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VOL 18 + ISSUE 35

SEPTEMBER 1, 2016 - SEPTEMBER 8, 2016 EDITORIAL PUBLISHER + EDITOR 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

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ON THE COVER Starlab Fest VII is here.

Read all about it on page 16. Illustraion by Bryan Mastergeorge.

©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 READER The problem with free speech today is that it works both ways; it has no boundaries and should be accepted as such, and it forces us to question what’s acceptable and what’s not. The BPD officer who decries a quarterback’s refusal to stand and respect America in support of the BLM movement often feels that his ability to speak honestly about his own personal reality is stymied. This isn’t the world we live in. It’s the world we’ve created for ourselves.

The media suffer from the same bipolar conundrum. We want the press to be free but we question that freedom, and then suddenly the free press isn’t so free and it’s censored no matter how. But is that really unexpected and does it compromise our ability to be free?

When I started publishing words 20 years ago this September, I was absolute about my right to print whatever I wanted. I encouraged writers who agreed with that philosophy and who were more than eager to oblige regardless, and we did exactly that. Over the years, however, that ideal has evolved, and truth be told, I’ve censored myself, my writers, and this company as a whole. The reasons have been varied: sensitive topics, personal relationships, and yes, advertisers. The reality is, we grew from a ’zine into a business, and we had staff that relied on the business for their livelihood.

Granted, most would say that the meager pay we occasionally peeled off of our losses wasn’t exactly a livelihood, and I would agree. But it was enough to avoid starvation and build a resume, and that was enough to think twice about how something we said could impact our friends, readers, and especially our advertisers. That may not sit well with some, but I don’t care if people question it, or question us.

I’ve never allowed a positive review of any business or band to run because we were paid for it or were afraid of losing ad dollars afterwards, but we’ve avoided news and arts features that could potentially harm our advertisers’ business. I’ve never allowed a news story to be killed because someone told me to not run it, but I’ve pulled articles that I felt could harm us or create an unsafe environment for the staff. I’ve censored us so we can have the freedom to choose not to.

It’s always been a gut call and usually as we go to press but I don’t regret a single decision. While rare— maybe once a year, so 20 all told—I stand by them all… because free speech works both ways; it should be unfettered whether you choose to say it or not.

IN THE CITY FOR LABOR DAY WEEKEND? COME LAUGH! Don Gavin

Boston Comedy Legend Friday + Saturday @ 7:30 PM

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A show for sickos, by sickos Friday + Saturday @ 10 PM

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JEFF LAWRENCE, DigBoston Publisher + Editor OH, CRUEL WORLD

Robert Kelly

Dear FedEx Office Print & Ship Center,

FX’s Louie, Inside Amy Schumer Sept 22-24

Who in the fuck do you think you are with those prices? On shipping and now on copies too! This isn’t yet another rant about the often lazy and incompetent employees who (kind of) work there.

No, this is about your scumsucking company charging more than four bucks for a double-sided print on colored cardstock, which is utterly insane.

Printer consumables have gotten a lot cheaper over the past few years, all while your prices have skyrocketed. You’ve always been gaugers, but at least I used to stock up on staples and tape and whatever else wasn’t bolted down to make up for being ripped off. Short of walking off with one of your machines, I’m not sure how I’ll ever compensate for these outrageous new prices.

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NEWS US Natural gas—methane, ethane, propane, butane—is likely one of those things making you feel bad.

How long has it taken for you to figure all of this out?

Give us the short version of your digging methodology and data repository. Also, how are you going about sounding alarms about your discoveries?

We started working on this on July 19, and released [the report] on Aug 8. This is a side project of mine and only tangentially related to my research. Michael [Webber] and [Allie S.] are just volunteers. We don’t get paid for this stuff, so it does become awfully hard to commit time to it.

And we’re burnt out. We’re hoping to regroup and start ringing some more bells after Labor Day.

RESEARCHERS SAY MORE THAN 4,000 MILD (ORANGE), MODERATE (RED) AND SEVERE (PINK) “LOST” GAS LEAKS “ VANISHED FROM PUBLIC UTILITY COMPANY DATA” BETWEEN 2014 AND 2015 DESPITE NO RECORD OF BEING REPAIRED. NEWER LEAKS HAVE SMALLER CIRCLES, OLDER LEAKS HAVE LARGER CIRCLES, AND GREY CIRCLES INDICATE “FOUND” LEAKS THAT SHOWED UP IN 2014 AND WERE NOT REPAIRED, BUT REMAINED IN THE 2015 DATA.

PIPE SCHEMES NEWS TO US

Researchers worry gas leaks left unrepaired. Gas company says keep calm, carry on.

BY DIG STAFF The first thing you should know before learning about all of the natural gas in the air around here is that until 2014, utility companies like National Grid only had to report the most outrageous and severe leaks to the state.

Anything that posed a smaller threat was left for energy behemoths to handle internally, municipal and public awareness be damned.

Another piece of critical background information is that since Commonwealth lawmakers passed legislation two years ago requiring utilities to also report moderate and mild leaks—plus repair data related to compromised lines—gas companies have pushed back hard against accountability measures. Blasting such maneuvering in a letter to the Department of Public Utilities, Attorney General Maura Healey wrote earlier this month: [Gas] companies propose to … remove the minimum considerations when classifying natural gas leaks … [and] require only one year retention for documents …

The AGO recommends that the Department [of Public Utilities] refrain from altering clear statutory definitions and processes in the 2014 legislation. Many comments suggest the broadening of definitions and procedures … with regards to topics such as leak grade qualifications and mandated time frames … However, a pattern of consistent annual classification of leaks is important to track a company’s accuracy and performance.

If you feel like energy conglomerates are playing with fire, you are not alone. Reporters across the state have covered the thousands of natural gas leaks—as well as the related potential dangers, like explosions— since said information was made publicly available.

Meanwhile, unions that represent gas company workers are concerned about employee safety and are asking for 4

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additional precautions before digging and blasting. All while researchers investigate the breadth of the problem, giving people even more reason to fret.

Most recently, a study out of the MIT Computer Science and Artificial Intelligence Laboratory Big Data Initiative presented area gas leaks in a new light. Titled “Lost Leaks,” the report (released online with data visualizations) identifies more than 4,000 “natural gas leaks that weren’t repaired,” but that “vanished from public utility company data between 2014 and 2015.” We contacted National Grid, to which the aforementioned researchers attribute nearly 3,000 of those so-called lost leaks, and a company spokesperson explained in an email: “The leaks that are not recorded in our books as repaired are due to one of two reasons: 1) The main where the leak is located is replaced. 2) There was a zero reading on a recheck of the leak due to a change in the migration pattern of gas.”

The utility’s assurance aside, we thought this situation begged a bit more inquiry, and so we reached out to “Lost Leaks” project manager and data analyst Al Carter: DB: We recommend that readers check out your whole report, but how do you conversationally explain the things that you and the other researchers behind this project know about the air we breathe and the environment around us which most people walk through life without noticing?

AC: Utilities are poisoning the air. [Utility companies] appear to be lying about it and are definitely charging us for it. Methane is an asphyxiant. It can also cause headache, dizziness, weakness, nausea, vomiting, and loss of coordination. Have you noticed how air sometimes feels better outside of the city? That’s not an illusion.

Others have done similar research and reached comparable conclusions. Do your groups get together and commiserate about how little people seem to care that we are being poisoned out here?

Some activists held a birthday party for a 30-year-old leak recently. That’s right—the leak’s been documented for 30 years … and it’s still there. They didn’t light candles for obvious reasons …

In addition to being poisoned, my impression is that we’re being ripped off and lied to. We pay the cost of this lost gas through our utility bills, and the state government charges utilities for unrepaired leaks. If the leaks are being “lost,” ratepayers are footing more of the bill than we thought, and our government isn’t getting paid for it.

Thanks to you I learned that “utility companies in Massachusetts have had to report natural gas leaks and repairs since 2014.” WTF? How did they not have to that for so long?

Also, now that they’re doing it, why are they allowed to publish such shitty data? It takes effort to turn a frigging spreadsheet into a PDF and then mark it up so that it’s hard to parse. It would have been easier for them to give us structured data, so that this study would have taken one-quarter of the time. Why didn’t they? Public data means almost nothing if it takes 100 hours to process it.

What is the most frightening part of what you’ve found? What can be done about that specifically, and in the short run?

This data is shit. I don’t understand how citizens or the state are supposed to track leaks in Mass, when my impression is that utility companies either aren’t or can’t.

I mean seriously—the stuff is explosive. Shouldn’t it at least be accessible to the fire department? The volume of gas lost from these basically has nothing to do with their “safety” rating.

How, if at all, does this apply to the ongoing debate over energy funding and policy in the Bay State? Especially as it shifts from day to day with legislation and confusing court decisions, what do consumers need to know?

We’re probably still underestimating the amount of gas our state loses. That means that we’re probably being charged for more lost gas than we realize; our government isn’t fining utilities as much as it should; and these new pipeline projects aren’t nearly as necessary as the utility companies claim they are …

Also, seriously—these are [some of the] people who decided that running a 750 PSI natural gas pipeline through a neighborhood [West Roxbury] and right next to Boston’s only active stone quarry and blast zone was a good idea … Do you trust these organizations to find and disclose information that it’s in their financial interest to conveniently lose? I don’t.

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ENDORSEMENT

WE LIKE MIKE

Support Connolly for state rep in Cambridge, Somerville

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There is phenomenal news for Bernie Sanders supporters in the 26th Middlesex House District, which covers significant swaths of Cambridge and Somerville.

No, the US senator from Vermont isn’t chasing his iconic push for the presidency by retiring to Central Square and running for the state legislature. But his Our Revolution project, which has vowed to pick up said campaign momentum, has endorsed former Occupy Boston activist and community organizer Mike Connolly for the Beacon Hill seat that is currently occupied by state representative Tim Toomey, a piece of Democratic furniture who also quite absurdly serves as a Cambridge city councilor.

Along with three other stellar Bay State Dems—Jamie Eldridge (Senate) and Mary Keefe (House) in the Worcester area, plus Second Middlesex District state Sen. Pat Jehlen, who Medford, Somerville, and Cambridge voters should support in her reelection bid over the far less progressive Leland Cheung—Connolly is among the first 62 Our Revolution nods nationwide. The movement’s noted early internal struggles aside, it’s remarkable that organizers were able to compile a compelling coast-to-coast slate in such short notice. As a result, Sanders backers have an immediate way to rebel against defenders of the status quo who snarkily suggested that Bernie followers participate in down-ballot races, all while secretly hoping that progressives evacuate the building.

Though we have only endorsed a handful of candidates in the history of DigBoston, with all the hell we give the pols who feast on legal bribes from lobbyists and old boys, we felt compelled to weigh in on this contest. Connolly stands head and shoulders above most public officials—and not only because at 6 feet 8 inches, he’s even taller than our giraffe of a Republican governor. Put simply, he’s a progressive’s dream with a meritocratic pedigree, having grown up in a suburban housing project in Norwood before going to Duke, then working in tech and eventually finding public service. The Sanders camp isn’t alone in noticing, and Connolly’s racked up key endorsements from the likes of NARAL Pro-Choice Massachusetts and the Sierra Club.

We hope that you trust our characterization of Connolly as the right choice, and we urge voters in his district to have faith that, if elected, he will fight against the increasingly prevalent neoliberal agenda that corrupts Beacon Hill. For more detailed reasons, we recommend that you peruse his website, or better yet check out the record of his opponent Toomey. The double-dipping councilor and representative is the kind of old-school conservative Dem who needs to go. From his support of charter schools over the years, to the tens of thousands of dollars he’s taken from developers and other questionable interests, to his horrendous criminal justice record and opposition to legal marijuana, it’s about time that someone give Toomey the Timberland. In the state primary next Thursday, Sept 8, Mike Connolly is your boot.

As a result, Sanders backers have an immediate way to rebel against defenders of the status quo who snarkily suggested that Bernie followers participate in down-ballot races, all while secretly hoping that progressives evacuate the building.

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GUEST COLUMN

DISSENTING OPINION Smith students respond to ‘Globe’ editorial

BY SMITH COLLEGE SOCIAL WORK STUDENTS Introductory Note by Contributing Editor Jason Pramas: For the growing number of American students who come from “non-traditional” (read “Black, Latina/o, Asian, Native American, immigrant, and/or poor”) backgrounds, getting into a university — let alone graduating—remains extremely difficult. All too many colleges simply were not designed to deal with students who weren’t white, wealthy, and WASP. They were designed to exclude them. Things have changed over the past half century after much struggle by university students, faculty, and staff of good conscience (together with off-campus allies) across the country, but not nearly enough in some important respects. So it was disappointing to read last week’s Boston Globe editorial, “Smith College activists cry wolf over bigotry.” In which the immensely privileged editorial board of a major newspaper told a group of students of color at the Smith College School for Social Work — a co-ed graduate program — that they were out of line for protesting racism at their school. By way of corrective, I thought it was important to reach out to the Smith College School for Social Work student protesters …

A recent op-ed in the Boston Globe suggests that student activism at Smith College’s School for Social Work is “overwrought,” and advises us as organizers that “not every dispute warrants a social-justice crusade.” The Globe’s editorial writers have not been sitting in classes or common spaces on campus, nor have they been talking to professors or students directly. As students in these spaces, we feel that we must provide context that challenges the Globe’s narrative: our actions have encouraged open dialogue to better our school, community, and the larger profession of social work.

Thus, we agree with the authors of the Globe editorial, who write: “disagreements and problems can only get worse when people don’t talk about them.” It is imperative to bring these issues out from behind closed doors, where professors and administrators are discussing their concerns about students without our input. Our actions this summer follow the actions of many before us, extending far beyond the walls of Smith. They are intended to start public conversations, not shut them down. We encourage our administrators and professors to engage authentically with us, not in private, anonymous forums without giving us an opportunity to respond. Students have been left out of these conversations for decades, and the two letters released were written directly in response to student voices finally being a part of the conversation. This was a result of organizing efforts by students. Our hope has always been to have the opportunity to respond and engage in collective dialogue to improve Smith College.

Further, the Globe editorial mischaracterizes Smith students as individuals who don’t know what real oppression looks like. We do in fact understand the reading of “colonialism and racial oppression” in the two leaked letters.

When faculty and administrators decry students “lacking academic qualifications,” call our “competence” into question, and criticize a “tainted” admissions process, we understand that this rhetoric has a history. In academia, as Roderick A. Ferguson writes in his book “The Reorder of Things,” words like “ability,” “competence,” and “efficiency” are used as seemingly “neutral” words that are actually used to surveil, exclude, and measure students of color. As one organizer points out, “these notions are only ever deployed in an attempt to ‘neutrally’ or ‘colorblindly’ exclude members of marginalized communities from gaining access to sites of power.

We are concerned that the Globe has chosen to characterize us as part of the maligned “college crybully” generation. If aligning ourselves with the standards of social work articulated by the National Association of Social Workers Code of Ethics makes us “crybullies,” then so be it. We seek to “obtain education about and seek to understand the nature of social diversity and oppression with respect to race, ethnicity, national origin, color, sex, sexual orientation, age, marital status, political belief, religion, and mental or physical disability.” We “challenge social injustice.” As students who want to carry our critical thinking skills with us into practice now and in our careers, can we be blamed for our criticisms of Smith’s culture? As Roxane Gay writes in The New Republic, “Whether we agree with these student protesters or not, we should be listening: They are articulating a vision for a better future, one that cannot be reached with complacency.”

Check the full note at DigBoston.con. Readers who would like to communicate with the Smith College School for Social Work student protesters can email them at smithmswforchange@gmail.com.

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THOMPSON ISLAND SPECIAL LOW TIDE FEATURE

Boston Harbor Islands meet the mainland (sometimes)

Many people know me as a food writer, mainly for posting reviews of little-known dining spots and writing news stories that focus on the Boston-area restaurant scene.

But I’m also a hike leader, having led walks and hikes for the Appalachian Mountain Club for about 15 years now, and as I lead about 25 outings a year all over the local region, it often feels of late that I pretty much know every area in which to hike. Well, that thought went 10

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right out the window recently after an acquaintance in the restaurant business asked me if I had ever hiked to Thompson Island. I told him no because I haven’t yet learned how to walk on water, but he said there is a much easier (and much less scary) way to get out there, and that’s when I learned about one of the city’s best outdoor secrets.

Thompson Island is a relatively small area of land

that’s closer to the mainland than most islands in Boston Harbor, and it is one of two islands that you can actually walk to at low tide via a sandbar. (And sorry, but I can’t tell you the other because it entails cutting through private land—a big no-no.) And what makes this so little known is the fact that the sandbar is almost completely hidden from view from any roads, so unless you’ve been told about it, you probably won’t even know that it’s there.

THOMPSON ISLAND continued on pg. 12

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Getting to the sandbar is actually quite easy—turning east on East Squantum Road in Quincy from Quincy Shore Drive (by Wollaston Beach) will quickly get you into the quiet Squantum neighborhood where the road becomes Dorchester Street, then Moon Island Road before you hit the end of the line at a guard gate, where the road—which at this point becomes no access—continues on to Moon Island. Free parking is available along the right side of the road just before the guard gate or in a small dirt lot on the left a few hundred feet back, though make sure you heed the signs if you park on the road, because on weekdays, there is a two-hour limit for much of the day.

A recent trip I led to Thompson Island turned out to be about as easy a walk as I’ve done for the AMC, as there are very few steeps and not much in the way of distance, making it a trip that even beginner hikers can do. The start of it is actually the toughest part, as the dirt trail from either the parking lot or to the left/behind the American Legion (which is across from the street parking area) is curving and narrow and at times has steep dropoffs to the right. It is also a bit tricky at the start because the small park behind the Legion hall contains a number of short trails, so it is easy to get off course; the key is to make sure the water is always on your right once beyond the Legion building. About 5-10 minutes into the hike, the trail basically ends at a drop down to the water on the left and a ledgy cliff that leads up to the right. For our hike, before dropping to the shoreline we scrambled up the cliff to see where we were about to go, and the views from the cliff were among the best in the entire Boston area, showing the crescent-shaped sandbar winding its way out to sea and connecting on the other side to Thompson Island in the distance.

THOMPSON ISLAND continued on pg. 14

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We reached the start of the sandbar approximately an hour before high tide, and it was already dry and surprisingly wide—much wider than I had thought it would be, as I assumed it might have room for maybe one or two across, but it appeared to be at least 50-100 feet wide and was getting wider by the minute.

Still, the rule of thumb is try not to head onto the sandbar more than 90 minutes before low tide and definitely do not return from Thompson Island more than 90 minutes after low tide, possibly making sure you are close to the sandbar an hour after low tide to make sure the sandbar isn’t disappearing too quickly. Why is this? I’ve been told that at mid-tide, the water where the sandbar is can be waist-high.

Walking across the sandbar was such an unforgettable experience for our group that it was almost good enough to do alone without even going to the island (and keep this in mind, as you’ll soon learn that the island itself has some restrictions). To the right we saw little Moon Island, the much-larger Long Island, and the space where the bridge connecting the two had been; to the left were jaw-dropping views of the Boston skyline, UMass Boston and the Kennedy Library, and much more. And while the sandbar was wide and flat, the footing wasn’t always perfect, with pebbles, sand, seaweed, and occasional streams of water causing us to slow the pace a bit. About 15-20 minutes after leaving the Squantum shoreline, we reached Thompson Island—and were greeted by a rather menacing “No Trespassing” sign. From this spot, you have options depending on when you go: If it is a weekday, we’ve been told that you’re allowed to walk along the waterline (basically the beach area below the high-tide mark), and fortunately the beach area stretches nearly all the way around the entire 200-acre island, complete with tremendous views of the island and open ocean along the east side (which is the most obvious direction to go from the sandbar) and more Boston skyline views and potential sunset scenes along the west side; if you go on a weekend, the entire island—minus the campus area where youth and education programs take place—is open to the public, which means you can walk along a handful of trails and dirt roads within the island itself, including a wide tree-shaded one that winds its way down the backbone of the island south of the campus and leads to the west side of the sandbar, with views of marshes and fields along the way.

So what are the best options for hiking to Thompson Island? A weeknight around sunset (which is what we recently did) is a fine choice, as long as you make sure you stick to the waterline on the island and get to back to the sandbar before sunset, because the short trail from the sandbar to the road can get very dark. But perhaps the best option is to go on a weekend, time it so you get to the sandbar 90 minutes before low tide, and enjoy a couple of hours of wandering around the island before heading back about an hour after low tide. No matter when you go, however, be ready for some views that will blow your mind and some bragging rights when you tell your friends that you walked across Boston Harbor and didn’t even get your feet wet. >> SQUANTUM TO THOMPSON ISLAND HIKE. 4-6 MILES TOTAL, 2-3 HOURS. PARK ALONG MOON ISLAND RODE BY AMERICAN LEGION POST AND MOON ISLAND GUARD GATE AT GPS COORDINATES 42.3027669,-71.0111489. MAP OF THOMPSON ISLAND AT THOMPSONISLAND.ORG

PHOTO BY MARC HURWITZ

THOMPSON ISLAND continued from pg. 12

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

15

MUSIC

MUSIC

IAN SWEET

7TH ANNUAL STARLABFEST

Finding your freak voice in a sea of jazzy Berklee kids

Screaming Females, the So So Glos, and more

BY NINA CORCORAN @NINA_CORCORAN

MUSIC EVENTS THU 9.1

RECORD RELEASE THAT ROCKS THALIA ZEDEK BAND + MINIBEAST + BLACK HELICOPTER + POSITIVE NEGATIVE MAN

[Great Scott, 1222 Comm.

Ave., Allston. 9pm/18+/$10. greatscottboston.com]

16

9.1.16 - 9.8.16

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FRI 9.2

HAPPY HORNS FOR JAZZY JUMPIN’ DAN & THE WILDFIRE + RUSTED BUCKET BAND + JARRETT CLAYMAN (ACOUSTIC)

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

6:30pm/18+/$12. mideastoffers.com]

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FRI 9.2

LO-FI DUO REUNION ON THE DOWNLOW FAT CREEPS + ALAINA STAMATIS COMEDY RITUAL

[Lilypad Inman, 1353 Cambridge St., Cambridge.

10pm/all ages/$10. lilypadinman.com]

TUE 9.6

UNDERGROUND R&B GALLANT + ERYN ALLEN KANE [The Sinclair, 52 Church St., Cambridge.

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

Something’s brewing in Somerville. In the next couple of months, just outside of Union Square, the Somerville Arts Council will start up its ARTfarm project at 10 Poplar Street. In advance of that upcoming construction, a different type of project is in the works—and this one is both louder and tastier.

Wave hello to the return of Starlabfest. Now in its seventh year, the annual one-day festival brings together the music, food, and entertainment worlds of Somerville to form a cohesive community, introducing itself to surrounding neighborhoods.

Pay $12 at the entrance and you get a crazy, stacked bill in return. Screaming Females headlines this year’s festival with its brand of solo-heavy punk rock.

Throughout the day, a smattering of national and local acts take the stage, too, including the So So Glos, Bloodshot BILL, Mini Dresses, the Furniture, Gymshorts, STL GLD, Ascend/Descend, Save Ends, Animal Flag, and Adam PC. If you’re just there to make your mouth happy, don’t fret. Scott Brothers New American Meat Co. will cook free BBQ throughout the day (with veggie options upon request for our fellow vegetarians- and vegans-in-arms) and numerous drinks are on tap. Plus Nick Chambers, Emily Ruskowski Comedy, and Sam Ike will be performing comedy sets should you need to smile even more.

It’s six hours of starry-eyed entertainment. Need we say more?

>> STARLABFEST VII. SAT 9.3. 10 POPLAR ST., SOMERVILLE. 12PM/ALL AGES/$12.

STARLABFEST.COM

WED 9.7

SWEDISH BLACK METAL, YA? MARDUK + ROTTING CHRIST + CARACH ANGREN + NECRONOMICON

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

WED 9.7

LOWKEY CROONS FROM A BRIT CORINNE BAILEY RAE + MAYAENI

[Royale, 279 Tremont St., Boston. 7pm/18+/$31. royaleboston.com]

POSTER DESIGN BY BRYAN MASTERGEORGE

>> IAN SWEET + HORSE JUMPER OF LOVE + IJI + KAL MARKS + LINA TULLGREN. TUE 9.6. MIDDLE EAST UPSTAIRS, 472 MASS. AVE., CAMBRIDGE. 7PM/ALL AGES/$12. MIDEASTOFFERS.COM

BY NINA CORCORAN @NINA_CORCORAN

PHOTO ELEANOR PETRY

More than anything, 2016 is a year of artists smashing genre walls and the limitations that come with them.

There’s no point creating music we’ve all heard before. Instead, offer something new, even if wandering into a musical realm where no band has gone before may indeed be as terrifying as it sounds. It’s a chance to create a confection for acquired tastes, and in time, everyone begins to crave more.

That’s where Jilian Medford finds herself. The frontwoman of Brooklynvia-Boston trio Ian Sweet creates indie rock that’s startling yet soothing, the type of material that yelps and squawks but cradles you all the same, comforting you while making you jump in your skin. Though the band’s instruments—Medford on guitar and vocals, Tim Cheney on drums, Damien Scalise on bass—are run of the mill, the sweetened pop and jagged twists the three churn out with them offer up a sound that’s exciting to even the most in-the-know listener. So it comes as a surprise to learn that Medford, the songwriter behind it all, went to Berklee College of Music.

“My first semester there, I wanted to give up since everyone’s voices were flawless. It was scary since I had such a weird voice,” she says. It’s reasonable to fret about. Medford was side by side with Norah Jones wannabes and operatic-like vocalists. Her own tone, one that rockets into squeals akin to the way a bored child in a backseat lets notes slink out of their mouth, is original in every way. “Have you ever seen Shallow Hal?” she asks. “Gwyneth Paltrow is incredibly beautiful, but [Jack Black] sees her as this phenomenally beautiful, skinny, perfect mate. Sometimes I wonder if my mind is so caught up in the fun of singing that I think I sound better than I do, where friends are holding back what I actually sound like.”

It wasn’t until two pivotal moments in her life that Medford found the confidence she needed to let her voice shine. The first came during college. In her Joni Mitchell ensemble, the teacher asked Medford to perform an original song concluding their otherwise straightforward tribute to the iconic singer-songwriter, thus showing she could pave her own similar path.

The second came during a DIY show in Allston where she first saw local art-rock act Guerilla Toss. “I remember seeing Kassie [Carlson] sing and thinking, ‘Damn, she knows how to sing,’” she recalls. “She’s got a beautiful voice, but she fucks it up—and that was so cool to learn in real time.”

Now the trio is gearing up to release its proper debut album, Shapeshifter, on Sept 9 via Hardly Art. With the record release show set for this upcoming Tuesday at the Middle East, Medford reflects on the comforts she’s found, both inside herself and in the band.

“I’ve struggled with depression forever, but it was the first time I started connecting parts of my life and realizing how and why taking care of myself was necessary. I was nurturing others instead. The record shows that. I was focusing on everything— inanimate objects, skateboarding, shoes—to push away from myself by obsessing over things that weren’t me,” Medford explains. “Being alone is important to actually recognize what you like, what you want to accomplish, and how you can love people in a positive way.”

Shapeshifter sees Ian Sweet boasting a voice that’s as comfortable with its timbre as it is with the words it’s singing. It’s a welcome return to self for a woman who’s transformed before her own eyes. Now, Ian Sweet can come back to Boston and see each crevice as a point of change, a city that’s embraced Medford since day one, even if it took some time to adjust to the types of candy the band brought to the table.

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DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

17

FILM

AN INTERVIEW WITH IRA SACHS Longtime filmmaker speaks about his latest work, Little Men

BY JAKE MULLIGAN @_JAKEMULLIGAN Ira Sachs is an American filmmaker who has directed six features: The Delta [1996], Forty Shades of Blue [2005], Married Life [2007], Keep the Lights On [2012], Love is Strange [2014], and now Little Men [2016], which opens in Boston this Friday. Little Men depicts a family feud that begins when Brian (Greg Kinnear), Kathy (Jennifer Ehle), and their teenage son Jake (Theo Taplitz) inherit a Brooklyn apartment building from Brian’s late father Max (who remains unseen). They also inherit his favored tenants, Leonore (Paulina Garcia) and her teenaged son Tony (Michael Barbieri); as the two young men become trusted friends, their parents diverge on matters of money, causing intergenerational strife for both families.

We spoke near the release of Keep the Lights On, and we spent a lot of time talking about the works of Maurice Pialat. Since then I was able to attend a retrospective of his work at the Harvard Film Archive, and at this point I can’t help but see his influence throughout your own films.

Maybe I’ve said this before, but it’s the “anxiety of influence.” You can never reach your masters. In a way, that’s a positive thing. “Anxiety of influence” is a literary term; Harold Bloom talks about it. As an artist, you’re always in oedipal conflict with certain people, who you can never kill. But you’re in productive conversation with them. I’m still watching A Nos Amours [1983].

“Conversation” is probably a better word to use than “influence.” I see it in your compositions a lot.

In Little Men particularly, we really stuck to the medium shot, in a way that Pialat influenced. And we were quite rigorous about that shooting style, in a different way than we were in the previous two films. I think you feel that in

the movie. I could go on about Pialat. Were you able to see the miniseries that he did?

Unfortunately not.

The House in the Woods [1971]. It is amazing. And it was made for television, so if you see it at home then you’re seeing it in the right form. I once saw Olivier Assayas, who I also think is in deep conversation with Pialat. Do you know his work?

His movies mean very much to me as well. I recently had a bunch of friends over just so that I could show them Cold Water [1994].

Cold Water. That movie was extremely important to me when I moved to New York in the early ’90s, and also to Kelly Reichardt, who I shared an office with. We were all blown away by it. And the parties—I’m still doing party scenes that come from vague feelings about Cold Water’s party scene.

You employ fade-out techniques in Little Men, and they function as vague ellipses, which connects us to Pialat again. In Keep the Lights On, I felt like your use of ellipses was connected to time passing. In Little Men, I felt like it had more to do with structure.

They’re about chapters. And I have to say, a couple of my cinema friends were saying, “No fade-outs! You shouldn’t be using them.” But I felt like the movie was intentionally novelistic. The chapter break is one of the most beautiful things in literature, for me—what happens between the chapter break.

To me it felt like the first chapter of Little Men is about people on their own, the second chapter is about people in pairs—two sons, fathers and sons, or two mothers—

and the third is about people in large groups. If I’m remembering correctly, the first two chapters conclude with people alone, while the third ends with rhyming moments of connection.

I like that you say “rhyming,” because there was some tension in the editing phase about that. This movie wasn’t built in the editing stage—but it was certainly refined in the editing stage. We’d ask: Are those hugging shots refrains, or were they repetitive? It’s an interesting question, because they do follow one another. I question their duality. This idea of a shot that “sticks with you” is connected to something I believe in with films, which is that sometimes the shot matters more than its place in the story. Sure, you don’t get to the shot without the story.

But sometimes you want to push the boundaries of an image in order to have it resonate in a different way.

It’s something I’m aware of on the set. In Love is Strange, it’s the scene that’s set on the stairwell—you know that the shot can hold. I had one shot in Little Men that I thought would hold in that certain way, when Tony is rejected by the girl at the disco. He says, “Thank you for being honest,” and then he starts dancing and walks away. We shot something where the camera followed him all the way to the back, almost like a Dardennes brothers shot or something. But it didn’t work. You can imagine rhythms, but then you discover things in a new way. I always think that you make three films. You write a film and you think that’s the movie, then you shoot the film and you think that’s the movie, then you make a third movie when you edit it.

To connect the use of ellipses to that refining process, Little Men very deliberately parcels out information about the characters. One of the things I thought about was the inference, never acknowledged directly, that Jake’s grandfather might be Tony’s father.

What I will say is that [inference] is the refuge of earlier possibilities of the script. Ultimately that didn’t feel earned, as a narrative turn, but perhaps it’s still layered there. It wasn’t necessarily that he was the son, but there was once more explicitness to the relationship between Max and Leonore. What I found interesting about it thematically is that the film is about the primacy of friendship. I actually believe in their friendship—the one between Max and Leonore. It was significant. I think that trumps the questions of “Is family most important?” And I felt that if it went to the point of a sexual relationship, that feeling wouldn’t be as pronounced.

Instead it becomes this specter of interpersonal relationships that exist beyond familial lines.

Exactly.

Throughout its development, did the film do anything to surprise you?

What surprises me now is that it works like a torpedo. It begins in a wide space, and you are entering a world in a very open way, but then the walls start closing down. Its narrative takes hold in an almost theatrical way, and that surprises me as a viewer. There’s tension between forms and styles and performances. I would actually say that it starts out in Pialat’s world, and ends in Chekhov’s.

>> LITTLE MEN. OPENS AT THE KENDALL SQUARE CINEMA FRI, 9.2. RATED PG.

FILM EVENTS FRI 9.2

FRI 9.2

SAT 9.3

[Brattle Theatre.

40 Brattle St., Harvard Sq., Cambridge. 5:30, 7:30, and 9:30pm/R/$9-11. brattlefilm.org.]

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

Midnight/NC-17/$11.25.

35mm. coolidge.org]

[Harvard Film Archive.

24 Quincy St., Harvard Sq., Cambridge. 7pm/$12. Six films will be shown, all on 35mm. See hcl.harvard. edu/hfa for titles.]

JEREMY SAULNIER’S GREEN ROOM

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COOLIDGE AFTER MIDNIGHT PRESENTS JOHN WATERS’ PINK FLAMINGOS

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MON 9.5

BIG SCREEN CLASSICS PRESENTS JAWS

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

7pm/PG/$11.25. 35mm.]

TUE 9.6

BALAGAN FILMS PRESENTS FORMAL SUBVERSIONS—FILMS FROM COLOGNE, GERMANY

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

7pm/NR/$11.25. Various screening formats.]

WED 9.7

NICOLAS WINDING REFN’S THE NEON DEMON

[Brattle Theatre. 40 Brattle St., Harvard Sq., Cambridge.

4:30, 7, and 9:30pm/R/$911. brattlefilm.org.]

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SO MANY POSSIBILITIES At the Huntington, a new layer to Sunday

BY CHRISTOPHER EHLERS @_CHRISEHLERS The Huntington Theatre Company is kicking off its 35th season with Stephen Sondheim and James Lapine’s 1984 Pulitzer-winning musical Sunday in the Park with George, which—as far as I’m concerned—is one of the most stunning works ever written for the stage.

Inspired by Georges Seurat’s painting A Sunday Afternoon on the Island of La Grande Jatte, Sunday is a fictionalized account of both the artist himself and of those he immortalized in the iconic painting. It is a meditation on art, beauty, relationships, and loneliness. Peter DuBois, who directed last season’s solid gold production of Sondheim’s A Little Night Music, is— thankfully—at the helm again.

Josh Breckenridge (The Scottsboro Boys, Come From Away on Broadway this February) plays Jules, a successful artist friend of Seurat. Here, Breckenridge discusses a surprising new layer of this Sunday.

You play Jules, who is a successful artist and considers himself a friend of George, yet he is not always kind to George. How do you view their relationship?

I think there is a kind of war going on in the show between convention and normalcy versus where George lives in change and nuance and boldness, trying to find something new. Ultimately, they are friends—they went to school together. He says how much he admired George’s work, and I think that is genuine, as shady as he can come off sometimes. Where the struggle in their relationship lies is that there is a risk in his reputation if he brings this new, unheard-of pointillist into this art gallery. He doesn’t want to be scarred by whatever experimentation George is up to at this point. So yeah, he honestly cares for him and wants him to do well but is worried. But there are moments when you see Jules and Yvonne [his wife] chuckling in the background and teasing him, and I think that Jules is a man of persona, he’s a man of perfection, and I think that he lives in that perfect state. We see him with not a piece of dust on him, cane, gloves, perfect to a tee until later on when we see him [cheating on his wife] with Frieda and that human side of him comes out.

Do you know if there is any historical basis for Jules, or is he a complete dramatic creation?

I don’t think that he is an actual person, and that is fun for me because I get to create. But it is a specific place and time in society that I can research. It’s been fun to do my research and create something as an African American playing this role. What would a black artist be like, what would they be going through at this time? There are some more layers to play there. For instance, if Jules happened to come [to France] from the States where you’ve got the Civil War going on, you’ve got all this crap; at that time, I would imagine that even the most popular African American artist in the States would be

referred to as a “black artist,” not just an artist. That would be reason enough for Jules to want to leave and work in France, to be regarded as an artist more than just a black artist. That’s another reason why he might be so hesitant with George; even in France at that time as a black artist, it would be very important to keep up and keep ahead of any reason why people would pull your work down or not regard it in the same way as other artists. There are some higher stakes there for Jules to maintain that stature and perfection, that need to be somebody and to be at the top of his game and always fighting that societal pressure.

If you’re going to look at it that way—in this production, Jules is married to a white woman.

I don’t want to say that Yvonne is a trophy to him—I think there’s love there—but it could, on the outside, be a form of acceptance: a way for him to blend into the crowd as much as possible. Just trying to survive like the Joneses! [laughs] That adds such a fascinating layer that is not normally associated with this show!

It’s not, and it’s a fun layer to play. We know that the guy in the picture is Caucasian and yet I’m playing the part, so why not play with that? See what we can find.

>> SUNDAY IN THE PARK WITH GEORGE. RUNS 9.9-10.16 AT THE HUNTINGTON THEATRE COMPANY, 264 HUNTINGTON AVE., BOSTON. HUNTINGTONTHEATRE.ORG 20

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DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

21

SAVAGE LOVE

DRESSED UP

WHAT'S FOR BREAKFAST

BY PATT KELLEY WHATS4BREAKFAST.COM

BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET I’m a 26-year-old gay male, and I like to explore my feminine side by wearing female clothes.

I have a boyfriend who likes to do the same thing, but he doesn’t have the courage to tell his parents that he’s gay and explores his feminine side by wearing female clothes. I want to adopt early school-age boys and teach them that they can explore their feminine side by wearing female clothes. My question has two parts. First, in regard to my boyfriend, how can I encourage him to tell his parents he’s gay and wants to explore his feminine side by wearing female clothes? Second, in regard to adopting early school-age boys, how do I teach an early schoolage boy that it’s okay for them to explore their feminine side by wearing female clothes and also teach them that they don’t have to be gay at the same time?

Dressing A Future Together Wear whatever you like, DAFT, but please don’t adopt any children—boys or otherwise, early school-age or newborn, not now, probably not ever. Because a father who pushes his son into a dress is just as abusive and unfit as one who forbids his son to wear a dress. You two don’t need kids, DAFT, you need a therapist who can help your boyfriend with his issues (the closet, not wearing female clothes) and help you with yours (your extremely odd and potentially damaging ideas about parenting, not wearing female clothes).

Before I sign off: a big thank you to the Dan Savages who filled in for me while I was on vacation—Dan Savage, Orlando-based sportswriter; Dan Savage, London-based theatrical marketing executive; and Dan Savage, Brooklyn-based designer. You guys did a great job!

And here’s something clients of sex workers can do without going public: The Sex Workers Outreach Project (SWOP) is running a pilot program to help incarcerated sex workers. Send a book to an imprisoned sex worker, become a pen pal, or make a donation by going to SWOPbehindbars.org and clicking on “10 Ways to Help Incarcerated Sex Workers.” Non-clients are welcome to help, too!

Savage Lovecast live in Chicago! Listen at savagelovecast.com.

THE STRANGERER

BY PAT FALCO ILLFALCO.COM

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CHOICE™

60

all-inclu g p r ic in

All-Included Package

00 $ .

E M A G E V I L Y R

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Y A D N U S Y R E VE MO. E .

E M A G E Plus taxes.

V I V R Y L For 24 months .

A W/ 24-mo. TV agmt. & other qual. AT&T service.* D N U S Y R Regional Sports fee applies in certain markets.

D AY TICKET INCLUDE AY 2016 NFL SUNDA TO DIRECTV. WHEN YOU SWITCH

Out-of-market games only.

Includes: • Over 175 Channels ™ CHOICE 2-Year

• Monthly fees for HD DVR & 1 add’l receiver. cluded All-Included Package

00 .

E M A G LIVE

Y L 60 all-in p r ic in g

$

EVE

Choose any live game you want to watch on Sunday, all in HD. Only with DIRECTV — you can’t get this with Cable or DISH. (Out-of-market games only.)

DIRECTV FANTASY ZONE CHANNEL†^ WATCH LIVE GAMES WHEREVER YOU GO ™ *New approved residential customers only (equipment lease req'd).

Credit card req'd.

Req’s qual. AT&T service during Exclusive channel dedicated to fantasy.

Stream every live out-of-market game, every

MO.

Plus taxes.

For 24 months W/ 24-mo. TV agmt. & other qual. AT&T service.* Regional Sports fee applies in certain markets.

With DIRECTV you’ll score: Includes: • Over 175 Channels

Sunday afternoon, from virtually anywhere with a tablet, mobile device or computer.

Get key stats and player scoring around the league in real time, right on your screen.

RED ZONE CHANNEL® †^ Never miss a play inside the 20, all on one channel, all in HD.

WATC H UP TO 8 GAMES AT ONCE OR PICK ONE † Game Mix Channel lets you watch up to 4 or 8 games live on one screen.

FREE

Only available in HD. ^With NFL SUNDAY TICKET MAX.

†

GENIE HD DVR UPGRADE ®

NO equ NO s

ALL DIRECTV OFFERS REQUIRE 24-MONTH AGREEMENT. ADD'L FEES APPLY. *New approved residential customers only (equipment lease req'd). Credit card req'd. Req’s qual. AT&T service during 2nd year. Pro-rated ETF fees (up to $480) and Equipment Non-Return fees apply.

• Monthly fees for HD DVR & 1 add’l receiver.

CALL NOWFREE and ask NOabout Next Day 99% Insta With DIRECTV you’ll score:

IVS

equipment to buy.

GENIE® HD DVR UPGRADE

worry-free signal reliability.

NO start-up costs.

Based on a Nationwide study of representative cities.

CALL NOW and ask about Next Day Installation.

800-341-5098 203-542-7271

Geographic and service restrictions apply to U-Verse services. Call or go to www.att.com/u-verse to see if you qualify. $60 2-YR CHOICE ALL INCLUDED PACKAGE PRICE: Ends 10/22/16. New DIRECTV residential customers who bundle w/ eligible new or existing AT&T wireless svc. Price includes CHOICE All Included TV Pkg and monthly fees for a Genie HD DVR + one (1) add’l receiver. Internet: 12-mo. agmt req’d. Prorated ETF (up to $180) and Equipment Non-Return fees apply. Wireless: Consumers only. Sold separately. Reqs AT&T postpaid svc on elig. plan (excl. Lifeline & Residential Wireless) on a smartphone or phone (excl. Wireless Home Phone). Svcs: Svc addresses must match. To be elig. for 2nd yr price guarantee both services must remain active & in good-standing during 2nd year. Price Guarantee: TV Pkg only. After 24 mos. or loss of eligibility, then-prevailing monthly rate for All Included TV Pkg applies (currently $104/mo for CHOICE All Included), unless customer calls to cancel /change service prior to the end of 24 mos. Price excludes taxes, equipment upgrades/add-ons and other chrgs. Some offers may not be available through all channels and in select areas. See att.com/directv.

DIRECTV SVC TERMS: Subject to Equipment Lease and Customer Agreements. Must maintain a min. base TV pkg of $29.99/mo. Add'l Fees & Terms: In certain markets, Regional Sports fee of up to $6.39/mo. assessed with CHOICE and MÁS ULTRA Pkg and above. $19.95 Handling & Delivery fee may apply. Programming, pricing, terms and conditions subject to change at any time. Visit directv.com/legal for details.

WIRELESS SVC TERMS: Subj. to Wireless Customer Agmt (att.com/wca). Svcs are not for resale. Credit approval req’d. Deposit may apply. Fees, monthly & other charges, usage & other restrictions apply. Pricing, promotions, & terms subject to change & may be modified or terminated at any time without notice. Coverage & svc not avail. everywhere. You get an off-net (roaming) usage allowance for each svc. If you exceed the allowance, your svc(s) may be restricted or terminated. Other restr’s apply & may result in svc termination. See att.com/wireless or a store for details.

GENIE HD DVR UPGRADE OFFER: Includes instant rebates on one Genie HD DVR and up to three Genie Minis. Req’s SELECT Pkg or above; ÓPTIMO MÁS Pkg or above; or any int’l service bundle w/PREFERRED CHOICE Pkg. $99 fee applies for Wireless Genie Mini upgrade.

2016 NFL SUNDAY TICKET OFFER: Package consists of all live out-of-market NFL games (based on customer’s service address) broadcast on FOX and CBS. Games available via remote viewing based on device location. Other conditions apply. 2016 NFL SUNDAY TICKET regular full-season retail price is $257.94. 2016 NFL SUNDAY TICKET MAX regular full-season retail price is $359.94. Customers activating CHOICE Pkg or above or MÁS ULTRA Pkg or above will be eligible to receive the 2016 season of NFL SUNDAY TICKET at no add’l cost and will receive a free upgrade to NFL SUNDAY TICKET MAX for the 2016 season. NFL SUNDAY TICKET subscription will automatically continue each season at a special renewal rate unless customer calls to cancel prior to start of season. To renew NFL SUNDAY TICKET MAX, customer must call to upgrade after the 2016 season. Subscription cannot be canceled (in part or in whole) after the start of the season and subscription fee cannot be refunded. Only one game may be accessed remotely at any given time. Compatible device/operating system required for online/mobile access. Additional data charges may apply. Visit directv.com/nfl for a list of compatible devices/system requirements. For full Mix Channel and interactive functionality, HD equipment model H/HR 21 or later is required. NFL: AP Photo.

HD: HD television req’d. Number of HD channels based on TV plan.

NFL, the NFL Shield design and the NFL SUNDAY TICKET name and logo are registered trademarks of the NFL and its affiliates. NFL team names and uniform designs are registered trademarks of the teams indicated. ©2016 AT&T Intellectual Property. All Rights Reserved. AT&T, Globe logo, DIRECTV, and all other DIRECTV marks contained herein are trademarks of AT&T Intellectual Property and/or AT&T affiliated companies. All other marks are the property of their respective owners.

NEWS TO US

FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

23

BOWERY BOSTON

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

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

ROYALE 279 Tremont St. Boston, MA • royaleboston.com/concerts BAND OF SKULLS W/ MOTHERS

W/ MAYAENI

TUE. SEPTEMBER 6

WED. SEPTEMBER 7

WED. SEPTEMBER 14

W/ TAMARYN

W/ RIVER WHYLESS

W/ CONNER YOUNGBLOOD

W/ GREAT CAESAR, SKOUT

THURS. SEPT. 15

FRI. SEPTEMBER 16

SAT. SEPTEMBER 17

SUN. SEPTEMBER 18

Peter Bjorn and John

THE TEMPER TRAP

Breakin’ Point Album Tour

W/ POTTY MOUTH, FRAMEWORKS

MON. SEPTEMBER 19

WED. SEPTEMBER 21

W/ PAUL CAUTHEN

W/ CITY OF THE SUN, CLEOPOLD

W/ RESIDUELS

SAT. SEPTEMBER 24

SUN. SEPTEMBER 25

TUE. SEPTEMBER 27

ON SALE FRIDAY AT NOON!

W/ C O A S T MO DER N

DAMIEN ESCOBAR

TUES. OCTOBER 4

MON. DECEMBER 12

T H U RSDAY. M AY 2 6T H 2 0 1 6 MAYAN THEATER

Thu. 19-May - Razzmatazz, Barcelona Fri. 20-May - Chango, Madrid Sat. 21-May - Territorios Sevilla Festival, Sevilla

L O S A N G E L E S , C A

W/ RAMONA FLOWERS

www.buzzcocks.com

52 Church St. Cambridge, MA sinclaircambridge.com

THIS SATURDAY, SEPTEMBER 3

NEXT MONDAY, SEPTEMBER 5

W/ MOUNT PERU

W/ THE DIRTY NIL, BADFLOWER

W/ LANDLADY

FRIDAY, SEPTEMBER 9

SUNDAY, SEPTEMBER 11

WED. & THU. SEPTEMBER 14 & 15

W/ OPEN MIKE EAGLE

THURSDAY, SEPTEMBER 8

the feelies

WALTER SICKERT & THE RUBY ARMY OF BROKEN TOYS ROSE FOX

/

W/ SISTER CRAYON

SUNDAY, SEPTEMBER 18

ANGEL OLSEN W/ ALEX CAMERON (9/20), RODRIGO AMARANTE (9/21)

W/ SUSTO

TUES. & WED. SEPTEMBER 20 & 21

THURSDAY, SEPTEMBER 22

HOW TO DRESS WELL

W/ KACY & CLAYTON

TUESDAY, SEPTEMBER 27

W/ JAKUBI

SUNDAY, OCTOBER 2

MONDAY, OCTOBER 3

ADAM EZRA GROUP

TUESDAY, OCTOBER 4

SATURDAY, DECEMBER 17

W/ MEAT WAVE, ANIMAL FLAG

W/ YOUTH CODE, HORRENDOUS

E

WEDS. SEPT. 7

TUESDAY, SEPTEMBER 6

FRIDAYS AT 7PM!

W/ WESTERN MEDICATION

SATURDAY, OCTOBER 1 W/ COLONY HOUSE, DREAMERS

W/ YEY Y, DJ COLBY DRASHER W/ NUMENOREAN, FROSTHELM, ASTRONOID

greatscottboston.com

W/ EX REYES

ON SALE NOW!

SHURA

1222 Comm. Ave. Allston, MA

FRIDAY, SEPTEMBER 23

FRIDAY, SEPTEMBER 30

WEDNESDAY, SEPTEMBER 28

yUNA

FRIDAY, SEPTEMBER 16

TUESDAY, SEPTEMBER 13

SUNDAY, SEPT. 11

THURSDAY, SEPTEMBER 8

W/ CHRIS STAPLES

W/ BEACH BABY WEDNESDAY, SEPTEMBER 14

THURSDAY, SEPTEMBER 15

W/ WILDHONEY FRIDAY, SEPTEMBER 16

ft. Marc

‘s THE GAS

WEDNESDAY, OCTOBER 12

JAMES FEARNLEY Orrell (ex-Dropkick of The Pogues Murphys) SUNDAY, SEPTEMBER 18

ON SALE NOW!

W/ OXYMORRONS, ADAM & THE FLOOR TUESDAY, SEPTEMBER 20

FRIDAY, SEPTEMBER 23

≠ 9/10 ALLSTON’S AWESOME CHRISTMAS ≠ 9/21 SIGNALS MIDWEST ≠ 9/23 & 9/24 JORDAN HANDREN-SEAVEY ALBUM RECORDING ≠ 9/26 ROOSEVELT ≠ 9/27 MOTHXR ≠ 9/28 GOBLIN COCK

OTHER SHOWS AROUND TOWN:

ON SALE FRIDAY AT NOON!

ON SALE FRIDAY AT NOON!

ON SALE FRIDAY AT NOON!

ON SALE NOW!

SUN. OCTOBER 30 MIDDLE EAST UPSTAIRS

WED. NOVEMBER 2 MIDDLE EAST DOWN

TUES. NOVEMBER 8 MIDDLE EAST UPSTAIRS

W/ BIG THIEF WED. OCTOBER 12 MIDDLE EAST DOWN

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

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

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