DIGBOSTON.COM 04.19.18 - 04.26.18
D I G BOSTO N
N EWS PA P E RS
2
04.19.18 - 04.26.18 |
DIGBOSTON.COM
BOWERY BOSTON WWW.BOWERYBOSTON.COM VOL 20 + ISSUE16
For show announcements, giveaways, contests, and more, follow us on:
APR 19, 2018 - APR 26, 2018 BUSINESS PUBLISHER Marc Sneider ASSOCIATE PUBLISHERS Chris Faraone John Loftus Jason Pramas SALES MANAGER Marc Sneider FOR ADVERTISING INFORMATION sales@digboston.com BUSINESS MANAGER John Loftus
EDITORIAL EDITOR IN CHIEF Chris Faraone EXECUTIVE EDITOR Jason Pramas MANAGING EDITOR Mitchell Dewar MUSIC EDITOR Nina Corcoran FILM EDITOR Jake Mulligan THEATER EDITOR Christopher Ehlers COMEDY EDITOR Dennis Maler STAFF WRITER Haley Hamilton CONTRIBUTORS G. Valentino Ball, Sarah Betancourt, Tim Bugbee, Patrick Cochran, Mike Crawford, Britni de la Cretaz, Kori Feener, Eoin Higgins, Zack Huffman, Marc Hurwitz, Marcus JohnsonSmith, C. Shardae Jobson, Heather Kapplow, Derek Kouyoumjian, Dan McCarthy, Peter Roberge, Maya Shaffer, Citizen Strain, M.J. Tidwell, Miriam Wasser, Dave Wedge, Baynard Woods INTERNS Kuresse Bolds, Victoria Botana, Rob Katz, Murray, Brynne Quinlan
DESIGN DESIGNER Don Kuss COMICS Tim Chamberlain, Pat Falco Patt Kelley, Cagen Luse DigBoston Phone 617.426.8942 digboston.com
ON THE COVER Murray, who illustrated Mass Gov. Charlie Baker in the Zig-Zag frame for us this week, is a freelance illustrator, printmaker, and writer; interested in scientific and narrative illustration.
©2018 DIGBOSTON IS PUBLISHED WEEKLY BY DIG MEDIA GROUP INC. NO PART OF THIS PUBLICATION CAN BE REPRODUCED WITHOUT WRITTEN CONSENT. DIG MEDIA GROUP INC. CANNOT BE HELD LIABLE FOR ANY TYPOGRAPHICAL ERRORS. ONE COPY OF DIGBOSTON IS AVAILABLE FREE TO MASSACHUSETTS RESIDENTS AND VISITORS EACH WEEK. ANYONE REMOVING PAPERS IN BULK WILL BE PROSECUTED ON THEFT CHARGES TO THE FULLEST EXTENT OF THE LAW.
ROYALE
JOINING JOYNER
279 Tremont St. Boston, MA royaleboston.com/concerts
Dear Reader, My impulsive self half wanted to skewer young Mass rapper Joyner Lucas for saying that Boston has no music scene, and for his followup comments on Facebook last week (edited for space): When I said BOSTON has no music scene, I wasn’t speaking of artists. I was speaking in a sense of music business. It’s a fact that boston doesn’t have a big music scene as far as music labels, executives, A&R’s, publicists, management, agencies and a lot of other resources & opportunities compared to NEW YORK or LOS ANGELES and other places. I had to leave to other states to build relationships and use resources from different markets & take advantage of outside opportunities because there wasn’t much going on in Boston that was gonna Help jump start my career … there’s plenty of talent in boston / New England & I mentioned that as well. But name me 1 artist that really POPPED OFF from New England … name me 1 artist in the last 15 years that really POPPED OFF to become A list or B list. If anyone can nitpick here, it’s me. With a few possible exceptions, I have published more features about New England hip-hop artists, in local as well as national publications, than any other journalist, and I’m familiar with loads of MCs and producers who have passed through the Hub scene and onto major milestones beyond the mainstream radar, from DJs who now rock for tens of thousands in Las Vegas to multilingual lyricists whose new releases line the walls of record stores in South America and Asia. But despite all that, regardless of my background, I’m going to stand firmly behind Joyner Lucas this time. Not like one of the most hardworking successful rappers out of Mass in years needs the approval of an aging hip-hop head in dad jeans, but I spotted a potential teaching moment in all this, so here goes. Who the hell does this young artist owe a damn thing to? It’s a cold-ass world out there. Maybe the dude could have found his lane without leaving New England, surely others have, but to his credit, Joyner upped the chance of channeling his talent toward sustainable career goals by taking his show on the road. So, should Joyner Lucas do more to acknowledge acts like the Almighty RSO and the Perceptionists who came before him? And who have dedicated fans and in a lot of cases tour the world and feed their kids and purchase homes and cars by moving merch and making cameo appearances? That’s up to him, but really it’s a matter for the hip-hop message boards, which I retired from cold turkey years ago. While people in those nerd forums may argue, correctly, that Lucas doesn’t know much about Massachusetts music that came before him or even that which is happening right now, the only thing your average person needs to know is that the young man has a lot of talent and was able to rely on that, since coming up in Worcester didn’t give him a leg up. His I’m Kind Of A Big Deal tour wraps in Boston at the House of Blues on June 7, and while the concert will be merely one of countless events happening that evening on a thriving music scene, it will be a significant show that both Joyner and his hometown fans should be extremely excited for.
CHRIS FARAONE, EDITOR-IN-CHIEF Need more Dig? Sign up for the Daily Dig @ tiny.cc/DailyDig
w/ Miya Folick
W/ THE COATHANGERS
W/ DIARRHEA PLANET
THIS SUN! APRIL 22 NEXT TUE! APRIL 24
WED. APRIL 25
THU. APRIL 26
W/ FOREIGN AIR
W/ MAKENESS
W/ SAINTSENECA
MON. APRIL 30
THU. MAY 3
SAT. MAY 12
SAT. MAY 19
ON SALE FRIDAY AT 9AM!
ON SALE FRIDAY AT 10AM!
WED. JULY 25
FRI. SEPTEMBER 7
W/ GOAT GIRL
TUE. MAY 22
WED. MAY 23
52 Church St., Cambridge, MA sinclaircambridge.com
W/ FRANKIE LEE
THIS FRI! APRIL 20 BOWERY BOSTON & NEWPORT FOLK©️ PRESENT
THIS SAT! APRIL 21
W/ JAKE SHERMAN
THIS SUN! APRIL 22 NEXT MON! APR. 23
MR. BROWNSTONE W/ GOST MANNEQUIN PUSSY, SUMMER SALT, FUNERAL ADVANTAGE
W/ THE SUITCASE JUNKET
TRIBUTE TO GUNS N’ ROSES
4/28 SOLD OUT!
TUE. APRIL 24
FRI. APRIL 27
SUN. APRIL 29
MON. APRIL 30
ON SALE FRIDAY AT NOON!
ON SALE FRIDAY AT NOON!
ON SALE FRIDAY AT NOON!
ON SALE FRIDAY AT 10AM!
TUE. OCTOBER 9
SAT. OCTOBER 20
FREEZEPOP
FEAT.
GZA
THU. MAY 24
W/ PHOTOCOMFORT, PARTY BOIS, SYMBION PROJECT
SAT. JULY 14
NAP EYES 1222 Comm. Ave. Allston, MA greatscottboston.com
FRIDAYS AT 7PM!
‘s S GA E TH
W/ WINTER
W/ YOO DOO RIGHT
W/ SHE-DEVILS
THIS THURSDAY! APRIL 19
THIS FRIDAY! APRIL 20
MONDAY, APRIL 23
BOWERY BOSTON & ALLSTON PUDDING PRESENT
ON SALE NOW!
ON SALE FRIDAY AT 10AM!
NNAMDI OGBONNAYA
W/ NATURE SHOTS
SATURDAY, APRIL 28
TUESDAY, JUNE 5
MONDAY, JUNE 25
ON SALE FRIDAY AT NOON!
ON SALE FRIDAY AT NOON!
ON SALE FRIDAY AT 10AM!
SATURDAY, JULY 21
SATURDAY, SEPTEMBER 8
EX HEX MONDAY, SEPTEMBER 10
≠ 4/20 WOMEN IN COMEDY FESTIVAL ≠ 4/22 FÓRN ≠ 4/24 HALFSOUR ≠ 4/25 STIG ≠ 4/26 BIT BRIGADE ≠ 4/27 OOMPA ≠ 4/28 HALF WAIF / HOVVDY ≠ 4/30 NINA NESBITT ≠ 5/2 CAUTIOUS CLAY ≠ 5/3 THE WEEKS ≠ 5/4 LIZA ANNE ≠ 5/5 COMA CINEMA
NO AGE W/ BEHAVIOR, JAZZ MASSAGERS
TUESDAY, MAY 1 ONCE BALLROOM
FRIDAY, MAY 4 ARTS AT THE ARMORY
Tickets for Royale, The Sinclair, and Great Scott can be purchased online at AXS.COM or by phone at 855-482-2090. No fee tickets available at The Sinclair box office Wednesdays - Saturdays 12:00 - 7:00PM FOR MORE INFORMATION AND A COMPLETE LIST OF SHOWS, VISIT BOWERYBOSTON.COM NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
3
NEWS+OPINION
EXIT DRUGS IN THE GREEN ZONE
NEWS TO US
From the doc’s office to the dispensary, Mass continues to fight opioids with cannabis BY EMILY ARNTSEN, JASMINE BRASWELL, AND KATHERINE ISBELL The opioid crisis in Massachusetts is costly. As has been the war on drugs. From the financial toll to the thousands of lives lost, the nightmares continue to add up. According to the Mass Department of Public Health, opioid-related deaths—mostly overdoses—in the state reached 2,100 in 2016. Marijuana, on the other hand, already makes the Commonwealth—as well as municipalities where there are medical dispensaries—significant money, while recreational cannabis will bring in millions more. In addition to the nearly $26 million in revenue that Mass has seen from its medical program since 2014, the state also stands to earn anywhere from $45 to $83 million in tax revenue during the first year of legalized sales. After that, it is estimated that cannabis will bring in between $93 and $172 million from second-year sales reaching between $707 million and $1.3 billion. When this lucrative reality is viewed within the same context as the devastation wrought from hard drugs, certain solutions seem increasingly possible. According to the US Drug Enforcement Agency, “no death from overdose of marijuana has been reported.” Comparatively, between 2000 and 2017, approximately 15,889 people died from opioid-related overdoses in Mass alone (the rate has steadily increased over that time; it may have dipped slightly since 2016, though annual totals for the past three years have yet to be finalized by the state Department of Public Health). “About 30 percent of our patients have been on some form of opioids in the past or are currently using opioids now,” said Uma Dhanabalan, a doctor at Uplifting Health and Wellness in Natick. Dhanabalan has worked at the intersection of cannabis and opioid addiction since 2013; a certified cannabinoid medicine specialist, she provides guidance on treatments and helps people secure medical cards and prescriptions at her practice. Her patients suffer from varying ailments, with a considerable number coming for help quitting opioids, either prescribed or illicit. “A lot of our patients want to use cannabis because they want to stop taking the medications they’re currently on,” Dhanabalan said. 4
04.19.18 - 04.26.18 |
DIGBOSTON.COM
According to the Governor’s Working Group on Opioids, the state has allotted more than $500 million for efforts to combat the opioid crisis over the last four fiscal years. The funding has gone to initiatives including community education, programs for nasal naloxone access (the lifesaving medication can reverse an overdose), community drug prevention education, and access to support services. But despite some occasional minor statistical victories, the problem persists. FACING THE REAL PROBLEM According to FBI numbers from last decade, 53 percent of drug arrests in the northeast were for marijuanarelated offenses, while offenses involving heroin and other drugs including and related to opioids comprised 33.3 percent of arrests. Similarly, a 2010 report by Jeffrey Miron, an economics professor and department head at Harvard
University, estimated that at times, Mass has spent more than $92 million a year enforcing marijuana prohibition. He goes on to estimate that, for all drug prohibition, Mass has spent hundreds of millions of dollars a year fighting the drug war, between law enforcement, the judiciary, and the prison system. Though it has been decades since President Richard Nixon perpetuated countless incorrect claims about substance abuse, the idea that cannabis is a “gateway drug” to heroin still looms. Even some members of the state’s Cannabis Advisory Board hold such views. For the most part, however, people are realizing that the real culprit behind opioid addiction isn’t cannabis—it’s prescription painkillers sold under brand names like Vicodin, OxyContin, and Percocet. Those are the real “gateway drugs.” Last October, even President Donald Trump declared a public health emergency, though critics level that his measures won’t go close to far enough to make a difference.
Cannabis, meanwhile, has the potential to save lives, said Jordan Tishler, a physician who runs a medical marijuana wellness clinic, Inhale MD. He’s worked in cannabis for five of his 25 years in medicine and is happy with what Mass has done with its medical law, enshrining a list of eight conditions for which cannabis can be prescribed, as well as leaving space for doctors to prescribe as they see fit. Other states like Colorado haven’t been as careful, leaving patients in the cold. “Massachusetts took a very different approach, which I think was brilliant,” he explained. “We are now in the position for applying our science and knowledge to patients and determining whether a patient is likely to benefit from this medication.” Politicians are overstepping their jurisdiction when they interfere with the sanctity of the patient-doctor relationship, Tishler added. The list of approved conditions, for example, shouldn’t really be up to politicians to define. “Fundamentally, the real problem is who are these politicians and what makes them knowledgeable enough to make a list of these conditions [that marijuana is suitable for]?” Tishler said. “The point is neither the politicians, nor the people they are getting involved with, are qualified to make this determination.” Through the turbulence, proponents see an opportunity to lobby on behalf of marijuana. Many have given cannabis a bold new nickname, the “exit drug,” because of benefits for patients who are trying to ditch opioids. Experts have found that cannabis does not trigger opioid users to relapse, and is oftentimes a strong alternative for pain management. Though such studies have been available for years, cannabis remains a Schedule I drug at the federal level, which means it isn’t approved for medicinal use in the same way that opiates are. So doctors like Dhanabalan give recommendations and meet with patients to monitor progress. “The worst case scenario is that a patient has to sleep [a dose] off,” Dhanabalan said.
YOUR PRIVACY MATTERS Worried about mass surveillance? Want more democratic oversight? Want to support local volunteers fighting for real change?
LOW POTENTIAL, HIGH POTENTIAL At the end of a nondescript side street in Quincy is a windowless, signless warehouse identified solely by the overwhelming smell of marijuana around it. Ermont is Quincy’s first and only medical marijuana dispensary, and because of local policies, the facility is not allowed to have any signage or products visible from outside. PHOTO OF BLUEBERRY MUFFINS INFUSED Inside, past the security window, WITH CBD ISOLATE VIA ERMONT there’s a lobby that looks like a health food store. Patients with state-issued cards line up at the counter, waiting for their turn to consult with an Ermont employee about which strains best suit their needs. Known for edible fascinations like medicated pizza, Ermont offers a variety of products, ranging from peanut butter to pre-rolled joints, split along four categories— relax, sleep, relieve, amplify. Those are just quick identifiers, though, as each product is unique in its effects. Patients come here for a range of ailments. According Ermont CEO Jack Hudson, some are trying to fight chronic pain and wean themselves off of prescription drugs. “One of our patients was in a horrific car accident,” Hudson said. “While she was in the hospital, they wanted to give her opioid painkillers, but she didn’t want them because she was high on painkillers when she got in the accident in the first place. She is still in chronic pain, but she manages it through marijuana, not opioids.” It’s a common story. Hudson said he asked that particular patient, “When you’re medicated, does that trigger you? Does it make you want to take painkillers?” He reports that she said, “No, because I know this is medicine, and I treat it like medicine. I know it’s helping me get through the day without using painkillers.” While studies and statistics, including data recently published by the Minnesota Department of Health, show that access to cannabis may reduce opioid abuse, conclusive evidence remains somewhat elusive. Nevertheless, cannabis does have demonstrably low addiction potential, which is positive for patients with a history of compulsive behavior. “Marijuana has addictive potential, which is the case for most substances … not super high, though,” said Dr. Joji Suzuki, an associate psychiatrist and addiction researcher at Brigham and Women’s Hospital. “It’s the most-used illicit drug used in the US, and yet we almost never have patients come in and say, ‘I feel like I can’t stop using marijuana.’” People who use marijuana do not exhibit the usual signs of addiction, Suzuki pointed out. He defined addiction as a three-stage process: lack of control, cravings, and negative consequences. “Generally we don’t see people who fit those categories with marijuana,” he added. At Ermont, like with other dispensaries around the state, patients searching for painkillers can choose from various THC and CBD products and hybrids, which can help with pain relief in different ways. As is becoming common knowledge in these spaces in the medical and recreational era, THC is more known for euphoric properties, while CBD, a non-psychoactive compound, has a distinctly physical effect on the body. It’s anybody’s guess if or when there will ever be more dispensaries than traditional pharmacies or more doctors like Dhanabalan than those who prescribe OxyContin; but with rec dispensaries slated to open on July 1, Mass at least appears to be moving further from opioids and closer to cannabis. See more of Emily, Katherine, and Jasmine’s work at @theexitdrug on Twitter
Support Restore the Fourth in the DuckDuckGo Fundraising Challenge crowdrise.com/restore-the-4th Give by April 10 and help us win up to $50,000!
MAY 6-12 10AM-7PM DAILY TOWER BUILDING LOBBY 621 Huntington Ave Boston, MA 02115 Purchase unique, quality artwork created by MassArt students and alumni. Homemade items range from glass, ceramics and oil painting to jewelry and more.
MassArt.edu/springsale Questions? Email springsale@massart.edu Glass by Caterina Urrata BFA ‘12 and David Weintraub, BFA ‘10, fiammaglass.com
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
5
HOW YOU CAN SUPPORT DIGBOSTON EDITORIAL
A reader’s guide to building a better news weekly BY JASON PRAMAS @JASONPRAMAS What does it mean to support a news outlet? Clearly the answer to that question varies widely depending on whether the outlet is big or small, nonprofit or for profit, subscription- or advertising-based. But in an era when news organizations of all sizes are having a great deal of difficulty keeping their doors open, it’s an important one to consider. For DigBoston, the answer to that question must be based on how we organize our operation. As we’ve said in past editorials, our organization is very porous to the world around us. We don’t cut ourselves off from the communities we serve. Quite the reverse. We’re always working to connect more strongly to those communities. To serve them better. In fact, we are part of many Boston-area communities. You can view our staff, freelance talent, interns, contractors, and advertisers as a network of personal networks—all of which pay close attention to the news we produce together. Everyone in this primary network then connects to the broad spectrum of local communities that make up our overall audience. The better a job we do as journalists, the more that audience becomes part of our primary network—becomes, in short, directly connected to us. The more that happens, the better our news is. Because people who know us personally, naturally come to trust us. We then hear about community developments faster and faster, and the information we communicate gets concomitantly more accurate and more relevant. So to support DigBoston, the most important thing that you can do as an audience member is to reach out to us the way we’re reaching out to you. To become part of our primary network. And here are eight ways you can do that.
We don’t cut ourselves off from the communities we serve. Quite the reverse.
Read the paper This seems like the most obvious suggestion, but it is not. Because reading us doesn’t mean reading us every now and then. It means actively looking for us every week. Making it a habit to check out every issue we produce… and making Dig a part of your life, and therefore more strongly part of the culture that makes our city unique. Which is easy enough to do—especially for people living in and around Boston. We typically start putting new articles online on digboston.com every Tuesday, and our print edition hits the stands in Boston, Cambridge, Somerville, and busy parts of Brookline on Thursdays. Show it to your friends Don’t keep us to yourself. Pass around our articles on email and social media. And, more importantly, keep a paper copy on hand and physically pass it around to friends and family. Remember that stuff about networks above? By reading us often and sharing our work with your personal network, you’re helping build a fan base that interacts more strongly with us over the long term. Which is a recipe for ensuring DigBoston continues to produce good journalism for many years to come.
6
04.19.18 - 04.26.18 |
DIGBOSTON.COM
Use our information We like it when we make people think about issues of the day. That’s definitely part of why we do what we do. But we love it when people act on the news we put out. If we write about a concert or play or art show, go check it out. If we introduce you to a political activist campaign that you agree with, plug in. Get involved. There’s little point in outlets like DigBoston producing news if no one acts on the stories we report. Talk to us We say this regularly, but we’ll say it again: You like one of our articles? Don’t like one? A fan of one of our writers, photographers, or artists? Drop us a line. Say hi. It might take us a day or three to get back to you, but we do our best to talk to readers that want to talk to us. For most purposes, emailing us at editorial@digboston.com is the best way to connect. Frequent our advertisers Another seemingly obvious thing, but we make the money that enables us to put out our newsweekly through advertising. And what’s the best way to keep the ad money flowing? Giving your business to institutions that advertise with us. And making it known that you heard about them from DigBoston. Know a similar enterprise? Spread the word that we’re a great place to advertise and that we’re helping a number of industries grow locally. Consider yourself part of our sales force. Like seriously, because we’re actually hiring a salesperson. Interested in selling for us? Send us a resume and cover letter by email to jobs@ digboston.com. Advertise with us Are you a decision maker who’s looking to drum up business in Boston? Then how about buying an ad? You can start with a four- to six-week run, see how your campaign does, and if you’re happy then make it a long-term contract. Drop us an email to sales@digboston.com to get started. Mention that you read this editorial, and we’ll give you a nice discount. Because of course we will.
Donate Donate?! Yeah, we know it’s kind of counterintuitive. A for-profit company asking for donations through crowdfunding or at least simple, unobtrusive pop-ups on the new website we’re building this year. But even large news outlets like the Guardian are doing it. Because news production is expensive and profit margins for newspapers like DigBoston are razor-thin. We put out a fine product every week with a handful of (shall we say) modestly paid regular staffers and dozens of “stringers” (freelancers). No one is making big bucks. We’re all doing it because we believe in the importance of good community journalism to the democratic society we’re trying to help save. If you’d like to see us expanding our news operation and bringing you more and more news you can’t find anywhere else, definitely toss us a few bucks when we ask for it. Because donations help us pay for the kind of longer-form hard news that a weekly paper like ours couldn’t afford to produce regularly without some extra cash. Give us credit This one applies to a very specific subset of our audience. We understand our role in the metro news ecology includes acting as an early warning system for larger outlets like the Boston Globe. But that doesn’t mean we think it’s cool when our colleagues at the “bigs” get “inspired” by our work and basically replicate it without granting us the simple courtesy of listing us as a source. We may kick such outlets around from time to time on political and journalistic grounds, but we still mention them as sources all the time. Some reciprocity would be nice. For real. So that’s our list. What’s the takeaway? It’s not “data” or “algorithms” or certainly not robots that are going to keep journalism relevant in 21st-century America. It’s people. Working together to make sure that DigBoston, and other news outlets like us all over the nation, can keep doing what we’re doing… in the public interest. And it all starts with each of you, taking the time to read our work. Every week. Thank you.
Your Trusty Massachusetts Cannabis Newsletter subscribe for free at
talkingjointsmemo.com NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
7
VERY FUNNY SHOWS.
Seven Nights A WWk. IMPROVASYLUM.COM | 617.263.6887
LIVE MUSIC • PRIVATE EVENTS 4/19
The Smallest Town Ensemble, Grown Up Noise, The Blue Ribbon Band The Smallest Town Ensemble II Record Release Show 4/20
Cannapalooza
Live music, local vendors, creative arts, drinks and good vibes 4/21
The Mallett Brothers with Jon Fishman Roots rockers collab with famed Phish drummer 4/22
Cliff Notez, Hop Hop, Anson Raps, Sway Casey Hip Hop/Rap 4/23
Local Music Monday with Kelly Spyglass Dark folk
156 Highland Ave • Somerville, MA 617-285-0167 oncesomerville.com a @oncesomerville b/ONCEsomerville
8
04.19.18 - 04.26.18 |
DIGBOSTON.COM
TOKIN’ TRUTH
THE BIG RACE
Rep. Carvalho takes high road in DA’s contest BY MIKE CRAWFORD @MIKECANNBOSTON
A graduate of Madison Park High School, UMass Amherst, and Howard University School of Law who has represented the Fifth Suffolk District, including his home neighborhood of Dorchester, since 2014, Evandro Carvalho isn’t running for his seat on Beacon Hill again. Instead, the Cape Verdean immigrant is one of several lawyers and assorted politicians who are squaring up to fill the open seat that longtime Suffolk County District Attorney Dan Conley will leave vacant upon leaving office. I recently interviewed Rep. Carvalho, along with Boston Praise Radio and TV host Judy Foster, on my WEMF Radio show The Young Jurks and have pulled out some relevant excerpts that show where he stands on cannabis and criminal issues. On the extent to which Carvalho has been focused on criminal justice reform, as Mass passed a sweeping overhaul of its system just last week: That’s been the focus of my tenure as a rep for the last four years, and that’s because I lived and grew up in Dorchester. I went to school in Roxbury, and after law school turned around and worked as an assistant district attorney in Roxbury. In terms of the issues of criminal justice, I’ve been in the trenches and understand them from so many different angles, going to so many different wakes, seeing lives lost to gun violence, and also going to prisons and seeing mass incarceration of brown and black men that look like me. On police body cameras: Yes, that looks like what will happen here. Body cameras won’t fix the issue, but it will increase the level of trust, it will increase the accountability. On cannabis yoga, paint nights, etc. taking place in the area left gray by the Cannabis Control Commission not immediately moving to license events, on-site consumption, and delivery-only services, and whether law enforcement should bust and prosecute in these sorts of cases: Cannabis is legal in this state, the voters have decided. As you know, [state politicians, following voters] changed things to create a new industry. … My focus is to do the best I can to make sure the people that got the short end of the stick don’t get the short end of the stick again. … For possession stuff I’ve seen, [there is] no way knowing somebody [has] a little more than an ounce … or just [is] over the limit. … The lens I have is, How do we heal the community that has substance abuse issues? The lens that someone like me brings to the table [is to] say, Wait a minute, oftentimes the policies are inherently biased. On the backlog of unsolved murders and mothers who have been protesting: I know many of those that have been protesting, including Mary Franklin, who I had a meeting with recently. I’ve done some of the rallies with her to speak on the issues. There’s two things happening here—one is unsolved murders, but also unsolved shootings. I think it’s a matter of resources and a matter of trust with the community. … How many police officers and detectives do we have on these cases? How many investigating cold shootings? On changing the DA’s office: Police usually arrest or summons somebody to court for a crime that the police believe the person did. The DA decides what that crime is, the disposition of the cases. The DA looks at the facts, we can dispose or dismiss; the DA is like life and death over the life of young men. If you get a felony for drug distribution, you can’t be a lawyer, you can’t get licensed [for many occupations] … say somebody got a charge for possession of cannabis, a class D … a young man in college, maybe they are even selling. You can look at that as possession, a misdemeanor, or you could charge them for a felony distribution. Or you can look at the entire situation and look at probation—the power is supreme. Let’s look at a restorative justice. The DA’s role has been one of being reactionary. … I feel like we need a DA that is more for the community, from the community, more involved in the community. When we talk about how law enforcement works, the entire criminal justice system works, for the past two, three, four decades, it’s been law and order, tough on crime, and we know that hasn’t worked.
PRODUCT REVIEWS TALKING JOINTS MEMO
BY CHRIS FARAONE AND MIKE THE HOUSE HUSBAND
As we reported last month, the Everettbased Down The Road Beer Co. ran into trouble in its attempt to produce CBD-infused hemp beer. But while the state put a temporary stop to DTR’s hopes on the CBD front, those who look hard enough can at least find CBD-free hemp suds, starting with the new Hemperor HPA by New Belgium, makers of
eternal fave Fat Tire ale. Promising a “mystical marriage of hops and hemp,” Ross Koenigs, New Belgium’s head of research and development, told reporters, “Brewers have been trying to get cannabis-like aromas from hops for years, but it’s always missing a certain something,” boldly claiming, “the Hemperor HPA is possibly the first beer to deliver meaningful hemp flavors and aromas.” For the beer (and cannabis) geeks, Koenigs got into the weeds about the process:
The Hemperor HPA showcases the game-changing union of hops and hemp, plants genetically related that produce similar organic aromatic compounds known as terpenes. This ale is brewed with hemp hearts (the meat of the seed, minus the shell) and dryhopped with Simcoe and experimental HBC 522 hops to create a dank, pungent hop aroma balanced by a sweet, mildly bitter finish. As for the legality of their project, Koenigs continued: “Federal law prohibits brewers from using hemp leaf and flower, so New Belgium brewers found a creative solution using other natural plant materials that perfectly emulate those hemp terpenes. The Hemperor HPA contains no THC or CBD. “This beer has been over two years in the making, most of the time spent learning and reacting to laws that really suppress this crop’s usage. “Flavor-wise, this is the beer we wanted to make, but due to misinformed laws governing the use of industrial hemp, we had to take a creative and long-winding road to get to this point.” Hopefully some Massachusetts brewers follow suit.
The Hemperor HPA is available on draft starting this month, with 12 oz. bottles arriving in stores on May 21. There will be a release party at Cagney’s in Quincy on April 27, the Independent in Somerville on April 18, and Christopher’s in Cambridge on May 23.
I was recently on tour with Anti Flag, volunteering for the Love Hope Strength Foundation, when we rolled into Cleveland for a few short hours and a show. It was cold with snow everywhere, so after we loaded in I took off looking for food and coffee. My exploration brought me to a place called Record Revolution, which had a case in back with various glass pipes and CBD products. That’s where I stumbled upon Green Roads CBD-infused coffee, which conveniently combines two things I use a lot in life. First I had to get beyond the $23 dollar (for a half-pound) price tag. But once I did, the testing proved the cost was worth it. I’ve had other CBD roasts, and as a pot- and coffee-head I get the feel for the concept. The offering from Green Roads, which is based in Florida and distributes around the country, has a nice aroma with strong earthy notes. The beans are roasted to a color that resembles milk chocolate—not too dark, not too light—the flavor of which also makes an appearance. I brewed using my favorite medium, my French press. We could argue for hours over the best way to extract the flavor at home, but the press is my go-to choice. I heated filtered water to a proper 200 degrees, then ground the beans. While waiting for the coffee to brew in the press, I also poured some extra hot water into the mugs to heat them, a key step whether there’s CBD involved or not. I like my coffee black, and for the purpose of this write-up additionally infused my cup with Green Lean cannabis-infused tincture (three drops), bringing some THC into the mix. The cup was still smooth in its flavor, silky to the finish and allaround drinkable. It left me alert and focused— more so than regular java. And without the jolt I sometimes get. Overall, the Green Roads product is a four out of five in Mike the House Husband ratings. It hit all the major points—flavor, color, aroma, relaxation, the works. CBD coffee may come at a higher price, but again, in this case we’ll say it is worth it.
greenroadsworld.com
I’m pretty sure I’ve written something just like this before, perhaps on the last occasion that some company attempted to improve the one-hitter, or so-called cigarette bat. There is only so much even an inventive soul can do with a contraption that is basically a straight and simple pipe; still, they keep on trying, and I’m always thrilled to use one in my daily routine, at least on a temporary testing basis. I’m the right guy for the job; me : one-hitter :: Bob Dole : pen. In my experience, and this is some extensive damn experience, the finest one-hitters are always cigarette bats. Metal ones with white and yellow paint on the exterior. Never glass or porcelain, since you can’t slam those onto the ground to help with clearing them. The faux cig coating keeps the nickel relatively cool, and it helps so folks don’t think you’re smoking on the street or in your car. With that said, not all bats are equal. Not even close. It can take some head-shop hopping to find just the right one with a bowl that’s not too deep, a stem that isn’t too thin to clear with a paperclip, and a girth that doesn’t crowd your lips or keep your one-hitter from sliding in your dugout. The Silver Stick, which retails for $25 (about the cost of three overthe-counter one-hits combined), checks all of the above boxes. Clearly engineered by somebody who uses these things, it is lightweight (but not so light that it feels like you’re smoking a butt), stays cool through several pulls, and most importantly, is easy to clean, since it unscrews into two separate parts. There’s just one major problem with the Silver Stick. It comes with a pack of filters you can insert in the mouthpiece, but if your flame passes the bud, which probably will happen, you’ll end up with a tongueful of disgusting. It’s a bizarre oversight for an otherwise well-conceived product, but so long as you don’t use the filters on your Silver Stick you will be golden.
thesilverstick.com
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
9
TALKING JOINTS MEMO
COMPASSION ENDS AT STATE LINE When you travel, your medical rights don’t travel with you BY ANDY GAUS
Linda is a medical marijuana patient registered in Massachusetts who recently wrote to MassCann about her situation. When she visits family in Michigan, she can’t take her medicine along, because Michigan and Massachusetts don’t honor each other’s patient IDs. In fact, Massachusetts doesn’t have reciprocity agreements with any other medical marijuana states. The need for cooperation between states has become apparent only slowly, as Keith Stroup, legal counsel for NORML (the National Organization for Reform of Marijuana Laws), explained in an email: “None of the early medical use states included reciprocity with other states, but several of the later states do. It is usually only available to patients from a state that itself offers reciprocity to patients from the visitor’s state.” In other words, each state waits for the other states to move. One might wonder whether medical IDs will still be important once stores open in (we still hope) July. “Yes,” answers Nichole Snow, executive director of the Massachusetts Patient Advocacy Alliance. “Parents, guardians, and caregivers will have identification to provide when taking pediatric patients to see their physicians. “Registered Qualified Patients will not be taxed on marijuana. MPAA is pushing to have tax-free marijuana for patients throughout the entire safe access program. … There will be a separate line exclusively for patients and the Registered Qualified Patient will have the option to use either line to purchase their medicine.” Patients will also have access to a reserve supply that stores and dispensaries will be required to set aside to avoid running out of medicine when stores open. And of course, patient IDs will still matter in states where only medical marijuana is legal. So how do we get Mass and other states to start recognizing each other’s patient IDs the same way they recognize each other’s driver’s licenses? Instituting agreements with other states is beyond the powers of the Cannabis Control Commission; the state legislature would have to pass a bill. Snow hopes lawmakers will consider a bill to institute reciprocity in next year’s session. Till then, medical cannabis patients are liable to find that compassion stops at the state line. Andy Gaus is a Massachusetts-based cannabis advocate and a member of MassCann-NORML.
This product contains zero THC
10
04.19.18 - 04.26.18 |
DIGBOSTON.COM
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
11
HIGH SCHOOL FEATURE
Where to get your cannabis education in Mass BY KATHERINE ISBELL With tens of thousands of certified medical marijuana patients in Mass, dispensaries already open and approved to serve them, more than 150,000 ounces sold in the state since June 2015, and recreational shops coming soon, it is clear that the cannabis industry is booming around here. Which means that knowledgeable stewards are needed. The Northeastern Institute of Cannabis, which opened in Natick in 2014, is no longer operating, but across the state and online there are several other opportunities to learn about the medicine and industry—whether you are a physician or simply a curious consumer.
DO YOU WANT TO WORK IN A DISPENSARY? Hemp Staff Marijuana Dispensary Training Events Hemp Staff offers dispensary training classes in various states, with its next event in Mass coming up on June 18 at the DoubleTree Hotel in Danvers. The course will be offered at two times and is supposed to “help you understand the industry and the medication which will help boost your resume with the knowledge you need to speak intelligently when you land that interview for an opening at a dispensary in the near future.” The cost is $249 in advance or $300 at the door. In addition to the Mass regulations, marijuana laws from other states around New England will be covered, as will resume building, in the lead-up to a certification test at the end of the class. hempstaff.com Mount Wachusett Community College Cannabis Career Training Program Beginning in 2017, Mount Wachusett Community College in Gardner began offering an online no-credit Cannabis Career Training Program. Students learn from expert growers, chefs, doctors, lawyers, dispensary owners, and other professionals in the cannabis industry. It’s a collaboration with a private company called Online Cannabis Education and costs $299. Students get a year’s access to self-paced classes and materials. mwcc.3dcartstores.com 12
04.19.18 - 04.26.18 |
DIGBOSTON.COM
ARE YOU A MEDICAL PROFESSIONAL LOOKING FOR ANSWERS?
DO YOU WANT TO LEARN ABOUT CANNABIS IN GENERAL?
Massachusetts Medical Society Medical Marijuana Modules This online program is available to physicians and other medical professionals who want to learn how to discuss medical marijuana with patients. Participants can purchase one of four modules for $9 if they are a member of the Massachusetts Medical Society, for $16.50 if they are not a member, or for $7.20 if they are an allied health professional. The four available modules are Medical Marijuana: An Evidence-Based Assessment of Efficacy and Harms, Medical Marijuana in the Commonwealth: What a Physician Needs to Know, Medical Marijuana in Oncology, and Dazed and Confused: Medical Marijuana and the Developing Adolescent Brain. Tom Flanagan, the media relations manager for the Massachusetts Medical Society, said, “The cannabis curriculum, because of the complexities around the issue, is currently under review.” massmed.org
New England Grass Roots Institute Opened in 2012 and currently located in Randolph, this institute has eight-week programs that cost $800, as well as one-day programs that cost $100. Past workshops have included Cooking with Cannabis and Medicated Holistic Tincture and Salve, and it also hosts other events like patient support groups. grassroot420.com
The Medical Cannabis Institute This online program is for physicians, nurses, and other healthcare professionals who want to learn about medical marijuana and its use in a clinical setting. Courses are science-based and accredited, and their content comes from experts who have been teaching healthcare professionals about medical marijuana for years. Programs available include Clinical Cannabinoid Medicine Curriculum ($399) and Medical Cannabis Curriculum for Nurses ($369), with 11 other courses available for $29.99 each, including Clinical Applications of Cannabis in Cancer Patients, Cannabinoids and Neuropathic Pain, and Cannabinoids: Tackling the Cardiovascular Problems. Students receive access to the program and materials for a year. medicalcannabisinstitute.org
ARE YOU LOOKING TO TAKE CLASSES ONLINE? The Cannabis Training Institute This program was started in 2013 and trains employees to work at cannabis businesses. There are three tracks offered: Medical Cannabis Training ($39), Dispensary Technician ($299), and Health and Safety (three courses total ranging from $59 to $129 each). The program serves 29 states and Washington, DC. cannabistraininginstitute.com THC University Don’t let the name fool you—this is serious business and takes three to six months to complete. Students either pay $50 a month or $480 a year, or there is a business training program that whole teams can take for a lower price. Courses offered include Marijuana 101 Certification, Budtender Basics Certification, and Cannabis Business Certification. Career counseling services are also available. thcuniversity.org Cannabis Training University With a larger national apparatus formed in 2009, the Commonwealth-specific division of this outfit is called the Massachusetts Cannabis College. The entire program currently costs $249, and you get 12 months of access to online materials. Students earn a Master of Marijuana certification and take courses including Marijuana as Medicine, Marijuana Laws and Regulations, and How to Cook with Marijuana. cannabistraininguniversity.com
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
13
SO I HEARD Y’ALL WANNA FLOAT MUSIC
| RESTAURANT | INTIMATE CONCERT VENUE | | URBAN WINERY | PRIVATE EVENT SPACE |
upcoming shows
APRIL 18
APRIL 20
Todd Snider
Once and Future Band
APRIL 21
APRIL 26
w/ Rorey Carroll
in the
haymarket lounge
Grace Kelly Jon Foreman
APRIL 27
APRIL 26
Berklee Student Performance,
Chastity Brown
Hosted by Melissa Ferrick
MAY 622 MARCH
MAY 11 & 12
Kat Edmonson
Art Garfunkel in close up
w/ Opener Matt Munisteri
MAY 20
MAY 23
Jamie Kent
w/ Opener Hayley Reardon
Twisted Pine & Upstate Rubdown
JUNE 1
JUNE 23-24, 26-28
Kevin Nealon (two shows)
Joan Armatrading
Beverage Events
5.12
4.19 Story Telling Series:
City Winery & Improv Asylum Present
Terry Thiese
Whose Wine Is It Anyway?
ArtWeek: The Art of Wine and Cheese with Gallery NAGA
passport to wine (monthly class series)
5.2
5.1
portugal
BOOK YOUR NEXT EVENT WITH US
email eventsboston@citywinery.com for more info
80 beverly st. Boston Ma 02114 (617) 933-8047 |www.citywinery.com/boston
14
04.19.18 - 04.26.18 |
DIGBOSTON.COM
The triumphant and trippy return of Bill Sebastian’s Outerspace Visual Communicator BY BRIAN COLEMAN It begins once you put on the goggles and headphones. You wonder if you’re actually ready for this. You’re floating. Is it deep space? Are you underwater? In a deep sea trench? Then the music starts. Columns of color and shape begin to cascade in front of you, like liquid fireworks. Shapes that look like thick smoke or neon jellyfish float by to the left, right, and underneath. Sometimes they move straight through you. You crane your head up and down and realize you can see them fly by. You are immersed. You listen closer to your headphones, which are playing a Miles Davis freak-funk soundscape, off of Bitches Brew. The shapes are reacting to (and predicting?) the music. You are lost, but you don’t care. It’s soothing and mind-expanding. (Keep in mind, your fearless writer wasn’t even on drugs when all of this was going on. In retrospect, this might have been a good time to start.) After the first 15-minute “set,” you are now officially initiated into the cult of the OVC, or Outerspace Visual Communicator. You are also part of Boston Music History, at the end of a timeline that dates back more than four decades. Bill Sebastian is the inventor of the OVC, and the man behind the curtain. His first, studio apartment-sized installment of the instrument was painstakingly constructed in the mid-1970s, before desktop computers even existed. An unfair but necessary quick description of the instrument might be: a keyboard that plays light instead of sound, projecting wild, multicolored patterns up on a huge screen above a stage. Sebastian isn’t just a tech nerd, which is why this is such a unique story and experience. A multitasking keyboardist and computer whiz, he was performing and collaborating with one of Boston’s most underappreciated musical families in the late 1970s: the Johnson Brothers band (not to be confused with the Brothers Johnson). Sebastian brought legendary jazz bandleader Sun Ra into the OVC’s orbit in the late ’70s, allowing the unique instrument to be used at performances from 1978 to 1980, locally at the Modern Theater and at Mass College of Art. While he has had various diversions to pay the mortgage since that time, Sebastian has had only one true obsession in his life—the OVC. After several years of work by almost a dozen programmers, a new, software-based version is now ready to have its moment. And a few lucky Bostonians can join in the fun by securing a seat in a weekend showing at the maestro’s loft near Downtown Crossing until the end of May. As was the case back in the late ’70s, Sebastian is the sole controller of this instrument of light. His hands, connected to sensors, dart about as the performance happens. His shoeless feet control colors on a series of foot pedals. To try and really understand everything he is doing wouldn’t necessarily enhance the experience. Just know that each performance is unique, and he is the reason for that. “This visual world is being created live, by a visual musician: me,” Sebastian told DigBoston. “Under real-time control, the patterns and colors become alive in a strange and magical way unlike anything in Virtual Reality. Sun Ra said that other worlds spoke through his music, which is why we called the original instrument the Outerspace Visual Communicator. The OVC-3D is not a VR generator, but rather is a communication device, and my goal as an artist is to get out of the way and let these worlds speak for themselves. “I have been bored by reality for a long time. We are sending out an invitation to people who want to go someplace different and are willing to fly to destinations unknown.” Learn more about the OVC-3D and Bill Sebastian at visualmusicsystems.com/blog.html. Visiting hours are at 80 Summer St. in Boston on Fridays, Saturdays, and Sundays. Reservations required.
WAKE UP THE EARTH DIRTY OLD BOSTON
A short history of Boston resilience and celebration
Celebrate and honor Asian Pacific Islander Desi American (APIDA) Heritage Month
BY PETER ROBERGE
May 1 • 5:30pm - 7:30pm Chinese Calligraphy with Rayna Lo RSVP: northeastern.edu/crossing May 8 • 5:30pm - 7:30pm Creative Journey to Wellness May 15 • 5:30pm - 7:30pm Blasian Narratives film screening
Jamaica Plain’s annual Wake Up the Earth Festival, which turns 39 this year, is one of the most celebrated events in the Hub for an eclectic array of performers and artists who end our harsh winters with a breath of spring air and music. But with those warmer days upon us, it’s critical to think about some colder times—namely, the turbulent events that helped forge the first WUTE parade and extravaganza. The relevant history dates back to the early 1970s, and according to Jim Vrabel, author of A People’s History of the New Boston, a book that details Boston grassroots activism, even before that to 1956, when Congress passed the Interstate Highway Act that “guaranteed states to be federally reimbursed [for] up to 90 percent of budget spending.” “This was a way for the Commonwealth to essentially get free money,” Vrabel said. The historian added that the streets and corridor on which people host WUTE wouldn’t be there for any kind of celebration if not for the protests that sparked the event so many years ago (the first celebration was in 1979). As Boston transitioned into the modern metropolis it is today, the state’s Department of Public Works began cooking up plans for an eight-lane highway that would run I-95 through JP, Cambridge, and places in between. It would also carry a stretch of Orange Line along it that would replace the old elevated railways on Washington Street. Plotted as a southwest route that would have slashed right through the heart of Boston, the project was notoriously dubbed the Southwest Corridor. In order to make such a corridor for motor vehicles possible, housing would have had to be demolished. As the city saw in the West End and other neighborhoods, “the consequential displacement would affect thousands of longtime residents,” Vrabel said. As locals began to group together and attend public hearings, activists turned to Brighton’s Fred Salvucci, a civil engineer whom Vrabel described as “a guerrilla within the bureaucracy,” for leadership. Salvucci voiced the concerns of the community to the DPW and other agencies, and assisted in the creation of a presentation illustrating the damage the highway would do to areas, including JP. After numerous events, Boston city councilors held a public hearing at the Curley School on Centre Street, where upward of 700 attendees expressed their concerns. The opposition found some early success in 1972, when then-Gov. Francis Sargent declared a moratorium on all new highways. That put a stop to much of the construction, relieving the concerns of those who would have been affected in the process. Another win came two years later when Tip O’Neill, the Cambridge native who became the speaker of the US House of Representatives in 1977, worked with Sen. Ted Kennedy to change the highway act, allowing states to reallocate federal revenue for mass transit. In the following years, the Southwest Corridor was deemed unnecessary, while the torn-apart land was transformed into bike and walking paths accompanying a semi-underground Orange Line to Forest Hills. It’s also a become a phenomenal place to host Wake Up the Earth, which will have its 39th birthday in JP on May 5.
May 22 • 5:30pm - 7:30pm Mindfulness Practice with Nhung Vo FREE & OPEN TO THE PUBLIC.
1175 Tremont Street, Roxbury info@northeasterncrossing.org • 617-373-2555
Dig Boston.indd 1
3/15/18 1:24 PM
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
15
BUILT TO SPILL WHEEL OF TUNES
Idaho’s ’90s indie rock band talks Treepeople, solar eclipse, and YMCA hoops BY NINA CORCORAN @NINA_CORCORAN doing either. Anytime we’re together, be it practice or making a record, we’re always trying things because making music will always feel new and scary.” To go even deeper inside the backstory of the album, we interviewed Doug Martsch for a round of Wheel of Tunes, a series where we ask musicians questions inspired by their song titles. With Keep It Like a Secret as the prompt, his answers are both down to earth and grateful—personality traits he will likely rep when co-headlining the House of Blues this Friday.
PHOTO COURTESY OF BUILT TO SPILL
Sometimes I think my love for Built to Spill has dwindled. It’s a funny thought, but when a few months pass without me listening to any of the Idaho indie rock band’s albums, I wonder if I just have a string of phases where their multilayered, sprite-like guitars capture the ideal sound of the ’90s. But the moment one of their songs comes on, I’m immediately flooded with the strange mix of optimism, happiness, and pining their songs often detail and remember that, of course not, my love for Built to Spill will never die. The same is true for a lot of fans. It’s why Built to Spill has never stopped touring or writing music since forming in 1992. In February of next year, arguably the band’s most famous album, Keep It Like a Secret, turns 20 years old. It was Built to Spill’s fourth LP and second for a major label. According to frontman Doug Martsch, the reason it sounds so good is because Phil Ek produced it. Martsch says that back then, he added endless wiry guitar layers to the original audio to hide his bad playing. But looking back, every instrument and vocal track sounds like it was supposed to be there from inception. The slide guitars just draw out what makes his distinct guitar style so addictive. “At the time we went into making it, it was the first time that I felt like Built to Spill had really, as a whole band, collaborated on a bunch on the music,” says Martsch. “A lot of the ideas were things we made up through jamming. We jammed for hours and hours and hours and recorded it all, which was new for us. Honestly, I don’t know what I’m doing ever, and I don’t think the people I’m playing with have that big of an idea of what they’re
1. “The Plan” What’s included in your general plan for the next 10 years? Well, I think I gotta keep doing what I’ve been doing—playing music, especially with this band—which is something I never imagined would be the case when I was young. I want to keep touring, I want to keep making music. I was always unsure of how long this would last. So unless things go really badly for us or for the country in general, it looks like the next 10 years I’ll be able to keep touring and maybe even make another record or two. We have some ideas for songs, but we haven’t had as much time to work on it the last few years. I don’t know when we will actually record them, but the ideas are there. 2. “Center of the Universe” Which three things do you cherish the most in your life? Jeez. I guess my family is the first, along with my friends, and then my music. I have a sweet family and a lot of nice friends. I really am so lucky I get to play music for my life. Oh, and my dogs and my cats! I have two of each. The dogs are both malteses. One is eight or nine and the other 17 or 18. You should see her! She’s amazing. She’s a little Pet Sematary. We just got the cats a few months ago. They’re very weird and cool. I love them already. None of them are tense with one another. The pets all get along. The kitten bats everyone as they walk by. Everyone else is old so they
don’t give a fuck anymore. I do get worried about our oldest dog, though. I’ll check on her like, “Are you breathing, sweetie? Everything okay?” Then everyday on tour, I’m so afraid she will pass away while I’m gone. I get so worried. She’s a fucking force though. If anyone is going to make it to 20, it will be her. 3. “Carry the Zero” When is the last time you got stumped on a math problem? [laughs] I actually spend one of my jobs doing accounting while out on tour. I am horrible. I have to double and triple check all my counting. So the last time must’ve been as recent as yesterday. I keep track of the books for the band and give it to a real accountant. We don’t have a manager, so we try to divvy up as much work as we can, and I do most of it. I’m really the manager of the band, so to speak, so it brings a little extra money, too. I’m in charge, but not in-charge in charge. I don’t know. I’m not good at it at all. 4. “Sidewalk” How often do you go for walks? You know what? I kinda go through periods where I go for walks. Lately, I’ve been shooting hoops instead. When I wind up taking walks, I’ll go out with my wife for about an hour. Before that, before I started winding up at the YMCA, I spent a couple years trying to do a half-hour walk every day. I live in a part of Boise where if I walk for half an hour on trails, they will lead you pretty high up. It’s a nice advantage. It’s beautiful. So far on this tour, we have been out for two weeks and I haven’t any farther than the bus to the stage because of shitty weather and our bus broke down. There’s no chance to take a walk. I’m getting a little antsy. I found a YMCA today and tried to go, but they didn’t pick up when I called. Pretty sure it’s not there anymore. 5. “Bad Light” Do you have a preference for the type of light used to illuminate your house? I don’t really, no. We go with mostly the energy efficient ones. There’s a couple places where they make noise, like at our dining room table, so we put regular lightbulbs there. I really appreciate good lighting, but it’s one of those things that I’ve never bothered to get serious about, you know? We would love to get lights on our little deck, but I keep delaying it. That would be nice. But I love a good lighting situation, like at a friend’s house who spent a lot of time on it. FIND THE REST OF THE TRACKS FROM NINA'S PIECE AT DIGBOSTON.COM
>>THE AFGHAN WHIPS, BUILT TO SPILL, RITUALS OF MINE. FRI 4.20. HOUSE OF BLUES, 15 LANSDOWNE ST., BOSTON. 7PM/ALL AGES/$35. HOUSEOFBLUES.COM
MUSIC EVENTS THU 04.19
PSYCH ROCK FROM THE GREAT BEYOND ACID MOTHERS TEMPLE + YOO DOO RIGHT
[Great Scott, 1222 Comm. Ave., Allston. 9pm/18+/$13. greatscottboston.com]
16
04.19.18 - 04.26.18 |
FRI 04.20
NOVA SCOTIA SAYS CHILL OUT, DUDE NAP EYES + SHE-DEVILS
[Great Scott, 1222 Comm. Ave., Allston. 10pm/21+/$12. greatscottboston.com]
DIGBOSTON.COM
SAT 04.21
SUN 04.22
[Paradise Rock Club, 967 Comm. Ave., Allston. 7pm/all ages/$15. crossroadspresents.com]
[Great Scott, 1222 Comm. Ave., Allston. 8:30pm/18+/$12. greatscottboston.com]
BOMB THE MUSIC INDUSTRY WITH PUNK JEFF ROSENSTOCK + MARTHA + BAD MOVES
SHOEGAZE GETS A CASE OF THE SADS ELIZABETH COLOUR WHEEL + ROZAMOV + VAULTED
TUE 04.24
WED 04.25
[Royale, 279 Tremont St., Boston. 7pm/18+/$28. royaleboston.com]
[Brighton Music Hall, 158 Brighton Ave., Allston. 7pm/18+/$15. crossroadspresents.com]
PLANET OF ICE ANNIVERSARY TOUR MINUS THE BEAR + THE COATHANGERS
COUNTRY IS GOING NOWHERE FAST MARGO PRICE + AARON LEE TASJAN
MUSIC
CLIFF NOTEZ
How to juggle professions like HipStory’s renaissance man BY NINA CORCORAN @NINA_CORCORAN
512 Mass. Ave. Central Sq. Cambridge, MA 617-576-6260 phoenixlandingbar.com
Boston’s Best Irish Pub
PHOTO BY OOMPA As soon as you learn about Boston wunderkind Cliff Notez, it’s hard to look away. When he’s in the zone, he’s all smiles and bright energy, the kind that you swear reverberates off of him like an invisible but undeniably palpable sunshine. You can’t help but marvel at what he’s doing because he’s doing so much… and seemingly all at once. The 27-year-old artist is a modern Renaissance man who’s helping Boston’s music and arts scene glow up. He swaps hats often, as he’s a musician, filmmaker, photographer, writer, producer, and more. Most know him as the founder and owner of media company HipStory, which was recently awarded a Live Arts Boston grant from the Boston Foundation. Others know him as a staff writer for local music blog Allston Pudding. Some of you know him as an employee at the ICA. Or maybe he’s most familiar from his role as a spoken word teaching artist at Lynn organization Raw Artworks. No? Well, maybe it’s his work in a handful of other arts-related professions that first put his face on your map. The thing about Cliff Notez that rubs off on you is his energy. There’s this aspiring, hopeful, spirited exuberance that drives everything he does. When in a group, he helps bring people together—and that’s part of why Notez is one of the rising pillars in Boston’s music and arts community. He may shy away from the title, but Cliff Notez is the type of leader who walks the walk and encourages others to join in. It works. Eventually, you want to join in and figure out how to help Boston’s scene. That spirit comes from a weathered upbringing where he had to fight for what he wanted. Shifting between Boston neighborhoods, primarily Dorchester and Somerville, Notez spent most of his youth zoned in on a potential basketball career. Scholarships and cross-country trips made the sport seem like an obvious career path, to the point where his side interests in music, drama clubs, and film classes got shade for being uncool—even though he became a self-taught producer by age 11. It wasn’t until he attended Wheaton for music that he began developing friend groups for each of his hobbies. His complex interests began overlapping. Juggling opposing interests wasn’t as impossible as he was made to believe growing up. By living his truth and enjoying multiple activities, he’s shattering that false truth for himself and for others. Part of that takes shape in his most recent album, When the Sidewalk Ends. “All of this isn’t to gloat about doing so much, but to recognize that feeling estranged from my community made me want to be so deeply embedded in it. So much so that it almost caused my own self-destruction. I, without question, overworked myself, and I’m still picking up those pieces today,” says Notez. “That’s what a lot of When the Sidewalk Ends was about: pushing myself to that brink, thinking that I was doing it for the betterment of community, subconsciously unaware of my selfish need to fill that gap of community that I personally had, breaking almost entirely, and taking a step back and trying to figure out how I can do this better for myself and my community.” In an effort to help those looking to get involved in their communities without overwhelming themself, we spoke to Cliff Notez to see if he had any advice. As to be expected, his life experience proves there’s plenty of work to be done in Boston, and you can help make it happen—as long as thoughtfulness and carefulness play a role. Then feel the real-life inspiration by watching him perform a headlining set at ONCE Lounge this Sunday. It will be the meeting point of his talent and his effort, and yet you know there’s even more he has to offer beneath the surface. Maybe you do, too. Check digboston.com for these detailed tips from Cliff Notez: Don't Downplay Your Hobbies, Growth Stems from Making Space, Start Small to Make Big Change, Your Plate Can Only Hold So Much, Supporting a Community Includes Self-Care. >>CLIFF NOTEZ, HOP HOP, ANSON RAP, SWAY CASEY. SUN 4.22. ONCE LOUNGE, 156 HIGHLAND AVE., SOMERVILLE. 7PM/18+/$10. ONCESOMERVILLE.COM
MONDAYS
WEDNESDAYS
THURSDAYS
MAKKA MONDAY
GEEKS WHO DRINK
ELEMENTS
14+yrs every Monday night, Bringing Roots, Reggae & Dancehall Tunes 21+, 10PM - 1AM
Free Trivia Pub Quiz from 7:30PM - 9:30PM
RE:SET
WEDNESDAYS
Weekly Dance Party, House, Disco, Techno, Local & International DJ’s 19+, 10PM - 1AM
15+ Years of Resident Drum & Bass Bringing some of the worlds biggest DnB DJ’s to Cambridge 19+, 10PM - 2AM
FRIDAYS
SATURDAYS
PRETTY YOUNG THING
BOOM BOOM ROOM
80’s Old School & Top 40 Dance hits 21+, 10PM - 2AM
80’s, 90’s, 00’s One Hit Wonders 21+, 10PM - 2AM
THE BEST ENTERTAINMENT IN CAMBRIDGE 7 DAYS A WEEK!
1/2 PRICED APPS DAILY 5 - 7PM WATCH EVERY SOCCER GAME! VOTED BOSTON’S BEST SOCCER BAR ENGLISH PREMIER LEAGUE
Saturdays & Sundays Every Game shown live in HD on 12 Massive TVs. We Show All European Soccer including Champions League, Europa League, German, French, Italian & Spanish Leagues. CHECK OUT ALL PHOENIX LANDING NIGHTLY EVENTS AT:
WWW.PHOENIXLANDINGBAR.COM NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
17
WOMEN OF BOSTON COMEDY ROUNDTABLE COMEDY
Women in comedy talk women in comedy BY DENNIS MALER @DEADAIRDENNIS Given the momentum in American society over the past year, from the Women’s March in 2017 to the #MeToo movement exploding out of Hollywood and into public and professional settings everywhere, it felt appropriate if not long overdue to gather all together and check in with several of the funniest women in Boston comedy. It also so happens that the Women in Comedy Festival is coming up this weekend. All things considered, in addition to covering how they started and their day-to-day routines from club to club, we went a little further, talking about hurdles these comics have had to climb over to perform on stage.
What was Boston comedy like for female comedians when you started? Carolyn Plummer: I came to the Boston [from Portland, Maine] already knowing a lot of the people that were in the upper echelon of the Boston scene. I’ve always had a very good reception in the scene. I did get frustrated with the business part at some points throughout my career, but I think everybody does. Kelly MacFarland: We started driving down to Boston pretty quick. Back then I feel like there weren’t a lot of women, like the only women we were seeing really working were Patty Ross, Julie Bar, and Sherry Davey. We would meet these women up in Maine, and we’d be like, there are others. It was a really fun time. Sarah Martin: Providence is absolutely tiny. Boston is a pretty small city in general too, but I think there definitely is a difference. … With less people you’re going to have less women too, so then people naturally are like, “Oh, well, the only funny women … ” And it’s like, just stop. CP: You just felt like you’re a part of this club that was just hanging out. You weren’t excluded just because you’re a woman. Nonye Brown-West: Six years ago, there was like a mass exodus of female comics. They weren’t around the open mics as much when I first started. That was my inspiration for starting my own show pretty early on because I think there was a lack of comfort and there weren’t many women. Tricia Auld: I didn’t feel very welcome in the scene when I first started, and I definitely had an outward arrogance that I’m sure was not, you know, very friendly either. Christa Weiss: It sort of was the Wild West I think. I think we were in a kind of a weird transitional period when I started. It was like 2010. So like the Comedy Connection had closed at that point. And then there’s still sort of a weird sentiment between like alt comics versus club comics, which I think sort of dissipated now. There was definitely like a certain degree of, “Oh, you’re going to fuck the new girl?” Which is why a lot of girls quit, because they’ll make a bad decision. I’ve been doing it for a while, so I don’t know if that still happens; I think it probably does to a certain degree, but I don’t think it’s as bad because you’re supposed to respect women now. Who were your comedy icons growing up? SM: Wanda Sykes, I grew up watching her for sure. I was addicted to Comedy Central. CW: I used to watch Comedy Central at the time too, so I saw Janeane Garofalo. I remember seeing Maria Bamford when she was on Premium Blend.
18
04.19.18 - 04.26.18 |
DIGBOSTON.COM
TA: It probably comes as no surprise that I love Chelsea Handler. I read all of her books; I fell in love with her through reading her books and I’ve followed her career. When I started actually really getting into stand up, Amy Schumer, obviously, and Sarah Silverman. NB: The first comic I remember ever seeing when I was maybe like four was Richard Pryor, but I love Joan Rivers too. I grew up watching her. She should’ve gotten the Tonight Show. I love Sommore and I love Whoopi Goldberg. CP: I’m a little older. We didn’t have Comedy Central right away when I was growing up. We would watch VHS tapes of comedy specials and Robin Williams: Live at the Met. Eddie Murphy’s Delirious … Also women like Roseanne Barr came on the scene and just changed the game for women. … KM: Stand-up Spotlight was huge for me because they showcased a lot of women at the time. Rosie O’Donnell was the host, and she was brash and hilarious and wonderful. … What were the reactions from people when you started running female-dominated comedy shows? CW: I liked the idea of just sort of doing like a genderflipped kind of thing. It is a sort of way to get guys to understand that being the only chick in the room does get a little uncomfortable sometimes. I like the idea of trying to put a guy in our place to be like, “Oh no, no, this is our time right now.” I’ll give him a little bit of shit when they get on stage; they all know that they’re going to get it, just playing around a little bit. Even though I run like a female-heavy show, I get more men asking to be on it than women, because women aren’t really taught to ask. Which I always think is interesting. And then there’s always like some guy who’ll ask to be on the show, and I’m like, “Uh, have you seen my show? Because your blowjob jokes aren’t going to work here.” TA: I don’t think any of our shows are all female. NB: They all have like a token man. TA: See how that works, men? SM: We already filled our man spot. NB: When I signed on to associate produce Boston
Comedy Chicks, they had just switched over to having men on the lineup, and there was a lot of Facebook drama about that. People [said it] should be just an all-female show. The reason that happened is because the Women In Comedy Festival acquired Boston Comedy Chicks, and it’s their mission to be inclusive. So for WICF to be inclusive that means that there should be at least one man on a show to make it all inclusive.
Do you feel there are similar issues for women in other fields similar to comedy? KM: Everybody’s had their problems. I could tell you every incident that’s happened to me since 1998, and then it’d be similar stories around the table. I also used to work sales and there was misogyny in the sales arena. I am going to get up every day, and I’m going to come out swinging. CW: Nobody calls me a “female graphic designer,” I’m just a graphic designer. I do my job and I go home. Once you step on stage there’s always the pressure of, Well, I gotta represent myself, but also everyone else. CP: Once an emcee mentioned eight times that I was a woman. First of all, when I walk out and they see my boobs, they’re gonna know. KM: I’ve never been on a conference call when I worked my day gig and had them go, “Just so you know, this next person talking is a female, I want you to all know she’s female.” No one’s ever done that. Why? Because in the workplace and corporate America, you would get your balls sued off your body. CW: The large part of why I think it’s taken so long for comedy to kind of catch up to the rest of the working world is it’s very much unregulated. There’s no HR Department. Nobody’s being sued because something got weird. TA: I probably would’ve won a lawsuit and quit comedy by now. Check out the Women in Comedy Festival all this weekend across the Boston area. Tickets and more info can be found at WICF.com. Read a longer version of this interview at digboston.com and listen to the full audio from the round table at deadairdennis.com/podcast.
THEATER REVIEW PERFORMING ARTS
BY CHRISTOPHER EHLERS @_CHRISEHLERS
A BLEAK AND BRILLIANT CABARET AT MOONBOX
s ie v o M e h t o t s e o G ic t p e k s o The Techn
©Annapurna Pictures
Taking on iconic material is always a risky thing, particularly something as well known and oft revived as Cabaret. But if there’s anything the 1966 masterwork has demonstrated over the years, it’s that it is not a musical resistant to reinvention. (Bob Fosse proved this with his 1972 film adaptation, as did Sam Mendes and Rob Marshall with their landmark 1998 revival).And while Moonbox Productions’ brand-new revival of Cabaret, running through April 28 at the Calderwood Pavilion, isn’t conceptually much different (they are using the 1998 version of the script, after all), it is full of such startlingly original moments that the whole experience feels brand new. It is without an ounce of hyperbole that I say that this searing revival of Cabaret, directed and choreographed by the extraordinary Rachel Bertone, is the best theatrical production so far this year. What’s more, it’s the best Boston-born revival of a musical in recent memory. There is hardly a scrap of this production that feels routine, which is part of the reason that it feels so fresh. Despite polite nods to the choreography of Fosse and Marshall (Those elbows! Those ankles!), the staging is new and inventive without being derivative. The story is a cautionary one, if it can so easily be boiled down to anything at all, and what reverberates most deafeningly in this production is its characters political complacency in pre-Nazi Berlin during Hitler's rise to power. This complacency comes in all different forms in Cabaret: Sally would rather stay out of politics; Fräulein Schneider calls off her engagement to Herr Schultz, a Jew; and Schultz considers himself a German first and therefore safe from whatever rumored evil is coming their way. A country cannot turn its back on its own, he thinks. Inconceivable. Among the many reasons that are given for either avoiding politics or for picking a side, all carry a “but her emails…” resonance that strikes just a little too close to home. This is particularly potent in an unexpected addition that Bertone has inserted into the final scene of the show, one of her several brilliant creations for this production. And when Cliff first sees a swastika on a red armband at a party, I was reminded of my own reaction to the first time that I first saw a “Make America Great Again” hat in the flesh and how I said nothing. What could I have said? I’m not sure. But my non-reaction could have been straight out of Cabaret. When Cabaret is done right, the show hits you like an unexpected punch to the gut. And although I can no longer count on two hands the number of times I’ve seen the show, I can count on one hand the number of times that I have been rendered speechless by a musical. This is one of those times. With devastating might that has to be seen to be believed, Bertone has found new ways for Cabaret to unsettle, though I don’t dare spoil them here. Matters are only helped by the fact that it’s perfectly cast. Phil Tayler is a devilish, sinister tour de force as the Emcee, who in this production is both our wildest dreams and our worst nightmare. He is more Alan Cumming than Joel Grey, but I dare say that Tayler achieves a depth that neither of his predecessors managed. As Sally Bowles, Aimee Doherty seems to radiate from the inside out, giving a performance of uncommon vitality and unforgettable vulnerability. (Kudos to Doherty—a terrific singer—for not insisting that Sally share her well-trained voice.) The supporting cast is similarly ideal, with Jared Troilo, Joy Clark, Maryann Zschau, Ray O’Hare, and Dan Prior shining brilliant new light on even the most obscured corners of their characters. This is a world with a distorted axis, the grotesqueness of which threatens to alter the very path of the Earth’s orbit, and this is reflected in Janie E. Howland’s not quite realistic, angular set. With two chandeliers forever suspended in mid-swing, it’s almost as if this Cabaret seeks to capture (to borrow from another seven letter musical that starts with a C) that “one brief shining moment” before the world would be forever changed. A picture postcard from the hedonistic swan song of Weimar Germany, the swinging chandeliers also bring to mind a pendulum, suggesting that everything might one day swing back around. I think that you know where I’m going with the rest of this: Everything about this Cabaret is sublime. David Wilson’s sound and Sam Biondolillo’s lighting are vital to the success of the show, as are Marian Bertone’s costumes, though some of the Kit Kat clothes could stand to be a little less matchy-matchy. And the eight-member orchestra, led by Dan Rodriguez, sets a new standard for small, local pits. If there are any qualms to be had with Cabaret, it is that aspects of this production could stand to be a bit seedier and that some of the Kit Kat girls and boys seem too young and pure. Nevertheless, Cabaret takes no prisoners and is unflinching in the brutality of its devastation. The show’s final traumatizing moments are a reminder of the power of theater and of its deep necessity. If all the world’s a stage, may we all be so lucky so as to see it through Rachel Bertone’s eyes. >>CABARET. THROUGH 4.28 AT MOONBOX PRODUCTIONS, 527 TREMONT ST., BOSTON. MOONBOXPRODUCTIONS.ORG
Wed. April 18th, 7:30PM: Her 40 Brattle St., Harvard Square
TheTechnoskeptic.com
In a near-future LA, a broken-hearted man ( Joaquin Phoenix) falls in love with his computer’s OS (Scarlett Johansson).
Screening and discussion
with natural language processing researcher Sasha Rush of Harvard; UMass psychologist and author Sharon Lamb; and Mo Lotman of The Technoskeptic . NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
19
IFFB 2018: REPORT #1 FILM
BY MONICA CASTILLO, KORI FEENER, AND JAKE MULLIGAN
Over the next three weeks, we’ll be publishing shortform reviews of films playing at the Independent Film Festival Boston 2018, which runs from Wednesday, April 25 to Wednesday, May 2. The films considered below are scheduled to play during the festival’s first two days.
Wednesday, May 25—Opening Night EIGHTH GRADE [2018], written and directed by Bo Burnham With Eighth Grade, Bo Burnham skips the common methods employed by works like Freaks and Geeks [1999-2000] and Dazed and Confused [1993]—trips into historical nostalgia—to instead tell a middle school story featuring students from Gen Z. Of course, we still recognize slices of traditional life between their constant scrolling of social media feeds—encounters with embarrassing adults who pretend to be hip or awkward dinner conversations with their parents. But most of all, Burnham’s film achieves its sense of universality through Kayla (Elsie Fisher), an insecure eighth-grader whose interior life seems totally invisible to her classmates and teachers even as she reaches the very end of her middle school years. Fisher gives one of the year’s best performances thus far. She’s disconcertingly natural: When Kayla is afraid to talk to her crush, or to confront the “popular girls,” you can see the character herself doing some acting—we see her working to hide every vulnerable emotion she’s feeling. Who doesn’t shortcircuit at those moments? Eighth Grade hits many such notes (relatable, emotional) without becoming too sweet or melodramatic. Burnham and cinematographer Andrew Wehde soften the images with warm lighting, and it gives the film a tinge of nostalgia even as it occurs in the present day. We root for Kayla because we’ve survived those years ourselves—and because we want her to do the same. -Monica Castillo Somerville Theatre / 7:30PM / not yet rated. Set for general theatrical release on July 13.
Thursday, May 26 SADIE, written and directed by Megan Griffiths A narrative drama considering the inhabitants of a Washington State mobile home, Megan Griffiths’ Sadie is a patient and gentle film, which allows its performers to create some truly humane moments. I think specifically of one where Rae (Melanie Lynskey) is arguing with a man she’s pursuing romantically (John Gallagher Jr.), but then receives a text message from the man who’s pursuing her (Tony Hale)—when her phone buzzes, she grits her teeth for a fraction of a second, as though his text was accompanied by an electrical shock. It’s a beautifully observed moment—gesture revealing soul—in a movie that knows how to emphasize them. Rae is married to a third man, who’s absent—he’s abandoned her, and their daughter, by constantly reenlisting in the US military. This hasn’t changed his status as a hero to that daughter, Sadie (Sophia Mitri Schloss), who considers herself an heir to his valor: Every action she takes is dictated by a wartime mentality (she answers typical bullying at school by calling in bomb threats and brandishing firearms). Sadie’s interest in Sadie’s behavior is psychological, but also, more simply, it’s symbolic—she’s characterized as a living embodiment of the effects wrought on young American minds that have only known wartime. And the carefully modulated narrative rhythm cultivated
earlier on eventually buckles under that symbol’s weight. Perhaps “that’s the point”—that wartime causes an extraordinary infusion of inorganic trauma on the otherwise typical lives of those living through it. But Sadie struggles to reconcile its combative dramatic impulses. Or more specifically it struggles until the final scene, when it once again trusts its actors to embody its meanings. When given that chance, Lynskey and Schloss bridge the gap—the one separating the film’s surface from everything below it—using only another minute of silent gestures. -Jake Mulligan Somerville Theatre / 7:15PM / not yet rated. “Shorts Kenmore: Documentary,” program includes COMMUNITY PATROL [2018], directed by Andrew James NO JAIL TIME [2017], directed by Lance Oppenheim REWALK [2018], directed by Philip Shane & Michael Lesser A VIEW FROM THE WINDOW [2018], directed by Azar Kafaei and Chris Filippone By documenting a specific act of collective action, the black-and-white Community Patrol focuses on the complexities of community policing in a Detroit neighborhood—it follows a group of ministers as they lead a march intended to disrupt the supply of a drug dealer who’s living and dealing next to a church. There’s a direct relation between this short work and director Andrew James’ recent feature-length film, Street Fighting Men [2017]; the footage that comprises Community Patrol was shot at the same time as the feature but didn’t make it into the final cut (on that note, a disclosure: I’m acquainted with one of the producers of this film). While the exact reason for the shift to monochrome is unclear (the feature was in color), this newer film’s narrative purpose is perfectly discernable: Despite its necessarily uncomfortable contents, the short both documents and further enables a needed dialogue regarding accountability and the concept of patrolling. Without editorializing, Community Patrol raises serious questions about who has the authority to control a neighborhood— as well as about how that authority is created, or maintained. No Jail Time, an Op-Doc produced and distributed by the New York Times, documents an extremely specialized film festival: one devoted to documentaries produced
by lawyers to aid in the sentencing and post-conviction hearings of their clients (they’re known as “sentencing mitigation videos”). The central figure at that festival, Doug Passon, uses the event as a forum to instruct lawyers about creating effective minidocumentaries using traditional cinematic methods—he even presents the concept of the “hero’s journey” as one that can be used to frame their client in the best possible light, using language right out of film school. “Is documentary filmmaking the absolute truth?” he asks, before answering himself. “No, it’s not. What it is is the emotional truth.” He’s referencing one of the central philosophical questions that faces nonfiction filmmakers—and indeed, the work profiled in No Jail Time almost proves that filmmaking is inherently suited toward manipulating its audience. Rewalk is a story about an incredible technical device (a “powered exoskeleton”) that’s helping paraplegics to walk. But it’s also a story about Gene and Terry—two veterans who are testing the device out and hope to see it developed toward further use (the film also depicts work done to get ReWalk devices approved for home use by the FDA). The story is so compelling that it practically tells itself—which helps when the camerawork becomes unstable, or out of focus, or when the film crew is spotted in the frame during cross-shooting. Despite these technical blunders, Gene’s drive to compete in the Generosity 5K (a fundraising race) on behalf of ReWalk still propels the narrative forward. He is a classically sympathetic character: We hope for his success in the race, and for the success of the larger cause running alongside him. There is an obvious irony within the beautiful sound design of A View from the Window: The film is described as “an immersive glimpse of a school day through the eyes of deaf children,” but it’s a harmonic blend of sounds—score music, birds cawing, playgrounds creaking, children laughing—that creates the work’s powerful emotional landscape. For a majority of its runtime, this short is perfectly carefree, exuding a quality of childhood innocence—and it also shifts its own momentum freely, at one point allowing for a minutelong interlude exploring what it’s like to be a black deaf male in America today. It’s a refreshing film. -Kori Feener Somerville Theatre / 9:30PM. Program also screens on Saturday, April 28, at 1:30PM.
>>INDEPENDENT FILM FESTIVAL BOSTON 2018. 4.25–5.2. FOR INDIVIDUAL TICKETS, FESTIVAL BADGES, AND OTHER INFORMATION ABOUT THE FESTIVAL, SEE IFFBOSTON.ORG. 20
04.19.18 - 04.26.18 |
DIGBOSTON.COM
Are you a … Social Justice Advocate? Concerned Community Member? Perturbed Protester? Pissed Off Organizer? Let Us Be Your BULLHORN
Email your op-eds to:
editorial@digboston.com
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
21
COMEDY EVENTS
SAVAGE LOVE
DOWN THERE
THU 04.19 - SUN 04.22
BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET Background: I, a 21-year-old male, enjoy receptive fisting. I’ve also had constipation problems all my life. Question: I saw my doctor recently, and he tried to link my enjoyment of anal sex to my constipation. (Granted, I didn’t tell him EVERYTHING I do down there.) My understanding was that there was no causal relationship, assuming no serious injuries occur. Is there something I don’t know? Was my doctor just trying to be helpful? Fearing Inner Sanctum Tarnished “There are many myths about anal sex, but this is the first time I’ve heard this one,” said Dr. Peter Shalit, a physician in Seattle and a member of the Gay and Lesbian Medical Association. It’s also the first time I’ve heard anyone associate fisting with constipation—typically when fisting is mentioned in the same sentence as constipation, FIST, it’s as a cure. But it’s a myth that fisting cures constipation, of course, along with anal sex being inherently dangerous. “Fisting is a safe activity, provided that both the top and bottom are sober at the time,” said Dr. Shalit. “It does not cause damage or constipation or any other type of bowel problem. The same applies to other anal sexual activities including anal receptive intercourse (getting fucked) and use of toys (dildos, vibrators, etc.) for anal stimulation—again assuming this is voluntary on the part of the bottom and that both partners are not under the influence of mindaltering drugs during sexual activity.” (For safety’s sake, of course, buttfuckers should use condoms and gay and bi men get should get on PrEP.) While many people engage in anal play while under the influence of drugs or alcohol, and most emerge unscathed, uninfected, and un-constipated, FIST, getting fucked up before fisting is not a butt sex best practice. A fucked-up top can quickly become an out-ofcontrol top, and a fucked-up bottom can be numb to feelings of discomfort that mean “slow down,” “stop and add more lube,” or “stop altogether.” Despite the fact that millions of people safely engage in anal play, many people believe that anal play does irreparable harm to the anus—or the soul—and that sadly includes many doctors. “There is a misconception that these activities can cause damage by stretching or tearing the tissue, when actually the anus is very elastic and much of the ‘permission to enter’ actually involves intentional relaxation of the muscles by the bottom” and not force applied by the top, Dr. Shalit affirmed. (The top applies gentle pressure, the bottom breathes, relaxes, and opens up.) “If a person suffers from constipation, that should be addressed as its own problem and not blamed on any type of anal sexual activity,” said Dr. Shalit. “In addition: For obvious reasons, it’s not fun to bottom if you’re constipated, so it would be good to have this problem evaluated and treated by a nonjudgmental health-care provider who understands that anal penetration—by fist, penis, or dildo—does not cause constipation.” Finally, FIST, your doctor was misinformed, which is not helpful. If you don’t feel comfortable telling your doctor EVERYTHING you’re doing “down there,” you can find a new doctor—one you can breathe, relax, and open up to (in a different way)—under “find a provider” at GLMA.org.
On the Lovecast, poly expert Cunning Minx: savagelovecast.com.
THE WOMEN IN COMEDY FESTIVAL
Don’t miss this unique chance to see the typical male to female ratio flipped at a venues ranging from 40-seat intimate cabarets to our 1,200-seat headlining theater. Over 200 performers (80% women) and thousands of audience members flock to historic Boston each spring to participate in and watch the Women in Comedy Festival.
WICF.COM FOR A FULL LIST OF SHOWS, TICKETS & INFO. THU 04.19
HARPOON COMEDY NIGHT @ HARPOON BREWERY Featuring: Corey Rodriguez & Chris Pennie Hosted by Brian Higginbottom
306 NORTHERN AVE., BOSTON | 7PM | $20 THU 04.19 - SAT 04.21
BRYAN CALLEN @ LAUGH BOSTON
Bryan Callen is an actor, comic and podcaster. He’s currently in the middle of his fourth season as “Coach Mellor” on ABC’s THE GOLDBERG’S. He’s also the co host of the popular podcast THE FIGHTER & THE KID. In 1995 Bryan became an original cast member of MAD TV and went on to do many TV shows like Entourage, Sex & and CIty and Californication. He also played “Eddie” in The Hangover and “Samir” in The Hangover part 2.
425 SUMMER ST., BOSTON | 8 & 10PM | $25-$29 FRI 04.20
WEMF & IN THE GUTTER PODCAST PRESENT: HAPPY 4/20 @ PA’S LOUNGE
Featuring: John Paul Rivera, James Creelman, Ben Quick, Kyle Mcnally, Tommy O’Deed, Kenny Capozzi, Shawn Sarro, Troy Burditt, Hedi McLaughlin, & Arty P. Music by Buddahfly & Hobo Chili
345 SOMERVILLE AVE., SOMERVILLE | 8PM | $10ADV/$15DR FRI Z04.20
WANDA SYKES @ THE CHEVALIER THEATRE
Wanda Sykes has been called “one of the funniest stand-up comics” by Entertainment Weekly’s 25 Funniest People in America. Her smart-witted stand up has sent her career in many different areas. She was in the Fox comedy Snatched with Amy Schumer and Goldie Hawn. Sykes was also seen in the feature films Evan Almighty, the New Line feature Monster-In-Law starring opposite Jane Fonda, My Super Ex-Girlfriend, Pootie Tang, Nutty Professor 2; The Klumps, and Down to Earth. Sykes has been seen on several television shows including ABC’S Blackish (which she is nominated for a 2017 Primetime Emmy Award), Broad City, Showtime’s House of Lies; Amazon Prime’s Alpha House, HBO’s Curb Your Enthusiasm, CBS’s New Adventures of Old Christine. In 2010 she starred on her own late night talk show on FOX, The Wanda Sykes Show.
30 FOREST ST., MEDFORD | 8PM | $27-$70 SUN 04.22
LIQUID COURAGE COMEDY @ SLUMBREW
Featuring: Chris Post, Liam McGurk, Deidre Mollura, Daniel Macrobe, Rohan Padhye, Ben Quick, and Kevin Salisbury. Hosted by Rick Jenkins
15 WARD ST., SOMERVILLE | 8PM | $5 MON 04.23
JFL NEW FACES SHOWCASE @ LAUGH BOSTON
Watch some of Boston’s best up-and-coming stand-up comedians audition for a spot at the prestigious Just For Laughs Comedy Festival in Montreal, Canada. Featuring: Sam Ike, Xazmin Garza, Sean Sullivan, Will Noonan, Brian Glowacki, Tooky Kavanagh, None BrownWest, Drew Dunn, Nick Chambers, Carolyn Riley, EJ Edmonds, Tricia Auld, Zach Brazao, & Kwasi Mensah. Hosted by Tony V.
savagelovecast.com
425 SUMMER ST., BOSTON 7:30PM | FREE
Lineup & shows to change without notice. For more shows & info visit BostonComedyShows.com 22
04.19.18 - 04.26.18 |
DIGBOSTON.COM
WHAT'S FOR BREAKFAST BY PATT KELLEY PATTKELLEY.COM
THE WAY WE WEREN’T BY PAT FALCO ILLFALCO.COM
Do you want to work in advertising and marketing at your favorite alternative newspaper?
OUR VALUED CUSTOMERS BY TIM CHAMBERLAIN OURVC.NET
We are expanding our sales team at If you are interested in joining us, please email the following to sales@digboston.com with “SALES JOB” in the subject line: ● ●
Current Resume A few words about the kind of businesses you think you can have success selling ads to (i.e. restaurants, cannabis) NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
23
Providing the highest-quality
�� ��� ���
����������
medical marijuana products and the very best in customer care to the Greater Boston area
FLOWER INFUSED CONCENTRATES NON-MEDICATED ACCESSORIES Do Something Revolutionary
Come Join Us!
67 Broadway Somerville, MA 02145 617.213.6006
revolutionaryclinics.org Free patient education, materials, consultation and regular patient events!
Learn more:
Hours of Operation Sun: 11AM - 4PM Mon: 8AM - 8PM Tues: 8AM - 8PM Wed: 8AM - 8PM Thu: 8AM - 8PM Fri: 8AM - 8PM Sat: 8AM - 8PM
Revolutionary Clinics
FREE ON-SITE
PARKING
I-93
Sullivan Sq. (Orange Line + Buses)
/RevClinics
@RevClinics