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TV SPECIALS
VICTORY FOR HUB CHEFS PLUS: CRIME DRAMA BUCKS CLICHES
EATS WEEK
OP-ED: THOSE DRUNKEN PATRONS REVIEW: WANG’S FAST FOOD
COVER : MUSIC
JUSTIN CLANCY MORE THAN JUST RECOVERY RAP
POLITICS
US: TRUMP’S KILL SPEECH LOCAL: CANDIDATES TALK BPS
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ROYALE
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TRAVEL WARNING
Dear Reader, Americans do not see eye to eye on many things these days. At least, not more than two out of four of us at a time. Still, I think that most of us can agree that people who make a habit of saying “I really enjoy traveling” are horrible assholes who should be endlessly mocked. Sorry if I sound crazy, but just follow along for a second… I am not some monster who opposes the idea of taking a vacation, however tropical. What I’m saying is almost the opposite—that pretty much everyone, other than agoraphobes and perhaps some American flag-waving patriots who see no value in venturing outside of their immediate bubble, more or less loves—or at least wants—to travel. Extensively. So when you say that you “are addicted to traveling,” or something comparably thoughtless and privileged—whether in a dating profile, on social media, or in a private conversation—you are essentially saying that you can’t for the life of you understand why everyone else isn’t as interested in globetrotting as you are. It’s a humblebrag, but one that you’re not likely conscious of making. Nevertheless, you might as well say, “Unlike all those weirdos who stay home all the time and are too cheap to spend tens of thousands of dollars on international airfare, I prefer to bounce around the EU and wherever else my family’s AmEx takes me.” Personally, due to the financial limitations and severe lack of free time that come with my chosen profession, I have never flown farther than Mexico. Don’t cry for me, though; I plan on traveling to Europe and beyond after I retire in 50 years—plus, thanks to friends with beach and country houses in New England, I manage to get away at least twice every year at almost no cost. When I get those opportunities, like I did last week for a couple of days, I always end up smoking too much weed and thinking about the innumerable summers and long winter weekends throughout my life when my budget kept me confined to my neighborhood. It was probably one of those times, after an afternoon spent drinking dollar tallboys on the tar-covered roof of my fifth-floor walk-up apartment, that I first heard someone say that they “love to travel,” and I’ve been offering this rant ever since. Because even back then, I knew that I loved to travel too, but—perhaps because of those experiences—I know enough to never make such a moronic statement out loud.
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NEWS US SERVE’S UP TERMS OF SERVICE
Some hard truths from behind the bar about handling drunken patrons BY HALEY HAMILTON @SAUCYLIT I had the fear of God put into me my first year working in a Boston restaurant. I had mistaken an extremely drunken woman for a very strange woman, and I served someone who I should have turned away. When I realized my mistake and pulled her drink, and she tottered out to Newbury street, a server working with me said, “You know if she gets in a car and kills somebody you’ll be arrested for serving her.” I went out back by the trash cans and burst into tears. This is an aggravated misconstruction of what actually happens if you over-serve someone. Nevertheless, under Massachusetts state law, bars and restaurants are on the hook for serving people who are later convicted of operating a motor vehicle under the influence (OUI). As part of the aforementioned restrictions, judges ask defendants in OUI cases for their place of last drink. The name of the bar or restaurant who last served the defendant (or where the defendant remembers being served) is recorded in a state report. These reports are then used by local police and boards that regulate alcohol licensing and service, like the Boston Licensing Board and the state-run Alcoholic Beverages Control Commission (ABCC), to identify problematic establishments— “problematic” meaning that they may have a habit of over-serving. A recent Boston Globe article put this reality, which is always on the minds of those of us who work in the service industry, front and center. According to the scoop, the Massachusetts Restaurant Association (MRA) is asking the newly minted Alcohol Task Force, a statewide coalition to examine “the legal and regulatory framework governing the alcoholic beverage industry in the Commonwealth” launched by Treasurer Deb Goldberg, to recommend that “place of last drink” provisions to OUI investigations be removed. The director of the MRA told the Globe that local
officials use the reports to peg “problem” bars and lamented that “the bar never had a chance to say, ‘That guy was never here.’” In response, a top ABCC investigator claimed the Commonwealth has “a very effective program that’s been cited as a national model for preventing impaired driving.” “Why would you get rid of that?” he asked. It’s an interesting question. And an important one. After all, there does need to be some accountability when it comes to responsibly serving alcohol. But the real question is, “Who is being held responsible?” And, “Are they even the right individuals?” Under the current law, local courts send last-drink reports to the ABCC and municipalities, who can then use the information to target frequently cited establishments with enforcement stings. If, during a sting, investigators witness employees serving guests who should no longer be served, citations are likely to follow. However, merely appearing on a last-drink report does not allow authorities to immediately sanction a bar or restaurant. As the aforementioned investigator told the Globe (and seems to be the case in my experience), leads garnered from such reports allow the state to “do targeted investigations instead of random investigations.” If illegal behavior appears to be continuing, bartenders and restaurants are cited. On the other hand, if everything seems legitimate, then an establishment can continue operating uninterrupted. Treasurer Goldberg’s Alcohol Task Force is expected to announce its recommendations for changes in August, and state regulators are concerned. At the same time, local restaurateurs and front-of-house employees are also concerned, and they have a lengthy list of what they see as flaws in the law. Not everything is covered in lastdrink reports, and in conversing with industry colleagues I have devised recommendations for what the Alcohol
Task Force should take into consideration when it makes recommendations later this month: • The basis of an OUI charge is that someone is too impaired to safely operate a vehicle. How in the world, then, is taking their recollection of where they last had a drink reliable information? • Sometimes when people drink, perhaps particularly when they drink to excess, they barhop. The last place they were in may not have served them. I can’t tell you how many times I’ve refused service to someone who just walked in the door. • High-volume dynamics are tricky. If a group of people is out and one person is ordering rounds, particularly in a club atmosphere, there may be someone drinking in your establishment who hasn’t directly interacted with a staff member all night.
Here’s a big one: People lie. Especially when it comes to alcoholrelated questions.
• Here’s a big one: People lie. Especially when it comes to alcohol-related questions. I can ask people if they plan on driving home, and often do just that, but that doesn’t mean half of the diners who claim they are walking or taking a cab don’t actually wind up behind steering wheels.
• Most important to consider are the varying, incongruous standards. Just because someone isn’t visibly intoxicated and is good to be served one more beer—the standard by which the state board measures when a bar should cut them off— does not mean they are capable of driving. Ultimately, it is important to know where people may be repeatedly over-served. At the same time, the state reports in their current form don’t address the myriad factors that play into whether someone who’s out drinking ends up on the road. With services like Lyft and Uber so accessible, the days of “hey man, let me call you a cab” are long gone. If the Alcohol Task Force should ask the legislature for anything to help curb OUIs across the Bay State, it ought to be for another extension of late-night T service or for a statefunded ride hail account to increase the odds that people will get home safely.
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OPERATION STINGBALLS DEMOCRACY IN CRISIS
Trump, police, violence, and an ACLU lawsuit BY BAYNARD WOODS @BAYNARDWOODS
Ultimately, more than 200 people were corralled into a kettle, peppersprayed, and subjected to similar grenades.
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how prevalent it is). But that wasn’t Trump’s first day of anything. The president can be pretty unintelligible and slippery, but it seems like he is either talking about the protests on Inauguration Day, or those in Portland, Oregon on the day after the election. (The White House did not respond to request for comment by press time). A recent lawsuit filed by the ACLU on behalf of four plaintiffs against Washington, DC’s Metropolitan Police Department details both the use of military weapons and the infliction of postarrest injury on Inauguration Day. The DC government has denied a Freedom of Information Act request filed by Democracy in Crisis seeking a list of weapons used against the protesters that day, citing “pending civil and criminal litigation.” But the ACLU lawsuit provides a long list of weapons they believe were deployed by police against protesters, some of whom threw rocks and bottles at police. The list includes pepper spray, smoke flares, concussion grenades, flash-bang grenades (which “produce loud explosive noises and bright flashes of light”), and stingers or stingballs (which are described as “explosive devices that release smoke, rubber pellets, and a chemical irritant”). “I know we utilized some stingballs,” then-acting Police Commissioner Peter Newsham wrote in an email to Democracy in Crisis shortly after the event. “Stingballs are designed to move aggressive groups back without causing any injuries.” In video recently obtained by Democracy in Crisis, several officers toss dozens of such devices into crowds of people. In one clip, an officer to the far right of the screen throws a grenade. The camera follows it through the air. It strikes someone in the hip, exploding and knocking them down. Then it appears to hit the ground and bounce up before exploding again on a man’s head (it could be a second device), knocking his red hat off amidst clouds of chemical smoke. Police have argued that the protesters were part of a “black bloc” conspiracy to destroy property. But neither of the people hit by the grenade were wearing black. The only person in black, to the left of the screen, is wearing a black tracksuit with white stripes and a red hat, looking more like a German tourist than a member of an anarchist conspiracy. It wasn’t a MAGA hat, but it would be hard for a cop to tell from a distance.
Ultimately, more than 200 people were corralled into a kettle, pepper-sprayed, and subjected to similar grenades. But what happened after they were in custody, according to the ACLU suit, is even worse. The kind of treatment that Trump was “joking” about “felt like the weirdest horror movie I had ever got stuck inside of,” said Shay Horse, one of the plaintiffs in the ACLU suit who was arrested while working as a photojournalist on Inauguration Day. Charges against him were later dropped. The complaint reads: Without warning, Defendant Officer John Doe 150 grabbed Mr. Horse’s testicles and yanked on them… He then put his finger into Mr. Horse’s rectum, through his underwear. As Defendant Officer John Doe 150 pushed his finger into Mr. Horse’s rectum, he ordered Mr. Horse not to flinch. The officer, identified as John Doe 150, then did the same thing to another plaintiff, Milo Gonzalez, and others. “Defendant Officer John Doe 150 did not change gloves when he moved from one individual to the next.” According to the complaint, five to 10 other officers watched this and some of them laughed, just as the officers in Long Island did when Trump told them they didn’t need to protect the heads of prisoners. Despite Trump’s attempt to take credit for it, none of this behavior is new. In Baltimore, Freddie Gray died after being pushed roughly into a police vehicle, and the Department of Justice report on the city’s police department shows how African-Americans in particular have been subjected to such degrading treatment for years. It is new, however, for the president of the United States to encourage such behavior in such a blatant way. And it results in the opposite of positive community-police relations. “I’m completely distrustful of anyone in a uniform, any kind of law enforcement person,” said Emily Lagesse, another plaintiff who had never been arrested or in any trouble before Inauguration Day. “That is probably like ‘no kidding’ to a lot of people of color, but it is a huge thing for me to feel less safe around people who are supposed to be keeping me safe.” Send tips to baynard@democracyincrisis.com.
PHOTOS BY MARIE MACHIN
Donald Trump’s authoritarian streak has been on full display in recent weeks, nowhere more so than when talking to cops in Long Island. “Please don’t be too nice,” he said, adding that when the officers arrest someone, they don’t need to protect the prisoner’s head. “I said, ‘You can take the hand away, OK?’” Despite the applause and laughter in the room, the line was widely condemned, including by police departments around the country. White House Press Secretary Sarah Huckabee Sanders declared it a joke in a press briefing. When asked if police brutality is funny, she said, “Not at all. I think you guys are jumping and trying to make something out of nothing. He was simply making a comment, making a joke.” This is the kind of joke Trump told at his rallies when he urged his supporters to be rough with protesters and reporters. When he was a candidate, it was violent demagoguery. But now that he is the president—urging members of the police force to commit violence—it is something far more sinister. Though the “joke” got all the attention, there’s a more interesting and insidious part of Trump’s Long Island speech, in which he also applauded the use of military weaponry by police departments. “You know, when you wanted to take over and you used military equipment—and they were saying you couldn’t do it—you know what I said? That was my first day: You can do it. In fact, that stuff is disappearing so fast we have none left.” In an annotated version of the speech, the Washington Post claimed that Trump is talking about the debate that followed the death of Michael Brown in Ferguson, Missouri. Certainly, those cops had military equipment (see Radley Balko’s excellent book, Rise of the Warrior Cop, to see just
TWO QS ON SCHOOLS BRAWL FOR CITY HALL
Can candidates answer our simple yet challenging questions about BPS? RECORDINGS BY STM PRODUCTIONS
R FO
CITY HALL
Domingos DaRosa (Boston City Council Candidate, At-Large)
Mark Ciommo (Boston City Councilor + Candidate, D9)
A former Boston youth worker who currently owns a property maintenance business, Hyde Park resident Domingos DaRosa is as civic-minded as they come, having coached hundreds of young people in various sports through the years. We asked him two questions about Boston Public Schools that we are asking all of the candidates.
Considering how rarely sitting Greater Boston pols are beaten in elections, it is hard to deny that incumbent City Councilor Mark Ciommo is the person to beat in AllstonBrighton. With direct experience organizing with educators, administrators, parents, and students before and during his City Hall tenure, he knows his way around the school system as well. We asked him two questions about Boston Public Schools that we are asking all of the candidates.
What do you believe is the current state of Boston Public Schools? What grade would you give them now? And what grade would you give them when Marty Walsh started four years ago? Four years ago I would say we were at like a C-minus. I say that because we didn’t have as much budget cuts. But over the last four years, the schools have received drastic budget cuts—$20 million one year, then another $15 million to $20 million. So over the last four years, the school department has lost almost $100 million in funding, which takes away from programs [and] students’ ability to receive the resources they need. Today I would give [BPS] an F-plus. We’re in a worse situation than we were four years ago and it continues to dwindle down. I graduated from Madison Park High School. I am active with the school, I attend a lot of football and basketball games, I am in the alumni group. Madison, two years ago, was missing close to 70 teachers. Students were free to roam the hallways, they had no schedules. They had no guidance because they didn’t have a headmaster, and no one downtown would step up and attend to the school’s needs. Madison might get taken over by the state. It’s the only voc-tech high school in Boston, it’s a gem. It could benefit everyone across Massachusetts, because these students pick up a trade and go on. What specifically are you going to do to improve schools? How many are you going to visit? What programs would you add or subtract? How much more money, if any, do you think the schools need? I run the Boston Bengals, it’s a Pop Warner program. I visit as many schools as I can. The program has about 140 to 160 student athletes. As a councilor, my biggest objective would be to visit every school to see what they need. Not just to do an evaluation, and then six months later the same things still need to be fixed. There are a lot of programs already here, but as a former employee of the Boston Center for Youth & Families (BCYF), [I have seen] that departments are not combined. There is no outreach… I feel that community centers should run [to complement] school hours… A lot of schools don’t have gym, or gym teachers. Well, community centers have athletic directors, athletic assistant directors. So why not bring in those people to provide services in schools? It won’t happen because of the unions, it won’t happen because of the departments, so a lot of the red tape needs to be cut out. I ran a pool, I taught swimming for 21 years. I trained lifeguards all over the city. So when I was able to communicate with the youth, it was through a swimming pool. That was the avenue, and I was able to teach them a lot of the things that they needed to know for life. If you can’t tread water, you can’t swim in the deep end. It’s as simple as that. [We want to bring] those things which are already in place to the school… These things aren’t happening. Why? Because one department won’t work with the next department.
What do you believe is the current state of Boston Public Schools? What grade would you give them now? And what grade would you give them when Marty Walsh started four years ago? As a proud graduate myself of Boston Public Schools K through 12, I’m really fortunate to have been in a position to affect education in the City of Boston for the past 10 years that I’ve been a councilor. I think we’ve made great strides. I would say that there are some gems in the system, and there are also some failing schools, and we need to address that. We have an achievement gap that we have to tackle, and I think one of the best things we have done as a school system in recent years is go to what we call a weighted student formula, which gives weight to young people who have vulnerable circumstances in their life, whether it’s poverty, whether it’s disability, it could be autism. It becomes more childfocused, and I believe that’s been a great achievement that we’ve had over the past several years, and I believe we are bearing some fruit from that. We have the highest rates of graduation in the history of the system, we have great teachers, we have extended learning time now. These are all measures that I believe will actually impact our classroom and give kids the opportunity to maximize their potential, and at the end of the day that’s what it’s all about. As far as Mayor Walsh, I think he’s done an outstanding job working with the school system, hiring Dr. [Tommy] Chang [as superintendent]. What specifically are you going to do to improve schools? How many are you going to visit? What programs would you add or subtract? How much more money, if any, do you think the schools need? Allston-Brighton geographically is kind of connected to the city by just Commonwealth Ave, and sometimes we feel isolated in ways. Transportation becomes an issue. We want to continue to save money on transportation, and [with a] new student assignment program [implemented] three years ago, which gives more preference to kids who live close to schools, we will hopefully be able to save money. And we need the kinds of communities within schools where parents can really get involved. Many studies will show that a young student’s success is tied directly to a parent’s education, so we need to make sure we have these programs in place. I want to continue to identify where we’re failing kids. And where we’re failing kids, we need to assess what we aren’t doing right to reach these kids and these families. In AllstonBrighton, most of the middle schools are level-three schools. I want to continue to focus on raising the level of their success. We’re going in the right direction, and I want to continue to work on these issues so I can leave our neighborhood in a better place than when I arrived. When I arrived in 2008, there was an exceptionally bad recession. As I mentioned, we closed or merged 26 schools. But we’ve made great strides since then.
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BEFORE THE MUSLIM BAN THROWBACK
Remembering a racist ex-president of Harvard in order to retroactively shame him BY PETER ROBERGE In case you haven’t noticed, immigration policy in the United States is currently in limbo, leaving immigrants of all kinds in a frightening, precarious position. With President Donald Trump pushing travel bans and his Immigration and Customs Enforcement (ICE) agents acting more aggressive than usual, including in Boston where they have gone after law-abiding immigrants with jobs, families, and roots in the community, it seems as if American nationalist rhetoric is on the rise while the more traditional image of a welcoming country is being displaced further each day. Boston Mayor Marty Walsh, himself a descendent of Irish immigrants, recently issued a statement urging Congress to address immigration discrimination. “Boston is a city built on immigrants,” Walsh wrote. “Pointing the finger and blaming other nationalities will not fix the problem.” The Hub’s Trust Act, which makes Boston something of a “sanctuary city” (there is no official legal definition of the term), provides some cover for immigrants. But with Republican Gov. Charlie Baker opposing such declarations at the state level, those who may potentially get caught in the crosshairs of Trump’s xenophobia have lots to fear—even in so-called liberal Mass. Looking back through history is hardly reassuring. Despite recent support statements from Walsh and others, in digging through old newspaper archives one can see that the Hub hasn’t always been an amicable place for immigrants. One especially intolerant character, Dr. Charles Eliot, the president of Harvard University from 1869 to 1909, advocated against the mixing of races and also called for a “restriction on the number of unmarried men allowed into the United States.” The intention of this line of thinking was that if only established families were allowed to step foot on American soil, there would be far less ethnic diversity as a result. Eliot, a cousin of the famous poet T.S. Eliot, publicly 8
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supported William Dillingham, who served as the chairman of the US Senate Immigration Commission. Dillingham notoriously dreamed up the Per Centum Law, which placed a limit on the number of immigrants who were allowed into the country every year. The Per Centum Law, eventually renamed the Emergency Quota Act, was much kinder to immigrants coming from “older sources,” such as places in Northern Europe like Germany and Scandinavia, yet drastically limited admission from Southeastern Europe and Turkey by about one-fifth for several years in the early 1920s. If any of this sounds familiar, it’s probably because such selective immigration restrictions and policies resemble efforts under President Trump to stall or ban immigration from particular Muslim countries. Under said ban, which partially slipped through the Supreme Court of the United States last week, people from Iran, Libya, Somalia, Sudan, Syria, and Yemen will be temporarily denied entry to the US unless they have a “credible claim of a bona fide relationship with a person or entity” here. It’s basically the same way that Dillingham targeted immigrants from places like Turkey nearly a century ago. As reported by the BBC: Although the Supreme Court left parts of the lower-courtordered suspension of his travel ban intact, and agreed to consider the merits of the case in October, a considerable portion of it can now go into effect. The path to entry into the US for immigrants and refugees from the affected nations, if they don’t have existing ties to the US—either through family, schools or employment—just became considerably harder. It wasn’t all bad news back then, just like there are occasional victories against racism today. Despite efforts to keep out whole groups of people dating back hundreds of
years, statistics listed in an 1888 edition of the Boston Weekly Globe (as well as in other broadsheets at the time) boasted about the proliferation of immigration (and likely triggered the bigoted likes of Eliot). From 1850 to 1860, the foreignborn population in this country rose from 9.68 to 13.16 percent, and even went as high as 13.52 percent in 1880. Furthermore, on the Boston front, immigrants a century ago were sometimes met with welcoming pamphlets as they arrived in the city’s ports. The guides helped people from other countries familiarize themselves with their new communities, and even showed them how to find places to pray, take evening classes, and eventually establish themselves and their families as new Bostonians. Looking back, it’s interesting to see the arguments that politicians and powerful people like Eliot made against open borders. Namely, there were prevalent sentiments against mixed marriages, as well as an overall xenophobic agenda to preserve what many believed was a critical “white identity.” Dillingham, a native of Vermont, used little to no discretion in campaigning to use both race and ethnicity as factors in determining who was allowed into the country. That’s his lasting legacy. As for Eliot: He is still recognized by Harvard as one of the university’s most pivotal historical figures, and there is no mention at all on the school’s website of his unsavory attitudes toward people from other countries. Today the school is attended by an impressive mix of students from all backgrounds, many of whom probably wonder why everything from a bust to a building still stand in his honor. This throwback was produced in collaboration with the Boston Institute for Nonprofit Journalism. For posts connecting old headlines with contemporary news stories, check out medium.com/binj-reports/tagged/throwbacks
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JUSTIN CLANCY AS HIMSELF MUSIC FEATURE
The budding North Shore artist confesses about sneaking out to break in BY CHRIS FARAONE @FARA1 I didn’t want to open up this article with an anecdote about Justin Clancy’s recovery. Though his decision to donate the proceeds from his show this coming Friday at Sonia—to the Right Turn addiction resource center— initially moved me to contact the increasingly viral MC and singer, the story that I wound up wanting to tell is about more than just how Clancy traded his former degenerate ways for more positive pastimes. To put it in his words: “I don’t consider myself to be the ‘Recovery Rapper.’” Still, I can’t resist starting off with a vignette about rehab that he shares in our chat. It speaks entire tomes to the young artist’s indomitable spirit. Less than two years ago, right around the time that he became old enough to legally buy beer, Clancy, now 22, found himself living in a Massachusetts halfway house, recovering from years spent bent on opiates. He was determined to stay clean, still on this one occasion he saw a worthy excuse—a mandate really—to violate his residential guidelines. “I remember breaking curfew and going out so that I could do shows,” Clancy recalls. “The first show I [did after getting clean was opening up] for Cassidy in Rhode Island, and I wasn’t even supposed to leave the state.” Also risking their own asses, the musician’s dedicated friends from recovery drove along with him. One of the women who came for the ride was wearing a governmentissued ankle bracelet, still they persevered. “If I got caught I could have been kicked out of my housing,” Clancy says, “but I was two months clean and it was the first time I ever performed sober.”
music I was making before I got in recovery wasn’t really me. A big piece of being in recovery is finding yourself, and a big piece of being an artist is being comfortable in your own skin. So I didn’t really start making music that represented my soul until about a year ago.” The turnaround stuck. Discovering unique and improved rhyme and melody chops in his bones, Clancy has since caught major wind on Facebook with the tracks “The Bottom Line” and “TV Dinner,” either of which could seemingly rock any pop chart, and may indeed land in commercial pastures soon from the exposure. Reinvigorated in his cleansed personal temple, he’s also retooled his performances. “Being on stage, especially with some of my recent success, and hearing the crowd sing the words that you wrote with your heart and soul, word for word, is probably the most liberating, exhilarating, beautiful thing that I’ve ever felt in my entire life—better than anything that I’ve ever felt,” he says. “That’s how I knew this was what I wanted to do [after I got clean].” It’s understandable why Clancy doesn’t want to be
pegged as a recovery rapper. As he says, “There is a very thin line between a cool story and a gimmick.” Nevertheless, there’s nothing gimmicky about his day gig working at a substance abuse treatment center, where he receives “anywhere from five to thirty phone calls a day from people looking for help.” Nor does Clancy appear to be trying to score pity points by sharing stories about clients who pass away, and those who can’t “get into treatment [and who] die while they’re waiting for a bed.” “I’m just out here doing my thing,” Clancy says. “Doors open, doors close. More often than not, when someone opens the door for me, things work. When I stopped doing the wrong things, all the right things started happening, but I really do try to keep helping people separate from my music.” As for this Friday at Sonia… “It’s not a benefit show,” Clancy stresses. “It just happens to be a show that I’m headlining, and I’m donating all of the money. All of the other artists on the bill thought it was a good idea too.”
*** Rewind the tape a decade, check the fuzzy YouTube clips, and you’ll discover a significantly different Clancy. “I lived in Saugus, I lived in Peabody, I lived in Lynn—I lived all over the North Shore—but I went to Peabody High School,” he says. “I didn’t really fit in with a lot of the other kids. A lot of kids are really into sports and the athletic teams, but growing up I was raised by my mother and my grandmother because my father was in prison. I didn’t really have much to do—my mother couldn’t teach me how to play sports and shit. So I had a lot of people who I thought represented masculinity, the quote-unquote tough guys who all of the parents hoped their kids would stay away from. I didn’t have much guidance.” He continues: “I liked writing poetry and acting in plays and stuff, but I couldn’t show any of it because I thought it was a sign of weakness. Instead I did a lot of fighting and running from police and doing drugs. By the time I was 19 years old I was a full-blown intravenous heroin addict, going in and out of detoxes, in and out of halfway houses, going to jail. I went to county for charges of breaking and entering, and a larceny, and a weapons charge. “I was still making some good music. It depends on what day you caught me, but I’ve been doing this for a really long time. I’ve been writing since I’m like 8 years old, I’m no stranger to this kind of thing, though I feel that the
When I stopped doing the wrong things, all the right things started happening
>> JUSTIN CLANCY W/ SUPERSTAR SNUK, TASHAWN TAYLOR, TIM NIHAN, AARON ODUM. FRI 8.11. 10 BROOKLINE ST., CAMBRIDGE. 8PM/18+/$12. MIDEASTOFFERS.COM 10
08.10.17 - 08.17.17
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DIGBOSTON.COM
NEWS TO US
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ARTS + ENTERTAINMENT
11
MASTERCHEF PHOTOS COURTESY OF FOX
LION CHEF TV SPECIAL
TV cook and MC Daniel Pontes-Macedo brings victory home to Boston INTERVIEW BY MIKE CRAWFORD AND THE YOUNG JURKS @MIKECANNBOSTON
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DIGBOSTON.COM
competition? His energy is definitely a driving force. If it wasn’t for him getting sick there’s a very good chance I wouldn’t be in this situation, so you have to make sure it’s not for naught. I didn’t want to be the first one to go home … especially as I had a pregnant fiancee at home … I left a lot, [it was not] the best time to leave, so I had a lot more [at risk], a real motive to make sure my time out there was for something. Is competing on this show nerve-racking? You’re in this larger-than-life studio competing with these larger-than-life chef personalities judging you, so yes, it is. Where do you hope to go with your cooking after the show ends? Cooking has always been something I’ve loved doing, it’s always been my stress relief, but I see a lot of my friends who are chefs, who come home tired, and the last thing they want to do is to cook [at home]. I don’t want to lose that outlet, so I don’t know if I want to work full time at it, run a restaurant. I would love to keep cooking, maybe just some private events, catering, hosting my own dinners, that sort of thing.
A lot of people, myself included, always kind of knew that Daniel Pontes-Macedo would land in the spotlight. It’s in his blood, and was only a matter of time. Or rhyme. Or even thyme, as you might say, since he has been showing off his culinary skills on season eight of the Fox competition show MasterChef. A Greater Boston native, Pontes-Macedo is the comparably charismatic younger brother of Victor PontesMacedo, who’s best known to music fans as MC Exposition, or sometimes Expo. The brilliant rhyming frontman for the great Boston act Audible Mainframe, Expo was an otherworldly performer, held in the absolute highest regard by his peers and rap veterans too. I can still remember the first time I saw Exposition, back in 2004, when I produced the Beantown Meltdown battle of the bands at the nowdefunct Good Time Emporium in Somerville. I thought his debut solo album, The Metro, was among the strongest of 100-plus submissions, but as it turned out he was already competing with Audible Mainframe. Some of my fellow organizers thought that the group had no chance of success among the venue’s hard rock regulars. But in the end, Audible won over everybody, besting 35 other acts over a span of three awesome sets to secure gold. Expo even moved some of the metalheads, many of whom ultimately wound up seeing and hearing what the rest of us sensed almost immediately—that there was something extra magical about the Mainframe. Having been fortunate enough to visit the band later in Allston during listening sessions for their next several albums, I thoroughly enjoyed building with Expo about life, the music industry, and especially politics and social movements. My girlfriend, Carmelita, who is the local programming director for WAAF, was also a fan and played Audible Mainframe on the weekly Bay State Rock show. So we were crushed, along with innumerable others, when Expo was taken by cancer in 2012. Prior to his passing, the band had moved to Los Angeles and was beginning to penetrate nationally when their signature voice was tragically silenced. I know that I am not the only one rooting for Expo’s brother Daniel on MasterChef. Even prior to his making the cut on the hit Gordon Ramsay show, he had begun to
build his own musical rep as the MC for the Metro, a band that he affectionately named for Victor’s early solo project. He may be cooking on TV rather than singing or rapping, but the family glow and resemblance is unmistakable. Just like Exposition handled stages, Daniel owns the cameras trained on his stovetop performances. Over the past several weeks, he’s also demonstrated the same kind of endurance that Audible brought to the Meltdown. With so much happening for Daniel, who is also a new father, I recently had him on my WEMF Radio show, The Young Jurks, to talk about everything from his brother, to his band, to his inspiration for cooking.
Do you ever drop lyrics and cook at the same time? Music lyrics are always going. Whether we’re saying them out loud or not, I definitely see a correlation between cooking and hip-hop, especially because on the show [it’s like], “Here’s a bunch of stuff, now go make something,” and in hip-hop it’s, “Here’s the music, now create a song out of it with lyrics. Here’s the raw material, now you have to turn it into something you can serve to people.” How do you regard The Metro all these years later? If you look at that album even today it’s very topical. It still makes sense, it speaks to the state of affairs … Things don’t really change. I’m in a band called the Metro, obviously in homage to Victor’s first album … I’m able to appreciate that I got 31 years with one of the most amazing dudes I’ve ever met and I was lucky enough to have him as my brother. Watch Daniel Pontes-Macedo compete on MasterChef on Wednesday nights at 8pm on Fox, and join him in person on Fri 9.18 at 7pm at Restaurante Cesaria (266 Bowdoin St., Dorchester) for a night of Cape Verdean food, conversation, and a special performance by the Metro. Tickets are $40 and include both dinner and music.
How did it feel to rep your brother when you emerged to advance on a recent episode of the show and declared, “Victory”? That was my main motivation going in there, that and seeing myself on national television … That was my drive, the reason I was there, the reason I got into cooking, my passion. When my brother got sick I quit my job and became his nurse. I cooked for him, so that’s when I saw what the difference was between mediocre food and what good food can do. The difference between him taking a couple of bites and him finishing the meal—it was the difference of him staying in bed all day or him getting up to go for a walk and doing something … so I really saw the power of food as fuel and medicine. MC EXPOSITION AND AUDIBLE MAINFRAME Do you think your brother is helping you advance in this
>> CHECK THIS ARTICLE ON DIGBOSTON.COM FOR A LINK TO THE FIRST DIGBOSTON ARTICLE ABOUT AUDIBLE MAINFRAME AND FOR INTERVIEWS WITH TWO OTHER MASTERCHEF SEASON 8 CONTESTANTS FROM GREATER BOSTON.
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HIDDEN EATS
WANG’S FAST FOOD, SOMERVILLE Chinese takeout at its best BY MARC HURWITZ @HIDDENBOSTON
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Late-night Chinese food and Chinese takeout in general can be a real guilty pleasure, especially for those who might be sobering up after endless bar-hopping, families or groups of friends who are looking for a greasy feast without breaking the bank, or perhaps any night owls out there who start to feel their stomachs grumbling around midnight. And while many of the area’s Chinese takeout places focus on items such as chicken fingers, steak teriyaki, crab rangoon, spare ribs, and fried rice that seem exactly the same from place to place, there are some spots that stand above the pack, offering high-quality items that aren’t quite as easy to find while also serving up the basics for those who don’t want any surprises. A little storefront in Somerville called Wang’s Fast Food is one such place, as even though this longtime Magoun Square eatery looks a lot like any of the countless Chinese-American takeout spots in the region, it features some interesting items, including one that could easily go up against those offered at some of the best Chinese restaurants in the Boston area. Magoun Square is becoming a pretty hot area of Somerville these days (but then again, nearly every part of the city is hot), with more and more mostly independent dining spots moving in along with other businesses. And Wang’s, which is about 20 years old now, is one of the older establishments in the area—and one that is on the westbound stretch of Broadway, which makes it easily overlooked, since much of the action is over on Medford Street. Squeezed between a pizza joint and a bar, the place looks like your typical Chinese takeout spot from the outside, though perhaps a little bigger than some, and the interior is indeed not quite as tiny as some of the true takeout places, having two separate rooms, each of which has a few tables for those who opt to dine in. A little counter window is set up by the entrance where those dining in or doing takeout place their orders, and for those who decide to grab a seat here, the space is actually rather pleasant: It is quiet and doesn’t have the harsh lighting that is so often found in such places, and the people who work there tend to be pretty laid-back and friendly. If you like piles of tasty Chinese-American fare, Wang’s has all the usual items, including the ones mentioned above, along with such classics as fried wontons, scallion pancakes, egg rolls, hot and sour soup, lo mein, kung pao chicken, chow mein, moo shi pork, egg foo young, and more. The menu doesn’t end there, however; a section featuring Northern Chinese foods has items that you will certainly not find at most corner takeout joints, with some of the options including jellyfish in garlic sauce, pork and pickle noodle soup, preserved egg with tofu, pork tripe with chili sauce, and what many people come to Wang’s for in the first place—its handmade dumplings. The dumplings here are often mentioned as being among the cream of the crop in the Greater Boston area, with the relatively thick skins stuffed with such items as pork and leek, chicken and Chinese cabbage, pork and fennel, spinach, pork and green beans, and shrimp and pork. A personal favorite among the dumplings—which can be boiled or pan-fried—is the pork and fennel, with the latter ingredient adding a slightly sweet, licorice-like flavor that complements the ground pork very nicely. The dumplings can be ordered as a 12-piece set that is cooked, or if you would rather take them home and cook them yourself, you can opt to get a 50-piece uncooked set. And as an aside, for those who think that a dumpling is a dumpling is a dumpling, note that one person who raves about the spinach dumplings at Wang’s is someone who you may have heard of before—celebrity chef Ming Tsai of Blue Dragon in Fort Point and the now-closed Blue Ginger in Wellesley (he is quoted on the front of their menu). Wang’s Fast Food is more proof that you can never judge a book by its cover; what looks to be just another Chinese-American spot where you run in and pick up bags of greasy comfort food is a whole lot more than just that. But what’s good about Wang’s is, if you have a group that wants the old-school stuff, you can get it here while those who want something quite a bit more impressive (and healthier, for the most part) have some terrific options at this place as well. >> WANG’S FAST FOOD. 509 BROADWAY, SOMERVILLE. WANGSFASTFOOD.COM
PHOTO BY MARC HURWITZ
8/10 The Selecter, Slam Kitchen, DJ Cabo Two-tone ska revival.
512 Mass. Ave. Central Sq. Cambridge, MA 617-576-6260 phoenixlandingbar.com
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WHEEL OF TUNES MUSIC
Providence punk latinx Downtown Boys talk Trump, Get Out, and the secret to being cool BY NINA CORCORAN @NINA_CORCORAN people standing next to you may not believe in your livelihood in the way that they believe in their own. There’s a lot of commentary on white feminism and us being not feminism on the record. It gets nuanced, but I see it as a continuum that we need to keep talking about.” To dig deeper into the band’s quest to eradicate injustice, we interviewed Victoria Ruiz for a round of Wheel of Tunes, a series where we ask bands questions inspired by their song titles. Needless to say, her answers were passionate no matter what the prompt was.
Punk is constantly revolutionizing itself, but in the last decade, there’s been an awareness in the scene that’s pushing everyone, musicians and listeners alike, to be better. It’s the genre for outliers and outcasts, for people who seek change while being victims of institutional inaction, for people fed up with the way the world works. Over in Providence, there’s a band that’s been leading the underground charge for change, and they don’t ever plan on stopping. Providence act Downtown Boys is a collection of Rhode Islanders who remind listeners what it’s like to question your role in a world that constantly ruins itself. Between saxophone wails and declarative screams, Downtown Boys make a point of encouraging everyone, including themselves, to fight the man. How they don’t run out of energy in doing so remains a mystery. “I think we’re fortunate to be in a band that has a message and people want to see,” says frontwoman Victoria Ruiz. “The fact that people come to shows regenerates my energy all of the time. Also, to know that there’s lots of organizations and people mobilizing, so the least we can do is use music to try to help support that work. Knowing there’s always people fighting of freedom and justice definitely rejuvenates that feeling to keep playing.” The band’s third full-length, Cost of Living, comes out this Friday via Don Giovanni Records. It’s full of searing takedowns of the Trump administration, annotated Hispanic struggles, and callouts of reigning power structures at large. When you add Guy Picciotto to the mix, the legendary member of Fugazi who worked behind the board, things only get all the more amplified. “We tried to speak a lot about the police, racism, and work—and what that means,” says Ruiz. “What is the true cost of living? It’s more than a monetary amount. There’s a toll on equality in our minds, and white fragility becomes an impediment in being able to fight back in solidarity because often the
you use?
1. “A Wall” If you could knock down Trump’s wall with any weapon, what would
I think I would use the written and oral history of Chicanx people, indigenous people, and black resistance and black power. So I would knock down Trump’s wall with the reading and writings of our ancestors that have aspired power to people over the years. 2. “I’m Enough (I Want More)” When did you first realize you are enough just the way you are? I think I realized it when my grandma came to a Downtown Boys show and liked it. She told her friends about it. That’s when I really realized it. Anything that you do as a woman of color is under such scrutiny. It has different standards and expectations than the exact same things that white people do. You’re taken less seriously. Being able to have the person you respect the most in the world see what you do as being important can help to keep all of the inequality from stunting you. You realize you may not be perfect, but you’re enough. 3. “Somos Chulas (No Somos Pendejas)” What’s the difference between being cool in a “stupid” way and being stupid in a “cool” way? Being cool in a “stupid” way is really short term. Instead of justice, you just want revenge. Instead of helping people,
you just want to call people out. I think being stupid in a “cool” way is not really caring what people think about you and realizing that what is valued and what is taken seriously will be relative to wherever you’re at. As long as you are being taken seriously by people you respect and can build with, then that’s okay. It’s about not giving in to any academy of what’s cool or uncool. 4. “Promissory Note” Have you ever written a promissory note on behalf of someone else? I actually have never written a promissory note, but when I was little, my mom, every paycheck she got, she would get a $20 savings note for me—even if it meant not being able to pay certain bills. She kept saying, “When you cash this in in the future, you’ll see why.” That was always interesting to me because I didn’t understand why we had all these colored promissory notes, watercolor notes, when we weren’t able to afford everything we needed in the moment. Then I heard this MLK quote during Beyonce and Kendrick Lamar’s performance last year. Their performance starts out with him saying, “We have a check, and it’s a promissory note, and it’s worth the balance of justice and the riches of freedom. And we’re going to cash it.” I was really taken aback. I’ve never written one, but I’m sure that in many ways we’re constantly writing them every time we do something that we believe in, especially for a future that we didn’t get to see in our own lifetime or in US American history. 5. “Because You” What’s the most ridiculous thing you’ve done because someone dared you to? I think being in Downtown Boys. It’s not a dare, but it’s been a five-year-long dare in a way [laughs]. 6. “Violent Complicity” What physically nonviolent act is technically very violent to be complicit in? I think white feminism and being part of a culture that calls things out, like helping to hate people and institutions but not actually doing anything to hold that accountable, are. Those are probably the most violently complicit things. CHECK OUT THIS INTERVIEW AT DIGBOSTON.COM FOR THE COMPLETE TRACK LIST
>> DOWNTOWN BOYS, WHAT CHEER? BRIGADE, ELIZABETH COLOUR WHEEL. SAT 8.12. ONCE SOMERVILLE, 156 HIGHLAND AVE., SOMERVILLE. 8PM/ALL AGES/$13. ONCESOMERVILLE.COM
MUSIC EVENTS THU 8.10
HODGEPODGE ROCK COMMUNITY COLLEGE + COPING SKILLS + STIPPLING + TEMPORARY EYESORE
[O’Brien’s Pub, 3 Harvard Ave., Allston. 8pm/21+/$8. obrienspubboston.com]
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THU 8.10
SAT 8.12
[ONCE Somerville, 156 Highland Ave., Somerville. 8pm/18+/$22. oncesomerville.com]
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SUN 8.13
GO HARD IN THE RIFF SLOTHRUST + TANCRED
[Great Scott, 1222 Comm. Ave., Allston. 9pm/18+/$13. greatscottboston.com]
TUE 8.15
TUE 8.15
[Middle East Upstairs, 472 Mass. Ave., Cambridge. 8pm/18+/$10. mideastoffers.com]
[Blue Hills Bank Pavilion, 290 Northern Ave., Boston. 7:30pm/all ages/$60. bostonpavilion.net]
POST-PUNK POP WITH CHERRY ON TOP FRENCH VANILLA + NICE GUYS + FUTURE PUNX + PINK SUDS
STILL BLEEDING JUST TO KNOW THEY’RE ALIVE GOO GOO DOLLS + PHILLIP PHILLIPS
BARRENCE WHITFIELD MUSIC
How an ex-Nuggets Records employee became the secret rock ’n’ roll hero Boston needed BY NINA CORCORAN @NINA_CORCORAN
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Walk around the city and it’s obvious Boston’s average age leans quite young. According to a census as recent as last year, 33.2 percent of the population is 25 to 44 years old. The next closest age range, 19 and under, comes in second place with 21.9 percent. It’s a city that draws younger people in each year, likely because of the universities and colleges— but it then floods other cultural stamps, like the city’s music scene. To be honest, it’s hard to find bands in Boston that veer older than those demographics. Even then, finding bands comprised of people in their late 30s or early 40s feels virtually impossible. The music scene favors Berklee grads and art school dropouts who are committed to pursuing their bands. But nestled within Boston’s music community is Barrence Whitfield, a legend all his own who will never market himself as such. After all, he’s not trying to make it to the big leagues. He just wants to sing the blues from the heyday of rock ’n’ roll. The 62-year-old vocalist sings a combination of American soul, R&B, and rock, the three of which combined in the 1980s for his band Barrence Whitfield & the Savages. At that time, he was working at famed record store Nuggets in Kenmore Square. Colleague and guitarist Peter Greenberg formed an instrumental rock band with bassist Phil Lenker and drummer Howie Ferguson. Once Whitfield began singing impromptu around the record store, they realized not only what a remarkable talent he had but what a crucial part his voice was to the band. Charged with a love of ’60s R&B and crunch blues punk, the band found their stride, and a sea of fans followed. Whitfield grew up in New Jersey where he sang in a gospel choir. While that explains the vocal range, it’s his time in a funk band that explains the bigger groove beneath his tone. After he enrolled in Boston University in 1977, he stuck around Boston to see what it had to offer him, and from then on he became a part of Boston’s music scene. He’s released a steady stream of albums over the years—13 records, to be exact—but they were marred by a few being issued in France and a 16-year gap between 1995’s Ritual of the Savages and 2011’s Savage Kings. His latest release, 2015’s Under the Savage Sky, landed on our Best Local Albums of 2015 list in DigBoston. His music bursts with liveliness that reaches back to his earliest days. And live, it feels even more rejuvenating. Best of all, Whitfield’s live shows tend to get wild. It’s not unexpected to see him pour champagne on himself or bust out some moves. We would tell you what else is possible, but it’s best to see it yourself at the Sinclair this Friday instead. Barrence Whitfield and the Messengers, his new group, will perform with their spirits high. It’s best to grab a glass, raise it in the air, and dance until your spirits get just as high as theirs, celebrating the work of a musician who broke out of one of Boston’s most famous record stores to start recording some records of his own.
>> BARRENCE WHITFIELD AND THE MESSENGERS, DENNIS BRENNAN BAND, JESSE DEE. FRI 8.11. THE SINCLAIR, 52 CHURCH ST., CAMBRIDGE. 8PM/18+/$16. SINCLAIRCAMBRIDGE.COM
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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:
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FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
17
PILOTS
THE NATURALS
a dark comedy series called “No Method,” and Michael Indeglio got cast as one of my actors. We ended up not being able to secure funding for the rest of the series, at least at that time, and Mike approached me and said, “You should write something for us.” So, I wrote a 10-minute play of Michael and Fallon cleaning out the basement of the family home after their father’s death—and that ultimately became the first scene of the pilot. We had to trim it down considerably though. These characters have been kicking around my head for years, in some form, so it’s thrilling to see them finally coming to life.
Startup Boston crime drama aims to kill without clichés BY DIG STAFF @DIGBOSTON
Where have you filmed and where will you be filming? Well, we’re an ultra low-budget production, so we film wherever we have access. So far, we’ve filmed in Melrose, Hingham, Somerville, and Medford. I would really like to expand our reach further for the rest of the first season. That’s definitely a goal.
CAITLIN GRAHAM AS FALLON ESPOSITO
We tend to avoid covering crowdfunding campaigns. There are just too many of them, plus we figure that those which are worthy will eventually cross our paths anyway. At the same time, we’ll confess to having a soft spot for locally produced television, from old school network gems like “Spenser: For Hire” to more recent grassroots independent projects like “Quiet Desperation.” So when Caitlin Graham, a Boston via Brooklyn filmmaker who’s working with a local cast, asked for help spreading the word about her new crime drama, “The Naturals,” we felt compelled to inquire further about how her team plans to portray the Hub on the small screen.
“The Naturals” takes the traditionally hypermasculine crime genre and turns it on its head, placing a queer female lead at its center and making her the driver of the action.
What’s your elevator pitch for the series? How do you explain to people what you’re doing with this project? The series is about the daughter of a Boston hitman who’s drawn into the family business after he dies. “The Naturals” takes the traditionally hypermasculine crime genre and turns it on its head, placing a queer female lead at its center and making her the driver of the action. Much of the
first season is going to be devoted to exploring how she navigates this world that she was born into but isn’t quite a natural part of. What’s your background and the background of your team? I grew up in Brooklyn, NY but went to college and grad school in Boston, so I really learned how to be an actor and a filmmaker here. My MFA is in Film, but the majority of the work I’ve done in film over the last 10 years has been as an actor. I actually met most of my crew for “The Naturals” on a local indie film I acted in last summer called “Sundown.” I sort of looked around and thought, “Wow, these people are all great. I should poach them!” We opened auditions to both Boston and NYC, but we ended up casting almost all Boston-based actors. The only exception is Michael Indeglio, for whom I had written the role of Michael. What’s the plot, who are the main characters? After being estranged from her parents (Paul Meredith and Lyralen Kaye) for years, Fallon Esposito (Caitlin Graham) returns home to mourn the death of her hitman father and, feeling the call of something deep and unnameable, decides to stay in Boston longer than she planned. As Fallon spends time with her father’s partner and former protégé (Charles Linshaw), she learns the grim details of how her father kept a roof over her family’s heads all those years— and begins to discover the killer inside herself, causing a rift between her and her brother (Michael Indeglio).
What are your goals for the series? Short-term? Longterm? Short-term, our goal is to secure enough funding to complete the first season! Long-term, I would love to gain enough of a following to be able to approach a digital platform like a Netflix or a Hulu or an Amazon Prime. I think that’s always the ultimate goal with a web series. I think the furthest it can go is either getting picked up by one of the platforms or even a network. But it’s a long road, and right now my main concern is making the show and making sure it’s good and represents the Boston indie community well. This is “Boston-based,” but doesn’t seem to pack in many of the old Boston crime drama clichés. Yes, and that was intentional. I love the crime genre and all its tropes, but I love playing with honoring some of those tropes and subverting others. As the season progresses and Fallon and Michael descend further into this world, we’ll have plenty of clichés—and Boston accents—and they’ll be coexisting with newer, unexpected elements and characters, sometimes peacefully and sometimes not. Are you going to be looking for actors and people to get involved? Yes, there will definitely be another round of casting for the rest of the first season in September. And we’ll likely be needing more crew as well. How can people best find out more about and support this? You can read more about the show and our team on our Seed & Spark campaign page, where we’re raising enough budget to fund the rest of the first season.
Where’d the inspiration for “The Naturals” come from? When I was still in New York, I wrote-directed-produced
FILM EVENTS FRI 8.11
‘A YEAR OF WOMEN IN CINEMA: ’80S COMEDY’ AT THE BRATTLE ALL WEEKEND DESPERATELY SEEKING SUSAN [1985]
[Brattle Theatre, 40 Brattle St., Harvard Sq., Camb 4:30 and 7pm/PG-13/$9-11. 35mm. brattlefilm.org]
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FRI 8.11
‘THE COMPLETE JEAN RENOIR’ CONTINUES AT THE HFA WITH THE HUMAN BEAST [1938]
[Harvard Film Archive, 24 Quincy St., Harvard Sq., Cambridge. 9:15pm/NR/$79. 35mm. hcl.harvard.edu/ hfa]
DIGBOSTON.COM
FRI 8.11
COOLIDGE AFTER MIDNIGHT PRESENTS NIGHTHAWKS [1981]
[Coolidge Corner Theatre, 290 Harvard St., Brookline. Midnight/R/$12.25. 35mm. coolidge.org]
SUN 8.13
MON 8.14
MON 8.14
[Harvard Film Archive, 24 Quincy St., Harvard Sq., Cambridge. 7pm/NR/$7-9. 35mm. hcl.harvard.edu/ hfa]
[Coolidge Corner Theatre, 290 Harvard St., Brookline. 7pm/NR/$12.25. 35mm. coolidge.org]
[Brattle Theatre, 40 Brattle St., Harvard Sq., Cambridge. 8pm/NR/$9-11. 35mm. brattlefilm.org]
THE HFA ALSO CONTINUES ITS LUBITSCH RETROSPECTIVE WITH THE MERRY WIDOW [1934]
RARE 35MM SCREENING OF WERNER HERZOG’S AGUIRRE, WRATH OF GOD [1972]
THE BRATTLE’S ‘ROBERT MITCHUM CENTENNIAL’ CONTINUES WITH NICHOLAS RAY’S THE LUSTY MEN [1952]
necann.com NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
19
ARTS
ADDICTED TO HER CHARMS The incomparable Rachel York stars in 42nd Street BY CHRISTOPHER EHLERS @_CHRISEHLERS
I still remember the first time I ever saw Rachel York on stage. It was the 1995 Broadway production of Victor/ Victoria with Julie Andrews, and York’s performance as Norma Cassidy persists as one of the greatest musical comedy performances in modern Broadway history. It’s no wonder, then, that York has been an almost constant presence on both the New York and national stages ever since. In addition to Broadway credits like City of Angels, The Scarlet Pimpernel, and Dirty Rotten Scoundrels, York has spent a lot of time on the road headlining big national tours of Kiss Me, Kate; Camelot; and—most recently—Anything Goes. Now, York returns to the Boston area for 42nd Street, her third appearance at Reagle Music Theatre. (Her last two turns at Reagle netted her IRNE Awards for both Into
the Woods and Hello, Dolly!) “You know what I love about it,” York said, “I love that they’re able to have big, huge production values. So many productions are scaled down because of budgets. Reagle is able to have these big productions, which is very exciting. There are many great things about it, and I love working with the people here. They’re such sweet, dedicated, talented people. It’s always a joy.” York plays Dorothy Brock, a temperamental past-her-prime diva that is cast in a new, big Broadway musical. The show is called Pretty Lady (and it’s being bankrolled by her sugar daddy), and Dorothy hopes that it will once again propel her to stardom. But on opening night, Dorothy falls and breaks her ankle. Her understudy, Peggy Sawyer, ultimately opens the show in her place and becomes an overnight sensation. 42nd Street, in all its cheesy, flashy glory, is the quintessential showbiz musical. “It reminds me of why I got into the business in the first place,” said York. “The glory of Broadway, sweating for your craft, and going through hell for your craft.” But, it turns out, despite being a Broadway star, York has more in common with
Peggy than Dorothy. When she was 17, York was cast in a dinner theater production of Kiss Me, Kate. It had been her first professional audition, and it became her first professional job. A few days before the show opened, the actress who played Kate fell ill. Being that there were no understudies and that York was the only one who could really sing the role, she was plucked from the ensemble and had only two days to learn the show. Still, I couldn’t help but ask York about what she had in common with her character, Dorothy Brock, half-hoping that it would result in some sort of stage door confession. “I’ve never been a prima donna,” York said. “I can honestly say that’s the opposite of my reputation in the business.
Dorothy has her reasons, and so I always try to find the reasons why she’s acting like this—and there are reasons. In her mind this may be one of her last chances to really make it big. She feels that she’s earned it and has been around the block. It’s a broken ankle that makes her realize what she’s doing. She’s always let her addiction to theater and stardom keep her from her own bliss. We’re all people in the theater, and so even the prima donnas have an underbelly.” Another big difference between York and Dorothy is their thirst for stardom. Aside from the fact that York is inarguably a Broadway diva and—also inarguably—one of the finest stage performers of her generation, it’s always been about the work for her. “When I started out in this business,” she said, “I never said to myself, ‘I want to be a star.’ I wanted to be an actor’s actor, and that’s kind of how it’s gone. I’ve stayed true to that goal. I didn’t want it to be about the ego. Studying to be an actress is really a study of human behavior; it’s a study of empathy. It’s not about the ego.” But for all of York’s humility, as we chatted I kept thinking to myself, “This woman should already have a Tony. I hope she knows that.” And so, of course, I had to ask her about the circumstances surrounding the infamous, nearly categorical snub of Victor/Victoria at the 1996 Tony Awards. In the months and weeks leading up to award season that year, the buzz around town was that Rachel York had the supporting actress Tony all sewn up. She was nominated for—and won—the Drama Desk Award that year, which is generally part of the momentum that catapults the top contenders right into the Tony race. But when the Tony nominations came out that year, Victor/ Victoria received only one nomination: for Julie Andrews. It was a snub heard round the world. (Thankfully, the show was recorded and is available on DVD, so York’s performance lives on.) “I worked very, very hard every night in that show,” York said. “There was a feeling. Everybody came to me and said, ‘You’re going to win the Tony for this.’ Almost every single night I heard that. It was a bit of a letdown. It was sad, and not just for me, but for so many people in the company. People who have seen it really enjoyed it. It’s remembered very fondly in Broadway history. But them’s the breaks. That’s the way it goes. You’ve got to move on.” Julie Andrews, just a Tony Award away from her EGOT, found the snub so egregious (her word) that she declined her nomination for Best Actress—an award that most agree she would have handily won. In a dramatic postcurtain speech to the audience, Andrews made headlines for this gutsy move. “It was really beautiful that she did that, actually,” said York. “She didn’t do it for herself; she did it for the company and for her love of the company. I thought it said a lot about her.” For the better part of an hour, York regaled me (or humored me) with candid and passionate anecdotes and sidebars. From talk of a recent lunch at Andrews’ home and being locked in Liza Minnelli’s dressing room to her hopes for a future for her Grey Gardens with Betty Buckley, it was basically a conversation that gay dreams are made of. All of which is to say this: Rachel York is as good as it gets, and she’s ours until Aug 13. Don’t miss 42nd Street.
>>42ND STREET. THROUGH 8.13 AT REAGLE MUSIC THEATRE, 617 LEXINGTON ST., WALTHAM. REAGLEMUSICTHEATRE.COM
ARTS EVENTS FINAL WEEKEND AMERICAN MOOR
[O.W.I. (Bureau of Theater), 527 Tremont St., Boston. Through 8.12. officeofwarinformation.com]
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DIGBOSTON.COM
HEARTWARMING MUSICAL FINDING NEVERLAND
[Boston Opera House, 539 Washington St., Boston. Through 8.20. boston.broadway.com]
MEL BROOKS’ YOUNG FRANKENSTEIN
[North Shore Music Theatre, 62 Dunham Rd., Beverly. Through 8.27. nsmt.org]
FREE OUTDOOR SHAKESPEARE JULIUS CAESAR
[Praxis Stage, various locations in Cambridge. Through 8.27. facebook.com/praxisstage]
VIBRANT & TIMELY EXHIBITION NARI WARD: SUN SPLASHED
[ICA Boston, 25 Harbor Shore Dr., Boston. Through 9.4. icaboston. org]
NEWS TO US
FEATURE
DEPT. OF COMMERCE
ARTS + ENTERTAINMENT
21
SAVAGE LOVE
COMMIT TO SOMETHING
WHAT'S FOR BREAKFAST BY PATT KELLEY WHATS4BREAKFAST.COM
BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET
My boyfriend of eight months, K, and I are polyamorous. We started the relationship on that foot, and for a while I was the partner he spent the most time with. There have been ups and downs, but overall our relationship is solid and loving. However, recently we both started dating the same woman, L, and they have been spending more time together than with me due to my work schedule. This is my first serious relationship, but not his (I’m 22, he’s 35). And while K has been super patient with me, my worry and grasping is a point of friction in the relationship. K has told me he doesn’t want to be solely responsible for my sexual satisfaction and my need for constant reassurances that he cares. The anxiety has been flaring up most strongly concerning sex—we’re all switches, and K and L are both professional Dominants. I love both my partners, but I’ve been feeling sexually neglected—and with a HIGH sex drive, it’s been quite painful. How can I find a way to create more opportunities for sexy-time and not ruin it with anxiety attacks? BDSM Enthusiastic Lover On Voyage4 Emotional Durability I’m always suspicious when two (or more) people claim to be deeply in love after dating for a short period of time, BELOVED, and eight months qualifies as a short period of time. Premature declarations of love—to say nothing of premature commitments—up the emotional stakes, which can place a strain on a newish relationship (or a trio of them) that it may not be strong enough to bear. Not yet. You’ll feel a lot less anxious about this relationship, BELOVED, if you make a conscious effort to lower the stakes. In other words: Dial it way back, girl. You’ve been dating K for a little more than half a year, and you’ve been dating L for whatever “recently” adds up to in a world where eight months equals LTR. It’ll reduce your anxiety levels and soothe your insecurities if you tell yourself you aren’t committed to K and L as life partners. Not yet. This is the beginning of both these relationships. All you’re committed to right now is continuing to get to know K and L. You’re committed to dating them, you’re committed to exploring where this might go, you’re committed to enjoying your time with them, however long it lasts. But you are not committed to them. Either of them. Not yet.
Listen to Dan on the Savage Lovecast every week at savagelovecast.com.
THE STRANGERER BY PAT FALCO ILLFALCO.COM
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DIGBOSTON.COM
OUR VALUED CUSTOMERS BY TIM CHAMBERLAIN OURVC.NET
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23
WITH PALAYE ROYALE, THE WHITE NOISE, CHASE ATLANTIC
THIS FRIDAY! AUGUST 11
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THU & FRI OCTOBER 26 & 27
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AND DON’T MISS . . . 8/10 Chris Webby | 8/16 Wage War | 8/19 Tyler Bryant | 8/24 Cult of Luna | 9/8 Doro | 9/9 Outland Camp | 9/16 Dark Tranquility | 9/27 Soil | 10/5 Fozzy Tickets available at the Palladium Box Office (12-4:30 Tuesday-Friday), FYE Music and Video Stores, online at Ticketfly.com or by calling 877-987-6487. massconcerts.com • thepalladium.net