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DIG THAT: THE LEFT HAND OF GOD

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AUTHOR | PAUL HOFFMAN
PUBLISHER
| DUTTON ADULT
RELEASE
| 6.15.11

The Left Hand of God is an alternate-universe/alternate-history novel following the escape of three teenage boys and a pampered girl from a compound run by the zealous Redeemers, where the boys were trained from a young age as soldiers for a holy war against the Antagonists (who don’t like the Redeemers, apparently). Suffice it to say, the book is … interesting, in exactly the sort of “emphasis-on-the-ellipsis” way that last sentence should lead you to expect.

What’s strange about the alternate-whatever that Hoffman constructs is that it’s not strikingly different from actual history. There’s no magical high-fantasy here, just a straight medieval aesthetic. Recognizable (but altered) references are peppered throughout the novel. For example, a character mentions Jesus as the dude who was trapped in the whale. So, Jesus instead of Jonah—which seems important.

Maybe.

The Left Hand of God is first in a planned trilogy, so sometimes rushed characterization is understandable. What really ends up defining the novel—for better or worse—is the skewed, not-so-alternate-universe, and the overpowering sense that Hoffman is, in this tale of fanaticism and warrior-teens, trying very hard to say … something.

www.youtube.com/watch?v=RQ8P7uXlEvc


DEAR READER: PAINT THE TOWN

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Dig great idea #2,323,

We have a lot of great ideas here at the Dig, but due to personnel or time or ambition, they never quite get off the ground. I’m just going to tell you about some of them and see if you can help us.

A recent New York Times story (“Cities Report Surge in Graffiti“) reminded me of the huge amount of fantastic urban artists we have here in the city. The idea is to take these artists and pair them with city moneys to design murals.

“Murals, yeah yeah,” I can hear you say. But we also match them up with a historic event from within Boston history. So, near the place where the molasses flood happened, say, Sidewalk Sam would be responsible for putting his interpretation of it on an entire wall of a building. Or near JFK’s boyhood home in Brookline, Sean Flood is granted permission to paint his image of the moon landing.

Something like that.

Which local artists would you pair with a distinctive event in Boston history? Email us and we’ll put it in the file.

And let’s cover this town in color.

DAVID DAY | DAVID@DIGPUBLISHING.COM

PHOTO COURTESY OF ROB LARSEN

www.youtube.com/watch?v=4_C6H9FsH-0

A BRIEF HISTORY OF DOING IT RIGHT

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Everything you always wanted to know about the history of sex toys…but were afraid to ask.

26,000 BC: World’s first dildo

This 8-inch long stone beauty was discovered in a German cave and was thought to be used as both a sexual aide, and to knap flints. Crafty!

 

350 BC: Olive Oil Lube

Ancient Greeks used olive oil as a lubricant to ease the thrust of their wooden dildos. “Extra Virgin” has taken on a terrible new meaning.

 


 

 

 

500 AD: Ben Wa Balls

Like barbells for the vagina/anus, this Chinese invention helps to strengthen internal muscles, though they certainly do tickle. Uh … so we’ve read.

 


 

 

1200 AD: Cock Rings

One of those, “would have liked to been there when this conversation happened” inventions, the ancient Chinese made cock rings from goat eyelids, eyelashes still attached.

 


 

 

 

1869: Steam-Powered Vibrator

This early vibrator known as the Manipulator was used to “cure” female “hysteria.”

 


 

 

 

1920: Latex

Conservation of Agony: Latex replaced the painful sounding cement-dipped rubber style of condoms … which in turn gave way to more pain in BDSM play.

 


 

 

 

2002: Harry Potter Vibrating Broom

The Harry Potter series only gets so much better when you pretend every mention of the Nimbus 2000 is actually a reference to a magically-powered vibrator.

 


 

Present: The Internet

www.gettingoffiswaytooeasynow.com

www.youtube.com/watch?v=3gOHvDP_vCs

WHAT’S FOR BREAKFAST? MARCO?

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www.whats4breakfast.com
www.pattkelley.com

Own this original strip (watercolor and ink painting)
Comes with the book WFB The First Forty, only $25/shipping included. Buy it HERE

 

My graphic novel “What Am I Going to Do Without You?” is now available through Top Shelf Productions.
You can get a 10 page preview and buy it HERE

ART IMITATES LIFE

FALL PREVIEW: CRANKY CLANCY’S FAIL ROUNDUP

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[The views and opinions expressed herein are those of Cranky Clancy and do not necessarily reflect the views of the Dig. We do, however, find them hilarious.]

Hub On Wheels
Hey, we love biking, but for your safety you cannot start taking sides in Boston’s three-way Biker-Driver-Pedestrian Wars. It’s like The Warriors with more well-defined calves. [Sun 9.23.12. 1 City Hall Sq., Boston. 8am/all ages/$45. @bikeboston. bostonbikes.org]

The Phantom Gourmet Food Festival
Bud Light, Table Talk pies, Barefoot wine, hackneyed New England-isms (chowdah!) and light rock. There’s more than one reason why the Phantom likes his anonymity. [Sun 9.30.12. Lansdowne and Ipswich Street, Boston. 12pm-4pm/21+/$30-$50. @PhantomGourmet. foodfest.phantomgourmet.com]

Ghost and Gravestones “Frightseeing” Tour
You’re standing on a sidewalk getting lectured to about “spirit orbs” by a performing arts dropout. Who’s really the dead one here? [Mon 10.1.12-Wed 10.31.12. 200 Atlantic Ave., Boston. 7pm-10:30pm/all ages/$23-$40. @HauntedTour. ghostsandgravestones.com]

www.youtube.com/watch?v=JQOr1ezeFa4

Salem Haunted Happenings
Hell is other people also pretending this counts as a history lesson. [Mon 10.1.12-Wed 10.31.12. Salem, Mass. times vary/all ages/prices vary. @HauntdHappnings. hauntedhappenings.org]

Bob Dylan
The legend traded in his guitar for a surreal, rambly-ass radio program years ago, and that’s how we like it, dammit. Also: it’s sold out. Just … trust us here. Sold out. [Sun 11.18.12. 100 Legends Way, Boston. 7pm/all ages/$139-$555. @bobdylan. bobdylan.com]


COLUMBUS DAY

HISTORY LESSON: FRANKLINSTEIN


DIG THIS: TOUSSAINT LOUVERTURE @ COOLIDGE CORNER THEATRE

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rebel cause

If you were paying attention in history class, you surely know the name Toussaint Louverture. If you weren’t paying attention in history class, we bet you feel pretty silly now, huh? A little out of the loop, perhaps? Catch up on those missed lessons with a special showing of Philippe Niang’s narrative feature film about the leader of the 18th century Haitian Revolution. Next time you’re considering skipping class, you should stop and think … that, well, actually, there’s probably a movie about whatever you’re learning. Just skip class and watch it. A+ for you.

[Thu 3.28.13. 290 Harvard St., Brookline. 7pm/$5. @thecoolidge. coolidge.org]

www.youtube.com/watch?v=SZAwJvZdbCg

DEFEND YOURSELF: JEFFREY SWEET

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Jeffrey Sweet, a prolific playwright most widely known in NYC and Chicago, proved to Digboston to also be quite the history buff: one who inadvertently rambles subtle hilarities and actually prefers to wear pants on stage.

Sweet will be coming to ImprovBoston’s Studio Theatre on Saturday, fully-clothed, with a narrative show that rings closer to comedy, called “You Only Shoot the Ones You Love.”

Boom bang, baby.

You have quite the résumé. Playwright, journalist, songwriter, comedian… Is there anything you don’t do?
I’d hesitate calling myself a comedian. The show I’m doing is funny (the critics said it is so it must be true, right?), but there aren’t many jokes. Mostly it’s storytelling. I had the good luck to be present when a lot of strange and brilliant people—like the famously bizarre and bizarrely famous improv guru Del Close—did strange stuff. Like Del having the cast of SCTV re-enact his father’s suicide as an acting exercise. Why not?

I don’t think of it as doing a lot of different things. I think writing, performing, and teaching all come out of the same drive. Mostly it goes back to making up stories.

Some people are addicted to crack or vodka. I’m addicted to telling, and hearing, stories. The stories just take different forms. The big difference is I can write in my underwear, and when I perform I prefer to put pants on. I’m guessing the audience prefers it, too.

A story addict… I like that! Where do you draw your stories from, mostly?
I’m very spoiled. I get to hang out with and talk to cool people. Today, for instance, I’m interviewing both Michael Douglas and Chris Durang for a book I’m writing about the O’Neill Theatre Center. When you look under the definition of torture, you won’t find this next to waterboarding or listening to Sarah Palin.

Does your family enjoy the stories as much as your audience?
My family now mostly consists of my wife, who has heard most of the stories more times than the Geneva Convention allows, and my brother, who thinks my stories are only marginally funnier than my politics.

Who’s the best audience for your upcoming show, ‘You Only Shoot the Ones You Love’?
People for whom improv is a religion that makes Catholicism look like a hobby, and people who are either Jewish by upbringing or because they live in a big city, buy bagels, or are in show business.

The story is not just about my adventures with the people who changed comedy in America, it’s also about how that comedy is our revenge on the Cossacks who tried to kill my grandmother, and the grandmas of Mel Brooks and Lenny Bruce and Elaine May. Those Cossacks were mean bastards… but they could sing.

You have a lot of history incorporated into this show. If you could go back in time, what period would you relive?
New York from 1945 till about 1960. It was a golden age of American theatre, and was when comedy transformed from something amiable to the beginnings of the confrontational stuff that gets my blood pumping—Lenny Bruce, Nichols and May, Brooks and Reiner, Tom Lehrer and Mort Sahl.

The Fifties are often referred to as a bland time, and it may have been bland in the suburbs, but the repression did something riveting to the artists in the culture. Without that repression we wouldn’t have had Tennessee Williams, William Inge, Paddy Chayefsky, Rod Serling, Gore Vidal and a lot of those other voices rattling the cages and threatening to say the unsayable.

Speaking of New York… I know you’ve been back and forth quite frequently between there and Chicago. But who has better pizza?

  1. Most of the transcendent experiences I’ve had in pizza have been in Chicago, except for the franchises in New York that started in Chicago. I know that some people think that deep dish pizza is no longer pizza, but I respectfully disagree with putzes who say that.

 Any last words for us Bostonians before you hit the stage on Saturday?
I was born at the Boston Lying In Hospital when my dad was a graduate student at Harvard. I was wafted away when I was still in diapers, but I still get sentimental whenever I return…

www.youtube.com/watch?v=CyOJlyjikEU

JEFFREY SWEET: YOU ONLY SHOOT THE ONES YOU LOVE

SAT 4.6.13
THE STUDIO THEATRE
40 PROSPECT ST.
CAMBRIDGE
16+/9PM/$12
@IMPROVBOSTON
IMPROVBOSTON.COM

ARTS: JUNETEENTH @ MUSEUM OF FINE ARTS

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Hot, humid days getting you down?

If you’re too cheap to buy that AC, cool off at the Museum of Fine Arts’ special night of events celebrating Juneteenth, which commemorates the end of slavery in the United States. See exhibitions of local artists, chat with members of the Future Boston Alliance, and hear state representative Byron Rushing speak on the historical significance of the day. It’s a free, educational (and air-conditioned) night, steeped in historical and cultural importance.

And did we mention the air-conditioning?

Oh, you’re right. We did. Several times.

[Wed 6.19.13. 465 Huntington Ave., Boston. 5pm/all ages/free. @MFABoston. mfa.org]

BOOK ‘EM: HOLY SH*T: A BRIEF HISTORY OF SWEARING BY MELISSA MOHR

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Somerville resident Melissa Mohr had many foul expressions to choose from for the title of her history of swearing.

She chose Holy Shit wisely: “Over the centuries these two spheres of the unsayable—the religious and sexual/excremental, the Holy and the Shit, if you will—have given rise to all the other ‘four-letter words’ with which we swear.”

Upon reading this,

I immediately wondered if Mohr had missed the opportunity to give her book a more complete title: Holy Fucking Shit.

After all, Mohr writes in the book that “Roman taboos against defecation were not as strong as those against sexual behavior,” and during the Renaissance, “words for excrement” carried less offense “because they have little chance of arousing any sinful desires.”

Therefore, it seems that ‘fucking’ is worthy of its own category of naughty words.

But Oxford University Press was probably thinking like Woody Allen’s character at the beginning of the movie Manhattan: “I mean, you know, let’s face it, I wanna sell some books here.” (But did OUP really have to replace the “i” with an asterisk?)

Mohr’s first book is a delightful account of how the peoples of western civilization have expressed anger and excitement by way of a select group of words that invariably refer in less-than-scientifically or religiously acceptable ways to the body or to God (or to the body of God).

Holy Shit begins with the Latin-speaking, toga-wearing folks of ancient Rome, who had contemporary English speakers beat by a few major swearwords. In addition to designations for cunt, fuck, cock/dick, ass, and shit, the Romans also had specific terms for “erect or circumcised cock,” “clit,” “to bugger,” “to orally rape,” and “to fellate.”

Interestingly, the word for “clit”—landica—was “one of the worst [words] in the language.” But as Mohr keenly observes, “People swear about what they care about, and the Romans cared about the clitoris.” (They were also, for a kind-of weird reason, a bit overly concerned with it.)

It is also fascinating (wait till you learn the origin of that word) to read about how words that are/are not considered obscene today were/were not considered obscene in previous eras.

For example, Mohr asks (and answers), “If penis was obscene to the Romans, why has it become the most proper English term for the male organ of generation?”

“Furthermore, ‘Cunt’ … seems to have been the standard way to define vulva in the fifteenth century,” and “in the Middle Ages, the word fuck wasn’t any worse than lie with, have to do with, or adulteravit.”

Instead, “blasphemous or vain swearing, words or phrases that take God’s name in vain, mention his body parts, or otherwise detract from his honor” carried with it the greatest danger of offending.

“To medieval English people,” Mohr explains, this “was a major sin, equivalent or almost equivalent to murder.”

As interesting as it was to get a religious history lesson, and to understand why the word “swear” came “to indicate both oaths and obscene words,” I feel that Mohr spent too long discussing the concept of swearing to the almighty.

Holy Shit could have been briefer (not that it is truncated at 250-some pages) had she trimmed some of the excess focus on religious oaths.

However, this minor quibble shouldn’t discourage people from reading such an instructive and entertaining book by a writer as capable and well-qualified as Dr. Mohr. (She has a Ph.D. in Medieval and Renaissance literature from Stanford.)

As Mohr takes us out of the Middle Ages and through the Renaissance, the reader learns of how bigger houses with more private space suddenly alerted people of the desirability of keeping things behind closed doors.

Although a bit more prudish than some previous 100-year blocks, the eighteenth and nineteenth centuries recorded the first uses of the f-word in novel ways (i.e. “fucked out of his money,” “fucking bitch”).

In the first half of the twentieth century, Mohr concludes, “people were swearing in much the same ways as we do today. By 1945 … people were absofuckinglutely [a word that she dates as first appearing 1921] using the same obscenities, in similar ways, with similar frequency.”

Today, the obscenities that relate to the Holy and the Shit may very well lost their supreme offensive power to a “new” category: racial slurs.

Mohr writes, “When … Allen Walker Read published his groundbreaking article on fuck (“An Obscenity Symbol”) in 1934, he declared that it was ‘the word that has the deepest stigma of any in the language.’ By the 1990s, however, many people were making the same argument for nigger or, in Britain, paki …”

Most people would probably argue that words such as these have not a place in any conversation, even ones in which millennia-old expletives might be perfectly welcome. Then again, some might argue that swearwords never have a place in any conversation. According to Mohr, “Expletives were originally words or phrases that didn’t add anything to the meaning of a sentence or a poem but merely served to fill up space.”

But fear not, potty mouths. Mohr believes that swearwords are valuable and useful.

First of all, “Swearwords can help us deal with physical pain. In a recent experiment, subjects were able to keep their hands immersed in very cold water longer when they repeated a swearword such as shit than when they repeated a neutral word such as shoot.”

More importantly, Mohr asserts, “Swearing is an important safety valve, allowing people to express negative emotions without resorting to physical violence … [T]hey are cathartic, relieving pent-up emotion in ways that other words cannot. Take away swearwords, and we are left with fists and guns.”


PREVIEW: MARY REID KELLEY @ THE ICA

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What if you could dive into an image that takes you back in time, allowing you to experience history as it really happened? Well, it turns out, you can! … Sorta.

Starting July 31 through the end of October, the Institute of Contemporary Art will exhibit Mary Reid Kelley’s short films: narrative videos based mostly on how female roles have changed throughout time.

Reid Kelley creates all her sets, costumes, and props. Everything is black and white and resembles a drawing come to life. The artist is completely disguised in each of her videos, playing the narrator along with other characters. Wigs and costumes camouflage her, but what really resonates with viewers are the eyes of the characters.

Blacked-out eyes contrasted with pale white skin create a creepy, comic strip vibe.

The satirical videos banteringly hone in on heavy developments for women. In Sadie the Saddest Sadist, the viewer is transported to World War I, where a woman working in a munitions factory gets the clap after meeting a sexy sailor. In The Syphilis of Sisyphus, we follow a pregnant prostitute from Paris with a love for cosmetics who ends up in an asylum. Priapus Agonistes is Reid Kelley’s newest creation, in which Priapus, a god of fertility known for being well-endowed, is portrayed as a volleyball player.

Video still from Priapus Agonistes, 2013

In total there are four videos which Reid Kelley created between 2008 and 2013. In the more recent ones, Reid Kelley’s husband contributed to his wife’s talents by digitally assembling the elements shot on green screen.

Aside from the pun-filled comedy present in each, the films all share a deeper theme: the human desire to escape the roles assigned to them.

Whether it be religion or sex appointing these roles, Reid Kelley is not afraid to challenge them.

MARY REID KELLEY

WEDNESDAY 7.31.13-SUNDAY 10.27.13
INSTITUTE OF CONTEMPORARY ART
100 NORTHERN AVE.
BOSTON
TIMES VARY/ALL AGES/$15
@ICAINBOSTON
ICABOSTON.ORG




EARTH PRIME TIME TIME: GENE LEUN YANG [INTERVIEW]

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This Thursday at the Brattle Theatre, Gene Luen Yang discusses Boxers and Saintshis latest two-volume work from First Second Books. Joining him for the discussion is author M.T. Anderson. The two books tell the story of the Boxer Rebellion from the different perspectives of Bao and Four-Girl. Boxers and Saints illustrates how how Eastern and Western spirits can color the experience of those growing up and getting involved in a conflict of different cultures. Gene was kind enough to tell us a bit about the book, Avatar: The Last Airbender, The Green Turtle, and what we can expect on Thursday.


DIGBOSTON: Hi Gene! Thanks for joining us today to talk about Boxers & Saints. Why revisit The Boxer Rebellion in comic book form?
Gene Luen Yang: The Boxer Rebellion is a war fought on Chinese soil just over a hundred years ago, in the year 1900. It was the first global conflict involving both Western and Eastern nations. Many historians believe it to be a harbinger of the World Wars that followed.

It was also the first military conflict in the age of mass media, the first conflict that people all over the world followed through their newspapers.

On one side of the conflict were European and Japanese soldiers, Europeans missionaries, and Chinese Christians. On the other was an army of poor, uneducated young people from the Chinese farmlands. These Boxers, as they came to be known, believed that they could call the Chinese gods down from the heavens by performing a mystical ritual. The gods would possess their bodies and give them superpowers. Given the fact that superheroes have been the dominant genre in American comic books for decades, the Boxer Rebellion and comics are a great fit. To me as a comics fan, the Boxers seemed like a Chinese version of Shazam!

You’re most well known for American Born Chinese but also most recently Avatar: the Last Airbender for Dark Horse. For Avatar, are you incorporating real Chinese history into those books as well?
I’m part of a team that produces Dark Horse’s graphic novel continuation of Nickelodeon’s popular Avatar: The Last Airbender series. The team includes Mike DiMartino and Bryan Konietzko, the creators of the original show, and Japanese art studio Gurihiru.

I’m a huge Airbender fan, so it’s been a dream come true for me to work on the comics.

We’re really trying to stay true to the original source material. Avatar: The Last Airbender is set in a made-up fantasy world, but it’s a fantasy world based on real Asian and Inuit cultures. Mike, Bryan, and their team drew heavily from not just historical Chinese cultures, but many different historical Eastern cultures. I was thrilled to be able to use some of my research for Boxers & Saints in my Airbender writing.

Both books are related to each other, though not in a traditional sense. There is a small bleed over of characters and certainly themes. Tell me, did you write and draw both volumes at once?
I outlined the books together and figured out the connection points between the two. Then I wrote Boxers. I wrote Saints as I was drawing Boxers. Finally, I drew Saints.

Boxers - Gene Yang

Boxers – Gene Yang

Bao and Four-Girl both escape chores and responsibility by seeking the storytellers in their villages. How important was it to capture the imaginative nature of the children?
One of the things I wanted to address in Boxers & Saints is the importance of story. Bao, the protagonist of Boxers, is inspired by the Chinese opera he watches. He wants to become a hero of the opera. Four-Girl, the protagonist of Saints, can’t find a place for herself in mainstream Chinese culture, so she turns to the stories of the Other, to the religious stories of the West. In both instances, stories fill their imaginations and become cornerstones to their identities. I think that’s true of most of us. That’s why the storytelling arts are so popular.

That’s why we get upset when someone messes with our favorite shows, favorite movies, and favorite comics.

We feel like they’re messing with a piece of us.

Bao harnesses warrior spirits in the Eastern sense, and in a way, Four-Girl seeks strength in Western martyrs and Joan of Arc. Are the boy and the girl juxtaposed in the stories to be seen as having similar motivations but with different methods?
Both Bao and Four-Girl draw inspiration from stories. They both want to imitate the heroes of their stories. And you’re right, they have similar motivations, but they come from different cultural contexts. Bao defends a traditional understanding of China. Four-Girl finally arrives at an identity within the East-West blend of Chinese Christianity.

Saints - Gene Yang

Saints – Gene Yang

In my research I was constantly struck by the parallels between European and Chinese culture. At the time, the two cultures had the most horrible kind of relationship two cultures can have with one another. They were the oppressor and the oppressed, but they still reflected one another. For instance, back then the Chinese believed that the Europeans would pluck out human eyeballs and grind them into medicine. This was taken as evidence of how inhumane the Europeans were. Yet, the Chinese have a story about how Guan Yin, the Goddess of Compassion, plucks out her own eyes and grinds them into medicine for her father. The rumors they had about the other were reflected in their own religious stories.

The dynamic was true on the other side as well. The Europeans believed that the Chinese would sacrifice their own children to the heathen gods. This was taken as evidence of how inhumane the Chinese were. Yet, the central European religious story is about Jesus Christ, a child sacrificed by his own father.

Again, the rumors they had about the other were reflected in their own religious stories.

How do you work on your cartooning? We love your simplicity and storytelling, especially by use of expressions. Do you work digitally?
Thank you! Every page begins on paper. I sketch, pencil, and ink on paper. Then I scan the pages in. I do clean up and lettering on the computer. They’re also colored on the computer, but I don’t do my own coloring. Boxers & Saints was colored by Lark Pien, an amazing Bay Area cartoonist. She’s the author of Long Tail Kitty, a wonderful children’s graphic novel.

What can we expect at the Brattle with your discussion with M.T. Anderson?
I’m fortunate enough to be friends with M.T. Anderson. I’m also a big fan. We’re going to talk about writing, history, comics, and Airbenders. He’s a big fan of Avatar: The Last Airbender, too.

Are you working on another project we can expect soon?
My next project will be out next year. It’s a graphic novel called the Shadow Hero, written by me and drawn by an immensely talented Singaporean artist named Sonny Liew.

We’re reviving a forgotten superhero from the 1940’s called The Green Turtle, who is rumored to be the first Asian American superhero.

I grew up reading superhero comics so I love superheroes. Superheroes are a quintessentially American genre. They were invented in America and they’re most popular in America. They’ve expressed both the best and the worst of America. Sonny and I want to use this quintessentially American genre to explore the quintessentially American experience, the immigrant experience.

Boxers - Gene Yang page 133

Boxers – Gene Yang page 133

For the latest, check out Gene’s site, and follow on twitter @geneluenyang.

@HarvardBooks | 01FirstSecond | @leaguepodcast

Gene Luen Yang

Gene Luen Yang

GENE LUEN YANG DISCUSSES BOXERS & SAINTS
IN CONVERSATION WITH M.T. ANDERSON

THURSDAY 11.21.13
BRATTLE THEATRE
40 BRATTLE ST.
CAMBRIDGE
6PM/$5
EVENT PAGE

HARVARD BOOKS: (617) 661-1515
BRATTLE THEATRE: (617) 876-6837
HARVARD BOOKS | LeaguePodcast | BRATTLE THEATRE
TICKETS | FACEBOOK EVENT

League of Ordinary Gentlemen Podcast Episode #171: A Good 171!
John, Clay and Dursin talk Marvel Knights: X-Men, Sex Criminals, Thor: The Dark World post-credit sequence, Star Trek: Khan and the comics industry’s dirty secrets.

Direct Download / Mp3 Stream (opens in new window).

UPCOMING EVENTS

Like us on Facebook! Follow @LeaguePodcast on Twitter!


ARTS: SSSTUDIO

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Tavern Road would like to show you some art now.

After the 1970s saw an influx of local starving artists flocking to Fort Point Channel to cash in on cheap studio space, the city quickly enforced zoning laws which didn’t allow artists to work where they slept. Later, renting prices skyrocketed due to heavy development, and forced many artists to seek refuge in studio and gallery space in outskirts of the city, and Dorchester and Worcester more recently (think: The Howard Art Project and Thelonghallgallery). Still, there are many people who don’t want to resettle. And for good reason. Fort Point has a long history with the arts, a history that begs for a renaissance–not extinction.

Screen Shot 2014-01-22 at 11.54.25 AMSome have criticized the influx of swank restaurants into the area as part of the problem, but Louis DiBiccari, chef and co-owner of Tavern Road–named for the street by the Museum of Fine Arts where his uncle, American sculptor Adio DiBiccari, had his studio–considers himself and his space an ally for the art community. And now, every fourth Sunday, Tavern Road’s street food annex space will transform into a pop-up gallery. “You can go in and check out the artist’s work for forty-five minutes to an hour or however long you want, and then take a seat in the dining room and have dinner right afterwards,” says DiBiccari. “Or belly up to the bar … get a little buzz going until you make some bad decisions and buy a ton of art.” And DiBiccari won’t stop anyone whose sole interest is mingling and nibbling on free appetizers: “It is certainly fine for someone just to walk through.”

First up, on January 26th is illustrator and graphic novelist, Patt Kelley (whose very comic strip “What’s For Breakfast?” appears weekly in DigBoston). “It’s perfect because I don’t have a chance [for an open studio],” says Kelley. “So this is another chance to get out there and get my work seen, meet some new people, make some new contacts, and hopefully sell some art.” And while they already have artists slated for showings after Kelley (including local rock-star photographer Natasha Moustache), DiBiccari hopes word will spread organically and artists will reach out to participate in future showings. If the demand exists, the monthly event could become a biweekly event.

In December, resident artists at Midway Studios in Fort Point celebrated a major victory in the war against rising real estate prices which threaten to expel them from their studios, winning a bid to buy their space from developers. The sale spiked optimism in Boston’s art world, but it will take more than one success for the community to flourish. There needs to be more innovative cooperation in the community.

“I think as a neighborhood restaurant you have a responsibility to do more than just a good chicken dish and some good beer and approachability on your menu,” says DiBiccari. “A neighborhood restaurant gives back to the neighborhood. That’s what being a community is. Everyone has to do their part, and this was our idea on how we can kinda do our part.”

art2

STUDIO SUNDAYS

TR STREET FOODS
343 CONGRESS ST.
BOSTON
FOURTH SUNDAY EVERY MONTH BEGINNING 1.26.14
4-7PM
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A HISTORY OF SEX AND LOVE IN BOSTON: THE NUMBERS

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Photo via Wiki Commons

Massachusetts being a stuck-up commonwealth and all, law enforcement neurotics have been documenting occurrences deemed sex and love-related crimes since the late-19th Century, and in some cases before that. In full knowledge that throwback statistics reflect the ancient hang-ups of our forefathers way more than they represent historic facts, we’ve compiled a cross-section of lewd and adulterous reports from one of the most depraved windows in mid-American history, from the age of Rutherford “B is for Boy Toy” Hayes to the swinging FDR days.

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REVIEW: ONLY LOVERS LEFT ALIVE

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In light of rumors that Wes Anderson made a totally animated version of Grand Budapest Hotel before filming the live action version that hit theaters, one has to wonder if Jim Jarmusch didn’t originally storyboard Only Lovers Left Alive as a webcomic. That might have been an insult had it been directed at anybody from Jarmusch, who is immeasurably more qualified than your typical deviantART scribbler to put words in the mouths of sexy, smart, ennui-riddled rockstar vampires with extremely well-defined happy trails who both love and hate humans.

Only Lovers Left Alive follows an episode in the lives of vampire lovers Adam and Eve (names that are either symbolic or literal, as the film keeps the specifics of its mythology hidden). Adam (Tom Hiddleston) is a reclusive musician living in Detroit, while Eve (Tilda Swinton) has been living somewhat more scenically in Tangier along with Christopher Marlowe (John Hurt). When a video call reveals the depths of Adam’s depression, Eve flies out to visit, have sex, sleep in, drink blood, listen to music, and reminisce about all of the famous events in history they were witness to.

Stylistically, Only Lovers Left Alive has as much in common with vampire films as the excellent Dead Man has with westerns, with Jarmusch distilling the genre conventions of each into smooth, easy-to-watch tone poems. The vampires of this universe drink blood—which seems to be equal part drug and food—but rely more on corrupt doctors than on old-fashioned throat biting. Adam and Eve spend a great deal of time namedropping famous philosophers, scientists, and musicians in very familiar terms, as though their lives together consisted entirely of being entertained by history’s greatest people (who we have to assume are actually Jarmusch’s personal favorites when Nikola Tesla and Jack White are held in equal regard).

These conversations define the central mood of the film. The source of Adam’s depression is the way generation after generation of “zombies” (mortals) squander the hard work of their ancestors and waste their potential, a view he indulges with his many drives around the industrial ruin of once-vibrant Detroit. Eve takes a more cyclical view of history, reminding Adam that he’s felt this way before, of the beauty around him, and that there’s nothing that makes the present inherently worse than other dark chapters of history. Even immortals with very long memories, it seems, aren’t immune from the human quality of seeing the present day as the end of history, no matter how sexy they look playing guitar with no shirt on.

ONLY LOVERS LEFT ALIVE | RATED R| NOW PLAYING, COOLIDGE CORNER THEATRE & KENDALL SQUARE CINEMA


THE LITTLE TRAMP AT 100

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Back in 1914, a young Charlie Chaplin was hurriedly told to throw together a funny outfit for Mabel’s Strange Predicament. In what might otherwise have been a throwaway moment in history, Chaplin assembled a costume based on contradictions: baggy pants with a too-small coat, overly large shoes with a tight derby hat, a cane and a gentleman’s mustache concealing a lower-class upbringing. It was then that the iconic Little Tramp was born (though he made his debut in Kid at the Auto Races, released two days earlier.) Back in those days, you had a funny hat and an hour to kill, you had yourself a movin’ pitcha.

Whether you see this moment as an accident or destiny, cinema was never the same. The Tramp transcended his Keystone roots and became the leading man in dozens of shorts and several genre-crossing feature-length films, many of which are still revered as classics. Chaplin himself became a powerhouse of the film industry, being given unprecedented amounts of wealth and artistic freedom by major studios. Though he had other characters and even continued his career—Tramp-free—into the sound era, his name and image will still be forever linked to that waddling, hopeless romantic who occasionally does cocaine after leading communist demonstrations.

Be sure to catch the Brattle’s presentation of selected highlights from Chaplin’s career in honor of the Tramp’s centennial, including his days as a Keystone and Mutual featured player, through to The Kid, The Gold Rush, City Lights, and his (debatable) final appearance in Modern Times.

THE TRAMP AT 100. BRATTLE THEATRE, 40 BRATTLE ST., HARVARD SQ., CAMBRIDGE. FRI 5.23 – TUE 5.27. SHOWTIMES AND TICKETS, VISIT BRATTLEFILM.ORG

BOSTON ON THE BARBIE: SEARCHING FOR NEW ENGLAND’S SPOT IN THE BBQ HISTORY BOOKS

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Image by Scott Murry. Research and additional reporting by Katherine Tamola

Last month, the Huffington Post named “10 BBQ Meccas to Visit Before You Die.” Not surprisingly, no spots in Greater Boston made the list.

For a second, let’s pretend the clickwhores who compiled said compendium actually visited a bunch of pit restaurants, and knew what the hell they were talking about. Even if our most exalted Hub-area rib joints like Redbones and Blue Ribbon don’t belong on such a list, you’d be historically ignorant to leave Boston and New England out of the Fourth of July kitchen conversation.

Yes, BBQ is religiously linked to the South. Kind of like reggae to Jamaica, po’ boys to the French Quarter, and so on. That’s actually for a lot of good reasons, none of which you’ll likely hear from smug southerners who insist that racks are most delicious down in Dixie. Geographically speaking, early Spanish explorers learned how to smoke and dry fish and meats from the Cherokee and Creek Indians on the Chesapeake Bay down to the Carolinas. Furthermore, the word “barbecue” itself most likely derives from the Spanish term “barbacoa,” or “baraboica” as the Taino tribe of the Caribbean called the slow-cooking process.

On the procedural side, findings by the Association for Dressings and Sauces (yes, there is such a thing) suggest that barbecue-style provisions were consumed as far back as 700 B.C. With such vast influences coalescing in this country, though, respected arbiters like Tremont 647 Owner Andy Husbands believe BBQ is the “true American cuisine.” Asked about the tradition, the James Beard Award honoree and renowned competitive brisket champ says, “there is no other American cuisine besides that.”

As for where the Hub fits into all of this … while everybody in and around the New World, from Native Caribbeans to Virginia settlers, was barbecuing – George Washington wrote that he attended one such social and culinary smorgasbord for three straight days in Alexandria – New Englanders were in on the action as well, albeit in a largely rhetorical capacity, before G-Dub even got to the party. According to the journal Southern Cultures, the first recorded use of the word “barbecue” in Boston was in 1675, but it wasn’t exactly used to describe a grill-out. The editor explains: “The Boston Puritan Cotton Mather used the word in the same gruesome sense when he reported that several hundred Narragansetts slaughtered by New England troops in 1675 (among them women, children, and elders burned in their lodges) had been “terribly Barbikew’d.”

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Moving forward, Bostonians began using the word in ways closer to what’s understood today, though the context is still jarring by any modern measure. In 1744, a Boston-area newsletter featured an advertisement that appears to have been placed by someone looking for a slave who knows his way around a furnace: “A Lusty Negro Man, works well at the Smith’s Trade; likewise a Grate for to burn Coal; a large Gridiron, fit for a large Kitchen, or a Barbeque.” The next recorded use by a local was in 1808, when Congressman Josiah Quincy of Boston dismissed retail politicians who preach to the choir “white the gin circulated, while barbecue was roasting.”

As for the specific flavors contributed by natives of New England … that’s not so easy to trace. Husbands and others have certainly contributed to the carnivorous canon, but there are a few baseline BBQ qualifiers, and they’re hardly rooted in Boston. David Sela, a professor of food science at UMASS Amherst, says it’s important to first understand the difference between grilling and BBQ. “BBQ,” he explains, “is a specific subset … cooking at low temperatures for a long time.” Think ideal brisket or ribs. From there, Sela says, “different pockets of the country have different traditions,” from vinegar-based pulled pork in the Carolinas, to dry-rub pork ribs in Memphis, to titanic beef racks in Texas. In New England, the professor says we tend to dig our BBQ “a little sweet and a little smoky.”

Melting pot that Boston is, there’s no telling what will turn up at a Fourth of July BBQ around here. It’s been that way since the halcyon buffet days of John Adams, whose diary shows the gluttonous second President consuming everything from duck and ham to “beer, porter, punch, and wine” on such special summer occasions. For Sela, the staples include hot dogs, burgers, and grilled corn, perhaps with a side of oysters, though “not as the star of the show.” As for Husbands, he’ll be serving short rib, skirt steak, and lobster mac and cheese. Just for starters. “We’re actually going to open up early,” he says. “We’re going Americana – fried chicken, BBQ ribs, cornbread, brisket, fish n’ chips.”

Like Sela says, “BBQ is something people take very, very seriously. There is a culture that has developed around it.”

No doubt. Even here in Boston.

 

FURTHER READING

A (SOMEWHAT) RADICAL HISTORY OF JULY 4TH REVELRY IN BOSTON

AMERICA’S WORST POLITICIANS: A COAST-TO-COAST FOURTH OF JULY ROAST

MFA TIME CAPSULE UNVEILING, OR OVERHEARD AT A GANGBANG PORNO SHOOT?

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  So, the MFA did their detective thing tonight and opened and carefully exhumed all the treasure inside the time capsule filled and buried by Sam Adams and Paul Revere. While it was exciting and interesting, with valuable coins, old state seals, papers, and so on being pulled out, simply listening to the real-time reactions […]
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