Washington City Paper (June 7, 2019)

CITYPAPER WASHINGTON

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POLITICS: EIDINGER HIGH ON RECALLING EVANS 4 SPORTS: AFTER 44 YEARS, NATS GAME IS HIS CALL 8 ARTS: A POLICY LESSON ON KEEPING D.C. MUSICAL 16

P. 10

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On Sale Friday, June 7 at 10am

FRENSHIP w/ Glades .............................................................................. Th JUN 6 Dennis Lloyd w/ Morgan Saint ........................................................................ F 7 Pink Sweat$ w/ Raiche Early Show! 6pm Doors ................................................. Sa 8 Ibeyi w/ Sudan Archives ................................................................................... Su 9 Monsieur Periné ......................................................................................... M 10 Wolfmother .................................................................................................. W 12 JUNE

JULY (cont.)

The Lemonheads w/ Tommy Stinson &

Hot In Herre: 2000s Dance Party

with DJs Will Eastman and Ozker, Visuals by Kylos ......................Sa 20

The Restless Age ........................Th 13

Who’s Bad: The World’s #1 Michael Jackson Tribute Band Early Show! 6pm Doors ...................Sa 15

STEEZ PROMO PRESENTS

Priests w/ Mock Identity

THE CIRCUS LIFE PODCAST 6TH ANNIVERSARY CONCERT FEAT.

G Jones w/ Ivy Lab & tiedye ky .................F 26

Late Show! 10pm Doors ..................Sa 15

FeelFree, Justin Trawick and The Common Good, The Dirty Grass Players, Mystery Friends, Abigail Furr and special guests . Sa 27

White Ford Bronco: DC’s All ‘90s Band .....................F 21 Can’t Feel My Face:

2010s Dance Party with DJs Wiley Jay and Ozker, Visuals by Kylos ......................Sa 22

AUGUST

The Faint w/ Ritual Howls & Closeness .......Sa 3 Tuxedo

JULY

Story District’s Out/Spoken This is a seated show..........................Sa 6 Nick Murphy (fka Chet Faker) w/ Beacon ....................................W 10 Randy Rogers Band .............Th 11 Yeasayer w/ Steady Holiday ......F 12 BENT: Back with a Bang ........Sa 13 Yuna w/ Skylar Stecker .............Tu 16 Beyoncé vs Rihanna Summer Dance Party ...............F 19

(Mayer Hawthorne & Jake One) .Su 4

Neurosis w/ Bell Witch & DEAFKIDS .............F 9 Sonic Youth: 30 Years of

Daydream Nation Screening with panel discussion featuring Steve Shelley, Brendan Canty (Fugazi/The Messthetics), and SY Archivist Aaron Mullan

CAPITAL JAZZ FEST FEATURING

Gladys Knight • BabyFace • Gregory Porter • Kem and more! .. JUNE 7-9 For a full lineup, visit capitaljazz.com.

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 23 Pitbull .............................................................................................................. JULY 11 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ........... JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot..... JULY 19 blink-182 & Lil Wayne * w/ Neck Deep ......................................... JULY 21 CHRYSALIS AT MERRIWEATHER PARK

LORD HURON w/ Bully ....................................................................JULY 23 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 CDE PRESENTS : 2019 SUMMER SPIRIT FESTIVAL FEATURING

Anthony Hamilton • Jhené Aiko • Raphael Saadiq • DVSN • PJ Morton and more! .....................................................................AUGUST 3

Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Smashing Pumpkins & Noel Gallagher’s High Flying Birds* w/ AFI ......... AUGUST 17 Beck & Cage the Elephant * w/ Spoon & Sunflower Bean . AUGUST 22 Lauren Daigle w/ AHI ........................................................................ AUGUST 23 Gary Clark Jr. and Nathaniel Rateliff & The Night Sweats .................... AUGUST 25 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com * Presented by Live Nation

This is a seated show. .......................F 16

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Criminal Podcast - Live Show .................................... SEP 11 Elizabeth Gilbert: A Discussion on City of Girls .JUN 6 Tinariwen w/ Lonnie Holley ........ SEP 19 POLITICS AND PROSE PRESENTS

AN EVENING WITH

STORY DISTRICT’S

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

The Teskey Brothers ........ Sa JUN 8 9:30 CLUB & ALL GOOD PRESENT Moon Hooch Remo Drive w/ Nathan-Paul & The Admirables .......F 14 w/ Slow Pulp & Slow Bullet ................Su 9 Kikagaku Moyo w/ Sarah Louise ...Tu 18 9:30 CLUB & ALL GOOD PRESENT

9:30 CLUB & TRILLECTRO PRESENT

Sinkane Ghostemane w/ Bassel & The Supernaturals ..........W 12 w/ Ho9909 & Horus the Astroneer......W 19

Breaking Bread: True Stories by

Celebrity Chefs & Industry Insiders . JUL 27 Corinne Bailey Rae w/ Ruth B. JUL 30

The Waterboys ..................... SEP 22 Adam Ant: Friend or Foe .... SEP 23 Cat Power w/ Arsun ................... SEP 25 ALL GOOD PRESENTS

Nahko and Medicine Dawes ............................................AUG 6 for The People w/ Ayla Nereo . SEP 29 Joey Coco Diaz ..........................AUG 9 Angel Olsen w/ Vagabon ............NOV 1 AN EVENING WITH

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INSIDE

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COVER STORY: THE PRIDE ISSUE

10 Pop-up dance parties, a gay minister, and other stories from D.C.’s queer communities

DISTRICT LINE 4 Loose Lips: Hitting the pavement with the organizers leading efforts to recall Jack Evans 6 Housing Complex: Does this year’s Point In Time count accurately represent the number of homeless people in D.C.?

SPORTS 8

First Call: A local broadcaster gets his chance to be the Nationals’ play-by-play announcer.

ARTS 16 Turn Down or What?: Neighbors challenge local music venues over noise issues. A specific type of legislation could help both parties.

18 Discography: West on Jordon Dixon’s On! 19 Short Subjects: Zilberman on Dark Phoenix

CITY LIST 21 26 26 27

Music Books Theater Film

DIVERSIONS 29 Savage Love 30 Classifieds 31 Crossword

“As I tell people, I’m either doing this or I’m a manager at a fast food restaurant.

That’s pretty much how I depicted how things were going to go.”

—P. 8

DARROW MONTGOMERY 1400 BLOCK OF IRVING STREET NW, MAY 25

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DISTRICTLINE

Road to Petition

collection. … Getting over 5 percent starts to become uncharted territory for us.”

As he gets out of the car, Eidinger realizes he covered the back of every clipboard except the one with the “Libertarian” bumper sticker.

The campaign to recall Councilmember Jack Evans hits the Dupont Circle Farmers Market.

By Mitch Ryals If AdAm EIdIngEr’s bitcoins weren’t tied up in a lawsuit in Japan, he says, he thought about funding this whole recall thing himself. But alas, they are. And the maximum allowed contribution to a recall campaign is $500 anyway. So he’ll have to raise money the old fashioned way.

Eidinger is currently sitting in his house on Massachusetts Avenue NW taping materials to the back of some clipboards. It’s Sunday just before 9 a.m., and he and a couple volunteers are preparing to gather signatures for the petition to recall Ward 2 Councilmember Jack Evans, who is caught in an ethics scandal and the target of an active federal investigation.

They’re looking to take advantage of the crowd that will flock to the nearby Dupont Circle Farmers Market. But first Eidinger has to doctor the clipboard one of the volunteers was using with a “Libertarian” bumper sticker on the back.

“You can’t flash that Libertarian thing,” Eidinger tells volunteer Adrian Salsgiver. “It immediately turned me off. Trust me, 90 percent of the people here are not Libertarians.”

Eidinger’s roommate, Mary Gellen, sits nearby as he tapes and rambles about the past signature-gathering campaigns he’s orchestrated.

There was Initiative 71, which legalized possession of small amounts of marijuana in the District, and Initiative 77, which eliminated the tipped minimum wage for servers and bartenders. When the D.C. Council voted to overturn Initiative 77, Eidinger helped lead the campaign to force a referendum vote on the Council’s repeal. They gathered 35,000 signatures in about a week, but a judge stopped the referendum due to a procedural issue.

Eidinger also famously moved to Maryland in 2018 to campaign against U.S. Rep. Andy Harris, the obstructionist known for blocking D.C. from fully legalizing recreational marijuana. (The move voided Eidinger’s homestead deduction on an Adams Morgan property he owns but does not live in. The recall petition, which he filed as a Ward 2 resident, brought the tax issue to light, and he ended up 4 june 7, 2019 washingtoncitypaper.com

Mitch Ryals

LOOSE LIPS

with a fine and a $1,000 back-tax bill.)

As he talks, from out of nowhere Eidinger whips out a joint and lights it up without offering any to LL. “I know you’re working,” he says.

Between puffs, Eidinger talks about the recall campaign’s early progress and his preliminary strategy. He got a cold reception recently when he knocked on a few of his neighbors’ doors.

“One of the guys was like, ‘That’s my good friend,’” Gellen says.

“Jack is very well connected,” Eidinger adds.

He has until mid-November to hand in 5,200 signatures—10 percent of the 52,000 registered voters in Ward 2, as opposed to 5 percent of citywide voters for ballot initiatives.

His goal is to turn in 10,000 signatures by August and push the D.C. Board of Elections to

hold a recall election in 2019. The board has 114 days to hold a recall if the campaign turns in enough certified signatures.

Eidinger is working with an all volunteer staff for the first month and says that as of this week the team of about 17 has collected about 350 signatures.

By next month, he hopes to hire signature gatherers to work full time and aims to send out direct mailers and plaster the ward with posters. A total of $30,000 ought to do it, he says.

Eidinger and Gellen hop into his black Kia with temporary Maryland plates (he just bought the car, and the D.C. plates are on the way, Eidinger says), and zip over to the farmers market.

“We’re making progress, but talk to me when we have 5 percent of the ward, and gauge my enthusiasm then,” he says. “We’re not used to that kind of saturation for signature

PEoPlE wEArIng strAPPy sandals and carrying yoga mats and New Yorker tote bags stroll past Eidinger as he waves two clipboards in the air.

“Help recall Jack Evans!” he yells. “Remove a corrupt politician from office!”

Most people avoid eye contact with the 45-year-old wearing colorful glasses and yellow Adidas shoes.

Others wander up and ask for more information: Who is Jack Evans? Why do you want him gone?

Eidinger launches into his spiel about the business proposals that Evans sent from his Council office to firms that lobby the District government. And he tells them about the 200,000 shares of stock in a digital sign company Evans received before promoting legislation that would have benefited the company.

Evans has said he returned the shares.

The Council reprimanded Evans for “knowingly [using] the prestige of his office and public position seeking private gain,” and stripped some responsibilities from his Committee on Finance and Revenue.

People’s reasons for signing the petition vary, from a desire to shake up the status quo to disgust with Evans’ behavior.

“The ethics scandal where he was trying to use some of his position and his influence on the Council to gain business on his own is just everything that reeks of pay-to-play,” says Kevin Ryan, a 39-year-old walking with his partner and three kids in tow. “And that’s a line we can’t cross for an elected official.”

Judy Brody, a 79-year-old who signed the petition, believes Evans has done a lot of good for the ward but is disappointed in the recent revelations.

“I don’t like what Jack Evans did, but it’s a lot more nuanced and subtle, and our take on things is like good or bad, and if it’s bad then it’s all bad, but it isn’t,” she says. “I have an issue with his apparent behavior about selling access.”

A few people walk straight up to Eidinger, clearly aware of the recall effort, eager to sign.

“I’ve been looking for you,” one says.

“I know [Evans] personally. He’s a jackass,” says another enthusiastic Evans-hater and petition-signer.

But of all the people who stop to talk to Eidinger, only one refuses to sign the petition out of allegiance to Evans. The woman from Foggy Bottom doesn’t want to give LL her name, but says she’s known Evans for more than 20 years

DISTRICT LINE and has hosted a reception for him in her home.

She says Evans’ use of his Council office to send business proposals to legal and lobbying firms amounts to a “bad ethical lapse,” yet the positive things he’s done for the city and her long term relationship with him stop her from signing the petition.

Still, she would be disappointed if Evans ran for re-election. (Evans has previously told LL that he intends to run.)

“I understand he has two challengers,” she says.

“It’s three now,” LL corrects her.

“Well that should be a big signal to him because his goal was always to head off having challengers,” the woman says. “That was his strategy.”

By noon, Eidinger has filled three petition sheets—a total of 60 signatures. The other two volunteers got about 25 more between the two of them.

Eidinger considers it a successful haul, and as the three of them make their way back to his house, he continues to stop people on the sidewalk.

“Are you a Ward 2 voter?” he asks.

Back in EidingEr’s Kalorama house, he, Gellen, and Salsgiver kick back in the gong room, named for the giant gong he bought for sound healing and meditation, and enjoy another joint. Eidinger opens an envelope with a $200 donation to the recall campaign.

Had the Council taken stronger action against Evans, like removing him as chair of the Committee on Finance and Revenue, Eidinger says he may not have pursued a recall.

“They’re not holding him accountable.

The mayor is painting the streets with him,” he says, referring to a recent video of Evans and Mayor Muriel Bowser trying to paint a new bus lane.

Eidinger knows the battle he’s up against.

No councilmember has ever been recalled in the Home Rule era, and it’s possible that Evans will appeal the Board of Elections’ approval of the recall petition. His attorney, Donald Dinan, did not return a call seeking comment.

“The first signatures are going to be the easiest ones to get,” Eidinger says. “It’s the last 2 or 3 percent that are going to be hard. We’ll be hunting for people.”

He says local data analyst and DC for Democracy political director Keith Ivey provided a list of Ward 2 voters who signed petitions for the Initiative 77 referendum, and the campaign has developed what he calls “walk sheets,” which show where all the registered voters in Ward 2 live.

“I’m imploring D.C. residents from across all eight wards to donate anything,” Eidinger says. “$10, $40, $500 is the max. If I have the money, I’m guaranteeing this on the ballot.”

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washingtoncitypaper.com june 7, 2019 5

DISTRICTLINE Lost Count

Mayor Muriel Bowser’s administration has touted the shrinking number of homeless families in D.C. But by some metrics the number of people facing housing instability continues to grow.

By Morgan Baskin When the District’s human services department published the results of its annual Point In Time count last month—the survey of both sheltered and unsheltered homeless people living in D.C.—Mayor Muriel Bowser noted that the data indicated “tremendous progress” in the effort to combat homelessness across D.C. “We are so proud of the progress we are making and genuinely grateful for the support of the community, our stakeholders and Mayor Bowser,” Laura Zeilinger, director of the Department of Human Services, said in a statement at the time the results were published in May. Data obtained through the count is critical, used by D.C. agencies and lawmakers to recalibrate homeless services programs, allocate funding, and track the city’s progress in meeting its anti-homelessness goals. (Bowser once promised to end chronic homelessness in the District by the close of 2017.)

The count, which took place on Jan. 23 this year and relied on some 300 volunteers around the District, reported that there were 6,521 homeless people in D.C., a figure that represents a 5.5 percent decrease since the 2018 PIT count, and is about 1,000 fewer people than were counted in 2017. Of the homeless counted, 608 people were unsheltered, and 1,234 were living in transitional housing programs.

A summary and analysis of the 2019 PIT results, compiled by The Community Partnership for the Prevention of Homelessness—the organization that D.C. pays tens of millions of dollars annually to manage many of its homeless shelters and services—says that the “primary driver” of the city’s decrease in family homelessness has been “a significant reduction in the number of families experiencing homelessness.”

But there is good reason to believe that the PIT count underrepresents the scope of homelessness in D.C. One important sector of the homeless population that PIT does not track, for example, is people who are “doubled up,” a category the Department of Housing and Urban Development defines as people staying temporarily with friends and family or living in institutional settings like hospitals and jails.

6 june 7, 2019 washingtoncitypaper.com

Darrow Montgomery

HOUSING COMPLEX

ginia Williams Family Resource Center between November 2018 and March 2019, also showed an increase in demand. Over 1,600 households went to Virginia Williams for assistance during the most recent hypothermia season, a figure that represents a 3 percent increase since the winter of 2018 in the number of households who sought help. There was also a 4 percent increase overall in the total number of visits made to Virginia Williams.

Perhaps most distressing is the client demographic seeking assistance. Close to 70 percent of the households who went to Virginia Williams for housing assistance “reported that they were living with family or friends at the time of their visit,” TCP wrote.

While D.C. is one of the few places in the country where homeless people have the legal right to shelter on freezing nights, the homeless must provide detailed documentation proving that they were D.C. residents before they became homeless, along with proof that they have no safe housing options, in order to receive shelter. Those staying with family or friends aren’t considered to have critical housing needs, and are frequently turned away from Virginia Williams, advocates say.

(It is also worth noting that the same documents show that a whopping 42 percent of families who exited D.C.’s homeless services system but then returned again for assistance were those who have used rapid rehousing vouchers. Rapid rehousing is a program that temporarily subsidizes homes for chronically homeless families.)

And when it comes to single adults, the number of homeless people continues to rise. The PIT count reflected an increase in the number of single adults by about 3 percent over 2018 levels.

In March, Kristy Greenwalt, director of the Interagency Council on Homelessness, testified before the D.C. Council that the District currently has housing resources for about 1 out of every 10 homeless single adults, acknowledging that the number of individuals seeking housing services has steadily increased over the last year.

CP

The National Center for Homeless Education shows that, during the 2016-17 school year (the most recent data available from the organization), there were 6,415 homeless children enrolled in the city’s public schools—a number that nearly matches what PIT considers the total number of homeless people in D.C. Nearly 57 percent of these kids were “doubled up.”

The Community Partnership acknowledged in its 2019 PIT analysis the difficulties of counting homeless youth, writing that the population “often remained ‘hidden’ in counts like PIT as they were staying in other, sometimes dangerous situations rather than entering shelter.”

This year’s PIT count reflects only 1,593 homeless children in D.C., though there were still about 6,000 homeless children in public

schools at the end of the 2018 school year.

TCP’s own data around those who seek homeless services, and how frequently, show a growing demand for them.

“While the system’s housing resources are successful in helping participants retain their housing long term, inflow into the system has kept counts higher than expected,” a summary of the 2019 PIT results produced by TCP says.

City Paper obtained a copy of the document, which also says that the total number of individuals who seek homeless services from the District for the first time has actually increased by 24 percent since 2015.

A separate document prepared by TCP, a “hypothermia debrief ” that breaks down how many people sought services at the Vir-

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washingtoncitypaper.com june 7, 2019 7

Kelyn Soong

SPORTS First Call

Local sports broadcaster Pete Medhurst experienced the thrill of a lifetime after filling in for the Nationals’ radio play-by-play job.

Darrow Montgomery

prised by this. At 5, Medhurst sat in front of his TV and a tape recorder and called his first game in his family’s living room during the Thanksgiving Day NFL broadcast.

“I was the straight kid growing up,” Medhurst says. “Everybody else was out doing things on weekends, and outside of once in a while of going to the arcade with a friend of mine, [it was] just put me in front of a TV, let me watch a sporting event, let me go to a sporting event. …

As I tell people, I’m either doing this or I’m a manager at a fast food restaurant. That’s pretty much how I depicted how things were going to go.”

That’s the impression that Dave Johnson got when he first met Medhurst. Johnson, the sports director at WTOP and play-by-play voice for the Washington Wizards and D.C. United, gave Medhurst one of his first professional radio jobs in the late ’80s at WNAV in Annapolis.

Johnson remembers that Medhurst displayed “genuine interest in getting involved,” did volunteer work for the station, and showed initiative in ways not every young broadcaster did. Growing up in Anne Arundel County, Medhurst was familiar with the station’s priorities and offered to grab interviews at high school football practices or games.

“I’m very proud of him because I remember when his journey started and remember there was nothing glamorous about working in a backroom studio at a small station,” Johnson says. “There’s a great sense of pride. I can appreciate the journey he’s been on because there are plenty of highs and plenty of lows. I know he’s experienced both, but the lows didn’t get to him, and the highs kept him going.”

Medhurst doesn’t reflect much on the low points. While he’s waited decades to get a shot at calling a professional baseball game, he doesn’t allow himself to get frustrated. In one way or another, Medhurst has gotten to do what he loves.

By Kelyn Soong Slipping on a headset microphone for the first time in the mid-1980s transported Pete Medhurst into a different world.

In reality, he was a student at Southern High School, working a shift at a fast food restaurant in Edgewater, Maryland. But with the headset on, his imagination took him elsewhere. He pretended to be in the broadcast booth at a major sporting event, where he was calling the game.

“Welcome to McDonald’s, can I take your order, please,” Medhurst would intone in his best radio voice. His friends always knew when he was there. They nicknamed him Howard Cossell, after the legendary sports broadcaster.

More than three decades later, the 49-yearold Churchton, Maryland resident is living out his childhood dream. This past week, Medhurst got called up to the big leagues as Dave Jageler’s fill in for the Washington Nationals’ radio play-by-play role on 106.7 The Fan. He sat alongside Charlie Slowes for the team’s

BASEBALL

8 june 7, 2019 washingtoncitypaper.com

road series against the Atlanta Braves and Cincinnati Reds. (Jageler, meanwhile, worked in the MASN TV booth.)

To reach the major leagues, Medhurst has grinded away by taking all the gigs he can, slowly climbing the broadcast ladder. He’s been the full-time update anchor at 106.7 The Fan, where he also hosts Nationals-related programs, since 2012. When he took that job, he continued on as the play-by-play announcer for many of the Naval Academy’s 33 varsity sports teams, which he’s been doing since 1997.

He’s also the track announcer at Rosecroft Raceway. It’s easier to list the sports he hasn’t called than the ones he has. On weekends, he occasionally works as a high school softball umpire and basketball referee. Medhurst’s Fitbit reveals that he sleeps about three-anda-half to five hours a night.

“I don’t understand when he sleeps or sees his family, or like does errands, or anything like that,” says Chris Kinard, the program director at 106.7. “Because he works all the time, and it’s all sports related ‘cause that’s what his passion is and that’s what he loves.”

None of his high school friends are sur-

D.C. United fans can’t escape constant errors from its streaming partner, FloSports. washingtoncitypaper.com/sports

“In terms of play-by-play, you’re at the mercy of whether the right person likes you and hears you, that’s just luck. That comes down to random luck,” he says. “I’ve never had an agent to promote me out there to people, and plus, I work where I live. I work where I grew up. Not many people can say that.”

There are thousands, if not millions, of broadcasters who would want to be in his shoes, Medhurst believes, and he admits that he is in part driven by a fear of, “OK, if this doesn’t work, what am I going to do?”

“So you’re going to continue to do what you do best no matter what,” says Medhurst.

“I think all of us in this industry can relate at some point. We’ve done gigs that we never got paid for in some cases, some gigs that don’t get paid very much, open microphone—an opportunity to prove yourself, to get better. I encourage a lot of younger broadcasters, when someone offers you an opportunity, don’t turn it down, even if it’s a sport you haven’t done.”

Medhurst also takes the view that those who are currently doing play-by-play with professional teams are the best in the business. “You appreciate their greatness,” he says. “If you look at it properly, you save yourself anguish and heartbreak.”

Less than 12 hours after returning from Cincinnati last Sunday, June 2, Medhurst arrived at the radio station near Nationals Park around 4:50 in the morning to do his 5:07 a.m. sports update. Kinard has noticed a subtle spring in Medhurst’s step.

“Pete is a really understated guy,” he says.

“He’s not the type of guy to walk around and pump his chest, and say, ‘Look at me. I got this great opportunity.’ He just goes about his business, which is why I think he’s such a great professional, great broadcaster.”

“His passion is not Pete Medhurst,” Kinard continues. “His passion is sports. That’s what he is drawn to, that’s what he loves … I think Pete is, in some ways, still that kid that is just so happy to be able to watch a game and call a game and live that dream.”

Medhurst describes this past week as “surreal,” having seen up close the preparation that not only MLB players go through, but that of the radio broadcasters. The feedback he’s received from his colleagues and listeners has made him emotional at times, and he admits his eyes welled up when a Nationals staff member handed him the lineup card and game ball from the first game he called in Atlanta.

“Irregardless of how many baseball games I do for them going forward, this week has made me a better broadcaster,” says Medhurst.

He’s set to fill in on the same role when the team visits the Philadelphia Phillies next month.

CP

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In 2019, City Paper’s annual Pride Issue is as necessary as it’s ever been. D.C.’s LGBTQ communities continue to fight for some basic rights—and celebrate their victories, too.

D.C.’s queer collectives are mastering the art of the safe, flexible, mobile party

By Amy Guay On the secOnd Saturday of every month, from 10 p.m. to 3 a.m., the official dress code at Ten Tigers Parlour is all black. Some patrons abide by wearing black bandanas and dark skinny jeans while others rebel by sporting floral button-downs and vivid blouses. Guests accessorized with studs and sleeves of tattoos elbow up to the bar while DJ Cyn City spins Ariana Grande and Drake in an adjacent room of grooving, grinding bodies. Crowned with undercuts, ’fros, and long tresses, heads bop to the beat of Beyoncé while couples steal away to private corners. All together, the bar-turned-nightclub reflects a non-restrictive, come-as-youplease aesthetic with just a hint of witchiness.

This is just a snapshot of a dance party put on by The Coven, a queer, event-oriented collective founded in October 2015. Now approaching its fourth birthday, The Coven can count itself among an ever-evolving list of D.C. groups dedicated to nurturing spaces for queer

women and other marginalized genders. In a city where development has forced out brickand-mortar queer hotspots, especially those not made for cis, white, gay men, such gatherings act as an alternative for queer individuals in search of nightlife and community.

Like many creations, The Coven, which tends to attract women in their 30s, was born from an acknowledged absence. Kate Ross, one of The Coven’s founders, recalls being newly out in the early 2010s and “desperately” wanting to be a part of the District’s queer community but finding few options that felt right for her.

It’s a narrative common among founders of such collectives who sought to transform their own frustrating experiences within D.C.’s limited queer social landscape into new spaces sensitive to community members’ needs.

When both glittHer, a popular queer women’s pop-up party, and Phase 1, the oldest continually operating lesbian bar in the country, ceased operations in 2016, Kristen Voorhees began brainstorming solutions with other queer

10 june 7, 2019 washingtoncitypaper.com

women on Facebook and over happy hour.

“There clearly was not enough space for queer women in this city,” says Voorhees.

“Places to come together and connect were disappearing. We wanted to ask questions like, ‘What does the community want? What exists now? What could be a positive value add, particularly for nightlife for queer women?’”

In collaboration with her colleague Danylle Kightlinger, Voorhees founded The QREW, which threw its first event on July 19, 2016. As the collective moved to a quarterly schedule of parties, lectures, book talks, and networking opportunities, Voorhees learned the care required of a queer pop-up organizer navigating heteronormative venues.

“We have frank conversations with the people we’re dealing with. We need to be assured that these venues are prepared to host a diverse community of queer people,” says Voorhees, emphasizing the need for safety, as well as financial, geographic, and physical accessibility.

“I always like to say that we strive to become a safe space. What that means to me is not that nothing bad will ever happen, especially because it’s not our own space, but that any homophobia or transphobia or discrimination or bias that occurs will be immediately adjudicated.”

For queer collectives oriented around people of color, such precautions are all the more urgent.

“Being black and queer in America, and a woman at that, I try to go to spaces that are at least relatively safe,” says Ashlee Keown, the founder of LezLink Social Club. In “constant” commu-

nication with reliable venues like The Brixton, Hawthorne, and Colony Club, Keown organizes speed dating events, scavenger hunts, and monthly happy hours. The happy hours are usually public, meaning individuals unaffiliated with LezLink Social Club may be tempted to ask intrusive questions or get too familiar with guests.

In these cases, Keown says, “it’s best to come and queer the space in droves.”

When a group enjoys an established relationship with a venue, as The Coven does with Ten Tigers Parlour, the lines between a strictly straight and queer space begin to blur. Rik E is the co-producer of Pretty Boi Drag, a drag king troupe that centers queer and trans people of color (QTPOC) and mounts shows at Dupont Circle’s Bier Baron Tavern. Though he is alert to potential instances of fatphobia, transphobia, and anti-blackness, Rik E ultimately sees the advantage of showing out in a predominantly straight venue.

“The Bier Baron Tavern, they’ve been there forever. There’s a longevity in this particular space,” Rik E says. “It also affords us the opportunity to dip our toe into introducing ourselves to audiences that might not necessarily visit a queer space. People from out of town who have never seen a drag king pop their head in and buy a T-shirt or a ticket to a show.”

“If the Bier Baron should close, we can take our show anywhere,” he continues. “William and Mary asked us to put on a show for them for their Pride. We aren’t beholden to a particular establishment.”

Such agility has its benefits. Though she aims

Stephanie Rudig

to open her own permanent space (“kind of like The Planet,” the gathering place on the TV series The L Word) in the next five to seven years, Swarna Chowdhuri appreciates the creative liberties that working within multiple spaces provides. Through Swazz Events, a QTPOC, body positive event series known for its elaborate costume parties, Chowdhuri hosts events in different parts of the city, broadening her reach and deepening her ties to the District.

“We usually have these videos and trailers where we film local performers,” says Chowdhuri. “We have them projected on the walls and in Harry Potter-esque picture frames.

When people come to the party, people are like, ‘Hey, I recognize that person.’”

Like any business, queer spaces––both temporary and permanent––must reckon with the tensions at the intersection of serving a community and making ends meet. Confronted with a tide of rapid gentrification and the accessibility imbalance that accompanies it, DJ Alex DB of BODYWORK resists the notion that queer pop-ups are to blame for queer venue closures. “We have so many talented, homegrown D.C. artists who struggle to find spaces to work at all because they may not fit the bill of what an often culturally disconnected stakeholder views as ‘marketable,’” writes Alex in an email. “And speaking from a purely objective standpoint, it’s bad business, let alone the fact it disenfranchises people who are carrying on the cultural traditions of what has put D.C. on the map. Frankly, it’s pretty obvious where this approach has led to some of these venues closing.”

Clair Martinez, a trans drag performer who hosts trans-focused shows and parties called Millennial Pink, blames a hesitancy to embrace a radical version of queerness. As a promoter, partygoer, and performer (they go by “div0id” on stage), Martinez has navigated the often binary mainstream queer social scene and endured ostracization and violence.

“If you’re not thinking about how accessible your party is, how comfortable it is, people are just not going to show up,” Martinez says.

“There’s a difference [between] just including

somebody and making it feel safe for them.

And then also celebrating them.”

With so much at stake, both Martinez and Alex insist upon innovation and collaboration.

“We know that this is possible, to create a large and robust scene. The more people we have, the more perspectives,” Martinez says.

“It’s so important to be on the lookout for new partnerships with local business owners and venues, and if everyone is booking their party at Venue A and B, these partnerships have the potential to ... be chaotic and tenuous with that competi-

tive element,” Alex writes. “Nightlife does not have to be competitive; there is enough weekend for everyone, and again, it’s a scarcity mindset in a place with an abundance of potential.”

Mentorship can be a crucial step to achieving that abundance. Before she began drawing up the business plan for Swazz, Chowdhuri asked to get coffee or a drink with queer event planners around the city to get a sense of the scene.

Intimately involved in Black Pride and the Makers Lab, a since-shuttered D.C. queer collective, Lee Levingston Perine has been host-

ing formal and informal events for QTPOC for more than a decade. Though Perine has not personally hosted events since May 2018, they now act as an adviser to the upcoming Black Pride dance party Pink Lotion, using their experience to help organizers plan smartly.

“There is a creativity and flexibility when you’re creating a space for queer people,” says Perine. “People are so anxious for that space–– they crave that space––so they’ll make it work.”

While pop-ups compel a spry improviser’s spirit, there remains a collective desire for dedicated permanent spaces in the District.

“I don’t think a pop-up event will ever be a replacement for the dedicated brick-andmortar spaces that are queer focused and women focused,” says Christina Cauterucci of Where the Girls Go (and a former City Paper arts editor). “You can’t get that homey feeling anywhere else.”

According to Voorhees, the loss of those spaces forced change within queer communities. “I see QREW as an adaptation and transformation and evolution of the queer community as a direct result of the destruction and gentrification of those spaces,” she says.

“When The League and XX+ [two newer bars catering to lesbian and queer women] popped up, I wondered, ‘Is this the end of pop-up parties or the end of QREW?’” Then Voorhees helped organize The QREW’s first quarterly party at A League of Her Own, and she witnessed the popup and the permanent converge.

“It’s a really cool thing,” she says. “This is a queer space but these parties are a different thing. It was a good example of us working together. We’re all trying to do the same thing.”

“What the pop-up allows is for a lot of ideas,” says Keown. “It allows for people who don’t have the capital and who have interest in throwing and curating events to do so. It allows for different viewpoints and ideas to enter the conversation about what our community should look like.”

“It also proves that we do go out,” she adds.

“We have the people,” says Alex. “We just need the space.”

D.C. and Lawyers Serving Warriors help LGBTQ service members upgrade their dishonorable discharges.

By Victoria Chamberlin “It Is none of anyone’s business and should never be on a discharge certificate,” says Rochelle Bobroff, director of Lawyers Serving Warriors, a pro bono legal services program for veterans. “If we can remove any mention of sexuality, that is a victory.”

Bobroff is talking about the homosexual characterization that appears on some gay veterans’ discharge papers. Between 1993 and 2011, about 13,000 troops were discharged

from the military for violating “don’t ask, don’t tell.” Tens of thousands more have been expelled because of their sexual orientation since World War II. It’s hard to pinpoint the exact size of D.C.’s gay veteran population. The Veterans Benefits Administration defines “veteran” as a person who served on active military, naval, or air service duty who was discharged or released under honorable conditions, and estimates that 2 percent of the overall veteran community in the U.S. currently identifies as LGBTQ. (As of 2016

some National Guard members have veteran status, but no additional retirement benefits.)

With a population of about 30,000 veterans in D.C., that puts around 600 LGBTQ veterans within city limits. But to the federal government, if a service member was dishonorably discharged, they aren’t counted.

The Mayor’s Office of Veterans Affairs, established in 2001 to help D.C.’s growing veteran population find gainful employment and process medical claims, defines a veteran more broadly, incorporating more people. “Any per-

son that has served in the armed forces” is eligible for MOVA programs and policies, according to director Elliott Tommingo. The office encourages other government offices, local and federal, to remove the question, “Are you a veteran?” and replace it with, “Have you ever served in the United States Armed Forces?”

Sheila Alexander-Reid, director of LGBTQ Affairs for D.C., says it’s hard to quantify an exact number of LGBTQ veterans, older ones in particular, because they learned to distrust the government.

washingtoncitypaper.com june 7, 2019 11

Military discharges are broken down into characterizations ranging from honorable to dishonorable, with several other types in between. Anything below a fully honorable discharge can be detrimental to service members.

When military service concludes, everyone receives the requisite paperwork, called the DD-214. The certificate, which is used to verify military service and awards, contains few items of personal information, but for those who were expelled for being gay, the reason for separation reads “homosexual.”

LSW is part of the National Veterans Legal Services Program, which has an overall mission of helping veterans and active duty personnel get “the benefits to which they are entitled because of disabilities resulting from their military service to our country.”

NVLS is actively working to help service members upgrade their discharges and remove sexual orientation from the narrative, replacing it with “secretarial authority.” The term is used to differentiate separation from retirement or the end of a service contract. But

Stephanie Rudig

“Once a veteran is dishonorably discharged, they really aren’t keeping up to date with policy changes,” says Bobroff.

That makes it challenging to get the word out about discharge clinics in D.C. It’s no simple matter to overturn a dishonorable discharge—it takes a lot of time and legal help—but MOVA works with Lawyers Serving Warriors to ease the burden of obtaining legal assistance by providing discharge upgrade clinics to District veterans. Individuals can meet with pro bono attorneys provided by LSW to determine the viability of their cases.

About 250 veterans in D.C. have applied to upgrade their discharges, according to MOVA. 102 of those cases came through the LSW clinics themselves. About 45 percent of all cases have made it to a military review board. Though this service is available to all veterans seeking discharge upgrades, LGBTQ service members were disproportionately affected by wrongful discharges under the prohibitive policies.

even if a discharge is upgraded, the reason for separation can remain.

According to the Department of Veterans Affairs, all branches of the military consider service members to have a strong case for a discharge upgrade if they can show that the discharge was connected to specific categories. These include mental health conditions like post-traumatic stress disorder, traumatic brain injury, military sexual trauma, and sexual orientation.

But the federal government doesn’t overturn these discharge characterizations auto-

matically. The service member must gather evidence and military records to submit to a military review board, and a legal brief must be filed in many cases. It can be an extremely difficult process to navigate, especially for older and low income veterans. It can take six months to two years to receive a decision.

Prior to “don’t ask, don’t tell,” if a service member was even seen romantically with a member of the same sex, they were at risk for expulsion.

Bobroff describes a recent case where a pro bono partner at LSW filed a brief seek-

Sex workers and their allies have been working on a bill to decriminalize sex work in D.C. for more than two years. They want the community to talk about this.

By Alexa Mills taMika spellMan is happy to go out on the strip in the morning and pick up used condoms with her own two hands if that’s what it takes.

She has been a commercial sex worker, by choice, for 36 years. She wants to see sex work

decriminalized in D.C., and she’s spent nearly two years advocating for a bill that would do just that.

She’s not alone. On Tuesday a coalition of sex workers and advocates unveiled their bill—co-introduced by At-Large Councilmembers Anita Bonds, David Grosso, and Robert White, and Ward 1 Councilmember Brianne

12 june 7, 2019 washingtoncitypaper.com

Nadeau—which would decriminalize both the sale and purchase of sex in D.C. Those advocating for this bill, the Community Safety and Health Amendment Act of 2019, are part of a grassroots movement largely led by current and former sex workers. In collaboration with advocates, Grosso and White co-introduced a similar bill in 2017, but

ing a discharge upgrade at the Army Board for Correction of Military Records on behalf of a woman who served in the Army as a Multichannel Communications Equipment Operator from 1981 to 1985, stationed in Germany, Texas, and Georgia.

She attained the rank of sergeant and was awarded multiple Army Achievement Medals, a Good Conduct Medal, and the Sharpshooter marksmanship badge. After a report that she kissed a female soldier, she was demoted and discharged “because of homosexuality” under other than honorable conditions.

The board recognized that the laws regarding discharge for homosexuality have changed and concluded that current standards should be “applied to previously-separated Soldiers as a matter of equity.” The veteran received a discharge upgrade to an honorable discharge, a change in the reason for separation to Secretarial Authority, and a reinstatement to her rank as sergeant.

“Not only was she given an unfavorable discharge, but she was also reduced in rank and had no access to benefits for most of her life,” says Bobroff. “Finally, in 2017, she had her discharge upgraded to honorable and a reinstatement of rank on her DD-214.”

Service members who leave with a discharge characterization that is less than honorable face serious hurdles. Employers are well aware of the DD-214 and will ask to see a discharge certificate. There is a common understanding of what a dishonorable discharge means. Many employment services and shelters are only available to veterans with an honorable discharge, including programs funded by the U.S. Department of Labor.

“It makes everything harder, and it is demeaning to one’s self-esteem. It contributes to the downward spiral many veterans face,” says Bobroff. “Including homelessness, and ultimately suicide.”

D.C.’s next discharge upgrade clinic is scheduled for June 12 at the Law Office of Morgan Lewis and Bockius, by appointment or walk-in.

it didn’t even get a hearing. So the organizers regrouped, built a website, held events celebrating and talking about their position, went door knocking, wrote op-eds, and met with councilmembers.

This time around, the organizers would like a hearing.

“People need to come around to this at their own speed,” says Grosso. “So I don’t mind taking the time to get it right.”

The world of people who sell sex for money in D.C. is not a monolith with one blanket policy need. Among their ranks are those who

“Rather than making these people out to be horrible criminals that we should prosecute and throw in jail, why don’t we do a better job providing them the help they need up front so that they can turn to the government for help when they need something if they don’t want to engage in sex for money?” asks Grosso.

And if sex workers do want to exchange sex for money, the advocates behind this bill firmly believe they should be able to participate in the trade with no interference from

difficult to prosecute trafficking.

She says that forced prostitution looks a lot like voluntary sex work on the surface. Take away the laws against buying, and she has one less tool to prove that a forced encounter wasn’t consensual.

“We do a lot of criminalization of sex workers, and people who are just trying to make a living, and not a lot of criminalization of the people who are trying to take advantage of them,” says Erin Andrews, executive director

In a statement, the D.C. Metropolitan Police Department says that its “primary concerns are for the health and safety of the women involved in sex work, the public hygiene issues associated with activities (disposed condoms, public urination/defecation), and the human trafficking of sex workers. Because of increased community complaints about prostitution occurring throughout the District, MPD’s Narcotics and Special Investigations Division’s enforcement efforts have centered on ‘Johns’ and not Tamika Spellman

Darrow Montgomery

sell sex by choice; those who sell sex to survive, feed their children, and stave off homelessness; and those who sell sex against their will because they’ve been trafficked.

Under the current law in D.C., police can arrest and charge anyone who sells sex. Often, the arrest goes like this: A plain-clothes officer pulls up to a strip and asks a suspected sex worker if she’d like a ride or wants to get in the car. When the sale advances, the officer makes an arrest. “And that’s how it always happens,” says Sp ellman . “And then for you to cuff me, take me to jail.

That’s unconscionable. You criminalized me purposely.

You picked me out of the crowd.”

Or maybe an officer knocks on a hotel room door and does approximately the same thing, pretending they’re there to buy sex.

Under this new bill, police would no longer have cause or power to employ this tactic for catching sellers of sex mid-sale—a change that many sex workers and their advocates enthusiastically endorse.

From their perspective, criminalization is the core problem, an unconscionable layer of abuse the government piles on the lives of some of the city’s most vulnerable residents.

“Criminalization doesn’t give people an opportunity to leave the trade if they want to,” says Alicia Sanchez Gill, interim executive director for Collective Action for Safe Spaces, an organization that has been at the center of the fight to decriminalize sex work in D.C. “A lot of our young transwomen who are leaving home at an early age and being rejected by their communities and their families are already traumatized,” says Dee Curry, an elder in D.C.’s trans community. “But to have that stigma of becoming a part of the system and being locked up and going in and out of the court system—that’s even more traumatizing.”

“I was always comfortable doing sex work,” says Spellman. “So I’m one of the ones that just wants the freedom because I deserve it. But then to keep pushing people that are out here struggling for survival into this box of criminality for surviving, and not having any support systems around it?”

law enforcement.

“At some point we need to look at the fact that this is no different from women’s health issues, and trying to control what women do,” says Spellman. “It isn’t their body to tell me what I can and cannot do with, like contraceptive rights and abortion are not anyone’s choice but a woman’s.”

Achieving that level of freedom, however, requires the decriminalization of both the selling and buying of sex.

That’s where the supporters of this bill often diverge from advocates for trafficking survivors.

City Paper spoke with advocates at three local organizations that support victims of sex trafficking, and all expressed concerns with decriminalizing the purchase of sex. One attorney who represents those who have been trafficked says that decriminalizing the purchase of sex will result in making it extremely

of FAIR Girls, an organization that serves survivors of sex trafficking.

Two of the advocates City Paper spoke with have noted a recent increase in juvenile sex workers, especially those who are in foster care. Juveniles are trafficking victims by default.

But decriminalizing only half the transaction doesn’t work either, as even this attorney acknowledges. When the 2018 federal SETSA (Stop Enabling Sex Traffickers Act) and FOSTA (Allow States and Victims to Fight Online Sex Trafficking Act) shut down Backpage and part of Craigslist, platforms for buying and selling sex, it pushed sex workers who had been accustomed to negotiating rates and arranging to meet at indoor locations back on to the physical streets, where they make much less money and face increased danger. As long as buying sex is still illegal, police can continue to have reason to interfere.

sex workers. This has resulted in approximately a 5 to 1 ratio of ‘Johns’ to sex workers arrested. Sex workers may be arrested in some cases, as this is still an illegal activity.”

While the coalition behind the bill and some anti-trafficking groups diverge on what should happen to buyers, the list of things they agree on is long: that police should not arrest people who are selling sex; that nearly all sex workers are in desperate need of safe, secure housing; that black, brown, trans, and queer women are most likely to suffer; and most important, that it’s time to have a community-wide conversation about the policing and criminalization of sex work in D.C. because the current system does not work.

Spellman is always ready for the conversation.

“People look at sex workers as these dirty, nasty people doing all ungodly things,” she says. “I don’t think so.”

washingtoncitypaper.com june 7, 2019 13

Raised in the church in the Deep South, the minister has spent his life a few steps ahead of his denomination.

This week, The Baltimore-Washington annual conference of the United Methodist Church voted in favor of ordaining the Reverend Joey Heath-Mason.

This result was surprising to the openly gay and married United Methodist college chaplain at American University.

Just last year, the local subsection of the denomination passed over Heath-Mason for ordination because of his sexuality. While he had graduated from Wesley Theological Seminary in 2012, completed years of ministry service after graduating, and been recommended by a Board of Ordained Ministry, his name— along with that of T.C. Morrow, a married lesbian candidate—was removed from consideration for an approval vote on the grounds that their recommendations were “out of order.”

And then in February, a special session of the UMC’s General Conference voted to retain and enforce denomination-wide restrictions against the officiation of same-sex marriages as well as against “self-avowed, practicing homosexual” clergy, expanding the definition to include those in same-sex marriages.

A crAdle UniTed MeThodisT who grew up in the conservative Deep South, HeathMason is no stranger to the conflict between his denomination and his sexuality. It was in this setting, where he says the relatively progressive UMC could have been interchangeable with the famously conservative Southern Baptist denomination, that he took ownership of both his faith and his sexuality.

He was a college student in southern Georgia in the early aughts when, he says, “I went through about two years of really wrestling with [my sexuality] and had some folks that were helping me to ‘pray it away.’ When I say that, I mean it wasn’t anything traumatic, they were just praying with me and encouraging me to resist my desires.”

But his prayer ultimately led him to conclude that God loved him anyway, and he eventually found his way to a comparatively more affirming home in D.C. by way of the Reconciling Ministries Network, an organization that advocates for queer inclusion in the UMC. After discerning a call to ministry, Heath-Mason attended seminary at Wesley, where he met his close friend and fellow pastor, Dustin Burrow.

Burrow graduated one year after HeathMason, but is already ordained and practicing ministry in New Mexico.

“Baltimore-Washington kind of practices a ‘don’t ask, don’t tell’ policy, and Joey being openly married, he’s been overlooked because of that,” Burrow explains. “I’ve believed

in his call to ministry longer than sometimes my own. It’s hard to see that I’ve gone through the program and become ordained in a relatively easy manner in comparison to Joey.”

The UMC first debated its official stance on homosexuality more than a decade before 36-year-old Heath-Mason was born. In 1972, the General Conference of the UMC resolved to include a provision stating that basic human rights and civil liberties were due to all people “regardless of their sexuality” in their doctrinal Book of Discipline, while stipulating elsewhere in the text that “the practice of homosexuality is incompatible with Christian teaching”; the denomination later specified that “self-avowed, practicing homosexuals” were not to be ordained.

Those words have been a source of turmoil for United Methodists ever since.

“I think students have felt like they can be who they are because Joey has been who he is,” says Capesius, reporting that several new students who have attended services since the General Conference ruling have come out to Capesius and Heath-Mason, saying they feel they have a spiritual home in the campus ministry, if not the larger denomination.

Anna Lackey stopped into the Kay Spiritual Life Center at American and listened to Heath-Mason give a sermon on adoption one Sunday evening in April. The lesbian graduate student and practicing Presbyterian had been on her way to return a library book, but found herself drawn in. Lackey says she “spilled [her] guts” to Heath-Mason during the ministry’s fellowship dinner following the service.

“Maybe this shouldn’t surprise me because

Molly Cooke

By Molly Cooke

The hypocrisy is obvious: A person could be in the closet and having sex outside of marriage, but still be ordained if no one in the church officially knows about it, because they would not be considered “self-avowed” or “practicing.”

“I don’t mean anything against my colleagues,” says Heath-Mason, “but I do know of colleagues who are still in the closet, as far as the clergy, and who are not married who are ordained. In a way, it’s sanctioning what we’re not in favor of. Theoretically, for all of us, if you’re not married, you should not be engaged in a sexual relationship.”

Laurel Capesius, Heath-Mason’s intern at American University and a Wesley graduate as of this May, says that the setbacks have never hampered Heath-Mason’s ministry. Under his care the United Methodist campus ministry at American, which is a UMC-affiliated university, has been welcoming to queer parishioners. They host services for Coming Out Day and Transgender Day of Remembrance, and HeathMason gave a sermon series on “Queering the Christian Faith” in the liturgical season of Lent leading up to Easter.

14 june 7, 2019 washingtoncitypaper.com

I’ve been a Christian as long as I have,” she says, “but I’m still surprised the way that the Spirit can move you sometimes and just have things fall into place like that. I was very grateful that that happened.”

Heath-Mason’s sermon that night was simultaneously an invitation to queer Christians and an indictment of those in the church who might exclude them. He argued that the way the LGBTQ acronym continuously expands to add more letters might serve as a model for how churches should welcome different types of people into their communities.

“We should not be setting up the church to say that, ‘If you’re not in 100 percent alignment with me, then I cannot abide in a church body with you,’” Heath-Mason preached. “Instead, we should be matching God’s invitation, and saying to all, ‘You are welcome, and we are actually not complete unless you are here with us.’”

Following the February General Conference vote, Heath-Mason hosted a late-night healing service on campus. Capesius was personally inspired by the “prophetic witness” he gave, and later referenced that service in her

own clergy candidacy interviews.

Heath-Mason had gotten a tattoo—a cross filled in with the rainbow colors of the gay pride flag—earlier in the day. The scripture reading for the service was Psalm 137, a lamentation over the Israelites’ exile after their captivity in Babylon. That night, he preached about prophetic lamentation that draws attention to injustice. While he claimed that he did not set out to do something prophetic by getting a tattoo, he felt that now that his church had voted, it took on extra meaning.

He preached: “It’s a sign that I am saying to the world and to the church, ‘Not only am I a Christian, but I’m also gay. And I’m going to carry these two identities together forever, and no matter what you say, no matter what you do, no matter what votes you take, you can’t take that away. You can kick me out of the church, you can take my clergy credentials, you can tell me I’m a sinner going to hell, and I will still be a Christian and I will still be gay.’”

The BAlTiMore-wAshingTon conference of the UMC got a second shot at its 2018 vote over Heath-Mason’s ordination when the UMC’s Judicial Council, which is analogous to the U.S. Supreme Court, found that the removal of Heath-Mason’s and Morrow’s names from consideration for voting was an executive overreach. In April, the Judicial Council also upheld most of the articles from February’s denomination-wide decision, called the “Traditional Plan”; among other measures effective January 2020, it is a potentially punishable offense to be a UMC minister in a samesex marriage.

It is within that conflicting framework that the Baltimore-Washington conference of the UMC made its most recent decision on Heath-Mason.

He spent the weeks leading up to this second chance trying to “get out the vote” with younger, more progressive members of the regional conference, which also encompasses parts of West Virginia. He needed a threefourths majority of all active and retired clergy in the conference present.

On Wednesday afternoon, they voted to ordain him. “Initially I was shocked,” says HeathMason. “I wasn’t expecting this to actually work out. I’m excited. ‘Overjoyed’ is the word I’ve been using a lot. I’m excited now that I get to go back into my ministry with the security that I basically now have tenure in the church.”

Last Friday at a ceremony in Baltimore, Heath-Mason was ordained with tears in his eyes. Half an hour after the ceremony’s conclusion, he joined as the annual conference reconvened to continue a plenary session late into the night, this time as an ordained Elder in the church.

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Turn Down or What?

London and San Francisco have legislation that protects live music venues from consequential noise complaints. Could D.C. be next?

By Laura Hayes Before this May Dangerously Delicious Pies was best known for serving sweet and savory treats until 3 a.m. on weekends. But then a very public spat between the decade-old business and a resident living just off H Street NE went viral. It became part of the conversation about the urgent need to preserve D.C.’s musical traditions—the #DontMuteDC movement—which started when a D.C. resident tried to compel Central Communications, better know as the MetroPCS store in Shaw, to stop playing gogo music in April.

What’s transpiring between the neighbor, attorney Ramsey Taylor, and Dangerously Delicious Pies is not outside the norm of typical disputes, but it’s emblematic of tensions that exist throughout the city in pockets where music venues, bars, and clubs are within shouting distance of housing and hotels. Advisory Neighborhood Commission 6A Alcoholic Beverage and Licensing Committee (ABL) Co-Chair Jay Williams says that while he’s seen an uptick in similar disputes recently, this particular incident got “blown way out of proportion.”

As the H Street NE neighbors continue to stew, City Paper did some research and found that lawmakers in London and San Francisco have been to this same rodeo, and came out with a game plan to keep live music in their cities. Their solutions take buy-in from residents, real estate developers, politicians, and entertainment venues alike. taylor Moved into the neighborhood in 2016 and into his home in 2017. “We really like the Atlas Performing Arts Center, the walkability, the community, the street car, Atlas Vet, Gallery O on H, restaurants ranging from Tony’s Breakfast to Toki Underground and Ben’s Chili Bowl, and the idea that businesses and families were growing in a formerly economically blighted area,” he tells City Paper by email.

He says he visited his potential new residence to evaluate noise prior to moving in, but that was before Dangerously Delicious Pies added Pie Shop, a second floor live music venue and rooftop bar, in July 2018. He insists the glass door leading to the rooftop bar allows music to escape and bounce off the second floor of his home located down an alley behind the business. When Dangerously Delicious Pies’ liquor license came up for renewal this spring, Taylor asked his ANC for help negotiating a solution.

In most cases, a liquor license comes up for renewal every three years. During the renewal period, the establishment posts a placard for 45 days informing the community of their oppor16 june 7, 2019 washingtoncitypaper.com

Farrah Skeiky

MUSIC

tunity to air grievances. Many ANCs protest liquor license renewals to address issues because they often lead to settlement agreements that keep the peace through compromise. A protested license doesn’t mean the ANC is trying to close a business or ask it to eliminate live music altogether.

Ward 6 Councilmember Charles Allen says ANCs used liquor license protests to address wide discrepancies of outdoor music hours at bars and clubs on H Street NE about a decade ago. “The ANC used the tools they had, including protests, to get voluntary agreements in place to standardized licensing,” Allen says.

At an April ANC 6A ABL committee meeting, Williams and others suggested Pie Shop add velvet curtains to swallow some of the sound Taylor says hits his home. “I agreed to this solution and went home thinking it was over as it seemed that an agreement had been reached by all parties,” Taylor says. “Dangerously Delicious Pies then, out of nowhere, started a misleading petition.”

As of June 4, the petition asking Washingtonians to “Support Your Local Pie Shop” had 4,334 signatures on an online platform called The Action Network. Co-owner Sandra Basanti launched it May 15 leading up to a May 20 roll call hear-

ing after she says she spoke with Allen’s office, the Office of Nightlife and Culture, and H Street Main Street, all of whom recommended amassing letters of support. Some online commenters criticized the petition for being vague. It didn’t mention the music venue or rooftop bar.

The introduction reads, “A tale as old as time: We, an established DC small business, literally a mom and pop business run by a husband and wife team for over 9 years in the H st corridor, are being challenged by a neighbor who moved in just 1 year ago.”

“Anyone who is a supporter of ours probably knows that in the past year, we’ve opened a music venue on the second floor,” Basanti says. “Anyone can go to our website, and the first thing you see is pictures of bands and our calendar.”

She insists Pie Shop was “being neighborly” when it voluntarily set a curfew on live music—11 p.m. on weeknights and midnight on weekends. She adds that the stage is on the H Street NE side of the building and there are at least 175 feet separating the stage from the alley. “I didn’t know [the petition] was going to get quite as much attention as it’s gotten,” Basanti says. “It’s a hot topic and a major issue affecting a lot of businesses all over the city.”

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CPARTS Basanti also called in Chris Naoum for advice. Naoum, the founder of local music activism group Listen Local First and a driving force behind many music events around the area, is a telecommunications media attorney by day. He denies that Pie Shop has a noise issue.

“You can’t hear anything by [Taylor’s] place,” he says. “The sounds of the cars in the neighborhood is what you hear. This is the problem that’s happening in the city right now. The fact that [Pie Shop] is being forced to go to a mediation over a complaint that’s completely unjustified … They shouldn’t be forced to take additional steps to soundproof their place.”

Pie Shop isn’t Taylor’s first target on the block, according to both Naoum and the language in the petition. “This guy has harassed people for a year,” Naoum says, pointing specifically to Rock & Roll Hotel, a bar and club at 1353 H St. NE. Kaitlin Wilding, the talent buyer and general manager of Rock & Roll Hotel, confirms the club has been in contact with Taylor regarding nights when DJs perform on its roof deck.

Wilding says he initially complained about the speakers. “We were like, ‘Oh, sorry, we’ll turn it down,’” she says. “Next, he came into the club. I was there. He was like, ‘You guys lied to me and said it would be quieter.’ We had to ask him to leave.

He was following me around.”

“I have only asked the Rock & Roll Hotel to abide by their settlement agreement with the ANC,” Taylor responds. “This includes that music should not be played outside on their deck after 8 p.m., and it should not be so loud that it can be heard inside residences.” Wilding admits that she didn’t know such an agreement was in place. “That was on me,” she says.

Taylor says he received an email from club co-owner Steve Lambert “asking me to stay off his property after I went in and photographed pictures of speakers, in excess in terms of numbers and size of what they reported using during rooftop parties, and reported this to the ANC.” In the email obtained by City Paper, Lambert wrote (sic throughout): “It’s 7:30pm on a Friday night in a commercial district of Washington, DC. We have been, and continue to be, good business owners over the last 12 years in the H St corridor.

We do all we can do. You are not the leader of this long and very old established, majority African American, DC community.”

Neither men are African American.

With Pie Shop, Williams believes Taylor has a legitimate complaint. “There have been times where I’ve had people come to me and complain about noise from a nearby establishment,” he says. “I’ve looked into it, gone to the establishment multiple times, and haven’t moved forward either because the noise coming out is to be expected or the person has a vendetta against the establishment. I do my best to parse between those situations. There are also times when neighbors might have concerns that are valid but aren’t raising their concerns well.”

Allen is confident a resolution is in sight. “Dangerously Delicious Pies is a long-term and great business on H Street,” the councilmember says. “They already said they want to work towards a resolution on this.” Mediation is scheduled for June 6.

If it doesn’t generate a resolution, a protest hearing will take place on July 31.

The back and forth between businesses and residents is nothing new. “But I don’t like being in a position where the ANC has to constantly protest,” Allen says. “Why can’t we try to work a little harder, all of us, to make sure we have the right type of requirements in place so those on commercial corridors have the right expectations? We could be more creative in how we manage it as a whole corridor so we don’t always find ourselves in disputes like these.”

Some citieS have sought innovative solutions to ensure live music venues can continue to thrive even as new residential developments are erected nearby. “I always say it’s not about creating places to live, but creating places to live for,” says Shain Shapiro, the founder of Sound Diplomacy, a London-based company that helps cities incorporate music and culture into urban planning through policy. “I believe that expressing ourselves or experiencing culture is as much a basic human right as clean air and water and a place to eat and sleep.”

“Music, because it’s available everywhere and it’s relatively cheap, we assume it’s always going to be there,” Shapiro continues. “But when we’re planning the cities of the future, we tend to ignore needs that are separate to housing and workbased needs.” A lack of intentional planning, he believes, results in music venues butting up against other types of buildings, instead of complimenting them, which can ultimately lead to their demise.

According to an April 2019 Guardian article, 35 percent of music venues across the United Kingdom closed over the past decade. The country’s first live music census, released in 2018, showed that small music venues are struggling. Twenty-nine percent of them reported problems with noise complaints from residents in nearby properties.

“People move in and can’t sleep,” Shapiro says. “When you can’t sleep you get very angry. All of that could have been mitigated if we had a proactive process that puts safeguards in place whilst promoting responsibility on all sides.” In the U.K., they have the “Agent of Change” principle that became law in July 2018. Shapiro was part of the team that worked on the initial language, which establishes that the entity bringing about change must take responsibility for its impact.

If an entertainment venue goes into a residential neighborhood, it must take steps to adequately soundproof to stave off noise complaints. If a residential development goes in near preexisting entertainment (or other noise-making) venues, the developer is on the hook for soundproofing to the degree that unreasonable restrictions won’t be placed on the venue once people move in.

In 2015, San Francisco was the first U.S. city to adopt such legislation. At first it solely concerned residential developments, but was expanded to include hotels and motels in 2017. Like the United Kingdom, San Francisco was losing music venues.

Jocelyn Kane was the executive director of the city’s Entertainment Commission—a position similar to the District’s new director of nightlife and culture—when the law was enacted. She now works for the Responsibility Hospitality Institute, a nonprofit that preserves and advocates for the social, cultural, and economic value of entertainment.

“This is something that every city struggles with, and it’s a common narrative,” Kane, who just finished some work in Austin, says. “Even those places we think of as music cities, who value culture, have the exact same issues. Any place there’s a pillow, there’s potential for conflict.”

In San Francisco, the Entertainment Commission first mapped all of the planned residential developments and crossreferenced them with where the city’s live music venues were located. “They were exactly on top of where the music venues were,” Kane says. “We were then able to visually show policy makers that we had an oncoming freight train that we weren’t going to be able to manage.”

The San Francisco legislation ensures no permitted place of entertainment would “be or become a public or private nuisance on the basis of noise disturbance so long as the place of entertainment operates in compliance with the municipal code and terms of its permit.”

When a developer files a proposal with the San Francisco Plan-

ning Department, they’re notified that they’re building within 300 radial feet of an entertainment venue. That initiates a sound study where the Entertainment Commission takes sound readings at the proposed site. Then the parties hold a hearing to share the results of the study and talk through sound abatement strategies. When it’s time for residents to move in, they must sign a disclosure agreement acknowledging they’re within 300 feet of an entertainment venue and should therefore expect some noise.

“The disclosure forms sit in a database for when people call and complain,” Kane says. But it’s not a perfect system. The disclosure is lumped in with others new home owners skim when plowing through piles of paperwork. “What’s more valuable is the discussion pre-construction. If the developer plans to build a lot of bedrooms facing a certain direction and that’s the direction where the nightclub is, maybe move those bedrooms,” she says. These conversations also pressure builders to use quality construction materials. While people can and still do complain, Kane says the legislation keeps clubs out of small claims courts.

Allen and Williams have some reservations about applying San Francisco’s strategy to D.C. “I’d want to be careful to make sure we don’t unintentionally create something where a neighbor near an establishment doesn’t have the ability to work towards a solution,” Allen says. “I had a resident contact me who moved into a new apartment above a late night bar and restaurant. They called us to complain about the bar noise. I can appreciate the sentiment that says you rented a place above a bar, so you should expect some noise. But I wouldn’t want to use a tool that says the builder doesn’t have an obligation to address noise.”

Allen has seen the results of successfully planning ahead.

“We opened a hotel immediately on top of a fire station,” he explains. “Do you know how many complaints I get from the hotel? Zero. They invested heavily in sound proofing in windows and made a lot of good choices about how to manage that fire trucks are pouring out of the building.”

Williams points out that while there’s some value to the proposal for future projects, it doesn’t do much to help when people move into existing rowhouses. “Some issues are from longtime residents,” he says. “It sounds like this is only for new developments.”

Taylor, the original complainant, has an opinion too. “This sounds like the sort of solution that a growing, denser urban D.C. could use,” he says, arguing the city’s rapid development requires constructive, creative solutions. But he worries Agent of Change legislation takes for granted that entertainment venues are abiding by existing noise ordinances. Enforcement would still be required.

It feels like the District is inching toward some sort of cultural reckoning. Naoum, a proponent of Agent of Change legislation, is forming a D.C. music task force. The city now has an Office of Nightlife and Culture. And Mayor Muriel Bowser announced Tuesday that D.C. will launch its first ever “DC Music Census” that will be carried out by the DC Office of Cable Television, Film, Music and Entertainment in partnership with Georgetown University.

The goal, according to the Bowser administration, is to “capture the D.C. music industry and economy and provide needed data to assist city officials and community members in making more informed decisions that will strengthen and grow the District’s music ecosystem.”

If some version of Agent of Change legislation emerges out of the music census, Shapiro would welcome it. “The more people moving into a busy, noisy area will lead to it becoming less busy and less noisy,” he says. “If we don’t understand and respect our cultural infrastructure, we won’t have it. A city with one concert hall isn’t good enough.”

CP washingtoncitypaper.com june 7, 2019 17

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The joyful On! is not so straight-ahead as it would have us believe. Don’t misunderstand: Tenor saxophonist Jordon Dixon does draw from the soul-jazz well. His vinegary tone and middle-register tendency evoke Stanley Turrentine or Wilton Felder, and he has a gruff, slightly coarse edge from the days when the line between swing jazz and R&B was much finer. His tunes—he wrote all nine on the album—comprise short, memorable hooks that he weaves into cohesive packages. He even has his pianist and co-producer Allyn Johnson double on organ for the first tune, “Notes from the Nook.” Is the Louisiana-born Dixon going downhome, or what?

Having baited the hook with populist soul, however, Dixon proceeds to subtly subvert it from within. The aforementioned “Notes from the Nook” is a Frankenstein’s monster of form: AAB, with six bars of 4/4 time in the A’s and 10 waltz bars in the B. The changeups continue in the solo sections, with Dixon and bassist Herman Burney playing blues choruses (five and two, respectively) and Johnson firing off two in the 22-bar written form. It’s mostly a message to musicians and deep listeners. Still, the component parts are just atypical enough that the casual fan might hear that something’s a little off.

It’s not an isolated incident. “Way Too Serious” has a short bridge that changes meter every bar; “We Kin” is a conventional song form, but drummer C.V. Dashiell plays in a Latinseasoned 3 while everyone else works in 4.

The 12-bar blues “Flame and Friction” drops the subtlety and becomes a full-on tease, with the band (including guest trumpeter J.S. Williams) going silent in the 11th bar before Dashiell re-enters to turn it around. (On the reprise, the tune simply ends at bar 10.)

Even here, though, there’s not a whiff of being too hip for the room: You couldn’t get more blues feeling into “Flame and Friction” (especially Burney’s long bass intro). Ditto for “Notes from the Nook,” whose weird shape shifts are all chock full of soul. Some of the tunes have little to no trick to them. “Lee Lee Dee (Alternate Version)”—so-named because a ballad rendition appeared on Dixon’s 2016 debut album—is 64 bars instead of the standard 32. That’s it: It’s long. It also drips with swing, and climaxes with Dixon and Dashiell trading fiery but easily-digested eights. “On!,” after its exquisite Johnson intro, is a plain old groover, and Jordon, Johnson, and Burney make hay of it. Williams returns for the New Orleans stomp “Fake Flowers,” and the only thing remarkable about it is the quality of his hollering solo.

One of jazz’s great obstacles is the music’s own identity crisis: a tug o’ war between its earthy folk-music element and its cerebral, iconoclastic art-music one. Yet along comes Jordon Dixon, effortlessly creating a stable and thoroughly pleasurable compound without it seeming to even occur to him that the two elements might be incompatible.

—Michael J. West

FILMSHORT SUBJECTS

ASHES TO ASHES Dark Phoenix

Directed by Simon Kinberg Since the firSt X-Men hit theaters nearly 20 years ago, the franchise has used modern American history and iconography to its advantage. The climax of the original film takes place at the Statue of Liberty, while X-Men: First Class unfolds during the Cuban Missile Crisis. Dark Phoenix, the latest film in this ongoing saga, has none of that ambition. Making his directorial debut, longtime franchise screenwriter Simon Kinberg rushes through a bizarre, evocative storyline from the origi-

nal comics. If the impressive ensemble cast seems unsure what they’re doing with this material, then soon the audience will share their malaise.

It’s set in 1992, and unfortunately the XMen—a group of mutant superheroes led by Charles Xavier (James McAvoy)—have little interest in the grunge revolution. In fact, Kinberg’s approach has little sense of time or place. This is a small-scale X-Men film, with personalities and interpersonal drama at the forefront. During a mission into outer space, Jean Grey (Sophie Turner) is exposed to a strange solar flare. Jennifer Lawrence halfheartedly reprises her role as Mystique, the team’s moral center, and she thinks Xavier has more interest in accolades than the safety of his team. She is right, of course, just not in a way she could have anticipated: The solar flare is actually a sentient form of sophisticated energy, and it imbues Jean with dangerous new powers.

Jean’s transition from shy young woman to a psychotic human-alien hybrid unfolds like the world’s deadliest coming-of-age story. She learns a lot about her past, including secrets that Charles hid from her, except all these revelations have little emotional impact. It does not help that 2006’s X-Men: The Last Stand essentially had the same premise—also written by Kinberg—but now he uses the alternate timeline from X-Men: Days of Future Past as an excuse to revisit it. All the beats are the same,

with various characters pleading with Jean to reign in her path of destruction. At least Kinberg is capable of psychedelic imagery that’s an evocative break from the near-constant sense of routine.

The action in Dark Phoenix has little sense of scope. What should be an important action sequence, for example, unfolds on an anonymous block of Manhattan facing the park.

Few of the mutants use their powers in creative ways, except for Nightcrawler (Kodi Smit-McPhee), who can teleport at will. This film has gone through production hiccups and delays—it was originally supposed to be released last November—so there is a dispriting sense that this is an attempt to salvage something from all those setbacks. Another key sequence unfolds on a train, perhaps because its segmented structure gives Kinberg and his team an opportunity to focus on only a couple characters at once, instead of on a massive battle. There is nothing inherently wrong with that, although it is unclear why the X-Men are on the train in the first place.

Magneto (Michael Fassbender) has always been the most interesting character in these films because he has a skeptical view of humanity. Fassbender has little opportunity to express that complexity, and at one point changes his mind so quickly that the script pauses so he can explain himself. Even Jessica Chastain, an actor known for her flinty intelligence, struggles with a villain role that has murky motivations. No actor appears all too thrilled to be here, and not just because many of them must wear extensive blue makeup. At their best, X-Men films could serve as an allegory for the civil rights movement or encroaching nationalism. This one is little more than commentary on itself.

In the original Phoenix saga from the comic books, Jean Grey devours an entire star, which then destroys an entire planet and causes the death of billions. If Dark Phoenix cannot find inspiration from the events of the 1990s, at least it could have replicated the massive scale of a bonkers space opera. Unsure what kind of film he wants to make, Kinberg instead rushes from one act to the next, almost like he is in a race to distance himself from it. Now that this timeline is about to catch up with the events of the original film, maybe it is time to take a break from the X-Men entirely. Charles Xavier, Magneto, and Jean Grey are durable characters, but our patience for them is not.

—Alan Zilberman

JAZZ IN THE ‘HOODS An essential component of DC JazzFest, celebrating its 15th anniversary, Jazz in the ‘Hoods Presented by Events DC provides exciting, meaningful citywide partnerships that help develop and brand local DC restaurants, clubs, galleries, hotels, arts centers, public spaces and more.

Spotlighting the District as a vibrant cultural capital, Jazz in the ‘Hoods brings a stunning array of music - from the traditional to the avant garde - in all quadrants of the nation’s capital, with a range of FREE and ticketed performances at more than 20 neighborhood venues.

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Dark Phoenix opens Friday in theaters everywhere. washingtoncitypaper.com june 7, 2019 19

20 june 7, 2019 washingtoncitypaper.com

CITYLIST

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

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

Tix @ Ticketmaster.com

MINDI ABAIR & The Boneshakers 7 the subdudes 8 JUNIOR BROWN 6

Music 21 Books 26 Theater 26 Film 27

Music

CITY LIGHTS: FRIDAY

9

THE NEW BIRTH 15 SOUTHSIDE JOHNNY & the asbury jukes 21 THE SMITHEREENS with MARSHALL CRENSHAW

FRIDAY

14

GOSPEL

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Washington Performing Arts Gospel Choirs. 8 p.m. $55–$75. strathmore.org.

HIP-HOP

BEBEL GILBERTO 23 PIECES OF A DREAM 24 KENNY G 26 EUGE GROOVE

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Xavier Wulf. 8 p.m. $20. fillmoresilverspring.com.

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JAZZ

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Davina & The Vagabonds. 8 p.m. $17.50–$37.50. ampbystrathmore.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

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KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Betty Carter’s Jazz Ahead. 6 p.m.

Free. kennedy-center.org.

POP

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

ROCK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Subdudes. 7:30 p.m. $35. birchmere.com.

DC9 1940 9th St. NW. (202) 483-5000. Motherfolk.

7:30 p.m. $10–$12. dcnine.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Rodrigo y Gabriela. 8 p.m. $35–$65. wolftrap.org.

SATURDAY CABARET

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Off The Top!. 8 p.m. $25– $45. ampbystrathmore.com.

CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Dvořák’s “New World” Symphony. 8 p.m. $15–$89. kennedy-center.org.

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Mahler Symphony No. 9. 8 p.m. $25–$80. strathmore.org.

COUNTRY

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Junior Brown. 7:30 p.m. $25. birchmere.com.

SILENCE IS VIOLENCE: MOTHERING WHILE BLACK

ROCK

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. School of Rock Ashburn.

11:30 a.m. $10. fillmoresilverspring.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna. (703) 255-1900. Lake Street Dive and The Wood Brothers. 7:30 p.m. $35–$55. wolftrap.org.

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

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. John Pizzarelli. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Dvořák’s “New World” Symphony. 3 p.m. $15–$89. kennedy-center.org.

MONDAY

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Betty Carter’s Jazz Ahead. 6 p.m.

Free. kennedy-center.org.

UNION STAGE 740 Water St. SW. (877) 987-6487. Lion Babe. 8 p.m. $22–$35. unionstage.com.

JAZZ

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CLASSICAL

FUNK & R&B

CABARET

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. ArtStream’s Maryland Cabaret Presents The Best of Times. 7:30 p.m. $15. ampbystrathmore.com.

In the

!

CELSO PINA THE RIGHTEOUS BROTHERS Bill Medley & Bucky Heard

NEWMYER FLYER PRESENTS

LAUREL CANYON Golden Songs of LA 1966–73

30

LEANN RIMES

July 3

DONNELL RAWLINGS

5 7

LALAH HATHAWAY COLBIE CAILLAT feat. GONE WEST with Hayley Orrantia

10

BILLY BOB THORNTON & THE BOXMASTERS

11

PAM TILLIS & LORRIE MORGAN

HIP-HOP

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

9:30 CLUB 815 V St. NW. (202) 265-0930. Pink Sweat$. 7 p.m. $20. 930.com.

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Narratives of young black mothers in mainstream media and performance art are often fraught with poverty-ridden experiences only to be alleviated by people who are deemed more welloff. The inner strength, courage, and tenacity of young black mothers is rarely celebrated. The Young Playwrights’ Theater is bucking the stereotype by bringing back Silence is Violence: Mothering While Black, a choreopoem that premiered at the Anacostia Playhouse last fall. Derived from oral and written stories, monologues, and poetry from participants of a program run by local nonprofit Sasha Bruce Youthwork, the coming-of-age performance will share authentic tales of what it’s like to be a young black mother. At its core, the show is about moving past obstacles that life inevitably brings. So whether you relate to these particular stories or not, you’ll likely pick up some valuable lessons for overcoming your own most challenging circumstances.

The show runs to June 9 at the Anacostia Arts Center, 1231 Good Hope Road SE. $20. (202) 387-9173. anacostiaartscenter.com.

—Christina Sturdivant Sani

SUNDAY

FUNK & R&B

Direct From ‘Showtime’!

FUNNY WOMEN OF A CERTAIN AGE with Carole Montgomery, Vanessa Hollingshead, Kerri Louise

Grits & Glamour Tour

12&13 14

JEFFREY OSBORNE

LITTLE RIVER BAND

15 SiriusXM The Coffeehouse Presents

MATT COSTA, JD & THE STRAIGHT SHOT MATT HARTKE

19 20,21

THE BACON BROTHERS

washingtoncitypaper.com june 7, 2019 21

CITY LIGHTS: SATURDAY

BYHALIA, MISSISSIPPI

Celebrating Randy Weston Sunday, June 9, 2019 at 7:30 p.m.

Family Theater

Byhalia, Mississippi is a love story, but it is also a hate story. Set in a Mississippi town with a tense past, it follows a taboo affair and its explosive aftermath. Laurel, a married white woman, is nine months pregnant. When her baby comes out half black, her affair becomes known. Laurel’s family finds it hard to cope, and Byhalia’s racial animus emerges anew. Playwright and Mississippi native Evan Linder, who won the Joseph Jefferson Award in 2016, wrote Byhalia to exposee viewers to new ideas. “I feel like there’s something about that couple,” he says, “about lower class red state couples that is not put on American theater stages that much unless they are caricatures.”

Byhalia, Mississippi is a multifaceted entity. It is a heartening play about reconciliation and forgiveness. However, it is also a reminder of the wars that can start on the battleground of a woman’s womb. The show runs to July 7 at the Kennedy Center Terrace Theater, 2700 F St. NW. $49–$89.

(202) 467-4600. kennedy-center.org.

—Tori Nagudi

CITY LIGHTS: SUNDAY

Featuring Vijay Iyer, Marc Cary, Rodney Kendrick, TK Blue, Alex Blake, and Neil Clarke

Great Masters of Jazz: Honoring Quincy Jones, Roy Hargrove, Nancy Wilson, & more Hosted by Nick Cannon

Sunday, June 16, 2019 at 8 p.m.

Concert Hall Tributes By Patti Austin, the Roy Hargrove Big Band, Justin Kauflin, Cassandra Wilson, Kenny Garrett, Joshua Redman, Princess Mhoon Dance Project, Roberta Gambarini, Adam Clayton Powell III, Sharón Clark, Leon Harris, Angela Stribling, Paxton Baker, and more

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

22 june 7, 2019 washingtoncitypaper.com

MICHAEL CHE

Comedian Michael Che and his Saturday Night Live “Weekend Update” co-host Colin Jost have had a controversial tenure at the desk, drawing criticism from the left and right alike for their equal-opportunity attack pattern that lays waste to both sides. Che’s cutting, audacious style has led to his rise as a comedic favorite, and he isn’t slowing down. Outside of SNL, Che and Jost have even entered the World Wrestling Entertainment arena. The brief stint they spent providing commentary for WrestleMania 35 ended with both being violently ejected from the ring

by Braun “Monster Among Men” Strowman. (It was all done with the help of some meticulous planning and highly trained stunt choreographers. This was professional wrestling, after all.) In addition to telling jokes, the former Daily Show correspondent is all about giving back. He grew up in a Lower East Side housing project and today organizes shows to benefit nonprofits dedicated to improving living conditions in public housing. Michael Che performs at 7:30 p.m. at The Miracle Theatre, 535 8th St. SE. $39.75. (202) 400-3210. themiracletheatre.com. —Will Lennon

washingtoncitypaper.com june 7, 2019 23

JAZZ ATLAS PERFORMING ARTS CENTER 1333 H St. NE. (202) 399-7993. Atlas Presents Jazz: Elliott Hughes & Brad Linde’s Big Ol’ Ensemble. 8 p.m. $13–$25. atlasarts.org.

“A N E X C E P T I O N A L PRODUCTION OF A P E R F EC T M U S I CA L” —The New York Times

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

POP 9:30 CLUB 815 V St. NW. (202) 265-0930. Monsieur Periné. 8 p.m. $30. 930.com.

ROCK FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. The Specials. 8 p.m. $35. fillmoresilverspring.com.

TUESDAY HIP-HOP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Tech N9ne. 8 p.m. $29.50. fillmoresilverspring.com.

JAZZ KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Trent Cokley: Heal Our Hearts. 6 p.m. Free. kennedy-center.org.

POP DC9 1940 9th St. NW. (202) 483-5000. Los Coast. 8 p.m. $10. dcnine.com.

WEDNESDAY COUNTRY

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Tim McGraw and Jon Meacham: Songs of America. 8 p.m. $55–$350. theanthemdc.com.

JAZZ

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The Noa Fort Quartet. 6 p.m.

Free. kennedy-center.org.

MANSION AT STRATHMORE 10701 Rockville Pike, North Bethesda. (301) 581-5100. Trey Sorrells. 7:30 p.m. $17. strathmore.org.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. Wolfmother. 8 p.m. $30. 930.com.

THURSDAY BLUES

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Keb’ Mo’. 7:30 p.m. $89.50. birchmere.com.

COUNTRY

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Darrell Scott. 8 p.m. $28– $40. ampbystrathmore.com.

FOLK

DC9 1940 9th St. NW. (202) 483-5000. Will Varley. 8 p.m. $15. dcnine.com.

CITY LIGHTS: MONDAY

June 11–23, 2019 Eisenhower Theater Kennedy-Center.org (202) 467-4600 Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

24 june 7, 2019 washingtoncitypaper.com

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

IN MID-SENTENCE

The National Portrait Gallery’s photography exhibition In Mid-Sentence stems from a clever premise—that “photographs are inherently silent, yet may resonate with unheard voices.” The exhibition features a variety of images displaying people speaking. They talk in lecture halls, in smoky bars, on theater stages, and even in a NASA control room. The images of politicians are consistently strong: John F. Kennedy and Dwight D. Eisenhower seen from the back as they converse at Camp David, then-Senate Majority Leader Lyndon B. Johnson strong-arming a fellow senator by invading his space, and Garry Winogrand’s ingenious photograph of Kennedy’s 1960 Democratic National Convention speech, in which we see JFK from the back with the front of his face on a television screen. The exhibition also includes a photograph of Martin Luther King Jr. giving his speech at the March on Washington. In this one, we can hear the subject’s voice in our heads loud and clear. The exhibition is on view to March 2020 at the National Portrait Gallery, 8th and F streets NW. (202) 633-8300. Free. npg.si.edu.

—Louis Jacobson

M A RY L A N D LY R I C O P E R A

Puccini An Evening of

Excerpts from La bohème, Madama Butterfly, & Tosca T H E M A RY L A N D LY R I C O P E R A O RC H E S T R A

Seunghyeon Baek | Nayoung Ban Youna Hartgraves | Mauricio Miranda Catherine Martin | Yongxi Chen Marco Cammarota Louis Salemno, C ONDUCTOR Joan Sullivan Genthe L IGHTING D ESIGNER

June 7 June 9 7:30PM

2:00PM

K A Y T H E AT R E Clarice Smith Performing Arts Center, College Park, MD

T I C K E T S S TA RT I N G AT J U S T $ 2 5

Visit www.MDLO.org or call 301-405-2787 NOW PLAYING AT DC’S LANSBURGH THEATRE

BY LUCAS HNATH DIRECTED BY NICOLE A. WATSON

June 4–July 7 | Opera House !

LE NOW A S N O S - TICKET Y A D O T ORDER No prequel? No problem!

Learn more at RoundHouseTheatre.org

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 Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

Order online or call 240.644.1100

washingtoncitypaper.com june 7, 2019 25

CITY LIGHTS: TUESDAY

RIGHTFULLY HERS: AMERICAN WOMEN AND THE VOTE

A New Kennedy Center Play Written by

Directed by

Evan Linder

Kimberly Senior

Aimé Donna Kelly

Blake Morris

Caroline Neff

Cecelia Wingate

June 7–July 7 | Terrace 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 Theater at the Kennedy Center is made possible by

JAZZ

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The Barry Gurley Trio. 6 p.m.

Free. kennedy-center.org.

Kennedy Center Theater Season Sponsor

Additional support is provided by The Laura Pels International Foundation for Theater.

26 june 7, 2019 washingtoncitypaper.com

ney to finding her purpose. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. June 12. 6:30 p.m. Free. (202) 387-1400.

9:30 CLUB 815 V St. NW. (202) 265-0930. The Lemonheads. 8 p.m. $25. 930.com.

NICOLE DENNIS-BENN Author Nicole Dennis-Benn’s latest novel is Patsy, which follows the eponymous character from Jamaica to Brooklyn as she reunites with the woman she loves and tries to survive as an undocumented immigrant. Politics and Prose at Union Market. 1270 5th St. NE. June 8. 6 p.m. Free.

(202) 364-1919.

Books

ROBERT MACFARLANE Nature writer Robert Macfarlane’s new book Underland: Deep Time explores caves, glaciers, and burial chambers in a look at the geological wonders of the world. Politics and Prose.

5015 Connecticut Ave. NW. June 8. 1 p.m. Free. (202) 364-1919.

ROCK

Starring

Jack Falahee

A century ago, after decades of protesting and marching, women’s suffrage activists were on the brink of securing a woman’s right to vote. Today, the history of their efforts and the resulting 19th Amendment are on view at the National Archives in their latest exhibition, Rightfully Hers: American Women and the Vote. Along with displaying the original 19th Amendment, which prohibits the government from denying the right to vote on the basis of sex, the exhibition highlights communications between suffragist leaders, legislator debates on the amendment, and documents from groups both supporting and opposing the women’s suffrage movement. Although its focus is historical, the exhibition also explores the right to vote and the role of women in government in a modern context—a multimedia installation shows visitors how many women have been elected to Congress through the years, and mock voting booths offer a place for visitors to register to vote themselves. The exhibition is on view to January 3, 2021 at the National Archives, 701 Constitution Ave. NW. Free. (202) 357-5061. museum.archives.gov.

—Ella Feldman

DAN ALBERT Writer Dan Albert, using both personal experience and scholarly research, explores American car culture and how embedded it is in the fabric of the country in his book Are We There Yet? Solid State Books. 600 H St. NE. June 13. 7 p.m. Free. (202) 897-4201.

KIM HOOVER In Kim Hoover’s Girl Squad, a mother goes missing in a small Texas town and a group of girls, including the missing woman’s daughter, tries to get to the bottom of the mystery. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. June 11.

6:30 p.m. Free. (202) 387-1400.

Theater

MARTIN WALKER In Martin Walker’s newest Bruno, Chief of Police novel, The Body in the Castle Well, the charismatic French police chief investigates the death of a young American student. Politics and Prose. 5015 Connecticut Ave. NW. June 10. 7 p.m. Free.

(202) 364-1919.

JUBILEE First organized in 1871 on the Fisk University campus, the Fisk Jubilee Singers—an African-American a cappella ensemble—triumphed in the face of racism and prejudice in the U.S. and abroad. This a cappella musical boasts more than three dozen songs (including spirituals and hymns like “Swing Low, Sweet Chariot” and “Wade in the Water”) to bring the enduring legacy of the Singers to life. Arena Stage. 1101 6th St. SW. To June 9. $96–$115. (202) 4883300. arenastage.org.

NATASHA SCRIPTURE In her new memoir, Man Fast, Natasha Scripture recounts her globe-trotting jour-

KLYTMNESTRA: AN EPIC SLAM POEM In this dynamic retelling of a classic tale and one-woman slam

poem written and performed by Dane Figueroa Edidi, a priestess conjures spirits after entering a cemetery suffused with black culture. Anacostia Playhouse.

2020 Shannon Place SE. To June 16. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

LOVE’S LABOR’S LOST The King of Navarre and his three compatriots swear off women for three years of focused study and humble fasting in this early Shakespeare comedy. The Princess of France and her ladies render their lofty ambitions precarious; hijinks and affairs of the heart ensue. Folger Shakespeare Library. 201 E. Capitol St. SE. To June 9. $42–$79. (202) 544-7077. folger.edu.

MARY STUART With only six performers and a minimalist set, Mary Stuart examines the complex relationship of Queen Elizabeth I and Mary, Queen of Scots through the contemporary lens of the #MeToo movement. Sex, court intrigue, and the minds and hearts of the most powerful women in the world collide. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 9. $44–$64. (301) 924-3400. olneytheatre.org.

THE MEMBER OF THE WEDDING Directed by Cara Gabriel, The Member of the Wedding follows the story of 12-year-old Frankie Adams, who longs to follow her newlywed brother on his adventures to Alaska, and her housekeeper Bernice in the climate of rural Georgia in 1945. While Bernice battles with the racism of the South, she acts as a substitute mother to Frankie and her younger cousin. This coming-of-age story is adapted from the 1946 Carson McCullers novel of the same name. 1st Stage. 1524 Spring Hill Road, McLean.

To June 16. $15–$39. (703) 854-1856.

1ststagetysons.org.

THE ORESTEIA A new version of the only surviving Greek tragedy, The Oresteia poetically combines the

works of Aeschylus to tell the ten year tale of grief and murder that characterizes the interlocking lives of Queen Clytemnestra, her husband Agamemnon, and Orestes. Shakespeare Theatre Company Studios.

610 F Street NW. To June 30. $44–$118. 202-547-1122. shakespearetheatre.org.

SPUNK A Guitar Man and Blues Speak Woman intertwine three stories of the black experience in early 20th century America (based on short stories by Zora Neale Hurston) to illustrate the endurance of the human spirit. Signature Theatre. 4200 Campbell Ave., Arlington. To June 23. $40–$85. (703) 820-9771. sigtheatre.org.

Film

ALADDIN Kind young street rat Aladdin finds a magic lamp which releases a wise-cracking genie who can grant wishes. Starring Will Smith, Mena Massoud, and Naomi Scott. (See washingtoncitypaper.com for venue information) ALWAYS BE MY MAYBE After growing up and growing apart, a pair of childhood friends reconnect and discover they still have feelings for each other in this Netflix release. Starring Ali Wong, Randall Park, and Keanu Reeves. (See washingtoncitypaper.com for venue information)

TUESDAY, JUNE 11, 7-9pm • LANDMARK E STREET CINEMA FILM TRAILERS! CRITICS! GIVEAWAYS!

Check out what Hollywood has in store as we preview trailers for this summer’s most anticipated releases. With film critics Tim Gordon & Travis Hopson for a lively discussion.

Tickets: $5 at the door at 6pm Includes FREE film promo item giveaways, DVDs & posters.

DC Film Society • dcfilmsociety.org

JOIN TODAY, year-round screenings. Memberships as low as $25!

DARK PHOENIX X-Men member Jean Grey develops destructive cosmic power that tears at the fabric of the group and the planet. Starring Sophie Turner, Jen-

CITY LIGHTS: WEDNESDAY

FALSETTOS

Summer Trailer Night 2019

The plot of Falsettos, the musical combining two one-acts by William Finn and James Lapine, reads like a neurotic soap opera: A man leaves his wife and child for another man, his wife then gets remarried to his shrink, he and the new boyfriend break up, then make up, and then the boyfriend dies of AIDS. This isn’t the cheery fare theatergoers might expect from a Broadway musical, but Falsettos is a musical for the more discerning viewer, one who feels comfortable uglycrying in public. Finn and Lapine have written moving, delicate songs and crafted an ensemble of characters so realistic and nuanced that when something bad happens to one of them—and plenty of bad things do—it cuts deep. That’s not to say the entire evening will depress. Laughs abound, particularly when six adults sit around watching a little league baseball game or try to plan a bar mitzvah. Like life, it contains highs and lows, moments both sweet and sour, and reminders of why the communities we create and the people we love matter so much. The musical runs to June 23 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $49–$139. (202) 4674600. kennedy-center.org.

—Caroline Jones

NO MATTER HOW YOU PAIR, YOU’RE ALWAYS WELCOME HERE.

1350 OKIE ST. NE, WASHINGTON, DC 20002 | 202.250.2531 | CITYWINERY.COM/WASHINGTONDC PROUD SPONSOR OF CAPITAL PRIDE 2019

D.C.’s awesomest events calendar. washingtoncitypaper.com

washingtoncitypaper.com/ calendar washingtoncitypaper.com june 7, 2019 27

Take Metrobus and Metrorail to the...

CITY LIGHTS: THURSDAY

Tickets at dcjazzfest.org | @dcjazzfest

DC JAZZ FESTIVAL & THE KENNEDY CENTER PRESENT

GREAT MASTERS OF JAZZ Celebrating the life and work of

Roy Hargrove • Nancy Wilson • Shirley Horn • Fred Foss

Sunday June 16, 2019

The Kennedy Center • 8:00 PM • Concert Hall Tickets available at kennedy-center.org WITH PERFORMANCES BY

PATTI AUSTIN

JUSTIN KAUFLIN

SHLOHMO

JOSHUA REDMAN

KENNY GARRETT

ROY HARGROVE BIG BAND SHARÓN CLARK Tributes by the Roy Hargrove Big Band, Patti Austin, Justin Kauflin, Kenny Garrett, Joshua Redman, Cassandra Wilson, Sharon Clark, & very special guests. Hosted by Nick Cannon.

PRESENTING SPONSOR

GOLD SPONSORS

PLATINUM SPONSORS

MEDIA SPONSOR

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its 2019 programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; with awards from the National Endowment for the Arts, the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts; the Office of Cable Television, Film, Music & Entertainment; the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major grants from the Doris Duke Charitable Foundation, the Galena-Yorktown Foundation, The Morris and Gwendolyn Cafritz Foundation, Wells Fargo Foundation, Gillon Family Charitable Fund, the NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, The Leonard and Elaine Silverstein Family Foundation, and the Reva & David Logan Foundation. ©2019 DC Jazz Festival. All rights

28 june 7, 2019 washingtoncitypaper.com

When Shlohmo emerged at the turn of the decade, the Los Angeles producer, born Henry Laufer, fit nicely among the city’s so-called beat scene. A loose collective of crate-diggers and samplersmiths, the beat scenesters pushed the outer limits of instrumental hip-hop: No beat was too wonky, too wobbly, or too weird. This was music overloaded with ideas and references, meant for the weed smoke-heavy rooms of now-defunct club night Low End Theory. Eventually, these confines seemed too claustrophobic for Shlohmo, and his productions gradually became airier, with room for vocalists like collaborators Post Malone, Chance the Rapper, Jeremih, and Tory Lanez. But the sense of spaced-out navel-gazing that drove the beat scene is still alive in his music. On The End, Shlohmo ponders an extinction-level event—not with an action movie narrative, but “from the viewpoint of smoking on the couch” and “reading a nice book while the meteor hits. The fake peace of insularity during chaos,” according to press materials. Still, The End is epic, with overdriven guitars, sludgy tempos, and plenty of the smoke-filled ambience that he’s been delivering all along. Shlohmo performs at 10 p.m. at U Street Music Hall, 1115 U St. NW. $15–$25. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly

nifer Lawrence, and James McAvoy. (See washingtoncitypaper.com for venue information)

gow. (See washingtoncitypaper.com for venue information)

THE FALL OF THE AMERICAN EMPIRE When a delivery truck driver happens upon a crime scene, he takes two bags full of money and chaos ensues. Starring Maxim Roy, Maripier Morin, and Éric Bruneau.

(See washingtoncitypaper.com for venue information)

MA When a middle-aged woman befriends a group of teens and invites them to her home to party, her hospitality becomes obsession and turns the party into a nightmare. Starring Octavia Spencer, Diana Silvers, and Juliette Lewis. (See washingtoncitypaper.com for venue information)

GODZILLA: KING OF THE MONSTERS When ancient, giant monsters rise and face off, including the fearsome Godzilla, humanity hangs in the balance. Starring Kyle Chandler, Vera Farmiga, and Millie Bobby Brown. (See washingtoncitypaper.com for venue information)

PAVAROTTI This documentary, directed by Ron Howard, chronicles the life of legendary opera singer Luciano Pavarotti. Featuring Spike Lee, Luciano Pavarotti, and Princess Diana. (See washingtoncitypaper.com for venue information)

JOHN WICK: CHAPTER 3 — PARABELLUM Assassin John Wick goes on the run and becomes a target after killing a member of the international assassin’s guild. Starring Keanu Reeves, Halle Berry, and Ian McShane. (See washingtoncitypaper.com for venue information) LATE NIGHT A late-night talk show host who fears her firing hires the show’s first and only female staff writer, and the pair share a love of biting wit. Starring Emma Thompson, Mindy Kaling, and John Lith-

ROCKETMAN This biopic tells the story of famed singer Elton John’s rise to fame and the debauchery that followed. Starring Taron Egerton, Jamie Bell, and Richard Madden. (See washingtoncitypaper.com for venue information) THE SECRET LIFE OF PETS 2 After his owner gets married and has a child, Max the terrier must cope with lifestyle changes—with a little help from his furry friends. Starring Patton Oswalt, Kevin Hart, and Harrison Ford. (See washingtoncitypaper.com for venue information)

SAVAGELOVE M DOOGALS THE FAMOUS

C

I’m a 27-year-old, male, adult baby/diaper lover (AB/DL). I’ve been in the closet about my fetish basically since puberty. As a consequence, I never dated or became romantically involved. I thought if I buried my kink with enough shame, it would go away and I would somehow turn normal. It obviously didn’t work, and for the past year, I’ve been trying to find healthy ways to integrate this into my life. I play around with the kink in the privacy of my home and otherwise lead a normal life.

My depression issues have let up, I’m more confident day-to-day, and even work has begun to improve. I want to start dating. I went on a normal date, and I felt very inauthentic trying to be engaged when my kink wasn’t present or at least out in the open. I just wasn’t excited by the idea of a vanilla relationship. I would like to date women, but there’s such an imbalance between men and women with this particular kink that I don’t feel like I’ll ever meet someone who is compatible. I feel like I’m doomed to be lonely forever with my kink or sexually unfulfilled and terrified of being found out. —Boy Alone Basically Eternally “It’s okay to not reveal every aspect of your sex life on a first date,” said Lo, a kink-positive podcaster and AB/DL whose show explores all aspects of your shared kink. “Besides, saying, ‘I like to wear diapers,’ on the first date is a surefire way to scare someone off. A better strategy is to establish a connection with a person, determine whether or not they’re trustworthy, and then open up about AB/DL. That takes time.”

Lo also doesn’t think you should write off vanilla people as potential partners.

“BABE should know that it’s possible to convert someone to the AB/DL side,” said Lo. “I see it happen all the time. That’s the focus of Dream a Little, my AB/DL podcast. Most of the people I feature are men who have turned their female partners on to AB/DL, so the odds are in your favor.” Lo herself is happily partnered with a vanilla guy who embraced her kink.

That doesn’t mean you’re guaranteed success the first time you disclose your kink to a partner, BABE. But you’ll never find someone with whom you’re compatible—or with whom you can achieve compatibility—unless you’re willing to risk opening up to someone.

“BABE is more likely to be doomed to the #foreveralone club if he gives up entirely out of fear,” said Lo. “Being an AB/DL poses some unique challenges in the dating world, but thousands of other AB/DLs have found a way to make it work, and he can too.”

Now, before people start freaking out (and it may be too late), it’s not just AB/DLs who “convert” or “turn” vanilla partners to their kinks. There are two kinds of people at any big kink event (BDSM party, furry convention, piss splashdown): the people who were always kinky, i.e., people who’ve been aware of their

kinks since puberty (and masturbating about them since puberty), and the people who fell in love with those people. So Lo isn’t telling BABE to do anything that people with other kinks aren’t advised to do all the time: date, establish trust, and then lay your kink cards on the table.

“BABE has come a long way, and it’s great that he’s building confidence. But he still views his kink as an impossible obstacle, and it doesn’t need to be that way,” said Lo. “It’s so important that you learn how to accept your kink, because then you will know you’re capable of and deserving of love.”

And finally, BABE, if and when you do meet a woman who is willing to indulge you— or maybe even embrace AB/DL play—don’t neglect her sexual needs. I answered a let-

Saying, ‘I like to wear diapers,’ on the first date is a surefire way to scare someone off. ter years ago from a frustrated woman who was preparing to leave her AB/DL husband because he never wanted to have vanilla sex and, as much as she’d come to enjoy AB/DL occasionally, she no longer felt like her needs mattered to her husband. Don’t make the same mistake that guy did—or you could, after a long search for a compatible partner, find yourself miserable and alone again.

You can follow Lo on Twitter and Instagram @daddyiwantthis. Her podcast and AB/ DL self-acceptance programs can be found at thelittlelounge.com.

—Dan Savage I need help deciding whether to listen to my mother on the matter of what’s best for me romantically or ask her to keep her opinions about my boyfriend to herself. My mom and I have always been close. She is a single parent and I am an only child.

I’ve always told her everything, and as I have gotten older that has started to become a problem. I’ve been in a long-distance Daddy Dom/little girl relationship with a middle-aged man with spina bifida for three years. We met on FetLife right before I turned 19. The entire time, my mom has made fun of his disability while occasionally putting her pettiness aside and acknowledging that he’s good

to me. I made the mistake of telling her about the BDSM element, and she is extremely uncomfortable with it, though she denies that it is why she disapproves. My Daddy comes from a middleclass family and has been known to say insensitive shit on occasion about working-class people like my mom and me. I checked my Daddy on his privilege, and he doesn’t say stupid shit about the jobs we work anymore. I love my Daddy and can’t stand the idea of leaving him, but at times I wonder if my mom is right that me loving him isn’t enough.

He makes me feel loved and taken care of in a way no one else has before, but I worry about whether I can have a future with someone who doesn’t work, who my mom hates, and who might be a little bit of an asshole? (Do a couple instances of rudeness make a man an asshole?) Help. I’m lost.

—Dumb Daughter Loves Guy Your entire relationship with your boyfriend— from the sound of things—has taken place online. Which is fine—people can forge strong connections online. But until you meet this man in person (assuming you haven’t already), DDLG, and unless you’re working toward moving to where he lives, this relationship probably won’t last forever—which is also fine. A relationship doesn’t have to last forever to have been a success. This guy played an important (and still ongoing) role in your sexual development and brought you a lot of joy … and you can acknowledge those things while simultaneously acknowledging the reality of the situation: The man you were with when you were 18 is probably not the man you’ll be with when you’re 28.

That’s true for most people, DDLG, regardless of their kinks, distance from their lovers, relationships with their mothers, etc.

As for whether your boyfriend is an asshole … well, he certainly said some insensitive/assholey/classist things, DDLG, you let him know that wasn’t okay, and he knocked it off. It’s not proof he doesn’t still think those things, but it is evidence he cares enough about you (or fears losing you enough) to stop saying those things. So even if he is an asshole, he is capable of moderating his assholery, which is something not all assholes can do.

As for your mom … just because you shared everything with her when you were a child doesn’t mean you have to or should as an adult.

There are things a mother has a right not to know, as my mother used to say, and her child’s kinks fall under the “right not to know” header. When it comes to your romantic and sexual interests, DDLG, share the rough outlines with your mom (“I’m seeing this guy, it’s long-distance, he’s nice”) but spare her the intimate details (BDSM, DD/LG, whatever else).

—DS Send your Savage Love questions to mail@savagelove.net.

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by Nicole Bryan in SY DC SCHOLARS PCS REQUEST 2019-20. The contracts FOR PROPOSALS – Moduwill be awarded at lar Contractor Services - DC close business onSchool ScholarsofPublic Charter June 2019. you solicits17th, proposals for aIfmodular have questions, contact contractor to provide professional Emily Stoneand at estone@ management construction services to construct modular dcscholars.org noa later building to house four than 5:00 pm onclassrooms June and one faculty offi ce suite. The 17, 2019.

Request for Proposals (RFP) specifi cations can be obtained on ELSIE WHITLOW and after Monday, November 27, STOKES COMMUNITY 2017 from Emily Stone via comFREEDOM PUBLIC munityschools@dcscholars.org.

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