News & Politics

Suzanna Nelson • July 27, 2011

Experience something like nothing else before; a place of performance and theater that holds no judgment and standard. Capital Fringe Festival, running from July 7 through July 24, is a show spectacular with over 200 productions including comedy, dramas, puppetry, dance, music, and every other genre possible, even ones that don’t exist. Variety for families, new theater adventures, or old critics, Fringe is an all day adventure down the rabbit hole of performance and production.

Leave your traditionalism behind because once you enter The Fort (the ticket office and administration building) famously known from past Capital Fringes. Get ready to lose all concept of theater when you enter The Gypsy Tent, the main social area for viewers and performers with a bar and grill, dancing area, live music and performance space.

A few blocks from Chinatown and the Convention Center, Capital Fringe is an escape from D.C. daily adventures. Actors and viewers alike comment that the best part of Fringe is the people. “Everyone is so nice and energetic,” says Michael Bergman, the producer of “Moby Dick, An Adaption for Theater,” husband of one of the actresses in “Moby Dick” and father to technical manager of the play.

Fringe festivals started back in the mid-20th century in Scotland, where performance companies that were not allowed to perform on regal stages, banded together and created a place where they could perform. Here they were free from societal censorship, and were welcoming to all who wanted to participate. Somewhat castaways from society, they were on the fringe; hence the name.

With great Happy Hour specials, “sublime” food (according to Freelance Visual Art Critic and Curator David Tannous, an avid Capital Fringe viewer) the heart of the Fringe, The Gypsy Tent is where it’s at. Not only is it a social scene, but it also is the central location of performance, with three venues on location.

Having already seen more than 10 shows, Fringe has blown all of my expectations out of the water. What seems too many theater purists as just a hipster post-contemporary production, I think that Fringe has just as much credibility as Shakespeare or the American Ballet Theater.
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Georgetowner •

Director’s Cut Opening Reception

July 15th, 2011 at 05:00 PM info@oldprintgallery.com | Tel: (202) 965-1818

Director’s Cut opens with a free reception from 5-8 pm at The Old Print Gallery. The show is an celebration of the woodcut medium, the oldest known printmaking technique. Handpicked by our gallery director and ranging from 15th to 21st century prints, the selection will be a showcase of the evolution and creative innovation of the woodcut over time. Prints from the Nuremberg Chronicles (1493), white-line woodcuts from acclaimed Provincetown artist Blanche Lazzell (1878-1956), and more.
Address

The Old Print Gallery
1220 31st Street, NW
Washington, DC 20007

NMWA Summer Exhibitions 2011

July 15th, 2011 at 10:00 AM

$10 adults, $8 students/visitors 65 and over, free for NMWA members/youth 18 and under.

mcragle@nmwa.org | Tel: 202-783-7373

The Art of Travel: Picturesque Views of Europe by Richenda Cunningham (July 15, 2011- October 30, 2011)

The Art of Travel features “Nine Views Taken on the Continent,” c. 1830, a lithographic portfolio of travel prints from NMWA’s collection by 19th-century British artist Richenda Cunningham. Employing the picturesque style, Cunningham depicts natural and architectural points of interest throughout France, Switzerland, Italy and Germany, including Heidelberg Castle, Pont du Gard, and the Roman-era triumphal arch at Saint-Rémy-de-Provence.

Address

1250 New York Avenue, NW
Washington, D.C. 20005-3970

Garden to Table: Flowering and Edible

July 16th, 2011 at 10:00 AM | Tel: 202-965-0400

Flowers on your table? They’re for plates as well as vases. There’s still time to register for this hands-on workshop! Learn how to grow edible flowering plants at home, using sustainable methods, and prepare them in easy, great-tasting dishes. The morning opens in the Tudor Place Gardens with director of gardens and grounds Suzanne Bouchard. Then it’s into the kitchen with renowned instructor and locavore Chris Coppola Leibner of Just Simply… Cuisine, where you’ll prepare a delicious lunch from the gardens’ bounty.

(In July, don’t miss “Fruit Cultivation in Small Spaces!” Learn how tiny plots and patios can still put forth luscious fruit.)
Address

Tudor Place Historic House and Garden
1644 31st Street, NW
Washington, DC 20007

Tasting of Italian Dessert Wines

July 16th, 2011 at 12:00 PM

$45 | Tel: 202-467-4466

Taste 11 different varieties of grappa and Italian dessert wines, as part of the year-long celebration of Italy’s 150th and Al Tiramisu’s 15th anniversaries. Chef Luigi Diotaiuti discusses each wines history and region. Appetizers and pasta will accompany the wines.
Address

Al Tiramisu
2014 P St. NW
Washington, DC 20036

Nico Dodd •

This Friday, the world was shaken by an attack on government offices in Oslo, Norway, and on a youth summer camp at Utoya. A gunman opened fire on at the camp in Utoya, killing 68, and a car bomb in Oslo killed 8.

In Washington, a mass of flowers and candles has collected beneath the statue of Crown Princess Martha in front of the Norwegian Embassy.

For those wishing to express their support, a book of condolences will be open for signing at the Norwegian Embassy, located at 2720 34th Street N.W., on Tuesday July 26 between 1 and 3 p.m. and Wednesday July 27 between 10 a.m. and 12 p.m.

Samantha Hungerford • July 26, 2011

Small businesses throughout Georgetown are feeling the strain of the shaky economy. High business taxes and swelling rents, when added to a sluggish retail market, are forcing many businesses to close their doors for good.

Georgetown will sorely miss Griffin Market, long a central part of the community. Owners Riccardo and Laura Bonino could not afford to continue producing their homemade Italian cuisine and selling their specialty groceries after their rent increased by a jump of 40 percent.

Although the business was successful – the shop regularly ran out of Laura’s daily dinners – customer loyalty was not enough to compensate for the enormous rent-hike. Their doors at 1425 28 Street NW officially closed their doors Feb. 20.

Poppy, a jewelry store which also opened in 2008, will be closing its 3235 P Street NW location and moving its business online. After Feb. 26, the official closing date, renovations will be made for a chocolate shop to move into the space.

Mendocino Grille and Wine Bar at 2917 M Street closed after the Office of Tax and Revenue revoked the restaurant’s sales tax and liquor licenses for their failure to pay about $80,000 in sales taxes. The restaurant, which serves Californian food and wine, may reopen if it can repay its debt in full.

When his lease runs out at the end of March, Mike Johnson, the owner of Sixteen Fifty Nine, a mid-century furniture retailer on Wisconsin Avenue, will close up shop. If he can sell all his merchandise before then with the help of a blow-out sale, he’ll move out earlier. Johnson’s business has been suffering for the past two years due to the tough economy and a dip in his number of customers.

And the late-night haven and breakfast eatery Georgetown Café, 1623 Wisconsin Ave., will also be closing shop, putting many a young man and woman in a tight spot after bars close.

Yet the closing of these stores and the harshness of the economy has not deterred several new, entrepreneurial businesses from setting up shop in Georgetown. Retailers and restaurants from across the country are moving into the spaces that local businesses are leaving behind.

Rag & Bone, a chic, modern sportswear store for men and women will be moving in early this summer, taking the place of what is currently MAC at 3067 M Street.

“Rag & Bone is contemporary and meets the needs of our urban environment,” says Anthony Lanier, president of EastBanc, a D.C.-based commercial and residential investment firm. “Rag & Bone has a great reputation in New York and will do extremely well with Washingtonians and visitors alike to Georgetown.”

Another well-known name from New York, Serendipity 3, will be expanding into the Georgetown neighborhood. The restaurant, famous for its ice cream and multiple appearances on the silver screen, will reportedly open its new location late next month at 3150 M Street NW.

One more sweets shop, this one from California, is putting a Georgetown link in its national chain. Beverly Hills’ Sprinkles Cupcakes will be opening its newest location just three blocks from Georgetown Cupcakes at 3015 M Street NW. If all goes well, the shop will open sometime next month.

Finally, CB2, a modern furniture and home accessory store, will open its doors on 3307 M Street NW this April. A branch of Crate and Barrel, CB2 offers modern décor that’s creative, simple and clever.
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Georgetowner •

Eat & Joy, a pizzeria and Mediterranean cuisine restaurant, recently opened at 1204 34th St. With free delivery, this new hot spot is bound to tantalize your taste buds with a full menu featuring a wide range of pizzas including the kebab pizza with gyro meat, mushrooms, feta cheese, black olives and pizza sauce and the BBQ chicken pizza. Prices are moderate, all salads run at $6.95 and include a fresh mozzarella salad, Caesar salad, Greek salad and house salad. Also on the menu are Turkish specialties such as eggplant pide and lahmacun, a round pizza made with thin crust. To order, call 202-618-4533.

CB2, a modern destination from Crate and Barrel, opened April 30th at 3307 M St. The brand carries affordable modern furnishings for the apartment, loft and home. To celebrate, they gave away a total of $10,000 in shop cards with a fun scavenger hunt, placing thousands of orange CB2 Ping Pong balls throughout Georgetown, Dupont Circle and Logan Circle. CB2 ambassadors in bright orange T-shirts also hit the streets handing out Ping Pong balls.

Want a new place to eat? Bookhill Bistro, a full service restaurant featuring globally influenced cuisine, has two levels of dining as well as a private room for parties and a back patio. Executive chef Matthew Mohler brings his experience growing up in a small Indiana farming community, where his family only used fresh ingredients from their farm. The dinner menu features entres ranging from $19 to $36, including rack of lamb, slow braised chicken, poached cobia and broiled lobster. Located at 1639 Wisconsin Ave., you can make reservations by calling 202-338-0001.

Georgetown’s 78h Annual French Market came to life on April 29 and 30 on Wisconsin Ave. in the Book Hill neighborhood with discounts up to 70% at over 30 shops and an outdoor market featuring French breads, pastries, grilled merguez and kids activities. The event was a big success, drawing attendees from neighborhoods all over the District.
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Lisa Gillespie •

Comer & Co., an independently-run antique and furniture store, is coming to Georgetown. The Wisconsin Avenue storefront, once held by Sixteen Fifty Nine, a modern furniture, lighting, and art store, opened after a slow two years for the former store. Owners Fred Comer and Mark Manoff jumped on the opportunity after hearing that Sixteen Fifty Nine was closing. Comer & Co. opened on Monday and showcases antiques that can be integrated into a modern home.

On June 1, Fuel Pilates on Wisconsin Avenue will relocate to 3214 O Street to a bigger and more flexible space. Open for only a year, the studio saw a hike in demand for classes in its 1,000 square foot studio. It’s new location will include 2,000 square feet of space, though there will still only be 20 people or less in each class.

Rag & Bone, a New York-based boutique, is expanding to Georgetown, replacing Mac Cosmetics. With 1,500 square feet, the store will feature the signature men’s and women’s clothing items designed by Marcus Wainwright and David Neville. The store isn’t due to open until early-fall. In the meantime, they’re giving students, philanthropists and business leaders pieces to wear from their winter 2011 collection to wear and to describe the way the clothes make them feel. The photos will be displayed at the store’s grand opening in the fall.

After five years in Canal Square Cross MacKenzie Gallery at 1054 31st St. NW is moving to 2026 R St. NW in Dupont Circle. The current show featuring a ceramic sculpture exhibition by David Hicks, runs through the end the end of the month and is the last show at the current location. The new space will be open for private receptions in July and will launch their first solo artist show to the public in September featuring Michael Fujita.

Mid-Town Cafe is now Book Hill Bistro. Located at 1639 Wisconsin Avenue, executive chef Matthew Mohler brings experience from a small Indiana farming community, where his family used only fresh ingredients for meals. The restaurant also features a beautiful patio and a full bar. With a quiet atmosphere, this new restaurant is sure to draw those looking for a casual dining experience.

Sangaree, the boutique clothing store on M Street closed at the end of April after losing their lease. Merchandise was sold at discounts beginning at 30 percent and the lights are now off in the space. No word yet what will open next in the space. [gallery ids="99683,99684" nav="thumbs"]

Amos Gelb •

There is a new level of irony in Juan-gate at NPR. Senior Vice President for News Ellen Weiss, who spent nearly three decades at NPR, recently “resigned” over the issue, and for CEO Vivian Schiller withholding her bonus. Journalist Juan Williams, whose mishandled firing led to these actions, built a career on brilliant journalism, including a nomination for a Pulitzer and his seminal work on civil rights in “Eyes on the Prize.” The irony is that his case has become a distraction from keeping the eyes on NPR’s true prize.

Lost in the accusations and responses about a news organization gone awry is the bigger existential threat to NPR. Although NPR’s listeners are abundant and loyal (bigger than the combined nightly network broadcasts by some measures), and its endowment flush, we should remember that Vivian Schiller took over an organization with a business model that is fundamentally broken. Schiller’s task is nothing less than reinventing the NPR business.

Here is the problem. NPR is not a broadcaster. For all its own fundraising and other undertakings, it relies heavily on local public radio stations to pay to air its programs. But NPR sees a major part of its future online. Yet if the “big money” broadcasts, such as Morning Edition and All Things Considered, are put live online, then there is no reason for listeners to tune into local stations or their websites to hear them. Obviously, that would eat into the listener loyalty to, say, WAMU (DC’s public radio station) and effect how much listeners will feel compelled to send into the legendary pledge campaigns, which make up a sizable part of their annual budgets and ability to pay NPR’s fees. Furthermore, these local stations control NPR’s board, a development after the stations saved NPR from shutting down in bankruptcy in the 1980s.

Schiller has a history of building new successful media business models, from CNN, to Discovery-Times documentary network, to leading the New York Times newspaper into its current online incarnation. But this is her biggest challenge yet. To be successful at NPR, she needs to find a way to reconcile seeming mutually irreconcilable needs and get the local stations to go along. Withholding her bonus and forcing management changes because of this one personnel issue doesn’t help in that crusade.

NPR has long had a checkered past in its handling of human resource issues. But wherever one stands on Juan-gate, if you are in any way invested in NPR’s existence, there is a far bigger prize to be focused on today. Survival. [gallery ids="99586,104913" nav="thumbs"]

Veena Trehan •

Linda Levy Grossman is reviewing photos for this article with WTOP’s Bob Madigan and me at RIS restaurant. Grossman, the Helen Hayes Awards president and CEO explains one of them.

“We wanted the recipients of the awards to have something that would distinguish them,” she says. “One of the staging assistants brought out Victoria’s Secret bags and I said, ‘I’m going to tell you right now, on behalf of the Helen Hayes awards for all you recipients: you’re all going to get lei’d.’”

Winners received, “lovely 68 cent leis from Oriental Traders – no expense was spared,” she says, as we laugh. “The Victoria’s Secret bag cost more.”

The night when the organization bestows awards on the finest actors in DC – this city’s answer to the Tony’s – is one of Grossman’s most inspiring and challenging ventures. “Immediately after the presentation the curtain comes down and I’m wandering around and hearing people say, ‘Gosh. I wish I had seen that,’” she recalls. “And I ask myself how can we lasso that energy and get them to the theater?”

The evening brings out the verve and creativity with which Grossman pilots the organization at the helm of the region’s performing arts. But it also demonstrates her demanding mission. While she sees more than 100 shows each year, she strives to ensure others also invest their money and time.

The Evolution of Helen Hayes

For the last year and a half, she has been working with consultants on a Compass foundation grant to identify the 27-year-old organization’s true potential. A major focus: to translate her oft-quoted challenge of putting “butts in seats” into a loftier goal of branding. The CEO of two years wants to define Washington theater like Broadway or the West End.

“Before you go to London or New York you think: What am I going to see when I get there,” she says. “Imagine visitors coming here to go to the theater.”

The evolution will encompass changing the communications, strategy, governance, programming, staffing, funding and name of the organization (although the award’s will remain unchanged). It will build on the core functions that have helped expand Washington’s 20 niche theaters to today’s vibrant 79 since she joined Helen Hayes.

Grossman has spent more than two decades supporting the group, including 13 years on the leadership team. Yet she is modest about her accomplishments, unlike her friend and sometime co-worker, Olney Theatre Centre Producing Director Brad Watkins.

“The Helen Hayes Awards have really created the engine for the expansion and growth of the theater industry in Washington DC,” Watkins said in a phone call. “It is that sort of a central linchpin that has given such focus to the arts that allowed companies of varying size to flourish.”

In its new guise, the organization will continue to promote a culture of theatrical excellence and provide a stamp of achievement to those who shine. The $1 million organization will expand their advocacy for the arts, cultivating new audiences and building on an education program that has already introduced 40,000 children in District public schools and Boys & Girls Clubs to the magic of the theater. That project has special resonance with Grossman.

“I respond to that program so personally and am so enthusiastic about it because I was one of those children whose life was literally turned around by a teacher,” she says.

Childhood Dreams

The Baltimore resident aspired to become a pediatrician in the 11th grade, approaching it with trademark, if misdirected, enthusiasm.

“I was the poster child for future doctors of America,” she announces. “I volunteered in hospitals, I was a candy striper, I audited classes in medical school, I saw surgeries.” Yet despite flagging interest and dropping math and chemistry grades, she didn’t know how to alter her ambition. That changed when one class she enrolled in was filled and she was reassigned to a speech class.

“That was a pivotal moment in my entire life,” Grossman says. Ms. Ann-Michelle Bennett, the speech and drama teacher, saw potential in the shy and awkward teenager. She assigned Grossman to stage manage all the year’s productions. The newly directed and confident Grossman followed her idol to Emerson College, graduating with a degree in theater.

She came to DC after graduating, joining Harlequin Dinner Theatre a few years later. She worked long hours as she promoted the local touring company, living in a Germantown condominium development on a cul-de-sac with three coworkers.

“Linda was a culinary genius,” Watkins recalls. “Every now and then she would make wonderful, incredibly complex dinners that were far beyond what our unsophisticated palates could appreciate. We thought we were Knot’s Landing.”

The Harlequin led to other jobs, and she eventually ended up freelancing at the Helen Hayes. Over the years, Grossman has done virtually every backstage task—building sets, running light boards, stage managing, hanging lights and sewing costumes—as well as all deskwork, from communication to development.

Not surprisingly, Grossman exposed her son Benjamin to the theater at an early age. But her aspirations for him revolved around her desire for devoted care and the continued status as the most important woman in his life.

“I wanted him to be a gay dentist,” she quips. “He assures me he’s going to be neither, to which I say take a knife and stick it in my heart and turn it.”

Four years ago, after stage managing Shakespeare productions at Imagination Stage, Benjamin applied to the Baltimore School for the Arts, making his ambitions clear.

“I thought he would be an audience member,” she says. But Benjamin corrected her misconceptions.

“You’ve been taking me to the theater since I was two,” he told her. “You honestly think it wouldn’t have taken?”

True Appeal and Potential

To make it ‘take’ for others, she has to win time from popular and often heavily marketed pursuits like Facebook, television and movies. As she puts it, a theater ticket is “a purchase that is perceived to be risky, that is perceived to be expensive, that’s perceived to be something that ‘if I don’t like it, it’s two hours I am never going to get back.’”
However, she is working to combat this stigma. “There are phenomenal ticketing opportunities. It’s incredibly accessible. It’s two hours – take a risk. It’s not electronic. It’s alive, it’s real and it’s true.”

For some people, plays already hold huge appeal. Surveys show that theater and art attendance tends to be shaped like an hourglass: more shows in the later teens and 20s, a drop as people raise families, and a resurgence as they come back in their 50s and 60s. The graying of the audience is a helpful trend for theater.

But young audiences are a challenge, as education programs demonstrate. “When we talk to kids, we say, ‘Who has been in a theater?’ All the hands go up. Great. Tell me what you saw…and they refer to various movies.

“Then we ask, ‘Who’s seen live theater with real people on a stage acting out a story, a play, a musical?’… Not one.” But programs that go behind the scenes generate long-term enthusiasm from these first-time audiences.

Grossman would rather “under-promise and over-deliver” on the new organization. Yet she dreams about its potential impact.

“It could double the number of people who are currently in Washington theaters from 2 million to 4 million,” she says. “It could provide health insurance for actors and artists. It could more efficiently connect the about 130 education programs that are offered by area theaters with kids in area schools through the region who desperately need them.”

She pauses as she searches for a sufficiently dramatic word. “It could be dazzling.”

Click here to listen to the interview with Linda Levy-Grossman
February 23rd Interview with The Player Linda Levy-Grossman by Bob Bob Madigan, WTOP Radios Man About Town 103.5 FM

David Post •

My company is a small business. I think. We have approximately 25 employees. Even in our hometown Salisbury, North Carolina most people have never heard of us.

I’m not sure what the word “small” means, but compared to most companies in the US, we may be considered big. The IRS reports that approximately 6 million corporations, 3 million partnerships, and over 20 million proprietorships file tax returns. Corporations make the most money, have the best stats, and hire the most people.

Of the 6 million corporations, only 160,000, or 7%, have more assets than we have, and only 35,000, or 1.5%, have more sales than we do. Are we a small business? I certainly think so. Our employees think so. I wake up every day wondering if CVS or Walgreens or Walmart or all those other huge pharmacies are going to squash us.

So, I feel pretty much in the middle of this tax debate that is using small businesses as the bait for two hot tax issues. First, should taxes go up by 3% for people making over $250,000? Second, should employers have a payroll tax holiday if they hire new employees? Clearly, those tax breaks would increase my profits a little, but would they encourage me to invest and hire more employees? Absolutely not. Will it affect the 2012 election? Probably.

“Small businesses are the engine of job growth,” we’re told. Talking heads say that there are 700,000 small businesses earning over $250,000. On average, every county in the country has 200 small businesses earning that amount. In Virginia, Maryland, and DC, that’s reasonable, but drive 75 miles in any direction to an “average” county. Butch Cassidy was equally perplexed: “Who are those guys?” Most of those 700,000 small businesses earning over $250,000 are doctors and lawyers. Are they the engines for job growth?

Perhaps a brief tax history might help. In the early 1970s, Congress passed a 10% income tax surcharge to pay for the Vietnam War. Back then, both political parties were fiscally responsible, cooperative, and voted for that tax. It was pretty simple: compute your tax and add 10%. (Did you know that North Carolina has an add-on tax now?) If your tax bill was $1,000 and you had paid in $1,300, you would have gotten a $300 refund. But with 10% added to your tax bill, making it $1,100, your refund was only $200.

Over the next 20 years, taxes were cut on the idea that deficits would go down because economic growth would more than offset the revenue loss. Indeed, there was economic growth but deficits went up. President Reagan criticized President Carter’s $50 billion deficits, but his budgets (the President, not Congress, makes out the budget) were above $300 billion.

In 1988, the first President Bush, said, “Read my lips. No new taxes,” but knowing he had to be fiscally responsible, he raised taxes. In 1993, President Clinton raised tax rates at the top of the income scale about 3%. Over the next eight years, the economy grew like never before, tax receipts increased, and deficits disappeared. Microsoft, Apple, Coke, and many new and old companies grew like weeds despite higher taxes. The stock market tripled.

In 2001, the second President Bush passed a 10 year tax cut that is scheduled to expire at the end of this month. Today, compared to 10 years ago, the stock market is the same and unemployment is double.

Consequently, the United States now faces a huge and growing deficit problem. We spend $3 for every $2 we collect in taxes. There is waste, for sure, but not that much. Those dreaded “earmarks” are less than 1/10 of 1% of the entire budget. Contrary to popular belief, Congress cannot eliminate earmarks to balance the budget. In fact, just walking out of our wars and then eliminating the entire defense department completely wouldn’t balance the budget. Nor would eliminating Social Security completely. This is a really big problem.

Like students waiting until the last moment to prepare for exams, Congress has waited until the last moment to deal with the expiring tax cuts. (Frankly, this tax debate should be part of a larger debate about the entire budget.) President Obama is arguing that the Bush tax cuts should be kept for those making under $250,000. That will increase borrowing and the deficit by $2.7 trillion. The Republicans and some Democrats want to extend the tax cuts permanently which will increase borrowing and the deficit $3.7 trillion. So, this argument is about whether to borrow another $2.7 trillion or $3.7 trillion. Eliminating those pesky earmarks saves about $30 billion, or .001% of those amounts.

Why borrow these extra trillions? To help small businesses — like ours — hire people and grow. If my company earns an extra $10,000, these tax cuts save us $300. If Congress also passes a payroll tax holiday and we hire another employee for, say, $25,000, it will save us another $1,200. I’m not fond of taxes, but if the government cuts my company’s taxes $1,500, is that why my company is going to hire another employee? Not at all. We hire new employees when she or he is going to help our business, not to save $1,500 in tax.

Growing a business is about growing a business, not taxes. (Of course, we could move to the Bahamas or Ireland and reduce our taxes, but small businesses can’t do that.) No business decides to grow or not grow because of taxes. No business decides to hire a new employee or not because of taxes. Why doesn’t Congress understand that?

US Senator Everett Dirksen once said, “A billion here, a billion there, pretty soon it adds up to real money.” No more. Now, we talk trillions.

This debate is silly. Ignore the rhetoric. It’s about how much more are we going to borrow and increase the deficit. It is not about reducing the deficit by a dime.

David Post is the owner of a small business that was founded in Washington, DC and is on Inc. Magazines list of the fastest growing companies in the US. He was a professor at American University and Georgetown for 10 years. Contact him at: editorial@Georgetowner.com