Playing Grouper from my iPhone speaker, in a Bank of America ATM, at 5 AM, Sunday, February 20. This is truly one of the weirder moments of my life, to date. It’s warmer here than it was in the hallway of my old cold apartment building. So old that the rusty lock ate my key just now. The thing fucking snapped in half. I tried banging on the door to wake one of my roommates, but it didn’t work. My phone was dead and there’s nowhere to charge it in my apartment hallway and I don’t really know any of the neighbors. So I thought I’d bike to Harvard Square to see if any place was still open where I could charge my phone and text some people, try to wake my roommates via cell phone, or see if I could sleep on someone’s couch. But now that I finally found a place to charge — some serious irony here that BOA of all places is saving me from hypothermia right now — it’s 5:14 AM and doesn’t seem worth it to wake anyone at this point. Seems annoying and unnecessary. Ugh, tonight was going well too — still going strong with sober February, but went to 2 shows and a party tonight nonetheless. Anyway there’s a coffee shop in Harvard Square that opens in 45 minutes so I figure I’ll buy a magazine at 7/11 and go read and drink coffee until someone in my house wakes up and sees all of my text messages and opens the door. Was anyone ever so young?
“ Van Etten is oft-compared to PJ Harvey, Liz Phair, Cat Power, and the like … But unlike those artists, Van Etten’s artful use of space is unmatched: the LP ebbs and flows with slow crescendos of her defiant soprano, which on Tramp is more confident than ever. Van Etten’s expansive sonics are cohesive, a consistent mood she says was inspired by the production methods of John Cale, the Velvet Underground’s avant-garde energy source. In fact, the high-contrast black-and-white self-portrait cover of Tramp is a direct homage (read: almost identical) tothe cover of Cale’s 1975 LP, Fear.”’
— In this week’s Phoenix, Liz Pelly writes about Sharon Van Etten, pointing out the ways that the aesthetic of Van Etten’s new record (left) is a direct homage to John Cale’s ‘75 LP (right). Van Etten plays the Paradise on February 23. Read the rest of Pelly’s article at ThePhoenix.com.
Phoenix photographer Ali Donohue was at Lorem Ipsum Books on Monday night, checking out sets by Screaming Females, Parasol, and Modern Hut. More photos at ThePhoenix.com.
This is my first cover story for the Boston Phoenix, on street medics: self-trained radical activists who have been providing free first aid at demonstrations since civil rights protests in the 1960s. Four months of conversations about direct action and radical activism, punk politics and pepper spray, our country’s fucked up medical industry, Occupy medic tents, and more. I talked to medics all over the country, including one of the ladies who created the concept of street medicine in the ’60s, plus authors, doctors, EMTs, lawyers, the cops (sort of), and a whole bunch of people who wouldn’t let me use their real names. Talking about street medicine brings together intersection of so many different interesting stories, ideas, conversations — this 2-page article really only skims the surface of what I gathered during my interviews. Hopefully I can convince some publisher that they want a book on this because I basically have one written. Online now, on newsstands tomorrow.
Everyone shut up about Valentine’s Day. You should love your friends, your partner everyday. If you are single like me you should additionally focus on loving yourself because if you don’t love yourself how can you expect anyone else to love you. Get real.
Marissa Paternoster, frontwoman of the Screaming Females, performs @ Lorem Ipsum books in Inman Square on February 13, 2012. More of my photos from last night will be online soon, probably on the Phoenix site.