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Near Northeast

7/11/17 - Special Guest: Etxe Records

A big thank you to the crew from Etxe Records for coming on the show!

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FROM TODAY'S SHOW

MUSIC

  1. Crewsin by Dupont Brass (Hip-Hop/R&B)
  2. What to Say by Near Northeast (Indie/Folk)
  3. The Shovel Song by Andy Shea  (Indie/Folk)
  4. South Virginia by The Red Fetish (Indie/Post-Prog)
  5. Wonderful Gift by Silo Halo (Rock/Post-Punk)
  6. Dinner Date by Teething Veils (Folk/Chamber Pop)

ANNOUNCEMENTS

We’re asking for a bday present!  Since we’ve turned 1 year old, we’d love some more good reviews of our podcast on iTunes and Google Play.  Could you go on there and share a good review?  More reviews means it will show up higher in search results, which will help us share the DC music scene with more people!

NEW RELEASES

Music:
Aztec Sun - You Make Me Smile (single)
Sub-Radio - Drinking In Bed (single)
Lisa Said - Estranged (EP)

Videos:
Carolyn Malachi - Andrew: https://www.youtube.com/watch?v=nAAvLG33ULw

THIS WEEK'S LOCAL DC SHOWS TO SEE 

There's so many!  Visit our Local Music Calendar to see the full list!  These are just the few we discussed on the show to get you started.

Fri-Sun, Jul 14-16
16th St House Farewell Bash featuring Throwing Plates, Justin Trawick, North Country, Coward’s Choir, Adrian Krygowski & More @ 16th Street House in DC

Audioteka Fest - 50+ bands, including Tempurcrush, DriveTFC, Two Dragons and a Cheetah, & so many more @ Club Heaven And Hell in DC

Wed Jul 19
Human Country Jukebox @ Madam’s Organ in DC

Thurs Jul 20
Wylder @ The Black Cat in DC
Moogatu @ Gypsy Sally’s in DC

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ETXE RECORDS

(pronounced Eh-Chay)

VIDEO - BIO - LINKS - TRANSCRIPT

BIO:

Etxe Records 2.jpg

Etxe Records is an artist-run collective founded in 2008 by members of the DC-based post-punk band Girl Loves Distortion, Christopher Goett and Jenn Fox Thomas. Greg Svitil came on board in 2009, first as Etxe’s in-house recording engineer, co-founding Empress of Sound Studio with Goett in Petworth, DC; and later as part of general operations. Alejandro Castaño (The Red Fetish, Silo Halo, Teething Veils) came on board in 2014, first as an artist and then as part of general operations. The first two Etxe released were the first two Girl Loves Distortion albums. The label then branched out with the release of Toledo-based punk band Fangs Out’s debut LP Speech Shadowing. Releases followed from DC psych-shoegaze-post-punk band Silo Halo (Night and the City LP, Blackout Transmission LP), Florida-based darkwave band Ars Phoenix (Violent Rain LP), DC-based folk/rock/avant-classical band The Red Fetish (The Wind, as Now, is Silent CD, Non Sequitur CD), and DC’s chamber folk band Teething Veils (Velorio LPx2, Constellations LP, Dinner Date 7”). Empress of Sound Studio also serves as the DC home of Etxe Records. Etxe Records also has a home in Los Angeles.

Links

http://www.etxerecords.com/
https://etxe.bandcamp.com/
https://www.facebook.com/EtxeRecords/
https://twitter.com/EtxeRecords

Etxe3.jpg

INTERVIEW TRANSCRIPT

Brian:     Etxe Records is an artist run collective founded in 2008 by Chris and Jenn of the D.C. band Girls Love Distortion. Greg came on board in 2009 as Etxe's in house recording engineer and Greg and Chris co-founded ... They formalized it and now they call the recording studio Empress of Sound Studio. It's up in Petworth, D.C. Alejandro came on board back in 2014, first as an artist and then now as part of the general operations and there have been many bands who have since released music with Etxe records and you can find the full list obviously, check out their website and the many in their ranks share a connection to D.C. and the D.C. region as well. Empress of Sound Studio up in Petworth serves as their D.C. home and they also have a location now in Los Angeles so the group is growing, but definitely hail from the D.C. region. Guys, thank you so much for being here, it's a treat to have you here.

Greg:     Thank you for having us.

Brian:     This is awesome. Now, kick it off now, where does the name Etxe Records come from?

Greg:     The name Etxe was a ... It is a Basque word meaning a shelter or home or domicile and it was an idea that Christopher had had as far as approaching music as a safe space to nurture communal connections and dialog and conversation and really, that's what all the bands have in common. Often you see things written about Etxe artists all being wildly different, which may or may not be true. I would neither agree nor disagree with that aesthetically because ultimately I believe that the tie that connects all the artists is this sort of thoughtful approach to writing and sharing ideas and treating it as a dialog.

Brian:     Yeah, wow. Now, we introduced you earlier, but there is one more here so why don't all of you introduce yourselves and share what instruments you play and what bands you're a part of as a part of Etxe. So let's go around. Greg first.

Greg:     I'm Greg Svitil, I play in Teething Veils and in Silo Halo. In Teething Veils I play the guitar as well as a little bit of piano and other instruments and in Silo Halo I mainly play guitar and organ.

Brian:     Wow, cool. All right, Hannah?

Hannah:     I play viola in Teething Veils and do some occasional backup vocals.

Brian:     Nice, all right. Alejandro? Talk to us.

Alejandro:     All right, thank you very much for having us first of all. Thanks again. I didn't get to introduce myself earlier. I play a couple of things. I started with Etxe playing bass for Silo Halo. Then started playing piano for Teething Veils and we brought my project on board, The Red Fetish, in which I play guitar and whatever else is called for.

Brian:     Wow, very cool. All right, and last one?

Austin:     Hi, I'm Austin from Near Northeast and I mostly play bass, standup and a little bit of electric, and do the production for the album and sing harmonies and a little bit of drum machine programming.

Brian:     Got it. Wow. So much talent in this room right now, it's kind of unbelievable. I love it. So now talk about you guys ... What I want to hear from each of you guys is where did music come from for you. How did it start in your lives? Start with you, Greg. Go ahead.

Greg:     Well, for me as a child I would hear melodies in my head and had no sense of putting them down to paper or a tape recorder until I was about eight or nine or so. There were two moments that really crystallized my want to create songs and the first was when I bought my first cassette, which was Raising Hell by Run-D.M.C. and listening to the-

Brian:     Excellent, yeah?

Greg:     The content and the depth and substance of the lyrics and as well as just the rhythms and the layers of sounds was really inspiring to me. Then the other moment was the first time I ever saw The Ronettes on TV in [crosstalk 00:04:29]

Brian:     Oh and for those who don't know and if they don't know who the Ronettes are, who is that?

Greg:     They are a girl group who were most prolific in the 1960s and one of their largest hits was a song called Be My Baby, which a lot of people know whether or not they associate it with the Ronettes, but to me hearing that wall of sound, incredible, celebratory, romantic music made me want to write songs and I never stopped.

Brian:     Very cool. Hannah, what about you?

Hannah:     Grew up in a pretty musical household. My father was a [inaudible 00:05:06] in the National Symphony, mother's a pianist. I started playing violin when I was about five and switched to viola in middle-school and then learned guitar and drums.

Brian:     Wow, so you play a little bit of everything and you've been at it most of your life here it seems like.

Hannah:     Yes.

Brian:     Wow, that's cool. And Alejandro, what about you man?

Alejandro:     I didn't actually have any moment that kind of convinced me that I should dedicate myself to music like that. At some point in high-school I started recording random sounds. I don't come from a particularly musical household so I just recorded them on my computer using a sound recording thing that was pre-installed, mixing them together, manipulating the sound, and eventually that just kind of grew into making music naturally. I got to college, started studying instruments, music theory, got into classical music and just kind of never stopped.

Brian:     Wow that's kind of amazing. Holy smokes. All right Austin, what about you man? Tell us.

Austin:     Well I feel like I kind of just stumbled into it. I just started playing the clarinet as like a thing to do and I just stumbled from one thing to the next and then started playing guitar and I don't know, it's just always been a part of my life. I haven't really thought about it in depth, it's just always been there, but an incredibly meaningful part of my life.

Brian:     Wow so and all you guys had started real young and it's just always been a part of the lives, I love that. Absolutely. Me, too. It was definitely from a very young age. Absolutely.

     All right, so now what about you guys on the personal side? So we've got this whole musician sides that we've heard about. Outside of being a musician, do you have hobbies? What else do you do? What's life like for you guys? Share with us. We'll start with you again, Greg.

Greg:     I spend my days doing museum work. I install exhibitions. I write texts and I edit things so I'm around art during the days, which I'm very thankful for.

Brian:     Yeah.

Greg:     And then my life is otherwise is quite quiet. I spend a lot of time at home with my roommate's cat and with records and books and movies and going to other museums and kind of absorbing as much art and music and life as I can.

Brian:     Yeah and is there a certain museum that you're tied to? You said you work with it during the day or is it just in general?

Greg:     Yeah I've spent 17 years working with a modern contemporary Latin American and Caribbean art museum and I've also in that work collaborated with other places around town, galleries and other exhibition spaces.

Brian:     Yep, gotcha. All right Hannah, what about you?

Hannah:     My day job is at a restaurant. Other than that I like to go see shows and I live in the Trinidad neighborhood in D.C. with my husband and our dogs.

Brian:     Nice, so play with the puppies, too.

Hannah:     Yeah.

Brian:     All right, got it. Wow, sounds fun. What about you Alejandro?

Alejandro:     It's hard to find the time for everything you want to do, right? All of the music that you want to do, all of the different projects that take you in different directions.

Brian:     True. Yep.

Alejandro:     I try to spend as much time doing whatever crazy project I can. Other than that, I work in a performance rights organization. We pay royalties to recording artists and that's about it.

Brian:     Wow so you're kind of surrounded with the scene in your day job as well.

Alejandro:     A little bit. A different aspect of it, I guess.

Brian:     Yeah. I got it. All right, and what about you Austin?

Austin:     I by trade am a computer programmer. I actually quit my job to work on this last record so I hope it was worth it.

Brian:     I hope so, too. We're going to share it, absolutely. And so just computer programming or now what do you do if you don't have the day job in the way?

Austin:     Yeah, now I work on music, I read books, write things. Also, I have a cat. I like to hang out with my cat. But I'm now looking for a new job because petting the cat doesn't pay the bills.

Brian:     I feel like that's some kind of t-shirt that should be in productions somewhere. Petting the cat doesn't pay the bills.

Austin:     Yeah.

Brian:     I don't know, I love it. All right. Very cool guys. So one of the questions I love to ask on this one is if you could offer one piece of advice, what would it be? Greg, start with you.

Greg:     Well I don't know if I'm in a position to give any advice to anybody but I do think that it's important to maintain personal boundaries as a musician or as any kind of artist who just is out in the world in general in life. To maintain a sense of taking on things that are within one's ... That are comfortable or pushing the comfort zone in a way that's constructive and not in a way that's putting one in harm's way.

Brian:     Yeah. Okay, good personal boundaries. Hannah, what about you?

Hannah:     I am not sure. Pass.

Brian:     Okay, no advice coming there. Alejandro, you got any thoughts? You and Austin if you have any, please do share. I always think it's interesting and it doesn't have to do with ... I'm not considering you an expert in any way, but collective intelligence is one of those amazing things where society betters itself and so we share cool concepts and ideas. So I always love to hear from all the guests what's one piece of advice you'd offer and I've gotten so much over the years. So I appreciate any thoughts are fine.

Alejandro:     Yeah so for me something that I took a little bit of time to get acclimated with or to learn a lesson that has served me valuable in recent years has been that if you'll want to reap the benefits of collaboration, you also have to give up a sense of ownership over a particular project. And that is a decision that you have to make and that you have to make wholeheartedly and one that is ultimately very, very rewarding. If you're willing to collaborate, be willing to collaborate fully and accept the results.

Brian:     That's a great piece of advice, absolutely. Collaborate fully, it's the teamwork but you've got to ... I like that, nicely done. All right Austin, any thoughts from you there?

Austin:     I was just talking to my friend and he was like, "I think I've spent a lot of time playing shows or getting into the music scene and not knowing how it's done and then like, just floundering." I think you just go out and you do it is the answer.

Brian:     Absolutely. Got out and you do it and you educate yourself. I gotta shout out to the ... There's a book by, I can't remember his name, it's the How to Make it in the New Music Business. It's a book that came out back in like, December of this past year and it was also ... I read that when it was kind of good ... Shining that spotlight on what this whole music thing is and how this works.

      Now, if folks are interested in finding out more about Etxe Records, where do they go? Is there a website? What is it?

Greg:     We do have a website, which is Etxe Records. E-T-X-E records.com and from there, there's links to all the various artists and their pages and the band camp and so going to that website will take you mostly anywhere.

Brian:     Etxe Records. E-T-X-E records.com

January 17, 2017 - Special Guest: Julianne Brienza of Capital Fringe

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FROM TODAY'S SHOW

NEWS

  • The first of our Lifestyle Playlists is now up!  Check out the Easy Listening Jams Playlist, linked from our Find-Browse Artists Page.  Great for while, you're at work, have friends over, or anytime you need good background music.
  • Send me the links to DC Artists Tiny Desk Videos, I'm putting together a youtube playlist of them!  Tag/share them with @dcmusicrocks or send us a note.

MUSIC

  1. Chasing (feat. Matt Beilis) - Tabi Bonney (Pop/Electronic)
  2. Hallelujah (feat. Birds of Chicago) - Domenic Cicala (Rock/Country)
  3. Arroyo (feat. Don Zientara) - Nina Heart (Indie/Slacker)
  4. Free Fall - Will Eastman (Techno)
  5. Impala - Near Northeast (Indie/Folk)
  6. Sweet and Sour - Janel and Anthony (Indie/Avant Jazz)
  7. Intro/Outro music by Fellowcraft (Hard Rock/Blues)

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Julianne Brienza

Video - Bio - Photos - Links

Bio

Julianne is a passionate, inspiring, and unconventional arts leader and community builder. She is a founder of Capital Fringe, leading the award-winning organization since it's inception in 2005. For over a decade, Julianne has guided Capital Fringe’s vision, evolution, and growth, plus community development. In the process, she has grown the organization’s budget from $300,000 to $1.7 million and designed, shaped, and implemented programs that have engaged adventurous audiences, along with local, national, and international exploratory artists.

Under her leadership, Capital Fringe has won numerous awards, including two Mayor’s Awards and the Washington Business Journal’s “Non Profit of the Year.” Julianne is a recipient of the Mayor’s Arts Award for Visionary Leadership.

Prior to founding Capital Fringe, Julianne moved to Washington, DC., in December of 2003 in order to manage Cultural DC’s Flashpoint project. She programmed Flashpoint venues, managed their arts incubator program, recruited participants, and managed the facility. While at Cultural DC, Julianne started the Mead Theatre Lab Program, an intensive mentorship program for the performing arts that is still in existence.

Julianne came to Washington, DC., from Philadelphia, where she created and ran the Greenfield Elementary School artist-in-residency program for Mum Puppettheatre, which is still in existence. She also served as Managing Director of 1812 Productions, a non-profit theatre company, that focuses on comedy. Also, she worked with FringeArts for three years in various capacities from venue manager and box office, to performing in Festival productions. Previously, she was a Professional Apprentice with the Arden Theatre Company. Born and raised in Dillon, Montana, Julianne is a graduate of Viterbo University in La Crosse, Wisconsin, with a Bachelor of Fine Arts-Theatre, and Minors in, Philosophy and Visual Arts, Magna Cum Laude, and The Sandglass Theatre’s Puppet Residency at Marlboro College.

 

Interview Transcript

Brian:     Julianne Brienza is a passionate, inspiring, and unconventional arts leader in, and a community builder. She is a founder of Capital Fringe, and has been leading the award winning organization since it started in 2005. She's guided Capital Fringe's vision, its evolution, its growth, and its community development. Under her leadership Capital Fringe has won numerous awards including two Mayor's Awards and the Washington Business Journal's Nonprofit of the Year. Julianna herself is a recipient of the Mayor's Arts Award for Visionary Leadership.

                  She was born and raised in Dillon, Montana and is a graduate of Viterbo. Am I saying it right, Viterbo University?

Julianne:                It's Viterbo.

Brian:     Viterbo University in La Crosse, Wisconsin. She moved to DC in 2003 and prior to founding Capital Fringe she managed Cultural DC's flash point project. Also, while at Cultural DC, Julianne started the Mean Theatre Lab Program which is an intensive mentorship program for the performing arts that is still in existence today.

                  I came across Julianne at the Building the Music Capital Conference a few months back because Capital Fringe is doing amazing things with the music scene here in town. Listeners it is with great pleasure that I introduce Julianne Brienza.

Julianne:                Hello. All right. We're going to get to some of the DC artists that I've chosen to play. Is that right?

Brian:     I want you to share, but first I want to get to know you.

Julianne:                Oh I'm so sorry.

Brian:     Can we talk to you first? Is that okay.

Julianne:                I was listening to the second thing. I'm so sorry. I was so ready to play the music. Yes.

Brian:     That's cool. We're going to do it.

Julianne:                Yes. Let's talk it out.

Brian:     Talk about you first. Let's get to know you.

Julianne:                Okay.

Brian:     Now, you are, tell us about Capital Fringe and how did you get tied into that and tell us how that began.

Julianne:                Okay. Well, I moved here in December of 2003 to work for Cultural DC and it was really dead. It was a lot of gray suits. I wondered where the young people were with keys on their belt. I had lived in Philadelphia for three years before I came here and they had a fringe festival and it was really a great time where everybody got together, very unofficially to just be a community and know each other. I thought that was what was missing and so a group of us sort of got together and muscles the first Capital Fringe festival in 2006.

Brian:     When you say muscled, what does that mean?

Julianne:                I mean using physical muscles

Brian:     You forced this to happen. You were carrying the load on your back?

Julianne:                It was a pretty big undertaking for all of us that were involved at that time. I mean, right when we started, it takes a lot of money. You have to have money to do this. None of us were really independently wealthy so I think within our first year, our budget was about 300,000 and that was getting grants for something that had not existed before, kind of on a hope and a prayer and making it happen. Then the first year we had 96 groups in the festival.

Brian:     Holy smokes.

Julianne:                You know, we thought it would be awesome if we had 50.

Brian:     Now, this is a film festival, right?

Julianne:                No, no, no. It's a live performance, performing arts festival.

Brian:     Live performing arts, okay.

Julianne:                It's dance. It's puppetry. It's theater. Then really when we got into 2009 is when we really started inserting music through it.

Brian:     How has the music become part of Capital Fringe?

Julianne:                We first started just doing it during the summer festival, the fringe festival in July. We had a tent that we put up at the time and so we'd really just offer free concerts. It was just awesome. It was so great. We'd have the old theater guys being like, "I've never seen anything like this before." I'd be like, "No, because you're not going to the Velvet Lounge or DC9 at midnight on a Tuesday or something." Then it's just really since 2009 we've just continued to sort of increase how we present DC musicians. We really do try to focus on DC musicians. A lot of it is that we pay them or we set up a revenue model that isn't just about bar sales and all of that which is typical in the industry.

Brian:     Wow. How do you guys find, if there's musicians listening or something. How do you find the talent and how does the music side of Capital Fringe work?

Julianne:                It's ever evolving as we continue to sort of flail out into what we will eventually be and then keep evolving. A lot of the way that we do it is we have curators that do a lot of the curating for us. Jim Thompson who's a founding member of Gwar, he does other things too. It was a long time ago, but he's a great guy. He does a lot of music programming for us and Luke Stewart who's also in a lot of different bands does a lot of music curating for us as well.

Brian:     Curating meaning they decide who's going to come and play the venue?

Julianne:                Yeah we kind of do it as a collaborative effort because it can't be something where Capital Fringe just has to eat it. The curator is a paid position and then typically we'll either do tickets and then we'll do some sort of revenue share, or we pay the band a certain amount and it can also be we pay a band a certain amount and it's totally free, or we pay the band a certain amount and we do a ticket and we get to a certain point. If we sold tickets then we go into a revenue sharing there.

Brian:     Got it. Now, for listeners who've never been to Capital Fringe, tell us about the venue. Where is it? What is it like?

Julianne:                We purchased a building at the end of 2014. It was a really big deal, still a big deal. It's the Logan Fringe Art Space. It's at 1358 Florida Avenue North East. We're just one block off H Street. If you've been to the Atlas Performing Arts Center, just come on over one more block.

Brian:     Nice.

Julianne:                We have a little theater. It's called the Trinidad Theater. You can fit in about 200 people in there. We do a variety of things. We got a full service bar that's open and you can drink.

Brian:     Wow. How many nights a week in the music there is?

Julianne:                We have done a lot of different things since we first opened. Right now we're really just kind of an event space. We are going to be doing a big renovation in October. We're going to be closing for a year and doing a huge renovation that will actually get us a really awesome music venue and theater venue and full restaurant kitchen when we're done. Right now, we're really, when we first opened we were open all the time, but we got to build up ourselves a little bit more until we can do that and have proper equipment and all that stuff. We're on the track.

Brian:     Sure.

Julianne:                We're on the track to get there.

Brian:     Now, with everything going on with Capital Fringe, you've got a lot going on, clearly. When yo do get some free time, tell us about that side of Julianne. What do you do with yourself when you're off?

Julianne:                Well, I will just be really honest. I don't really have a lot of free time, which is just, you know, the career things I've chosen to do. I often bite off more than I can chew. I really do love feeling inspired to see the performing arts and so I love going to the 9:30 Club. I love going to U Street Music Hall. I love seeing shows. Theater, I love doing that. I also really love to travel. Actually, I've found that with my current endeavors, it's often just I get out of town, just to really feel like I'm not in my zone of oh I've got to work this angle and this environment so I can get this thing to make something better. Yeah. I don't know. I really love live performance as a way that humans can communicate to each other in a way that you can't really do in any other way. I just really like to take that in. I do that personally and professionally.

Brian:     What about funniest moments in what you've been doing with Capital Fringe? What comes to mind? Funniest moments.

Julianne:                Funniest moments. One that may be funny right now. I guess it was like in May, I don't know. I was sort of stressed out so I dyed my hair. I dye my hair a lot but I totally went like white blond. I didn't really think much of it because I've had my hair that color before, but people really did not recognize me and it was awesome.

Brian:     Say more about that. It was awesome, because why? 

Julianne:                Sometimes when I'm in certain situations, I have to like talk to a lot of people and sometimes you might not want to. I did get in sort of the habit of wearing like sunglasses, but that didn't really work. The hair dye a lot, like even on Sunday night I was at arena stage seeing a show and a guy that I know walked right by me, did not recognize me at all. I was like, wow, this is still going ton.

Brian:     This has been how long now? How long has the hair been blonde? 

Julianne:                It's been since May and I don't know what I'm doing with my hair. It's not really. It's been really funny. I think it's probably for me, to chuckle about it and maybe some of my staff that I get to tell them stories about, oh my god that person just walked by me.

Brian:     What about a time that you tried and failed? What's an example of that one?

Julianne:                Like all the time. I really love failure, which is probably not a normal response. I actually think if you get failure it means that you're getting closer to actually getting to something real. I don't know. I fail all the time. I fail at using my computer. I've been having a lot of issues with my computer that has made my work a little bit slower recently. I apologize if you haven't heard from me. You know, I feel like I don't have a big, like I fell down and I failed but I really do fail all the time. What I'm doing right now, I'm trying to do this huge renovation on our building. It's a lot of money to do it. To do the renovation is going to be about 2.7 million and while I have good stats and all that stuff, and the trajectory seems logical and everything, but it could totally fail. I believe in the DC arts community so I don't think it will totally, but it might.

Brian:     Got it. Yeah. Then, and a time when you succeeded then? Big success moment? You're trying and maybe not trying and failing but so what about succeeding? What comes to mind?

Julianne:                I really feel success when people come to stuff at fringe and they're just hanging out, and it's not fancy. It's all different types of people and they get to talk to each other and they get to see things that they normally wouldn't see. The other night at the space we had, there was that concert at the 9:30 Club for the guy who died from the Urban Verbs. They all came over to the space afterwards to look at Bill Worrell has an art exhibit. Bill Worrell is the founder of DC Space and then a co-founder of the 9:30 Club. He's also a local artist and he has his first visual art show in our space. They all came over. It's a bunch of old dudes living it up, talking about the times and then we got loading in a birthday party for a local theater artist and just watching people kind of exchange looks and like, who are you? Well this is my space. Well what are you doing here now? Then the people coming together. That's a success to me. I like stuff like that.

Brian:     Awesome. I love stories like that too. It's amazing how arts can bring the community together. It really does. Now, what's one piece of advice that you would offer?

Julianne:                To who? About what?

Brian:     To the DC community in general. If you had one piece of, this is my favorite last question for the guest. What's one piece of advice you would offer?

Julianne:                I think you know what? A time where our nation is just really, it's crazy times right? I think it's really important to pay, and I think no matter where you're at, just pay attention to your neighbors. Be kind to your neighbors. Realize that you are in a community and you can make an impact in your community.

           I think to really start, to have that be your start position versus getting overly obsessed with everything that's national all the time. If we really just start working at stuff that we could touch, we could look at our neighbors in the eyes and say something nice to them, and invite them to do something, that's going to really create change. I would really, that's my advice.