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HEADLINING THIS WEEK! VOL 18 + ISSUE 23

JUNE 9, 2016 - JUNE 16, 2016 EDITORIAL

DEAR READER

EDITOR + PUBLISHER Jeff lawrence

I’m sure you probably already realize this, since you are spending your valuable time reading us right now instead of all the garbage on your social media feeds (@DigBoston excluded, of course), but I have to say it anyway—a lot of content that you come across in the alternative and independent media, from national progressive giants like Mother Jones and the Nation to community newspapers and blogs or enduring alt weeklies like us and more than 100 similar outfits nationwide, is not only more entertaining than what passes for mainstream journalism these days but a heck of a lot more journalistic as well. It had to be said, because stories like our feature about Boston Latin School this week deserve to be considered seriously whether or not bigger outlets decide to piggyback the revelations herein. But about the feature itself: Around a year ago, when I helped start the Boston Institute for Nonprofit Journalism to bolster investigative reporting in the Dig and other indie outlets, Nate Boroyan approached me with a pitch about a young woman with special needs who was apparently forced out of Boston Latin School, the city’s (and perhaps even the country’s) most esteemed public high school. Though about one family in particular, the story touched a number of critical issues—from segregation and inclusion in our public ed system to the way special needs students are treated everywhere. Since we began reporting—a grueling process during which the City of Boston and Boston Public Schools attempted to jerk us around on Freedom of Information Act requests—BLS has come under considerable fire for allegedly failing to deal with racism on campus in a responsible manner. Anybody following that coverage will probably notice a number of similarities between the plight of the main character in Nate’s story and that of other marginalized BLS students who have recently spoken up about these issues. The Dig and BINJ are proud to support the kind of journalism that takes months to produce, and this is a prime example of what reporters can accomplish when they have the resources to watch a story unfold over time. Finally, if you personally have something to say about any of this article or any other, we always appreciate tips for follow-up coverage, and we also encourage people to check the online version of Nate’s feature at DigBoston.com, where we included an interactive ‘Action Box’ at the end where readers can carry on the conversation.

NEWS + FEATURES EDITOR Chris Faraone ASSOCIATE MUSIC EDITOR Nina Corcoran ASSOCIATE FILM EDITOR Jake Mulligan ASSOCIATE ARTS EDITOR Christopher Ehlers COPY EDITOR Mitchell Dewar CONTRIBUTING EDITORS Emily Hopkins, Jason Pramas CONTRIBUTORS Nate Boroyan, Renan Fontes, Bill Hayduke, Emily Hopkins, Micaela Kimball, Jason Pramas, Dave Wedge INTERNS Becca DeGregorio, Anna Marketti

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This week our cover is a cover ... of The Hotelier’s new album Goodness. Read all about it and 11 other great local albums on page 16. ©2016 DIGBOSTON IS PUBLISHED WEEKLY BY DIG PUBLISHING LLC. NO PART OF THIS PUBLICATION CAN BE REPRODUCED WITHOUT WRITTEN CONSENT. DIG PUBLISHING LLC CANNOT BE HELD LIABLE FOR ANY TYPOGRAPHICAL ERRORS. ONE COPY OF DIGBOSTON IS AVAILABLE FREE TO MASSACHUSETTS RESIDENTS AND VISITORS EACH WEEK. ANYONE REMOVING PAPERS IN BULK WILL BE PROSECUTED ON THEFT CHARGES TO THE FULLEST EXTENT OF THE LAW.

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UNACCOMMODATING: A BLS STORY NEWS TO US

The Hub’s most elite high school has been under growing scrutiny for its apparent neglect to properly address a culture of racial intolerance. While federal investigators probe that issue, this story of a former Boston Latin School student with special needs raises additional points of concern about another minority population at BLS.

*Ed note: The names of Christina and her family have been changed to protect them from victim shaming and abuse. We made the decision to anonymize them after deep deliberation, taking into account the fact that many BLS families and BPS administrators already know their real identities. Though many subjects from the school and the district were sympathetic to the plight of the family in our interviews with them, others were openly hostile toward Mr. Smith in particular. Furthermore, while we are aware that this story will likely be covered by other outlets in the future, perhaps as it relates to the larger ongoing federal and public inquiries into BLS practices (at which point government names will likely be used), we decided against potentially abetting further harassment against our primary subjects as well as other Latin School students whose comments are paraphrased or unattributed herein.

It was near the end of October 2014 when Christina Smith*, a sophomore at the prestigious Boston Latin School (BLS), was first questioned by Headmaster Lynne Mooney Teta, Assistant Headmaster Malcolm Flynn, and a detective from the Boston Police Department. The detective, Christina recalls, interviewed her once in the presence of Flynn and Mooney Teta. In another instance, she was questioned by Flynn and Mooney Teta without the detective present, later by Mooney Teta oneon-one, and once more in a separate meeting with Flynn. Christina’s mother, anonymized throughout this article as Mrs. Smith, says her daughter was spoken to or questioned four times in the span of two weeks. The inquisitions stemmed from an alleged campus sexting incident, and centered around Christina’s best friend at the time and two other students—a boy and a girl. At the time, Christina was also undergoing an evaluation for an Individualized Education Program (IEP) UNACCOMMODATING continued on pg. 6

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PHOTO BY DEREK KOUYOUMJIAN

BY NATE BOROYAN @NBOROYAN WITH ADDITIONAL RESEARCH AND EDITING BY HALEY HAMILTON@SAUCYLIT

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UNACCOMMODATING continued from pg. 4

TOP CHOICE

BLS, America’s original public school, is not a modest institution. Its motto is “Sumus Primi,” Latin for “We are first.” Like other high schools, BLS has a hall of fame. Unlike other places of elite learning, said tribute features homecoming heroes including John Hancock, Ben Franklin, John Adams, and more recently, power and industry honchos like Sumner Redstone. The school’s prestige and tough curriculum attract Boston’s wealthier families, a number of whom send their children to private school through the sixth grade (BLS starts in seventh). At the same time, middle- and lower-class parents see BLS as a ticket to boundless opportunities, perhaps even a pathway to Harvard University. In any given year, it’s common for the exam school to send more than a dozen graduates across the Charles River for an Ivy League education. Commenting about the school’s impossible standards on the chatty family listserv, one individual claiming to be a BLS parent summed up the culture in a way that effectively paraphrased the sentiments of several people interviewed for this story: I honestly don’t understand the constant concern surrounding the amount of hard work and homework it takes to succeed at Boston Latin. Quite frankly I am surprised that there are parents that want to ease the competitive level at the school. Surely everyone knew of the reputation and intense academic environment of Boston Latin before taking the test to enter the school. Boston Latin’s high standards and intensity is the reason the school has the excellent reputation and respect around the country … I think it is bad judgement to water down the standards or ease the workload. If some children cannot handle the 6

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“There’s something wrong with a school where someone leaves senior year because they can’t take it anymore because of their mental illnesses. There’s something wrong with a school where a 13-year-old wants to kill herself because she didn’t do perfectly on a Latin test. BLS is pretty messed up, to be honest.” environment perhaps they should go to a school that is more nurturing rather than trying to change the standards and culture at BLS. As a standout bright spot in the BPS system, BLS relies on prestigious national rankings and on its reputation among Boston’s well-to-do families, generations of which have contributed to an endowment worth nearly $40 million. Christina’s failing grades, as well as the rumors of sexual misconduct and bullying among students affiliated with her, posed threats to the school’s reputation. The fact that Christina’s parents couldn’t afford private tutors, or handle her psychological issues without help from school administrators, made a bad situation worse. Her father, who has Asperger’s syndrome and became fixated on airing his grievances publicly, added to the drama by addressing alleged school sex scandals on the BLS family listserv ad nauseam, accumulating countless community foes in the process. According to the federal Substance Abuse and Mental Health Services Administration Behavioral Health Barometer, about 39,000 Massachusetts adolescents (8.1 percent of all adolescents) per year had at least one “major depressive episode” between 2009 and 2013, with that number on the rise in the past half-decade. But situations like Christina’s are uncommon at BLS. According to BPS data from the 2014-2015 school year, Latin School has disproportionately fewer students with recognized disabilities (1.4 percent) and fewer students considered to be economically disadvantaged (19.4 percent) than the district as a whole. Of the 54,000-plus BPS students, 19.5 percent have recognized disabilities, while 49.3 percent are considered economically disadvantaged. At a recent Boston City Council budget hearing, aid for students with special needs was specifically addressed, with the frustrations many families have with the system

laid bare in public testimonies. Scott Bishop, the father of a grade schooler receiving special accommodations, worried that proposed cuts for next year will “decimate things that some may view as optional, but [that] for our daughter and others like her are vital to her growth and development.” Another parent at the hearing, Liz Gomez, said she fears what shifts in funding will mean for her autistic son in BPS, while Roxbury City Councilor Tito Jackson lamented cuts that will affect “the students with the biggest hurdles.” Karen Kast-McBride, a BPS parent of three students with special needs and an outspoken district activist for more than two decades, said, speaking of the overall system, “Boston is one of the best places in the world for special education.” When it comes to specialty schools like BLS, however, Kast-McBride is less quick to issue superlatives. Too often, she says, students with special needs are not given proper accommodations. KastMcBride continues, “It’s almost like they think, because they’re an exam school, they can get away with it.” Which makes students like Christina minorities among minorities, special cases occurring in small numbers that require extraordinary attention.

PRIVATE MATTERS

When Christina was two and a half years old, she was referred to early intervention due to concerns associated with language delay, social skills, attention, and a “scattered development profile.” The following year, she was diagnosed with Asperger’s syndrome. After that she received home services, including Applied Behavior Analysis and speech instruction from an occupational therapist. Christina was placed on her first Individualized Education Program (IEP) soon after and subsequently “consistently tested as academically bright and made significant progress during the next several years,” according to a copy of Christina’s UNACCOMMODATING continued on pg. 8

PHOTO BY DEREK KOUYOUMJIAN

to address recent traumatic episodes, panic attacks, and her Attention-Deficit/Hyperactivity Disorder. Despite having qualified for the elite exam school, she had a history of difficulties that sometimes affected her learning. During the investigation, Christina told her parents that she was asked to give up the name of a male student who was supposedly disseminating pornographic images and videos of classmates. Due to the information she provided, other students were also pulled into the dragnet. “I was friends with a girl [a student that was] allegedly raped,” Christina recalls, adding, “She told me about it. I told [school administrators and detectives] about that.” As a result, Christina says she was interrogated about everything from BLS culture to specific individuals. Spokespeople from the City of Boston and Boston Public Schools (BPS), as well as BLS administrators, were asked to comment on the Smith case, but did not respond to calls or emails sent by BINJ, the latter of which included specific questions about the allegations herein. By early November 2014, Christina had become a social pariah. She was having trouble sitting through lessons and could barely bring herself to go to school in the morning. She refused to participate in class. According to the Smiths and as suggested by documents obtained by the Boston Institute for Nonprofit Journalism, through the bullying, some of Christina’s teachers as well as BLS administrators refused to formally acknowledge her anxiety. She received zeros for not presenting projects in class, and instructors began to view her as a disinterested pupil who couldn’t hack the famously advanced BLS course loads. She was given multiple detentions and even suspended. “They thought I was ditching for the hell of it,” Christina says. Reported over the course of more than a year, this is a detailed account of how a student with special education needs was apparently forced out of BLS rather than cared for. As documents and interviews reveal, Christina didn’t slip through the cracks so much as she was pushed. By September of 2015, she would be attending one of the two other exam schools in the district, a transfer instigated by BLS administrators who offered to wipe Christina’s disciplinary record clean—as long as she left the school for good.

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UNACCOMMODATING continued from pg. 6 health records furnished by her family for this story. In the third grade she was fully mainstreamed into the general BPS population. According to her documented history, Christina was removed from her IEP because she “no longer met the clinical criteria of Asperger’s.” By the time Christina earned admission to BLS she was something of an anomaly—an overachiever with a history of learning disabilities. The family of Nancy Duggan, a founding member of the Massachusetts chapter of Decoding Dyslexia, a group raising awareness at the state level about people with learning disabilities, has been in a similar position. Duggan says her daughter, now in her early 20s, was a “bright and articulate” child who was memorizing books outright, as opposed to learning how to read the right way, through the third grade. “She was smart enough to skate by,” Duggan says, adding that her daughter’s natural intelligence kept her from getting evaluated properly. A similar phenomenon seems present at BLS, where some students interviewed for this story say they or their friends have avoided getting tested for learning disabilities to avoid being stigmatized. As a result, they say, while certain BLS teachers dedicated to special needs students are both passionate and helpful, for those left untreated, disabling conditions can escalate. “I know so many people who go to BLS who are mentally ill,” says one recent graduate. Speaking of a friend, she adds, “There’s something wrong with a school where someone leaves senior year because they can’t take it anymore because of their mental illnesses. There’s something wrong with a school where a 13-year-old wants to kill herself because she didn’t do perfectly on a Latin test. BLS is pretty messed up, to be honest.” In her case, Duggan eventually took matters into her own hands and says she used her family’s savings to send her daughter to a private school in Worcester at a cost of $20,000 a year. Duggan says that for children with disabilities who aren’t adequately recognized by public schools, like her daughter and Christina, private education is essential. “If [a student] isn’t receiving accommodations by the third or fourth grade,” Duggan says, “they’re not going to graduate.” High-stakes testing like MCAS, she says, has “changed the dynamic.” Duggan’s daughter went on to attend the prestigious Trinity College in Connecticut. Years later, she says her family was “lucky” to avoid a prolonged battle over their public school system’s mandate to provide special education. Others have been less fortunate.

LATIN LIMBO

In practice, school districts, not individual schools, are responsible for meeting a student’s special education needs and providing a free and appropriate public education. BPS is therefore tasked with allocating the funds for special education programs. Due to Boston’s weighted budget policy (and because of state and federal guidelines), special needs students require extraordinary individualized funding. BLS has very few such pupils (fewer than 2 percent of the 2014 student body received special services); so when BPS found itself facing a $100 million budget gap in 2010, Latin School was hit especially hard, receiving a 5.1 percent cut in funding—more than double the 2.5 percent cut proposed across the entire district. John McDonough, the BPS chief financial officer at the time, said the measures were taken to save money for “special needs students and non-native English speakers, who aren’t in large numbers at Boston Latin.” As a result of funds being redirected to special education and ESL students, more than 20 Advanced Placement classes stood to be cut, with music, theater, and Chinese on the chopping block as well. BLS Headmaster Mooney Teta was vocal about how she believed the boost for Bostonians with learning disabilities would impact her campus. “Every year, we invite 420 of the brightest students to cross our threshold from every neighborhood and socioeconomic strata in Boston,” she told reporters at the time. “We tell them they will be the next generation of leaders. [With these cuts] It’s going to be a challenge to meet our mission.” It was in this rigid, unforgiving climate that 8

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Christina experienced intense fear and isolation. In January, 2015, a clinical social worker at Boston Children’s wrote to BLS administrators: [I]t appears that there are significant factors in the school environment which contribute to [Christina]’s anxiety including feeling bullied by teachers and peers. [Christina] did not express any concerns returning to school and again did not appear to be an acute risk to herself or others. Christina is able to return to school as soon as the school is able to accept her. The note also recommended “that Christina be allowed accommodations for her anxiety. And it requested that any of Christina’s anxiety-related absences should be “distinguished from a lack of desire to attend class, so that appropriate services can be engaged to help her overcome the anxiety.” Anyone can suffer a panic attack under the right circumstances. Some of the most common symptoms, according to Boston Medical Center, are intense terror, dizziness or feeling faint, fear of going crazy, feelings that nothing is real, sweating, shaking, chest pain or a fast heartbeat, altered reality, or a feeling of being detached from yourself, among other pains and pangs. One way to treat a panic attack is to avoid circumstances that lead to anxiety. According to specialists, Christina’s disappearances from BLS and her inability to present in front of classmates should have suggested to school personnel that she was suffering from panic attacks. Christina also says she was the victim in an abusive relationship with another student and that school administrators were aware of the situation but did not intervene. A little over a month after Christina was given an individualized learning plan, Assistant Headmaster Flynn emailed the Smiths. Christina had been spotted roaming the halls. For this infraction and alleged others, Flynn wrote, “I will be scheduling a disciplinary hearing for leaving the school building without permission; repeated cutting of classes; repeated failure to report to detention; repeated and flagrant violations.” Mr. and Mrs. Smith were confused. When a student is found eligible for special education and is put on a program that provides her with certain academic accommodations, the members of her IEP team are supposed to communicate with teachers and staff so as to avoid situations where she is punished or denied accommodations related to her learning disability. The IEP team is also required to have scheduled check-ins with the student to monitor her progress and, if needed, make necessary adjustments to the student’s educational course. According to their daughter’s IEP, furnished by the school’s own specialists, Christina was allowed to do these things—if her anxiety, for example, which she couldn’t control, left her in fear of attending class, then skipping wasn’t grounds for disciplinary action. “It’s against the law to punish a child if you can prove [the reason for the punishment] was related to his or her disability,” says Kast-McBride, who served for 11 years as the head of the Boston Special Needs Parent Advisory Council.

THE DEAL [Christina] has repeatedly left the school building without permission, including on Thursday February 5, Friday, February 6, and Wednesday, February 11, 2015 and on other earlier dates since the start of the school year; she has cut numerous classes; she has failed to report to detention. These behaviors represent repeated and flagrant violations of the Code of Conduct. As a result of these behaviors, [Christina] may be suspended for up to five days and sent to the Counseling and Intervention Center for five days. So reads an email to the Smiths from Assistant Headmaster Flynn dated two weeks after Boston Children’s determined Christina should be excused

for anxiety-related absences. Though Christina’s IEP allowed her to miss class during bouts with anxiety and even to dismiss herself from school, BLS administrators denied her such accommodations in apparent violation of Commonwealth education laws. Among other protections, regulations state: “Once eligibility has been determined, the type of disability of the student shall not be used to provide a basis for labeling or stigmatizing the student. Additionally, the type of disability shall not define the needs of the student and shall in no way limit the services, programs, or inclusion opportunities provided to the student.” Mr. and Mrs. Smith called the proposed suspension into question, but the punishment was upheld by BLS administrators. When the family appealed the decision, taking the case to the Bureau of Special Education Appeals (BSEA), the state board responsible for resolving and providing mediation for disputes related to special education services and protections granted students receiving special education, Latin School Headmaster Mooney Teta and the school’s legal team made the Smiths an offer they couldn’t refuse. Christina was unlikely to return to BLS given the circumstances. So on March 20 of last year her parents signed an on-the-spot handwritten agreement: In exchange for their daughter’s record being scrubbed of the stains left from administrators saddling her with bad behavior points for missed classes, the Smiths agreed to move Christina to the John D. O’Bryant School for Mathematics and Science in Roxbury, another one of Boston’s exam schools. For BLS, the handshake meant the whole ordeal would probably remain out of the public eye—no allegations of sexual misconduct, no questions about how BLS handles students with special needs.

EPILOGUE

As soon as Christina was placed on an IEP, she became part of the special education system. Like millions of other young Americans with unique needs, the responsibility to provide Christina with a free and appropriate education was then thrust squarely on her school district. Because districts are allowed to move special ed students if a current placement isn’t providing the necessary support, however, BLS—despite its unrivaled resources among Boston public schools—was not mandated to accommodate Christina. Instead, they soiled a student’s record in order to apparently force her withdrawal. National statistics suggest Christina’s experience was not out of the ordinary. According to the US Department of Education and the Office for Civil Rights Data Collection services, “students with disabilities are twice as likely to receive an out-of-school suspension as their non-disabled peers.” Christina dropped out of the O’Bryant after three months. “That school was great,” she says. “I liked that school a lot. I left because I didn’t want to be in high school.” Mr. Smith says the O’Bryant wasn’t able to address his daughter’s needs. Christina now takes classes at Bunker Hill Community College. With an investigation into BLS practices underway by the US Justice Department and an ongoing campaign by concerned students organizing under the #BlackAtBLS banner, analysis of how Boston Latin teachers and administrators handled issues around race will be brought to unprecedented light. As minority BLS families publicly speaking out and their allies have stated, their criticisms have been simmering for years and still have not been sufficiently addressed. As for special needs issues: With Christina out of school and her dad off the BLS parent listserv, it’s up to the less than 2 percent of BLS students who receive special services and their families to speak up now. Or forever hold their IEPs and transfer. This article was produced in coordination with the Boston Institute for Nonprofit Journalism. For more info on this and other projects, visit medium.com/@binj and follow on Twitter @BINJreports.

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AUSTERITY BUDGET, PT 4 The Worst of the Senate FY 2017 State Budget Proposal BY JASON PRAMAS @JASONPRAMAS Continuing to track the worst proposed cuts at different stages of the vicious and dispiriting annual Massachusetts state budget process, it’s time for a look at the full Senate budget proposal. As with my overviews of the worst cuts in the governor’s, House Ways and Means Committee’s, House’s, and Senate Ways and Means Committee’s FY 2017 budget proposals, the numbers in this column are based on the analytical reports that the Mass Budget and Policy Center (MBPC) releases on an ongoing basis. In this case, the “Conference Preview: Differences Between the Senate and House Budgets for FY 2017.” For all the details, check out massbudget.org. Nothing really new to see here. To quote the current MPBC report, “In the end, the House and Senate budgets are very similar. Not only are the budget totals within 0.1 percent of each other (which makes sense since they had essentially the same amount of revenue to work with), but the two proposals are also within half of one percent of each other in every major category.” And so it goes. There is no protection from the budget ax for programs that benefit huge numbers of Bay State residents. Especially with a $311 million budget deficit looming before the end of the current fiscal year - due to spring tax receipts that are significantly lower than the Baker administration’s rosy increased projections of January. We live in an era when politicians are reduced to spending their days wrangling over which group will get screwed more. With two exceptions: the rich and the corporations they control. The very groups that can no longer be taxed in a political system they have bought and paid for.

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Public Health A minor bright spot. The FY 2017 Senate budget proposal would add $2.5 million (.43 percent) to current FY 2016 levels for a total $582.9 million. By adding $5.9 million back to this line during its full budget debate - mostly for substance abuse prevention and treatment - the Senate has now joined the House and Governor in essentially level funding public health spending in the Commonwealth. Housing (funds for affordable housing, and shelter and services to homeless people) The FY 2017 Senate budget proposal would cut $38.8 million (7.94 percent) from current FY 2016 levels, after adding back $3.5 million during its full budget debate. Leaving $450.0 million. $3.8 million more than the House proposal. As the MBPC report points out, “the Senate’s budget, like the House budget, is about $40 million lower than FY 2016 current spending for the Emergency Assistance (EA) program that provides shelter to low-income, homeless families. If this lower funding level is included in the final FY 2017 budget, it is likely that the Legislature will be required to provide supplemental funding for the program because the cost of providing shelter for those who are homeless and eligible for shelter will probably exceed the amount appropriated.” Transitional Assistance (aka welfare, funds for short-term help for poor individuals and families) The FY 2017 Senate budget proposal would cut $26.7 million (3.84 percent) from current FY 2016 levels. Leaving $667.1 million. Although the MBPC report doesn’t say it, this represents a $5.5 million cut from the Senate Ways and Means Committee budget proposal. So unlike the other lines reviewed here, the full Senate debate actually took more money away from its original proposal rather than adding any back. The poorest of the poor have few defenders in the legislature. And it shows. Economic Development (funds for programs that, among other things, help unemployed people find work) The FY 2017 Senate budget proposal would cut $14.1 million (9.2 percent) from current FY 2016 levels, after adding back $8.8 million during its full budget debate. Leaving $139.1 million.

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Environment & Recreation The FY 2017 Senate budget proposal would cut $11.4 million (5.36 percent) from current FY 2016 levels. Leaving $201.4 million. A .14 percent smaller cut than the House proposal, after the Senate added back $5.1 million to this line during its full budget debate. Still a horrendous and ill-timed proposed reduction. And this far along in the budget process, one that is unlikely to be reversed.

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As has been addressed extensively in this column, the Commonwealth of Massachusetts is prime political territory for a modern reefer madness scourge. This is especially true since the death of a state trooper who was hit on the road by a driver who had recently made a legal purchase at a medical marijuana dispensary. Not surprisingly, the organized campaign against an upcoming November ballot question that would legalize recreational use and tax cannabis like alcohol has poured gasoline on the narrative that “commercial” weed is bad for the Bay State. The assault against cannabis is coming from all angles. In the media, where prohibitionist politicians like Boston Mayor Marty Walsh are parroted without having demonstrably false statements corrected. In the courts, where there have been two lawsuits filed by marijuana opponents to stop the ballot initiative. And now in your doctor’s office, as state officials are railroading physicians who prescribe cannabis. Access to medical professionals who are authorized to write “recommendations,” as permission is called in Mass, is a major issue of contention in several states with medical cannabis programs. In New York, where activists have gradually, successfully weakened a notoriously prohibitive medical system, the state assembly recently passed legislation that will allow specially certified physician assistants and nurse practitioners to prescribe cannabis. In Massachusetts, despite voters having approved medical cannabis in a ballot initiative in 2012, there is still apparently no official protocol. Which is what led to Dr. John Nadolny, M.D., medical director of Canna Care Docs, having his license suspended last month. (Full disclosure: Canna Care Docs is a sponsor of my streaming radio show, The Young Jurks, and Nadolny wrote me my recommendation for medical marijuana.) Outlets including the Boston Globe reported that Nadolny was suspended for violations including “failing to diagnose patients with a debilitating medical condition as required by law and delegating to nurse practitioners the authority to make such diagnoses.” Which was strange, since the law states that Certified Nurse Practitioners (CNPs) are allowed to recommend medical marijuana. To quote the Mass General Laws: “CNPs are authorized to issue written certifications of marijuana for medical use as provided pursuant to the mutually agreed upon guidelines between the NP and the physician supervising the CNP’s prescriptive practice.” Cannabis doctors in the state and fellow activists with whom I have spoken say they believed the Medical Use of Marijuana Program was working with stakeholders. As the DPH system did not yet allow CNPs to register their legal recommendations, though, it appears that Dr. Nadolny sent them in under his ID (Canna Care spokespeople are unwilling to speak on the record at this time). Basically, for trying to comply and disclose, and for his attempt to help patients in the face of the state’s non-functioning protocol for nurse practitioners, Nadolny’s license was suspended. Most local coverage of the doc’s suspension prominently noted the death of the aforementioned state trooper: ie.., “FOX25 has learned Massachusetts is investigating a group of medical marijuana clinics tied to a pot patient who prosecutors said plowed into and killed a state trooper on the Massachusetts Turnpike in March.” So where is this conflation coming from? Apparently a philosophical alliance between healthcare and addiction specialists teamed up with profiteers from another enduring industry, law enforcement and prosecution. That’s a column for another day. Trust me, I’m working on it.

B:9.5 in T:9.5 in S:9.5 in

BlUePoInTbReWiNg.CoM

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DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

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TOA S T ED L AGER. A MER I C A N S T Y L E A M B ER L AGER . B R E W ED W I T H A B L EN D OF S I X S P ECI A LT Y M A LT S FO R A FL AVO R A S R I CH A N D U N IQU E A S T HE TOW N I T ’S FR O M .

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SoMe DaYs, BiG UgLy CaN Be SpOtTeD RoAmInG ArOuNd ThE MaRiNa. To Be ClEaR, BiG UgLy Is ThE CaT.

ARTS ENTERTAINMENT

THU 6.9

SAT 6.11

SUN 6.12

MON 6.13

WED 6.15

Boston Calling Block Party @ Dewey Square Park

2016 Boston Pride Parade @ Copley Square

Redbones BBQ Beer Garden @ Quincy Center

Annual Father’s Day Experience @ Ball and Buck

Mari Black @ Arts at the Armory

RESCHEDULED Taste of Somerville @ Buena Vista Pavilion

Hi8us is kicking off the latest installment of the Boston Calling Block Party series. If you haven’t been yet, check it out. It’s a great reason to bang out of work early and get your drink on before heading home. Obligatory sponsors (Rose Fitzgerald Kennedy Greenway, Shock Top, Wicked Wines, and RadioBDC) will be toasting the town while the tunes twist your brain. It’s not exactly free; you’ll have to buy your own booze, but the music and vibe are free, and that’s half the battle.

Otters and Dykes and Bears, oh my! The 2016 Boston Pride Parade kicks off in Copley Square and meanders through Boston, ending up at Government Center. Along the way, there will be tens of thousands of folks celebrating equality, freedom, and rainbowcolored love. You can expect local businesses to hang the flag and offer a plethora of fun and festivities open to all. This is a chance for all of us to enjoy each other and be a little gay for the day. America, fuck yeah!

Quincy is a cool place. It’s just not a cool place that you hang out in. Yet. That’s about to change, and one of the reasons—aside from the billion dollars being invested in the downtown area—is Kerry Byrne of KJB Trending and his efforts to bring world-class beer and events to the city. As part of the Flag Day celebration, the Redbones BBQ Beer Garden will help usher in those efforts. The Chicken and Rice Guys and Iron Furnace will also be on hand with great food. Make a day of it.

For the unfamiliar, Ball and Buck is an Americanmade brand that embraces rugged, exceptional lifestyles and quality clothing to fit, built around the musk of what truly makes a man a man. Or something like that. It’s time Dad puts away the Dad pants and is treated to “oyster shucking lessons from Island Creek Oysters, expert style consultations from the Ball and Buck team and ice cold beers on tap from Mystic Brewing Co.” Or you could buy him flowers. Pussy.

Adams Hancock Green, Quincy Center. 1305 Hancock St., Quincy. 3pm/21+/FREE.

Boston Outfitters. 144 Newbury St., Boston. Noon/all ages/$10. ballandbuck.com

Dewey Square Park. 700 Atlantic Ave., Boston. 5pm/21+/FREE. bostoncalling.com

6.9.16 - 6.16.16

Boston Pride Parade. Boylston & Clarendon St., Boston. Noon/all ages/ FREE. bostonpride.org

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We’re big fans of the fiddle and for good reason— we’re usually drunk when we hear it being played. While we’ve never seen Mari Black, the 2015 US National Scottish Fiddle Champion, play live, we’re pretty sure we’d love it. She’s played Carnegie Hall, after all, and we all know the best way to get to Carnegie Hall is to practice, practice, practice! So in anticipation of her local appearance, start drinking now and practice, practice, practice! Arts at the Armory Café. 191 Highland Ave., Somerville. 7:30pm/all ages/$10+. mariblack.com

OK, let’s try this again. Due to shitty weather, this is the new date! As a reminder, this year’s lineup includes “Aeronaut Brewery, Winter Hill Brewing, American Fresh Brewhouse by Somerville Brewing, and Bantam Cider, alongside fine cuisine from the likes of favorites Bergamot, Bronwyn, Kirkland Tap and Trotter and dozens more. New this year are some of Somerville’s more exciting restaurants, like Tasting Counter, and Meju.” Proceeds benefit Somerville CAN. Holy crap, you’re STILL so going to this! Buena Vista Pavilion. 50 Holland St., Somerville. 5:30pm/21+/$50. tasteofsomerville.org

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DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

MUSIC

THE BEST LOCAL ALBUMS OF 2016 (SO FAR)

A cheat sheet of LPs you probably slept on BY NINA CORCORAN @NINA_CORCORAN

Keeping track of new music is hard. Keeping track of new music in Massachusetts, a state that churns out new bands every day thanks to all of its colleges, is even harder. Since we’re halfway through the year (yeah, we don’t want to get into that either), we handpicked 12 albums from our great state that you need to hear. We love Hallelujah the Hills, Kid Mountain, and Mutual Benefit—but we’ve already told you about them. Instead, read on for a handful of local albums you may have missed somewhere between the insane snowstorms of January and Berklee’s noise-filled graduation.

HONEYSUCKLE

HONEYSUCKLE HEAVY ROTATION RECORDS The South doesn’t feel so far if you listen to Honeysuckle. On the band’s self-titled full-length, Americana goes into full charm mode, skipping through Dark Dark Dark vocal swiftness on to the uplifting melodies of the Avett Brothers. It’s hard to write Americana that doesn’t sound flat to Northerners, but the Boston group varies each track with effortlessness—though it does sneak a serious holler into “Vagabond” for kicks.

BLACK BEACH

SHALLOW CREATURES SELF-RELEASED There’s no need to wait for Ty Segall to return when Boston’s got its own garage rock kings. Black Beach charge ahead on Shallow Creatures, an eight-track LP of crunchy punk that gives you more than your fair share of fuzz. It’s perfect for blasting on 90-degree days or in your headphones on a way-too-shitty Monday commute on the T. Oh, the joy of reverb-drenched anger.

MAL DEVISA

KIID SELF-RELEASED Fretless bass, occasional hand claps, and looped distortion allow Mal Devisa’s voice to act as both a storyteller and an instrument, telling intimate lines in a soft-spoken voice on “Fire” and then getting as guttural as tUnE-yArDs for the occasional rap on “Next Stop,” complete with afro-pop rhythms. Mal Devisa is Mitski with more soul, tUnE-yArDs with more tears, and Jaco Pastorius at his most intimate. Most of all, she’s her own character, someone who’s bringing soul back to the forefront without falling in the R&B genre.

SACCHARINE

WE BOTH BECAME THE SKY DISPOSABLE AMERICA Kevin King treats his solo material like a diary left out in a living room. The frontman of short-lived emo act Maura now performs alone as Saccharine, where he combines acoustic guitar with the comfortable buzzes of lo-fi drums and keys. As his debut LP’s title suggests, We Both Became The Sky is as much about surviving in this world as it is about accepting what can’t be changed, offering up advice to curious onlookers who flip through his coffee table prose.

FLAT SWAMP

BY ALL MEANS EP SELF-RELEASED It’s been a long wait for Flat Swamp’s new EP, but now that it’s here, it feels well worth the wait. When not busy playing in Ovlov and Spook the Herd, Theo Hartlett spent the time writing crunchy rock with a power pop angle as Flat Swamp. On By All Means, he channels the sounds of old labelmates Two Inch Astronaut as well as the glossy alt-rock of Mae, even roping in Ovlov bandmate Morgan Luzzi for extra guitar to push things into old-school Weezer territory.

MARISSA NADLER

STRANGERS SACRED BONES Over a decade into her career, Marissa Nadler still knows how to out-do herself. The gothic folk artist uses Strangers not to track her own heartbreak, but rather the world of those around her—and how it impacts her in new ways. There’s no need to hide from darkness when it heals you each time it swallows you whole. From “Janie in Love” to “Katie I Know,” Nadler’s shared a record that will remain fresh on through the fall.

RUBY ROSE FOX

DOMESTIC SELF-RELEASED It’s hard to believe Ruby Rose Fox hasn’t released a studio album as a band—well, up until this point. The local staple recorded, mixed, and mastered her LP with the full band thanks to help from fans, whipping together a crowd-sourced album that’s full of inventive rock pop and bold storytelling. Ruby Rose Fox spent the last few years introducing her music to potential fans. On Domestic, she doesn’t need to. The fans are already here.

MICHAEL CHRISTMAS

BAGGY EYES EP SELF-RELEASED Michael Christmas climbed his way up Boston’s rap scene, and now that he’s sitting on top of it, the young rapper is polishing his golden rhymes. This eight-track EP follows up last year’s What a Weird Day with low-key beats and slick one-liners, reminding us why Christmas is the king of comedy rap even when he’s not trying. Actually, that’s the key to it all. By not taking himself too seriously, Christmas can follow his flow wherever it goes, pointing out entertaining pit stops as he glides along the road.

MAGELLAN

LITTLE CAW SELF-RELEASED Freak-folk has a place in your heart if you let it. Luckily, Emma Jones makes that easy. The modest musician keeps quiet under the moniker Magellan, but her songs will have you singing praise on the regular. The solo project is full of looped beats, ukulele, haunting vocals, and cryptic piano, all layered on top of one another in ways that recall CocoRosie and Antony and the Johnsons.

DINOCZAR

SICK WIND BASEMENT SOUNDS Dinoczar isn’t just another Misson Hill garage band. It’s the sound of Motörhead in an empty tunnel. On its debut album, the trio transforms its live sound into a thundering taunt nearly an arm’s length from metal, prodding the listener until they finally cave and let loose. Trust us when we say those bass lines are too speedy to replicate at home.

AND THE KIDS

FRIENDS SHARE LOVERS SIGNATURE SOUNDS The best pop has rock at its heart. And The Kids takes that method and runs reckless with it on its new LP. It’s an ambitious bundle of playful, catchy, fizzing songs that are as much of a rally cry as they are a chant for people to strive for more in everything they do. One listen to “Kick Rocks” is all it takes to fall in love with the trio’s sound.

THE HOTELIER

GOODNESS TINY ENGINES Behind the metal bands and hardcore heroes of Worcester lays the Hotelier, a trio of dudes who can’t help but put heart into the core of nu-age punk. Goodness brings seriousness to pop punk, a genre usually stifled with sleazy riffs and joking formalities. Every lyric hits close to home; it’s hard for the group to write music that doesn’t do so—especially when it’s backed with such emotional crescendos.

MUSIC EVENTS THU 6.9

INDIE ROCK TO SWING TO PITY SEX + PWR BTTM + PETAL

[The Sinclair, 52 Church St., Cambridge. 7pm/all ages/$14. sinclaircambridge.com]

6.9.16 - 6.16.16

FRI 6.10

TELECOAST ALBUM RELEASE PARTY BEARSTRONAUT + DIRTY BANGS + SUPERHUMAN HAPPINESS + PARTY BOIS [The Sinclair, 52 Church St., Cambridge. 8pm/18+/$12. sinclaircambridge.com]

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SAT 6.11

GIRLS ROCK CAMP BOSTON BENEFIT E (THALIA ZEDEK, JASON SANFORD, GAVIN MCCARTHY) + SHEPHERDESS + VIOLET KNOX + LOST LAKE [Middle East Upstairs, 472 Mass. Ave., Cambridge. 6:30pm/18+/$10. mideastoffers.com]

SUN 6.12

FAREWELL, POP PUNK HEROES MOTION CITY SOUNDTRACK + HAVE MERCY + LET IT HAPPEN

[Paradise Rock Club, 967 Comm. Ave., Boston. 7pm/all ages/$20. crossroadspresents.com]

MON 6.13

GET A-HEADY GRAVEFACE ROADSHOW + STARDEATH AND WHITE DWARFS + CASKET GIRLS + TW WALSH + HOSPITAL SHIPS [Great Scott, 1222 Comm. Ave., Allston. 9pm/18+/$10. greatscottboston.com]

TUE 6.14

WANT MORE WU-TANG? GZA + HEEMS

[Brighton Music Hall, 158 Brighton Ave., Allston. 8pm/18+/$20. crossroadspresents.com]

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HIPPO CAMPUS SAT 6/11 - 10PM

HEROES DJ CHRIS EWEN SUN 6/12

THE SOLVE FOR X VARIETY SHOW TUE 6/14

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

FILM

TALKING SHOP

IFFBoston presents a Brian De Palma program that peeks backstage BY JAKE MULLIGAN @_JAKEMULLIGAN When you read film criticism—especially when you’re reading it online in 2016—it typically comes from one of two angles. The first one is the artistic expression approach—“what did that movie mean?” The second one is the social value approach—“is that meaning agreeable in political and ideological terms?” Occasionally you get the auteurist approach—“what did one creative personality do to give that meaning some distinction?” Much rarer are discussions centered around the craft of making movies—“what techniques were used to create that meaning?” And rarest of all is the business angle— “why was this movie made?”—because the answer to that question is almost always the same: Movies are made to create revenue and to advance careers. That’s why it’s so instructive for obsessive filmgoers to hear directors speak about their craft. When we talk about movies, we talk about art. But when they talk about movies, they’re talking business. We’re the watchers. They’re the workers. This week, two overlapping retrospectives—one is a series of films, the other is one of the films themselves— help to honor such a worker. The Independent Film Festival Boston and the Somerville Theatre will present screenings of films by Brian De Palma in the form of The Untouchables (6/13), Scarface (6/14), and The Bonfire of the Vanities (6/15). That trio will be punctuated by an advance screening of De Palma (6/15), a nonfiction interview film directed by Noah Baumbach (Frances Ha) and Jake Paltrow (Young Ones). It’s likely safe to assume that the two younger directors conducted the interviews personally. But the only thing you see during De Palma is the man himself and the images he created: De Palma faces the frame and talks through his career from stem to stern, offering comments on each of his films and projects— not just Carrie and Mission: Impossible and the ones you know, but also Home Movies and Wise Guys and the ones you never saw. This project seems to have developed out of interviews that Baumbach conducted with De Palma for the Criterion Collection, which are available on the Blu-ray releases of Blow Out and Dressed to Kill. Those were presented in a conversational format. De Palma is different. The film has been edited—by Matt Mayer and Lauren Minnerath—into the form of a one-man show. They’ve made the director’s recollections into a featurelength monologue, interrupted only by visual evidence from his own films. It’s a deposition. The obvious response is to call De Palma a featurelength DVD bonus feature. But we’ve seen those, and they’re deliberately heady talks—film-nerd stuff, with Baumbach questioning De Palma on his use of space (magnificent) or his taste in composers (same). De Palma

is a more candid experience. It’s not exactly Hollywood Babylon, but De Palma (who’s now 76 years old and hasn’t directed a film within the Hollywood studio system for over 10 years) has no need to temper his expression. He speaks openly about the way one of his films was upended by a lousy lead performance (Obsession). Or about the way a studio capsized another picture by cutting out the director’s preferred finale (Snake Eyes). His candor applies to his own shortcomings, as well, like when he details his inability to handle a mega-budget (Mission to Mars). Past that, most of the conversations are technical. It’s shop talk. One segment has De Palma explaining how he searched for the right amount of split screen to use during the finale of Carrie, which was modulated exclusively for the sake of audience coherence. Another segment details arguments surrounding the finale of Impossible, with its numerous collaborators split on which finish would bring the biggest profit. So even the craft of filmmaking is often presented as a means to a business’ ends, which is to say that the workers are speaking honestly. Sure, there’s some “Criterion Collection” in De Palma. But there’s also Variety and American Cinematographer. One text looms largest over De Palma, and it’s called “Hitchcock.” His influence has been well documented, and that continues here: De Palma talks about Hitchcock the way that you suspect an apprentice painter may have spoken of the elderly Titian. He sees Hitchcock’s explicitly omniscient aesthetic as being the peak of the cinematic form and admits dedicating himself to the creation of modernized facsimiles. The editing of De Palma centers that spectatorial apprenticeship as an integral comment, one that relates to the form of all De Palma films, both the blatant Hitchcock riffs (Obsession and Body Double,, et al.) and the rest. But it’s not just the director Hitchcock who casts his shadow. It’s also the text. “Hitchcock”—a book-length record of interviews conducted between the Master of Suspense and the French filmmaker François Truffaut, first published in 1966 and reprinted ever since—is De Palma’s godfather. “Hitchcock,” often stylized as “Hitchcock/Truffaut,” is almost spartan in its workmanlike appraisal of the filmmaking apparatus. Hitchcock describes elements of the craft in terms of their ability to affect the audience, rarely in terms of their ability to facilitate artistic expression. (When he does get personal, he often asks Truffaut to turn

the recorders off.) De Palma and De Palma even seem to have inherited some of their cinematic verbiage from that seminal text. (True to the tradition, the elder director proves testy whenever he’s pushed on personal matters.) Maybe you’d call this a spiritual successor. The connections do run deep. De Palma is a lifelong Hitchcockian, with whole films to show as receipts. And Baumbach, the technical maestro’s more gentle admirer—the François to his Alfred—has been lifting score music from Truffaut movies for use in his own films for years now. It’s likely an intentional allusion, but you can feel these two trying to stake their own adjacent places in cinema history. They’re chasing ghosts. They’re doomed to fall short. But at least they’re running in the right direction. Last year saw the premiere of Hitchcock/Truffaut, director Kent Jones’ feature-length nonfiction appreciation of the eponymous text. That documentary saw an all-star team of semi-establishment directors—David Fincher, Wes Anderson, James Gray, Richard Linklater, and Martin Scorsese among them— speak about the profound influence they found in the book. It’s an enjoyable watch, marked by an emotive appreciation of Vertigo by Scorsese. But De Palma better captures the workaday pragmatism and technical expertise extolled in Truffaut’s most famous text. The people featured in Jones’ film spoke with a reverence detached from any actual experience. But the stories and conversations that are recorded and presented in De Palma? They’re direct from the set and unembellished by any semblances of self-importance. De Palma is a great artist, but the greatest pleasure of De Palma is that he never speaks like one.

>> THE UNTOUCHABLES. MON 6.13. RATED R. SOMERVILLE THEATRE. 55 DAVIS SQ., SOMERVILLE. 7:30PM. 70MM. $15. >> SCARFACE. TUE 6.14. RATED R. SOMERVILLE THEATRE. 7:30PM. 35MM. $10. >> THE BONFIRE OF THE VANITIES. WED 6.15. RATED R. SOMERVILLE THEATRE. 7:30PM. 35MM. $10. >> DE PALMA. THU 6.16. RATED R. SOMERVILLE THEATRE. 7:30PM. TICKETS ARE FIRST-COME, FIRST-SERVE AND REQUIRE A PASS FROM IFFBOSTON.ORG

FILM EVENTS FRI 6.10

‘PRIME NOIR OF THE 1950s’ CONTINUES WITH IN A LONELY PLACE

[Brattle Theatre. 40 Brattle St., Harvard Sq., Cambridge. 5:30, 7:30, and 9:30pm/NR/$9-11. 35mm. brattlefilm.org]

6.9.16 - 6.16.16

FRI 6.10

SAT 6.11

[Coolidge Corner Theatre. 290 Harvard St., Brookline. Midnight/NR/$11.25. 35mm. coolidge.org]

[Harvard Film Archive. 24 Quincy St., Harvard Sq., Cambridge. 7pm/R/$7-9. 35mm. See hcl.harvard. edu/hfa for other films and showtimes.]

COOLIDGE AFTER MIDNIGHT PRESENTS MORE MARTIAL ARTS CINEMA THE EIGHT DIAGRAM POLE FIGHTER

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THE ROBERT ALDRICH RETROSPECTIVE CONTINUES WITH ULZANA’S RAID

MON 6.13

‘PRIME NOIR’ PRESENTS FRITZ LANG’S THE BIG HEAT

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

TUE 6.14

THU 6.16

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

[Coolidge Corner Theatre. 290 Harvard St., Brookline. 7pm/PG/$11.25. coolidge. org]

‘PRIME NOIR’ PRESENTS SAMUEL FULLER’S THE CRIMSON KIMONO

REWIND! FILM SERIES PRESENTS BILL AND TED’S EXCELLENT ADVENTURE

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GAME CHANGER!” -Metro

“ELOQUENT.” “IRONIC BEAUTY.” -Variety

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.” 1/2

-The Boston Globe

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NEWS TO US

FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

ARTS

BACK IN BOSTON

Marin Mazzie & Jason Danieley Return to the Pops BY CHRISTOPHER EHLERS @_CHRISEHLERS Broadway power couple Marin Mazzie and Jason Danieley have been performing with Maestro Keith Lockhart and the Boston Pops for almost 20 years. Mazzie, a three-time Tony nominee for Passion; Ragtime; and Kiss Me, Kate, recently made her triumphant return to Broadway in The King and I following a yearlong battle with ovarian cancer. Mazzie and Danieley were scheduled to perform together with the Pops last spring, but her health kept her from making the trip and Danieley (The Full Monty, Curtains) ended up performing without her. Now, one year later, she’s back where she belongs. On June 15 and 16, they join Lockhart and the Pops (alongside Laura Osnes and Justin Hopkins) for The Golden Age of Broadway, a celebration of Broadway’s most cherished show tunes. Here, Mazzie and Danieley open up about their extensive Broadway careers and the difference a year can make.

MM: That show, as it continues to be performed all over the world, has given voice to a lot of people who either suffer from bipolar disorder or depression—any mental illnesses—and their families. And I think that’s a thing that was incredibly moving to both of us. And still, how people talk about it when we see them. For me, all the shows I’ve done have their very special things, but I love playing Anna Leonowens [in The King and I] right now. She’s an extraordinary woman of her time, and she’s such a humanist with her desire to educate and to help people. I have great, deep respect for her. It’s always wonderful when you play women that you have deep respect for.

What is it about the Boston Pops that keeps you guys coming back? MM: It’s an amazing orchestra, historic and all of that. Also, it’s interesting because we sort of started singing with them when Keith started, and we developed a great relationship with him and the orchestra over these years. We just love coming up there; we love Boston and the orchestra is so wonderful to sing with. For this concert, The Golden Age of Broadway, what will you be singing? JD: We’re doing something from Oklahoma! and I’m singing “Soliloquy” from Carousel, as far as Rodgers and Hammerstein. I’m singing “Trouble” from The Music Man and “Sit Down, You’re Rockin’ the Boat” from Guys and Dolls. MM: I’m doing “So in Love” from Kiss Me, Kate, “Hello Young Lovers” from The King and I, “Some People” from Gypsy, and “Whatever Lola Wants” from Damn Yankees. JD: It’s really a smattering of the greatest songs from Broadway. Last spring you were scheduled to perform at the Pops, and Marin, you were not able to. I’m so glad that you are able to come back and that you’re performing. You’re so inspiring. What a difference a year makes, right? MM: Yes, truly. A great difference, that’s for sure. I’m overjoyed—that doesn’t even describe it. I can’t put into words how happy I am that I’m going to be back up there and able to sing this year and that I’m back on Broadway doing a beautiful prod[uction] of The King and I and playing an amazing role. I’m feeling very grateful and blessed. What was your opening night like? What were you feeling? MM: We kind of had two: May 3 was our first performance and that just was a great feeling to just be back on stage, you know, and then we set the official opening night for May 19 to give Daniel Dae Kim, my costar, and I a couple weeks to do the show and catch up with everyone else who had been doing it for a year. I had a lot of people from my life there that night, from my mom and my brother and obviously my husband, to friends from childhood to my close friends here in New York City, so it was a really, really special, beautiful, overwhelming evening full of a lot of love and joy. All the people that were there had been very much a part of my journey this past year. It was a big celebration for all of us.

Congratulations. MM: Thank you. Chicago has been running just a bit longer than The King and I, but what is it like to step into a long-running musical? MM: For me, with Anna, we got to go back to work with Bartlett Sher, the director. It was wonderful that I got to go in with a King, that we were going in together, so we were really creating our own version of it. We had a whole different take on things because we’re two very different actors, and that’s what we find when you take over. None of the shows that we’ve taken over—Next to Normal, Spamalot—there isn’t anyone asking you to be like anybody. They’re hiring you because they want Marin Mazzie to play Anna, they want Jason Danieley to play Billy Flynn. They want to see what you are in that role, they don’t want you to be somebody else. JD: Going into Chicago, which has been running for 20 years coming up this fall, it’s kind of an incredible acting exercise because you learn your lines, you learn the music, and you’re plugged into that show. One rehearsal with the whole company, and then boom, you’re jumping onto a running locomotive. It’s fun because you’re playing with people who know the show so well, and over a threemonth period, I had six different Roxies. Each person that comes in brings in a completely different characterization to these iconic roles and you just get to play and have fun. What I realized as I was reading through your credits is that both of your work has been such a part of the fabric of my life. I was holed up in my room as a child listening to Passion; The Full Monty; Ragtime; and Kiss Me, Kate, dreaming of this place called New York. And when I moved there for college, I got to see you in things like Man of La Mancha, Spamalot, and Curtains. Both of you have made such an impression on my life. MM: Aw, thank you. JD: That’s very nice of you to say.

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Of all your Broadway roles, what has been the most fulfilling? JD: One of the most fulfilling shows to do was Next to Normal because it was together. That was exciting. Also, it’s a very important musical; not all musicals can be categorized as important. It was really gratifying to work together and also to be in something that moved so many people.

Of the songs that you regularly perform together, which have taken on a new meaning given what you’ve been through this past year? MM: “Back to Before” from Ragtime, which is a song I sing a lot. I’ve sung it over the years many different times in concerts for many different occasions. It’s one of those songs that’s really a gift and it sort of fits any situation. But last December when we sang in San Francisco was the first time I had sung it post-surgery and post-chemo. I didn’t know if I was in remission or anything, but I had never sung the song about myself. It was the first time I had ever sung it as Marin singing, “We can never go back to before.” And so that took on a new kind of life for me, that day. In that same concert we sang “Move On” from Sunday in the Park with George, and that’s another amazing, beautiful lyric and song and has had meaning every time we’ve sung it, but I think it took on a different meaning, at least for me. I think for Jason, too. JD: Definitely. We found, in that particular concert, since it was post-surgery and chemo, that everything had a completely different take, even songs that we’ve sung a million times, it’s like, “Oh, wow.” Our lives have completely changed over the last year, and those songs that we are identifying with and that are so specific like “Back to Before,” or a song that John Kander wrote for me for Curtains, “I Miss the Music,” took on a strong meaning because it was still very close to the feelings of unknown: Will Marin be in remission? So the whole idea of “I miss the music, I miss my friend,” was still kind of a fresh wound. It’s amazing how things can evolve in meaning over time. MM: Oh, yeah. JD: That’s good writing. It’s exactly that. JD: I can probably sing “The Music of the Night” and not have one ounce of feeling one way or the other. It’s not something I identify with. But Sondheim, and Kander and Ebb, and Ahrens and Flaherty are just such good writers that their stuff transcends being in the context of a show. Marin, how did you keep your voice so strong during the chemo? MM: Well, I don’t really know. I didn’t sing a lot while I was going through my—I call it—“healing therapy,” my treatment. I went to my voice teacher a couple times and vocalized, and I just think it is part of me, and it stayed with me. But going back and doing eight shows a week, I notice my voice getting stronger every night. It’s like anything, it’s like my body—when you go through the healing therapy it does deplete your muscles and a lot of your strength is taken, or is needed. I’m blessed with a good instrument.

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BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET I have a health question/problem. About a week and a half ago, the wife and I had sex. Being the genius that I am, I got the idea to put two condoms on because I thought it would help me last longer. (Spoiler alert: It didn’t.) The problem is, I guess the double condoms were too tight, and climaxing hurt quite a bit. For all intents and purposes, it’s like I duct-taped the tip of my penis shut and tried to blow a load. Even days after, the left side of my penis head was really sensitive and it hurt. It’s gotten better, but it’s too sensitive to touch from time to time. I have a doctor’s appointment to make sure I’m okay, but it’s two weeks away. I’m a little worried I may have hurt my prostate or urethra or something. From my basic googling, there doesn’t seem to be any medical advice about this. Help please? Penile Problem Possessor “The application of an external constriction to the penis did potentially cause the pressure in the urethra to rise, possibly traumatically, during ejaculation,” said Dr. Keith D. Newman, a urologist, a fellow of the American College of Surgeons, and a regular guest expert in Savage Love (his most prestigious professional accomplishment). In other words, PPP, somehow those two condoms conspired to dam up your piss slit— aka your urethral meatus—and the force of your impeded ejaculation damn near blew off your cock. “We sometimes see a similar phenomenon occur with people who wear constriction bands or cock rings that are too tight and try to either urinate or ejaculate with the ring on,” said Dr. Newman. “The result is a traumatic stretch of the urethra and microscopic tears in the lining of the urethra (mucosa). This disruption in the lining allows for electrolytes in the urine (particularly potassium) to stimulate the nerves in the layer beneath the lining (submucosa), thereby creating a chronic dull ache, such as PPP describes.” Your urethra should heal just fine in time— within a couple of weeks—but there are meds and other interventions if you’re still in pain a few weeks from now. “The bottom line is never impede urination or ejaculation by obstructing the urethra,” said Dr. Newman. On the Lovecast, sex blogger Ella Dawson on the herpes stigma: savagelovecast.com.

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