Toronto act Alvvays talk sleeptalking, underrated shoes, and Rick and Morty.
Archives for September 2017
FOTOBOM: ROGER WATERS @ TD GARDEN, 27SEP17
Roger Waters plays "Pigs" as a tribute to Trump and butthurt snowflakes scatter for the exits.
FUZZSTIVAL 2017: A GUIDE TO WHO’S WHO AT THE 5TH ANNUAL FESTIVAL
Boston Fuzzstival is back, so we built a guide to help you decide which bands to see.
SPECIAL FEATURE: THE BATTLE OF FORT HILL
Boston film director Robert Patton-Spruill helped rebuild his section of Roxbury from ruin. Now he wants to sell, but his neighbors have other plans for his property.
EVITA SO WHITE
Constantine Maroulis (Che) and the cast of “Evita” at North Shore Music Theatre thru October 8, 2017. Photos©Paul Lyden
Amid accusations of whitewashing and brownface, North Shore Music Theatre opens Evita
With the announcement of North Shore Music Theatre’s cast for Evita ...
THE FUTURE IS NOW
Four-day contemporary arts bonanza upon us once again
ONE LOVE: AM I THE ONLY PERSON WHO LISTENS TO JUST ONE KIND OF MUSIC?
Am I the only person who exclusively appreciates just one kind of music?
FIGHT NIGHT FEATURE: BOXING PUNKS
Boston-based fighters promoted by Dropkick Murphys’ Ken Casey take the stage at House of Blues Saturday for a nationally televised card
AN AMAZON NORTH ANDOVER DEAL?
Sketch of the Merrimack Valley Works plant at North Andover while under construction in 1955
Merrimack Valley pols courting the tech behemoth have forgotten recent history
A couple of weeks ago, I criticized the possibility of an Amazon ...
FIRST LOOK: BEST BURGER BAR IN BROOKLINE
A recent look at the Washington Street eatery soon after its opening indicated that this spot has some real potential, and not just for its burgers.
DEMOCRACY IN CRISIS: WHERE THE HECK IS KEKISTAN?
How have Pepe-posting meme warriors responded to real violence?
DEMOCRACY IN CRISIS: ‘THEY WORK FOR ME’
Check out what this US Park Police officer said about militia members at a far-right rally in DC
NATIONAL WIRE: RYAN TAX CUT PLAN SPARKS PROTESTS IN BOSTON
'Speaker Ryan and Mitch McConnell are about to rush through tax breaks to billionaires and large corporations that will blow a hole in the federal budget for years to come.'
WHAT’S FOR BREAKFAST? SECTS
THE WAY WE WEREN’T
CIFF INTERVIEW: DIRECTOR J.P. SNIADECKI, OF “EL MAR LA MAR”
The new film primarily displays landscape footage of the Sonoran desert, while the audio track features interviews with numerous figures that have experienced the location firsthand—including immigrants who had just crossed the border, as well as some patrolmen who consider it their job to stop them.
LESSON PLAN: HOW CAMBRIDGE MC MILLYZ SKIPPED HARVARD AND MIT TO GO WORLDWIDE
“It’s two different worlds,” Millyz says about the gap between the colleges and blocks that he grew up on. “They never really mixed when I was growing up. You would see college students in Central Square, but in the actual neighborhoods you didn’t see that. It’s just different. When I was growing up, these were all zombies walking. These were million-dollar drug blocks.”
TERMS OF SERVICE: DRUNK BRUNCH LOVE
The background (and pressures) of industry Mondays at Trina’s
HARVARD HOPES TRUMP WILL HELP IT UNDERMINE UNIONS
Harvard is asking the NLRB to change how union elections are run, as part of its ongoing fight against graduate student unionization. Photo: Harvard Graduate Students Union-UAW
The richest university in the world, with an endowment of $36 billion, is asking the National Labor Relations Board to change how union elections are run. Harvard University sees itself in the vanguard of resistance to the Trump administration. So why is the university now courting the support of Trump’s appointees by challenging an obscure—but far-reaching—labor relations rule? In order to prevent a fair vote by its graduate student workforce on whether to unionize.
Last fall Harvard graduate research and teaching assistants voted in an election to decide whether to pursue collective bargaining via a union local affiliated with the United Auto Workers, which represents 65,000 academic workers on campuses including New York University, the vast University of California system, and the University of Connecticut.
The vote was close, with 1,456 “no” votes against 1,272 “yes,” with an additional 314 votes uncounted pending NLRB hearings. (Of the original 314 uncounted votes, 195 have been deemed eligible, 119 deemed ineligible.)
But the Harvard Graduate Students Union-UAW argued that the election was tarnished because the Harvard administration had failed to supply a complete and accurate list of workers eligible to vote, as it is bound to do by law.
This summer, the NLRB regional director agreed with the union and ordered a new vote.
Harvard is appealing to the full Board not by arguing against this fact; rather, as the regional director starkly explains, “In essence, the Employer seeks to change established Board law.”
Such a rule change would spell disaster for workplace democracy. In its landmark Excelsior decision in 1966, the NLRB held that “the access of all employees to such communications [concerning union representation] can be insured only if all parties have the names and addresses of all the voters.” In short, the Excelsior rule is fundamental to the integrity of the democratic process in union elections.
Like other private universities, Harvard appears to be banking on Trump appointees to the Labor Board to help fight off graduate student unionization. But Harvard’s going the extra mile in seeking to undermine all unions’ right to an accurate list of employees during a union election campaign.
FORKED TONGUE
In its appeal, Harvard wants it both ways. The university argues that its efforts to compile a complete list of eligible workers were hampered by the technological challenges of using its payroll software. It also argues that the proliferation of communication technology has made it easier for parties to contact their electorate without a list of eligible workers from the employer.
In other words, Harvard wants the NLRB to accept as a precedent for future elections the claim that technology is simultaneously too difficult for the purposes of knowing who works for them but so easy that sharing this knowledge is not necessary.
The failure of Harvard administrators to produce a complete and accurate list of its student employees might speak to reasons why graduate students want a union in the first place: to have a formal check on administrative oversights and errors that lead to missing or late pay, poor communication on changes to health benefits, and neglect of office complaints. If graduate students cannot count on the university’s administration to know who works for it, how can they count on the administration to address workplace concerns?
We recall from our experience as students back in the 1970s and 1980s that graduate students faced considerable stress from a payroll system prone to delivering paychecks so late that local landlords threatened them with penalties and evictions. Decades later, we hear of graduate students encountering the same problem. Only now Boston rents are stratospheric, and landlords are often even less merciful.
Realizing that the benevolent Harvard administration could not correct the tardy payroll problem after several decades, a new generation of graduate employees has decided enough is enough.
DISASTER FOR ALL
If Harvard wins its appeal, requirements for employers to compile lists fairly would be gravely weakened, hurting any union drive by any type of worker joining any union.
Harvard administrators appear delighted that a Donald Trump-appointed National Labor Relations Board might be willing to dismantle democratic protections for workplaces across the whole country.
The warm embrace of Trump on labor policies flies in the face of university leaders’ howling disavowal of the president elsewhere. Within the first fortnight of Trump taking office, Harvard president Drew Gilpin Faust and 46 other university presidents issued a statement condemning his executive order banning people from seven Muslim countries as a threat to “both American higher education and the defining principles of our country.” They worried that Trump “is dimming the lamp of liberty and staining the country’s reputation.”
As graduates of Harvard and on occasion employees, we have long witnessed the university’s odd combination of liberal rhetoric on burning social issues and then ice-cold repudiation when it comes to the rights of labor on campus. Stout opposition to Trumpism gives way to cozy collaboration on labor policies.
Harvard should not be allowed to have it both ways. It is time for the administration to stop trying to undermine workers’ rights and to let graduate students decide for themselves whether they indeed want collective bargaining.
This article first ran in Labor Notes on September 14, 2017, and is being republished in DigBoston by permission of the authors and Labor Notes. The original version can be found here.
John Trumpbour is Research Director at Harvard’s Labor and Worklife Program. Chris Tilly teaches urban planning at UCLA and is the former director of the UCLA Institute for Research on Labor and Employment.
POE RETURNS TO BOSTON IN GRAPHIC NOVEL FORM
“He describes the narrator dismembering this body, which is horrifying enough, but when you do that visually, it becomes over-the-top grisly,” Hinds said. “I had to strike the right balance, which actually was to show very little and leave a lot to the reader’s imagination.”
DEFENDING THE SPACE WHERE DREAMS CAN BLOOM
9/14/17 UMB rally protestors
UMass Boston prof criticizes move to balance budget by cancelling courses
The following speech was given at a Sept. 14 rally at UMass Boston in support of the release of a new report by the Coalition to Save UMB
entitled “Crumbling Public Foundations: Privatization and the UMass Boston Financial Crisis.”
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PREVIEW: 70MM & WIDESCREEN FILM FEST
2001: A Space Odyssey [1968]
A second festival of film formats begins at the Somerville Theatre
In September 2016 the Somerville Theatre hosted its first annual 70mm and Widescreen Festival, dedicating nearly two weeks to film screenings projected via high-resolution analog formats. And for evidence of its apparent success, one need only take note of the theater’s latest purchase: As announced on its Facebook page last week, the Somerville Theatre will be commissioning a new 70mm print of 2001: A Space Odyssey [1968], to be struck for the theater’s own exclusive use. That print will be ready in time for the third annual 70mm and Widescreen Festival, in 2018—which, it just so happens, will coincide with the 50th anniversary of 2001.
“We chose 2001 because number one, when I think of 70mm film, it has to be one of the top three titles that you think of,” explained Ian Judge, director of operations for the Somerville Theatre (he’s also the head programmer of the 70mm and Widescreen Festival, though he notes it’s a “group effort” among the theater’s staff, including “essential” input from head projectionist David Kornfeld). We spoke in the Somerville’s main auditorium last week, right after the 2001 announcement. “That, and Lawrence of Arabia [1962],” he continued. “We played those titles last year, and we’re playing them both again this year.” On that note, this year’s iteration of the 70mm and Widescreen Festival begins tonight, opening with screenings of The Agony and the Ecstasy [1965] (Sept 20 at 7:30 pm) and Lawrence of Arabia (Sept 21 at 7 pm, Sept 23 at noon). The 2017 fest continues until Oct 1, when it will conclude, appropriately, with 2001 (Oct 1, 7:30 pm)—a relatively older 70mm print, of course, given that the Somerville’s own won’t be ready until next year. Regarding that commissioned 2001 print, Judge continued on: “And let’s face it: It’s also a moneymaker! It’s a movie that has a demand to be seen in that format.”
Moneymakers have always been intrinsic to the 70mm format, which in America has mostly been utilized for the sake of high-budget genre films (historical epics, action blockbusters, and adventure stories, to be specific). For the 2016 festival, the Somerville showcased 70mm’s most storied run: More than half of the movies played last year were made in the late ’50s and early ’60s, representing the first wave of American studio films that were both shot and released in the format. The 2017 festival will include a few movies from that era—Agony, Lawrence, and Cleopatra [1963] (Sept 28, 7 pm), along with 35mm screenings of North by Northwest [1958] (Oct 1, 1 pm) and Vertigo [1958] (Oct 1, 4 pm). But for the most part, this year’s program is focused on another part of 70mm film history: Eight of the 15 movies in the 2017 festival were made between 1982 and 1993. They span across the aforementioned genres, including historical epics (Gettysburg [1993], Sept 29, 7 pm), action blockbusters (The Untouchables [1987], Sept 24, 7 pm; Days of Thunder [1990], Sept 25, 7:30 pm), and adventure narratives (The Dark Crystal [1982], Sept 22 at 7:30 pm, Sept 24 at 1 pm; Hook [1991], Sept 24, 3:30 pm); and they also range from the lasting financial successes of the era (Top Gun [1986], Sept 27, 7:30 pm) all the way down to the film that may be its most notorious economic failure (Howard the Duck [1986], Sept 22, 9:45 pm). They’re each connected, however, by one particular formal quality: All eight were originally shot on 35mm formats and were then “blown up” to 70mm for limited specialty releases, which were marketed on the basis of increased resolution and remarkably superior sound quality (the blown-up 70mm prints featured six-track analog sound, which the respective film’s 35mm prints could not replicate).
“I wanted to focus on something a little different this year,” Judge told me. “We’ll probably return to more of a ‘classic’ form next year, but you’ve got to mix it up. Aside from 2001 and Lawrence—which people will come to see all the time—you’ve got to give people a reason to come back right away … They may not want to see
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FOTOBOM: DEAD CROSS, SECRET CHIEFS 3 @ ROYALE
Mike Patton knows his way around a few octaves. And he’s never one for sitting still, so he brought his scientifically-proven super-human vocal range with him and a few cohorts to Royale last week, under the guise of Dead Cross. As the Faith No More return seems to have been put on the back burner, he enlisted long-time Fantômas colleague drummer extraordinaire Dave Lombardo to join bassist Justin Pearson (The Locust. Retox) and Mike Crain (Retox) to create a dozen or so songs as Dead Cross as well as recording a not too shabby Bauhaus cover. If that combo seems like it’s suited for hyper-adrenaline thrash songs, you wouldn’t be wrong. Hummingbird heart rate-esque bpm songs were blasted out, all the while with Patton doing the sort of vocal gymnastics he’s made a career of. Along with one new song, they closed out with a much in vogue punk rock anthem for today, “Nazi Punks Fuck Off.” Richard Spencer, that means you.
Secret Chiefs 3 pulled support duties for this tour, and most of the Patton acolytes filling the room recognized the main guitarist hiding up his hooded cloak as Trey Spruance. Spruance was the right hand of Patton in Mr. Bungle, but since then he’s opened his third eye and explored the mysticism of the mid-East/Northern African musics of Tangier, Cairo, Beirut and the like. Micro-tonal guitars rule this world, and a sirocco of six-string whipped psych swirled around the room, propelled by a Colin Kaepernick-lookalike behind the drum kit.
Click on Mike for photos of both bands:
SHAME TIME: IT’S TIME TO MAKE NONVOTERS FEEL EXTREMELY UNCOMFORTABLE
They poison our Facebook and Twitter feeds, struggling to channel their emotions and be heard. But while they’re willing to piss into the bottomless rhetorical ocean that is social media, they’re not willing to pull the singular lever that has measurable impact. Imagine the nerve.
THE ART OF MAKING ART
Stephen Spinella and Dan Butler in WARHOLCAPOTE
With WARHOLCAPOTE, an unprecedented look at Warhol’s Marilyn
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BOSTON MUSIC AWARDS: AND THE NOMINATIONS GO TO…
There’s a reason the 2017 Boston Music Awards picks aren’t what you’d expect.
WE INTERVIEWED MORE THAN 25 BOSTON CITY COUNCIL CANDIDATES ABOUT SCHOOLS
We really did sit down with 27 candidates for Boston City Council—from at-large contenders to those trying for district seats—to ask about Boston Public Schools.
ELECTION SPECIAL: THE SWEET SMELL OF INCUMBENCY
In Boston politics, nothing helps more than already being in office
ALL EYES ON DISTRICT 9
For the first time in a decade, there’s a City Council race in Allston-Brighton worth paying attention to
NATIONAL WIRE: BOSTON LAWSUIT AIMS TO STOP SEARCHES OF PERSONAL DEVICES AT US BORDER
"Border agents confined me in a small room, they told me to unlock my phone and laptop computer," she says. "I watched them, as they searched my laptop, then they took my phone for two hours, presumably searched it as well."