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BOSTON’S MARATHON APOCALYPSE A HISTORY OF DOOM FILM

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HEADLINING THIS WEEK! Eddie Ifft Thurs-Sat

VOL 18 + ISSUE 15

APRIL 14, 2016 - APRIL 21, 2016 EDITORIAL

DEAR READER

EDITOR + PUBLISHER Jeff lawrence

This past Sunday, the Boston Globe published a spoof editorial page with the banner headline “DEPORTATIONS TO BEGIN.” The satirical gloss on a package called “A front page in Donald Trump’s America,” the bundle was accompanied by a serious op-ed about why Trump and rival Republican presidential front-runner Ted Cruz are awful for America. It’s not that we don’t get the joke or have a sense of humor; hell, the Dig has produced a number of faux-election covers over the past several years, and they’ve been hella funnier than anything the Globe has ever printed. Nor is our problem with the stunt cover that which many others are noting, which is that the Globe is too serious a publication to engage in such humor (we disagree). Rather, we take issue with the utterly trite approach and with editors’ thinking that a regional newspaper—damn, any newspaper—could do damage to the Donald by regurgitating tired cries of demagoguery (they used some form of the word three times in this particular screed). If there’s any impact, it’s that the (pay)wall between the Globe and the public just got 10 feet taller. With that said, if you feel the same way we do, then you sure are going to love Media Farm this week.

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Killswitch Engage comes home and gets ready to tear apart the New England Metal and Hardcore Festival. Read all about it on page 16.

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Dear Holiday Guest on Sitcom,

Boston’s Best Roasting Competition

I know, it’s a sitcom. It’s not supposed to be real, like how they have that ridiculously big apartment on Friends.

And how Doogie Howser is constantly getting laid on that other show. But you really need to stop showing up to holiday dinners with a giant turkey. For one, that’s just not the sort of thing you bring cooked. And for shows in which somebody brings one uncooked, well, clearly the writer had never cooked a turkey, because it takes fucking hours. How about you just leave the cooking and eating to us. Clearly we have some extra time on our hands.

Adam Ray Apr 28-30 The Heat, Spy, TBS’s Separation Anxiety

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NEWS US THE PITTS NEWS TO US

Western Mass city loses police records, DA keeps failure secret

BY ANDREW QUEMERE & MAYA SHAFFER On July 1, 2015, the Pittsfield Police Department suffered a hard drive failure that would ultimately destroy an unknown—because they have refused to tell us—amount of records and evidence. Seemingly no one outside of the department would have ever known about this if we hadn’t found out by random chance.

As far as we are able to tell, the department, and later the Berkshire District Attorney’s office, did not tell anyone when they discovered the evidence was lost. The district attorney’s failure to notify anyone is strange because, one would imagine, defense attorneys might want to know if potentially exculpatory evidence about their clients has gone missing.

We only learned about the hard drive crash after making a records request to the Pittsfield police following what seemed like a spectacularly stupid arrest. On June 25, officers Dale Eason and Jennifer Brueckmann were dispatched to respond to a person outside with a baseball bat. The ensuing events were, according to an internal email by Patrol Captain David Granger, “something that could tarnish the reputation of the department for years.”

Eason and Brueckmann were dispatched to the home of 88-year-old Phyllis Stankiewicz by mistake. The dispatcher gave them the wrong address which, of course, meant there wasn’t anyone outside with a bat or any kind of disturbance at all. According to Brueckmann’s report, the officers were even told by neighbors that there had not been any disturbance at Stankiewicz’s home. But the lack of any reason for their presence would not deter these two officers.

Depending on which of the reports you believe, Eason and Brueckmann either knocked on Stankiewicz’s door or yelled into her home through her open door. Either way, a knife-bearing Stankiewicz responded, told the police there was no crime at her home, and told them to leave.

But the officers ignored her request.

In her report, Brueckmann described a terrifying scene as Stankiewicz, who was older than the Great Depression, approached her: “The knife was at waist level, sticking forward toward my stomach. It is a pairing knife with a black handle … She continued at me and was just about sticking it in to my stomach.” Or, in Eason’s version, which will never make it to the silver screen: “[T]he defendant, Phyllis Stankiewicz, came to the door with a knife in her 4

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hands … Officer Brueckmann immediately removed the knife from Ms. Stankiewicz’s hand.” Neither report mentions that the knife was the size of a pen, with a blade about as long as a pencap.

Having taken Stankiewicz’s tiny kitchen knife, the officers imprisoned her in her home for reasons they failed to specify in their reports. They blocked her as she tried to leave and got into a shoving match with the elderly woman, warning her not to touch them. Finally, Stankiewicz slapped Eason in the face. According to Eason’s report, he and Brueckmann then tried to arrest Stankiewicz, but she “resisted and had to be placed on the ground.” After taking Stankiewicz back to the station, the police photographed an abrasion on her right arm.

On June 29, we made a records request for the arrest reports, booking video of Stankiewicz, police ID card photos of Eason and Brueckmann, and all correspondence related to the arrest. Two days later, according to internal emails, investigator John Bassi said he began to have “issues” with playing back the department’s booking videos while trying to make copies for the DA’s office. On July 9, the department replaced the hard drive the videos were stored on after it failed completely. The next day, the Pittsfield police turned over the arrest reports and email correspondence and offered to produce the nownonexistent video for a fee of $25. We sent them a check in late July.

The emails they turned over show that after fretting about the damage to the department’s reputation and asking if they should drop the charges, Captain Granger told Chief Michael Wynn that no one else in the department would have behaved as stupidly as Eason and Brueckmann: “I believe if we sent any other combination of officers from this department to the call it would NOT have ended in an arrest.”

Meanwhile, the department never cashed our check.

(They also never told us or offered to return our money.)

When the records hadn’t shown up by mid-September, we tried to contact the department by email, but they didn’t respond. We then left several voicemails. After a week of attempts, and after we released videos shaming the department for not picking up its phone and for trying to charge an unlawful $5 fee to process records requests, they turned over Eason and Brueckmann’s photos and

the department’s use of force policy, but not the booking video. Captain John Mullin explained that the video was “not available due to a hard drive crash,” and said the department would return our check.

Our first instinct was disbelief. We thought the department was so afraid of having its reputation “tarnished” (to quote Granger) that it deleted the video. We figured that if the department had actually lost evidence, the revelation would have made the local news. We put in a tongue-in-cheek request for all the records related to the hard drive failure and tried to interview Mullin and Berkshire District Attorney David Capeless, whose cases would have been affected by the lost evidence. We thought this would embarrass Mullin into admitting that the only thing lost was the video. We were wrong.

Mullin would not answer any questions about the crash or who was notified. When we contacted the DA’s office, spokesman Fred Lantz also refused to tell us if the DA had been informed. Soon, the Pittsfield police turned over several emails showing there had indeed been a hard drive failure, but that the department had no record of notifying any outside parties. In one email, William King, a police investigator, said that he intended to tell the DA’s office about the crash, but there are no records of him doing this.

As far as we can tell, we were the first people outside of the department to learn of the hard drive crash, which means our phone call to Lantz was the first time the DA’s office was told that potential evidence had been destroyed; if the DA’s office was notified earlier, there is no record of it. The loss of potential evidence ought to have been revealed to any defense attorney whose client was affected (or potentially affected), but since the DA’s office didn’t know, the notifications were not made.

We made a follow-up request to the DA’s office in December, and found that the only correspondence it had related to the hard drive failure was email between county attorneys and the Pittsfield police (in which they exclusively addressed our records request). The emails showed that DA Capeless was made personally aware of the hard drive crash as early as September.

We asked Secretary of the Commonwealth William Galvin’s office, which oversees the public records law, for any records of the Pittsfield police notifying them of the lost evidence. There were none. We asked Galvin’s office three simple follow-up questions: (1) What is an agency that loses records supposed to do? (2) What are the consequences for an agency that fails to maintain its records and/or fails to notify anyone about the loss/destruction of records? And (3) what actions are Galvin’s office taking with regards to Pittsfield’s hard drive crash? Instead of answering our questions, Galvin’s office replied, “Our office has spoken with the Pittsfield Police and we intend to discuss this issue with them to determine what happened.”

The records we’ve received so far do not show the full extent of what the Pittsfield police lost or how many cases were affected, but they do make it clear that both the department and DA’s office failed to notify anyone, potentially jeopardizing the right to a fair trial for an unknown number of people. Because neither agency will talk with us, we reached out to Attorney General Maura Healey’s office to ask what it would do about the issue.

The AGO did not respond either.

CHECK DIGBOSTON.COM TO FOLLOW ANDREW AND MAYA’S ENSUING TANGLE WITH THE PITTSFIELD POLICE AND BERKSHIRE DA “Broken Records” is a biweekly column produced in partnership between the Boston Institute for Nonprofit Journalism, DigBoston, and the Bay State Examiner. Follow BINJ on Twitter @BINJreports for upcoming installments of Maya and Andrew’s ongoing reporting on public information.

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APPARENT HORIZON

LIMITED DEBATE

Boston conference to discuss socialism as corporate news media blocks needed dialogue

There was an interesting exchange last week between Sen. Bernie Sanders and General Electric CEO Jeffrey Immelt. In an interview with the editors of the Daily News, when asked for “a sense of corporate America, as the agent of American destruction,” Sanders said, “General Electric, good example. General Electric was created in this country by American workers and American consumers. What we have seen over the many years is shutting down of many major plants in this country. Sending jobs to low-wage countries. And General Electric, doing a very good job avoiding the taxes. In fact, in a given year, they pay nothing in taxes.

That’s greed. That is greed and that’s selfishness. That is lack of respect for the people of this country.”

Immelt fired back a couple of days later in the Washington Post, “GE has been in business for 124 years, and we’ve never been a big hit with socialists. We create wealth and jobs, instead of just calling for them in speeches.”

Now the reason that Immelt can get away with that kind of nonsensical reply is that socialists like me haven’t been allowed to regularly participate in political debates in the mainstream news media for many decades. Perhaps that isn’t a shock given that the news outlets in question are ideologically capitalist.

But American journalists—including the editors that run the outlets—pride themselves on being fair and accurate. Sadly, they are rarely fair or accurate when it comes to talking about socialism.

Hence, Immelt can say “we create wealth and jobs.” And there might be some opposition in the big press about his trying to paper over GE’s terrible track record with PR platitudes. But no one will challenge his core idea that GE leadership creates wealth and jobs. Because it is a capitalist position to say that managers and investors create wealth and the jobs that flow from it. Socialists, for our part, argue that labor creates wealth. Regular people working day in and day out build the wealth of a society. And they have every right to expect a fair share of that wealth. And more to the point, every right to expect democratic control over their workplace. As well as democratic control of the political system.

That democratic control of political and economic life, in a nutshell, is socialism.

The Sanders campaign has created a big opening for publicly discussing the merits of socialism in the US. But the major American press—owned, like the Boston Globe, by the very billionaires who control GE and other multinational corporations, and run by editors who believe that capitalism is the best possible economic system—is refusing to facilitate that very necessary discussion. In a country where nearly half of our children now live near the poverty line.

Last fall, I issued a challenge to the Globe to sponsor a discussion of Sanders’ statement on his definition of democratic socialism. I encouraged them to include area socialist thinkers—and there are many—in any such discussion.

Unsurprisingly, Globe editors failed to do so. Other major news outlets aren’t exactly lining up to host such discussions either. Even as more and more Americans are calling themselves socialists, while the Sanders campaign shows every sign of powering through to the convention.

So, for the moment, Boston area readers who would like to find out what actual socialists have to say about socialism before the presidential election drama concludes should register for the Boston Socialist Unity Project (BSUP) conference on April 30 at Old South Church in Copley Square. The event is being organized by a coalition of socialist organizations. The best known speaker is Vijay Prashad, prolific author and international studies professor at Trinity College in Hartford, Conn, who will address the opening plenary on “Socialism in the 21st Century.” Workshops will range across a number of timely topics— including the “ABCs of Socialism.” With registration at $10 per person (in advance or at the door), it’s a great educational opportunity for the price of a typical lunch.

Check it out. Engage with socialist ideas directly than relying on the straw man version of them set up by the capitalist news media. Then join me in thinking about how we can build a more democratic news media.

Apparent Horizon is syndicated by the Boston Institute for Nonprofit Journalism. Jason Pramas is BINJ’s network director.

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COPYRIGHT 2016 JASON PRAMAS. LICENSED FOR USE BY THE BOSTON INSTITUTE FOR NONPROFIT JOURNALISM AND MEDIA OUTLETS IN ITS NETWORK.

BY JASON PRAMAS @JASONPRAMAS

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As deeply disturbing as it is profoundly un-American

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It is easy to find historical antecedents. The rise of neoliberal newsmen is an all too common phenomenon in our small city. And what marks each of those dark episodes is a failure to fathom where an outlet’s vision leads, to carry rhetoric to its logical conclusion. This satirical interpolation of the Boston Globe’s seismically lame anti-Trump op-ed on Sunday attempts to do just that, to envision what Boston looks like with the Globe spinning rightward.

It is an exercise in taking reporters at their word. And their vision of Boston promises to be as appalling in real life as it is in black and white on the page.

It is a vision that demands an active and engaged opposition. It requires an opposition as focused on denying General Electric the Fort Point Channel as City Hall is flippant and reckless about giving it to them.

That’s not a pretty picture. But then nothing about the billionaire real estate developer’s quest for total Boston dominance has been pretty. They wink and nod at opulence. They shut out an entire class on the sole basis of their paywall.

The toxic mix of violent intimidation, hostility to criticism, and explicit scapegoating of minorities shows a political movement is taking hold in the Hub. If Donald Trump were a politician running such a campaign in a foreign country right now, the Globe would probably be backing him.

Realizing that the paper faces a double bind, a few editors have been clear-eyed enough to see the need for a plausible, honorable alternative that could emerge from the likely contested convention.

Names like STAT and Crux have come up.

If no property gets any traction, a future might not be theoretically possible.

This would have no modern precedent: Ordinarily, newspapers put aside their differences after primaries and report news about all candidates equally because they share basic common goals and values. In any other election cycle, anti-Trump Massachusetts liberals would just look like sore losers. But the Globe lacks those common values—not just the values of progressives but, it becomes clearer every day, those of every decent thinking human being.

At some point, after the election, Globies will also need to ask themselves some tough questions about how their actions and inactions made Boston vulnerable. Chasing short-term gains, the Globe and other passive pro-business clearinghouses missed a lot of chances to fight the hateful currents that now threaten to overwhelm America.

Journalism doesn’t mean chicanery or subterfuge. It doesn’t mean settling for an equally extreme — and perhaps more dangerous — tactic such as satire.

Boston deserves to be hoisted by an honorable and decent newspaper, like DigBoston. It is better to lose with principle than to squeal about a demagogue.

In any other election cycle, anti-Trump Massachusetts liberals would just look like sore losers.

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BOSTON’S MARATHON APOCALYPSE

FEATURE

In hashing out what happened on that dark day three years ago, it’s important to consider the Bay State’s history as an apocalyptic ground zero

BY CHIP BERLET There is no shining beacon on the hill in Boston.

There is a shiny gold dome capping the Massachusetts State House just a short walk down to the site of the Boston Marathon bombing.

When the Tsarnaev brothers were announced as suspects in the 2013 attack, the search began for a motive. Most reporters missed the clues indicating the Tsarnaev brothers had been swept up in an apocalyptic mission based on a marginal and much-disputed Islamic prophecy about apocalyptic End Times and the proper role for religious heroes. That this was an actual belief system for a relatively small group of Muslim militants became more apparent when we saw black flags being carried in the Mideast by ISIS terrorists as they swept through Syria.

Some terrorism experts debated whether or not the ISIS “Khorasan Group” is part of the al Qaeda network. They are missing the big picture. They don’t understand that we are witnessing the emergence of an apocalyptic Islamic army drawing devout young men like a magnet to the Middle East, just like the Crusades drew young Christian men toward Jerusalem.

In both cases the mission is to reclaim Jerusalem from the “infidels.” ISIS is not just a terrorist splinter group; it’s part of a global apocalyptic religious movement.

There is no social science evidence, however, that religious people who take prophecies seriously are any more or less stupid or crazy than their neighbors who do not. The motivations and actions of people in apocalyptic movements make sense to them according to an internal script based on a particular reading of apocalyptic prophecy in sacred text.

Apocalypticism, then, is the belief in an approaching momentous confrontation between good and evil during which hidden truths will be revealed and society will be dramatically altered. For some it means the arrival of a godly messenger—the Messiah—who ushers in the end of time itself and the beginning of heaven on earth.

Apocalypticism is an American tradition. Donald Trump and Ted Cruz use apocalyptic warnings about immoral and evil people threatening the existence of the United States. President Ronald Reagan routinely used apocalyptic language to appeal to conservative Christian evangelicals, many of whom ponder whether we are living in the End Times. Reagan was doing this when he spoke of the “shining city on the hill.” This was a misquote.

The original quote is by Puritan minister John Winthrop, who helped found the Massachusetts Bay Colony. Winthrop spoke of a city on a hill. Boston at the time was part of a religious theocracy that executed alleged witches and political dissidents. Punishing the wicked through purifying violence was part of preparing the way for the apocalyptic return of Jesus Christ to the New Jerusalem: Boston.

Winthrop was paraphrasing a quote from the Bible: “a city upon a hill,” a phrase from Matthew 5:14 in the parable of “Salt and Light,” taken from the Sermon on the Mount by Jesus of Nazareth.

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In Islamic sacred belief, Jesus of Nazareth is a prophet who helps prepare the way for the Mahdi, an End Times messiah. Terrorists in al Qaeda believe the Mahdi will establish a global Islamic Caliphate after the heroic warriors of Islam carrying the Black Flags of Khorasan recapture Jerusalem. A video on the Black Flags of Khorasan was posted on Tamerlan Tsarnaev’s YouTube page. Now we see the black flags raised in an attempt to rebuild the Muslim Caliphate and take control of the Mideast as the first step for a totalitarian form of Muslim fundamentalism to rule the world and pave the path for the fulfillment of sacred prophecy and the end of time itself.

The Tsarnaev brothers apparently saw themselves as heroes taking part in this apocalyptic mission by striking a blow at the blasphemous claim that Boston is the cradle of liberty in a land blessed by God. The vast majority of devout Muslims find this interpretation of sacred text to be appalling.

SCENES FROM HELL

The scenes are of a horrific apocalypse with smoke and screams and sirens and blood. Some people are running toward the victims of the first blast when a second concussion explodes—shattering windows and lives and families forever. We all watch the television coverage with the same feeling of dread and helplessness that we recall from the terror attacks of Sept 11, 2001. Some of the terrorists from that attack flew out of Logan Airport. Could these attacks be related? Or is this the work of domestic right-wing fanatics such as the bombing of the Oklahoma City federal building on April 19, 1995? That attack was launched on the date of the battles in Lexington and Concord between British soldiers and the revolutionary armed resistance we now applaud on Patriots’ Day. If history had turned out in favor of the British forces, the Minutemen would be dismissed today as a rabble of terrorists.

In Colorado for a conference, I immediately begin trading emails with other researchers who study terrorism and political violence. Is the Boston Marathon bombing the work of domestic rightwing fanatics or militant Islamic zealots? Fielding calls and emails from reporters, I choose to provide only background suggestions and ask not to be quoted. It could be either sector or some other set of perpetrators. Jessica Stern, an internationally famous terrorism expert based at Harvard, lays out the arguments in an excellent essay in Time magazine looking at the motives of groups related to al Qaeda versus domestic right-wing anti-government groups.

I am staying with friends in Denver who return home the day after the bombing to find me sitting at their kitchen table scribbling on a chart. One box is empty. I cannot figure out how domestic terrorists could explain to their followers and potential recruits why they bombed a sporting event in Boston, the iconic cradle of liberty in their worldview. This is the city of the Boston Tea Party, Paul Revere, and the “Shot

Heard ’Round the World.” They call themselves Patriots because they imagine they are challenging a federal government as abusive as the British overlords in 1775. Patriots’ Day and organized sports are practically sacraments in their milieu. “I think it is probably connected to Islamic insurgents,” I tell my friends. I then send out an email to several private discussion lists warning of a possible Islamophobic backlash.

Ironically, I had just spent a week at the Conference on World Affairs in Boulder where I sat on a panel discussing the relationship between apocalyptic demonization and violence. When the suspects are identified, the Facebook page of Tamerlan Tsarnaev is scanned for clues, and what strikes me is the apocalyptic prophecy of the Black Flags of Khorasan, the rallying cry for ISIS and a narrative that might provide a motive for the bombers in Boston.

MISSING THE CLUES

Right after the Tsarnaev brothers were identified as suspects, Mother Jones’ Adam Serwer interviewed Aaron Zelin, a fellow at the hawkish Washington Institute for Near East Policy. Zelin said the video “is essentially an end-time prophecy” and is “definitely important in Al-Qaeda’s ideology.” Over the next few weeks, a number of journalists reported more details about the apocalyptic prophecy.

For example, the Boston Globe ran an op-ed by Simon Saradzhyan, a research fellow at Harvard’s Belfer Center, who urged a different take. Saradzhyan wrote that Tamerlan had a YouTube account that showed an “affinity for militant interpretations of Islam and support for violent jihadists.” In addition, when young people embrace a doctrinaire form of a religious theology (or any ideology), they sometimes develop a hard-line and combative approach.

Fanatical forms of apocalyptic belief, however, are an important strain of thought shared by a small percentage of violence-prone religious fanatics in Judaism, Christianity, and Islam. Apocalyptic beliefs by practitioners of these three related Abrahamic religions take many forms—from passive to defensive to aggressive.

Researcher Mustafa E. Gurbuz suggests media should use more complex analyses of “human behavior and especially terrorism, which needs to be understood from a sociological eye.” Gurbuz warns that when journalists carelessly emphasize a terrorist’s “increasing devoutness to Islam,” it is “counterproductive” and endangers “a billion Muslims at large, who are peacefully living all around the globe.” It needs to be emphasized that Gurbuz has a good point, and these apocalyptic and aggressive views are marginal within global Muslim populations, contrary to the assertions of high-profile media pundits who are bigots.

APOCALYPSE continued on pg. 12

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11

APOCALYPSE continued from pg. 10 Scholars studying social movements look at religions using a large set of analytical tools that tease out how sacred text is read, the official doctrines as well as the common practices of members, the degree of fundamentalism and its relationship to gender roles, and many other aspects. They also study how spiritual belief addresses the arc of history and what happens when prophecies are fulfilled. This latter is the study of apocalypticism, which includes struggles between good and evil and the possible end of time itself and the presence of God on Earth.

These sorts of apocalyptic beliefs are present in Judaism, Christianity, and Islam, and the percentage of religiously faithful who believe them or act based on them varies greatly. Those in any faith who take apocalyptic visions and use them to justify violence are only a fraction of the devout in that spiritual tradition. It’s not the religion, but the combination of apocalypticism, anger, and aggression—whether the justification is religious, political, or incomprehensible.

Harvard professor Jessica Stern interviewed scores of terrorists for her book Terror in the Name of God: Why Religious Militants Kill. Stern sees individual psychological factors as playing an important role. Yet she suggests that there is generally “a complex mix of psychological, ideological and sociological factors.” The single most common factor among the terrorists she studied is a sense of humiliation from some external force for which retaliation was an act of honor. This especially appeals to young men.

On the Social Movement Study Network (SMSN) website, professor Cynthia Burack of Ohio State University agrees and says terrorist attacks have “political, sociological, demographic and psychological coordinates, combinations of which contribute to the destructive outbursts.”

In 2012, professor Roger Griffin sketched out how apocalyptic aggression is behind much “religious terrorism” and singled out “Chechen terrorists as modern Zealots.” These two points were chapters in Griffin’s book Terrorist’s Creed: Fanatical Violence and the Human Need for Meaning. The Tsarnaev family is ethnically Chechen and has relatives in the Russian Republic of Dagestan, which Islamic militants want to merge with Chechnya into an Islamic republic.

Griffin, a recognized authority on neofascism and right-wing ideology, bemoans the fact that US and British journalists routinely miss obvious clues related to apocalyptic belief and violence. Griffin’s book explores the psychological imperatives of constructing a new heroic identity by the alienated terrorist, but situates that in the context of the sociological and ideological framework in which an apocalyptic timetable makes sense.

Griffin writes about Anders Behring Breivik, a Christian religious fanatic who carried out the 2011 Norway terrorist attacks. Breivik is described as having “a sociopathic mindset replete with elements of conspiracy

theory, megalomania, narcissism, apocalypticism and the urge to commit violence,” adding that this “nexus of traits” leads terrorists to “a total incapacity to feel compassion for the intended victims.”

RECOVERING FROM DUBIOUS NEWS COVERAGE

A month after the marathon bombing, the unified response in the Boston area was the slogan “Boston Strong,” visible on items from handmade signs and professional banners to any kind of merchandise imaginable.

In the hours following the attack, the corporate media engaged in outlandish rumor-mongering, some claiming the perpetrators were domestic right-wing militants.

Talking heads free-associated jingoistic gibberish with their “experts.”

When CNN wrongly identified pressure cooker bombs as a “signature of right-wing individuals,” rightwingers justifiably rebelled.

When the suspects’ photos were released, the mass media discussed how they “looked white.”

When they were identified as Muslim immigrants, institutionalized and organized white racism swirled in a toxic stream through digital channels.

Islamophobic websites were perplexed there were Muslims who looked “white.”

The Tsarnaev family’s ethnic background is from the Caucus Mountains. Chechnya is in the north with Iran and Afghanistan in the south. The Boston Marathon bombers were literally Caucasians.

Some of us who study domestic right-wing groups have been tallying the number of attacks and deaths linked to Muslims compared to our domestic racists. Terror and deaths caused by non-Muslim perpetrators in the US eclipses those by Muslims 10-1.

The attacks escalated after 9/11 and the election of President Barack Obama—as did Islamophobic attacks.

Politicians, government functionaries, and rightwing Islamophobes have decided the problem is not enough government surveillance and information sharing. This ignores the fact that pre-blast reports on the Tsarnaevs were available (but buried) in the mountain of digital garbage overwhelming the local surveillance apparatus. In New Jersey, news of a white man who was arrested for carrying explosives on a train a week before the Boston bombing barely caused a ripple in the news cycle.

Meanwhile, the corporate media largely explained the dynamics of terrorism using outdated social science about psychological dysfunction or by claiming Islam was a religion of terrorism—not unlike some leading Republican candidates for president. Mostly ignored were studies showing that many young terrorists emerge from alienation by rebuilding shattered identities to become heroes avenging the humiliation of a nation, culture, or religion.

Only a tiny fraction of Muslims become terrorists.

They don’t hate our freedoms. They hate our soldiers.

(JOHN) WINTHROP SPOKE OF A CITY ON A HILL. BOSTON AT THE TIME WAS PART OF A RELIGIOUS THEOCRACY THAT EXECUTED ALLEGED WITCHES AND POLITICAL DISSIDENTS. PUNISHING THE WICKED THROUGH PURIFYING VIOLENCE WAS PART OF PREPARING THE WAY FOR THE APOCALYPTIC RETURN OF JESUS CHRIST TO THE NEW JERUSALEM: BOSTON. 12

4.14.16 - 4.21.16

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DIGBOSTON.COM

They hate invaders. Russian brutality in Chechnya blew back to Boston via US wars in the Middle East. How we remember and treat our adversaries and enemies tells a lot about us as a nation.

In Burlington, Massachusetts, where I live, I still slip donations into jars on checkout counters for MIT security officer Sean Collier, a 2004 graduate of Wilmington High School. Our towns share a common border and the historic Ipswich River, as well as an athletic tradition as football rivals. The Ipswich flows to the sea where in the late 1600s persons suspected of being witches and agents of Satan were chased down and in some cases executed.

Searching for satanic subversion is part of the right-wing narrative for the current Presidential race. Listen to AM Talk Radio, Fox News, and deranged pundits such as Glenn Beck, and you will hear liberals, Democrats, and socialists described as being part of a global apocalyptic plot to install a New World Order under totalitarian collectivist rule. Single-payer health care is the devil’s plaything. Taxing the rich will bring Hell to earth.

REFLECTIONS FROM CONCORD BRIDGE

One month after the Boston Marathon bombings, I take my colleague and friend Andrew Bashi on an alternative tour of the Revolutionary War’s opening battle at Lexington, the town that borders Burlington on the west. During the drive I learn of Andrew’s heritage tracing back to Iraq and the Chaldean religious community, one of the oldest Christian civilizations in history. He was raised in Detroit, and people often wonder if he is Muslim.

Prior to visiting Concord’s North Bridge, Andrew and I attended a fundraising event a few blocks from the Boston blast site. It was for the Defending Dissent Foundation, with which we both volunteer. We met in the hearth of colonial liberty at a time of increasing government spying, use of informers, entrapment of Muslims, and targeting of animal rights and other progressive activists.

Andrew snapped a picture of the grave site of the British soldiers killed in the battle at Concord. Back then we buried enemy dead as was the civilized practice of the day.

At that same moment, outraged demonstrators were demanding the corpse of Marathon bombing suspect Tamerlan Tsarnaev not be buried in Massachusetts.

Tamerlan’s body was spirited to Virginia. The burial in a private Muslim cemetery was not secret for long.

The Islamophobic Virginia-based Anti-Shariah Task Force began a campaign to dig up Tamerlan’s corpse and banish it from the state. The group’s chairman told the Associated Press that Tamerlan’s burial was “an awful sneak attack on the people of Virginia,” and predicted the site would become a shrine for Islamic Jihadists.

Viewing the mass grave, Andrew and I both felt ashamed to live in a country in which the requisite qualifications for being called civilized are slowly, relentlessly, being scraped away by militarism, repression, and bigotry. We read a poem that is carved into a headstone at North Bridge, in an area with the corpses of British soldiers buried on April 19, 1775. It was put there by men who fought for our nation’s liberty from oppression; the first two lines are, “They came three thousand miles and died. To keep the past upon its throne.”

This article was produced by the Boston Institute for Nonprofit Journalism. For more info on this and other projects, visit medium.com/@binj and follow on Twitter @BINJreports. Chip Berlet sits on the BINJ advisory board and is an alt media veteran and expert on apocalypticism who has served in investigative roles from High Times to the Defending Dissent Foundation.

His forthcoming book is titled Boston’s Marathon Apocalypse: Fanaticism, Murder & the Shining Beacon on the Hill.

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Chianti Wine Braised Beef Roulades Stuffed With Prosciutto Ham, Fontina, Rosemary Potatoes, Sautéed Broccoli Rabe

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

13

ARTS ENTERTAINMENT

3D PRINTED ANTHOZOA CAPE AND SKIRT DESIGNED BY NERI OXMAN AND IRIS VAN HERPEN. #TEXTSTYLE.

14

THU 4.14

FRI 4.15

SAT 4.16

SUN 4.17

MON 4.18

TUE 4.19

#textstyle @ MFA

18th Annual Boston Beer Summit @ Castle at Park Plaza

Titletown @ The Middle East

DTCV @ O’Briens Pub

Boston Marathon @ Finish Line

Ribeye @ Grill 23 & Bar

Wearable technology is not new. It’s been around for some time now. Be it a watch or piece of jewelry, the examples that come to mind are obvious.

What isn’t so clear is how technology has been advancing fashion as a whole—specifically how technology is creating wearable fashion and we’re starting to interact with what we wear in a way that was unthinkable just a decade earlier. Running through July 10, the exhibit #textstyle taps into this collective idea that 3D printable dresses and interactive fabrics are the future of fashion—today.

Located in the Henry and Lois Foster Gallery, this is a must-see show.

We could probably lure you to this year’s Beer Summit festivities with the names of some of the breweries alone: Clown Shoes Beer, Grey Sail, Dingle Brewing, Fort Hill, Peak Organic, Brooklyn Brewery, Humboldt, Lagunitas, Hofbrau, Dinkel Acker, and a bunch of German ones we can’t pronounce, just for starters. But you should really come to this mass tasting, which is expecting more than 2,000 revelers, for the community aspect—despite a lot of drunken heads and a whole lot of suds, the Beer Summit is historically a chill place to hang and to get nice and whacked and educated all at once.

Every so often, a music promoter sets out to do something ambitious, driven by a need to elevate a scene and tap into the collective buzz around it.

In the case of Titletown, the idea is to become part of the championship mentality that surrounds us, be it sports teams, restaurants, or simply art.

From the looks of it, it’s one hell of start. Friday night is all but sold out and Saturday night looks headed in that direction as well with the 20th anniversary show for Big D and the Kids Table, as well as Counterpunch, the Doped Up Dollies, the Far East and the Pomps.

Have you ever heard of Guided by Voices? You have! Excellent. You liked them, right? Exactly. Well, DTCV is like a super-mini Guided by Voices, but not really. Founded in 2012, this self-described “FrenchAmerican post-punk outfit” consists of three musicians, and one of the dudes is named James Greer, and he was supposedly in the band...you guessed it, Guided by Voices! He was also engaged or dating— something like that—Kim Deal from the Pixies, which is rad too. So for $10, THIS is the best show in town THIS WEEK. Also on the bill: Reports, halfsour and the Dazies, which makes THIS the best bargain in town THIS WEEK.

If you have ever spent time in Boston during the marathon, either actually running it or cheering on the runners, or at a private event, a local pub, or a friend’s apartment watching it on TV with an eye on the Red Sox as well, you know exactly where you were three years ago when the bombs exploded.

It’s something you don’t forget. Since then, and certainly that first year after, the marathon has become a destination with much deeper meaning, and the parties and cheering carry much more weight.

This year should be no different. See you there.

Steak

By M Elee

MFA. 465 Huntington Ave., Boston. 10am/all ages/$25. mfa.org

Castle at Park Plaza. 130 Columbus Ave., Boston.

Times vary/21+/$55-$65. beersummit.com

The Middle East. 472 Mass. Ave., Cambridge.

7pm/18+/$18. mideastoffers.com

O’Briens Pub. 3 Harvard Ave., Allston. 8pm/21+/$10. obrienspubboston.com

Boston Marathon Finish Line. 665 Boylston St., Boston. All day/all ages/ FREE. baa.org

Grill 23 & Bar. 161 Berkeley St., Boston. 7pm/all ages/$$. grill23.com

4.14.16 - 4.21.16

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DIGBOSTON.COM

PHOTO BY RONALD STOOPS

On a sticky counter somewhere, two friends speak chewing the fat and spitting the meat.

They’d like to fuck girls, but they’d rather fuck dreams.

They tell me so through whiskey-stained teeth And I laugh because It’s just a Tuesday to me.

Yes, I’ve been a dream and yeah, I’ve been a tease.

I can tell they want somethin’ But they’re getting nothing from me.

NEWS TO US

FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

15

MUSIC

BLEACHED, PLEASE

Why ditching abusive relationships made the grunge pop trio better

MUSIC

KILLSWITCH ENGAGE

Home coming @ New England Metal and Hardcore Festival Killswitch Engage maestro Adam D has done the unthinkable and moved from Massachusetts to LA. But when the band needed to make videos for its latest two singles, “Hate By Design” and “Strength of the Mind,” from its latest metalcore masterpiece, Incarnate, it went to a very familiar place: good old Allston.

And it went with two old friends, filmmakers Ian McFarland and Mike Pecci, an incredible local duo who have done videos for a who’s who of metal and hardcore, including Meshuggah, Agnostic Front, Fear Factory, Slapshot, and God Forbid.

“They’re great guys,” Adam D told the Dig recently from Seattle. “They make it really easy. Quick in, quick out, and the stuff always looks classy.”

Things haven’t necessarily been that easy for Killswitch in recent years. Longtime vocalist Howard Jones left three years ago after a bout with depression that nearly imploded the Grammy-nominated band. The group bounced back quickly with Jesse Leach, a Providence-born hardcore/punk singer who was Killswitch’s original frontman. Leach’s first stint with the band ended abruptly as he defected due to personal struggles as the band began its meteoric ascent.

“I didn’t have the language for it then, but I suffer from anxiety and depression,” Leach says. “Maybe if I knew myself better and had the tools, it may have been different. It was definitely a hard lesson to learn, but it shaped me and made me who I am today.”

He rejoined Killswitch in 2013, just as Jones left and the band recorded its last album, Disarm the Descent.

Leach sang on that album but didn’t write much for it, and it marked his first record with Killswitch since 2002’s classic Alive or Just Breathing. This time around, he was far more integral in the songwriting process and spat out his heart and soul, even boldly espousing his political views, marking a bit of a deviation for Killswitch.

“I feel like I couldn’t not say things like that,” he explains. “As someone who’s got his eyes open, I’m responsible to inject at least some of that in there. It’s not like we’re Rage Against the Machine, but that stuff has to make it into the lyrics today. I feel like I wouldn’t be doing justice to someone who has a microphone. There’s a lot of angst and frustration out there. I have to reflect that.”

In searching for just the right political tone for the record, he drew from his hardcore and punk roots, which began in the 1980s and ’90s with politically charged bands like Bad Brains and Black Flag. “The Reagan era has some of the best punk music. It’s just ingrained in me,” he says. “When you see social injustice, you can either turn a blind eye or say something. I can’t turn away. I have to say something.”

The band will once again headline the New England Metal and Hardcore Festival Saturday at the Worcester Palladium, the site of its first-ever show 15 years ago.

“The Palladium will always have a soft spot in our heart because of all the history there,” Adam D says.

There are still bumps on the road, as there are with any band that spends months on buses and planes together thousands of miles from home, but for Leach, things finally feel right, both personally and within the band. “It’s the best it’s ever been,” he says. “It feels like home.” >> KILLSWITCH ENGAGE. SAT 4.16. WORCESTER PALLADIUM, 261 MAIN ST., WORCESTER. DOORS 1PM/18+/$35.

THEPALLADIUM.NET

MUSIC EVENTS FRI 4.15

THROWBACK TURNED COMEBACK THE DANDY WARHOLS + SERATONES [The Sinclair, 52 Church St., Cambridge. 8pm/18+/$28. sinclaircambridge.com]

16

4.14.16 - 4.21.16

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FRI 4.15

PUNK ROCK REVIVALISTS

PARQUET COURTS + SODA

[Paradise Rock Club, 967 Comm. Ave., Boston.

8pm/all ages/$16. crossroadspresents.com]

DIGBOSTON.COM

SAT 4.16

RECORD HOSPITAL FEST BEGINS MOUTAINMAN + BLOOD CLUB + DENT + URSULA + MORE

[The Harvard Advocate, 21 South St., Cambridge.

4pm/all ages/$10. whrb.org]

PHOTO BY TRAVIS SHINN

BY DAVE WEDGE @DAVEWEDGE

MON 4.18

MOPHEAD MARATHONERS TOKYO POLICE CLUB + FROM INDIAN LAKES + CHARLY BLISS [Paradise Rock Club, 967 Comm. Ave., Boston.

7pm/all ages/$20. crossroadspresents.com]

When you’re trying to write music, to let your mind roam free and your fingers play whatever guitar line that comes to mind, the last thing you need is someone halting that creative process. For Jennifer Clavin of garage pop trio Bleached, roadblocks were everywhere. Unfortunately, they took form of an emotionally abusive relationship—one that she now, thankfully, is out of.

“I have such trouble explaining it,” she says over the phone, referring to her now ex-boyfriend. “There was a lot of manipulation. If you try to leave them, they tell you that they’re going to kill themselves so you can’t get out of it. But when you’re in it, you’re getting called names and awful things and being accused of things you never actually did.”

Several girls warned others to avoid him, one of whom went on to accuse the man of rape. While he never threw punches or anything worse at Clavin, he did incite deep mental pain and confusion, the type of bullying that scars people for life.

“The thing is, I got along very well with this person on a musical level,” she says. “He inspired me to let myself go musically and let myself write whatever I wanted. It’s strange to think that he began to affect it negatively.”

The rest of the band, her sister Jessie Clavin and bassist Micayla Grace, struggled to find ways to help along the way.

Instead of letting it halt life as a band, they began working on their sophomore LP, Welcome to Worms, which, in many ways, wound up saving Jennifer Clavin. They ditched Los Angeles to record in the desert. Things were silent. Clavin left her phone in the car so she didn’t have to hear from him.

She began to work through it.

“I trust my sister so much with her songwriting,” says Jessie. “Her lyrics hit me so hard that I’ll start crying during practice sometimes.

There’s times where I have to get a grasp and realize that what Jenn is singing about is really happening. I think it went on for so long because you just don’t want to believe what’s happening is real.”

The recording process saw the band enduring crazy hours, rereading lyrics repeatedly, and shifting their songwriting towards a smarter realm of melodies. Finally, it hit Jennifer Clavin. She realized she was going through an abusive relationship and how she was treating herself as a result. “It felt like a form of therapy without even realizing that was going to happen, that it would help me,” she says. “When we’re playing the songs, I relive it for a second without having to be there. I’ve never experienced that before in songwriting.

You get to compare then to now—and I’ve grown so much that comparing the two periods of my life actually feels good.

I get to know things are okay now.” >> BLEACHED + NO PARENTS + GYMSHORTS. FRI 4.15. GREAT SCOTT, 1222 COMM. AVE., ALLSTON. 10PM/21+/$12. BOWERYBOSTON.COM

TUE 4.19

SOME GROOVEMENT YOU CAN MOVE TO QUESTLOVE (DJ) [The Sinclair, 52 Church St., Cambridge. 8pm/21+/$20. sinclaircambridge.com]

WED 4.20

PLAY THAT FUNKY MUSIC, BRIT BOY THE NEW MASTERSOUNDS + MOON HOOCH

[The Sinclair, 52 Church St., Cambridge.

8:30pm/18+/$25. boweryboston.com]

PHOTO BY NICOLE ANNE ROBBINS

BY NINA CORCORAN @NINA_CORCORAN

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

17

FILM

MAD MEN, AD WOMAN Jean-Luc Godard’s Married Woman gets a revival

BY JAKE MULLIGAN @_JAKEMULLIGAN “Why won’t you let me look at you?” he asks, while we do exactly that. There’s a hand with a ring on it. There’s a pair of legs, each bent, both crossed firmly across the frame. There’s a face—it belongs to Charlotte (Macha Meril), a married woman, seen here with her unmarried lover—and a pair of shoulders to support it. Director Jean-Luc Godard has composed the images separately, turning each segment into its own whole. He often fades out of individual shots even when they fade back into the same scene, emphasizing their separation even further.

Some have compared it to cubism. But it also recalls the experience of traveling around a sculpture, and seeing it from numerous positions (a Beethoven string quartet intercedes throughout, as though reverberating from a nearby courtyard). Next there’s a torso, as attractive as Aphrodite’s—Charlotte will later size her breasts up against those of the Venus de Milo. She’s nude throughout the entire scene, but she does keep that chest covered, with strategically placed hands and poses. It frustrates Robert, the querying man, more than once. Godard’s film is obsessed with busts, so the absence of Charlotte’s strikes you as deliberate. Another sculpture of the goddess of love, she maintains her modesty even at rest.

The film is A Married Woman, and its onscreen subtitle provides more vital information: “fragments of a film shot in 1964, in black and white.” It goes on to study this living sculpture as she returns to her home in Paris with husband Pierre (Philippe Leroy), where she indulges his attractions while waiting for her next tryst

with Robert (Bernard Noel). Meanwhile her inner life and sexual drive is shaped and invaded and manipulated by literally everything else—she’s married to a husband who rapes her, controlled by economics that don’t care for her, defined by foreign actions she’s unaware of, clouded by the consistency of public advertising, obsessed by the image of her own form, transfixed by the pictures on her television, and captivated by the dresses in each storefront, among numerous other special interests.

Absurd flights of both reality and form ensue (for the former, there is a merger between the commercial broadcast and commercial aircraft industries, alongside news of nearly 2,000 dead per day in France via car accidents; for the latter, there are thoughts embedded in text on screen and reverse-printing effects that turn the color palette inside out). References to national culture abound throughout, from plays by Racine to films by Truffaut. Voices heard on the soundtrack seem to amalgamate the thoughts of the character, the filmmaker, and the audience (but come out as digressions, like “Is there as much pain as rain?”). Seven individual segments ensue while Charlotte is home, allowing characters to pontificate on subjects that cross between the physical, the psychological, and the philosophical. (“Pleasure and Science” begins with talk of conception, which leads to the question of whether or not physical pleasure increases the chances of conception, which in turn leads to the question of whether or not pleasure and love are the same thing.) Then Charlotte returns to Robert, so

that film can end as it began—the sculpture having been circled entirely.

Of the 15 feature-length films that Godard directed in the first stage of his career, this is among the most rarely screened, alongside Les Carabiniers and Le Petit Soldat.

That may be corrected in due time: A Married Woman has recently been digitally restored and outfitted with cleaner subtitle translations, and it has been touring the country for month. The first encounter with Robert comprises what used to be the first reel, back when this film was really exhibited on film—though Charlotte’s husband does interrupt, in the form of jump cuts to the airplane he’s flying home on. But his interest only sways between the carnal and the possessive. She’s been using his Philips razor far too often, he complains, while his wife sits in the corner, framed by logos for Kleenex and Sony. Once again, she’s posed like a deity. In composing her body, Godard is always splitting the difference between magazine advertisements and religious art. When Pierre chases her around rooms—as he often does—she retains her studied poses. What’s clear is that this naif is being seen as an object. What’s not clear is who she belongs to.

For the men who surround her, only metaphors will suffice. She’s a house that can’t be lived in. How can they know the things she leaves unsaid? Her response is to “see what my eyes hide.” And they see that she has no ecstasy for them. But for a trip to the department store, she skips and leaps. For a brassiere advertisement, her eyes light up.

Those poses for the camera may have been less detached from reality than they initially appeared—Charlotte being the child of a Sears ad, those poses may have been engineered for herself. Godard would continue his interest in an omnipresent advertiser’s state in the years that followed this film: next with Alphaville, a dystopian sci-fi actioner wherein corporate-backed computers rule the world, and then in Two or Three Things I Know About Her, another housewife profile, wherein branded products are granted more close-ups than human beings. A Married Woman even shares a visual metaphor with Two or Three Things in the form of the cranes and workers clanging away, building a modern city behind our heroine’s head. Charlotte’s commercially minded abstractions are built into the film itself, at one moment placing the dialogue of human beings over images of weekly catalogs. Where we see an advertisement, Godard sees construction.

Cities are never finished, though, and neither are people, especially women. (As for men, maybe not— “They’re all the same,” Charlotte says, during one of her rare moments of wisdom.) For Charlotte, development arrives unexpectedly, in her psyche and elsewhere. And for us, there’s the now that we’re watching these movies in. Godard’s vision is of a daily existence that’s defined by an almost oppressive audio-visual assault of purchased messages and punctuated by power-based sexual exchanges. It leads everyone inward, until they seem like nothing more than marble to anyone on the outside, with pieces of themselves covered up by design. You might wonder what this artist would think about, say, iPhones.

And if you are curious, there’s an answer: He’s made a movie about those objects, too.

>> A MARRIED WOMAN. KENDALL SQUARE CINEMA. ONE KENDALL SQUARE AT 355 BINNEY ST., CAMBRIDGE. NOT RATED. OPENS 4.15. >> ALPHAVILLE IS AVAILABLE FOR STREAMING RENTAL ON AMAZON, ITUNES, AND OTHER VOD OUTLETS. >> TWO OR THREE THINGS I KNOW ABOUT HER IS AVAILABLE FOR STREAMING VIA HULU PLUS. >> GOODBYE TO LANGUAGE, THE AFOREMENTIONED GODARD-DIRECTED FILM THAT’S SORT OF ABOUT IPHONES, IS AVAILABLE FOR STREAMING RENTAL ON AMAZON, ITUNES, AND OTHER VOD OUTLETS.

FILM EVENTS FRI 4.15

THE BRATTLE’S ANNUAL ‘MUPPET MADNESS’ BEGINS THE MUPPET MOVIE SINGALONG

[Brattle Theatre.

40 Brattle St., Harvard Sq., Cambridge. 7pm/PG/$9-11.

Also screens Sat 4.16 @ 1pm. brattlefilm.org] 18

4.14.16 - 4.21.16

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FRI 4.15

COOLIDGE AFTER MIDNIGHT PRESENTS DEATH BECOMES HER

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

Midnight/PG-13/$11.25.

35mm. coolidge.org]

DIGBOSTON.COM

FRI 4.15

STARTING A RETROSPECTIVE FOR DIRECTOR XIE JIN THE RED DETACHMENT OF WOMEN

[Harvard Film Archive.

24 Quincy St., Harvard Sq., Cambridge. 7pm/NR/$7-9.

35mm. hcl.harvard.edu/hfa]

SAT 4.16

SUN 4.17

THU 4.21

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

10:30am/PG/$6-8. coolidge.org]

[Brattle Theatre.

40 Brattle St., Harvard Sq., Cambridge. 1:30, 5:30, and 9:30pm/PG/$9-11. 35mm. brattlefilm.org]

[Carpenter Center Room #B04. 24 Quincy St., Harvard Sq., Cambridge.

8pm/NR/$5-10 donation suggested. 16mm. balaganfilms.com]

FROM AARDMAN STUDIOS SHAUN THE SHEEP MOVIE

NICOLAS ROEG’S ADAPTATION OF ROALD DAHL’S THE WITCHES

BALAGAN FILMS PRESENTS ALEX MACKENZIE’S APPARITIONS

P RESENT S ®

Thunder Road, Somerville Boston’s newest rock n’ roll club

Friday April 15

Saturday April 16

Tearing through 1975’s seminal EARL’S COURT

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THU 4/14 8:30PM

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NIGHT FRI 4/15 10PM

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Anne Washburn’s Mr. Burns, a Post-Electric Play is one of the most frequently performed plays of the last year. Now, in a production directed by A. Nora Long, it will run at Boston’s Lyric Stage through May 7.

Mr. Burns takes place after an unspecified apocalyptic disaster that has left the world without electricity. Survivors gather to tell a story, and together they recount and patch together—of all things—the “Cape Feare” episode of The Simpsons. The play opens soon after the disaster, the second act takes place seven years later, and the third act—which culminates in a full reenactment of the episode—takes place 75 years after that.

For the third act, the troupe is fully costumed as the Simpsons characters. The costumes have been handmade from whatever has managed to survive the 75 years that they’ve lived without electricity. This also dictates the need for an extra member on the creative team: mask maker.

Lauren Duffy, who mainly fancies herself a scenic painter, has designed and constructed the masks for this production. Working with director A. Nora Long and costume designer Amanda Mujica, she settled on Commedia dell’Arte as the style for the masks.

This, as it turns out, was right up Duffy’s alley. In 2007, while studying at Keene State College, Duffy spent a semester abroad in Florence, Italy. She was living on the same street as the mask shop of renowned mask maker Agostino Dessì.

“I asked him to teach me how to make them and he said no,” Duffy recalls with a laugh. “So I went back the next day and said, ‘Will you teach me how to make these masks?’ and he said no. And I was like, ‘No, you really have to teach me.’” Duffy had just wiped her computer and only had one photo of an example of her work to show him. Still, her persistence paid off and he told her to come back the next day.

Duffy apprenticed Dessì for about two months. “It was very funny because I would practice my Italian and he would just shake his head at me,” Duffy said.

“He was one of the better people I interacted with because he would say, ‘Only Italian today,’ so I would have to hobble my way through our interactions with what little Italian I knew. I wrote some emails for him a few times, so it was a great kind of apprenticeship—a real, mutual benefit. And he’s making sure that his craft doesn’t die,” she added.

Duffy says that the Greek tragedy, high-art concept for the masks acts as a tool that functions to bring the world of the play a little bit further from reality.

In traditional Commedia dell’Arte, there are recurring characters, which means that someone could walk into a theater and sit down and instantly recognize the characters. “They knew when Pantalones walked on stage, because his nose and eyebrows were always the same, and that’s very much like The Simpsons,” Duffy said. “You sit down and you know who is Homer and who is Marge, because she has big blue hair.”

Marge’s big blue hair, in this case, is another one of Duffy’s creations. Thinking about what would still be around 75 years after a disaster, Duffy settled on blue woven and braided rope. “This is someone that everyone recognizes, but what would it be made out of?” she said. “I spent a lot of time thinking about what’s left in this post-electric world.” >> MR. BURNS, A POST-ELECTRIC PLAY. RUNS THROUGH 5.7 AT THE LYRIC STAGE COMPANY, 140 CLARENDON ST., BOSTON. LYRICSTAGE.COM

20

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STARTS TICKETS APRIL 20 FRom $15

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by young jean lee DIRECTED BY SHAWN LACOUNT starring obehi janice Featuring the musical stylings of Steve Sarro, Thom Dunn, Shahjehan Khan, & Ethan Selbys

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A.R.T.’s club OBERON 2 ARROW ST. HARVARD SQ.

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SAVAGE LOVE

SECRETS AND UNDERWEAR

WHAT'S FOR BREAKFAST

BY PATT KELLEY WHATS4BREAKFAST.COM

BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET Before I got married, I asked husband repeatedly about fantasies and kinks, so that we had full disclosure going in. It led to some fun stuff in the bedroom, but we’re both pretty low-grade kinksters.

Now I realize that I do something that I have never told him about: It’s the way that I masturbate. I started when I was 5 or 6, because it felt good. Got chided by parents and teachers for doing it in public and learned to keep it hidden. And so ever since, it’s been my secret thing. I think it has helped me orgasm in that I knew how early on, but it has also made it more difficult to come in positions that don’t mimic the masturbating position. Husband likes the idea of me coming in different positions, and I’ve managed now and again, but he doesn’t know why I’m set in my ways. We’ve been together for 10 years, but I have never shared this. Should I tell him? Part of me is afraid that he will think I’m weird. But more than likely, he’ll just want to watch me do it. Still, it’s kind of nice having this one thing that belongs only to me.

Secret Masturbator Obligated Over Spanking Hotness?

You could hold this back, SMOOSH, and keep it all for yourself. But I don’t see why you would want to.

As sexy secrets go, “There’s one particular position I like to masturbate in” is pretty boring. Unless you need to be positioned on top of a cadaver or under your dad or beside a life-size Ted Cruz sex doll to get off when you masturbate, there’s really no reason to keep this secret.

I’m a 49-year-old gay man. I’ve become friends with a 21-year-old straight guy. He’s really hot. He’s had to drop out of college and return home. I know he needs money, as he hasn’t found a job yet and has resorted to selling off old music equipment. I would love to have some sweaty clothes of his, namely his underwear, but I’d settle for a sweaty tank top. Is it legal to buy someone’s underwear? He’s a sweet guy, and I don’t want to freak him out by asking something so personal. How do I broach the subject?

Lustfully Obsessed Stink Seeker It’s perfectly legal to buy and sell used underwear, LOSS, so there’s no legal risk. But you risk losing this guy as a friend if you broach the subject. You can approach it indirectly by saying something like “So sorry to hear you’re selling off your music equipment. You’re young and hot—you could probably make more money selling used underwear or sweaty tanks.” Then follow his lead: If he’s disgusted by the suggestion, drop it. If he’s into the idea, offer to be his first customer.

THE STRANGERER

BY PAT FALCO ILLFALCO.COM

22

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BOWERY BOSTON

For show announcements, giveaways, contests, and more, follow us on:

WWW.BOWERYBOSTON.COM • • • • LIVE MUSIC IN AND AROUND BOSTON • • • •

ROYALE 279 Tremont St. Boston, MA • royaleboston.com/concerts 92.5 THE RIVER PRESENTS

INTO IT. OVER IT.

THE

THE WORLD IS A BEAUTIFUL PLACE AND I AM NO LONGER AFRAID TO DIE

RESIDENTS PRESENT SHADOWLAND

W/ THE SIDEKICKS, PINEGROVE

THIS THURS! APRIL 14

THIS SATURDAY! APR. 16

TUESDAY, APRIL 19

THURSDAY, APRIL 21

SUNDAY, MAY 1

THURSDAY, MAY 5

SUN APRIL 17

WEDNESDAY, APRIL 20 AN EVENING WITH

W/ PHOEBE BRIDGERS

W/ SUMMER CANNIBALS

SUNDAY, APRIL 24

MONDAY, APRIL 25

y UN A

W/ AQUEOUS (THU), HAYLEY JANE & THE PRIMATES (FRI), STRANGE MACHINES (SAT)

THU, FRI & SAT APRIL 28, 29 & 30

WEDNESDAY, APRIL 27

MONDAY, MAY 2

W/ BOSCO

SUNDAY, MAY 1

TUESDAY, MAY 3

you won’t

W/ PRIESTS, URSULA

“Revolutionaries” Record Release

WEDNESDAY, MAY 4

THURSDAY, MAY 5

BERN/HOFT

w/ Jocelyn Mackenzie

FRIDAY, MAY 6

ON SALE FRIDAY AT NOON!

TUESDAY, MAY 10

MONDAY, MAY 9

ON SALE FRIDAY AT NOON!

SUNDAY, MAY 22

W/ JONNY P

W/ DOROTHY

TUESDAY, AUGUST 2

THIS SAT APR. 16 (SOLD OUT) &

JULIEN BAKER

SATURDAY, APRIL 23

AND THE SHUTTERBUGS

MONDAY, JUNE 13

W/ KEVIN DEVINE & THE GODDAMN BAND

THIS THURS. APRIL 14

sinclaircambridge.com

W/ JOHN MARK NELSON

SATURDAY, MAY 7

W/ MIKAELA DAVIS

52 Church St. Cambridge, MA

ON SALE FRIDAY AT NOON!

JAYHAWKS

W/ NAF

FRIDAY, APRIL 29

MONDAY, APRIL 25

ON SALE FRIDAY AT NOON!

THE

M. WARD W/ YOUTH CODE

SUNDAY, APRIL 24

FRIDAY, JULY 22 ON SALE FRIDAY AT NOON!

SATURDAY, JUNE 25

PRINCE RAMA BLEACHED B O STO N H A S S L E P R E S E N T S

W/ W 0 0 DY, WAY O U T

THIS THURSDAY! APRIL 14

THIS FRIDAY! APRIL 15

THIS SUNDAY! APRIL 17

CULLEN OMORI

NIGHT MOVES

1222 Comm. Ave. Allston, MA greatscottboston.com

FRIDAYS AT 7PM!

W/ FRAMEWORKS, BIG JESUS

W/ NO PARENTS, GYMSHORTS

W/ WORMWOOD, NOMAD STONES TUESDAY, APRIL 19 SUNDAY, JUNE 12

‘s S GA E TH

ON SALE NOW!

(I WAS A LONELY ESTATE) “FINAL TOUR” W/ WARREN FRANKLIN & THE FOUNDING FATHERS MONDAY, APRIL 18

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L ew is Del M ar

THURSDAY, APRIL 21

SATURDAY, APRIL 23

SUNDAY, APRIL 24

ON SALE NOW!

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ANTHONY D’AMATO

JESSY LANZA

WEDNESDAY, JUNE 15

MONDAY, JULY 11

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TUESDAY, AUGUST 23

≠ 4/15 & 4/16 (EARLY) NICK CHAMBERS ALBUM RECORDING ≠ 4/16 (LATE) DON’T ASK DON’T TELL ≠ 4/22 ROSS LIVERMORE BAND ≠ 4/25 CMB ≠ 4/26 TRUE WIDOW ≠ 4/27 BIG WILD ≠ 4/28 NIGHT DEMON ≠ 4/29 SUUNS ≠ 4/30 MOTHERS ≠ 5/1 LAURA STEVENSON

OTHER SHOWS AROUND TOWN:

OPERATORS W/ TORCHE, WILD THRONE

W/ RIA MAE

W/ BOGAN VIA

THIS SUN. APR. 17 MIDDLE EAST DOWN

TUE. APRIL 19 MIDDLE EAST DOWN

SAT. APRIL 23 MIDDLE EAST UP

Tickets for Royale, The Sinclair, and Great Scott can be purchased online at Ticketmaster.com or by phone at (800) 745-3000.

No fee tickets available at The Sinclair box office Wednesdays - Saturdays 12:00 - 7:00PM

W/ SHELLEY SKIDMORE, GREG BATES

FRI. APRIL 29 RED ROOM AT CAFE 939

ON AN ON THURS. MAY 5 MIDDLE EAST DOWN

FOR MORE INFORMATION AND A COMPLETE LIST OF SHOWS, VISIT BOWERYBOSTON.COM