t let that mask of anonymity slip, even as her profile has risen.

Instead, she’s tried her best to keep the focus off her identity and on her music. That approach paid off on last year’s Acrylic, a somewhat conceptual record that serves as a tour through her borough and its smattering of sounds.

Behind its throwback, Pen & Pixel-styled cover are percussion-heavy, rhythmic revelries that bounce from the street to the club to the nail salons to which its title nods. Amid all the New-New York rap is the social media-via-ballroom track “Post That,” the dancehall-ready “Bad Gyal Flex,” HBCU rocker “Roll Call,” and the table-pounding stoners’ anthem “Girl Blunt,” which landed on the soundtrack of Insecure last season. Even behind the mask, people are watching and listening to Leikeli47, in Brooklyn and beyond. Leikeli47 performs at 8 p.m. at MilkBoy ArtHouse, 7416 Baltimore Ave., College Park. $20–$25. (240) 623-1423. milkboyarthouse.com.

—Chris Kelly

New Works & New Productions (Apr. 4, 5, 6m & 6e)

CITY LIGHTS: SUNDAY

Easy (Bernstein/Peck) In the Night (Chopin/Robbins) The Runaway (Muhly, West, Jay-Z, Blake, add. artists/Abraham)* SOMETHING TO DANCE ABOUT Jerome Robbins, Broadway at the Ballet (Bernstein, Bock, Gould, Rodgers, Styne/Robbins, direction and musical staging by Carlyle)

VISIONS AND REFLECTIONS

*Music used in The Runaway contains lyrics with strong language and mature themes.

See website for casting details.

April 2–7 | Opera House with the Kennedy Center Opera House Orchestra

Kennedy-Center.org (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Support for Ballet at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

24 march 29, 2019 washingtoncitypaper.com

Roberto Fernández Ibáñez’s photographs are poetic, verging on the mystical. His exhibition at Glen Echo Photoworks features four distinct series, two largely abstract and two that are more representational. One series consists of rust-hued tableaux that mimic cave drawings, frequently punctuated by thick handprints. Another series, made in black-and-white, depicts whimsical avian forms the artist assembled from natural debris and then scarred with primitive strokes, using chemical and mechanical manipulation. More compelling is his homage to Kintsugi, a Japanese technique for repairing damaged porcelain and ceramic by boldly filling cracks. The idea is to make the repairs themselves part of the overall artistic design. Fernández Ibáñez’s circular forms, fragmented by thick cracks, suggest a broken Earth, but the Kintsugi technique suggests an optimistic outcome, in which the planet can be celebrated despite its imperfections. The exhibition is on view to April 14 at Glen Echo Photoworks, 7300 MacArthur Boulevard, Glen Echo. (301) 634-2274. glenechophotoworks.org.

—Louis Jacobson

JUST ANNOUNCED!

Merriweather Post Pavilion • Columbia, MD

CAPITAL JAZZ FEST FEATURING

Gladys Knight • BabyFace • Gregory Porter • Kem • Patti Austin and more! ................................................................................ JUNE 7-9 For a full lineup, visit capitaljazz.com. On Sale Saturday, March 30 at 10am.

THIS WEEK’S SHOWS

Failure & Swervedriver w/ Criminal Hygiene ................................. Th MAR 28 D SHOW ADDED!

O.A.R.

w/ Andrew McMahon in the Wilderness & American Authors .SEPTEMBER 7

On Sale Friday, March 29 at 10am

FIRST SHOW SOLD OUT! SECON

U STREET MUSIC HALL PRESENTS

Big Wild w/ Robotaki & Mild Minds Early Show! 6pm Doors ................................ F 29

M3 ROCK FESTIVAL FEATURING

STEEZ PROMO PRESENTS

Boogie T.rio w/ Mersiv & Vampa ................................................................ Sa 30 Let’s Eat Grandma w/ TWINKIDS & Claire George ................................ M APR 1

For a full lineup and more info, visit M3rockfest.com

BASS NATION PRESENTS

Getter w/ BadXChannels • Midoca • Gurf • TaBi ............................................. TU 2 Patty Griffin w/ Ruston Kelly .......................................................................... W 3 APRIL

APRIL (cont.)

Emily King w/ Jennah Bell ........Th 4

Bad Suns w/ Carlie Hanson ......M 15

ALL GOOD PRESENTS

ALL GOOD PRESENTS

The Infamous Stringdusters w/ Jon Stickley Trio .......................F 5

The Claypool Lennon Delirium w/ Uni .........................................W 17 D NIGHT ADDED!

ALL GOOD PRESENTS

Beats Antique w/ Axel Thesleff

FIRST NIGHT SOLD OUT! SECON

Early Show! 7pm Doors .....................Sa 6

BENT:

The New LGBTQ Dance Party Returns featuring Tezrah, Sippi, Lemz, Bratworst, Too Free (Live!), JJ202, Jacq Jill, DJ Abby, Diyanna Monet, and Hosted by Pussy Noir Late Show! 11:30pm Doors ...............Sa 6

Charlotte Gainsbourg ............M 8 STEEZ PROMO PRESENTS

Jai Wolf ....................................W 10 Ella Vos w/ Clara Mae ..............Th 11 ALL GOOD PRESENTS

Turkuaz w/ Aqueous .................F 12 AEG PRESENTS

Adam Conover- Mind Parasite LIVE

Early Show! 6pm Doors ..................Sa 13 U STREET MUSIC HALL PRESENTS

Droeloe w/ FYTCH • DUSKUS • TAILS

Late Show! 10pm Doors ..................Sa 13

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Foals w/ Preoccupations & Omni .........Th 18 ALL GOOD PRESENTS AN EVENING WITH

Lotus .............................F 19 & Sa 20 Tom Odell w/ Lucie Silvas Early Show! 6pm Doors ....................Sa 20 Ryan Bingham w/ Americans .Su 21 Rival Sons................................. M 22 Jon Hopkins .............................W 24 Blue October w/ Mona ............Th 25 Hot In Herre: 2000s Dance Party

with DJs Will Eastman and Ozker, Visuals by Kylos .......................Sa 27

Andrea Gibson w/ Megan Falley .........................Tu 30

MAY

Parachute w/ Billy Raffoul .........W 1 MISSIO w/ Blackillac & Swells ...Th 2 The Strumbellas w/ The Moth & The Flame ..............F 3

930.com

The best thing you could possibly put in your mouth Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Blaqk Audio w/ Silent Rival ..... W APR 3 Jeremy Loops w/ Hollow Coves ......Su 7 ¿Téo? w/ MARO ..............................F 5 Strand of Oaks w/ Tyler Ramsey ...Th 11 HÆLOS w/ Munya .........................Sa 6 Foreign Air w/ Honors ..................F 12

Whitesnake • Dokken with original members Don Dokken, George Lynch, and Mick Brown • Extreme • Warrant • Skid Row • Vince Neil • Kix • Autograph • Bang Tango and more! .....................MAY 3-5

Slayer w/ Lamb of God • Amon Amarth • Cannibal Corpse ................................... MAY 14 DC101 KERFUFFLE FEATURING

Greta Van Fleet • Young The Giant • The Revivalists • Tom Morello • SHAED • THE Blue Stones ................................................. MAY 19

Florence + The Machine * w/ Blood Orange ................................. JUNE 3 Brandi Carlile w/ Lucius ........................................................................ JUNE 14 Willie Nelson & Family and Alison Krauss w/ Lukas Nelson (A Star is Born) ............................................................... JUNE 19 Jason Isbell and The 400 Unit & Father John Misty w/ Jade Bird ............................................................................................................ JUNE 21

Phish ........................................................................................................ JUNE 22 & 23 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ............. JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot ..... JULY 19 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 The Chrysalis at Merriweather Park

LORD HURON w/ Bully ....................................................................... JULY 23 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com *Presented by Live Nation

THIS TUESDAY!

Capital One Arena • Washington, D.C.

MUSE w/ SWMRS................................................................................................. APRIL 2 Ticketmaster

Lincoln Theatre • 1215 U Street, NW Washington, D.C.

Spiritualized ............................APR 16 Yann Tiersen (Solo In Concert) .........................MAY 24 Citizen Cope .............................APR 17 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Imogen Heap with special guest Guy Sigsworth of Frou Frou ............... MAY 4

AN EVENING WITH

Apocalyptica Plays Metallica By Four Cellos Tour .MAY 28

AN EVENING WITH

Glen Hansard ...........................JUN 3 Josh Ritter & The Royal City Band w/ Penny & Sparrow ............MAY 17 Joey Coco Diaz ..........................AUG 9 Chromeo .....................................MAY 19 Adam Ant: Friend or Foe .... SEP 23 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

• Buy advance tickets at the 9:30 Club box office • 930.com

TICKETS for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office.

9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR!

PARKING: THE OFFICIAL 9:30 parking lot entrance is on 9th Street, directly behind the 9:30 Club. Buy your advance parking tickets at the same time as your concert tickets!

930.com washingtoncitypaper.com march 29, 2019 25

VALET & SECURE PARKING aVAILABLE

take your wine to-g0 with growlers & retail wine!

RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

* BECOME A CITY WINERY VINOFILE MEMBER *

EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE! MAR 28

MAR 28

MAR 29

MAR 30

in the wine garden

ft. dukes & dobson

phaze ii

The Yardbirds w/ Jann Klose

Got My Own Sound Band

MAR 31

APR 1

APR 2

APR 3

Ivy League

DBUK

(Slim Cessna’s Auto Club), Norman Westberg (Swans) in the wine garden

APR 4-5

LOW TICKET ALERT!

LOW TICKET ALERT!

Secret Society (Dance floor)

Tony Terry

Vybe Band

APR 4

APR 5

APR 6

Doug Stone

Burlesque Night Out

LOW TICKET ALERT! in the wine garden

19th Annual

at

MAR 31

DOWNTOWN SEDER (12 DAYS BEFORE PASSOVER

CITY WINERY DC • APRIL 7

ACTUALLY STARTS)

hayes carll w/ ben dickey

Levi Kreis w/ special guest Nova Payton

The Pump & Dump Show

APR 8

APR 8

KiDe’

musicians on call

Kia Bennett and Desiree Jordan

CITY LIGHTS: MONDAY

DAVEED DIGGS

Whether you know him for his impish take on Thomas Jefferson in the Broadway hit Hamilton, his holierthan-thou appearances in ABC’s Black-ish, his experimental hiphop group clipping., or as the star of Blindspotting, you probably feel like you know Daveed Diggs. The interior life of this Oakland-born multihyphenate is far from unknown—he has appeared in Esquire and on Another Round, but this Monday, when he joins NPR’s Ari Shapiro at Sixth & I Historic Synagogue, should prove illuminating. Pairing a thoughtful, funny actor with an interviewer who asks the right questions always makes for an entertaining evening. Expect the pair to touch on identity, race, and storytelling, and you’ll leave knowing that much more about the multimedia star. And as an added bonus, Diggs will perform a solo rendition of one of his clipping. songs. Come get to know Daveed Diggs. Daveed Diggs speaks at 7:30 p.m. at Sixth & I, 600 I St. NW. $75–$1000. (202) 408-3100. sixthandi.org.

—Will Warren

FREE EVENT! Volunteer Spotlight Concert in the wine garden

FEAT. 16 SPECIAL GUESTS INCLUDING DAVID BROZA, CAROLYN MALACHI, GAY MEN’S CHORUS OF WASHINGTON DC, BETTY, JUDY GOLD, & MORE!

1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Moonshine Society. 10:30 p.m. Free. thehamiltondc. com.

MONDAY CLASSICAL

DUMBARTON OAKS 1703 32nd St. NW. (202) 3396401. The Knights and Kinan Azmeh. 8 p.m. $54. doaks.org.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. Brooklyn Youth Chorus. 7:30 p.m. $25–$59. kennedy-center.org.

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Tony Terry. 8 p.m. $35–$40. citywinery.com.

OPERA

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. As One. 6 p.m. Free. kennedy-center.org.

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Let’s Eat Grandma. 7 p.m. $20. 930.com.

Every week City Paper reporters interview someone that helps tell the story of D.C. Subscribe at washingtoncitypaper.com/podcast or wherever you get your podcasts.

CLASSICAL

KENNEDY CENTER FAMILY THEATER 2700 F St. NW. (202) 467-4600. Chanticleer. 7:30 p.m. $39. kennedy-center.org.

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Vybe Band. 8 p.m. $15–$20. citywinery.com.

WORLD

WEDNESDAY GOSPEL

26 march 29, 2019 washingtoncitypaper.com

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Brian Culbertson. 7:30 p.m. $65. birchmere.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Steve Smith and Vital Information. 8 p.m.; 10 p.m. $25. bluesalley.com.

THURSDAY FOLK

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Michael Miles.

7:30 p.m. $30. strathmore.org.

JAZZ

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Antonio Sánchez and Migration. 8 p.m. $28–$42. ampbystrathmore.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

ROCK

KENNEDY CENTER ATRIUM 2700 F St. NW. (202) 4674600. Moon Medicin. 9 p.m. $30. kennedy-center.org.

TUESDAY

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Gato Preto. 6 p.m. Free. kennedy-center.org.

PODCAST

JAZZ

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Levi Kreis with special guest Nova Payton. 8 p.m. $20– $30. citywinery.com.

PODCAST

HIP-HOP

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Dior Ashley Brown. 6 p.m. Free. kennedy-center.org.

Theater

THE BECKETT TRIO, PART 2 From Beckett’s “ghost period” comes Ohio Impromptu, the first Beckett drama to showcase a Doppelgänger. Come and Go focuses on a reunion between three childhood friends and the secrets they reveal to one another.

An allegory for the resistance, Catastrophe features a director and his assistant wrestling for control over the direction of one lone actor. Atlas Performing Arts Center. 1333 H St. NE. To May 5. $45. (202) 399-7993. atlasarts.org.

CLOTHES FOR A SUMMER HOTEL Tennessee Williams’ last play to debut on Broadway, Clothes for a Summer Hotel interprets the lives of F. Scott and Zelda Fitzgerald over the course of several flashbacks to their heyday in the twenties. Presented by the Rainbow Theatre Project. DC Arts Center.

2438 18th St. NW. To April 28. $35. (202) 462-7833. dcartscenter.org.

INTO THE WOODS Stephen Sondheim’s beloved, Tony-winning musical is a blackly comic medley of well-known fairy tale characters like Cinderella, Lit-

CITY LIGHTS: TUESDAY

3701 Mount Vernon Ave. Alexandria, VA • 703-549-7500

For entire schedule go to Birchmere.com Find us on Facebook/Twitter!

Tix @ Ticketmaster.com 800-745-3000

Thisay! d Tues

APRIL 2, 2019 - 8PM

LIVE MUSIC | BOURBON | BURGERS

with Jon McLaughlin TICKETS ON SALE NOW AT TICKETMASTER.COM/800-745-3000. presents

Mar 28

BIG BAD VOODOO DADDY

29

MO' FIRE

In Gratitude: Tribute to EWF and Motown & More!

VOTES FOR WOMEN: A PORTRAIT OF PERSISTENCE

Opening just in time for the centennial anniversary of the 19th Amendment, Votes for Women: A Portrait of Persistence spans seven National Portrait Gallery rooms and more than a century of history to paint a complex narrative of women’s suffrage in America. Browse more than 120 portraits, objects, and biographies curated by Kate Clarke Lemay, historian at the National Portrait Gallery and coordinating curator of the Smithsonian’s American Women’s History Initiative. From showcasing the women of the 1800s to meditating on the 19th Amendment, and from banners to engravings, this exhibition highlights those women whose vital contributions we have overlooked, and pays careful attention to the struggles of women marginalized by a movement meant to serve an entire gender. In a press release, Kim Sajet, director of the National Portrait Gallery, emphasizes the movement’s breadth and diversity and describes the exhibition’s mission as seeking “to tell a more complete story through portraits of women who represent different races, ages, abilities, and fields of endeavor.” To be surrounded by the portraits of abolitionist Sojourner Truth, activist Susan B. Anthony, and journalist and leader Ida B. Wells is to be in the presence of giants. The exhibition is on view to Jan. 29, 2020 at the National Portrait Gallery, 8th and F Streets NW. Free. (202) 633-8300. npg.si.edu.

—Amy Guay tle Red Riding Hood, and Jack (of the Beanstalk). At the heart of the story is The Baker and his Wife, their quest to reverse a witch’s curse and have a child of their own the driving force behind this twisted tale of wish fulfillment and the relationship between parents and children. Ford’s Theatre. 511 10th St. NW. To May 22. $27–$81. (202) 347-4833. fords.org.

follows is a “boisterously funny” (according to the LA Times) romp. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 14. $25–$60. (240) 582-0050. stageguild.org.

JQA Written by award-winning playwright Aaron Posner and the recipient of the Edgerton Foundation New Play Award, JQA imagines the confrontations between the intelligent, eloquent, and fiery sixth President of the United States and a collection of America’s most influential figures including George Washington, Frederick Douglass, Abraham Lincoln, and John Adams. Arena Stage. 1101 6th St. SW. To April 14. $92–$115. (202) 488-3300. arenastage.org.

Film

THE PECULIAR PATRIOT Highlighting the institutionalized injustice of America’s criminal justice system, this funny and sharp one-person show starring playwright Liza Jessie Peterson is inspired by her decades-long work with prison populations. Woolly Mammoth Theatre, Melton Rehearsal Hall. 641 D St. NW. To April 20. $20–$69. (202) 393-3939. woollymammoth.net.

P.Y.G. OR THE MIS-EDUMACATION OF DORIAN BELLE White Canadian pop heartthrob Dorian Belle hires black Chicagoan hip-hop artists Black and Alexand to lend him clout on reality TV. Inspired by the culture clash of Shaw’s Pygmalion. Studio Theatre.

1501 14th St. NW. To April 28. $20–$55. (202) 3323300. studiotheatre.org.

RESOLVING HEDDA A reimagining of Ibsen’s classic, this Hedda refuses to play along with her daily, prescribed death at the end of each performance. What

THE AFTERMATH A British colonel and his wife move into a grand Hamburg house during post-World War II reconstruction, and must share the home with its previous German owners. Starring Keira Knightley, Jason Clarke, and Alexander Skarsgård. (See washingtoncitypaper.com for venue information) DUMBO Dumbo, the beloved young elephant with oversized ears that allow him to fly, is made to perform in a circus as he and his friends uncover its dark secrets. Starring Colin Farrell, Michael Keaton, and Danny DeVito. (See washingtoncitypaper.com for venue information) THE MUSTANG Matthias Schoenaerts stars as a prisoner who enters a rehabilitation program in which he must help train wild mustangs. Co-starring Jason Mitchell, and Bruce Dern. (See washingtoncitypaper. com for venue information) US In director Jordan Peele’s latest thriller, a family’s vacation becomes a nightmare as their doubles torture them. Starring Lupita Nyong’o, Elisabeth Moss, and Winston Duke. (See washingtoncitypaper.com for venue information)

30

HARMONY SWEEPSTAKES Mid-Atlantic Regionals 2019

31

ASLEEP AT THE WHEEL

Apr 5

The National Reserve

An Evening with

DON McLEAN

7

BODEANS Nicholas David KEIKO MATSUI

11

LIZZ WRIGHT

6

12 14 18 19

SGGL & THE SHERPAS THE CHURCH

"Starfish" 30th Anniversary Tour

THEfeaturing DRAMATICS L.J. Reynolds

ROB SCHNEIDER 22 MARTIN BARRE Celebrates 50 Years Of JETHRO TULL feat. Dee Palmer, Martin Barre, Clive Bunker 20

KRIS KRISTOFFERSON 27 CLEVE FRANCIS 25

29&30

May 1

INCOGNITO with special guest MAYSA An Evening with

ZOE KEATING 2 DELBERT McCLINTON 3 NAJEE 4

6

An Evening with

DAVID ALLAN COE TERRY REID & The Cosmic American Derelicts

MARCH FR 29 NAH. ALBUM RELEASE! w/THE DUSKWHALES, SKAII SA 30 CHOPTEETH SU 31 LILLY HIATT w/KAREN JONAS

APRIL TH 4

THE REVELERS w/ MOOSE JAW BLUEGRASS

FR 5

VACATION MANOR w/ BRISTON MARONEY

SA 6

NEW ORLEANS FUNK & SOUL NIGHT FEATURING FUNKY MIRACLE w/ CRUSH FUNK BRASS

SU 7

JOURNEYMAN (ERIC CLAPTON TRIBUTE)

TH 11 FEELFREE ROOTS OF A REBELLION w/ SHAMANS OF SOUND FR12

THE BREVET THE UNLIKELY CANDIDATES

SA 13 CRIS JACOBS BAND w/ JUSTIN TRAWICK AND THE COMMON GOOD SU 14 PROJECTHERA PRESENTS WOMEN WHO ROCK THE 80’s TU 16 ANA POPOVIC w/ MARY-ELAINE JENKINS TH 18 SHINER HONKY TONK NIGHT WIL GRAVATT BAND w/ MACKENZIE ROARK FR 19 TOMMY CASTRO & THE PAINKILLERS – KILLIN’ IT LIVE RECORD RELEASE TOUR w/ KEVIN BURT (BLUES MUSIC AWARD NOMINEE – BEST EMERGING ARTIST ALBUM) SA 20 SECOND ANNUAL “THE BIG LEBOWSKI EXPERIENCE” TH 25 ROCK N ROLL NIGHT FEATURING KRANTZ FR 26 DREW GIBSON ALBUM RELEASE! w/ EMILY HENRY

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FOLLOW US @PEARLSTREETLIVE 33 PEARL ST SW DC •THE WHARF washingtoncitypaper.com march 29, 2019 27

“A MARVEL and A DELIGHT.”

–MD Theatre Guide

“FAST-PACED and FUN.”

–DC Metro Theater Arts

“DYNAMIC...a breath of fresh air.”

–BroadwayWorld

“CHARMING.”

–Talkin’ Broadway

Vanity Fair

By KATE

HAMILL

Based on the novel by William Makepeace Thackeray

Directed by JESSICA

STONE

Photo of the cast of Vanity Fair by Scott Suchman.

MUST CLOSE MAR 31 Support by Share Fund.

CITY LIGHTS: WEDNESDAY

THREE WORLD PREMIERES

D.C.’s top designers, New York fashion darlings, and famous Danish musicians all contributed to three dances receiving world premieres this week with The Washington Ballet. It’s a lineup that sounds intriguing even without name-dropping the trio of choreographers who have been laboring in the studio.

Ethan Stiefel (forever familiar to ’90s teenage girls as Center Stage bad boy Cooper Nielson) returns to create his second piece for the company, and has chosen Scandinavian folk tunes recorded by the Danish String Quartet as his score, which the quartet will perform live. Choreographer Dana Genshaft, a retired soloist from San Francisco Ballet, collaborated with designers Reid & Harriet to create gold jumpsuits for her D.C. debut—and a Reid & Harriet swimsuit inspired by their costume work can be yours for just $248. Closer to home, D.C.’s Design Army helped choreographer Trey McIntyre create an on-stage ball pit for a new ballet he calls “Teeming Waltzes.” Yep. A ball pit. This night of ballet should be just as fun as a trip to Chuck E. Cheese's. The show runs to April 7 at Sidney Harman Hall, 610 F St. NW. $25–$100. (202) 362-3606. washingtonballet.org.

—Rebecca J. Ritzel

ORDER TODAY! ShakespeareTheatre.org 202.547.1122

Restaurant Partner:

CITY LIGHTS: THURSDAY

SLOANE CROSLEY

PODCAST

Every week, City Paper reporters interview someone who helps tell the story of D.C.

PODCAST

Subscribe at washingtoncitypaper.com/podcast or wherever you get you podcasts.

28 march 29, 2019 washingtoncitypaper.com

Best-selling essayist and novelist Sloane Crosley’s writing has earned high praise from The New Yorker, Washington Post, Seattle Times, Entertainment Weekly, Publishers Weekly, and Steve Martin, to name a few. She returns to D.C. to discuss her new essay collection about her misadventures, Look Alive Out There, originally published last year and soon to be released in paperback. Crosley’s previous work includes the essay collections I Was Told There’d Be Cake and How Did You Get This Number, and the novel The Clasp. Her work is multifaceted: She writes with wit and clarity. She’s funny and revealing. Her writing is lean, fast, and artful, packed with self-deprecation and sharp observations. You feel in on the joke, but still surprised by what she has to say. Vital for a live event, Crosley is also a thoughtful interview subject, aware of her standing in the tradition of creative nonfiction essay writing. She’s incisive about our cultural and political circumstances and, thankfully, her own craft.

Sloane Crosley speaks at 7 p.m. at Politics and Prose at The Wharf, 70 District Square SW. Free. (202) 364-1919. politics-prose.com.

—Graham Roth

SAVAGELOVE Savage Love Live stormed into Revolution Hall in Portland, Oregon. Comedian Corina Lucas absolutely killed it before our sold-out crowd, singer-songwriter Elisabeth PixleyFink performed an amazing set, and two lovely couples competed in our first (and most likely last) Mama Bird Cupcake Eating Contest. I wasn’t able to get to all the audience-submitted questions, so I’m going to power through as many as I can in this week’s column.

—Dan Savage How do you handle it if your partner constantly apologizes during sex? “Sorry, sorry, sorry…”

With sensitivity, tact, and compassion—and if none of that shit works, try duct tape. —DS Should I continue to have casual sex with someone I’m in love with?

If it’s casual for them and not casual for you, and they’ve made it clear it will never be anything other than casual for them, you’re going to get hurt—which I suspect you know. Now, if you think the pain of going without sex with them will be greater than the pain you’ll feel when they inevitably meet someone else and move on, by all means keep fucking them.

(Spoiler: The pain of the latter > the pain of the former.)

—DS Best tricks for a quick female orgasm & how to keep yourself from overthinking it?

My female friends swear by a little legal weed, where available (or a little illegal weed, where necessary), and a nice, big, powerful vibrator.

—DS My five-year relationship ended abruptly. Is there a time frame for getting over it?

Studies vary. Some have found it takes the average person 11 weeks, some have found it takes half the length of the relationship itself, some have found it takes longer if it was a marriage that ended. But don’t wait until you’re completely over it to get out there—because getting out there can help you get over it. —DS Besides a fiber-rich diet, what are your tips for a newbie to anal play? Size is a BIG factor and it’s creating a HUGE mental block whenever anything goes near my hole.

Start small, e.g. lubed-up fingers and small toys. And don’t graduate from tongues/fingers/toys to someone’s big ol’ dick in a single session. Start small and stay small until your hole’s dread at the thought of taking something HUGE is replaced by a sincerely held,

quasi-religious belief in the absolute necessity of taking something huge.

—DS What is the formula for getting comfortable farting in front of a partner?

Same as comedy: tragedy + time.

—DS

In the era of online dating, how do you navigate the people who think the grass will always be greener and have difficulty committing to truly building a relationship?

The expression “the grass is always greener on the other side of the fence” has its roots in a Latin proverb first translated into English in 1545—which means the sentiment predates dating apps by, oh, roughly half a millennium. But the “paradox of choice,” or the idea that people have a hard time choosing when presented with too many options, has certainly complicated modern dating. But too many options beats too few, in my opinion, and it certainly beats no options at all, e.g. deserted islands, compulsory heterosexuality, unhappy arranged marriages, etc.

—DS Any advice for a 22-year-old woman who meets only sad boys who need a mom?

Your handwriting is such that I thought you wrote “sub boys,” and I was going to respond, “Enjoy.” But then I reread your question: sad boys, not sub boys. Okay, if you’re meeting only one type of person or all the people you’re meeting have a certain character flaw, either you’re seeking that type of person out—consciously or subconsciously— or you’re projecting your own shit onto that person. This is a case where the best people to ask for a gut/reality check are your actual friends, not your friendly sex-advice columnist.

—DS How good are cock rings? I tried a stretch rubber one, and it was just uncomfortable. Is it worth more time and research?

Cock rings are made from all sorts of different materials, and it’s important to find the material (rubber, metal, leather) and fit (snug but not too tight) that works for you. I definitely think you should experiment a bit before giving up—cock rings are great. And, hey, did you know there’s a Wiki page with a lot of good info about cock rings? (wikipedia.org/wiki/cock_ ring) —DS Will you be my sperm donor?

Well, that depends. Are you male, between the ages of 25 and 55, and (my entirely subjective

notion about what is) hot? Then sure!

—DS

My partner wants me to move in with him and have kids. He also wants an open relationship and to be able to father children for other women if they choose to be single moms. I’m not comfortable with that. How can I express this without blocking him from getting what he wants?

By not moving in with him, by not having kids with him, and by not continuing to partner with him.

—DS Why wasn’t semen designed to stay in a woman’s vagina? It always makes a terrible mess. I hate waiting for it to leak out of me.

I wasn’t around when semen and vaginas were designed—I’m old, but not that old—and I’m pretty sure they didn’t have a designer. I’m also guessing leakage wasn’t a problem until our ancestors began walking upright about four million years ago.

—DS My mother-in-law had episodes of amnesia after orgasm in her 50s. Have yosu heard of this? WILL IT HAPPEN TO ME? I have not! I HAVE NO IDEA! I have also Googled this for you, and—holy shit—it’s a thing and it has a name: transient global amnesia (TGA). Apparently, any form of strenuous exercise can trigger TGA. So don’t fuck, don’t run, don’t bike! Just sit still and you’ll be fine!

—DS What do you think is the most needed focus of left activism in the United States today?

Most needed: defeating Trump and combating climate change. Most prevalent: relitigating the 2016 Democratic primary.

—DS My mom finishes every call with “God bless you.”

I’m not a believer, but it’s not something we could ever talk about. I usually ignore it, sometimes I say it back, but it’s always awkward. What should I do?

You should sneeze.

—DS

Thanks to everyone who came out to Savage Love Live in Portland! Savage Love Live is coming to Seattle, Denver, San Francisco (with Stormy Daniels!), Chicago, Madison, Minneapolis (also with Stormy Daniels!), Toronto, and Somerville. For more info and tickets, go to savagelovecast.com/events.

Email your Savage Love questions to mail@savagelove.net.

Gear Prudence Gear Prudence: I want more people to ride bikes.

Amongst my friends, I’ve tried a bunch of arguments: It’ll save you money, it’s good exercise, it’s fun, etc. But I’ve never tried “global warming!”

It seems like during the last year the reality of climate change is sinking in for more people. Do you think touting the environmental benefits will be persuasive to get more people to bike?

—Will Anyone Ride More If Nagged Gently?

Dear WARMING: Sure, for a certain segment of people. That biking is zero emission will be compelling to people who are looking to reduce their personal carbon footprint, but it’s unlikely that you will be the first to break this news to your friends. In GP’s experience, the reason people are or aren’t biking has a lot more to do with their lived experience—and the difficulty of fitting bicycling into it—than it does with environmental commitment. Reminding them that the icecaps are melting doesn’t make their office any closer or the roads any less hostile.

Don’t shy from mentioning the environmental benefits of biking—every bit helps and decarbonizing transportation is imperative in fighting climate change—but also don’t be surprised if this doesn’t persuade. Advocate for biking with the “kitchen sink” approach. Each benefit resonates differently with different folks.

—Gear Prudence Gear Prudence: I was biking and stopped at a red light behind another cyclist. She was really attractive, but that’s not the point. She dropped something and got off her bike and bent over to pick it up. At exactly that time, I accidentally dinged my bell. She shot my the dirtiest look I’ve ever gotten in my life. I was mortified and mumbled “sorry,” but I think that she thinks I was objectifying her when it was a total accident. What should I have done after I unfortunately dinged?

—Worrisome Happenstance! Open Ogling? Please! Suggestions?

Dear WHOOPS: What an inconvenient time to “accidentally” ring your bell! For this response, GP will take you at your word that your ill-timed dinging was coincidental and that you’re not a total creep. If upon reflection you determine that the dinging was shy of completely accidental, GP would kindly suggest that you stop being gross.

Accidental or not, you shouldn’t have been surprised to have received a withering glance.

Sexism is real, and it’s unlikely that this is the first time this woman has felt demeaned by it. She doesn’t know you, and your mumbled “sorry” was just as likely to have been your response to being called out as it was for accidentally dinging. In the case that you ever errantly ding again, be more forthright with your apology. Make eye contact and be sincere. Faux pas or not, own it, accept that she might not believe you, and be more careful in the future to keep your hands away from your bell.

—GP

washingtoncitypaper.com march 29, 2019 29

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All communicaIN ACCORDANCE WITH SECTION tion regarding RFPOF 29-312.07 OF THE this DISTRICT (including submission) COLUMBIA ORGANIZATIONS ACT. shall be delivered via email Rivers only (no Two PCStelephone is soliciting calls) to: seanflora@ proposals to provide project manstatesmenboys.org agement services for a small construction project. For a copy of the RFP, please email procurement@ REQUEST FOR PROtworiverspcs.org.

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copy to the Register of Events Wills or to the Register of Wills with a copy to Christmas in Silver Spring the undersigned, on or Saturday, December 2,or 2017 before 9/14/19, be Veteran’s Plaza forever barred. Persons 9:00 a.m. to 7:00 p.m. believed to be heirs or in Come celebrate Christmas legatees theSpring decedent the heart of of Silver at our who do not on receive a PlaVendor Village Veteran’s copy of will thisbenotice by arts za. There shopping, mailcrafts within 25 days and for kids, picturesofwith Santa, music and shall entertainment its publication so to spread the holiday cheer andof more. inform Register Proceeds from the market Wills, including name, will provide a “wish” toy for children address and relationin need. Join us at your one stop ship. Date of first publishop for everything Christmas. cation: For more3/14/2019 information, contact Name Futsum, of Newspaper and/or periodical: info@leadersinstitutemd.org or Washington City Paper/ call 301-655-9679 Daily Washington Law General Reporter Name of Personal RepLooking to Rent Anne yard space resentative: H. for hunting dogs. Alexandria/ArlingS. Fraser ton, VA area only. Medium sized TRUE TEST copy dogs will be well-maintained in Anne Meister temperature controled dog housRegister of Willsanimal care es. I have advanced Pub Dates: experience and March dogs will14, be rid 21, free of28. feces, flies, urine and oder.

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25 Sea eagles 26 LeBron James or Kevin Durant, briefly 27 Catches a wave 28 Häagen-Dazs competitor 32 Astrologer Dixon 33 At the highest point 34 "If I Were a Rich Man" singer in Fiddler on the Roof 35 "What ___ saying?" ("Duh") 36 More perverse 37 Sound heard after scoring a touchdown 38 Cork alternative on some wine bottles 39 "Soft" TexMex snack 44 "Your wish is its command" Apple program 45 Oft-used mail order company by Wile E. Coyote 47 Way to go?

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29 Famed dictionary: Abbr.

30 Girl in a Duran Duran hit who "dances on the sand" 31 Man cave invitee 32 Don ___ (womanizer) 34 Zesty kick 36 On one's guard 37 2012 NFL controversy 40 Honey Bunches of ___ 41 Alamo rival 42 ___ out (makes less stuffy, as a room) 43 Year of Spanish 101

44 Man on a mission?

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56 Syllabus content 62 Rapper who produced the documentary Something From Nothing: The Art of Rap 63 Odd's opposite 64 Summer tunes?

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Down

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