Washington City Paper (July 19, 2019)

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POLITICS: IT’S NOT EASY TO SEAL AN OLD WEED ARREST 4 FOOD: RESTAURANT WORKERS GET SCHOOLED 14 ARTS: GO SEE MOON DUST ON A SPACESUIT 18

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Pro runners have to navigate an uncertain and low-paying world. P.8

By Kelyn Soong

Photographs by Darrow Montgomery

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INSIDE

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COVER STORY: RUN FOR YOUR MONEY

8

Pro runners compete for the love of the sport. Financial gains are harder to come by.

DISTRICT LINE 4 Loose Lips: Getting marijuana arrests sealed isn’t easy for those who treat medical conditions with weed.

6 Mumble Sauce: A new, 10-part column about healing in the Black community in the D.C. area 13 Scene and Heard

FOOD 14 Alphabet Soup: Local restaurateurs use language lessons to empower their staff.

ARTS 18 Over the Moon: After years of restoration, Neil Armstrong’s spacesuit returns to public display.

20 Galleries: Randall on By the Light of the Silvery Moon: A Century of Lunar Photographs at the National Gallery of Art 21 Curtain Calls: Jones on Bright Colors and Bold Patterns at Studio Theatre 22 Short Subjects: Zilberman on The Lion King

CITY LIST 25 Music 27 Theater 28 Film

DIVERSIONS 29 Savage Love 30 Classifieds 31 Crossword

DARROW MONTGOMERY 800 BLOCK OF 14TH STREET NW, JULY 16

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DISTRICTLINE

Because I Got High Che Larracuente controls his seizures with marijuana.

But the courts won’t seal his marijuana arrest record.

“At that point in my life, man, I really did buy a bunch of weed to experiment and to cook with,” he says. “I was trying to figure out how the heck do I stop having seizures?”

Studies have shown that a non-psychoactive compound in marijuana called cannabidiol, or CBD, can be effective at treating epilepsy. In D.C., individuals with medical marijuana cards, like Larracuente, can possess up to four ounces of weed.

Now, as the District considers building a regulatory system for recreational weed, Larracuente worries his past will bar him from participating.

His assessment of Mayor Muriel Bowser’s vision to tax and regulate marijuana is concise. “There’s no way you can think that

By Mitch Ryals Che LarraCuente stays high. He has to.

Since he was a kid, the now 28-year-old has suffered from debilitating seizures.

They started in kindergarten, he says, with what are known as absence seizures, or staring spells, and escalated throughout his childhood and high school into grand mal seizures.

While he attended Howard University, Larracuente says, his condition worsened—likely a symptom of his sporadic sleep schedule, poor diet, and drinking. At the peak, Larracuente says he suffered between 20 and 50 seizures a year. In 2014, he had six seizures in one week and missed his final exams.

Doctors prescribed at least 12 different medications, he recalls. If one pill didn’t work, they’d try another.

Tired of taking pharmaceutical drugs that he says made him depressed, Larracuente began experimenting with marijuana. After several years, he seems to have found a regimen that works. In addition to an improved diet and sleep schedule, Larracuente smokes about an eighth of an ounce of weed per day, which he grows himself.

But in 2013, before Larracuente got his seizures under control, and before D.C. voters passed Initiative 71, which legalized marijuana possession of up to two ounces and homegrow operations, he picked up three marijuana-related convictions. Larracuente has successfully sealed two of those cases and has been fighting to wipe the third for the past three years.

Last week, the D.C. Court of Appeals ruled that that conviction, originally filed as felony-level possession with the intent to sell, will stick.

Larracuente ultimately pleaded guilty to a misdemeanor in that case, but he says the original felony charge still shows up on background checks and in D.C. Superior Court’s online database. And even though a police report indicates that officers found about two and a half pounds of weed in his apartment, Larracuente says he wasn’t planning to sell it.

Darrow Montgomery

LOOSE LIPS

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that bill is gonna help the people of color in the District of Columbia.”

In the summer of 2013, police officers showed up at Larracuente’s apartment twice in the span of about a week. The first time, Larracuente believes, his neighbors called to complain about the skunky smell. Officers found only the small amount of weed he was preparing to roll into a joint, he says, and charged him with a misdemeanor.

Officers came back a few days later with a warrant and found pipes, a bong, a digital scale, a book on marijuana, a vacuum sealer, a “black ledger,” and about two and a half pounds of marijuana, according to the police report.

Larracuente lived with a roommate at the

time, who had an outstanding misdemeanor warrant. Thinking he was protecting his friend, Larracuente told officers, “Everything in the apartment is mine.”

Prosecutors charged Larracuente with felony-level possession with the intent to sell. (He’d also been arrested once before, when an officer found a blunt in his car.)

In exchange for a guilty plea, prosecutors agreed to reduce the felony charge to a misdemeanor. At his sentencing in 2014, his former lawyer, David Richter, told the judge about Larracuente’s seizure disorder and pointed out that “the one thing that has ever helped him has been marijuana,” according to a transcript of the hearing.

In response to Judge Ronna Beck’s concerns about the quantity of weed, Richter said Larracuente cooked with marijuana and told her “it would have been difficult, frankly … for him to take the stand and say that he had no intention to share any of it with any friends. [But] he would have adamantly denied selling any of … what was there.”

By that time, he had obtained a medical marijuana card for his seizures, Larracuente told the judge, and said he intended to go to school to learn about weed cultivation. (He later graduated from Oaksterdam University, a cannabis

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D.C. law allows record-sealing for crimes that have subsequently been decriminalized or legalized. In D.C., it is currently legal for any adult to possess up to two ounces of marijuana, and people who grow their own weed can keep as much as they can produce, but selling it is still illegal.

In 2016, Larracuente filed to have all three of his marijuana-related cases sealed. A judge granted his request in two cases, but refused to seal the third involving the two and a half pounds of weed.

He appealed the judge’s denial to the D.C. Court of Appeals in March 2018. His current lawyer, Paul Zukerberg, argues that federal prosecutors have cited several different quantities. Throughout their opposition to his motion to seal the case, prosecutors claimed the amount found in Larracuente’s apartment was about one ounce, then 42 ounces, and then cited a DEA report showing 23 ounces, Zukerberg writes in court documents.

“Based on the government’s own evidence, the amount of marijuana is somewhere between one ounce and 42 ounces,” Zukerberg writes.

“But no one knows where.”

The appeals court rejected Zukerberg’s argument, noting in its decision that despite the discrepancy, Larracuente admitted to possessing two and a half pounds at the time he pleaded guilty.

Zukerberg says Larracuente’s only remaining options are an appeal to the U.S. Supreme Court or for the D.C. Council to change the record-sealing law.

In May, Bowser stood behind a lectern at Anacostia Organics, a new Ward 8 medical marijuana dispensary owned by the politically connected Linda Mercado Greene, and announced her bill to tax and regulate recreational marijuana.

For years, the District has been prohibited from establishing a regulatory scheme due to a Congressional appropriations rider introduced

by Maryland Rep. Andy Harris that prevented D.C. from using local funds to set it up. But this year, with Democrats in control of the House of Representatives, Harris did not introduce his rider.

Some individuals are optimistic that the Senate will pass an appropriations bill without a similar provision, but Larracuente and other pro-marijuana advocates have concerns with Bower’s vision. Under the mayor’s bill, people convicted of felonies would be prohibited from obtaining licenses to grow, manufacture, distribute, or sell marijuana.

“People who were affected by prohibition

should be first in line,” Larracuente says. Bowser’s bill limits the amount of weed a person can possess to 10 ounces. For Larracuente, who produces about a pound of weed per plant, and who, to manage his seizures, smokes more in a single day than some people smoke in a month, that rule seems overly restrictive.

Nikolas Schiller, the co-founder of DC Marijuana Justice, echoes Larracuente’s concern, and points out a few more. Under Bower’s bill, a cultivation license would cost $10,000 per year, which Schiller says is “geared toward people who are well capitalized.” (The annual fee for a liquor manufacturer license in D.C. is $2,000.)

The bill also requires marijuana be stored in an “enclosed area or room equipped with locks” and eliminates D.C.’s so-called “gray market” where people gift marijuana with the purchase of another item.

A positive in the mayor’s bill, as Schiller sees it, is the requirement that 60 percent of the business’ owners and employees be District residents.

Representatives from Bowser’s office were unwilling to speak on the record about the bill and did not provide comment by press time.

In January, At-Large Councilmember David Grosso introduced a tax-and-regulate bill that Schiller calls less prohibitive. Where Bowser’s bill requires automatic record-sealing for misdemeanor marijuana possession only, Grosso’s bill requires automatic expungement for all marijuana-related crimes.

Bowser’s bill taxes marijuana at 17 percent; Grosso proposes a rate of 10 percent.

“Ultimately it’s about holding a public hearing,” Schiller says.

The Irony of publicizing his efforts to seal his criminal record is not lost on Larracuente.

From his apartment in Northeast, surrounded by DJ equipment, a makeshift photo studio, and the distinct dank smell of his plants, he says he intends to continue his appeal to the Supreme Court.

He hopes that some attention will help his cause or push the Council to change the recordsealing statute.

In the meantime, he’ll keep tending to his plants (he and a roommate have 12 total, and he says he gifts what he doesn’t smoke) and working part time at a hydroponic store. He also dabbles in photo and video production and, along with a partner, consults for people looking to start their own home-grow operations.

“I don’t want to break the law and be a criminal and just sell weed,” Larracuente says. “I want to own my own business. I want to pay taxes. I want to have a family and do normal things. But I’ve been labeled on paper as a criminal. And on top of that I have to deal with the whole medical issue.”

CP

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DISTRICTLINE

Mumble Sauce

Jordan N. DeLoach

In the first entry of her 10-part summer column about healing in local Black communities, Jordan N. DeLoach details the oppressive heat of the DMV summer.

I’m a maryland born-and-raised organizer, comic book lover, and troublemaker. “Mumble Sauce” is a City Paper summer pop-up column containing my musings about how Black communities find healing in the face of gentrification, displacement, policing, prisons, and jails.

Even though mainstream society tells me I shouldn’t, I have a lot of pride in my Blackness and my queerness. As such, there are a few things you’ll notice about my work. I always capitalize the word “Black” as it relates to race. This is to show respect for and significance to Blackness. I prioritize uplifting stories of women, femmes, and LGBTQIA+ people.

We’re too often ignored and left in the shadows. Finally, I love me some counterculture. The column got its name because I love both mumble rap and mumbo sauce. Oppressed people should be free to uplift their cultures and attitudes—we shouldn’t have to conform to mainstream social norms in order to deserve respect.

The struggle is real, but the resistance keeps my perspective rose-colored. Hope radiates from all the DMV-based people working to heal and build up communities. Their stories challenge us to ask important questions about surviving and thriving in unjust societies. How do we restore what we lose— mentally and physically—from oppression? How do we create alternate worlds where we’re all guaranteed safety and fulfillment? “Mumble Sauce” is a space where I’ll explore the discrimination facing Black folks in the D.C. area, along with the creative ways we’re overcoming it.

To create a liberated world, you’ve got to have a little imagination. My heart gets light when I think about how Black DMV communities use art, food, and turning up to heal themselves. Most of my columns will share those stories, but my first column will shine light on the state violence we’re healing from in the first place.

Don’t unDerestimate the power of the Mid-Atlantic’s humidity. It only takes one summer in the DMV to learn that it gets hot.

Growing up in the Maryland suburbs, summertime meant staining everything with colorful polka dots from my sticky fingers, playing with my grandmother’s hand fan collection, and sweating that never seemed to stop once it started. My shins produced an obscene amount of sweat throughout my childhood. By the time May rolled around each year, shin perspiration

Darrow Montgomery

By Jordan N. DeLoach

would mark the front of the khakis of my school uniform as if I’d spent lunchtime wading through high tides. If my skin wasn’t so brown, I would’ve had a perpetual blush flushed across my cheeks from the embarrassment.

Hot means many things. There’s temperature—the weather right now, or how our faces rush with heat when we’re flustered. And there’s mood—getting hot with anger and rage, or with attraction.

There’s also slang. There’s hot as in obvious, the warning you’ll get from a friend when your

6 july 19, 2019 washingtoncitypaper.com

efforts to do some undercover act will be easily observable (“Don’t light that jay right now, it’s hot.”) There’s also hot as in the block is hot, an alert that cops are present on the street (“The block is hot, run!”)

All of these definitions converge during D.C. summers.

In May, Anthony Lorenzo Green, an Advisory Neighborhood Commissioner in Ward 7, lamented that police brutality would make it a “hot summer” in D.C., retweeting footage of an officer shoving a Black person in Southeast. This

term is a reference to the “long, hot summer” of 1967. That year, over 150 uprisings ignited across the U.S. in response to police brutality against Black communities.

Green—and the Black Lives Matter DC activists who jumped to his defense—received the ire of many officers for his statement.

But police violence in the DMV could make this proclamation come true.

There always seems to be a spike in police brutality this time of year. Last summer was a particularly harsh season. Police officers in the DMV killed four Black people between May and June 2018. All of the victims’ families are still searching for answers.

First was 22-yearold Jeffrey Price.

He was riding his motorcycle in May 2018 when, according to his family and their attorney, Metropolitan Police Department officers started pursuing him in their cruisers.

He died after colliding with a cruiser that pulled out in front of him, cutting off his path. His family and the ACLU are now suing the department for searching his mother’s backyard without a warrant shortly after Price’s death. 24-year-old D’Quan Young also lost his life in May 2018.

An off-duty officer fatally shot him in front of a neighborhood recreation center. The officer will not face charges, and MPD has refused to identify him. A few weeks after that, a Montgomery County police officer stopped 41-year-old Robert White as he was walking in his neighbor-

DISTRICTLINE

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hood and shot him to death for being “combative.” A day later, MPD officers shot and killed 24-year-old Marqueese Alston near his home in Northeast D.C. They reportedly fired 18 shots.

Then there’s this summer. In mid-June 2019, cellphone video from a resident who goes by Soup Visions LLC captured an officer saying that Mayor Muriel Bowser directs cops to target wards 7 and 8. Around the same time, video of police intimidating a group of Black teenagers made its way around Twitter after being shared by Black Lives Matter DC. There’s also photographic evidence of officers walking through Barry Farm during a neighborhood event while openly carrying their guns, one of which appears to be an assault-style rifle. It feels like there’s new footage circulating on social media every few days. Imagine what happens when the cameras are off.

The block is truly hot. While the D.C. government increases investments in police, Black people are still being killed. Safe and stable housing is still hard to find. Hospitals serving Black communities keep getting shut down.

Gun violence still harms our neighborhoods.

Families in predominantly Black wards have trouble accessing grocery stores and healthy food. People don’t feel safe, and how could they? When over 1,300 police officers in the Metropolitan Police Department used force in 2018? When 90 percent of those incidents were against Black people?

D.C.’s summer anthem is the discontented roar echoing through the streets. Right before summer came around, Black folks and supporters created #DontMuteDC after a white Shaw resident threatened to sue over a local Black-owned phone and music store that plays go-go music outside of the shop.

Organizers and musicians involved with #DontMuteDC later birthed Moechella, a go-go concert and protest starring the historic Backyard Band. The May 2019 Moechella demonstration drew an audience so big that the crowd blocked off the entire intersection of 14th and U streets NW. #DontMuteDC has grown to represent a broader movement against gentrification and displacement.

Street art, public forums, and concerts have continued in the weeks since.

Turn-up-as-protest isn’t the only way people are responding to the sweltering heat, and many collectives have been doing this work regardless of the season. Neighborhood organizers at ONE DC fight against displacement of Black D.C. residents and connect people with healing and educational resources. Black youth activists at Black Swan Academy advocate for moving away from policing and investing in mental health care, community violence intervention, and affordable housing

instead. Formerly incarcerated Black women organizers at Life After Release bail Black mothers and caregivers out of jail and provide them with support. There are also Black people at BYP100 DC, where I volunteer. We facilitate workshops to advocate for less policing and more investment in resources, we engage in direct actions to end state violence, and we create art to uplift perspectives of Black people in D.C. And these are only a few examples of the collectives shaking things up in the District.

People are also advocating for Black communities on the legislative level. In June 2019, Councilmember Robert White introduced a bill to the D.C. Council that would give voting rights to people who are incarcerated. Given that 86 percent of people arrested in D.C. are Black, this legislation could elevate the perspectives of many Black voices that have been silenced for far too long.

The same month, the Sex Worker Advocates Coalition—a collective I’m involved with—joined Councilmembers David Grosso, Robert White, Anita Bonds, and Brianne Nadeau to introduce a bill that would decriminalize sex work in the District. Sex workers and advocates cite rampant police violence against Black and brown people in the sex trades as one of the primary reasons why sex work should be decriminalized. Many sex workers are Black and brown trans and cis women, trans men, and nonbinary people who enter the sex trades after experiencing abuse or discrimination in housing and employment. Policing people in the sex trades doesn’t help them. But providing them with access to resources would.

Local activists and organizers have called for decreased policing and increased access to resources for a long time. This isn’t D.C.’s first heat wave. While the heightened attention on these issues is promising, are these efforts Black D.C.’s rallying cry or our death rattle? So many people have been harmed and displaced over the past few decades, and so many lives have been lost because of the lack of safety for Black people in the DMV. We’ve lost two young Black trans women, Ashanti Carmon and Zoe Spears, to gun violence over the last couple of months. Will things change? Will the heat consume us, or will we use the heat’s energy to transform our surroundings?

The moment I go outside during the summertime, I long for another shower. A film of moisture and hot pavement dust collects on my skin, a blinding, oily sheen spreads across my forehead, and sweat stings my eyes. I’ve been trying to navigate the physical and emotional discomfort that summer can bring since I was a child. It’s been 25 years, and while I’m still not quite sure how we’ll all make it through the oppressive heat of the DMV summer, I do know that we won’t stop trying.

CP

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washingtoncitypaper.com july 19, 2019 7

RUN

FOR

YOUR

The mysterious path to professional running keeps athletes in the dark about contract norms and pay.

EdosE IbadIn rEfusEd to consider himself a professional runner. Even as he ran at the highest levels and raced against future Olympians, he responded with “semi-pro” or “post-college runner” when anyone would ask what he did.

That feeling didn’t change after he competed in the 2016 U.S. Olympic Team Trials, reaching the semifinals in the 800-meter race. Or when he broke the Nigerian national record in the same event for the first time this February.

He still had to work outside of the sport to make money. Ibadin did not have a sponsor.

“You wouldn’t call someone a professional engineer if they don’t have the degrees,” he says.

Ibadin earned prize money at a few races while representing the local elite post-collegiate District Track Club and saved by living with his parents in Glenn Dale. He worked a few shifts a week at an information technology internship for about half a year in 2017. He also attended graduate school at Towson University from 2016 to 2018—just in case the whole running thing didn’t pan out. Ibadin accrued roughly $16,000 in student loans that he’s still paying off.

On top of that, Ibadin would wake up at 5 a.m., head to the New Carrollton Metro station and ride the train to Rosslyn, where Tom Brumlik, the coach for District Track Club, would pick him up for weekday practices at Washington-Liberty High School (formerly Washington-Lee) in Arlington or on the C&O Canal.

His family and friends started to worry. A “decent amount of people” in his life, Ibadin says, didn’t understand his dedication to running.

“It was kinda like you need to face reality, like, ‘Why are you doing this? You’re not getting that much money out of it,’” Ibadin, 26, recalls his parents saying. “Those were the main things: ‘You got two degrees, like what are you doing?’”

ThE lack of financial resources in the postcollegiate world of running can act as a barrier for promising athletes attempting to enter the professional ranks. And without a national league like in team sports, there’s no set path for talented runners to follow. The individualistic nature of track and field also makes it difficult for athletes to compare their situations against a standard.

Will Crocker ran his fastest time in the 1,500 meters (three minutes, 41.44 seconds) while

competing for the District Track Club, which launched in January of 2016 from the efforts of Brumlik, long-time track coach Drew Mearns, and two-time Olympian Matt Centrowitz, the former American University cross-country and track and field coach.

Crocker joined the team in January 2017 after finishing his eligibility at the University of Missouri, where he holds the school record in the 1,500-meter race (3:41.89). Crocker says he was good enough to keep running, but “just not good enough for a team, an elite sponsored group.”

District Track Club, which at the time did not have a sponsor, was one of the few clubs willing to give Crocker an opportunity. While in the D.C. area, he worked at Potomac River Running and lived in a four-bedroom house in Arlington with five other runners. The club paid for his housing.

Crocker looks back fondly on this time, but calls it “definitely a struggle.” He lived in the basement lounge in a small room inside the utility closet next to the water heater and furnace. He put up plywood in front of both and threw carpet on the ground to make his bedroom slightly more livable. The “room” did not have a closet.

He would sleep in one of the bedrooms when his roommates were out of town—with their knowledge, of course.

“I pretty much lived out of my bags,” Crocker says. “I brought four, five duffle bags and suitcases and left everything in there. I had portable hangers for things that needed to be hung up … But we made it work. Most of us came close to [reaching a personal record], so we made the most of our situation.”

After about eight months, Crocker returned to Missouri. He owed somewhere between $70,000 and $80,000 in student loans, and payments had kicked in. Crocker says he could not justify living the semi-pro runner lifestyle for much longer.

He is now the head track and field and cross country coach at Westminster College, a Division III school in Fulton, Missouri.

“Probably 90 percent of the reason I left was mostly the financial situation,” Crocker says.

“Most of what we were doing came out of Tom’s pocket and some other grants and aid from other people ... The housing situation wasn’t the best ... and the Arlington area isn’t the cheapest place to live. We were doing what we could to survive. It

8 july 19, 2019 washingtoncitypaper.com

Edose Ibadin and Quamel Prince running a track workout at Episcopal High School in Alexandria

MONEY

By Kelyn Soong

Photographs by Darrow Montgomery

just wasn’t the lifestyle that I was really enjoying … Since then, they’ve done a great job of getting athletes in better situations where they can thrive and be able to work as a runner.”

TalenTed posT-collegiaTe runners who want to stay in the D.C. area have few options. Clubs, while growing, are still relatively rare and located in only select cities. Besides District Track Club, which primarily focuses on 800and 1,500-meter runners, Georgetown Running Club has the biggest membership of elite postcollegiate runners.

There’s also the Maryland-based Riadha team, but most of its athletes reside elsewhere.

District Track Club wants to fill the void left by the Reebok Enclave, which had successful professional track and field athletes among its ranks from 1993 until it folded in the early 2000s.

About 40 men and 30 women compete for Georgetown Running Club, according to its coach, Jerry Alexander. But unlike District Track Club, Alexander’s runners work full-time or are full-time graduate students.

New Balance sponsors Georgetown Running Club, but none of the athletes have individual contracts. Members pay a $75 annual fee and the club provides New Balance gear, coaching, and logistical support in terms of entries for races. Alexander declines to give specific terms of its deal with the shoe company.

“Even with All-Americans, there’s not necessarily a lot of options where you’re gonna get paid,” he says. “So if you want to continue your career, there’s not a lot that’s analogous to what we do at GRC. In D.C., there’s the District Track Club and GRC. Their mission [is] a little different than us and a little higher level, but they don’t have true distance runners. If you’re looking to move up to [road racing], we’re pretty much the only game in town.”

When Michael Crozier graduated from Georgetown University last May after earning second-team All-American honors at the 2018 NCAA outdoor track and field championships in the 10,000 meters, he thought he’d never race on the track again.

He spent six years studying and had received a master’s degree in public policy. The life of a regular 24-year-old Georgetown graduate awaited. But still, Crozier wanted to know his postcollegiate running options. A few developmental groups were interested, Crozier says, but he would have had to move.

In the end, Crozier decided to put his degrees to use instead.

“I’m not going to get a Nike or Adidas contract. I’m not going to go race in the Tokyo Olympics,” he says. “For me, it wasn’t really worth it.

It’s kinda like the starving artist situation. You either have a Nike or Adidas contract or a really good ASICS or Brooks deal and you’re doing all right. You’re making maybe $30,000, maybe $100,000 with some benefits, or you get gear, travel stipend, and massage once a week and that’s it—if that, and that’s pretty good. I was looking at probably the latter, maybe $500 stipend a year, gear, some health coverage for massages, travel to races. That to me was like, why did I work so hard to get a master’s degree at Georgetown to put that on hold?” washingtoncitypaper.com july 19, 2019 9

“If you really want to be good at running I learned that you can’t be 99 and one, you have to be a hundred point zero,” he adds.

After pacing a friend in a road race, Crozier got the itch to race again, and recently joined Georgetown Running Club, where he can train with elite runners but not feel the pressure of having to run on a shoe contract.

It’s the perfect combination for runners like Crozier and Melissa Salerno.

The 32-year-old Salerno joined Georgetown Running Club last year after spending several years as a sponsored, professional runner for the Furman Elite post-collegiate club in Greenville, South Carolina.

Furman Elite paid Salerno quarterly, and also provided housing, food, and travel for the athletes. She estimates that the cash value amounted to “around $12,000.” Salerno competed at the 2012 and 2016 Olympic Trials for the 1,500 meters and her then agent, Paul Doyle, was able to get her appearance fees for pacing jobs (known as “rabbiting”) during races, where she made between $400 and $500. She paid Doyle 15 percent of anything she made, a typical fee for agents in the sport.

But Salerno missed working. After graduating from Fordham University, she did research for Memorial Sloan Kettering Cancer Center and valued time away from the track. The low pay in the sport and the stress of running professionally wore her down.

“A fellow runner said to me at some point in my career, ‘Well you might just have to go into a bit of a debt.’ And I was just like, that is not a reasonable solution for me,” Salerno says. “I have no idea if that’s what people do, but I just remember that being a huge source of stress for me after having left my job. It was one of the main motivators for me to want to get back to working ...

It takes a really special person to focus solely on running and it wasn’t just the case for me.”

Salerno moved to D.C. last year and now works for Children’s National Health System as a clinical research program director. She has not raced on the track since 2016, but runs workouts with Georgetown Running Club and plans to run a half marathon this fall.

“It’s a crazy world,” she says of professional running. “I was a part of it for eight years and was really happy, but honestly, I like being a part of GRC just as much.”

Georgetown Running Club members

GeorGetown University alUm Josette Norris is all-in on professional running. She had her best season during her last year of school. As a fifth year graduate student, Norris capped her college career with a fourth place finish in the 5,000-meter run at the NCAA outdoor track and field championships this June.

She recently hired prominent track and field agent Ray Flynn, and is considering several options with different post-collegiate groups. One option would be to run for District Track Club while training under her Georgetown coach, Julie Culley.

Norris says she probably won’t make a decision until after the USA Track & Field Outdoor Championships in Des Moines, Iowa, next week, where she is slated to run the 5,000 meters. She recently lowered her personal records in both the 1,500 and 5,000 meters in races against professional runners.

“Now that I’ve exposed myself a little more, I’ve shown that I can handle some races with pros,” she says. “I want to continue racing because I feel I still have more in me.”

Michael Crozier 10 july 19, 2019 washingtoncitypaper.com

Last week, Norris attended the RunPro Camp hosted by the Road Runners Club of America at the Holiday Inn in Rosslyn. The camp, which completed its eighth edition, is designed to connect aspiring professional runners of a certain caliber with industry leaders as they begin the next chapter of their running careers.

Norris was one of 13 post-collegiate runners who attended the two-day camp that included panels featuring speakers from USATF, different elite training groups, and sports agents.

“What RunPro Camp does is to say, based on the financial difficulties in running, this is sort of the financial reality,” says program manager Andy Smith. “You graduate from college, you had the support system in place in terms of coaches and training systems. You had times and talent to suggest that you can run professionally.

How do you go about doing that when there isn’t the prescribed track or obvious track like in other sports? That’s the goal of the camp.”

The process of choosing a team reminds Norris of the college recruitment process. Except now, she’s choosing how to make a living. Because there isn’t a league or collective bargaining agreement in track and field, salaries are not made public. In reporting for this article, most athletes declined to give specifics about their contracts out of concern of breaking trust with their sponsors.

Last September, the running-focused website LetsRun.com polled agents on how much they estimated professional runners made. In a list of “distance stars,” the agents that the site polled guessed an average of well into six figures for some of the top runners in the country, but their average estimate for professional steeplechaser Courtney Frerichs one year out of college was $60,000.

Culley, who qualified for the 2012 Olympics after finishing first at the Olympic Trials in the 5,000 meters, signed with ASICS in 2010 and says the company paid her $22,000 a year. Dur-

ing that time, she continued to work as an assistant coach at American University and estimates she pulled in around $32,000 to $35,000 total with work and performance bonuses.

Claudia Saunders, a District Track Club athlete, ran for the Brooks Beast group in Seattle after a standout career at Stanford University and says she made around $40,000 for the year.

“That’s considered a really good contract,” she says.

Due to the secrecy in salaries, it’s hard for runners to advocate for themselves. Running contracts are notoriously cutthroat. Most, if not all, have performance requirements written into the language, according to track and field agents, and some include reduction clauses, which means companies can reduce compensation if athletes don’t meet performance goals.

“Unfortunately it definitely contributes to brands being able to give people less, because we don’t know what other people are making,” says Saunders. “Honestly, I don’t know why ...

Unfortunately, it stops [runners] to ask for more or what they deserve. They don’t know if someone is making three times as much.”

John Hricay, a licensed agent—or athlete representative, as the industry prefers—agrees with Saunders that more transparency would help the sport. He believes some of the power lies with the runners in creating change, and points to the controversy over how shoe companies, including Nike, stopped paying women while they were on maternity leave.

The companies reversed course after some prominent female athletes spoke up and the subsequent outcry from sports fans.

“Greater transparency, I would love to see that,” Hricay says. “It’s not there. Being able to now not have contracts reduced during pregnancy, that’s great. Six months ago I would’ve been like, ‘No, that would never happen.’ But one article in a high-placed newspaper and change was made. I’m amazed. And that’s Allyson Fe-

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lix, who’s on the highest of pedestals in this sport.

She’s proven herself to be a great ambassador and great athlete, and she took a stand.”

And while Hricay praises how the U.S women’s soccer and hockey teams have been able to advocate for more money, he predicts it would be far harder for track and field athletes to come together.

“Try and organize them,” he says. “You can’t even organize a college team. There’s a shot putter, a triple jumper, a long jumper, a distance runner. They all have different priorities. They don’t train together. They don’t know each other. It’s hard to have a union with people who don’t have anything in common.”

For DuFFy Mahoney, USATF’s chief of sport performance, the return on investment for the governing body is medals. In 2017, USATF spent $16 to 18 million of its $33 to 34 million budget on direct and indirect athlete support, Mahoney estimates.

The USATF developed a tier system in 2011 and 2012 in which it supports the most accomplished athletes and those with the most potential across all the sport’s disciplines. Tier 1 athletes must have medaled in either or both of the two most recent world major championships or Olympic Games or achieved a top world ranking by Track & Field News in previous years to qualify for USATF and United States Olympic & Paralympic Committee benefits. The more accomplished the athletes are, the more money and benefits they can receive from the governing body.

Many elite post-collegiate runners would not qualify for this list.

Below the four-tier system, there is also minimal support for developmental athletes, which Mahoney admits is not the biggest priority of the federation.

“I’m a sports businessman, a general manager, and my business is medal attainment at Olympic Games and world championships,” he says. “I’m looking for return of investment ... our business is medal attainment. 83 percent of medals are won by tier 1 athletes, only 7 percent of individual medals are won by tier 2. So where should our investment be? Where’s the better return on investment? We’re doing it. That’s why our tier program is structured the way it is with very stringent requirements. It’s one of the things that leads it to tiers that are producing medals.”

While USATF has been criticized by its runners, Hricay, who works for HAWI Management, says that a governing body operates differently than a sports league.

“It’s like, oh why isn’t USATF marketing us better or whatever. That’s really not USATF’s job,” he says. “USATF’s job is to select the Olympic team and promote the sport.”

Athletes like Crocker still think more can be done. USATF listed a revenue of $35,085,838 for the 2017 fiscal year and had $33,667,946 in total expenses. In 2017, USATF chief executive Max Siegel made $1,146,130 in “reportable compensation” based on the federation’s tax form.

“I think they are a company that brings in a

lot of money, but don’t give a lot to athletes,” Crocker says. “More support from them … would be nice.”

The ThoughT oF eventually receiving a professional contract motivated Ibadin.

“In my heart of hearts, I knew my time would come,” says Ibadin, who graduated from DuVal High School in Lanham. “I knew if I stuck with it and kept the faith, good things will happen.”

In March, Ibadin signed his first professional running contract with Under Armour. The District Track Club has a one-year deal with the Baltimore-based athletic apparel company, retroactive to January. Ibadin, who has represented his parents’ native country of Nigeria internationally since 2017, can now focus solely on his running. There’s no homework, exams, or IT work looming over his head.

Four of the 10 District Track Club runners— Ibadin, Saunders, Maddie Kopp, and Quamel Prince—are contracted Under Armour athletes. They receive a quarterly stipend from the company, in addition to gear and travel expenses.

“I think [life has] changed, not going to say changed a lot, but definitely has changed.

I’ve been able to get checks that I haven’t gotten in a very long time,” Ibadin says with a laugh. “And just support from different people, different family members. Everyone is a lot more supportive of my running career now than they were before, which I’m not surprised about. Because when money comes in, everything automatically makes sense.”

The rest of the team—Jacob Dumford, Michelle Howell, CJ Jones, Andrea Keklak, David Timlin, and Alex Amankwah—are considered brand ambassadors and do not receive a quarterly stipend. The club helps some of the athletes out with housing, and most of the runners work a part-time job, including Kopp and Saunders. All are qualified for the Under Armour bonus structure given to athletes who make national or international teams or hit a certain time in races.

Brumlik declines to give specifics about individual contract, but says the group receives “under six figures in cash.”

“Ten athletes plus four staff members making ends meet off of under $100K is not a high number,” he writes in a text.

At the recent DC Road Runners Track Championship, Ibadin got caught behind a few runners rounding the first corner of the fastest heat of the elite men’s 800-meters. He spent the next lap and a half trying to gain a better position. In the final straightaway, Ibadin went into a full sprint and crossed the finish line in fourth place, with a time of 1:46.50.

Prince, his Under Armour teammate, won the race in 1:46.06. Erik Sowinski, who runs for Nike, took second, and Sam Ellison of the Adidas-sponsored Boston Athletic Association was third. Ibadin just missed out on winning prize money given out to the top three finishers.

But it didn’t matter. Professionals still get paid.

CP

Scene and

Heard

Made in Hong Kong Film Festival 24 Darrow Montgomery

July 19–August 18, 2019

Sightseeing, July 2019

For complete film listings and special events: freersackler.si.edu/films @freersackler The Thousand Faces of Dunjia

It’s too hot to spend time down on the unforgiving, shadeless Mall. Today is not the day to wander around whichever monument you’ve never visited or have only the faintest memory of.

It’s not too hot, however, to hide in the shade of Blagden Alley NW and engage in another sort of sightseeing. There’s always a sight to see in front of Lisa Marie Thalhammer’s “LOVE” mural, a group of regulars say.

It’s also too hot for black leather pants, but that isn’t stopping the tall, blonde model who is, today, posing with, or for, a motorcycle. It takes a village to get whatever it is they’re after, and a photographer and a man charged with handling the vehicles accompany her.

It doesn’t take long before the spectacle draws a crowd. It’s at once elegant and ludicrous—the glamor of a professional photo shoot juxtaposed against the Sunday morning heat and people venturing out for the first time that day to get coffee and baked goods.

The model is now balanced precariously on the bike in a position entirely inappropriate for riding. Her feet are on the handlebars, for goodness sake. All eyes are on the photo shoot, and the trio is performing not just for future Instagram feeds or magazine pages, but for an in person audience, too. Inevitably, the phones come out to document the moment.

—Will Warren

Freer Gallery of Art, Meyer Auditorium Independence Avenue at 12th Street SW Washington, DC Metro: Smithsonian Free and open to the public

The twenty-fourth annual Made in Hong Kong Film Festival is coorganized by the Freer|Sackler and the Hong Kong Economic and Trade Office.

hongkong.org

Will Warren writes Scene and Heard. If you know of a location worthy of being seen or heard, email him at wwarren@washingtoncitypaper.com. washingtoncitypaper.com july 19, 2019 13

DCFEED

Georgetown is getting a restaurant that serves everything from Thai grilled pork to sushi on a stick. Sticx is scheduled to open in the fall from the same owner as Bandoola Bowl.

Alphabet Soup

At local restaurants, staff language lessons are a perk that also improves work culture.

Darrow Montgomery

By Laura Hayes

Daniela Moreira and Andrew Dana of Timber Pizza Co. Daniela Moreira knows what it’s like to work in a kitchen where you don’t fully understand what your colleagues are saying. “I experienced how awful it is not being able to communicate,” says the chef and partner of casual hits Timber Pizza Co. and Call Your Mother. She moved to the U.S. from Argentina in 2010 at age 20 to learn English and continue a career in cooking.

When Moreira landed an au pair job in the District, she tried to enroll in English classes at Carlos Rosario International Public Char-

YOUNG & HUNGRY

ter School, but didn’t gain admittance through the school’s lottery system. Instead, the school accepted her into its culinary arts program in 2011 even though her English skills weren’t where they needed to be. She was at level two not level four, but promised to study.

After winning a scholarship to continue her studies at the Culinary Institute of America, Moreira moved to New York where she also worked a five-month stint at Eleven Madison Park in Manhattan. Moreira returned to D.C. with a plan to continue working in fine dining, until Timber Pizza Co. partner Andrew Dana intercepted her at a farmers market. The strangers met while fighting over the

14 july 19, 2019 washingtoncitypaper.com

last carton of eggs at one of the stands.

Now the duo are business partners, romantic partners, and part of a group of restaurateurs on a mission to improve work culture by offering employees language lessons. Some provide free English classes while others encourage their English-speaking workers to learn Spanish since Salvadoran, Honduran, and Mexican immigrants man many D.C. restaurants. Dana and Moreira are doing both.

“For a long time we only had kitchen managers who spoke English,” Moreira says.

“Kitchen workers would come to me saying they didn’t like how the kitchen managers talked to them. It was just the tone. When

you don’t understand the language at all, it can come off as rude or not polite.”

As a result, she says, “Everything fell on me.

All of the translation. We were never able to delegate, even though we had a director of operations and managers. The Spanish speakers still came to me. When we opened Call Your Mother, I couldn’t be in two places at once.”

Sending workers to Carlos Rosario wasn’t a viable option because students must be D.C. residents. “Most of my employees live in Maryland and Virginia and they have two jobs, three jobs, and families,” Moreira says. She arranged for an English tutor from the school to come to Call Your Mother for weekly lessons.

The restaurant covers the cost, and so far, 15 employees are participating in the class that started this month.

Moreira also connected with CEDA—a nonprofit that fundraises for communities in need in Argentina. One of the organization’s programs is an eight-week Spanish course taught at the Argentine embassy. Eleven students from Call Your Mother and Timber Pizza Co. are currently signed up, including Dana.

“I need to learn Spanish so that I can communicate with [Moreira’s] family when we visit Argentina now that I’m her main squeeze,” he jokes.

The partners will cover the cost of the course so long as employees attend at least 75 percent of the classes. To develop an impactful curriculum, the Spanish language instructor visited the restaurants to learn what phrases might be most useful to improve communication between an English-speaking front-ofhouse and a predominantly Spanish-speaking back-of-house.

“There’s everyone from a mobile pizza maker to me, the owner, to a front-of-house manager taking the class,” Dana says. “The thing about the Spanish classes is that they’re almost in solidarity with the people learning English. Learning a new language is super hard ... Why is the onus on one side of the restaurant?”

So far it’s a hit, according to the partners.

“They’re already talking to each other and trying to practice,” Moreira says. “I think people are always looking to better themselves across the board,” Dana adds. “They’re more excited to go to class than to work. A little effort goes a long way. They also see us in the class. They see me in there speaking my broken-ass Spanish.”

Chef Cable Smith’s Spanish is coming along “fantastic,” according to his teacher.

The executive chef of The Royal in LeDroit Park has been studying for a year and a half, and moved to D.C. from Texas in March 2016.

“There are a lot of Latin workers in Texas, but

DCFEED everyone speaks English,” he generalizes. “I was surprised when I got here that 90 percent of my staff doesn’t know a word of English. It was incredibly hard to be an effective leader.”

But Smith soon learned of an ace in the hole.

The Royal’s co-owner, Paul Carlson, has a Colombian mother who taught English for more than 40 years. “I found out that Gloria used to teach CIA and FBI students Spanish and they’d be fluent in five or six months,” Smith says.

Gloria Carlson, who is also a co-owner at The Royal, taught Spanish around the world throughout her husband’s foreign service career, including a long stretch in California at a specialized language school used by the government. She was also the star of Let’s Speak Spanish with Gloria, a local cable access show that aired in Ventura, California, in the late 1970s.

“We started doing one class a week,” Smith says. “She had her old notebooks that she used to teach out of.” They began with basic Spanish and verb conjugation before tackling specific situations that might occur in a professional kitchen. Smith has homework, and sometimes he and Gloria go on field trips where they can only speak in Spanish.

“He has to study a little bit since we don’t have class every day,” Gloria says. “We don’t have the time we need, but he’s doing excellent … I tell him he has an excellent accent. It’s fantastic. He’s doing fantastic.”

Smith says some of the cooks have joked that it was easier to share secrets before he could understand them, but for the most part, they appreciate that the chef is making the effort.

“Most of the problems with the industry is this lack of communication,” Smith says. “It causes a whole bunch of problems. Even with things like harassment—people feel nervous communicating about a problem that has happened.”

“I’m very surprised sometimes about how people work without being able to communicate,” Gloria adds. “Probably a lot of restaurants in the restaurant world should do something similar. I wish we could get somebody to teach English too. It’s important.”

Two of D.C.’s major restaurant groups agree. Both JL Restaurant Group and ThinkFoodGroup offer free English classes. “It’s important for personal growth for the employees,” Jamie Leeds says. The restaurateur has 300 employees across the four Hank’s Oyster Bar locations, plus Hank’s Cocktail Bar and Hank’s Pasta Bar. “It was something that was brought to my attention that they wanted. I want to provide things they want to improve their lives.”

Staff can pick where they’d like to take classes and JL Restaurant Group will reimburse the cost of the program up to $500 per person per year. An enrollment form recommends classes at Teaching House Washington and Washington English Center, both in Northwest. Leeds says she implemented the program four months ago

and while no one has signed up yet, several staff members are researching their options.

The English classes could be considered a work benefit—something the restaurant industry isn’t known for due to a number of factors from slim profit margins to high employee turnover rates and the fact that many restaurants still staff their dining rooms and kitchens with part-time workers.

As the industry continues to shed its reputation as a stopover point instead of a place to have a long professional career, access to benefits should increase. Leeds, for example, says she’s already providing parental leave; giving hourly workers vacation time; and is working to implement a 401K program by year’s end.

Offering such benefits, including the English classes, can help with employee retention. “It’s an important part of our world right now with the competition for good employees and staff,” Leeds says. When an employee improves his or her language skills, restaurant groups can promote from within, propelling an entry-level employee to a role with managerial duties.

ThinkFoodGroup is hoping to do just that— help employees grow within the company that locally includes Jaleo, Zaytinya, China Chilcano, Oyamel, barmini, minibar, and Beefsteak—with its new English language program. The first class, which has been in development for 18 months, kicks off this week with 16 participants and targets back-of-house employees such as dishwashers and cooks as well as food runners who bring plates from the kitchen to diners. While there were no real restrictions, ThinkFoodGroup invited long-tenured employees to participate first.

“In the long run it helps ThinkFoodGroup because we want to bring these people into the next role,” says human resources manager Donna Giarratana. “We can’t move [them] from one role to another if they’re struggling.

My goal is once this goes through, I’m going to monitor and see where the employees go with us. Like if a line cook becomes a sous chef.”

ThinkFoodGroup teamed up with the Literacy Council of Northern Virginia’s Destination Workforce initiative to implement the 16-week course that meets twice a week at ThinkFoodLab on Pennsylvania Avenue NW. Like CEDA did at Call Your Mother and Timber Pizza Co., Destination Workforce visited the company’s restaurants to speak with employees in various roles to learn how to best customize the course.

“But it’s everyday stuff too,” Giarratana says.

“We want to help them at home too.”

The ThinkFoodGroup course will culminate in a graduation ceremony. Meanwhile, the Timber Pizza Co. and Call Your Mother team plans to party. “The Argentinian Embassy said they’d throw a mixer at the end where we drink Argentine wine and speak Spanish to each other,” Dana says.

Moreira responds, “Mas vino, por favor.” CP

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washingtoncitypaper.com july 19, 2019 17

Ian Fay

CPARTS

New multipurpose arts space The Cheshire opens in Adams Morgan. washingtoncitypaper.com/arts

Over the Moon

More than a decade after removing it from view, the National Air and Space Museum puts Neil Armstrong’s spacesuit back on display.

By Kayla Randall

18 july 19, 2019 washingtoncitypaper.com

Jim Preston/Smithsonian

The knees of Neil Armstrong’s spacesuit are covered in moon dust.

On July 20, 1969, astronauts of NASA’s Apollo 11 mission—Armstrong and Buzz Aldrin—landed on the moon as Michael Collins orbited above. When Armstrong later walked on its surface for more than two hours, lunar dust dug deep into the fibers of his suit.

“Lunar dust is very angular and sharp and abrasive,” says Lisa Young, an objects conservator at the National Air and Space Museum. “So it’s actually embedded in the fibers of the suit now. It’s not going to brush off.”

The dust remains there 50 years later, as the National Air and Space Museum presents Armstrong’s suit in its full glory for the first time in 13 years. While the museum intends for the suit’s home to be Destination Moon, a new display set to be completed in 2022, the staff knew they had to bring the suit back to public view to coincide with the 50th anniversary of the moon landing this Saturday.

It was officially unveiled Tuesday, July 16, 50 years after the Apollo 11 crew departed Florida’s Kennedy Space Center atop a Saturn V rocket. Among the VIPs in attendance were Vice President Mike Pence, NASA administrator Jim Bridenstine, former NASA chief scientist and current John and Adrienne Mars director at the museum Ellen Stofan, and members of the Armstrong family, including his eldest son, Rick.

The last human lunar landing occurred in 1972, with the Apollo 17 mission. Bridenstine says that NASA plans to return to the moon by 2024, but Apollo 11 may always be considered “humanity’s highest achievement,” according to Stofan. The Armstrong spacesuit is the physical embodiment of that achievement.

The suit has been to the moon and back, and as a result, it’s coated with evidence of its cosmic adventures. Like the Friendship 7 capsule that took John Glenn into orbit, it’s a tangible symbol of American space exploration.

For Smithsonian conservators, keeping that historic and scientific evidence was key to bringing the suit back to the museum and displaying it in a better way.

“You don’t really train in graduate school for working on spacesuits,” says Young. But she and other conservators are

Neil Armstrong’s spacesuit in its new display case at the National Air and Space Museum

able to use their knowledge of materials and apply that knowledge to the task at hand. “It became obvious to us studying the materials that they were breaking down faster than we anticipated and we would have to do more research to stop that.”

Young’s work to conserve the suit consisted of documentation, research, and interviews with people who built the suit.

“The materials were not designed to last for a very long period of time,” says Cathleen Lewis, a curator in the museum’s space history department. “They were designed to withstand the harshness of outer space, but not so much the harshness of life here on Earth with one gravity, humidity, and cycling temperatures throughout the year.”

The suit’s materials are synthetic, and they go through processes of deterioration according to their chemical composition. The sheer number of materials present makes that degradation more multifaceted.

“The spacesuits are really complicated because they’re made of 21 materials, and they’re layered together to protect the astronauts on the moon,” Young says. “You can’t really separate the materials to actually do your treatment.” Young and her team had to do a CT scan of the suit and look inside at a 3D model of the layers.

X-rays of the suit allowed them to assess what was stable and what was causing problems. The rubber bladder, which kept Armstrong pressurized and lines the interior of the suit, proved to be the most troublesome.

“It’s become very stiff because the rubber has hardened and it has the potential to crack and break,” Young says. “We can’t take that out.”

Taking the suit apart was not an option. “There’s so much history wrapped up in the fact that Neil Armstrong wore it that we’d be very hesitant to do that,” she says. “If it was self-de-

CPARTS

Dane Penland/Smithsonian

structing because of this rubber problem, and there was no other way to save the spacesuit, it would mean a very big decision. Every mark on the outside of the suit, even though we could repair some of that, is actually showing evidence from his activities on the moon or when he was in the command module.”

The conservation crew had to figure out how to keep the suit stable and determine, among other things, whether or not it needed to be ventilated.

“The rubber is still slowly degrading over time, releasing acidic gases into the suit, so it’s harming some of the other materials,” Young says. “Our new mannequin actually allows airflow through the suit, and we bring this airflow through the suit to keep these gases from building up.”

The outer section of the suit is made of glass fiber cloth, intended to potentially decrease impact from meteorites on the surface or puncture to the inner layers that kept the astronauts safe. Those layers are pretty much stable, says Young, despite a bit of damage.

Conservator Lisa Young works on Neil Armstrong’s spacesuit.

Then there is the lunar dust, which Young wanted to preserve in place. “We worked really hard to clean The National Air and Space Museum acquired the suit from the surfaces of the suit where the lunar dust isn’t, using super tiny vacuums,” she says. “Our challenge is leaving those pieces of his- NASA in the early 1970s, and displayed it in the Apollo to the tory on the object and not removing, repairing, or changing them.” Moon gallery until 2006. Young says the museum likes to roThe team rigorously documented the outside of the suit to make tate its collections and give objects a break, and she knew it sure that in the future, no one mistakenly removed or disturbed it. would take a long time for her team to research what it would

take to display the suit correctly again. The Air and Space team also wanted to digitize the suit. A complete 3D model is now viewable online.

A 2015 Kickstarter campaign, which met its $500,000 goal in five days, paid for the conservation treatment, the new mannequin, the display case, and the digitization process. The extra $219,779 raised on Kickstarter will go toward conserving the spacesuit worn by astronaut Alan Shepard, the first American to travel into space.

“Some people could only give a dollar,” Young says. “When you give money to the Smithsonian, you’re usually a very large donor. So we wanted everybody, like the average citizen, to be able to participate.”

To Young’s delight, a class of students in California collected one dollar each to help conserve the Armstrong suit and sent the money in through their teacher.

The Air and Space Museum is celebrating the 50th anniversary of the moon landing all week, as are many other local institutions, from the National Archives to the National Gallery of Art. The museum is even projecting a massive rocket onto the Washington Monument every night through July 20. But the Armstrong suit’s return to display may be the moon landing celebration’s crown jewel.

“It’s not only an artifact and icon of the Space Age, but it’s also a machine that was built by people,” says Lewis.

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GALLERIESSKETCHES

OBJECTS IN SPACE By the Light of the Silvery Moon: A Century of Lunar Photographs

At the National Gallery of Art to Jan. 5, 2020 In Gallery 22, encompassing two small rooms in the National Gallery of Art’s West Building, is more than 100 years of moon documentation.

The exhibition is By the Light of the Silvery Moon: A Century of Lunar Photographs, and it is mighty despite its compact space. The showcase is fundamentally about how humans have always looked to the skies, their curiosities set on the bright celestial body we see at night— Earth’s natural satellite. It reveals how we understand the cosmos, and how we understand ourselves in it.

“As the brightest and biggest object in our night sky, as something that wanes and waxes and that appears and disappears with near cyclical regularity, the moon has fascinated humanity for centuries on centuries,” says Sarah Greenough, senior curator and head of the National Gallery of Art’s department of photographs.

Diane Waggoner, who curates 19th-century photographs at the National Gallery of Art, put the exhibition together, and the gallery timed its opening with the week of the 50th anniversary of the moon landing. Waggoner set out to present some 50 works from the 19th century to the Space Age in the 1960s in an exhibition that blends art and science.

From wall to wall, By the Light of the Silvery Moon is an enchanting selection of lunar photographs. The first room of the exhibition is dedicated to the 19th and early 20th centuries; the second room chronicles the 1960s and the lead-up to the 1969 Apollo 11 mission.

“Photography was introduced to the world in 1839,” Waggoner says, “and literally the idea of photographing the moon went hand in hand with that announcement because it was announced publicly at the French Académie

“Buzz Aldrin Poses with Flag,” July 20, 1969/NASA des Sciences by a man named Francois Arago, who was an astronomer himself.” In his speech, she says, he spoke of this wonderful new invention—the daguerreotype—and how it would lead to being able to make new discoveries about the moon.

The earliest moon photography could not convey many details of its surface, only its shape. It wasn’t until the 1850s that photographers could capture lucid shots of the moon, Waggoner says.

The moon is in constant motion, making capturing it back then more complex.

Two amateur astronomers, Warren De La Rue and Lewis Rutherfurd, solved this problem by tinkering with technology, and their work is on view, including De La Rue’s beautiful late 1850s stereoscopic glass transparency of

“Full Moon,” 1858–1859, printed 1862/Warren De La Rue 20 july 19, 2019 washingtoncitypaper.com

the full moon and Rutherfurd’s 1860s albumen prints showing lunar phases. Displayed with the stereoscopic photo are a pair of stereo viewers, enabling visitors to find the right resolution on the image, which makes the moon pop out.

One of the biggest exhibition highlights is the suite of Charles Le Morvan’s rich photogravures from Carte photographique et systématique de la lune (1914). The photogravures were Morvan’s attempt to systematically map the moon’s entire visible surface—and the gallery massively splays them out on a single wall with that intended effect in mind.

The most awe-inspiring display in the exhibition is the set of glass stereographs from the Apollo 11 mission. Taken by astronauts Neil Armstrong and Buzz Aldrin, the stereographs show close-up views of 3-inch square areas of the moon’s surface. On the display is a viewing glass, allowing visitors to look down and see the lunar surface in extreme, stunning detail.

Seeing the lunar surface that closely is magical, and likely the closest anyone who isn’t an astronaut can get to seeing the real thing.

While many photographs of the moon alone are breathtaking, some of the snapshots depicting humans are just as warmly received. The iconic NASA images from the Apollo 11 mission, like the astronauts planting the American flag and Aldrin’s footprint in the lunar soil, are also on view. In addition, there are images that capture the aftermath of Apollo 11, such as a gelatin silver print of

the stateside celebration when the mission’s three astronauts came home safely, and a chromogenic print of the astronauts smiling at their wives while in quarantine upon returning to Earth.

Armstrong’s photos of Aldrin, particularly the shot with his own reflection in the astronaut’s helmet, still deeply resonate. One of the most profound images in the Apollo 11 selection of the exhibition displays an American soldier in Vietnam, holding a gun in one hand and a small transistor radio in the other, as he tries to keep up with Apollo 11 news while wading waist deep into a delta.

NASA’s “Earthrise across Mare Smythii” is a showstopper: a photo of the Earth from the surface of the moon during the mission, the deep black and twinkling stars of outer space surrounding it. It’s an image that can stick with you long after you leave the display, and worthy of being mounted in any museum.

With this showcase, the gallery invites visitors to think of the moon in terms of art. Documenting the moon is a scientific endeavor, but as it’s illustrated so well in this exhibition, that endeavor can also provide seriously moving art and aesthetics. Like the moon above, the National Gallery of Art’s By the Light of the Silvery Moon is worth seeing up close.

—Kayla Randall Between 3rd and 9th streets on Constitution Ave. NW. Free. (202) 737-4215. nga.gov.

THEATERCURTAIN CALLS TICKETS ON SALE NOW!

TONIGHT!

SATURDAY!

SHERYL CROW

SOJA SUBLIME WITH ROME

PATRICK DRONEY

JUL 18

COMMON KINGS

JUL 20

WEDDING BELL BLUES Bright Colors and Bold Patterns

By Drew Droege Directed by Michael Urie At Studio Theatre to July 28

When old friends gather to witness the nuptials of a member of their group, things inevitably get a little weird. Maybe a single guest becomes so distraught over the outward displays of love that they end the night in tears, reflecting on their own solitude. Maybe people overimbibe and end up revealing their honest thoughts about the couple, their families, and other friends. Maybe recollections of the good old days end up wounding the new members of the group. In Drew Droege’s effervescent monologue Bright Colors and Bold Patterns, one man ticks all of the above boxes over the course of one evening.

We meet Gerry (an exuberant Jeff Hiller) at a Palm Springs rental house the night before his friends will exchange vows. His chaotic narration of his hours-long drive into the desert from Los Angeles leads his friends (and the audience) to suspect that something is amiss, and they’re right. Before all the self-reflection, however, comes the essential pre-wedding activity: bitching about your friend and the sacrifices you’ve made to be a part of their big day. Gerry dishes his critiques out generously, heaping particular attention on his friend’s drab in-laws and a harsh dress code that, as the title suggests, prohibits bright colors and bold patterns. The latter diatribe will resonate with anyone who’s been forced to spend hundreds of dollars to be part of a wedding party, but will never again wear the ensemble that has little use beyond enhancing the couple’s chosen color scheme.

Hiller fully inhabits Gerry and masters the subtle physical shifts that convey his relation-

ship to the characters he addresses, but we, the audience, never see. His side-eye alone is awardworthy, and as the hour gets later and Gerry gets more inebriated, Hiller alters his movements and volume accordingly. His margarita-fueled outrage garners giggles, but his early morning reflections on commitment and romantic love force audience members to stop and think.

Like the characters in another Studio gem, 2018’s The Remains, Gerry must reckon with the possibility of marriage, a social convention he never thought would be open to him as a gay man. As his mind clears and the sun rises, the realization that this aspect of life may pass him by hits as hard as a post-wedding hangover. The subtlety is a testament to Hiller and first-time director Michael Urie, who have pulled the nuance out of a script that could have easily veered into cliches.

Do not take this to mean that Bright Colors and Bold Patterns is a downer. For nearly all of its 80 minutes, the show shines like the Palm Springs sun. Dara Wishingrad’s set, which Gerry says looks like “Trina Turk and Betsey Johnson threw up Bacardi Razz, then sold it to Target,” captures the relaxed, slightly generic vibe plastered across airbnb.com and vrbo.com.

Also adding to the relaxed vibe: moving the bar from Studio’s second floor lobby into the Milton Theatre itself and replacing the traditional rows of seats with clusters of chairs and tables.

Presented as part of Studio’s summer SHOWROOM series, Bright Colors and Bold Patterns fills that essential entertainment void. It’s light enough for a post-work outing, delivers plentiful laughs, and allows the audience to absorb art and air conditioning at the same time. It might even help relieve the stress of those irritated about upcoming weddings they’ll attend, if only because they don’t want to show up like Gerry: hungover, dehydrated, and sweating through their inoffensive, light-colored clothes.

—Caroline Jones 1501 14th St. NW. $45–$55. (202) 332-3300. studiotheatre.org

BRUCE HORNSBY & THE NOISEMAKERS AMOS LEE JUL 24

DISNEY PIXAR’S COCO: IN CONCERT LIVE TO FILM

NATIONAL SYMPHONY ORCHESTRA JUL 27

REBA McENTIRE JUL 28

HERBIE HANCOCK AND KAMASI WASHINGTON JUL 30

STEVE MILLER BAND MARTY STUART

AND HIS FABULOUS SUPERLATIVES MATT ANDERSEN

JUL 31

LYLE LOVETT & HIS LARGE BAND

WITH SPECIAL GUEST MAVIS STAPLES AUG 1

E.T. THE EXTRA-TERRESTRIAL IN CONCERT

NATIONAL SYMPHONY ORCHESTRA AUG 2

NOSEDA CONDUCTS TCHAIKOVSKY & BEETHOVEN NATIONAL SYMPHONY ORCHESTRA

JUL 26

SARAH McLACHLAN

NATIONAL SYMPHONY ORCHESTRA AUG 3

ABBA THE CONCERT AUG 4

ROSSINI’S THE BARBER OF SEVILLE

WOLF TRAP OPERA LIDIYA YANKOVSKAYA, CONDUCTOR AUG 9

RINGO STARR & HIS ALL-STARR BAND AUG 10 + 11

STRAY CATS

40TH ANNIVERSARY TOUR

JAMES HUNTER AUG 13

SHANGHAI SYMPHONY ORCHESTRA LONG YU, CONDUCTOR AUG 14

™ & © Universal Studios.

washingtoncitypaper.com july 19, 2019 21

FILMSHORT SUBJECTS

CIRCLE OF STRIFE The Lion King

©Disney

Directed by Jon Favreau

Now Thru September 7 Only Opera House Best Availability Tuesday–Thursday and Sunday evenings 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

22 july 19, 2019 washingtoncitypaper.com

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“Can You Feel the Love Tonight” is a big romantic duet in The Lion King, and at one point the lioness Nala speculates about what her love interest Simba is thinking. She sings, “Why won’t he be the king I know he is? The king I see inside.” In this updated version with photorealistic visual effects, what we see in Simba is a dull, expressionless face. The song’s tension, therefore, is about as flat as the Serengeti plains.

Directed by Jon Favreau, whose remake of The Jungle Book was a huge critical and commercial success, The Lion King is a colossal blunder, a film so artless and bland that it may confuse younger audiences.

At first, there is nothing apparently wrong. Favreau recreates “Circle of Life,” with all manner of fauna congregating for the birth of Simba (JD McCrary as a cub, Donald Glover as an adult). Special effects may have never looked this realistic: You can see every wrinkle and hair on giraffes and zebras.

But after the dramatic title card, the lions start to talk and there is a dearth of Disney magic. In the original Lion King, all the animals were wonderfully expressive. They are not as anthropomorphized here, to the point where it is difficult to attach a voice with a face. It seems like the imagery and soundtrack are from two different films.

That lack of Disney magic is also present in the musical numbers. Chiwetel Ejiofor voices Scar, Simba’s uncle who ultimately commits regicide, and he performs “Be Prepared” without the wit or energy of Jeremy Irons’ iconic vocal performance. Favreau does not want his animals to be too human, so he abandons impressionistic flourishes like a fascistic hyena march. Even “Hakuna Matata,” a total crowd-pleaser of a tune, plays out with little creativity or passion. Billy Eichner voices Timon the meerkat, and he is the only actor who elevates the material: His voice is energetic and exaggerated enough to be engaging. If Disney learns anything from this fiasco, it should be to hire more skilled voice talent. Beyoncé stars as adult Nala, and while

she imbues “Can You Feel the Love Tonight” with emotion, she is much more skilled as a singer than as a voice actor.

The original Lion King was about 90 minutes long, and this version is nearly two hours. You may be wondering what Favreau and screenwriter Jeff Nathanson updated. Some scenes take longer to unfold, mostly as an opportunity to show off the animation’s rich detail. There are also some new sequences, like when a tuft of hair travels from Simba all the way to Rafiki (John Kani), the film’s spiritual center. At one point, that hair is swallowed and shat out by a giraffe, so there is a long sequence in which we literally watch a sphere of dung roll through the jungle. Without the 1994 film as a reference point, this Lion King would be bizarre at best, incomprehensible at worst. Long stretches require the audience to reference the older film, just so they can follow the new one.

The quality of the special effects is undeniable. It is amazing what artist and animator teams can accomplish nowadays, and The Lion King is at the forefront of moviemaking technology. What Favreau fails to understand is the greater purpose behind the special effects. The original Lion King is now technologically primitive, but it engages our emotions on a primal level. When Simba internalizes his guilt over his father’s death, we share his shame, and so we understand his reluctance to return home. The best special effects are not the most advanced, but the most engaging to our imaginations. That is why children return to Disney classics over and over again, and why they will regard this Lion King with indifference. Some of the faces, such as the warthog Pumbaa (Seth Rogen), are also too accurate (i.e. ugly) to establish anything close to a genuine connection.

In the 2005 documentary Grizzly Man, director Werner Herzog comments on the life of Timothy Treadwell, a man who communed with bears until they ultimately ate him alive.

He says, “In all the faces of all the bears that Treadwell ever filmed, I discover no kinship, no understanding, no mercy. I see only the overwhelming indifference of nature.” The same could be said about the creatures in The Lion King, who were once lovable and now deserve to be spurned.

—Alan Zilberman The Lion King opens Friday in theaters everywhere.

Merriweather Post Pavilion • Columbia, MD THIS FRIDAY!

Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot..... JULY 19

THIS SUNDAY!

THIS WEEK’S SHOWS

Beyoncé vs Rihanna Summer Dance Party ..................................... F JUL 19 Hot In Herre: 2000s Dance Party

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

JULY

FeelFree, Justin Trawick and The Common Good, The Dirty Grass Players and more! .......Sa 27

Brittany Howard of Alabama Shakes ......F 23 & Sa 24

AUGUST

with DJs Will Eastman and Ozker • Visuals by Kylos ........................F 30

The Faint w/ Ritual Howls & Closeness .......Sa 3 Tuxedo (Mayer Hawthorne & Jake One)

w/ DJ Cuzzin B .............................Su 4

No Scrubs: ‘90s Dance Party

SEPTEMBER T ADDED!

D NIGH FIRST NIGHT SOLD OUT! SECON

dodie .............................................F 6 Deerhunter + Dirty Projectors .....................Su 8 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Two Door Cinema Club ......Tu 10 Wilder Woods (Bear Rinehart of

U STREET MUSIC HALL WELCOMES

Amon Tobin presents Two Fingers ............................Th 8 Neurosis w/ Bell Witch & DEAFKIDS .............F 9 White Ford Bronco: DC’s All ‘90s Band ...................Sa 10 Sonic Youth: 30 Years of

NEEDTOBREATHE) ..................W 11

The Band CAMINO w/ Valley ..F 13 Barns Courtney w/ The Hunna Early Show! 6pm Doors ....................Sa 14 Marc Rebillet Late Show! 10pm Doors ...................Sa 14 Polo & Pan ..............................Su 15 Live .............................................M 16 Band of Skulls w/ Demob Happy ........................Th 19 Grace VanderWaal .................F 20 grandson w/ nothing,nowhere. .Sa 21 Ride w/ The Spirit Of The Beehive ......Su 22

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

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

DC Music Rocks Festival feat.

The Eli Lev Collective with special guest Jarreau Williams, More AM Than FM, and more!..Sa 17

MANY MORE SHOWS ON SALE!

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9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Cayucas ...........................Th JUL 18 Summer Salt w/ Dante Elephante & Motel Radio ......Su 21 Nilüfer Yanya w/ Pixx & Lucy Lu .....W 24

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

Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 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 Pentatonix * w/ Rachel Platten ........................................................... AUGUST 26 Vampire Weekend * w/ Christone “Kingfish” Ingram ..................... AUGUST 29 Morrissey w/ Interpol ..............................................................................SEPT 5 O.A.R. w/ Andrew McMahon in the Wilderness & American Authors ..............SEPT 7 WPOC SUNDAY IN THE COUNTRY FEATURING

Old Dominion • Michael Ray • Jordan Davis • Lauren Alaina • Dylan Scott • Jimmie Allen • Brandon Lay • Filmore .....................SEPT 29

Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com * Presented by Live Nation

U STREET MUSIC HALL PRESENTS

Daydream Nation Screening

9:30 CUPCAKES

LORD HURON w/ Bully ....................................................................JULY 23

CDE PRESENTS : 2019 SUMMER SPIRIT FESTIVAL FEATURING

SURPRISE! AT THE CLUB!

REV909: Daft Punk/French House Tribute & Indie Dance Classics with DJs Ozker and Keenan Orr • Visuals by Robin Bell ...................F 2

CHRYSALIS AT MERRIWEATHER PARK

THIS TUESDAY!

311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27

AUGUST (cont.)

THE CIRCUS LIFE PODCAST 6TH ANNIVERSARY CONCERT FEAT.

blink-182 (performing Enema of the State in its entirety) & Lil Wayne * w/ Neck Deep ........................................................................................................... JULY 21

Ibibio Sound Machine ................F 26 We Were Promised Jetpacks - These Four Walls 10th Anniversary w/ Catholic Action ........................Tu 30

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

THE BAND PERRY

....................................... OCTOBER 15

On Sale Friday, July 19 at 10am STORY DISTRICT’S

Breaking Bread: True Stories by

POLITICS AND PROSE PRESENTS

Ta-Nehisi Coates Celebrity Chefs & Industry Insiders . JUL 27 The Water Dancer

Book Tour .................................. SEP 26

AN EVENING WITH

Dawes ............................................AUG 6 ALL GOOD PRESENTS Nahko and Medicine Joey Coco Diaz ..........................AUG 9 for The People w/ Ayla Nereo . SEP 29 Antoni In The Kitchen ........ SEP 10 Emeli Sandé (Acoustic) .............. OCT 3 Criminal Podcast - Live Show .................................... SEP 11

METROPOLITAN ENTERTAINMENT PRESENTS

AN EVENING WITH

AEG PRESENTS

Tinariwen w/ Lonnie Holley ........ SEP 19 Zaz ................................................... OCT 4 The Waterboys ..................... SEP 22 Bianca Del Rio It’s Jester Joke ........................ OCT 18 Adam Ant: Friend or Foe .... SEP 23 Angel Olsen w/ Vagabon ............NOV 1 Cat Power w/ Arsun ................... SEP 25 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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

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

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

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

930.com washingtoncitypaper.com july 19, 2019 23

24 july 19, 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

July 19,21

Music 25 Theater 27 Film 28

23

with special guest Greg Leisz and Christy McWilson Celebrates The 25th Anniversary of King of California

25

Music FRIDAY

THE BACON BROTHERS DAVE ALVIN An Evening with

TAJ MAHAL QUARTET 26,28 JOHNNY GILL 29 THE ASSOCIATION

CITY LIGHTS: FRIDAY

SNAP SHOT

30

DJ NIGHTS

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 5032330. DJ Pauly D. 9 p.m. $25–$90. echostage.com.

ELECTRONIC

Aug

FUNK & R&B

3

2

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Morgan Page. 10 p.m. $20. soundcheckdc.com.

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700.

Freekbass & The Bump Assembly. 7 p.m. $13–$15. gypsysallys.com.

An Intimate Evening with

CLARE BOWEN & Friends with Imogen Clark KELLY WILLIS & BRUCE ROBISON “Beautiful Lie Tour” HOWIE DAY

Frank Viele

4

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Harriet Brown. 8:30 p.m.

Free. songbyrddc.com.

5

HIP-HOP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Stunna 4 Vegas. 8 p.m. $20–$70. fillmoresilverspring.com.

CHRIS ISAAK 8 JON B. 9 THE 9 SONGWRITER SERIES 10th Anniversary Show!

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Wiz Khalifa. 6 p.m. $21–$289.50. livenation.com.

6

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Shordie Shordie. 7 p.m. $15. songbyrddc.com.

JAZZ

DAVID ALLAN COE 11 MOTHER'S FINEST 13 LILA DOWNS WALLIS 15 THE WAIFS BIRD 16 BLOODSTONE

NATIONAL GALLERY OF ART SCULPTURE GARDEN 4th Street and Constitution Avenue NW. (202) 7374215. Miles Stiebel. 5 p.m. Free. nga.gov.

10

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Crack The Sky. 6 p.m. $28–$38. citywinery.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Nikki Hill. 6:30 p.m. $17–$20. citywinery.com.

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

Holly Montgomery Band. 10:30 p.m. Free. thehamiltondc.com.

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

Próxima Parada. 9:30 p.m. $12–$20. hillcountry.com.

17

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. The Skip Castro Band. 7 p.m. $20–$40. jamminjava.com.

19

with guests Billy Kilson & Larry Braggs

20

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

The Tijuana Panthers & Together Pangea. 7 p.m. $16.50–$20. rockandrollhoteldc.com.

WORLD

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Alfredo Mojica Group. 10:30 p.m. $5–$10. bossadc.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Raging Fyah. 10 p.m. $25–$50. unionstage.com.

SATURDAY CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. Maria Rizzo: Vamping. 2 p.m.; 8 p.m. $38. sigtheatre.org.

Double Vision Revisited with

BOB JAMES, DAVID SANBORN, & MARCUS MILLER

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Third Eye Blind & Jimmy Eat World. 5:30 p.m. $29.50–$79.50. merriweathermusic.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. The Chats & Teen Mortgage. 6 p.m. $10–$25. unionstage.com.

KIM WATERS WATERS

with special guest KAYLA

TAB BENOIT

“Whiskey Bayou Revue” with Eric Johanson

21

Photographer Gary Anthes traveled widely to produce the photographs in his Studio Gallery exhibit Snap Shot—to London, Paris, Buenos Aires, Portugal, and New York—but what he chooses to photograph in these different places doesn’t change much. Typically, his images depict a lone figure making their way through a world of flawlessly lit, weathered-chic architecture, featuring brick, stucco, and tile. Anthes’ most interesting works break this pattern, like a spooky butcher in a Havana market holding a long knife or a steep canyon in Ireland in mossy green and rocky gray tones. Anthes’ finest image, however, is an Ocean City, New Jersey, nocturne that features light reflecting off rain-covered boardwalk planks and robust diagonal lines converging into the horizon. The exhibition is on view to July 20 at Studio Gallery, 2108 R St. NW. Free. (202) 232-8734. studiogallerydc.com.

—Louis Jacobson

West Coast Jam with

RICHARD ELLIOT, PETER WHITE & DW3 featuring The West Coast Horns

22

An Evening with

RUFUS WAINWRIGHT "O Solo Wainwright" with special guest The Rails

THE MANHATTAN TRANSFER 24 FREDDIE JACKSON 23

washingtoncitypaper.com july 19, 2019 25

CLASSICAL

CLARICE SMITH PERFORMING ARTS CENTER Stadium Drive and Route 193, College Park. (301) 405-2787.

The UMD Summer Chorus: Summer Chorus Concert.

8 p.m. Free. theclarice.umd.edu.

FOLK

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Mal Blum & BRNDA. 10 p.m. $12–$15. cometpingpong.com.

FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jody Watley. 8 p.m. $59.50–$79.50. bethesdabluesjazz.com.

HIP-HOP

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Blueface. 7 p.m. $40–$80. echostage.com.

JAZZ

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. The Funky Knuckles, Jonathan Scales Fourchestra, and House of Waters. 7 p.m. $14–$16. gypsysallys.com.

POP

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Shane Hines and The Trance. 6:30 p.m. $15–$25. jamminjava.com.

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

Slayyyter. 7 p.m. $15–$20. ustreetmusichall.com.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Stereo League. 6 p.m. $12. dcnine.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. Jimmie Vaughan. 6:30 p.m. $29.75–$54.75. thehamiltondc.com.

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Dave Matthews Band. 8 p.m. $49– $615. livenation.com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

The New Romance. 8 p.m. $15. rockandrollhoteldc.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Crag Mask. 8 p.m. Free. songbyrddc.com.

CITY LIGHTS: SATURDAY

ASIAN DA BRAT

In April, it came time for Asian Doll to separate herself from rap’s reigning Dolls (Cuban Doll, Kash Doll, and DreamDoll—no relation), so Misharron Allen rechristened herself Asian Da Brat. Was it a tribute to Da Brat, the rap pioneer who broke through with Funkdafied back in 1994? Nope. Rather, think the Bratz dolls favored by younger millennials and Gen Zers. That should come as no surprise, considering the socalled “Queen of Teens” is just 22 years old, despite percolating on the mixtape scene and building her name with well received remixes of other people’s hits since 2015. All of that work caught the attention of Gucci Mane, who signed her to his 1017 Records imprint last year. Since then, the Dallas product has dropped two more tapes full of trap menace, and she’s looking to make a name for herself, no matter what that name is. “They be speakin’ on me dirty ’cause I got my name up,” she raps on “Did for the Streets Freestyle.” “All these snakes around me, had to switch my lane up.” She’s part of a dynamic lineup opening for Blueface at Echostage. The show begins at 7 p.m. at Echostage, 2135 Queens Chapel Road NE. $40–$80. (202) 503-2330. echostage.com.

—Chris Kelly

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Covet. 7 p.m. $15. songbyrddc.com.

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

White Ford Bronco. 7 p.m. $25–$50. unionstage.com.

WORLD

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. SOJA and Sublime With Rome. 7 p.m. $40–$60. wolftrap.org.

SUNDAY CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. Joe Coleman: No Boundaries. 7 p.m. $38. sigtheatre.org.

COUNTRY

THE HAMILTON 600 14th St. NW. (202) 787-1000. The Reverend Peyton’s Big Damn Band. 6:30 p.m. $20– $25. thehamiltondc.com.

ELECTRONIC

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

7:30 p.m. $10–$12. dcnine.com.

GO-GO

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Suttle. 6 p.m. $20–$25. citywinery.com.

HIP-HOP

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Blink-182 & Lil Wayne. 5:30 p.m. $37.50–$127.50. merriweathermusic.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Vertical Zar. 6 p.m. $10. unionstage.com.

JAZZ

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

Anthony Walker. 6 p.m. $20–$30. citywinery.com.

TWINS JAZZ 1344 U St. NW. (202) 234-0072. Northern Virginia Jazz Collective. 8 p.m.; 10 p.m. $10. twinsjazz.com.

CITY LIGHTS: SUNDAY

CARLY RAE JEPSEN

If you only know the Canadian queen of contemporary pop for her 2012 smash hit “Call Me Maybe,” maybe reconsider your listening habits. British Columbia native Carly Rae Jepsen first made her name in 2007 on Canadian Idol, when she finished in third place. She released a folk-infused album before pivoting to pop and hitting the global stage with her breakout single. But she truly came into her own with 2015’s Emotion, which, despite modest sales, made her a pop idol with a gay fanbase rivaling Gaga or Britney. Its crown jewel, “Run Away With Me,” cracked end-of-year best tracks lists at Rolling Stone, Vulture, Noisey, and Pitchfork.

Now she’s back with a new album, Dedicated, and a cheeky lead single “Party for One” that tells listeners about the power of selflove. Don’t miss Jepsen sing live in front of screaming, adoring fans—it’s a head rush in the best possible way. Carly Rae Jepsen performs at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $40.50. fillmoresilverspring.com. —Emma Sarappo

POP

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Daby Touré. 8 p.m. $15. bossadc.com.

26 july 19, 2019 washingtoncitypaper.com

CITY LIGHTS: MONDAY

ED JACKSON, MUTTS, AND HONEY

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Carly Rae Jepsen. 8 p.m. $75– $85. fillmoresilverspring.com.

ROCK

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Bruce Hornsby & The Noisemakers and Amos Lee. 7:30 p.m. $30–$65. wolftrap.org.

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

Joe Robinson. 8:30 p.m. $12–$15. hillcountry.com.

POP

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Adi Wineland. 6 p.m. $10–$15. jamminjava.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Oroboro. 8:30 p.m. Free. songbyrddc.com.

ROCK

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Sacred Paws. 9 p.m. $12–$14. cometpingpong.com.

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

Summer Salt. 7 p.m. $20. ustreetmusichall.com.

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

7:30 p.m. $12–$15. dcnine.com.

VELVET LOUNGE 915 U St. NW. (202) 462-3213. Fiction.

8 p.m. $10–$15. velvetloungedc.com.

MONDAY

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Iron Maiden. 7:30 p.m. $35–$300. livenation.com.

DC9 1940 9th St. NW. (202) 483-5000. Sons Of An Illustrious Father. 8 p.m. $12–$15. dcnine.com.

WORLD

FOLK

WORLD

THURSDAY

TUESDAY

BLUES

BLUES

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Charley Crockett & Esther Rose. 6 p.m. $15–$22. citywinery.com.

CABARET

CABARET

ELECTRONIC

COUNTRY

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Sigala.

10 p.m. $15–$20. soundcheckdc.com.

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

Chuck Mead, Jim Lauderdale, and Jason Ringenberg.

6:30 p.m. $20–$35. thehamiltondc.com.

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

Kill Paris. 10 p.m. $10–$20. ustreetmusichall.com.

FOLK

FOLK

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Lord Huron.

6:30 p.m. $55. merriweathermusic.com.

FUNK & R&B

JAZZ

HIP-HOP

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Honeysuckle. 6 p.m. $15. jamminjava.com.

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

The Bottom Rung. 8:30 p.m. $10–$12. hillcountry.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Trina Broussard. 6 p.m. $25–$35. citywinery.com.

LIBRARY OF CONGRESS THOMAS JEFFERSON BUILDING 101 Independence Ave. SE. (202) 707-5000.

Shing02 and Fat Jon. 7 p.m. Free. loc.gov.

ROCK

More thann 2 million people are incarcerated in the United States—and as that number began booming in the 1980s, private operators stepped in to alleviate overcrowding in prisons and jails and join a newly lucrative business. Today, more than 100,000 of America’s inmates are held in privately operated facilities, which make around $5 billion in profit each year. Although they’ve become increasingly unpopular on a federal and state level, many places in rural America rely on the profit that comes from building and maintaining these facilities. In Inside Private Prisons, Lauren-Brooke Eisen leans on her experience as an attorney, prosecutor, journalist, and professor to unpack the system through the eyes of inmates, their families, correctional staff, policymakers, activists, and executives of America’s largest private prisons. Lauren-Brooke Eisen speaks at 6:30 p.m. at Kramerbooks & Afterwords Cafe, 1517 Connecticut Ave. NW. Free. kramers.com.

—Lia Assimakopoulos

LIBRARY OF CONGRESS COOLIDGE AUDITORIUM First Street and Independence Avenue SE. (202) 7075507. Cedric Watson. noon Free. loc.gov.

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. Erin Driscoll: My Favorite Things $38. sigtheatre.org.

STUDIO THEATRE 1501 14th St. NW. (202) 332-3300.

Werk! A Cabaret Celebrating Black Women. 8 p.m. $20. studiotheatre.org.

UNION STAGE 740 Water St. SW. (877) 987-6487. The Marías. 7 p.m. $18–$35. unionstage.com.

LAUREN-BROOKE EISEN

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

Nilüfer Yanya. 7 p.m. $18. ustreetmusichall.com.

STRATHMORE GUDELSKY CONCERT GAZEBO 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Joe Falero Band. 7 p.m. Free. strathmore.org.

ANACOSTIA PLAYHOUSE 2020 Shannon Place SE. (202) 290-2328. The Fuss. 7 p.m. $10. anacostiaplayhouse.com.

CITY LIGHTS: TUESDAY

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Sirius Company featuring Ms. Kim & Scooby. 8 p.m. $22– $25. citywinery.com.

JAZZ

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Dark Thoughts. 9 p.m. $12. cometpingpong.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Blue Dogs. 6:30 p.m. $15–$30. jamminjava.com.

This ought to be a beery, sweaty evening at Slash Run. The lineup, headed up by Ed Jackson, formerly of local stomp-and-holler outfit The WeatherVanes, is stacked with bands known for their live shows. Mutts should bring blues-adjacent rockabilly (with touches of Reverend Horton Heat and The Brains, plus strains of Tom Waits) down from Chicago. Two of its members founded the band while they were on tour opening for the Plain White T’s—remember “Hey There Delilah?” They decided to cowboy out on their own and record an EP with no label oversight and practically no plan, and soon enough, they became a fixture in the vibrant Chicago scene, revered for their raucous shows at the Empty Bottle and Schubas. They’ve twice been featured on WXRT Chicago’s yearly “best of ” compilations and their song “Let’s Go” played at Wrigley Field while the Cubs were in the World Series. Last but not least, D.C. rock triad Honey will play songs from their EP I’m Your Best Friend Admit It. Honey came together in part thanks to its members’ volunteer work with Girls Rock! DC, a group that provides creative spaces for girls and non-binary youth. The show begins at 9:30 p.m. at Slash Run, 201 Upshur St. NW. $10.

(202) 838-9929. slashrun.com.

—Will Lennon

GO-GO

CAPITAL ONE ARENA 601 F St. NW. (202) 628-3200.

John Mayer. 7:30 p.m. $69–$324.50. capitalonearena. monumentalsportsnetwork.com.

JAZZ

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Titus Andronicus. 9 p.m. $15. cometpingpong.com.

POP

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

WORLD

WOLF TRAP THEATRE-IN-THE-WOODS 1551 Trap Road, Vienna. (703) 255-1900. Falu. 10:30 a.m. $12. wolftrap.org.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. The Showdown Kids. 6 p.m. $15–$20. citywinery.com.

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

FILLMORE SILVER SPRING 8566 Colesville Road, Silver Spring. (301) 960-9999. Ones To Watch & The Noise Present. 8 p.m. $20. fillmoresilverspring.com.

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

Blake Matthews. 7 p.m. $15. unionstage.com.

ROCK

WEDNESDAY

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Bluewreck & Milo in the Doldrums. 6:30 p.m. $10–$20. jamminjava.com.

COUNTRY

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Escape-ism. 7 p.m. $13– $15. songbyrddc.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Lori McKenna. 6 p.m. $22–$35. citywinery.com.

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. Midnight North. 7 p.m. $15. gypsysallys.com.

ELECTRONIC

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

Mark Redito. 10:30 p.m. $15–$20. ustreetmusichall.com.

FOLK

WOLF TRAP THEATRE-IN-THE-WOODS 1551 Trap Road, Vienna. (703) 255-1900. Red Yarn. 10:30 a.m. $12. wolftrap.org.

FUNK & R&B

BOSSA BISTRO 2463 18th St NW. 202-667-0088. The Saturators & Kromanauts. 8 p.m. $10. bossadc.com.

Theater

ANN Holland Taylor’s Ann is the comedic portrayal of the late Texas Governor Ann Richards, whose legacy as a feminist and democratic activist politician lives on.

Ann has played at Chicago’s Bank of America Theatre, the Kennedy Center, and on Broadway. Arena Stage.

1101 6th St. SW. To Aug. 11. $56–$105. (202) 488-3300. arenastage.org.

washingtoncitypaper.com july 19, 2019 27

DC

BURGER WEEK

JULY 21-28, 2019 25+ Restaurants.

$7 Burgers.

THE BAND’S VISIT The Band’s Visit is one of the most Tony Award-winning productions in history. Israeli actor Sasson Gabay stars in this musical, about a band of musicians who arrive out of nowhere in a seldom-visited town. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Aug. 4. $45–$149. (202) 467-4600. kennedy-center.org.

BRIGHT COLORS AND BOLD PATTERNS In this oneman show, a guest shows up to a wedding with plenty to say about the issues facing modern gay life, like assimilation, stereotypes, and marriage. Studio Theatre. 1501 14th St. NW. To July 28. $20–$55. (202) 3323300. studiotheatre.org.

THE CAT IN THE HAT Based on the beloved children’s classic by Dr. Seuss, this adaptation of The Cat in the Hat, directed by Adam Immerwhar, features the use of puppets. Louis Davis stars in the title role and takes the stage among the puppeteers, who purposefully remain visible to the audience. Adventure Theatre MTC. 7300 MacArthur Blvd., Glen Echo. To Aug. 18. $20. (301) 6342270. adventuretheatre-mtc.org.

DISNEY’S ALADDIN From the same producer as Broadway’s The Lion King, the new production of Disney’s Aladdin comes to the stage at the Kennedy Center with Clinton Greenspan as Aladdin and Kaena Kekoa as Jasmine. Kennedy Center Opera House. 2700 F St. NW. To Sept. 7. $39–$179. (202) 467-4600. kennedy-center.org.

HAMLET This rendition of Shakespeare’s classic Hamlet is set in a modern-day surveillance state of Denmark, where citizens turn on each other. It is directed by Craig Baldwin. Sidney Harman Hall. 610 F St. NW. To July 21.

Free. (202) 547-1122. shakespearetheatre.org.

THE MOLLUSC The mollusc is a metaphor for Tom Kemp’s sister Dulcie’s “condition.” Hubert Henry Davies’ play is a comedy about love, manners, family, and loyalty. It is directed by Jack Sbarbori. The Writer’s Center.

4508 Walsh St., Bethesda. To Aug. 4. $15–$35. (301) 6548664. writer.org.

THE MOUSETRAP Thunderous Productions presents Agatha Christie’s The Mousetrap, a 1952 murder mystery play. It is the longest-running play in London’s West End, and celebrated its 25,000th performance there in 2012.

Greenbelt Arts Center. 123 Centerway, Greenbelt. To July 28. $12–$22. (301) 441-8770. greenbeltartscenter.org.

SHEAR MADNESS Shear Madness is an audience-interactive crime comedy set in Georgetown about the murder of a pianist who lives in a hair salon. Each show delivers a unique performance based on the audience’s sleuthing. Kennedy Center Theater Lab. 2700 F St. NW. To Sept. 28. $56. 202-467-4600. kennedy-center.org.

TREASURE ISLAND Jane Hawkins is an orphan who gets swept up in the world of pirates, as she learns about her past and who she is. This play is based on the 1883 adventure novel of the same name by Robert Louis Stevenson. Synetic Theater at Crystal City. 1800 South Bell St. , Arlington. To Aug. 18. $10–$65. (866) 8114111. synetictheater.org.

Film DCBurgerWeek.com

#DCBurgerWeek

CITY LIGHTS: WEDNESDAY

THE LION KING Lion cub Simba must take back his throne from his scheming uncle Scar. Starring Donald Glover, Beyoncé, and Chiwitel Ejiofor.

(See washingtoncitypaper.com for venue information) CRAWL A hurricane traps a woman and her father in a house with aggressive alligators. Starring Kaya Scodelario, Barry Pepper, and Morfydd Clark.

(See washingtoncitypaper.com for venue information) THE FAREWELL A family organizes a trip to see their dying grandmother, who they’ve decided not to tell about her diagnosis. Starring Awkwafina, Tzi Ma, and Diana Lin. (See washingtoncitypaper.com for venue information) STUBER An Uber driver’s new passenger enlists him on a high-stakes hunt for a villain. Starring Kumail Nanjiani, Dave Bautista, and Natalie Morales.

(See washingtoncitypaper.com for venue information)

28 july 19, 2019 washingtoncitypaper.com

NILÜFER YANYA

West London’s Nilüfer Yanya grew up listening to Pixies, The Libertines, and Nina Simone. She dropped her first song on SoundCloud at 18 and started attracting attention just a few years later with a track called “Monsters Under the Bed.” “Monsters” was eventually recycled onto her first full-length album, Miss Universe, a pop-rock romp peppered with interludes that play like something out of Brave New World. (“Congratulations … You have been selected to experience ... Paradise.”) Yanya’s surreal skits call to mind Radiohead in their grimmest and most experimental moods (see: Kid A, Amnesiac), but unlike Radiohead, Yanya keeps the songs themselves hook-filled and listenable instead of allowing the music to become as outright oppressive as the themes. Her style of bitter satire doesn’t clash with the fizzy rock that occupies most of the album; together they make for an oddly enticing juxtaposition, like peanut butter and adrenochrome.

Embrace the weird contradiction at U Hall. Nilüfer Yanya performs at 6:30 p.m. at U Street Music Hall, 1115 U St. NW. $18. (202) 588-1889. ustreetmusichall.com.

—Will Lennon

CITY LIGHTS: THURSDAY

ANN

Ann Richards’ single term as governor of Texas ended in 1995, but she casts a long shadow over the state. She rose to prominence partially for her famous remark at the 1988 Democratic National Convention— she said then-presidential candidate George H.W. Bush was born with a “silver foot in his mouth.” Just three years after her winning speech, the fiery, quick-witted Richards became the second woman in Texas to hold the state’s highest office. The story from there is Ann, written by Emmy-winning actress Holland Taylor. It’s a one-woman performance, and on top of that, the show’s writing, acting, and directing are powered entirely by women. House of Cards star Jayne Atkinson reprises her role as the fiery, outspoken feminist governor and delivers her to Arena Stage’s Kreeger Theater under the direction of Kristen van Ginhoven, co-founder of Massachusetts’ WAM Theatre. The show runs to Aug. 11 at Arena Stage, 1101 6th St. SW. $56–$72. (202) 554-9066. arenastage.org.

—Chelsea Cirruzzo

SAVAGELOVE M DOOGALS THE FAMOUS

C

I am a bi, white, married man—35 years old and living in a big Midwestern city. I’d like to know what’s going on in my psyche—from a sex-research perspective. I’ve been hung up on cuckold fantasies with my female partner for years now.

I’m a creative person and I’m especially fond of creative fantasizing in bed, and my partner enjoys this as well. But nine times out of 10, I’m spinning a yarn about her fucking other men, whether it’s a threesome, cuckolding with me watching, or her going out on dates and coming home a delicious mess. These fantasies took an unexpected turn when I asked her to share stories about people she fucked in the past. She obliged—and holy shit, was I turned on. The only unfortunate thing is that she did not have many great sexual experiences in the past, so she feels like there is not a lot to share. Anyway, we have an amazing sex life, obviously, and I feel no shame whatsoever about these fantasies or how turned on her memories make us.

I’m just curious as to why it turns me on so much. I know others have similar kinks, but it seems so antithetical to the heteronormative expectations of what I should be turned on by. Any ideas?

—Fantasies Reliably Enhance Every Dalliance “‘Why am I like this?’ questions are always rabbit holes,” said Dr. David Ley, a clinical psychologist, author, and sex researcher. “We create rich, satisfying stories that are really just a form of mental masturbation—no bust on masturbation—when the truth is, at least at this point, we really have no clear idea why people have any of the unique sexual fantasies they do.” (Dr. Ley literally wrote the book on cuckolding: Insatiable Wives: Women Who Stray and the Men Who Love Them.)

One popular explanation for why being cuckolded might turn a man on—why knowing his wife or girlfriend had fucked someone else (or was fucking someone else in front of him) might turn a guy on—was the “sperm competition” theory. To quickly summarize: A man who suspects his female partner recently had sex with another male—and whose reptile brain believes the other man’s semen might be “present” inside her—will have a more powerful and voluminous orgasm when he next mates with his female partner in an effort to “flood out” his competitor’s semen. For a time, many sex researchers theorized that male swingers and cuckolds were subconsciously inducing “sperm competition” reactions—i.e., they were in it for the more powerful orgasms.

“Unfortunately, much of the research into sperm competition is now suspect, due to a failure to replicate many of these findings,” said Dr. Ley. “So to a degree, we’re now saying, ‘You know, it’s complicated, everyone is

different, and there are no simple answers.’”

And now that we’ve said that, FREED, Dr. Ley, who has worked with many cuckold couples, has noticed patterns and he’s willing to put out some alternative theories of his own.

“Many cuckolds have a desire to engage bisexually with other men, using their wife’s body as a sort of proxy,” said Dr. Ley. “Given that FREED is a bi male in a heterosexual relationship, these cuckold fantasies might be a way for him to express his bisexuality while including his wife. Additionally, vicarious erotic fulfillment is often a central component in many cuckold fantasies. This goes beyond simple voyeurism—and FREED’s comment about his wife’s regret at not having enough sexual experiences to share offers us a clue in this direction. Many cuckolds celebrate their partners being sexually unrestrained. FREED might just be turned on by the idea of his wife cutting loose and sharing that supercharged erotic energy with other partners—past, present, and future.”

Finally, FREED, I wanted to add a “ding, ding, ding” to something you mentioned at the end of your letter. The erotic power of doing something that seems antithetical to the heteronormative and/or vanilla-normative expectations heaped on us by culture, religion, family, etc. should never be underestimated. While not everyone is turned on by the thought of transgressing against sexual or social norms, a significant percentage is. So long as our normative-busting transgressive turn-ons can be realized with other consenting adults, we should worry less about the “why” and more about the “when,” “where,” and “how.” (Now, in private, and safely!)

Follow Dr. Ley on Twitter @DrDavidLey. —Dan Savage I’m a 35-year-old married man with two beautiful small children. I knew I was a cuckold before I met my wife. As soon as things got somewhat serious, I made this very clear, as I had learned repeatedly that my desire for a cuckold relationship almost certainly spelled doom. While we were dating, she cuckolded me multiple times and seemed very accepting of the idea. I was in heaven, as I finally felt accepted for me. I remember very clearly on the day of our elopement discussing that this was more than a kink for me—it was central to my sexuality and I needed her buy-in before committing for life. We played a time or two after we got married, but my wife’s interest in the lifestyle greatly decreased. After we had children (first child four years ago), her interest in cuckolding evaporated. It’s entirely gone. I accepted this for some time due to having young children. When I broached the subject recently, she expressed legitimate concerns around STIs, pregnancy, and

being “found out” by friends/family. But this is something I need, as I made clear before we married. It’s not just a “kink” for me. I love my wife and I don’t want to pressure her into having sex with others, but I’m hurt and frustrated. I can’t help but feel like I had a bait and switch pulled on me. What do I do? Be thankful for the things I do have? Ask to go to a sex-positive therapist? Ask for a divorce? I’m lost, hurt, confused, and angry.

—Cuckold Has Understandable Regrets Now Cuckolding may be something you need, CHURN, but it’s something you’re asking the wife to do. And the doing presents more risks for her—the risks of STIs and pregnancy fall entirely on her, as she pointed out.

And if people were to find out (or suspect) she was sleeping around, the “shame” and potential social ostracism would fall entirely on her, too. Even if you were to tell anyone who found out that it was consensual and/ or that you were a cuckold, it’s not like she wouldn’t still be shamed or ostracized. Judgmental family and friends would just heap equal portions of shame on you, too.

To your credit, CHURN, you acknowledged the legitimacy of your wife’s concerns. And I’m going to acknowledge the legitimacy of your frustrations: You told her before you eloped that you needed this to be happy, and she didn’t just agree to it, she was (or seemed) enthused about it. I might be inclined to see this as a bait and switch myself if you didn’t have children. Even the most adventurous people—sexual or otherwise— tend to become risk-averse when their children are young, and I imagine your wife is currently some combo of highly risk-averse and completely overwhelmed. (Hey, are you doing your fair share of the housework and childcare?) Instead of threatening to divorce her (which would amount to pressuring her), I would encourage you to find a sex-positive counselor who can help you two talk about what your sex life can look like once your children are a little older.

If she can express it without being expected to act on it tomorrow, my hunch is your wife can see cuckolding you again once your kids are older. Since finding women who are into this isn’t easy, as you already know, it would be in your own self-interest to take the long view and be patient. In the meantime, CHURN, content yourself with hot memories of all the times the wife cuckolded you in the past and hot dirty talk about all the times she’s going cuckold you in the future.

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

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