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INSIDE

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COVER STORY: THE LAST GEAR PRUDENCE

10 After five years of advice-giving, our cycling columnist says goodbye.

DISTRICT LINE 4 Loose Lips: Meet the young, progressive challenger seeking the Ward 4 Council seat.

6 Mumble Sauce: On embracing fatness 9 Scene and Heard

SPORTS 8 Full Court Coverage: Mandatory media interviews take a toll on pro tennis players.

FOOD 14 Past the Buck: As bar culture evolves in D.C., is it still polite to tip a dollar a drink?

ARTS 18 Disharmony Hall: Despite a funding shortfall, the National Philharmonic prepares for another season.

20 Galleries: Capps on Lullaby at Embassy of Australia and Open Site at Korean Cultural Center Washington D.C. 21 Short Subjects: Zilberman on David Crosby: Remember My Name 22 Sketches: Randall on Glacier at House of Sweden

CITY LIST 25 Music 28 Theater 28 Film

DIVERSIONS 29 Savage Love 30 Classifieds 31 Crossword

DARROW MONTGOMERY 3100 BLOCK OF MOUNT PLEASANT STREET NW, JULY 27

EDITORIAL

EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: KAYLA RANDALL FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG LOOSE LIPS REPORTER: MITCH RYALS CITY DESK REPORTER: AMANDA MICHELLE GOMEZ CITY LIGHTS EDITOR: EMMA SARAPPO STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: JULIA TERBROCK SOCIAL MEDIA MANAGER: ELIZABETH TUTEN INTERNS: ELLA FELDMAN, AYOMI WOLFF CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, MATT COHEN, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, JOSHUA KAPLAN, CHRIS KELLY, AMAN KIDWAI, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, NEVIN MARTELL, KEITH MATHIAS, BRIAN MCENTEE, CANDACE Y.A. MONTAGUE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, CHRISTINA STURDIVANT SANI, MATT TERL, IAN THAL, SIDNEY THOMAS, HAYWOOD TURNIPSEED JR., JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE

The Fourth Debate

organization. But when asked for his thoughts on Todd’s first full term, he chuckles: “How much time you got?”

Lowery rattles off some of DC for Democracy’s key issues, such as paid family leave, lowering the voting age to 16, and eliminating the $4.45 tipped minimum wage, all of which Todd opposed.

“He’s never really been an ally for the progressive community in any fashion whatsoever,” Lowery says. “Janeese has been talking with union allies, housing advocates, a lot of folks who Janeese Lewis George are very disgruntled with Brandon Todd. This is going to be one of those races where you’re going to have a disgruntled progressive left investing a lot in Janeese, and they’re really going to try to unseat Brandon Todd.”

On the patio at Jackie Lee’s, Lewis George talks quickly and she occasionally repeats herself as she runs down her own list of her top issues: affordable housing, quality education, livable wages, and access to quality health care. She promises to release specific policy plans in each of these areas throughout the campaign.

“We can’t wait for 22,000 more residents to be displaced. We can’t wait for more black mothers to die in the hospitals. We can’t wait for more neighborTodd criTics and progressive groups in hood schools to close down,” she says. “That’s D.C. have been eyeing the Ward 4 seat since why this race is so important.”

Her words make it clear that her values 2016, when he eked out a victory against the largely self-funded Leon Andrews. Despite closely align with the priorities of lefty advocaa massive war chest, name recognition, and cy groups like DC for Democracy, Jews United support of the sitting mayor, whose home for Justice, and DC Working Families. Without base is Ward 4, Todd won by just 10 points. much of a voting record, however, LL wonders (Todd’s 2016 committee is still open, ac- how voters can trust that she won’t simply be a cording to the Office of Campaign Finance. mouthpiece for these groups.

Lewis George scoffs a bit at the question.

The campaign spent all of the $418,326.30 it brought in, according to OCF, though about Her personal experiences drive her politics, $39,000 of that was spent after the 2016 gen- she says.

“If what I’ve seen in the community, and eral election, according to publicly available through my work at the attorney general’s ofOCF records.)

Now, those groups appear to have found fice then aligns me with Jews United for Justice principles, then I don’t mind being crititheir champion in Lewis George.

“I think she’s smart, brilliant,” says Jeremi- cized about it,” she says.

She describes taking the bus from 2nd Street ah Lowery, the chair of DC for Democracy.

“She is very knowledgeable about what’s af- NW to attend Alice Deal Middle School. She applied for special permission to attend the fecting Ward 4 and our city.”

Lowery won’t say whether he supports Lew- out-of-boundary school where her grandis George over Todd without the blessing of his mother worked as a lunch lady, she says.

A first-time candidate looks to unseat Ward 4 Councilmember Brandon Todd with support from progressive voters and public financing.

By Mitch Ryals Janeese Lewis GeorGe walks up to the patio at Jackie Lee’s with the jitters of a first-time Council candidate.

The 31-year-old suggested the Kennedy Street NW watering hole as a venue to discuss her campaign to unseat Ward 4 Councilmember Brandon Todd. Her childhood home is right around the corner, on 2nd Street NW, and she attended elementary school nearby at the nowshuttered Rudolph Elementary School.

Her mother, a postal worker, was forced out of the home in 2011 when she could no longer afford the rent. And the old Rudolph Elementary building now houses Washington Latin Public Charter School, she points out, giving a couple examples of how her personal experiences will shape her campaign.

Lewis George, a member of the DC Democratic State Committee, former deputy attorney general, and attorney in the Office of the State Superintendent of Education, essentially positions herself as the anti-Todd. She resigned from the District in July to campaign full time and plans to officially register her candidacy with the Office of Campaign Finance this Thursday, August 1.

She criticizes Todd’s record on everything from opposition to paid family leave and his vote to repeal Initiative 77, to his vote for what she considers a weakening of the Tenant Opportunity to Purchase Act and his support of the sole-source sports gambling contract the Council approved on July 9.

She also disagrees with Todd’s vote not to remove Ward 2 Councilmember Jack Evans from all Council committees while he is under investigation by the Council and federal law enforcement.

“To serve the people of the District is a privilege, and when people say an elected official is guaranteed due process before any action is taken, I think that goes against that notion,” she says.

Todd’s unwillingness to challenge his Coun-

Darrow Montgomery

LOOSE LIPS

cil predecessor and one of his strongest allies, Mayor Muriel Bowser, and his acceptance of campaign donations from corporations and developers undermines his credibility, she says. The residents of Ward 4 deserve a councilmember who is, in her words, “unbought and unbossed.”

Although the 2020 primary is nearly a year off, Lewis George’s campaign has a few potential implications.

As a progressive candidate, she’ll seek to challenge the Council’s block of entrenched, moderate Democrats, including Council Chairman Phil Mendelson, who recently announced his support for Todd. Her plan to use D.C.’s new public campaign financing will test how the program stands up to the buckets of money Todd is likely to receive from wealthy donors, if history is any indication. And after Bowser’s support of at-large candidate Dionne Reeder failed with Ward 4 voters in 2018, the power of her expected support of Todd this time around remains an open question.

4 august 2, 2019 washingtoncitypaper.com

“Everything was completely different, from how safe you felt, to the grocery stores, to the quality of the school,” she says. “That was the first time for me at 11, 12 years old realizing that where you live and the connection of your family determined a lot of the opportunities to succeed in the city.”

While in high school at School Without Walls, Lewis George served as a youth mayor in the YMCA DC Youth & Government program. For college, she went to St. John’s University in New York and earned a degree in politics with a minor in sociology. She then spent a year tutoring seventh graders in Los Angeles through an AmeriCorps program called City Year before attending Howard University School of Law. She worked as a prosecutor in juvenile court in Philadelphia and then took a job with the Office of the Attorney General under Karl Racine.

With the OAG, Lewis George continued as a juvenile prosecutor and helped develop the local program known as HOPE Court, which is designed to help young survivors of sexual exploitation and trafficking.

Other reform-minded programs in the OAG’s office—such as assigning kids to read a book and write a reflective essay, rather than serve jail time—help shape her public health approach to crime and criminal justice, she says.

Metropolitan Police Department Chief Peter Newsham’s recent statement pushing for harsher consequences for gun-related crimes in order to deter similar crime is an “archaic” approach, she says.

“That’s the tough-on-crime, not smart-oncrime approach,” she says. “That’s the approach that hasn’t worked in our country for a number of years. I’m not a proponent of being tough on crime. That should not be the only solution that is proposed to solving the city’s gun problems.”

Although Racine says it’s too early to offer an official endorsement, he has only positive things to say about Lewis George.

“I think she’s smart. I think she’s sincere in her interest in helping D.C. residents in any geographical location that she’d be running for,” he says. “I think that she’s honest and hardworking, and I think those qualities are attractive to D.C. residents, including me.”

Todd, meanwhile, seems to be feeling the heat. So far, he is the only incumbent councilmember up in 2020 to file for re-election (though Ward 7’s Vince Gray has said he intends to run again), and isn’t wasting time raising money ahead of the June primary.

Some of the subcontractors who benefited from his vote to approve the sole-source $215 million lottery and sports wagering contract are happy to pitch in.

Okera Stewart and Keith McDuffie, among others, hosted a fundraiser for Todd on July 16. Stewart is the principal for Potomac Supply Company LLC, which will receive $3 million over five years to supply paper products such as betting slips for the lottery. The Washington Post identified Keith McDuffie, a cousin of Ward 5 Councilmember Kenyan McDuffie, as the CEO of Potomac. Both Keith

McDuffie and Stewart have insisted that Keith McDuffie was mistakenly listed as the CEO and has no financial interest in the company.

Last week, Pedro Alfonso, CEO of Dynamic Concepts, Inc. and a prolific contributor to local campaigns, hosted a Todd fundraiser in his backyard garden, complete with a buffet and bartender, according to a source who attended.

Emmanuel Bailey, another beneficiary of the lottery contract, is listed on the host committee for that fundraiser. Mayor Bowser and Chairman Mendelson also made appearances at the event. Mendelson confirmed his endorsement of Todd on the Kojo Nnamdi Show last week, and tells LL that Todd “has been good on the issues, and has been an ally, and I would like to see him return to the Council.”

Which issues, specifically, chairman?

“Lots of issues,” he says.

Yes, but which specifically, LL prods.

“Lots of issues,” the chairman repeats.

LL can’t blame Todd for getting an early start. His seemingly narrow victory over Andrews in 2016 may still be in the back of his mind.

Then there’s the multiple campaign finance violations, the latest of which stemmed from his failed endorsement of a State Board of Education candidate and resulted in a $4,000 fine from the Office of Campaign Finance.

Lewis George says she plans to use D.C.’s new public campaign financing program, which prohibits her from accepting donations from corporations, businesses, and political action committees, as well as individual contributions above $50, as opposed to $500. The program also requires that she participate in debates.

Following a brief phone conversation, Todd promised LL he would call back to talk about the race when he had more time, but he never did.

But if LL’s readers are looking for some type of gauge, Todd most often voted in line with At-Large Councilmember Anita Bonds (89 percent), Evans (82 percent), McDuffie (82 percent), and Gray (83 percent), according to local activist Keith Ivey’s analysis of recent Council votes. Mendelson and Todd agreed 78 percent of the time, and Todd voted with At-Large Councilmember Elissa Silverman, considered one of the most progressive members, 41 percent of the time.

Asked for her thoughts on Lewis George, Silverman invoked her 5th Amendment right against self-incrimination.

Lewis George is a bit fatigued after nearly two hours of talking on a humid Sunday afternoon, but she’s willing to continue answering LL’s questions and emphasizes her sense of urgency.

“We’re at a point in D.C. where we can return to a true Democratic city with Democrats who are people powered and prioritize the needs of people and working families,” she says, laughing when LL asks if she’s calling Todd a Republican.

“I was told he was a Republican,” she says.

“But I think there’s a difference between establishment Democrats who accept funding and support from corporations, and Democrats who are people powered.”

CP

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DISTRICTLINE Mumble Sauce Fat is not a bad word.

By Jordan N. DeLoach

I tasted pIgs feet for the first time when I was around 20 years old. I stared down at the hunk of meat on my paper plate, unreasonably fearful of the taste, and let it grow cold before I lifted a morsel to my lips and tore off a bit with my teeth.

I pushed the plate away from me on the TV stand I was sitting in front of in the den of my grandparents’ house. My close family was congregated for a holiday. Pigs feet and chitlins are a delicacy to several people on my dad’s side— except for my father himself, who understood why I neglected my plate. My uncle went to the store to pick some up about an hour before. Everyone remarked how they’d be nothing like how my grandmother used to make them.

My grandmother cooked pigs feet all the time. I remember the overwhelming smell, coming into the house as a small child and immediately knowing what atrocity was occurring—grandma’s cooking pigs feet again!—and staying as far away from the kitchen as possible. But it didn’t matter. The stench of boiling pigs feet tends to fill up a whole house.

As childish as I am about pigs feet, I miss that smell. I miss my grandmother.

My grandmother was a fat woman. Her rolls provided a perfect platform for hugs, and her warm brown skin looked beautiful draped in yellow. One of her favorite shirts was a lemonade-colored short-sleeved blouse that had rows of tiny ruffles sewn across the fabric. She’d greet me and my sisters when we came home from school like a golden sun rising behind the stone steps of her Upper Marlboro home.

I want to see myself the way I see my grandmother. Instead, I’ve spent much of life policing my body, reminding myself of all of the things I need to change in order to become beautiful. I would have traded anything to have long, flowing hair and lighter skin in elementary school.

I made a pact in middle school with one of my closest friends to get breast augmentations as soon as we turned 18. I started obsessively exercising as a teenager, supplementing my already strenuous track and soccer practices with frequent bike rides, crunches, and waist measurements. I researched liposuctions and

Jordan N. DeLoach for MelaNation Zine

Mumble Sauce is a summer 2019 column about how DMV Black communities uplift healing and creativity in the face of gentrification, displacement, policing, and incarceration. This is installment three of 10.

fat transfers in college. At my lightest weight, I still found rolls to pinch and poke as I stared at my lean frame in the mirror.

There’s no way to quantify the amount of energy I’ve wasted over the fear of becoming fat.

Our world has a peculiar history of categorizing fat Black people’s bodies as spectacles meant to be judged, mammified, fetishized, or criminalized.

I often think about an experience that fellow community organizer Amber J. Phillips, a fat Black woman, had while she was traveling on an American Airlines flight to D.C. in 2018. A white woman called the police on her because Phillips’ arm was touching the woman’s as they sat next to each other on the plane.

Eric Garner, a fat Black man from New York who passed away in 2014, also crosses my mind. An NYPD officer choked him to

6 august 2, 2019 washingtoncitypaper.com

death, ignoring Garner’s cries that he couldn’t breathe. People have tried to claim that Garner’s weight caused his death ever since. The union attorney representing the NYPD officer who killed him recently argued that Garner didn’t die from being choked, but from being “morbidly obese.”

Most frequently, I remember Saartjie Baartman, a Khoisan woman born around 1789 near the warm and hilly terrain of the Gamtoos River in South Africa. Like many Khoisan people, Baartman had large fat deposits around her bottom and hips. Baartman was enslaved by Dutch farmers as an orphan and labored near Cape Town until a British doctor, noticing her ample bottom, had her sent to London to be a part of an exhibit. The doctor put her in a circus show where she had to dance for audiences that ogled her body in

disgust and amusement. She engaged in sex work to support herself and started drinking after her popularity dimmed. Baartman passed away in 1815, in her mid-twenties and far away from home.

Fat discrimination, in many ways, developed as an extension of the marginalization and “othering” of Black people. This discrimination is palpable. Fat people experience poorer treatment from doctors, discrimination in hiring and lower pay, bullying, and judgment from strangers. Poor fat Black people are especially harmed by this, as they are judged for their Blackness, for their fatness, and for their poverty.

The weight loss industry has made billions of dollars capitalizing on our fears of fatness.

Research shows us that these fears are irrational. Thin people are often just as likely to be unhealthy as those who are fat. The commonly used Body Mass Index (BMI) is shown to be biased against Black people and an ineffective way to assess someone’s health. And diets frequently don’t work: Many dieters don’t lose weight, and those who do are destined to either gain it back or live their entire lives in a state of near-starvation.

I’m familiar with that near-starvation feeling. I’d rather not feel it again. I’ve gone from a size six from my last episode of disordered eating to now being a size 14.

While I’m larger than I have ever been, I still experience privilege compared to the way society treats my loved ones who are poorer, darker, and fatter than I am. And I’m still working on looking at my new protruding belly, rippled with purple stretch marks, as something to be praised, not policed.

Our society tells us that fatness is something to be eradicated. But many African communities have historically associated fatness with beauty and abundance. This isn’t surprising to me—I see it all the time. Hess Love, a fat Black advocate and writer in Baltimore, radiates this energy. And I see it flowing through Je’Kendria Trahan, a D.C.-based fat Black nonbinary healer and one of my closest friends, who creates art affirming the beauty of sags and rolls.

Beauty and abundance are what I see in my grandmother.

My grandmother’s spirit often visits me without warning. She reminds me, sucking her teeth and cocking her head to the side, that my body is worthy because it is mine. Sometimes these visits happen when I’m making a cup of coffee. Or she’ll come to me when I’m walking outside and notice a bush full of roses that resemble the ones that used to grow in her front yard. Other times I am laying in bed, about to go to sleep, my fingers tracing the shiny stretch marks running along my belly, tiny purple rivers racing toward my womb.

CP

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Kelyn Soong

SPORTS

Meet Zack Evenden, the 27-year-old coach leading Frances Tiafoe to career highs. washingtoncitypaper.com/sports

Full Court Coverage Talking to the press is a mandatory, and often unglamorous, part of being a pro tennis player.

Kelyn Soong

Coco Gauff

By Kelyn Soong CoCo Gauff wasn’t the type of student who raised her hand in class. She preferred to blend into the background and keep her thoughts to herself. But that isn’t an option in her chosen profession.

Over the past week at the Citi Open, the tennis tournament held at the Rock Creek Park Tennis Center and managed by City Paper owner Mark Ein, reporters gathered for the 15-year-old’s press conferences in numbers typically associated with older, more established players. The demand from journalists to speak with Gauff, who reached Wimbledon’s fourth round this year, exceeded her available time away from the court.

“I just think it’s crazy maybe four weeks ago, not many people knew my name,” Gauff told reporters before qualifying for the main draw of the Citi Open. “But now a lot of people do.”

TENNIS

This is the side of tennis that fans often don’t see. Professional players on both the women’s and men’s pro tours are required to speak with reporters after each match, win or lose, if requested by the media. Both tours can fine players if they fail to do so. The amount fined, which can go up to $20,000 for the Association of Tennis Professionals (ATP), the governing body of the men’s pro tour, and $5,000 for the Women’s Tennis Association (WTA), depends on the player’s ranking.

The past month has been a crash course in public speaking for Gauff, who has attended online school since the third grade. And because of the individual nature of tennis, players are thrust into the media spotlight without the benefit of having teammates by their side.

“It’s a lot of pressure. Public speaking is something you have to practice, just like they practice tennis,” says Erika Kegler, the player development director for the ATP. Each professional tennis player handles the attention differently. Some, like 20-time

8 august 2, 2019 washingtoncitypaper.com

Grand Slam champion Roger Federer, have learned to embrace the often relentless interview schedule. Others dread coming off the court to answer questions.

Shortly after Ivo Karlović beat defending champion Lleyton Hewitt in the first round of Wimbledon in 2003, he stepped into a packed press conference. He had previously received attention from local media in Croatia, but nothing could prepare him for what he experienced that day.

“The press conference was almost three hours,” says Karlović, who at 40 is one of the oldest active players on the ATP Tour. “It really hit me. It was hard. I was not really used to it. They didn’t know who I was. I was there beating Lleyton Hewitt, and they really wanted to know everything about it. It was tough. I was not ready. I didn’t know how to speak with them.”

“After an hour, you don’t even know what you are answering anymore,” he adds with a laugh.

“It is like everything in life, you get used to it. After that, nothing was that big, so everything af-

ter was easier, then easier and easier, then you already know what’s going to be asked.”

Both the ATP and the WTA provide resources to help prepare players for the inevitable media attention.

ATP University is mandatory for players ranked in the 200s in singles or top 100 in doubles. The three-day workshop is held twice a year (at the Miami Open in March and in London in November), and teaches players about the business of the game, anti-doping and anti-corruption rules, financial management and literacy, and interacting with the media.

The WTA has Player Development programs that “promote and enhance players’ career fulfillment and well-being,” according to Amy Binder, WTA’s vice president of global communications. Players who meet certain criteria will go through media training within Player Development, where they meet with members of the WTA communications team or an outside specialist. “We show them the role of communications and the media staff, journalists, and the importance of timelines, deadlines, storylines,” Binder says.

Nick Kyrgios admits he didn’t really pay attention to the courses at ATP University. Kyrgios, 24, is arguably the most polarizing player in professional tennis, and has contentious relationships with some of his peers and members of the press.

The Australian has stated on the record that he prefers basketball to tennis and that he enjoys team sports more. After his loss to Rafael Nadal at Wimbledon this year, Kyrgios, known for his unfiltered and candid responses, had heated exchanges with journalists at his press conference. He shrugged his shoulders and shook his head at questions he felt were beneath him before answering.

“Personally, I’m not really a fan and I don’t really like it,” Kyrgios says about the media obligations. “But I understand in today’s society it’s an important thing. It’s how people read about the game, attract new fans, make money, all that type of stuff. So I completely understand why it’s necessary, but to say I’m a fan of it, I’m probably not.”

Speaking to the media after losses can be particularly tough.

“I’ve walked into press conferences knowing what kind of questions are going to come at me,” says Kyrgios, who made an appearance for the Ein-owned Washington Kastles of World TeamTennis on July 27. “When you’re sitting there and you see who’s asking it, and you understand they’re only asking not because they genuinely care but because they kind of want you to bite on it and retaliate on their question, it makes you frustrated. I think the toughest part of it is have some discipline and sometimes be

the bigger man and not retaliate to their question. It’s not easy. It’s not as easy as it seems to just walk in there and be good with answering all the questions.”

Young players have learned not to read articles about themselves—often the hard way.

Anastasia Pavlyuchenkova rose up the WTA rankings quickly as a teenager, and would feel the urge to read stories written about her.

She sometimes felt her words had been misconstrued and would get “really upset.”

As a result, Pavlyuchenkova, 28, remembers that she put up a “wall” anytime she would give an interview in her native Russia. It took until her 20s before she could let her guard down.

“I just hated them,” she says. “I felt everything I was going to say, they were going to turn it around … But after, naturally it just disappeared. I’m totally chilled and open and fun to do interviews. I don’t care anymore … I realized it’s not so bad and it’s not the end of the world.”

Media interviews also allow players to reveal their personalities, especially in an individual sport like tennis. Former world No. 1 Andy Roddick, who retired in 2012, prided himself on his witty one-liners at press conferences. After losing to Federer, 6-4, 6-0, 6-2, in the semifinals of the 2007 Australian Open, a reporter told Roddick his performance in the post-match press conference was better than his on-court one.

“No shit,” Roddick replied. “If there were rankings for press conferences, I wouldn’t have to worry about dropping out of the Top 5, I hope.” (The video of interview on YouTube has over 1 million views.)

Kristina Mladenovic won’t say she enjoys doing interviews, but the 26-year-old from France doesn’t mind them. She speaks French, English, Serbian, Spanish, and Italian, and is known for her candor and giving long responses to journalists. Even at a young age, Mladenovic says she wanted to be outspoken and show her personality, which has garnered criticism in the past. She once said her former doubles partner lacked “courage or human values” for not telling her in person that she planned to back out of the partnership.

“I had many people saying, telling me you should maybe protect yourself more and give them less like content and like just sort of being boring and answer classic like most of people do so they don’t criticize you,” Mladenovic says.

“I’m like, that’s not my personality. I’m saying nothing bad, but I like to be productive and just say what I think. If you have boring questions, I don’t want to be boring with answers. I try to take it like happy mood and positive.”

Federer recently told GQ that he didn’t trust journalists in the beginning of his career. Now, after decades on tour, he accepts and even enjoys the hours-long media grind. Fellow pros, including Gauff, Pavlyuchenkova, and Mladenovic, praise his approach with the press. He appears to have fun with it.

Gauff wants to do the same.

CP

Scene and

Heard Summer Nights, July 2019 It’s late In the day, and people are seated, inexplicably, around a fire. The sun’s still providing plenty of heat, shining down on busy, bustling Wharf Street SW. Families and tourists and couples sweat as they make their way by swanky restaurants and hotels. Children play in the fountain at the strip’s southern end.

The fire is ostensibly here for roasting s’mores, but no one seated around it is toasting marshmallows. Instead they sit and stare and bake, occasionally checking their phones.

Day turns to night. People have filled their bellies with food and shots of Patrón— “the cheapest kind you have.” They stroll along the water, striding out on the piers for better views. Now that the sun has set and the heat has dulled, the crowd around the fire is bigger. People begin toasting jumbo marshmallows for a DIY dessert. The style of choice tonight seems to be burnt. When several marshmallows burst into flames their owners continue to toast them, unperturbed.

A group of men well past their childhood campfire days call to “make some space” as they walk toward the fire from the Airstream-style trailer that sells s’mores kits at $3 a pop. They carefully load up their skewers and set to toasting as one sings the summer anthem ”Old Town Road.”

“That’s trouble, that’s trouble,” one says as yet another marshmallow catches fire.

Soon, flames surround the singer’s skewer, too. He turns it upside down so that the blaze climbs, consuming his marshmallow entirely. When it’s burnt to his liking, he assembles his sandwich, throws the skewer into the fire, and takes a victorious bite, the goop sticking to his stubble.

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

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One of Brian McEntee’s bikes

The last

^

Gear Prudence

By Brian McEntee Photos by Darrow Montgomery

Gear Prudence: I heard you’re quitting. That this is it.

That you’re filing this column and then you’re out of the bike advice game. Why are you hanging it up? Who will give us bike advice now? How will we ever go on?

—Thanks. Hope Everyone Learned About Some Things. Go Pedal.

10 august 2, 2019 washingtoncitypaper.com

Dear THELASTGP: You heard right. Five years and approximately 300 bike advice questions later, the Gear Prudence column is coming to a close. GP is riding off into the sunset and retiring from the extremely lucrative, high-stakes world of bike advice. Sure, this will leave readers unmoored and without any help in sorting out bicycling’s most vexing questions (Presta or Schrader? 700c or 650b?

Why is this asshole STILL honking at me?), but it’s time.

In July 2014, Courtland Milloy, not for the first or last time, wrote about bicyclists in the Washington Post. If you haven’t read it, don’t bother, but if you did, you might recall the words “bullies,” “terrorists,” and “broomsticks.”

Maybe your hackles were raised, because raising hackles is the entire point of writing a column full of slapdash generalizations and self-righteous invective against hypothetical bike escalators on Meridian Hill. Fulminating against Those No Good Bicyclists is a triedand-true (and tired) method to generate scads of clicks and comments, and Milloy is only one in a long list of cranky columnists nationwide

who’ve penned a “bikelash” piece or two.

Say what you will about Courtland Milloy—I will forever be grateful to him, because without his silly column, there’d be no Gear Prudence, which was born as something of a rejoinder. (The first GP even tackled what to do if someone sticks a broomstick through your spokes: Stay upright and use unread newspapers, including the hyperbolic takes within, to pad your fall.)

Truth be told, when I started writing Gear Prudence for City Paper, I thought it had about six months. A bike advice column was a novelty, and how much bike advice could people actually need? (1. Wear a helmet. 2. Don’t fall down. 3. ??? Thanks everybody, that’s a wrap!)

But over the past five years, I’ve come to understand the near bottomless well of topics that bicyclists wrestle with, and the surprising paucity of guidance available for those dealing with the travails of bicycling in D.C. Sure, “follow the law and use common sense” is an easy thing to say, but when it comes to bicycling in the city, it’s hard to know what sense is common, and strict adherence to the law as written is as likely to get you run over as it is to get

you home safely. There are few universal rules, and no training whatsoever.

Most urban bicyclists’ riding résumés go something like this: “learned to bike at 6, came back to biking in adulthood for whatever reason.” (Mine was because we got a puppy and I needed to leave work at lunchtime to walk it. Biking two miles each way was the fastest way to do it.)

Aside from getting over the considerable psychological hurdle of giving cycling a shot, would-be riders face few barriers to entry.

Bikes are relatively cheap, and the existence of bikesharing has, for many, made them even more accessible. The difference between someone who doesn’t bike and someone who does is just one ride. One ride becomes two, and then you’re doing it every other day, or maybe you’re fully converted and you’re doing it every day for every trip and that’s just how you get around now.

Nowhere along the way do most people complete the equivalent of driver’s ed for cycling, and no one ever has to trudge down to the DMV to take a written and road test to earn their biker’s license. But even if the city enforced some kind of training, certification, or uniform understanding of the legal obligations of and best practices for urban cyclists, one only needs to think of drivers to see how this and “follow the law and use common sense” come up short in reality.

Advice columns are for the gray areas, the ambiguous, the unclear. Bike advice fits neatly into this genre. Given the range of backgrounds of people bicycling, the lack of agreed-upon conventions, bicycling’s niche status in our overall transportation milieu, and the potential for misunderstanding that arises in almost all interactions between strangers in public space, the gray areas are abundant. The questions kept coming.

Writing Gear Prudence caused me to think constantly, and somewhat deeply, about the sundry scenarios one might encounter while riding a bike in D.C. and the best ways to handle them. Every time I left the house, it was another chance to see what people on bikes did and didn’t do, and to contemplate why. Each new column was an attempt to express a coherent worldview related to the proper way of being a person who rides a bicycle.

After years of wrestling with the serious and not-so-serious qualms, hang-ups, grievances, and calls for help from people riding bikes in D.C., I’m ready, as a kind of swan song, to share my accumulated wisdom and parting thoughts on five of the column’s biggest recurring themes.

more people on bikes. And they are confused!

Whether it’s dealing with wrong-way cyclists, runners, delivery robots, or scooters, cyclists continually need help navigating the unexpected, tricky, and dangerous situations they encounter. They seek help because many of them are new to biking or recently re-discovered it after an absence, and because the roads and transportation culture do not account for the experience of a person traveling by bicycle.

Most bike lanes are supposedly inviolable white stripes that provide little in the way of protection or help, and the lack of a contiguous, dedicated bicycle network often deposits cyclists in places where they are either unwanted or unanticipated. People ask how to handle the situations they encounter on the road not solely because they are new to biking, but also because the answers are neither intuitive nor readily apparent. It is not always obvi-

plex problems.

If GP offered any guiding philosophy on dealing with the myriad complications of cycling in D.C., it was this: Do your best. Cyclists can face crazy situations that come with no clear or instinctive solution. That’s not their fault. The best way of coping is to keep two questions in mind: What do I need to do to keep myself safe, and how can I do that without imperiling anyone else? If these questions are your lodestar, you can often (but not always) see yourself through hairy situations.

2. Why do bicyclists…?

There is nothing quite so mysterious as a person who rides a bicycle. Don’t they understand that this choice is Out-Of-The-Ordinary and Very Against the Grain? Untangling the reasons why some bicyclists might do something in some situations is no easy task for a bike advice columnist. Guessing people’s

a bike lane right there.

The best I could ever do was to attempt to provide insight into the kinds of things cyclists think about when they’re riding. That said, there is no single Bicyclist Way of Doing Things, and while the transportation mode one selects for a trip might prompt certain behaviors, it by no means guarantees them. Behaviors don’t come from the bike, but from the person on it. And people can be jerks!

Is the gap between people who ride bikes and the people who don’t unbridgeable? Are we forever condemned to perpetual misunderstanding and distrust? I don’t know. Maybe.

One thing I’ve found to be useful is reconceptualizing my understanding of “cyclist” away from a fixed identity (He rides a bike.

He must be a cyclist.) to a temporary state of being (He is a cyclist now because he’s riding a bike, but once he’s off, he’s not).

What a person does when they’re on a bike

If GP offered any guiding philosophy on dealing with the myriad complications of cycling in D.C., it was this: Do your best. ous how to make a left turn, how far to the right they’re supposed to ride, what to wear, what to bring with them or how to carry it. In spite of bicycling’s recent rise in popularity, it’s still a marginal activity, especially among commuters. Rules learned as a child or behaviors developed while riding for fun on the weekend don’t translate especially well to most kinds of city riding. It’s no surprise that so many people have so many questions about how to deal with seemingly mundane yet shockingly com-

motivations is never easy; doing so based on a subjective description of those actions after the fact by someone who is aggrieved or confused makes it nearly impossible.

For the record, I don’t know why the parent yelled at you for biking near her kid. Or why the woman on the trail didn’t have her lights on. Why is that person’s helmet on the handlebars instead of on his head? Beats me. It is shall forever be a mystery to me, too, why the guy wasn’t riding in the bike lane when there was

is no more a referendum on the activity of cycling than my burning cupcakes is a referendum on the utility of baking. Depersonalizing bike riding and shifting it away from an activStephen Jefferson ity done by a specific group of people helps break the perception that all bicyclists must conform to some kind of common code that can be readily deciphered. The backgrounds and motivations of people on bikes are just as diverse as the groups who walk, or ride Metro, or drive. It might be easier to understand

1. What the heck am I supposed to do?

The population of the District of Columbia has increased by more than 100,000 people since 2010, and the percentage of D.C. residents who commute by bike has more than doubled from around 2 percent in 2009 to around 5 percent now. Capital Bikeshare launched in September 2010. The system hit 20 million rides total in April 2018 and is on the cusp of 25 million right now. In short, today’s D.C. has both a lot more people and a lot washingtoncitypaper.com august 2, 2019 11

(or cast aspersions) if “cyclist” were a monolithic identity, but it’s not, never has been, and never will be.

3. Bikes and relationships: It’s complicated.

Within the category “all bicyclists” exists a subset of people who proudly make cycling a central part of their identity. All of their home decor is bike themed. They bike on first dates (and leave their bike at one night stands). They get mad when their dates pretend to be avid cyclists and aren’t, and are mean on Twitter when someone says anything impolitic about biking. They wear bike-themed Halloween costumes four years in a row. Within any subculture, there will be people who identify strongly with it, and cyclists are no exception.

This has a way of creeping into people’s relationships, and it can get complicated. A bike blocking a first kiss is surmountable; needing to store eight bikes in the first apartment you’re sharing with your girlfriend is trickier. Leaving your wife with your lame relatives over the holidays so you can go for a long ride?

Trickiest of all.

It isn’t just romantic relationships where the cycling lifestyle proves to be fraught. Professional relationships are likewise strained by bike-based conflicts. Whether it’s a smelly coworker, a colleague who takes a favorite bike parking spot, or the extremely unfortunate mistake of flipping off the CEO, biking highlights and sometimes heightens these squabbles.

There is nothing unique about bicycling that makes it especially fertile ground for awkward situations. A bike isn’t a prerequisite for befuddling or strained personal interactions (though, I admit, it seems to help). But there is something about biking that causes people who fall for it to fall hard. Maybe it’s the endorphins, maybe it’s the very visceral connection between person and machine.

There’s a kind of pervasive enthusiasm that some people feel about bicycling that seeps into their lives and inflects all subsequent interactions, for better or worse.

4. Bicyclists and drivers: It’s even more complicated.

You can’t write about bikes without writing about cars. OK, you could, but you’d miss all the frisson. The tension. The drama. As much as people on bikes confuse everyone else, riding a bicycle unlocks a new way of thinking about cars and their drivers. For many, it unleashes an obsession. Ride a bike for long enough and really muse on car culture, and you become like Carrie Mathison on Homeland or Charlie on It’s Always Sunny: You start connecting the dots. You start to feel your synapses light up. You start to lose your mind.

City streets are vibrant and mixed places.

Cyclists and pedestrians and UPS drivers and workers from Fort Myer Construction digging and repaving even though they just dug and repaved—they’re all there. But our overall transportation culture is one that conceives of streets as places primarily for the movement and storage of cars. (In D.C., around 35 percent of households don’t have cars. This fact

is hardly reflected in the allocation of our public right of way.)

That there is tension between people on bikes and people driving is foreordained considering the way we’ve set up our streets. But what makes it more fraught is the cultural expectation that the automobile is supreme and everything and everyone else on the road is subservient. Tailgaters; drivers blocking the box; Uber drivers passing too closely, damning it all and just taking the lane—these are all sources of anxiety and concern for people on bikes.

Even most cyclists have internalized a way of thinking where the worst possible outcome is a driver being temporarily inconvenienced.

(People who only drive have definitely internalized this—hence the anger at speed cameras, the resentment at predictable and inevitable congestion, and the road rage. As a society, we’ve adopted the idea that what’s not so important is the fast and convenient movement of people; what is important is the fast and convenient movement of people in cars. If you don’t believe me, ask 50 bus passengers stuck in traffic behind 10 singly occupied SUVs.) All things considered—and I’ve spent a lot of time considering this—I still believe that most drivers are more apathetic than antipathetic to people on bikes. Yes, there are assholes and bullies. And worse. That they are unavoidable is unfortunate and that they are capable of causing an inordinate amount of harm due to a disparity in vehicle weight and sheer callousness is an indictment of our larger transportation culture.

But most people driving, like most people on bikes, are less intentionally malicious than

12 august 2, 2019 washingtoncitypaper.com

simply playing out the crappy hand they’ve been dealt—a road design and transportation culture that makes conflicts inevitable and prioritizes the wrong things.

5. Advocacy and the future of biking in D.C. Sometimes the questions about advocacy were explicit—how to get DDOT to install a bike lane or how to convince an ANC commissioner to not hate bikes—but for the most part, how to improve and normalize biking writ large lurked in the background.

More people are riding bikes now than ever before. We have more bike lanes, trails, and cycletracks than ever before. But the pace of change is slow and it doesn’t feel like the culture surrounding bicycling has moved very far.

The same arguments and bogus tropes—Bicyclists cause congestion! Bike lanes cause gentrification! HELMETS! What about my parking?! Bicyclists don’t follow traffic laws!—live on unabated.

While D.C. has made some progress in developing its street infrastructure, in my opinion, the city has not yet sufficiently embraced cycling’s ability to cleanly, quietly, and efficiently move people as a solution to its transportation problems. Districtwide disparities in safe bike infrastructure frustratingly persist. Advocates can push, but the days of bold, transformative, enthusiastic vision from politicians seem far off. This is a tragedy. Our streets remain deadly, and the relentless march of irreversible climate change means that clinging to the status quo is both untenable and morally suspect.

You can choose to ride a bike, but you can’t choose what the streets looks like. The people in charge—from the ANCs to the Council to the Mayor—hold sway over public space.

Five percent of people biking to work is a lot for America, but not a lot in terms of electoral impact. Even in bike heaven Copenhagen, nowhere close to the majority of trips are taken by bicycle. (It was 24 percent as of 2017, which is still a ton.) While D.C. is nominally committed to Vision Zero—ending death and grievous injury on our roads by 2024—reaching that goal feels no more likely, to me at least, than it did five years ago. In 2018, 36 people died on DC’s roads. In 2017, it was 30. In 2012, it was 19.

The Council’s newly introduced bills could contribute to turning the trend around.

Changing the way our streets look, but more importantly, the way people use them, requires a considerable and sustained commitment from those in charge. Advocates need to do a better job presenting a vision of why better streets and safer streets matter, and people in charge need to do a better job translating the promises they make in fancy PowerPoints into reality on the streets themselves. It is not inevitable that this will happen. While D.C. and its bicyclists have made great strides, they still have very far to go.

—Gear Prudence This is iT. I’d be remiss if I didn’t thank everyone who submitted a question over the last five years, and everyone who made the mistake of nattering on about bicyclists in my company.

Your queries, your opinions, and your incredibly wrong hot takes about biking have made writing this column a joy.

CP

washingtoncitypaper.com august 2, 2019 13

Illustration by Julia Terbrock

Courtesy of Pizzeria Paradiso

DCFEED

S o m e D.C . re s t a u ra n t s h ave participated in free trainings with D.C. police on how to handle an active shooter threat. Pizzeria Paradiso’s training was useful during this year’s Pride Parade scare.

Past the Buck

We asked bartenders and bar owners when, if ever, it’s still acceptable to tip a dollar a drink.

By Laura Hayes Petworth cocktail bar Dos Mamis has altered its tip strategy several times since it opened just over a month ago with the goal of providing its staff with increased financial security. At first, co-owners Carlie Steiner and Anna Bran-Leis presented customers with a standard check with a line for a tip and a place to sign. But after a couple of weeks, Steiner says her employees told her customers weren’t always leaving 20 percent tips.

“I saw three separate checks which were over $85 with a $5 tip,” Steiner says. Groups ordered five or six cocktails each, according to Steiner; drinks at Dos Mamis cost between $9 and $14. “Twenty percent is standard,” Steiner continues. “If you can afford an $85 check, you should go in knowing there should be another $16 on top.”

Dos Mamis then tried adding suggested tip options at the bottom of bills. Patrons could check off whether they wanted to tip 18, 20, or 25 percent as if it were a multiple choice question. There was also the option to write in a custom amount. Patrons continued to undertip, according to Steiner, who made one final tweak at the end of July. Dos Mamis now includes a 20 percent service charge on each bill.

Service charges are typically considered part of a bar’s revenue since, in most cases, they’re not optional like gratuity. Customers have to trust that bar owners distribute money obtained through service charges to their staff.

“The most important thing to an owner is my staff,” Steiner says, noting that neither she nor Bran-Leis accept tips even if they work behind the bar. Whatever tips

14 august 2, 2019 washingtoncitypaper.com

they earn go directly to staff members who worked the same shift. “I know if I take care of them, they’ll take care of the clientele.”

A note on Dos Mamis’ menu explains the new fee: “A service charge is included in every check in order to protect our staff and 100 percent of that goes directly to our staff.

You always have the right to opt out of the service charge. Please just politely ask your server or bartender to remove it and we will happily oblige.”

Steiner used the word “protect” purposefully. “It’s the job of owners to make sure the staff is safe and part of that safety is financial security,” she says. By including a service fee, she knows her team faces pressure to provide the best possible experience. “Expectations will go up and we’re ready for that.”

Whether or not it was intentional, the customers who were tipping $5 on $85 checks

were essentially leaving $1 per drink—a societal norm that may or may not be outdated depending on who you ask. A range of D.C. bartenders weighed in on when, if ever, it’s appropriate to leave just a buck behind in this era where some cocktails are as complex as dishes coming out of fine dining kitchens and beer and wine lists are increasingly creative.

“I feel like a dollar a drink is only appropriate if you’re drinking a $5 or $6 beer,” says Faith Alice Sleeper. Others echoed this sentiment. $1 is, after all, 20 percent of $5. Sleeper is the general manager at Left Door on S Street NW where the majority of cocktails cost $15, and has also worked at more casual haunts including Satellite Room, Black Whiskey, and Rock & Roll Hotel.

“When you’re talking about craft cocktails, there are multiple steps,” Sleeper says.

“We’re touching multiple bottles and it takes longer than pulling a draft line or cracking a can open. I think tips should reflect that.”

There’s labor involved in cocktails that customers don’t see. On some mornings, Sleeper is at Left Door making flavored syrups that will make their way into drinks after dark. “Some people are unaware of the different moving parts that go into providing someone with a great time and being hospitable,” Sleeper says.

Once, when Sleeper was working at The Passenger on a busy Friday, a patron pressed her for whiskey advice. “I spent time talking to him and guiding him through different kinds of whiskey and bourbon,” she says. “He bought rounds for his friends.

The check was over $80 and he tipped $7. I spent time trying to educate you and teach you based on what you told me you liked! It’s a little bit of a slap in the face.”

Sleeper wonders if the suggested gratuity options some bars offer on bills would help steer customers toward tipping more, even though Steiner didn’t have luck with that strategy. “I love that you just check it and write the total and you don’t even have to do the math,” she says. “It’s a little in your face—this is a guide to how much you should be tipping.” Suggested amounts are rarely below 18 percent, so a customer has to go out of their way if they want to tip less.

Left Door doesn’t currently have the capability to add suggested amounts on checks, nor does Service Bar, where Glendon Hartley works. But he too is interested in that option. “I’m a huge fan of people putting it on the receipt,” says the co-owner of the Shaw cocktail bar. “Our [Point of Sale] system won’t allow it.”

Hartley recalls going to dive bars when he first started drinking where he says he felt comfortable leaving $1 tip on any drink that was $10 or less, especially since cash was a far more common payment method 13 years ago, when Hartley turned 21. His thinking hasn’t changed. “My thing is $10 is my threshold—if someone tosses me a dollar that’s fine,” he says. The cocktail prices at Service Bar range from $7 to $19.

He agrees with Sleeper that more intricate cocktails call for a higher tip than a dollar.

“If someone’s picking up four or five bottles and making it look beautiful, to drop them a dollar is an insult in a way,” Hartley says.

“It should be 20 percent across the board.

I’ll never be upset with someone leaving me 20 percent.”

At casual or dive bars where patrons might sip drinks at a lower price point, a dollar or two might actually be equivalent to 20 percent. But even then, some bartenders argue that tips shouldn’t solely be based on the quality of products being utilized, the type of establishment, or even the labor involved.

Bartenders are expected to be hospitable no matter what they pour, and the art of bartending transcends menu prices.

“The tip isn’t always based off the can of beer or draft beer,” says Michael Haresign. He bartends at Blaguard, a neighborhood bar serving totchos and local beer on 18th Street NW. “During the week when we’re managing the room and talking with patrons, we spend more time with them offering tender loving care. Guests tend to tip more because we’re doing a different type of job. We’re not just dispensing beer.”

When they’re packed on Fridays and Saturdays and can’t shoot the shit, Haresign says it’s normal for customers to tip a dollar or two per drink. Though, he says, “Generally it’s gone up to $2 a drink.”

At The Tune Inn on Capitol Hill, bartender Stephanie Ann Hulbert makes another case for tipping more than $1 per drink even at a place as relaxed as the D.C. institution that’s been around since 1947. “I call all my bar stools real estate,” she says. Sit on one and “pay rent” or Hulbert will deem you a “camper” whose welcome has worn out.

“They got a $5 beer and they sit there for an hour and sip on it and watch the game,” she explains. “You ask them two or three times if they want something else. I run people off like that if I have a full bar and people waiting. Once the drink is done, I’ll grab the can and take the coaster just to give them an idea that this is how I make my money … I made a dollar from you and I need someone else to sit there now.”

That said, Hulbert believes the social norm of paying $1 per drink is still going strong. “Tip appropriately,” she says.

“Whether you’re in a dive bar or somewhere like Del Mar at The Wharf. They have $20 cocktails and people tip a dollar sometimes.”

ANXO Cidery & Pintxos Bar bartender Jade Aldrighette echoes her industry brethren when she says there are still people tipping $1 a drink no matter what. “If you get a $3 or $4 beer, sure, but even then I would still tip two dollars because why not?” she wonders. “You’re getting cheap as fuck beers.” Aldrighette finds people tip the least when they’re ordering rounds for friends because of the sticker shock of paying for a full tray of drinks at once.

“I don’t have a solution,” she says. Adding the suggested tip amounts on the bottom of a bill may pressure some imbibers into opening their wallets wider, but Aldrighette thinks it’s a little cheesy. “Like a TGI Fridays kind of thing,” she jokes. “But at the same time, it could be helpful if a lot of places do it.”

Aldrighette doesn’t let a dollar-per-drink tip set her back emotionally. “It evens out, that’s my philosophy,” she says. “I don’t let that stuff bother me.”

CP

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tance” to pay the bills at the Music Center at Strathmore, the North Bethesda concert hall where the orchestra plays and resides. The county refused— and the orchestra went under.

In a statement, county council president Nancy Navarro said the orchestra had been given $2.5 million over multiple years. “It’s disappointing that the organization wasn’t able to leverage these investments into a financially sustainable model,” Navarro wrote.

But according to Philharmonic officials, the costs of operating at Strathmore grew quickly and outpaced the money they saved by reducing performances. This year was especially hard, as the government shutdown and construction at Strathmore led to a decline in ticket sales, they say. Tickets accounted for about half of the Philharmonic’s annual revenue, according to Todd Eskelsen, chair of the Philharmonic’s board.

“We’ve been working on pushing this string up a hill for a number of years,” Eskelsen says. “We didn’t feel it was right to spend down to the last dollar before calling it quits. It would be irresponsible to continue.”

But two weeks after that proclamation, the tide is turning: The orchestra says its season will start in September as planned. Shortly after the Philharmonic’s announcement, a violinist named Jim Kelly—formerly a principal musician with the orchestra—contacted the board of directors, inviting them to a meeting at his music shop on July 29 to propose “a possible National Philharmonic rescue effort” that would not rely on any county government funding. Kelly declined to speak further about his plan, urging reporters—and the Philharmonic’s board—to come to his meeting on Monday.

Five days before that meeting, on July 24, Ferfolia announced a separate campaign to save the Philharmonic: a crowdfunding effort to raise $150,000 by July 31. The two plans were not related, Silverfine and others emphasized, and Kelly would not elaborate on his proposal until Monday night.

Kelly’s Monday meeting represented a clash of the two plans—each representing a different future for the National Philharmonic—though he only presented his own. About 80 people sat in folding chairs at Potter Violins, the music store Don Lassell/Strathmore, Photo Illustration By Emma Sarappo

Inside the whirlwind end—and revival efforts— of the National Philharmonic

Listen to Priest Da Nomad’s anti-gentrification anthem “Can’t Lose The Soul.” washingtoncitypaper.com/arts

By Emma Sarappo On July 16, an abrupt press release went out: The National Philharmonic at Strathmore, Montgomery County’s classical orchestra, would cease operations.

Ultimately, wrote National Philharmonic President Leanne Ferfolia, the organization had “been unable to cover its annual operating expenses” and without $150,000 from the Montgomery County government, “the Philharmonic did not have sufficient reserves or an adequate endowment to continue.”

For its musicians, the sudden closure wasn’t a surprise. During contract negotiations in June between management and the orchestra committee, management called off bargaining 18 august 2, 2019 washingtoncitypaper.com

abruptly, saying there was no money to sign a contract—even though they’d been discussing a three-year plan, says Leslie Silverfine, president of the committee.

Finances had been dire in the months before negotiations ended. In March, Ferfolia wrote to Montgomery County Councilmember Craig Rice with an urgent request. Her two-page memo, submitted during the county’s 2020 budget negotiations, began with a warning: “Without immediate strategic funding and on-going residency assistance, NP will not be able to continue in its present form.” Council funding had decreased from $350,000 in 2007 to just $107,000 in 2019. For 2020, Ferfolia asked the county for $200,000 in direct funding each year through 2022 and $200,000 in “residency assis-

CPARTS in Takoma Park that Kelly co-owns, to hear Kelly and three others—board members Harris Miller and Michele Farquhar and Philharmonic supporter and subscriber Julie Pangelinan—speak.

Kelly raised $275,000 in donations from 12 donors, including himself and Potter Violins, in about three weeks, he said.

The donations come with a catch: They’ll only go to the National Philharmonic if Kelly is appointed interim president.

Kelly’s proposed plan would install Miller as interim chair of the board, while founder and music director Piotr Gajewski and chorale artistic director Stan Engebretson would continue in their roles. Kelly, Miller, Gajewski, and Engebretson would each forgo a salary for a year, saving the orchestra $240,000. Those savings plus the $275,000 cash contributions represent a $515,000 package for the Philharmonic, Kelly said, giving the orchestra a surplus of $446,000 to pay down its debts. The board’s crowdfunding was admirable, he said, but even $150,000 is “not enough to provide a path forward” for the Philharmonic.

Kelly’s plan has three major components: building a solid financial base, re-establishing partnerships with Strathmore and the county government, and building new partnerships to pursue more diverse audiences.

“Jim has our unanimous vote behind him,” Silverfine told the crowd, speaking for the orchestra committee.

“I think it’s time for a new optimism in the whole organization,” said Engebretson, the chorale director. Kelly wants to repair relationships between the chorale and the orchestra, he told the group. “That’s why I said yes to this plan.”

Eskelsen was also in attendance. “To be honest with you, I would have loved to have seen you here two years ago,” he told the group. According to Eskelsen, everything Kelly proposed was something the board had been attempting to execute in recent years, and that people who “have put in a lot of time and work” shouldn’t be “denigrated” or “questioned.”

“I won’t take a backseat to anybody with what has been

done,” he said. “Jim, we will invite you to a board meeting,” one where the board could ask him and his donors questions, he said. “Give us time to consider this fully,” Eskelsen concluded.

When Kelly and Miller opened the floor to questions from the crowd, many pressed for details. “What is to prevent us from being in the same situation a year from now?” asked Ron Cappelletti, a chorale member. Kelly said his first act as leader would be to audit all of the orchestra’s processes and implement swift fixes. He promised to seek funding sources outside of current donors and the county council, saying the current board had not effectively tapped the wealth present in Montgomery County.

“Jim, we have less than two months,” one woman said, referring to the upcoming season’s planned Sept. 21 start date.

“Can we do it?”

“Yes, we can,” Kelly replied.

The Philharmonic’s fundraising campaign met its $150,000 goal on Tuesday, a day ahead of the deadline, and by Wednesday morning, the pledges exceeded $200,000. Now, Eskelsen says, the board needs to hold a special session to consider Kelly’s proposal and communicate with Strathmore before making an announcement. It would be “a shame” for the two fundraising efforts not to combine, he says. If the board does not make Kelly president, none of the $275,000 he’s raised will go to the orchestra, Kelly says.

In the weeks after the announcement, many musicians told City Paper they were “heartbroken” and “disappointed” by the impending closure. “It’s sad for the community to lose something which contributes something intangible yet vital to culture,” says Henry Flory, a former Philharmonic violinist.

“It is difficult to understand the reasoning behind the county spending the funds to build a first-class facility such as Strathmore but pulling a continuing base of support for the county’s premier symphony orchestra that resides and performs in that hall. I believe this community will be much the poorer with the loss of this orchestra,” says Mark Hill, a principal oboe player.

The Music Center, completed in 2005, was widely praised.

Erich Heckscher, a principal bassoonist, called it “one of the best halls on the East Coast, easily.” It was built specifically for symphony orchestras, but its quality contributed to the Philharmonic’s expenses. Eskelsen explains that keeping the “worldclass acoustic hall” in running shape is an expensive endeavor.

Now, one of the hall’s two resident orchestras faces an uncertain long-term future, and the other—the Baltimore Symphony Orchestra—is currently locked out; when the lockout ends, the musicians are widely expected to go on strike. Losing the Philharmonic would “mean Strathmore is going to have to work harder to fill up those days,” Eskelsen says. “This is not a loss that goes away for the county, because it is a county-owned facility.”

In a statement, Strathmore President and CEO Monica Jeffries Hazangeles said “that despite Strathmore’s financial and strategic support, the Philharmonic was unable to overcome several years of financial distress” and that Strathmore had “provided them with significant assistance ranging from rental subsidy to marketing support to ticket sales processing.”

The Philharmonic also has an educational role in the community. Each year, the orchestra played for every second grader in Montgomery County Public Schools. “There’s this memory I have of the first time we did this current round of second grade concerts. It was a piece by a Brazilian composer about a train going through the countryside, and the kids sing along with the piece and they have this dance that they do,” says Heckscher.

“So you’ve got 1,800 kids in there all singing along with the orchestra, and it’s just this kind of chilling feeling.”

That chilling feeling is the point, Silverfine says. “It’s the inspiration of it. It’s different when you sit at home listening to CDs. In these divisive times, music is so important—you bring together people in a concert hall and there’s such a feeling there of people coming together and bonding. There’s a community feeling of people appreciating something really wonderful in life.”

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washingtoncitypaper.com august 2, 2019 19

GALLERIES

“Lullaby”

WORLDS APART Lullaby

At Embassy of Australia to October 18

Open Site

At Korean Cultural Center Washington D.C. to August 7 GeorGia Saxelby’S “lullaby” is a refined experience. Her two-channel video installation is a project that the Australian-born artist has been working on since she arrived in the U.S. in 2017. The piece features Saxelby and two others dressed in red jumpsuits performing mysterious rites and dance-like gestures along columns and fountains at commemorative sites around the National Mall. Before the work’s debut at the Embassy of Australia, Saxelby even re-staged and re-shot scenes from an earlier edition of “Lullaby.”

Tae Eun Ahn’s Open Site is something rawer. Her show at the Korean Cultural Center features sculpture, photography, and video centered on ceramics. Clay pressed into a long, low bench and scattered in pieces on the floor testifies to a performance she executed for the show’s opening. Photos and video document several other studio actions and performances, including “A Day,” a 24-hour effort to build a clay structure with the same dimensions as her body. The sculpture crashed 22 hours into Ahn’s demanding performance,

but the process is what matters most.

Both shows highlight emerging women artists. Both artists are foreign born. Both solo exhibitions were even organized by curators from the Hirshhorn Museum and Sculpture Garden. But the comparisons end there.

Despite their similarities, Ahn and Saxelby’s projects—the summer’s best gallery shows— come to wildly different conclusions about process and performance.

Ahn’s project tracks an ongoing experiment in the Korean-born artist’s studio practice. Her work with performance and ceramics started with 2014’s “A Pot,” a work she executed as a sculpture student at the Rhode Island School of Design. For the project, first conveyed as a video installation and later as performance, Ahn made a clay pot on a traditional ceramic wheel but shaped it with her bare body instead of her hands. That original insight still reverberates through works in her show today. “Surface” is a silicon sculpture suspended from the ceiling comprising impressions of her arms, legs, and torso molded in clay and cast in silicon. A lower element of the piece features silicon impressions of her body turned inside out and sewn together. These disjoined elements of a figure, hanging from the ceiling or piled up on the floor, resemble a skin shed by the artist.

This process of becoming is key in Ahn’s works. She navigates through and around her chosen medium (ceramics) without working the wheel in a traditional way. In the photograph “Untitled,” Ahn appears to be trapped in a block of clay, either emerging from it or being subsumed by it. In another photograph, “Cycle,” the artist lays in the fetal po-

20 august 2, 2019 washingtoncitypaper.com

sition encased in a clay trough. For “You Walk Wrong,” which Ahn performed at the opening, she traverses a narrow bar like a balance beam covered in clay, molding it with her feet. Bulges of clay on the beam and splattered on the floor stand as documentation of the performance, along with two videos. But in the leftovers, her action has also generated a new sculpture.

Through all these projects, Ahn appears to be circling around some intersection between performance, ceramics, and visual imagery, but never fully finds that point.

In “Jumping,” she grunts and gasps as she pounds a chunk of clay into submission with her feet. The exhaustion that she exudes as she struggles with her medium helps the audience to identify with her effort, according to Betsy Johnson, the Hirshhorn curator behind Open Site. The trial behind each piece is as important as the final result.

By comparison, “Lullaby,” Saxelby’s video installation (which shares the title of her show), is polished. Recorded at dawn around various national sites, the video relishes in the smooth texture of marble and rippling surface of water. Saxelby nestles her figure against the fluted columns of the Lincoln Memorial and curls her body around a basin at the World War II Memorial. Where the video screens in this two-channel installation connect, the structures of the National Mall sometimes double or divide in kaleidoscopic effect.

Only a viewer with an encyclopedic knowledge of D.C.’s monuments and memorials would be able to pick out the specific structure from the features in “Lullaby”

alone. That’s another trick of Saxelby’s editing, which makes these sites look like they could belong to any Western city with GrecoRoman monuments. The rites that the artist and her co-performers pantomime at these sites are intentionally anachronistic, according to the Hirshhorn’s Sandy Guttman.

Indeed, Saxelby and her cohort, sometimes mirrored and multiplied in the two-screen presentation, look like caryatid sculptures from ancient Greek temples come to life.

“Lullaby” is an effort by Saxelby to find a place as a woman within these power structures, whether they be in Washington or Sydney. In this piece, performance is a means of conveying the kind of unstated exchanges that happen between a people and a monument.

The performance is a means to an end: Saxelby’s gesticulations contribute to broader statements about the symbolic language of nationalism. The performances aren’t the project.

Open Site and Lullaby hail from totally different traditions. Ahn’s work is sculptural and post-minimalist; Saxelby is narrative and socially oriented. Video, installation, performance, archiving, intervention—the newest of the modern techniques—can be just as singular and identifying as an artist’s brushstroke.

—Kriston Capps Gallery at Embassy of Australia, 1601 Massachusetts Ave. NW. Free. (202) 797.3000. usa.embassy.gov.au.

Korean Cultural Center Washington D.C., 2370 Massachusetts Ave. NW. Free. (202) 939-5688. koreaculturedc.org.

FILMSHORT SUBJECTS

See the latest films with on-screen captions at DC movie theaters!

Movie theaters in the District are offering select showtimes with the captions displayed on the screen. Visit opencaptionsdc.com for movie listings and more details.

SOFT ROCK David Crosby: Remember My Name Directed by A.J. Eaton

There is a tendency in biographical music documentaries for the subject to be grandiose.

With their best work usually behind them, they like to bloviate about the good old days. This is especially true for musicians whose heydays were in the 1960s and 1970s—they often harbored the delusion that their tunes could change the world. David Crosby: Remember My Name is engaging when it resists that kind of hagiography. Now that Crosby is sober and no longer performing with his contemporaries, he is upfront about his failures and mistakes.

The film is a feature debut for director A.J. Eaton, but producer Cameron Crowe leaves the strongest impression. Crowe, prior to becoming a filmmaker himself, was a journalist for Rolling Stone in the 1970s. He interviewed all sorts of musicians from that period, and was just 17 when he first met Crosby in 1974. They chat on a visit to Los Angeles, with Crosby stopping by his old haunts. These interviews are the bulk of the film, with plenty of concert footage from his days with The Byrds and Crosby, Stills & Nash.

Modern footage is remarkable because Crosby’s voice is as clear and heartbreaking as it was 50 years ago. He does not have an explanation for why his voice still sounds as good as it does.

Since Crosby has a reputation as a blowhard, his humility here is impressive. In the wake of Woodstock, he infamously went on The Dick Cavett Show and talked about what he saw as if he had just found the cure for cancer. This facet of Crosby’s life embrasses him, but his biggest regrets are his personal relationships. He was a monster to Joni Mitchell, who finally excoriated him in a way only she could—she performed a newly written breakup song in front of all their friends. Stephen Stills, Graham Nash, and Neil Young all refuse to talk to him. Roger McGuinn, who co-found-

ed The Byrds with Crosby, ultimately kicked him out of the band. These regrets are a psychic weight on Crosby. Despite a healthy family life, he is a profoundly lonely figure.

Crowe and Eaton are not revisionists, so they seek to put Crosby in a more complete, ultimately flattering context. No one wants to see a man in his 70s be full of youthful arrogance, and Remember My Name is successful in disabusing that notion. Crosby can be so forthright that it’s almost funny. Upon arriving in Los Angeles, for example, he goes back to a famous bodega and notes that nothing important actually happened there. Pictures of his old friends are all over the walls, and he remarks that all he ever did was buy groceries. Classic rock musicians are sometimes deified, and Crosby’s attention to detail helps us understand that they were struggling, ordinary people who did not have all the answers.

While he was middle-aged, Crosby became a punch line. Drugs and alcohol made him a wreck, and he even attempted to flee a jail sentence. He is not proud of this period, although he seems determined to reflect upon it with accuracy. When Crosby gives himself up to the FBI, the archival footage is not of an outlaw. Instead, we see a desperate man who barely escaped death. This kind of brutal honesty is the only way Crosby and the filmmakers can convincingly atone for his misdeeds. Redemptive arcs like this are commonplace in biographical documentaries, but at least Eaton and Crowe do not conjure the narrative from nothing.

Crosby can no longer fill halls and stadiums by playing “Suite: Judy Blue Eyes.” In fact, Remember My Name includes the last-ever Crosby, Stills & Nash performance. It was at the National Christmas Tree lighting in 2015, with the musicians performing a truly awful version of “Silent Night.” Crosby’s loneliness, creativity, and chronic illnesses left him with an uncertain path ahead. Now that he is pushing 80, walking that path is not quite heroic, but it’s close.

—Alan Zilberman David Crosby: Remember My Name opens Friday at Landmark E Street Cinema.

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GALLERIESSKETCHES

An image from Ragnar Axelsson’s Glacier series

ICE AGE Glacier

At the House of Sweden to August 11 Of the Arctic’s plentiful natural wonders, from the mountains to the fjords to the Northern Lights in the heavens, the glacier stands as one of the region’s most marvelous formations.

The Embassy of Iceland presents Glacier, a one-room photography exhibition showcasing just how special these natural treasures are, at the House of Sweden. In this display, the glacier—a thick, slow-flowing mass of ice—is grand.

Icelandic photographer Ragnar Axelsson flew all over the region to create the images, capturing northern glaciers in stunning detail from aerial views. For many years, Axelsson has focused his lens on Arctic life and nature.

This exhibition, which accompanies his new photo book of the same name, is the culmination of his work chronicling the ice. The exhibition room also features a projector screen that plays a short film chronicling Axeslsson at work, as he flies over the ice masses.

It’s hard to fathom that the subject of each of the 21 ethereal black-and-white photos in the show is actually a glacier. In one snapshot, a glacier’s lines look like a bird taking flight. In another, you’d swear you could see the shape of a human face in the ice. In every photo, the ice takes on unique geometry, a breathtaking variety of patterns and textures and surfaces that inspires visions of animals, people, and water in an endless array of shapes. You can see anything and everything in the assorted structures of the ice if you look hard enough.

By documenting them in their many forms, 22 august 2, 2019 washingtoncitypaper.com

Axelsson has turned glaciers into art.

“The thrill of discovering the glaciers has made a deep and lasting impression,” he writes in the book. “The ice falls, ice caves, and gigantic icebergs floating in the lagoons, fascinating from the start, are fascinating still.

Walking across a glacier’s cracked surface, climbing a mountain wrapped in thousandyear-old ice, and riding bareback over a raging glacial river, are extraordinary adventures; but, exploring the glaciers from above changes one’s very understanding of a glacier itself.”

When contemplating the state of the natural world, Glacier is both beautiful and bittersweet. Earth’s glaciers are melting quickly, and scientists, environmentalists, and leaders across the globe have been vocal about protecting them. The Guardian reports that Iceland is now marking the site of Okjökull—the country’s first glacier lost to a warming planet—with a plaque. It reads, “Ok is the first Icelandic glacier to lose its status as a glacier. In the next 200 years all our glaciers are expected to follow the same path. This monument is to acknowledge that we know what is happening and what needs to be done. Only you know if we did it.”

Ice will continue to melt and shrink. But exhibitions like Glacier thrust Earth’s magnificence in front of our eyes and force us to reckon with the possibility of losing its essential parts. Axelsson’s standout ode to the glacier makes one consider the nature that we’ve already lost and the fragile nature we have left. These glaciers are gargantuan and gorgeous, but still melting all the while.

—Kayla Randall 2900 K St. NW. Free. (202) 536-1500. houseofsweden.com.

Merriweather Post Pavilion • Columbia, MD THIS SATURDAY!

CDE PRESENTS : 2019 SUMMER SPIRIT FESTIVAL FEATURING

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

THIS WEEK’S SHOWS

REV909: Daft Punk/French House Tribute & Indie Dance Classics

with DJs Ozker and Keenan Orr • Visuals by Robin Bell .......................F AUG 2

The Faint w/ Ritual Howls & Closeness .......................................................... Sa 3 Tuxedo (Mayer Hawthorne & Jake One) w/ DJ Cuzzin B & Nick Garcia ......... Su 4 AUGUST

SEPTEMBER (cont.)

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 Daydream Nation Screening

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

The Band CAMINO w/ Valley ..F 13 Barns Courtney w/ The Hunna Early Show! 6pm Doors ....................Sa 14 U STREET MUSIC HALL PRESENTS

Marc Rebillet Late Show! 10pm Doors ...................Sa 14 Polo & Pan ..............................Su 15 Live - Throwing Copper

25th Anniversary Celebration . M 16

Band of Skulls w/ Demob Happy ........................Th 19 grandson w/ nothing,nowhere.

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

Early Show! 6pm Doors. .....................Sa 21

DC Music Rocks Festival feat.

The Eli Lev Collective with special

U STREET MUSIC HALL PRESENTS

guest Jarreau Williams, More AM Than FM, and more!..Sa 17 SURPRISE! AT THE CLUB!

Brittany Howard of Alabama Shakes ......F 23 & Sa 24 No Scrubs: ‘90s Dance Party

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

SEPTEMBER D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

dodie .............................................F 6 Deerhunter + Dirty Projectors .....................Su 8 Wilder Woods (Bear Rinehart of NEEDTOBREATHE) ..................W 11

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

The Joe Kay Experience A Special 4 Hour Set Late Show! 10pm Doors ...................Sa 21 Ride w/ The Spirit Of The Beehive .Su 22 Whitney w/ Hand Habits ............M 23 Ingrid Michaelson ................Tu 24 Pinegrove w/ Boyscott ............Th 26 half•alive Early Show! 6pm Doors. ..F 27 BLISSPOP & U STREET MUSIC HALL PRESENT

Blisspop Disco Fest feat.

The Black Madonna w/ Josey

Rebelle, Amy Douglas, and more!

Late Show! 10pm Doors...................F 27 Jade Bird w/ Flyte

Early Show! 6pm Doors. ....................Sa 28 BLISSPOP & U STREET MUSIC HALL PRESENT

Blisspop Disco Fest feat.

Chromeo, RAC (DJ Set), and more!

Late Show! 10pm Doors.................Sa 28

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9:30 CLUB PRESENTS AT U STREET MUSIC HALL

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

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

MISTERWIVES

w/ Foreign Air ............... SAT NOVEMBER 9

On Sale Friday, August 2 at 10am THIS TUESDAY!

METROPOLITAN ENTERTAINMENT PRESENTS

AN EVENING WITH

Zaz ................................................... OCT 4 Dawes ............................................AUG 6 The Band Perry w/ Phangs .... OCT 15 Antoni In The Kitchen ........ SEP 10 AEG PRESENTS Criminal Podcast Bianca Del Rio - Live Show .................................... SEP 11

Tinariwen w/ Lonnie Holley ........ SEP 19 AN EVENING WITH

The Waterboys ..................... SEP 22 Adam Ant: Friend or Foe .... SEP 23 Cat Power w/ Arsun ................... SEP 25 POLITICS AND PROSE PRESENTS

Ta-Nehisi Coates The Water Dancer Book Tour .................................. SEP 26 ALL GOOD PRESENTS

Nahko and Medicine for The People w/ Ayla Nereo . SEP 29

Emeli Sandé (Acoustic) .............. OCT 3

It’s Jester Joke ........................ OCT 18

AEG PRESENTS

Jónsi & Alex Somers -

Riceboy Sleeps with Wordless Orchestra .......... OCT 28

X Ambassadors w/ Bear Hands & LPX ....................... OCT 29 Puddles Pity Party w/ Dina Martina ................................ OCT 31 Angel Olsen w/ Vagabon ............NOV 1 U Up? Live ....................................NOV 4 Kishi Bashi ..................................NOV 8 Mandolin Orange w/ Sunny War ....................................NOV 14

• thelincolndc.com • U Street (Green/Yellow) stop across the street!

Reignwolf w/ JJ Wilde ......... Sa AUG 10 Benjamin Francis Leftwich .Th SEP 5 Alex Lahey w/ Kingsbury .............Th 22 girl in red w/ Isaac Dunbar...............M 9 Why? w/ Barrie ...........................Su 25 Ceremony w/ Choir Boy & Glitterer .Tu 10 • 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 august 2, 2019 23

24 august 2, 2019 washingtoncitypaper.com

CITYLIST Music 25 Film 28 Theater 28

LIVE MUSIC | BOURBON | BURGERS

CITY LIGHTS: FRIDAY

AUGUST TH 1

BLAME IT ON JANE w/ CUE THE DEER

FR 2

BILLY PRICE CHARM CITY RHYTHM BAND “DOG EAT DOG” ALBUM RELEASE PARTY

SA 3

SUMMER HITS FLASHBAND SHOWCASE

SU 4

KYLE CRAFT & SHOWBOAT HONEY

TH 8

KASEY TYNDALL

FR 9

WARD DAVIS w/ CHARLES WESLEY GODWIN

SA 10 MIKE ZITO (ROYAL SOUTHERN BROTHERHOOD)

ISLE OF DOGS

TU 13 HAPPY HOUR w/ FY5

Isle of Dogs sets its action in a near-future Japan, where a pup-hating politician has banished all dogs to an island landfill and a young boy leaves his hometown of Megasaki on a doggie-rescue mission. The tale cleverly splices elements of political fable and fairytale, but the movie’s most memorable element is its visuals. The stop motion used to bring the dogs and their masters to life is reminiscent of Laika Studios’ films, like Coraline or Kubo and the Two Strings. The juxtaposition of the colorful and technologically advanced Megasaki with the detritus of Trash Island comes courtesy of the production designer director Wes Anderson carried over from The Grand Budapest Hotel and Moonrise Kingdom. After watching sequences of sushi being prepared and poisoned and the cure for a canine pandemic being spun through a centrifuge dazzle, one wonders why trailers went to such lengths promoting celebrity voice talent for a movie whose main course is its visual aesthetic. Isle should be enjoyed with complaints of cultural appropriation in mind, but there are still ways in which the movie succeeds. Its animation works in service of an empathetic story about the animals we love, one that asks humans hard questions about who we are and who we want to be. Best of all, the free screening on Sonny’s Green is BYOD (bring your own dog). The film screens at 8 p.m. at The Blairs Shopping Center, 1290 East-West Highway, Silver Spring.

Free. (301) 495-6700. afi.com/silver.

—Will Lennon

WE 14 HAPPY HOUR w/ JIMMY CONNOR TH 15 DREW GIBSON w/ MINKS MIRACLE MEDICINE FR 16 THE IGUANAS SA 17 BLAIR CRIMMINS & THE HOOKERS TH 22 “SHINER HONKY TONK NIGHT” WIL GRAVATT BAND FR 23 TRAVERS BROTHERSHIP TH 29 CHRIS CASSADAY & THE CASSADAY CONCOCTION CASEY CAVANAGH w/ HANNAH JAYE & THE HIDEAWAYS (DUO)

Music FRIDAY BLUES

THE HAMILTON 600 14th St. NW. (202) 787-1000. Vintage #18. 10:30 p.m. Free. thehamiltondc.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. Billy Price Charm City Rhythm Band.

8 p.m. $15. pearlstreetwarehouse.com.

ELECTRONIC

THE HAMILTON 600 14th St. NW. (202) 787-1000. The Englishtown Project. 6:30 p.m. $20–$25. thehamiltondc.com.

FUNK & R&B

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Caligula Blushed. 7 p.m. $10. thestatetheatre.com.

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Cristoph. 10 p.m. $15–$20. soundcheckdc.com.

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

CLASSICAL

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Syleena Johnson. 6 p.m. $35–$55. citywinery.com.

COUNTRY

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. Postmodern Jukebox. 8 p.m. $29– $169. kennedy-center.org.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. E.T. The Extra-Terrestrial in Concert with NSO. 8:30 p.m. $40–$65. wolftrap.org.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kelly Willis and Bruce Robinson. 7:30 p.m. $29.50. birchmere.com.

JAZZ

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Ravers: 80’s UK Soul. 7 p.m. $20–$25. citywinery.com.

WORLD

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

SA 31 GRAMMY NOMINATED FOR BEST CONTEMPORARY BLUES ALBUM DANIELLE NICOLE BAND w/ MARY-ELAINE JENKINS

pearlstreetwarehouse.com

SATURDAY COUNTRY

FR 30 AN EVENING WITH THE NIGHTHAWKS

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Florida Georgia Line. 7 p.m. $60– $193.50. livenation.com.

FOLLOW US @PEARLSTREETLIVE 33 PEARL ST SW DC •THE WHARF

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CITY LIGHTS: SATURDAY

KHALID

GREAT PERFORMANCES AT MASON 2019/2020 SEASON

TICKETS ON SALE NOW!

In just a few years, Khalid has gone from an American Teen (his debut album) to a Free Spirit (his star-studded follow-up). The titles are instructive. His first album found the Army-brat-turnedsinger-songwriter exploring teenaged universalities with Zeitgeist hoppers like “Location” and “Young Dumb & Broke,” armed with little more than an acoustic guitar, subtle electronic beats, and sing-along melodies. For this year’s follow-up, Khalid opened his ballooning Rolodex and approached the album like its cover: standing on top of a panel van in the desert, his arms wide open, ready to take it all in. The result is still decidedly easy listening, but with maybe a little more verve in the grooves and a little more edge on his gentle voice and featherweight falsetto. Khalid called in everyone from Disclosure to John Mayer; there’s even a track with both Father John Misty and The Haxan Cloak in the credits. The lead single, “Talk,” plays like the spiritual successor to “Location,” but, as with most things in 2019, it’s made infinitely better with a Megan Thee Stallion appearance on the remix. Khalid performs at 7:30 p.m. at Capital One Arena, 601 F St. NW. $39.95–$99.95. (202) 628-3200. capitalonearena.viewlift.com. —Chris Kelly

CITY LIGHTS: SUNDAY

TUXEDO GET TICKETS 703-993-2787 or CFA.GMU.EDU Located on the Fairfax campus of George Mason University, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123.

26 august 2, 2019 washingtoncitypaper.com

Tuxedo is the product of a collaboration between hip-hop producer Jake One and funk-soul revivalist Mayer Hawthorne. Together, Hawthorne and Mayer simulate a time capsule crammed with the dance and disco of 1969 and extend the reign of early 2000s dance rock—think LCD Soundsystem and Neon Indian. It’s easy to see why the two make a strong team. Hawthorne has gained notoriety as a solo artist, and One has worked with Future, The Weeknd, Chance the Rapper, and Kendrick Lamar. (One also produced John Cena’s “The Time Is Now,” which you definitely heard if you attended a sporting event between summer 2005 and 2008.) The two found their chemistry by exchanging homemade boogie-funk mixtapes and came together to release their first full length album in 2015. Since then, they have gained notoriety on the cutting edge of a funk revival for imbuing their live performances with good vibes, positivity, and dorky charm. This is the show to see if you’re still riding a high from the retro-vibes on the soundtrack for Once Upon a Time in Hollywood—or if you’re just a fan the sort of tunes that Ron Burgundy once so eloquently described as “baby-makin’ music.” Tuxedo perform at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Will Lennon

ELECTRONIC

CITY LIGHTS: MONDAY

INFINITE SPACE

ARTECHOUSE’s summer exhibition is Instagram-friendly art at its finest. Dubbed Infinite Space, the show—Refik Anadol’s first major retrospective—unfolds across four galleries featuring eight works, including immersive data sculptures and digital paintings. Each exemplifies the artist’s signature scientific rigor, transforming data on subjects including urban wind patterns, photographs of Mars, and machine learning algorithms into monumental visual spectacles. “Bosphorus,” an undulating symphony of blue and white blocks, mimics the rhythms of Turkey’s Marmara Sea, while “Infinity Room,” seen by more than one million people to date, encloses visitors in a seemingly endless mirrored box. Anadol’s installations are linked thematically by a William Blake quote: “If the doors of perception were cleansed, everything would appear to man as it is—infinite.”

They’re infused with technological savvy and a futuristic creative bent, but viewers don’t need a computer science or art history degree to appreciate his efforts. Ultimately, Infinite Space proves equally appealing to individuals interested in the minutiae of the artist’s artificial intelligence algorithms and those simply hoping to snap a new profile picture. The exhibition is on view to Sept.

2 at ARTECHOUSE, 1238 Maryland Ave. SW. $8–$20. dc.artechouse.com.

—Meilan Solly

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

HE$H & Bommer. 10 p.m. $20. ustreetmusichall.com.

FUNK & R&B

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

Khalid. 7:30 p.m. $40–$329. capitalonearena.viewlift.com.

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

5 p.m.; 9:30 p.m. $35–$50. citywinery.com.

21 SAVAGE

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

Tix @ Ticketmaster.com presents

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Summer Spirit Festival. 2:30 p.m. $60–$250. merriweathermusic.com.

HIP-HOP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Shy Glizzy. 8 p.m. $30– $100. fillmoresilverspring.com.

The Warner Theatre Sat. Nov. 16, 2019, 7:30pm

On Sale Now at Ticketmaster.com chakakhan.com

Aug

2

POP

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

Band of Tomorrow. 7 p.m. $15–$25. unionstage.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Sarah McLachlan. 8 p.m. $40–$75. wolftrap.org.

ROCK

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

3

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. Better Off Dead. 7 p.m. $15–$18. gypsysallys.com.

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

Faux Rex. 8 p.m. $12–$15. rockandrollhoteldc.com.

DC BRAU 3718 Bladensburg Road NE. (202) 6218890. BRAUSTOMP Ska Festival. 1 p.m. $30. dcbrau.com.

HOWIE DAY

Frank Viele

4 5

w/ Eric

Scott

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

8

featuring Justin Trawick, Louisa Hall, The Sweater Set, Tiffany Thompson, Jenn Bostic, Brian Dunne, Jasmine Gillison, Eric Brace, Jason Ager

SUNDAY

DAVID ALLAN COE 11 MOTHER'S FINEST 13 LILA DOWNS WALLIS 15 THE WAIFS BIRD 16 BLOODSTONE "Natural High" 10

FOLK

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Cherish the Ladies. 3 p.m.; 7 p.m. $25–$35. ampbystrathmore.com.

POP

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

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Oweleo Lysette. 6 p.m. $25–$30. citywinery.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. ABBA The Concert. 8 p.m. $30–$60. wolftrap.org.

ROCK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. 1964: The Tribute. 7:30 p.m. $35. birchmere.com.

DC9 1940 9th St. NW. (202) 483-5000. The World/ Inferno Friendship Society. 7:30 p.m. $15. dcnine.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Sarah Borges & The Broken Singles. 5:30 p.m. $15–$20. jamminjava.com.

17 20

TAB BENOIT

21

West Coast Jam with

22

An Evening with

RICHARD ELLIOT, PETER WHITE & DW3 featuring The West Coast Horns RUFUS WAINWRIGHT "O Solo Wainwright" with special guest The Rails

DJ NIGHTS

SLASH RUN 201 Upshur St. NW. (202) 838-9929. King Khan and The BBQ Show. 10 p.m. Free. slashrun.com.

POP

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

ROCK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jon Anderson. 7:30 p.m. $85–$210. birchmere.com.

TUESDAY

THE MANHATTAN TRANSFER 24 FREDDIE JACKSON 25 CHANTÉ MOORE 29 BRIAN COURTNEY WILSON 23

w/ Gene Moore

30

Newmyer Flyer presents

A Tribute To The Everly Brothers & Grin Again

HIP-HOP

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. 21 Savage. 8 p.m. $55–$505. theanthemdc.com.

JAZZ

KIM WATERS WATERS

with special guest KAYLA

“Whiskey Bayou Revue” with Eric Johanson

MONDAY 21 Savage, the 26-year-old Atlanta-based rapper, has had a year—and it’s only August. Savage dropped i am > i was, his introspective sophomore album stuffed to the brim with features, in December 2018. It topped the Billboard chart for two weeks and earned him highprofile performances, like a late January spot on The Tonight Show Starring Jimmy Fallon, where he added a verse to his meditative single “a lot” that called for ending family separation at the border and bringing clean water to Flint, Michigan. Less than a week later, Savage was suddenly arrested by Immigration and Customs Enforcement for overstaying his visa as a United Kingdom national—a shocking turn for someone who has called this country home since childhood. He was ultimately released on bond and has applied for a new visa, but he still faces an uncertain future. While he’s here, he’s bringing his monotone flow, contemplative lyrics, and powerful messages to eager audiences across the country.

21 Savage performs at 8 p.m. at The Anthem, 901 Wharf St. SW. $55-$505. (202) 888-0020. theanthemdc.com.

—Ella Feldman

KELLY WILLIS & BRUCE ROBISON “Beautiful Lie Tour”

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

WORLD

CITY LIGHTS: TUESDAY

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

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Angela Johnson. 6 p.m. $20–$32. citywinery.com.

ATLANTIC STARR Sept 6 THE FABULOUS HUBCAPS 31

washingtoncitypaper.com august 2, 2019 27

POP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Molly Burch. 7 p.m. $13– $16. songbyrddc.com.

ROCK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Chris Isaak. 7:30 p.m. $115. birchmere.com.

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Dawes. 6:30 p.m. $40. thelincolndc.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. The Aristocrats. 6:30 p.m. $20–$35. unionstage.com.

WEDNESDAY BLUES

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

FOLK

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

Andrew Belle. 7 p.m. $20–$40. unionstage.com.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. The Struts.

7 p.m. $40. 930.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Drivin N Cryin. 6 p.m. $18–$25. citywinery.com.

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. From the Vault and Seven Bends. 7 p.m. $8. gypsysallys.com.

STRATHMORE GUDELSKY CONCERT GAZEBO 5301 Tuckerman Ln., Bethesda. (301) 581-5100. The Josanne Francis Septet. 7 p.m. Free. strathmore.org.

WORLD

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. E.N Young. 6:30 p.m. $10–$20. jamminjava.com.

THURSDAY ELECTRONIC

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

RÜFÜS DU SOL. 8 p.m. $35–$55. theanthemdc.com.

FUNK & R&B

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jon B. 7:30 p.m. $49.50. birchmere.com.

GO-GO

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Backyard Band. 10 p.m. $30–$40. citywinery.com.

JAZZ

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Laurin Talese. 6 p.m. $25–$32. citywinery.com.

POP

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Boys of Summer. 3 p.m. $39. thestatetheatre.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Drab Majesty. 7 p.m. $16–$35. unionstage.com.

ROCK

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

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

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. August Burns Red. 7 p.m. $25. fillmoresilverspring.com.

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. Copper Chief. 7 p.m. $12. gypsysallys.com.

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

Donavon Frankenreiter. 6:30 p.m. $20–$25. thehamiltondc.com.

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Hootie & the Blowfish. 6 p.m. $35–$129.50. merriweathermusic. com.

Theater

ANN Holland Taylor’s Ann is the comedic portrayal of the late Democratic Texas Governor Ann Richards,

whose legacy as a feminist and 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) 4883300. arenastage.org.

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) 4674600. kennedy-center.org.

BOOTLEG SHAKESPEARE: RICHARD III In Bootleg Shakespeare, actors come to the performance with only their lines prepared—no rehearsals, no direction.

Back for a second year, the Taffety Punk Bootleggers present Richard III. Folger Shakespeare Library. 201 E. Capitol St. SE. To Jan. 1 Free. (202) 544-7077. folger.edu.

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) 634-2270. adventuretheatre-mtc.org.

DEAR EVAN HANSEN Dear Evan Hansen is the winner of six Tony Awards and a Grammy. It is directed

by Michael Greif and stars Benj Pasek and Justin Paul.

Kennedy Center Eisenhower Theater. 2700 F St. NW. To Sep. 8 $79–$175. (202) 467-4600. kennedy-center.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 Sep. 7 $39–$179. (202) 467-4600. kennedy-center.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) 654-8664. writer.org.

SHEAR MADNESS Shear Madness is an audienceinteractive 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 Sep. 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) 811-4111. synetictheater.org.

Film

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) ONCE UPON A TIME IN HOLLYWOOD In 1960s Los Angeles, a television actor and his stunt double go on an odyssey to make their names in Hollywood. Starring Brad Pitt, Leonardo DiCaprio, and Margot Robbie. (See washingtoncitypaper.com for venue information) DAVID CROSBY: REMEMBER MY NAME This documentary follows David Crosby—of The Byrds and Crosby, Stills, & Nash—in his post-fame old age.

Directed by A.J. Eaton. (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) FAST & FURIOUS PRESENTS: HOBBS & SHAW Two archenemies team up to take down a bad guy bigger than either of them. Starring Dwayne Johnson, Idris Elba, and Jason Statham. (See washingtoncitypaper.com for venue information)

28 august 2, 2019 washingtoncitypaper.com

CITY LIGHTS: WEDNESDAY

NATALIE WEXLER

As an education reporter and D.C. public school tutor, Natalie Wexler has firsthand knowledge of the public school system’s flaws. In The Knowledge Gap: The Hidden Cause of America’s Broken Education System— and How to Fix It, she attributes the pervasive downtick in students’ test scores to an unexpected culprit: elementary schools’ emphasis on learning comprehension skills and strategies (think “find the main idea”) over building a wide base of knowledge across history, science, and literature.

Wexler argues that this misguided focus disproportionately affects low-income students, who are less likely to be exposed to the vocabulary words and background information they’ll need to understand educational texts outside of a schoolroom. Critical thinking is an essential aspect of learning, but if students can’t identify the people, places, or events referenced in a reading test, they’ll never have the chance to demonstrate those skills. Wexler will discuss her book with Elizabeth Green, editor-in-chief and co-founder of Chalkbeat, a nonprofit education news organization. Natalie Wexler speaks at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com. —Meilan Solly

CITY LIGHTS: THURSDAY

STEVEN GREENHOUSE

Award-winning journalist Steven Greenhouse—who spent 31 years at the New York Times, most of them reporting on labor, the workplace, business, and economics—has created an incisive contemporary history of labor in his newest book Beaten Down, Worked Up: The Past, Present, and Future of American Labor. In it, Greenhouse gracefully discusses topics such as gender-pay gaps, income inequality, and wage stagnation, demonstrating how they highlight the decrease in the power of ordinary workers. He delves into the history of labor unions and their massive benefits for workers, rebutting the modern idea that unions are no longer useful. What makes the book so important, though, is Greenhouse’s survey of the modern landscape of work—he uses dozens of stories to show readers what life is like for Uber drivers and G.M. workers. And while he exposes the erosion of unions and labor’s political power, Greenhouse also shows the particular ways in which workers are restoring and establishing that power.

Steven Greenhouse speaks at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Malika T. Benton

SAVAGELOVE M DOOGALS THE FAMOUS

C

I’m a woman who married young (21) and I’ve been with my husband for seven years. Within the last year, I’ve realized that my falling libido probably comes from the fact that I am not turned-on by our boring vanilla sex routine. I get so little fulfillment that I’d rather not even do it. I’ve tried talking to him, but he says he prefers sex without foreplay or a lot of “complicated stuff.” I had some great casual sex before we met but it turns out I’m into BDSM, which I found out when I recently had a short affair. I’ve kept the secret and guilt to myself, but I have told my husband I’m into BDSM. He wants to make me happy but I can tell he isn’t turned on doing these things. He denies it, because he’s just happy to have sex at all, but a butt plug and a slap on the ass does not a Dom make. I’ve tried to ask him if we can open up our relationship so that I can live out my fantasies. I would like to go to a BDSM club and he isn’t interested at all. He was very upset and said he’s afraid of losing me if we go. He also felt like I was giving him an ultimatum. But I told him he was allowed to say no, and that I wouldn’t leave if he did.

When I was younger I thought there was something wrong with me because everyone else wanted monogamy but it never seemed important to me. I’m not a jealous person and I wouldn’t mind if he had sex with other people. In fact, the thought of it turns me on but he says he isn’t interested. I know he loves me and I love him. At this point my only solution has been to suppress this urge to have BDSM sex, but I don’t know if it is a good long-term solution. What should I do? Keep my fantasies to myself ? Have another affair or ask him to have an open relationship again? We have a 3-year-old daughter so I have to make our relationship work.

—Want The Hard Truth Two quick points before I bring out the big guns: First, marrying young is a bad idea. The younger two people are when they marry, according to a veritable mountain of research, the more likely they are to divorce. It makes intuitive sense: The rational part of the brain— the prefrontal cortex—isn’t fully formed until age 25. We shouldn’t be picking out wallpaper in our early twenties, WTHT, much less life partners. And second, basic sexual compatibility (BSC) is crucial to the success of sexually exclusive relationships and it’s a bad idea to scramble your DNA together with someone else’s before BSC has been established.

And with that out of the way…

“WTHT might be surprised to hear she is just a normal woman being a normal woman,” said Wednesday Martin, New York Times bestselling author, cultural critic, and researcher.

“Like a normal human woman, she is bored after seven years of monogamous sex that isn’t even her kind of sex.”

You mentioned that you used to feel like there was something wrong with you, WTHT,

but just in case you have any lingering “what’s wrong with me!” feelings, you’re gonna want to read Untrue: Why Nearly Everything We Believe About Women, Lust, and Infidelity Is Wrong and How the New Science Can Set Us Free, Martin’s most recent book.

“We know from recent longitudinal studies from Germany, Finland, the US, the UK, and Canada that among women only, relationship duration and living together predict lower desire/boredom,” said Martin. “In fact, the Finnish study found that even when they had more/ better orgasms, women in monogamous relationships of several years’ duration reported low desire.” A straight man’s desire for his longterm, live-in female partner also decreases over time, but nowhere near as drastically as a woman’s does. “Contrary to what we’ve been taught, monogamy kills it for women, in the aggregate, more than it does for men,” said Martin.

So that’s what we know now—that’s what the research shows—but very few people in the sexadvice-industrial complex have wrestled with the implications. Most advice professionals, from the lowliest advice columnist to the most exalted daytime TV star, have chosen to ignore the research. They continue to tell unhappily sexless couples that they’re either doing something wrong or that they’re broken. If he would just do his fair share of the housework or if she would just have a glass of wine—or pop a “female Viagra,” if big pharma could come up with one that works, which (spoiler alert) they never will— they’d be fucking like they did the night they met. Not only isn’t this advice helpful, it’s harmful: He does more housework, she drinks more wine, nothing changes, and the couple feels like there’s something wrong with them. In reality, nothing’s wrong. It’s not about a more equitable division of housework (always good!) or drinking more wine (also but not always good!), it’s about the desire for novelty, variety, and adventure.

Zooming in for a second: The big issue here is that you got bored. No foreplay? Nothing complicated? Even if you were 100 percent vanilla, that shit would get tedious after a few years.

Or minutes. After risking your marriage to treat your boredom (the affair), you asked your husband to shake things up—to fight sexual boredom with you—by incorporating BDSM into your sex life, by going to BDSM clubs, and by at least considering the possibility of opening up your marriage (ethically this time). And while he’s made a small effort where BDSM is concerned (butt plugs, slapping your ass), your husband ruled out BDSM clubs and openness. But since he’s only going through the BDSM motions because he’s just “happy to have sex at all,” what he is doing isn’t working for you. And it’s probably not working for him, either.

At bottom, WTHT, what you’re saying—to me, if not to your husband—is that you’re gonna need to do BDSM with other people if your

husband doesn’t get better at it, which is something he might learn to do at the BDSM club he refuses to go to. Which means he has it backward: He risks losing you if he doesn’t go.

“She once put her marriage at risk to get BDSM,” said Martin. “WTHT’s husband doesn’t need to know about the affair, in my view, and he doesn’t need to become the world’s best Dom. But he owes her acknowledgment that her desires matter. Get to that baseline, and other things tend to fall into place more easily. The discussion about monogamy becomes easier. The discussion about needing to be topped becomes easier. Working out a solution becomes easier.”

I’m not suggesting that an open relationship is the solution for every bored couple, and neither is Martin. There are lots of legitimate reasons why two people might prefer for their relationship to be or remain monogamous. But two people who commit to being sexually exclusive for the rest of their lives and at the same time wanna maintain a satisfying sex life—and, open or closed, couples with satisfying sex lives are likelier to stay together—need to recognize that boredom as their mortal enemy. And while the decision should be mutual, and while ultimatum is a scary word, in some instances, bringing in reinforcements isn’t just the best way to fight boredom, it’s the only way to save the relationship.

Now a couple of weeks back, I told a frustrated husband that his cuckolding kink may have to be put on the back burner while his children are young. The same goes for you, WTHT. But at the very least your husband has to recognize the validity of your desires and put more effort into pleasing you.

“In straight culture, people tend to define sex as intercourse, because intercourse is what gets men off, and we still privilege male pleasure,” said Martin. “But seen through a lens of parity, what WTHT wants is not ‘foreplay’ or ‘complicated stuff.’ It’s sex, and the sooner her husband lets go of this intercourse = sex fetish of his, and acknowledges that her pleasure matters as much as his does, the sooner he’ll be a real partner to his wife.”

For the record: A relationship doesn’t have to be open to be exciting, BDSM doesn’t have to be crazy complicated to be satisfying, and date night doesn’t have to mean dinner and a movie. Date night can mean a visit to a BDSM club where your husband can learn, through observation alone (at least for now), how to be a better Dom. You can find Wednesday Martin on Twitter @WednesdayMartin. You can find her books, blog posts, videos, and more at wednesdaymartin.com.

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

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against the decedent shall be presented to the undersigned with a Adult . . . . . . . . . . . . . . . . . . . . . . . 42 SUPERIOR COURT copy to the Register of OF THE DISTRICT OF Wills Auto/Wheels/Boat . .or . .to . the . . .Register . . . 42 COLUMBIA of Wills with a copy to Buy, Sell, Trade . . the . . .undersigned, . . . . . . . . .on . . . .

PROBATE DIVISION 2019 ADM 000540 or before 02/01/2020, Marketplace . . . . . . . . . . . . . . . . . 42 Name of Decedent, or be forever barred.

Italia Community Zambrano. Notice . . . . . Persons . . . . . .believed . . . . . .to . be 42 of Appointment, Notice heirs or legatees of the Employment . . . . . . .who . . .do . .not . 42 to Creditors and Notice . . . . decedent to Unknown Heirs, Health/Mind . . . . receive . . . . . a . .copy . . . of . .this . . . .

Elsa Zambrano, whose notice by mail within address is 3618 ConBody & Spirit . . . . 25 . . days . . . .of . .its . .publica . . . 42 necticut Ave NW Apt tion shall so inform Housing/Rentals . . .Register . . . . . .of . Wills, . . . 42 301 Washington DC the 20008 was appointed including name, address Legal Notices . . . . . . . . . . . . . . . . 42 Personal Representative and relationship. Date of theMusic/Music estate of Italia Row . of .first . . .publication: . . . . . . . . 42 Zambrano who died on 08/01/2019 Name of . . . with . . . .a . . . . Newspaper . . . . . . . .and/or . . . . .peri42 MarchPets 17, 2019, Will and will serve withodical: Washington City Real Estate . . . . . . . . . . . . . . . . . .

42 out Court Supervision.

Paper/Daily Washington All unknown heirs and of Shared Housing . Law . . . Reporter. . . . . . . .Name . . . 42 heirs whose wherePersonal RepresentaServices . . . . . . . . tive: . . . .Elsa . . .Zambrano . . . . . . 42 abouts are unknown shall enter their appearTRUE TEST copy Nicole ance in this proceedStevens Acting Register ing. Objections to such of Wills Pub Dates: appointment shall be August 1, 8 and 15. filed with the Register of Wills, D.C., 515 5th Public Notice Cedar Tree Academy Street, N.W., Building A, PCS 3rd Floor, Washington, Request for Proposals D.C. 20001, on or before 02/01/2020. Claims Cedar Tree Academy

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CONSUMER before the RFP AND REGULATORY AFFAIRS Bids must be submitted FILE HAS to Dr.NUMBER LaTonya271941) HenderDISSOLVED EFFECTIVE NOVEMson, Executive Director, BER 27, 2017 AND HAS FILED Cedar Tree Academy OF ARTICLES OF DISSOLUTION PCS 701 Howard Road DOMESTIC FOR-PROFIT CORSE, Washington PORATION WITH THEDC DISTRICT 20020.

OF COLUMBIA CORPORATIONS DIVISION Cedar Tree Academy will receive bids until Friday, AAugust CLAIM16, AGAINST TRAVISA 2019, no OUTSOURCING, INC. MUST later than 4:00PM. INCLUDE THE NAME OF THE DISSOLVED CORPORATION, Mechanics INCLUDE THE Lien: NAME 1996 OF THE Mazda MPV Vin#A SUMMACLAIMANT, INCLUDE JM3LV5221T0806595 RY OF THE FACTS SUPPORTING SaleCLAIM, to beAND held: AugustTO THE BE MAILED 1600 INTERNATIONAL 10, 2019 at 10am DRIVE, SUITE 600,premises MCLEAN, VA 22102 On the of: DEES TOWING 4706 H ALL CLAIMS WILL BE BARRED CREMEN RD TEMPLE UNLESS A 20748 PROCEEDING TO HILLS MD ENFORCE THE CLAIM IS COMMENCED WITH IN 3 YEARS OF SUPERIOROF COURT PUBLICATION THIS NOTICE OFACCORDANCE THE DISTRICT OF IN WITH SECTION COLUMBIA 29-312.07 OF THE DISTRICT OF PROBATE DIVISION COLUMBIA ORGANIZATIONS ACT. 2019 ADM 000710 Name of Decedent, Two Rivers PCS is soliciting James L. proposals to Harvey. provide project manNotice services of Appointment, agement for a small conNotice to Creditors and struction project.

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Heirs, Lynn S. Deadline Harvey, for submissions is December whose address is 6, 2017.

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Register of Wills, D.C., Legals 515 5th Street, N.W., Building A, 3rd Floor, DC SCHOLARS PCS REQUEST Washington, D.C. FOR PROPOSALS – Modu20001, on or before lar Contractor Services - DC February 1,2020.

Scholars Public CharterClaims School against the decedent solicits proposals for a modular shall be topresented to contractor provide professional the undersigned with a management and construction servicestotothe construct a modular copy Register of building to house four classrooms Wills or to the Register andWills one faculty ce suite. of with offi a copy to The Request for Proposals the undersigned, on (RFP) or specifi cations can be obtained on before February 1,2020, and after Monday, November 27, or befrom forever barred.

2017 Emily Stone via comPersons believed to be munityschools@dcscholars.org. heirs or legatees of the in All questions should be sent decedent whoNo dophone not calls writing by e-mail. regarding RFP ofwillthis be acreceive athis copy cepted. received by noticeBids by must mailbe within 5:00 PM on Thursday, December 25 days of its publica14, 2017 at DC Scholars Public tion shall so inform Charter School, ATTN: Sharonda the Register of Wills, Mann, 5601 E. Capitol St. SE, including name, address Washington, DC 20019. Any bids andaddressing relationship.

Date of not all areas as outfirst August lined inpublication: the RFP specifi cations will 1, 2019 Name of Newsnot be considered. paper and/or periodical: Washington City Paper/ Apartments for Rent Daily Washington Law Reporter. Name of Personal Representative: Lynn S. Harvey TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: August 1, 8 and 15.

SUPERIOR COURT OF THE DISTRICT OF Must see! Spacious semi-furCOLUMBIA nished 1 BR/1 BA basement PROBATE DIVISION apt, Deanwood, $1200. Sep. en2019 ADM 731 trance, W/W carpet, W/D, kitchName of Decedent, en, fireplace near Blue Line/X9/ Colette Francis Davis.

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Notice of Appointment, Notice to Creditors and Rooms for Rent Notice to Unknown Heirs,LaPrea M. Glasgow Holiday SpecialTwo furwhoserooms address is 1303 nished for short or long 15th st NW Washingterm rental ($900 and $800 per ton DC with 20001 wasto W/D, month) access WiFi, Kitchen, and Den. Utiliappointed Personal ties included. Best N.E. location Representative of the along H St. Corridor.

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Claims the decePOWERagainst DESIGN NOW HIRdent be presented ING shall ELECTRICAL APPRENOF ALL SKILL LEVtoTICES the undersigned with a ELS! copy to the Register of Wills or to the Register thewith position… ofabout Wills a copy to Do undersigned, you love working the onwith or your hands? Are you interbefore February 1,2020 ested in construction and orinbe foreveranbarred. becoming electrician?

Persons believed to be Then the electrical apprentice heirs or could legatees of the position be perfect for decedent who do not you! Electrical apprentices are able atocopy earn aofpaycheck receive this and fullby benefi ts while learnnotice mail within the trade first25ingdays of itsthrough publicahand experience. tion shall so inform

the Register of Wills, what we’re looking for… including name, address Motivated D.C. residents who and Date wantrelationship. to learn the electrical oftrade firstand publication: have a high school August diploma 1, or 2019 GED asName well asof reliable transportation.

Newspaper and/or periodical: Washington City a little bit aboutWashington us…

Paper/Daily Power Design is Name one of of the Law Reporter. top electrical contractors in Personal Representathe U.S., committed to our tive: LaPrea M. and Glasgow. values, to training to givTRUE TEST copy Nicole ing back to the communities Stevens Acting in which we live andRegister work. of Wills Pub Dates: more details…

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