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VOL 18 + ISSUE 26

JUNE 30, 2016 - JULY 7, 2016 EDITORIAL EDITOR + PUBLISHER Jeff lawrence 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

DESIGN CREATIVE DIRECTOR Tak Toyoshima INTERN Alina MacLean COMICS Tim Chamberlain Pat Falco Patt Kelley

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DEAR READER The Fourth of July is our annual exercise in excessive patriotism and an increasingly nationalistic fervor.

Ok, it’s also about hot dogs, toes in the sand, and drinking a beer called America. But lately, the chestthumping has been front and center, and damned if you dare to not fly the flag off the back of your Chevy pickup. There’s an apple pie somewhere that died for your sins, muthafucker!

It would be nice, however, if we could all just take a step back and look at the why behind this holiday, and take a deep breath for the people around us who also fought like hell just so they could enjoy this unparalleled freedom. After all, we’re all immigrants who at some point in our lineage have that moment when our Independence Day became ours. Maybe we came over on the Mayflower and found refuge in our search for better beer, or maybe it was through Ellis Island during the great sausage famine in the late nineteenth century, or maybe we scurried under a fence escaping a life of fear and crime in hopes that we may someday have a better life working under the fear of deportation. Whatever it was, it was, and I don’t imagine that will change anytime soon.

I for one hate Chevy, could do without the apple pie, and only eat hot dogs when I’m drunk, so bring on the tacos, Hondas, and crème brûlée. Viva la America!

Certified Beer Sniffers 9 2 H A M P S HIR E S T, CA M B R ID G E, M A | 6 1 7-2 5 0 - 8 4 5 4 | L O R D H O B O.C O M

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ON THE COVER

Bruno “The Living Legend” Sammartino is the longest reigning champion in the history of WWE wrestling. And you’re not. ©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.

Dear Parents, Your fucking two-year-old leaned toward my table at a coffee shop yesterday, apparently appalled that I said the word “stupid,” and then proceeded to rat me out to you. As if there’s anything that you can do about it, you preppy twerps. I know the little fucker didn’t make that up himself, which means his dumbass parents must be teaching him that innocent words like “stupid” are bad. That’s fine, but then just don’t let the kid leave the house from now on. Move to the Midwest and homeschool the little bastard while you’re at it, because around here, in my coffee shop no less, I’ll say “stupid” as much as I please, and anyone who tells me otherwise from now on will get a couple lungfuls of secondhand cigarette smoke on their way out the door to accompany my departing profanity-laced rant about yuppie parents.

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How an ‘Entourage’ poster became an obsession of Boston.com and then vanished without anyone noticing that a former ‘Jeopardy’ contestant took it home

BY RYAN H. WALSH @JAHHILLS Visual metaphors are helpful. In a complicated world that’s often confusing, a powerful image that represents the story behind that image can be invaluable. That’s why it’s so perfect that Boston.com latched so thoroughly onto a saga that neatly described how we all felt about the long-running HBO series “Entourage”—a lingering lowgrade menace that won’t seem to go away.

Premiering in 2004, “Entourage” wove a tale semibased on executive producer Mark Wahlberg’s rise to movie star fame and the sweet bros who stood by his side through it all. In the early days of the program, it was a minor critical rave, with even the New York Times declaring, “Nothing on network television is as smart, original and amusing.” But as the show continued its exploration of the Hollywood-obsessed lives of its cast, the boys-will-be-boys-mentality landed on a collision course with a widespread cultural rejection of bro culture.

By June 2015, as the characters returned to the big screen for the first time since the TV show ended in 2011, many moviegoers were quick to mention they were only buying a ticket in order to hate-watch it.

It was around this time that Boston.com ran its first article about a Cambridge restaurant called India Castle that couldn’t seem to get rid of a framed, mounted poster for the television show “Entourage.” As reported in a story titled, “Indian restaurant trapped with ‘Entourage’ poster for 5 years,” “[Restaurant owner Rabhbir] Singh said the poster has been locked in the frame, which is bolted to the wall, for years. He said a representative from a local TV 4

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station made him a deal—let us come change the poster in the box every two weeks, and we’ll pay you. Singh said he can’t remember how much he was supposed to be paid because the representative put the “Entourage” poster in and never came back.” There it was. The perfect visual metaphor for the show everyone loves to hate.

Building on the popular response of the article (Vox, Entertainment Weekly, and Mashable all picked up on it), Boston.com followed up on the piece a few days later speculating on what would be involved, and how much money it would require, to remove the poster, which was now being described as a “curse.” It was estimated it might cost up to $2,500 to properly remove the bolted frame as it also involved electrical elements; the poster once lit up via an internal lighting system, though those lights had stopping working years ago, Singh explained.

(Boston.com’s predilection for bizarrely specific and underwhelming stories related to all things Mark Wahlberg has been noted and documented in an ongoing thread on Reddit.)

The “cursed poster” story faded, a year passed, and the “Entourage” homage remained firmly bolted on the wall of the India Castle. But last week, when the restaurant announced it was closing, the story roared back to life on Boston.com. “Indian restaurant cursed with ‘Entourage’ poster closes, but poster will live on,” the story explained, wherein the new owners’ lawyer told a reporter, “They certainly want to keep it. It’s an interesting piece of history at the location.” The article once again referenced the

possible costly nature of removing the framed visage of Vince Chase and his free-loading buddies gathered around a table presumably enjoying each other’s company.

This would all be fine, if not for the fact that the poster is actually no longer on the wall of 928 Mass Ave. In reality, former “Jeopardy” contestant Tom Ricketts took it home on June 12, a full four days before Boston.com published the article. “I can’t believe everything I read on the internet,” Ricketts, 35, wrote on his Facebook wall in response to the Boston.com article that claimed the poster was still on the wall of the restaurant. “This poster is now in my living room.”

When I reached out to Ricketts to inquire how this came to be, everything he told me was in opposition to the facts as reported by Boston.com.

“Surely it must have been difficult to remove?” I asked.

“The whole premise of this poster is that it’s unmovable, and even a bit of a curse?”

“That was the bizarre part. I had it removed in about five minutes, and I’m no mechanical whiz,” Ricketts explained. “It was attached to the wall with six simple Phillips screws.”

I re-explained the original fascination Boston.com had with the poster to Mr. Ricketts, who was a one-time contestant on “Jeopardy” in 2006 and currently lives in West Roxbury, and none of the claims of the multiple articles ring true to him. Boston.com originally reported in 2015, “It’s been locked in the frame ever since. Singh doesn’t have the key.” Ricketts disagrees, “The case itself wasn’t even locked! Just closed with a hand-tightened screw!”

The whole scene went down on the closing night of India Castle. A frequent customer of the restaurant’s Sunday buffets, Ricketts had previously asked Singh if he would mind if he took the poster home on the closing night of the restaurant. “Sure,” said Singh. On June 12, after the last few customers exited, Ricketts and a friend went to work.

“It’s amazing what you can get just by asking and investing minimal effort,” Ricketts remarked.

But what about the electrical issues Boston.com conjectured might lead to costly electrician fees? “When we cut the electrical wire, we didn’t bother to cut the power, so we caused a bit of a spark and blew out a few of the lights,” Ricketts told me blaming his slight blunder on the gin and tonic he had consumed at the restaurant earlier that night. “But we didn’t even scratch the wall itself and a cook came out and flipped the circuit so the lights came back on. No harm, no foul.”

Ricketts first encountered the HBO series around 2005 when he was living with four male roommates in Braintree. “The show always seemed to be on,” Ricketts explained, “and so eventually I kind of got into it. I think it jumped the shark in season four though.” Ricketts is planning on installing the “cursed” poster on the wall of his finished basement, overlooking his regulation size billiards table. That is, of course, unless the new owners of the restaurant truly are hell-bent on keeping the pressmagnet collectible.

“I’d sell it to the new owners for … Oh I don’t know … $500 or some other reasonable offer? Otherwise, I’m glad to have such an interesting conversation piece in my house.”

“What was more difficult, being a ‘Jeopardy’ contestant or removing this ‘Entourage’ poster?” I asked.

Ricketts laughed. “‘Jeopardy’ for sure. It’s easy to play at home. But when Alex Trebek is a few feet away from you it’s a whole different ball game.”

Makes sense. Or as the theme song to “Entourage” would say, “Oh yeah!”

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ADDENDUM Since the list of current Economic Assistance Coordinating Council members is not on the Economic Development Incentive Program website, EDIP staff was kind enough to provide a copy upon request:

CY 2016 EACC Board Members Director of the Office of Business Development (or Designee) Co-Chair Ms. Carolyn Kirk Ex Officio

WELFARE KINGS

Baker moves to make corporate giveaways even sweeter

BY JASON PRAMAS @JASONPRAMAS If you think that the Commonwealth of Massachusetts and the City of Boston lavishing $270 million in tax breaks and direct aid on General Electric in exchange for moving their world headquarters to the Hub is unconscionable, you should realize that the deal is only a more extreme example of the existing government gravy train for corporations hereabouts. In fact, to focus on but one of several programs that give public money away to businesses for dubious reasons, the state government is already able to dole out a total of $30 million in Economic Development Incentive Program (EDIP) tax credits each year to all approved corporate applicants.

But that’s apparently not enough for Charlie Baker. The governor sponsored an economic development bill in January (H.4413, formerly H.3983) that will allow the EDIP cap to be boosted to $50 million a year whenever another big GE-style deal is in the offing. And with the House expected to vote on it this week and the Senate next week, the proposed legislation is well on its way to passage.

The tax credits in question are approved by the Economic Assistance Coordinating Council (EACC)—a 14-member board consisting of seven gubernatorial appointees (representing six regions of the Commonwealth and one institution of higher education) and seven high-level state government officials (one of those seats being currently vacant). The EACC meets quarterly to approve EDIP credits, and local Tax Increment Financing (TIF) credits proposed by qualified municipalities.

Interestingly, as reported in the Boston Business Journal, General Electric did not go for EDIP tax credits to help finance its new world headquarters in Boston. “It’s not necessarily that GE did not want EDIP credits or that the state felt infrastructure grants alone were the most attractive package, according to [Mass Secretary of Housing and Economic Development Jay] Ash. It’s that the state’s options for GE under the current incarnation of EDIP were limited.”

Baker’s economic development bill would make things significantly less limited for companies like GE —or, as the press buzz would have it, for the “next General Electric.” Because the already undemocratic EDIP process, overseen as it is by unelected staffers and appointees on the EACC, would be made even more undemocratic in the case of what the bill calls an “extraordinary economic development opportunity.” In a manner that CEOs on the make will find most advantageous.

And what exactly is an extraordinary economic development opportunity? It’s the situation that arises when a giant corporation like GE wants extraordinary amounts of state money to site facilities in the Commonwealth. To paraphrase the bill, if the secretary of the Executive Office of Housing and Economic Development and the secretary of the Executive Office for 6

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Administration and Finance agree that a corporation is going to build or rehabilitate a significant facility in Massachusetts, or relocate a business to Mass from a facility outside the Commonwealth—and either create at least 400 new jobs, or create at least 200 new jobs in a “gateway municipality” (state government speak for an economically depressed city) or in an adjacent city or town that is accessible by public transportation to residents of a gateway municipality—then it can be declared an extraordinary economic development opportunity and become eligible for much bigger EDIP tax credits than have been allowed heretofore. So large that the EEAC will be allowed to extend the total amount of EDIP credits it’s allowed to hand out in a single year from $30 million to as much as $50 million.

To clarify, let’s say that there are 29 companies each getting $1 million in EDIP tax credits in a particular year. Then a big company like GE comes along, and also qualifies for $1 million—which means that the EEAC has given out the $30 million in tax credits it’s allowed to disburse annually. Under H.4413, the big company can then be declared an extraordinary economic development opportunity and qualify for up to another $20 million. Reaching the special new cap of $50 million in EDIP credits for that year.

Two points to consider here: First, the above bill language is clearly aimed at enticing large companies like GE to move major facilities here from another state. And perhaps GE is planning to go back to the public trough and apply for the newly expanded EDIP tax credits if the bill passes. One might even surmise that this language was written just for GE. Second, such a move cannot be stopped by normal means.

According to the bill, the “decision by the secretaries to designate or not to designate a proposed project as an extraordinary economic development opportunity shall be a decision that is within the sole discretion of each of the secretaries, and may include such conditions as the secretaries shall in their discretion impose. Such decisions shall be final and shall not be subject to administrative appeal or judicial review under chapter 30A or give rise to any other cause of action or legal or equitable claim or remedy.”

Thus vast sums can be given away to big business by the Baker administration and its successors to favored corporations with no easy possibility of reversal.

Shocked? Outraged? Good. There’s still time to stop H.4413.

Make GE Pay, the grassroots coalition that’s working to stop the GE Boston deal, has announced that they are working with Sen. Jamie Eldridge (D - Acton) and other legislators to remove—or at least improve—the EDIP cap section of the bill. Contact coalition coordinator Eli Gerzon (eligerzon@gmail.com) for details. And follow Make GE Pay on Twitter (@makeGEpay) and on their Facebook page (facebook.com/makeGEpay) to keep up with all the latest.

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

Director of Career Services (or Designee) Mr. Ken Messina (designee) Ex Officio Secretary of Labor and Workforce Development (or Designee) VACANT (designee) Ex Officio Representative of MOBD designated by the Director of Office of Business Development Mr. Nam Pham (Ex Officio) Representative of MOBD designated by the Director of Office of Business Development Ms. Annamarie Kersten (Ex Officio) Director, Commonwealth Corp. (or Designee) Ms. Rebekah Lashman (designee) (Ex Officio) WESTERN REGION REP. Ms. Kathleen Anderson (Governor) CENTRAL REGION REP. Mr. Paul F. Matthews (Governor) EASTERN REGION REP. Mr. Drake Behrakis (Governor) SOUTHEASTERN REGION REP. Ms. Jennifer Menard (Governor) CAPE & ISLANDS REGION REP. Mr. David Keator (Governor) MERRIMACK VALLEY REP. Mr. Joseph J. Bevilacqua (Governor) Representative of Higher Educational Institute Dr. Michael D. Goodman Ph.D. (Governor)

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

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WRESTLING RETURNS TO FENWAY THROWBACK

In the summer of ‘69, baseball took a back seat to body slams in Boston When we found out that the first no-holds-barred throwdown at Fenway Park in more than 45 years was planned for last weekend during the 2016 Latino Family Festival, we instinctively dashed to the archives. The last time the Red Sox hosted clashing giants was on June 28, 1969, when heavyweight icons Killer Kowalski and Bruno Sammartino fought their third Boston match of the year (Sammartino won the first round, in April, while Kowalski took the World Wide Wrestling Federation (WWWF) title in a controversial win in May; both of those spectacles took place at the Boston Garden).

Kudos to the organizers of the 2016 event, who also looked to the history books. The poster for their “wrestling show” was a tribute to the Sammartino-Kowalski fight card, several copies of which are still floating around. As are several testaments to the affection which Bostonians had for wrestling well into the second half of last century, like this account from thesportshit.com that is preserved on wrestling fan sites: Many times it does seem as if it is some of the sporting public’s very dubious disdain for “fake” wrestling that gets its incredible history left out of the books and libraries … Just the numbers, though, scream for wrestling to at least be included in its history: Take for instance that through the 1930’s (The Great Depression years, mind you) the average attendance for a Red Sox game was 6, 308; for a professional wrestling event it was 17,666.

The same article notes the 1969 “Sicilian Stretcher Match” between Sammartino, the champ at the time, and Kowalski, a luminary villain in his own right: A beloved champion versus one of the most feared heels to ever compete was a hot enough feud and big enough match to bring wrestling back to the park for one shot in the summer of ’69. Bruno defeated his antagonist in the “Sicilian Stretcher Match” on a WWWF card that also featured The Sheik, Fabulous Moolah, George Steele, and Lou Albano.

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More from an excellent history of Boston wrestling that appeared in the Boston Globe in 2004: Sammartino attracted so many Italians to the Garden that some North End restaurants were kept open late so Sammartino could dine after a match. “I really did love Boston,” Sammartino said in a radio interview transcribed in the book “WrestleRadio U.S.A.” by West Roxbury’s Ed Symkus and Vinnie Carolan. “After the matches, I would go to the North End. . . . The [restaurant] owner came from Europe, too. He’d keep the place open and it was just great.”

A writeup from the official Boston Red Sox site: Over 12,000 gathered to watch the first wrestling carnival held at Fenway Park since the days of Dan O’Mahoney and Gus Sonnenberg in the 1930s. With ringside tickets at $10, the infield was filled on a hot, steamy night as fans roared for such grapplers as George “The Animal” Steele, Victor Rivera, Slave Girl Moolah, Vivian Vachon and the Boucher sisters. The main event showcased Bruno Sammartino and Killer Kowalski and was contested both in the ring and on the surrounding infield dirt in the “no referee” bout.

And more from the History Channel, which (like the Globe at the time) reported that there were 17,000 people in attendance at the “Fenway Smackdown”: A crowd of 17,000 passed through Fenway’s turnstiles to watch a professional wrestling card featuring stars such as George “The Animal” Steele, Lou Albano and “Slave Girl Moolah.” In the main event, Bruno Sammartino grappled with Killer Kowalski in a noholds-barred, no-referee bout, much of which spilled onto the infield grass surrounding the ring. Despite a miraculous recovery by the villainous Kowalski after he rolled off a stretcher onto the field and had beer poured on him by raucous fans, Sammartino emerged victorious and held onto his championship belt.

And finally some color from legendary Globe sportswriter Peter Gammons: Everyone had come to see Bruno, the terror of the North End, pummel the Killer in the heralded showdown stretcher match. Bruno had the champion’s belt, and the Killer was dead.

Referees Tom McNeeley and John Stanley tried to carry the Killer out of the ring on the stretcher, but the huge terror rolled off onto the infield grass and, lo and behold, with beer being poured on him by the hysterical fans, he climbed back into the ring for a last attack.

Naturally, it fell short.

The Killer had gotten his jump on Bruno early. When Bruno was escorted to the ring by his entourage, Killer was waiting for him and launched a brutal sneak attack, eventually breaking out his feared claw hold.

It looked bad for the hero, but Bruno broke loose. He rallied, applied his famed bear hold and the Killer was going fast. The crowd pushed towards the ring, sensing the kill. They were like children at a Saturday matinee.

When the Killer tried his dirty chair trick, Bruno took it away and clubbed him until he couldn’t stand. With the “Killer’s a bum!” ringing out in the night, the fans went berserk.

This throwback was produced in collaboration with the Boston Institute for Nonprofit Journalism. For posts connecting old headlines with contemporary news stories, check out medium.com/binj-reports/tagged/throwbacks.

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THE NAME GAME FEATURE

How a motorist in Lawrence was nearly killed for requesting that a cop identify himself

BY MAYA SHAFFER @BSEXAMINER “You’re going to see people drawing their guns, all pointing their guns into my car.” Steven Cepeda is describing his terrifying encounter with Lawrence police after he was stopped in the lot of a pizza shop on April 14.

“Then a police officer on the righthand side—he starts bashing my window with a baton, trying to break in.

That’s when I noticed they might kill me.”

In dealing with Cepeda, the Lawrence police opted to escalate a vehicle stop to the point of threatening to use potentially lethal force (while endangering bystanders and other officers) rather than identify themselves, then violently arrested and refused to provide medical aid for the victim of their aggression whose car they trashed and phone they smashed.

What violent crime did Cepeda commit to earn such treatment? He recorded video of a traffic stop and demanded that an officer tell him his name and the reason he was pulled over, then asked for a supervisor when the officer refused to answer his questions. In Massachusetts police officers are required by law to identify themselves.

Cepeda stopped in the parking lot of Pronto Pizza when a police van pulled in behind his vehicle and turned on its lights. Cepeda began taking a video of the interaction before officers even exited their van and recorded all but the end of it. A passerby recorded the end—leaving only a minimal gap. While some will argue that Cepeda was rude in his demands, it’s impossible to argue that the police response was acceptable.

According to a report filed by Officer Luis Olivo, who was the cop in the police van, he called for backup before even beginning the interaction with Cepeda because Cepeda was “saying that he was recording and that he knew his rights.” Olivo then approached Cepeda’s vehicle after backup arrived.

The video Cepeda shot shows that he requested several times for Olivo to identify himself, and that Olivo refused. This in turn led to Cepeda refusing to provide Olivo with his license despite a different law requiring him to do so. After both men reissued their demands to see ID, Olivo threatened to arrest Cepeda for failure to produce identification, so Cepeda asked to speak with a supervisor. Olivo’s report leaves out that his refusal to identify himself led to Cepeda’s refusal to provide his ID, and also omits Cepeda’s request for a supervisor.

While it may seem strange that a police officer would file a demonstrably false report that they know will be contradicted by video evidence, it makes some sense

in this case because Lawrence police officers smashed Cepeda’s phone. If the smashing of his phone had destroyed the video—it didn’t—the police report would be left practically uncontestable. Plus it’s Lawrence, where the police chief has already suggested that he doesn’t care what misconduct a video shows. This isn’t the first time we have broken news about cops in that city attacking people who record them; the last time, Chief James Fitzpatrick lied outright about the incident despite the video.

In this instance, instead of getting to see a supervisor like Cepeda requested, the motorist was surrounded by police officers with guns drawn. (It is dangerous for police to stand in a circle around a vehicle and point their weapons toward the center because this puts the officers in each other’s lines of fire). They tried, and failed, to smash their way into his car while yelling contradictory instructions. One officer (with gun out) can be heard shouting, “Keep your hands in the air,” while another cop tells Cepeda to roll down his window. When Cepeda turned on his car so he could roll down his window, the police report claims that the cops thought he was attempting to flee and were afraid for officer safety— which is often grounds for killing unarmed motorists with impunity. The report also includes a description about how the officers couldn’t tell what he was doing with one of his hands, an excuse that in other cases has been used to justify the decision to use lethal force.

Lawrence police also attacked Cepeda’s property. They managed to lock themselves out of his car while it was in their custody, and despite his refusal to consent to any search, they ripped the handle off his front driver’s side door and did additional damage to Cepeda’s car. And, as previously noted, they smashed his phone.

After Cepeda allowed the officers to remove him from the car, slam him to the ground, injuring his face and leg, and arrest him without resisting, Lawrence police weren’t done. Cepeda says he requested medical attention, but that it wasn’t provided at first so he tried to explain how he knew that he needed medical aid. The police report claims that Cepeda was “talking nonsense” about all the various training he has—he is a health instructor and black belt—which led them to assert he was intoxicated. Seemingly in order to make the leap to probable cause for a drug test, the report omits the context in which Cepeda was explaining his training— he was requesting medical help.

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After another officer spoke with Cepeda, the Lawrence police summoned paramedics and Cepeda was taken, with visible injuries, to Lawrence General Hospital. But discharge papers show that while LGH provided no examination of his injuries, and no treatment was given, Cepeda was drug tested. The police report describes Cepeda vigorously attempting not to provide a urine sample, but then says he provided one with no real explanation as to why.

Reached for comment, Cepeda filled in the missing details, “Yes, I told [Lawrence General Hospital staff] I was injured and they didn’t treat me. They just wanted to force me to piss. I had to go to Holy Family to get treated. I refused to give urine they said if I didn’t they would force it out of me with a tube in my penis … They surrounded my bed with, like, seven hospital cops and the [Lawrence police] cop and said if I didn’t give them urine, they will force me. So I gave in.”

There is no way to verify Cepeda’s claim that he was threatened with catheterization. Still his story jibes with the police report and discharge papers. Records that Cepeda furnished from his stay at Holy Family Hospital document the injuries that LGH failed to treat. We reached out to LGH about this incident and asked if they had any comments or policies specific to patients brought to them by police, or policies on forcibly catheterizing people for police. They refused to say if they had any such policies and provided no comment, but instead offered a boilerplate policy about how the institution respects all of its patients.

Cepeda says he was ultimately released on $40 bail after about six hours in police custody. He faces charges for refusal to provide his license, reckless operation of a motor vehicle, operating under the influence of drugs, and disorderly conduct. Cepeda says he was not under the influence of any drug while driving, but that he might have tested positive due to using drugs several days prior to the incident.

This article was produced in collaboration with the Bay State Examiner.

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474 MASSACHUSETTS AVE CENTRAL SQ., CAMBRIDGE 617-864-3278 NEWS TO US

FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

11

HONEST PINT

OLDE MAGOUNʼS SALOON PRESENTS:

IT’S FUN GETTING OLD

DAWG GONE

DOG’S WEDNESDAY’S JUNE 1ST – 29TH 5PM-11 CORNDOG

Battered fried hot dog on a stick/ Honey mustard sauce/Hand cut fries

HOT DOG SLIDERS

A Harpoon crawl down memory lane

BY VINNY MANNERING @ANTIHEROV

ONCE Lounge & Ballroom 156 Highland Ave. ONCEsomerville.com

6/30 Militia Vox w/ Holly Brewer (Humanwine) and Saraswathi Jones | $15 | Doors @ 7pm |

America cheese/Grilled potato roll/ Fried egg/Hand cut fries

6/27 Los Kingdom (on tour from Los Angeles) 7/2 Minibeast, Trinary System, Oceans of the Moon 7/6 Julie Rhodes, Ron Gallo, & Leland Sundries

J UNKYARD DOG

7/6 Allston Pudding Presents Julie Rhodes, Ron Gallo, & Leland Sundries

Fried Hot dog/Pulled pork/ Coleslaw/crispy onions/ Pepper vinegar sauce /Fried pickles

SONORA

Bacon wrapped hot dog / Melted Oaxaca cheese/Poblano / Guacamole/Crema/ Diced tomatoes/ Nacho chips

GRUNGE DOG

Polish dog /Cream cheese / Grilled onions / Corn chips

HOT DOG SKILLET

Sliced Pearl hotdog/Molasses pork & beans/slab bacon/Tater tots

HOMEWRECKER

Pickled Jalapeños/chopped onions/ Nacho cheese/Habanero chili sauce /Mustard slaw/LTO/tater tots

| $8 adv / $10 dos | Doors @ 8pm |

7/7 Barricades EP Release Show 7/8 IVardensphere, Cyanotic, & iszoloscope 7/9 La Fête Fantastique A-Go-Go! Locavore tacos done right every Monday night 5-10pm in the ONCE Lounge

Presented by Cuisine en Locale

www.enlocale.com 617-285-0167 NOW BOOKING PARTY & WEDDING CATERING

GOT AN EVENT? LIST IT.

GERMAN SHEPHERD

Bratwurst /Ale braised sauerkraut / Melted Swiss cheese/Pretzel roll/ German potato salad

CHILI CHEESE DOG

Wicked good chili/Queso sauce/ Scallion’s Tater tot’s Chipotle mayo

@MAGOUNSSALOON OLDEMAGOUNSSALOON

518 Medford St. Somerville

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In a couple of months, I’ll celebrate my 30th birthday, an event that fills me with existential dread. Thirty is the age that you transition from “technically an adult” to “grown-ass man,” and certain things (like waking up on the floor of the bathroom) are more frowned upon than previously. Staring down the impending onslaught of gray hairs and mortgage payments, I felt I could really use a beer and some wisdom on aging gracefully.

On June 15 a party trolley set out with some fine folks from Harpoon Brewery, visiting Boston bars relevant to Harpoon’s history. Harpoon is also turning 30 this year, and the brewery decided to celebrate with a small gathering of employees, long-time friends, and beer writers who can slink out at 2 pm on a Wednesday.

Future 30-year-old me saw this as an opportunity to gather tips on getting older, and current 29-year-old me liked the excuse to go day-drinking.

The first stop was Jacob Wirth, a German restaurant in the Theater District.

When owner Kevin Fitzgerald started operating Jacob Wirth, there were only two beers on tap: light and dark, both brewed by now-defunct breweries. Fitzgerald saved a few kegs of the dark and in 1986 convinced Harpoon to duplicate the recipe. “Jake’s Dark” has been on draft ever since (also available at the Harpoon beer hall). I had the rich and creamy Jake’s Dark along with one of Harpoon’s newest beers: Sweet Spot, an updated version of its summer ale with a fuller body and noble hop character.

It was at Jacob Wirth that I sat down with Al Marzi, Harpoon’s chief brewing officer, and asked him the question that was plaguing me: How do you stay hip and relevant at 30?

“We are not our target demographic,” Marzi said, referring to himself, cofounder Dan Kenary, and the other long-tenured Harpoon employees. Marzi spoke of the influence of Harpoon’s younger employees and brewing system that allows Harpoon to experiment with new styles.

The range of Harpoon’s offerings was on display in the retro Harpoon Ale served at the Sevens, Big Squeeze at Warren Tavern, and Camp Wannamango at Bell in Hand. Harpoon Ale is an amber ale based on Harpoon’s original offering: a balanced, malty throwback that went down quickly enough to warrant a second.

Big Squeeze, a grapefruit shandy, and Camp Wannamango, a pale ale with newschool fruity hops Mosaic and Equinox, are more in line with the current craft beer trends of strong flavors and hop-forward ales, respectively.

“We don’t chase the trends,” Marzi said, “but we are aware of them.” A good strategy for an established brewery, but also a good strategy to avoid being that creepy old guy at the Justin Bieber concert. Much like Canada’s worst export, these newer brews might not be for traditionalists, but both are excellent summer options and show that Harpoon’s strategy is bearing fruit.

The day closed with dinner at State Street Provisions—which served Harpoon’s new, tropical Double IPA, Hoppy Adventure—and a final gathering back at Harpoon’s Beer Hall. Given Harpoon’s history and relevance to craft beer, this birthday party struck me as a somewhat reserved gathering. But maybe that’s part of getting older: moving away from all-nighters and toward a few beers with close friends, reflecting on past accomplishments while keeping an eye toward what the next 30 years might bring. >> HARPOONBREWERY.COM

©2016 Goose Island Beer Co., Goose IPA®, India Pale Ale, Chicago, IL | Enjoy responsibly.

T:9.5 in

T:12.25 in

NEWS TO US

FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

13

ARTS ENTERTAINMENT

THU 6.30

FRI 7.1

SAT 7.2

SUN 7.3

MON 7.4

TUE 7.5

Summer Concerts @ Kendall Square

Spiders Alive! @ Museum of Science

Irish Sessions @ The Druid

EURO 2016 Quarterfinals @ The Rising Bar

Boston’s 4th of July @ the Esplanade

Copenhagen Wheel @ Superpedestrian

No one expected Iceland to be in the mix come quarterfinals, and yet here they are playing France, in France, for a chance at history and glory for the underdog everywhere.

Fresh off its win against England, the narrative has been all about the fact that 10 percent of the entire country has been at each of their games thus far. But the real story is that in a world of European soccer dominated by the same European teams, Iceland is a fresh and welcome face. So keeping with our weekend theme of Inman Square, catch the game at one of the best new places to watch sports in the area.

What’s better than spending the Fourth of July with a few hundred thousand—maybe a million—friends and family along the Charles River? Everything. The place is jammed with pickpockets, pervs, weird tourists, and every imaginable lost child candidate this side of Craigville Beach. But hey, it’s America Fuck Yeah time, and you happen to live in the hub of this shit storm, so get on your bike or take a sweaty Red Line ride to Charles Street where you’ll be greeted by cheap trinkets and assholes from every state in the Union.

Say what you will about those crazed drug addicts at MIT, but they come up with some amazing ideas and inventions when they’re not making/ dropping acid. One of those happens to be the very cool Copenhagen Wheel, which is not quite a smart bike and not quite an electric bike, but somewhere in between.

Or both. Or neither! The wheel responds to your riding and organically adjusts to improve your experience. It’s short money, you get 30 miles on a charge and all they ask is that you give them honest feedback. Albert Hofmann would be proud!

It’s lunchtime on a Thursday and you’re a few minutes away from Kendall Square in Cambridge. The sun is out, it’s a beautiful early summer day, and your options are endless.

You could steal away 45 minutes pounding beers at a local bar, pick up some tapas at an area joint, or pack a bowl and meander over to the Square for some fresh food trucks, farmer’s market, and live music.

This Thursday offers up Dashina, a world music trio from Berklee. Did we mention Berklee will be booking the music all summer long?

Kendall Square.

300 Athenaeum St., Cambridge. Noon/all ages/ FREE. berklee.edu

14

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With so many choices come Friday, the opportunity to impress a first date or a seasoned partner is either too easy or really fucking hard. That’s where we come in. Since everyone loves spiders, may we suggest an exhibit dedicated to…

SPIDERS?! In partnership with the American Museum of Natural History, New York, the Museum of Science’s Spiders Alive! is sure to make your skin crawl, your arm hair stand on edge, and you might even get that feeling that something is on you crawling, under your jeans, and your shirt… excited yet?

Museum of Science.

11 Science Park, Boston.

9am/all ages/$23. mos.org

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One of our favorite small but big-hearted watering holes in Cambridge is the Druid. Tucked between foodie destinations and quirky neighborhood shops lies one of the coolest, most authentic pubs around.

One of the weekly treats is its Irish Sessions on Saturday. The room caters to the live music and personal feel of the setting, and if you’re willing and able, there’s always room for one more, either at the bar or with instrument in hand in the heart of the session.

The Druid. 1357 Cambridge St., Cambridge. 4pm/21+/FREE. druidpub.com

The Rising Bar. 1172 Cambridge St., Cambridge. 3pm/all ages/ FREE. therisingbar.com

Boston’s 4th of July.

The Esplanade, Boston.

9am/all ages/FREE. july4th. org

Superpedestrian.

84 Hamilton St., Cambridge.

9am/all ages/$15. superpedestrian.com

NEWS TO US

FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

15

MUSIC

MUSIC

AND THE KIDS

SCHOOL’S OUT

Bellwire has your summer soundtrack set

All you need is love friendship

BY NINA CORCORAN @NINA_CORCORAN

BY NINA CORCORAN @NINA_CORCORAN

MUSIC EVENTS THU 6.30

SAT 7.2

[Middle East Downstairs, 472 Mass. Ave., Cambridge.

7pm/all ages/$30. mideastoffers.com]

[Middle East Upstairs, 472 Mass. Ave., Cambridge. 7pm/18+/$15. mideastoffers.com]

THE RISING STARS OF HIP-HOP LIL UZI VERT + 21 SAVAGE + YFN LUCCI

16

6.30.16 - 7.7.16

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SILENT SHREDDING 2016 US AIR GUITAR CHAMPIONSHIPS

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SAT 7.2

SUN 7.3

[Brighton Music Hall, 158 Brighton Ave., Allston. 10:15pm/21+/$5. crossroadspresents.com]

[Great Scott, 1222 Comm.

Ave., Allston. 9pm/18+/$12. greatscottboston.com]

BLACK EYELINER FOR ALL CORROSION: A GOTH, INDUSTRIAL, AND POWER NOISE CLUB NIGHT

BRIGHTON-BASED DREAM POP FEAR OF MEN + PURO INSTINCT + MINI DRESSES

>> BELLWIRE, JONEE EARTHQUAKE BAND, MONKEYS OF A BYGONE ERA. FRI 7.1. OUT OF THE BLUE TOO ART GALLERY & MORE, 541 MASS. AVE., CAMBRIDGE. 8PM/ALL AGES/$7-10. OUTOFTHEBLUEARTGALLERY.COM

TUE 7.5

WED 7.6

[The Sinclair, 52 Church St., Cambridge. 7pm/18+/$15. sinclaircambridge.com]

[The Sinclair, 52 Church St., Cambridge. 7pm/18+/$28. sinclaircambridge.com]

SUMMERTIME SADNESS DAVID BAZAN + LAURA GIBSON

NIGERIAN WORLD MUSIC PIONEER? NBD. KING SUNNY ADE

PHOTO BY BEN BOCKO

>> AND THE KIDS, VUNDABAR, KAL MARKS. THU 7.7. THE SINCLAIR, 52 CHURCH ST., CAMBRIDGE. 7:30PM/18+/$12. SINCLAIRCAMBRIDGE.COM

We found it. Mike and Jack Holland, Tyler Burdwood, and Matt Freake make the perfect music for your summer plans.

Mike Holland and guitarist Burdwood first played in bands together as 16-year-olds. When they both went off to college in 2012, the two formed Bellwire as a long-distance songwriting project. That summer, they found a drummer, Holland’s brother Jack took over on bass, and they moved to Boston.

The move paid off in the band’s favor. Whereas Bellwire’s first EP rumbled like Sparklehorse or Bright Eyes, the natural byproduct of dorm-room songwriting, it’s later songs began prying open rock in its most jovial form. “Once we could all play together and make a lot of noise, our recordings started to reflect the energy of our live shows,” says Burdwood.

That’s where the band finds itself now, sitting on its newest release, Dog Thoughts, which celebrates its proper album release this Friday. It’s full of quickwitted, wordy power pop akin to Elvis Costello if he gave GZA and Gameboys shout-outs. Bellwire is wiggling its way into Boston’s local scene somewhere snug between Mini Dresses and the Furniture.

“I’ve been trying to put the lyrics more in the forefront by packaging the new CD in a booklet instead of a case and opening up with a spoken word track. I like to think [that’s what sets us apart], the words and songwriting,” says Burdwood.

Bellwire is excited to introduce its music to those still new to the band, something kept in mind with its moniker, an association-free word to avoid tinting the band’s image. “What I didn’t know at the time is that bellwire is what electricians use to wire doorbells,” laughs Burdwood. “So almost all of my Google Alert notifications involve Home Depot.” In time, those alerts will be for Bellwire with a capital B.

PHOTO BY COURTNEY CHAVANELL

Forget about romance. Life’s a shit show and the only thing that can save you is your friends.

Northampton-based act And The Kids explained the nitty-gritty of that on this year’s excellent Friends Share Lovers—one of our top local albums of the year—but now it’s ready to break down what’s in a relationship even more.

As the album title suggests, guitarist and vocalist Hannah Mohan, drummer Rebecca Lasaponaro, synth player Megan Miller, and bassist Taliana Katz point to the incestuousness of teenage friend groups on their record. It’s a breath of fresh air to talk drama free of heartbreak—or at least from a wider angle.

“I feel like what one person goes through, people can find a way to relate no matter what the issue. If we don’t specify a time and place something happened, it’s easier for people to relate,” Mohan explains. “Friendships can be more intimate than romantic relationships. You can be going on dates every night and come home to tell your best friend how each date went. I think that’s a phenomenal thing about friendship. Things aren’t supposed to get confusing and misleading and vulnerable in friendships—but sometimes they do.”

The details aren’t hyperspecific, but they’re present enough to make you sing along like it’s your own life story.

Be it “Picture,” “Kick Rocks,” or the title track, And The Kids’ new set of songs mesh artful rock with the authenticity of daily relationships.

The members test their own friendship live. Since Miller can’t tour with the other three, they’re forced to represent their fourth member without overshadowing her part. “We actually tried to stay as true to the album as we could,” says Mohan. “[Lasaponaro] added a sample pad to her drumset and now triggers almost all of Megan’s synth parts. For the non-texture synth parts, aka lead lines, Taliana and I have loop pedals and play the parts on our instruments.”

Their own bonds haven’t grown as strong as they are simply from that. The four suggest “some form of nonluxurious travel” to truly tighten the supportive knots of friendship. “Seeing your friends and having them see you at your absolute worst can be quite the bonding experience,” says Mohan. “Hungry, tired, lost, out of money: You have to really learn teamwork.”

In many ways, that’s what touring thrusts bands into. Creativity lures you into a world where you do anything to create your music the way you want to create it. Mohan, Lasaponaro, and Miller lived in tents on an acre of land and practiced in an abandoned storage pod to avoid getting real jobs, which, as any band knows, prevents you from touring. Once they were ready to start traveling around, they encountered several dysfunctional shows that crumbled apart.

“I love those bad shows, though, where everything else goes so wrong, but you can look at your bandmates and just smile and shake your head because you know what they are thinking,” laughs Mohan. “There was this really funny time we worked really hard on a music video that we never even used. It was a dinner party that turned into a food fight in our living room. We spent forever cleaning the house before and after. It turns out in the midst of the food fight, our dog was eating the food off the floor and puking and we were picking up the puke thinking it was food and smearing it all over each others’ faces.”

If you can look back on sporting dog vomit and laugh, you’re doing something right. Friendship like theirs comes from natural patience, from hearing one another out and working through the lows some friends never work hard enough to get over. It’s inspiration enough for the record, but ask them about it and they may tell you the real reason. “It’s inspired by Tina Fey,” says Mohan. “If you’re reading this, Tina, know that you inspire us. Here is our number: 413-537-xxxx.”

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SAT 7/2 - CLANDESTINO PRESENTS

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DJ CHRIS EWEN MON 7/11 - ILLEGALLY BLIND PRES.

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THE ROBOT KNIGHTS THU 7/7

THE FAMILY TOWNSHIP

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SUN 7/3 - 7PM

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80’s Old School & Top 40 Dance hits 21+, 10PM - 2AM

MOKITA

US AIR GUITAR CHAMPIONSHIPS

Free Trivia Pub Quiz from 7:30PM - 9:30PM

15+ Years of Resident Drum & Bass Bringing some of the worlds biggest DnB DJ’s to Cambridge 19+, 10PM - 2AM

FRIDAY, SEPTEMBER 16 7/2 7/3 7/7 7/23 7/31

KUTT CALHOUN ALEXANDER JEAN GEOFF RICKLY OF THURSDAY INTRONAUT THE PLOT IN YOU

ANDREA GILLIS BAND (ORIGINAL LINEUP) All shows, All ages. Tickets available in person at the Palladium Box Office, FYE Music and Video Stores, online at Ticketfly.com or by phone at 877-987-6487.

www.thepalladium.net

WATCH EVERY SOCCER GAME! VOTED BOSTON’S BEST SOCCER BAR ENGLISH PREMIER LEAGUE

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

17

FILM

ANALOG GIRL IN A DIGITAL WORLD Cycling through different realities with Steven Spielberg’s BFG

BY JAKE MULLIGAN @_JAKEMULLIGAN When I say that The BFG looks glossy, I’m referring to both the film and the character. Steven Spielberg’s adaptation of Roald Dahl’s story about a big friendly giant has yet another author in Weta Digital, the storied visual effects production house that helped to create Peter Jackson’s Hobbit cycle. Filming on sets filled with screens of blue and green, Spielberg and Weta have rendered real places like London to look like soundstages filtered through a laptop’s screen. They’ve made Dahl’s imagined places—Giant Country and Dream Country, to name the two—look like locations that were born in the laptop itself (despite the fact that physical sets were created for the production). And they’ve used motion capture technology to map the face of actor Mark Rylance onto the eponymous giant, rendering him as an unusually expressive digital artifact. It’s reminiscent of the seminal work that Weta did with Andy Serkis on characters like Gollum, which led to the mo-cap-heavy movie scene we’re living with today. But for all the impressive technology they put on screen, Weta’s creations simply can’t match the inherent realness of something like a puppet. When you place digitized characters in a physical location, they’re always going to be lacking in the tactility department. They look like what they are: computer designs that have been painted over real environments.

Where E.T. had rough imperfections and visible contours, BFG has perfect angles and digital softness. He looks

glossy—he looks programmed—he looks unreal. He doesn’t fit into our world. But he’s right at home in our multiplexes, and it’s for the same reasons.

The BFG is wide-eyed enough to qualify as Spielbergian: The screenwriter is the late Melissa Matheson (E.T.), the cinematographer is Janusz Kaminski (most Spielberg movies), the composer is John Williams (most Spielberg movies), and they’re all working shamelessly to lead you toward a warmer heart than the one you entered with. But it also follows Dahl’s text rather faithfully, at least until the end. A young orphaned girl named Sophie (Ruby Barnhill, appropriately precocious) is snatched up and whisked away by a 24-foot-tall softie; once she’s at his home she witnesses the way that he’s bullied by his human-eating giant peers; eventually she directs him toward the Queen of England and a military partnership that will help to rid Giant Country of its rougher elements once and for all. So we start in London. But in this movie, it looks less like a city and more like a purgatory stationed between the real world and the digital one. Spielberg and Kaminski are doing their trademark heavenly light thing: We don’t see past the single dreamy avenue we’re stationed on, because the streetlights are bright enough to blot out everything else.

We see the BFG do a comic-book-style stealth run through the neighborhood—the last time Weta teamed with Spielberg, it was to adapt The Adventures of Tintin, and

when you’re watching this chase-heavy BFG adaptation, you’re conscious of that—which leaves us with nothing but his silhouette to look at. That silhouette is also a mission statement. Like Jurassic Park before it, this is a Spielberg movie on the subject of scale. We don’t spend much time in Sophie’s orphanage, but there’s a few pleasurably extraneous details that Spielberg makes a point to document. One of them is her dollhouse.

Three different excursions make up the rest of the movie, all to realities warped by different shapes and sizes. First it’s to Giant Country, where visual gags run amok courtesy of the makeshift decor of the BFG’s humble home (he stores his coffee beans in a phone booth, his rocking chair seems to be constructed out of tree trunks, and he sets Sophie to sleep in the lookout perch of pirate ship). After that, we go to another country, where the spirits of individual dreams roam freely in the form of neon fireflies (meanwhile rivers run upwards and reality bends backwards). Finally we return to normal-size reality in the form of Buckingham Palace—at this point the movie shifts to a palette that’s bright and sharp, like the “live-action cinema” we’re used to—all while oversized household items are used to serve Rylance’s giant a meal (they pour his coffee out of gardening tools).

Reports have it that Spielberg shot many scenes of the film using three identical sets built at varying scales, and it’s the most integral “effect” in the movie, alongside the shifts between real sets and digital ones. Every single moment of The BFG is characterized by contrasts of scale (a giant wearing a circus tent as a shirt) and contrasts of appearance (a digital giant trading fart jokes over tea with a flesh-and-blood Queen). If computer-generated images and live-action ones have become different sides of the same coin, then The BFG flips it so fast that you can see them overlapping.

Spielberg has always been a film-nerd filmmaker, and you can see him commenting on the form through the whole movie. The BFG projects the dreams he catches onto a wall for Sophie to see, which links the importance of the art form to that of the unconscious. We also see the giant loading up the manifested dreams into specialized containers—they look like film canisters. And when Sophie is helping BFG to concoct a dream that will inspire shock and awe, she instructs him to “put some army in it,” which is probably a dig at some producer on an Indiana Jones sequel who dared to say the same.

But the movie commentary that emerges from The BFG most clearly—the one that defines the experience of watching it—is the one that’s wrought by those aesthetic contrasts. If you see this movie, look down the hall of the multiplex first. You might see Jungle Book, Warcraft, a Marvel movie, and a Teenage Mutant Ninja Turtles sequel on the other marquees, all of them using mo-cap to move human beings out of the spotlight, just to make room for high-tech cartoon characters instead. It’s a new world for the commercial cinema, and it’s one where the lives of human-sized people are rarely depicted in nuanced detail. Some might think it’s better, and I might think it’s worse, but it’s undeniably new, and we’ve been whisked away to it as surely as Sophie was to the BFG’s. We’re living with a society of unreal and inhuman giants. We call it the commercial American cinema. And when it farts at our dinner table, we’re just going to have to smile and accept it, because there’s probably no going back.

>> THE BFG. RATED PG. PLAYING IN BOTH 3D AND 2D. OPENS EVERYWHERE ON 7.1.

FILM EVENTS FRI 7.1

FRI 7.1

FRI 7.1

[Brattle Theatre.

40 Brattle St., Harvard Sq., Cambridge. 5, 7:30, and 10pm/R/$9-11. Screens through 7.7. See brattlefilm. org for showtimes for rest of week.]

[Opening at the Somerville Theatre and the Kendall Square Cinema. R.]

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

Midnight/R/$11.25. 35mm. coolidge.org]

30TH ANNIVERSARY SCREENINGS OF BLUE VELVET

18

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DANIEL RADCLIFFE STARS IN SWISS ARMY MAN

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COOLIDGE AFTER MIDNIGHT PRESENTS TAXI DRIVER

FRI 7.1

CLOSING NIGHT OF THE ROXBURY INTERNATIONAL FILM FESTIVAL HOW WE MET

[Museum of Fine Arts.

465 Huntington Ave., Boston. 5:30pm/NR/$9-11. mfa.org]

SAT 7.2

COOLIDGE AFTER MIDNIGHT PRESENTS FALLING DOWN [Coolidge Corner Theatre.

290 Harvard St., Brookline.

Midnight/R/$11.25. 35mm. coolidge.org]

SAT 7.2

MIDNIGHT SCREENING OF ALEJANDRO JODOROWSKY’S EL TOPO

[Somerville Theatre.

55 Davis Sq., Somerville.

Midnight/R/$10. 35mm. somervilletheatre.com]

FROM TAIKA WAITITI DIRECTOR OF “WHAT WE DO IN THE SHADOWS” ——————————

CRITICS’ PICK——————————

“SO SMART AND FUNNY, SUCH A PLEASURE TO EXPERIENCE, YOU CAN’T BELIEVE YOUR LUCK.” -kenneth turan

“PURE COMIC JOY!” -THE GLOBE AND MAIL

“A MUST-SEE!” -USA TODAY

“INFECTIOUSLY-NERDISTENTERTAINING!” 100%

EXCLUSIVE ENGAGEMENT

STARTS FRIDAY, JULY 1

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LAST CAB TO DARWIN

STARTS FRIDAY 7/1

Watch the trailer and learn more at: www.firstrunfeatures.com

FRI-SUN: 1:00, 3:45, 6:45 & 9:30PM • MON-THU: 2:00, 5:00 & 8:00PM

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19

Then goes deeper and it resonates with people more powerfully reflecting on their own lives and their own choices and the good and the bad that happens to all of us. I think it’s genuinely surprising, but that’s like—life is often genuinely surprising. A good friend of mine, his wife, her father—I think it was [in] April—started feeling a little funky, went to the doctor, diagnosed with cancer, and he just died last week. I mean, that’s a surprise. I feel like people need and crave storytelling that helps put those kinds of experiences into context, or it gives them the opportunity for catharsis.

What’s next for you after the tour wraps up?

I’m doing a bunch of concerts with Adam Pascal. We have two weeks slated at Feinstein’s/54 Below in New York in October, but more and more inquiries and bookings keep coming through pretty often these days, which is kind of nice; I love doing that, it’s really fun. So that’s one [of] the things. There are also a couple things swirling that I’m waiting to see how they settle, but I’m not urgently jumping into anything long-term right away after being on the road for all this time. I’ll take it as it comes and be picky, as I usually am.

ARTS

ANTHONY RAPP

On tour with If/Then and looking back on Rent

BY CHRISTOPHER EHLERS @_CHRISEHLERS Actor Anthony Rapp is coming to Boston with the national tour of If/Then, which will play the Boston Opera House from July 5-17.

Best known for creating the role of Mark in Rent, Rapp has been with If/Then since its earliest readings nearly five years ago. After playing the role of Lucas on Broadway for a year, Rapp has been touring the country with the show since last fall.

Here, Rapp opens up about touring, his fondest memory of Rent, and whether or not he’ll ever play Mark again.

You’ve been with If/Then for quite a while now.

Yeah, since the very first readings we ever did, which I think was 2010 or 2011. I don’t remember which of those two years it was.

Are you the last original man standing?

Yeah, from way back then, yes. There are two original Broadway cast members still with the company: Tyler McGee in the ensemble and Marc delaCruz, who plays David on tour and was an understudy and swing on Broadway.

Why do you think you’ve stayed with the show this long?

Do you just have a great connection to it?

I do. I have a very longstanding feeling of loyalty to projects that I love and believe in and the people involved in this project. So yeah, all of those reasons.

How big of a role has [director] Michael Greif played in you staying with this project so long? You two obviously go way back [to Rent].

Yeah, I mean, he’s a huge reason why. Also, David Stone, the producer. I’ve known him for 20 years and we’ve worked together on a couple other things, and this is the first thing I’ve done as an actor with him producing, so I’ve had a long-standing relationship with David as well; David very strongly asked me if I would do the whole tour, and I feel a tremendous amount of loyalty to him. And also to [composer] Tom [Kitt] and [writer] Brian [Yorkey], so it’s really all of the above. And I like touring—I don’t want to do it all the time, but several years ago I went on the tour of Rent with Adam Pascal and I feel like I know what the rhythms of touring are like and I know how to make that work for myself.

Nowadays, it’s rare that one of the stars from the Broadway production will go on tour anymore. Years ago, all the stars toured. Why do you think there’s been this shift where original stars just don’t go on the road anymore?

I don’t really know, honestly. I don’t know. When I was coming up as a kid, I did The King and I on tour with Yul Brynner; he was touring with it. So that’s what I’m familiar with. I don’t know why or when it changed, I really don’t. Touring life—there are challenges involved, certainly—it’s not ideal in some ways, but it’s also a wonderful opportunity in many ways as well. I think maybe people are afraid of missing out on stuff. It’s a good question.

How does performing on tour in these huge venues differ from performing in a more intimate space, like on Broadway?

It’s a little different in that every week or two weeks or however long we’re in each city, we have to get sort of accustomed to the feel of it, but it still lands even when it’s a bigger house. I personally prefer a more intimate house, but that’s just the nature of the road that you play some of these houses that are 3,000 seats, 4,000 seats, and that’s a very big difference from 1,500 seats. But any show that has emotional weight to it and good music can fill any kind of theater, I think. It’s also beautifully designed, and there’s certainly eye candy.

What are the differences between rehearsing the show for Broadway and rehearsing it for the road?

Well, it’s a new group of people. And then there are little things: Michael Greif has always been the kind of director who tinkers. Certainly with Rent over the years, every time we went out on the tour there were little things that we changed and added. He’s always refining in his own mind certain things that he wants to make better, and Tom and Brian had little things they wanted to keep refining.

In If/Then, we get to see Elizabeth’s life play out in two different ways. Everyone thinks about what might have been or what could have been. Do you think that relatability is why the show seems to have the enduring appeal that it does?

Yeah, I do think it’s very relatable and I think it’s very human. I also think it’s entertaining, but I think that If/

>> IF/THEN. JULY 5-17 AT THE BOSTON OPERA HOUSE, 539 WASHINGTON ST., BOSTON. BROADWAYINBOSTON.COM 20

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You guys should bring your concert to Boston! That would be great.

Oh, thank you. Yeah, it’s possible. We haven’t gotten booked up there yet, but it’s possible.

You are so well known for Rent, have you ever considered it a burden? Some actors become known for something and then grow to have a bit of resentment.

Truly, no. It never has been. I’ve been acting professionally for 35 years and so I have a very strong sense of how extraordinary that opportunity was and remains and how much it’s given to me and how much it continues to give to me. It will never feel like a burden, ever.

That’s good to hear. It really is.

Thank you, it’s the truth.

I don’t suppose you’ll be going out on the 20th Anniversary tour of Rent, will you?

No. I’m done playing Mark. I’ve played Mark in all the very best possible venues and opportunities that I could have ever wanted, and that chapter of my life is done, as far as performing it. I still sing songs from it in concert, and I always will, and I love that. I will possibly direct it again, that’s something I’m interested in. I’m done performing as Mark, but I’m not done with Rent. It’s not like Rent is put to bed or like I don’t look at it or think about it or hold it close to me or anything like that.

What is your fondest memory of Rent, if you can even boil it down to one?

My fondest memory is the opening night on Broadway.

My mom, who was very sick at the time, was well enough to be there, and she was hugely supportive to me as a kid; as an adult, the only reason I was able to have the opportunities I had to work was due to her diligence and her ability to make it work. So the fact that she was there witnessing that incredible moment … and the thing about the opening night on Broadway, for us, so much like Hamilton, is that it was already a success, so when it opened on Broadway there was no kind of nervousness about whether it would be a hit or a flop. It already was a hit, so it was just pure celebration. The way that the lighting for Rent was designed allowed us to see very deeply into the audience—unlike in If/Then, for instance, I can’t see anything from the stage except maybe occasionally the people in the very front row. But in Rent we could see very far into the audience, and I could see her the whole night. I mean, I wasn’t staring at her, but so much of Rent is directly singing to the audience so I could kind of sing to her sometimes. All of those things make it my fondest memory.

PHOTO BY JOAN MARCUS

ANTHONY RAPP & JACKIE BURNS IN IF/THEN

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SAVAGE LOVE

DOUCHE MOVES

WHAT'S FOR BREAKFAST

BY PATT KELLEY WHATS4BREAKFAST.COM

BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET Is it a super douchey move to pretend to be a lesbian to avoid unwanted male attention? I’m a straight single woman in my mid-thirties and a very plausible lesbian in terms of sartorial stereotypes.

Occasionally a guy will hit on me in an awkward or creepy way and I’ll trot out a line about “not being into men.” Most recently I used this pose when a courier broke down in my driveway and I invited him in for a glass of water while he waited for the tow truck. It was really uncomfortable and a little threatening when—after establishing that I lived alone—he asked me out. I guess I use this as an excuse so as not to hurt their feelings, but also to shut the conversation down as quickly as possible if I’m feeling vulnerable.

Is this a harmless white lie, or a major cop-out that would offend actual lesbians? Can you suggest some better strategies for when you’re feeling cornered by a dude you’re not interested in?

Lady’s Entirely Zany Identity Enquiry “I’m not offended by this,” said someone I thought was an actual lesbian.

I shared your question with this person—a woman I thought was an actual lesbian— because I wasn’t offended by it either, but wanted to check with an actual lesbian just to be safe. Turns out my friend doesn’t identify as a lesbian, but as a woman-who-loves-womenbut-does-not-identify-as-a-lesbian-becauseshe-sometimes-finds-the-odd-dude-hot. So for the record: my friend is speaking for the WWLWBDNIAALBSSFTODH community here— which often intersects/sexts with the lesbian community—and not the lesbian community.

“But even though I’m not offended by it, I have to say I’ve found the ‘I’m into women’ line to be totally ineffective,” said my not-a-lesbian friend.

“The creeps I’ve used it on get even more riled up after hearing that line. Sometimes I check out and start ignoring these creeps as if they’re wallpaper, but that can rile them up too. Same with a polite ‘I’m not interested.’ The only success I’ve had with warding off creeps is by actually yelling at them, asking them if they’d like to be treated the way they’re treating me, and if their mothers, sisters, et cetera, would appreciate that treatment.”

My not-a-lesbian friend—who, as it turns out, identifies more strongly with the term “bisexual” than she does WWLWBDNIAALBSSFTODH—has also had some luck with the lose-your-shit strategy (e.g., screaming, yelling, and waving your arms around like a crazy person).

“You kind of have to treat these people like bears at a campsite,” said my not-a-lesbian friend. “You have to make yourself big and loud and scary so they don’t get closer. Because they will get closer.”

THE STRANGERER

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