Hey Dan, how’s it going?
Good! I just got some records over at the record fair [the Zine & Record Distro Fair put on by the Papercut Zine Library] at the Democracy Center, and I’m heading out soon to Tufts.
I know you go to school down here in Boston. Where do you go?
Yeah, I go to Northeastern.
What do you go for?
I am a senior with a double major of Computer Science and Multimedia Studies. I graduate in a couple months.
Do you have any plans post-graduation?
I went to school to be a software engineer so I’ll be getting a job in the industry around here. I’m also looking at graduate school options for the near future so I can get eventually into research. I plan on staying around here, at least for a while.
What interested you in Northeastern in the first place?
Basically, I applied to ten schools around the country, two of which were in Massachusetts. The rest were on the west coast. I wasn’t really interested in staying around here at all. I did a road trip out to San Diego and San Francisco over a couple-week period and visited all the schools I was looking at. After going and seeing those schools out there, I wasn’t too psyched on them. My brother went to school in Boston down the street at Mass Art so I was around Northeastern a lot. I really liked their Co-op program so I applied there. I figured it was a five year school, but I’d graduate with a year and a half of experience on my resume so that sounded good to me.
I know that some of the recently accepted students at Northeastern have started half a semester late. Is that what happened to you?
No, I was able to start on time and everything. It was kind of a weird period because Northeastern had been transitioning from a five-year program to a four-year one. They changed my Multimedia Studies major into two different majors during the five years I’ve been there. They have a four-year program with one Co-op instead of three now too. I feel like I’m a part of that last wave of Northeastern-style students before it turns into a four-year school.
Do you personally place a big value on education, regardless of its costs?
Obviously graduating with a hundred-grand in debt is sucks, but you have to know your industry and judge the value based on the education you get out and industry you’re going into. I’m going into software engineering, which is in a ton of demand. The computer industry is always growing, and there’s always a need for more programmers. I could’ve gone to school for photography and had to start a studio push to do photography full-time at a magazine or something, but then I would wind up shooting shows I didn’t want to shoot, shooting people or bands I didn’t want to deal with, or doing different types of photography that I wasn’t comfortable with. I know some friends who have broken into photography areas that bored them just to make ends meet, and I didn’t want to compromise what I’m interested in shooting. If software engineering is something I’m passionate about, which I am, then why not go for that as well and keep photography as a hobby?
As far as education goes in my field, you can become a web programmer by looking at books and browsing around online. When you’re looking at something like I am, where I eventually want to be a researcher and develop things that impact the industry as a whole, there is a ton of research behind all that. To break into that kind of area and be involved in research, you really need the education for it. That’s where I’m coming from. I’m investing because I eventually want to become a researcher. I’m also a strong believer that anyone can be a coder by just picking up a book, but that doesn’t make you a programmer.
That’s awesome. So I know you’re from New Hampshire. Where did you grow up and how did you get interested in music in the first place?
I grew up in Goshen, New Hampshire. It has a population of 400 or 500. If you go to Concord, the capital, and you keep going up I-89 for about a half hour you’ll hit New London, which is where Colby-Sawyer College is. If you drive for about a half hour on back roads through that area, you’ll eventually hit Goshen. All the kids from my town went to the cooperative school in the next town over called Lempster. Even with that, my class was about twenty or thirty kids. We were the biggest class that ever went through the school at that time. I have two older brothers that were four and six years ahead of me in grades. They were exposed to a lot of music in middle school and early high school that trickled down to me being exposed to it when I was in early elementary school. By the time I was seven, I knew who Nirvana was and I knew who The Clash was mainly because my dad was a big fan. He actually regards Kurt Cobain as one of the best lyricists and front men of all time. That’s pretty cool.
My brothers were both really into grunge like Smashing Pumpkins, Nirvana, Sonic Youth, all that. Justin kind of broke into crossover metal and punk stuff. He found out about Circle Jerks, The Minutemen, Gang Green, and later stuff like At The Drive-In, Blood For Blood, and Refused. I got to hear the Circle Jerks “Group Sex” when I was super young. My brothers both did bands and covered other bands, which helped me learn about music through them. Right around high school, I moved to another town called Sunapee where I met kids who were into punk and hardcore. I was able to start going to shows and start my own bands with them. We kind of started a small scene up there. Once I got a car I started travelling all the time for shows and that’s how I worked my way into all of this.
Did you end up going down to Manchester often?
Yeah, I used to go to the Bombshelter a lot. That place was awesome. I saw Against Me! and Murder By Death there once. I remember a lot of shows that I couldn’t get to because of snowstorms, too, like when Agnostic Front, Champion, and Martyr A.D. played there. Blood For Blood and Drug Test had a show. I had friends who were like, “Yo! You missed an awesome show! Blood for Blood played with Full Blown Chaos at the Bombshelter.” I was always like, “Why didn’t I even know about this?” That drove me to say, “Alright. I’m going to make a thing online, just a list, of every show so I’m not missing out on them and my friends aren’t either.”
So essentially that’s how you came up with the concept for Future Breed, right?
Yeah, that’s what eventually became Future Breed. It was originally called ‘Punk Underground,’ and it was just punk shows and hardcore shows. I had a message board on there that was basically our town gossip forum. All our friends would shit-talk other people in the town and all that kind of juvenile stuff. I’d do record reviews, show reviews, movie reviews, even video game reviews. For Warped Tour 2003, I snuck a disposable camera in and really enjoyed taking photos there. I got a couple cool shots. I tried it again the next year for Warped, which was the tenth anniversary where they had the Vandals, Guttermouth (they were supposed to play, but they got kicked off the tour), Strung Out, and Bad Religion (who played two days in a row; it was awesome). After that, I started thinking that I should put those photos on my site, so I reworked the whole thing to have photos up on it. I decided that since I liked more music than just punk (and my site was called ‘Punk Underground’ at the time) that I should probably rename it as not to have people write me off. I wanted to cross over into metal shows, indie shows, ska shows, and stuff like that. I had this big brainstorm of all of these different names I could have. A friend in my French class was into international hip-hop, especially French rap. He talked to me a lot about music, and I got him into Against Me! and brought him to one of their shows. Sometime after that, we wrote some rap about doing photos and going to shows as just a stupid joke. He had a line that talked about me covering the future breed of bands that are about to get big but aren’t quite there yet, and when kids look back they’ll see all of these early photos. I just kind of snagged that little word pairing from the rap and turned it into my site.
What was the first band that you ever went to shoot?
It was friend Nick’s band Dysfunxion, though I think they had a different name at that show. This band Black Dragon was the headlining band for it. This kid Nick saw me walking around the mall a couple months before and was like, “Yo come to my band’s show tonight at the Bombshelter.” That night me and this girl went to the show, and it was really small, but I was really into all of the bands. When I was talking to him, he said, “Hey, your birthday’s coming up, right?” and mentioned that his band had a show at the Bombshelter that day. He told me he couldn’t get me in just because it was my birthday, but if I did video or took pictures or something he could get me in as a photographer. I was like “Oh I’ll just grab my parent’s camera. I’ll just go and shoot a little bit and see what happens.” So I did that and it ended up being really cool. I started using the camera more than my parents did and started going to a lot of shows there.
Before that, like when I bought disposables, the first band I shot in 2003 was Yellowcard, because they were on the small stage when you were coming into Warped Tour. Slick Shoes and Tsunami Bomb also played on that stage. Rise Against was on the little stage right next to it, along with The Bled. Then, by that time, I decided to work my way over to the main stage and catch Rancid, Poison The Well, Glassjaw, The Ataris, all those guys. Those were the actual first bands that I shot, but the first bands I shot digitally were at the Bombshelter.
I saw you shot the Linkin Park show a few weeks ago, how was that?
It was cool. I’ve shot Linkin Park before. They’re an incredibly tight band live, and you have to be if you tour that much consistently for a big chunk of years. Pretty much any band that’s toured like that is going to be tight unless you’re Ozzy (that was one of the worst live shows I’ve ever seen). But yeah, Linkin Park was cool. It was my first time shooting at the T.D. Garden, which is awesome. The opening bands were really tough to shoot because they all had strobes and really bad lighting, but Linkin Park had good lighting and were good to shoot. Those shows are cool because it’s a completely different type of experience. Yeah, there’s a disconnect between the crowd and the band, but I only do photos for three songs and then I get to go hang out or just go home. So that night, I got home at 9:30, put up my photos, had them up before kids even left the show, and then I could do work on other stuff.
So they have a photo pit there?
Yeah, basically they have the security barricade that they have at everywhere, like the Palladium. They put photographers up there for three songs and once that’s up, they make us go off to the side and not shoot anymore. You have a specific photo pass that you wear to get into that area for three songs. It’s weird when hardcore bands play big shows. I remember seeing Gorilla Biscuits, Righteous Jams, Murphy’s Law, Set Your Goals, and Guns Up on a really weird show like five years ago at the Palladium downstairs. That show had a barricade. I remember seeing Earth Crisis play there with a barricade too.
Do they ever not have a barricade there?
Yes, I actually shot Bane’s tenth anniversary show, where Ian from Reach The Sky did a song, Overcast did a reunion, and Evergreen Terrace flew up to play, too. That show ended with like hundreds of people on stage during Bane. Kids were diving off of the drums onto kids on stage. They closed with ‘Swan Song’ so it was just hundreds of people piling on stage. I remember my cousin went to Skatefest in I think ’02 where Taking Back Sunday, Brand New, Fairweather, Movielife and all those bands played. I can’t remember if My Chemical Romance or American Nightmare were upstairs that year or not, but that show had no barricade, too. During Taking Back Sunday, kids were diving and all that. They used to do that a lot, but you know, with liability now plus insurance has gone up…
Yeah, I’ve seen that at the Palladium, the bouncers will get up and shine flashlights on kids and everything.
That’s just something where kids cause the stuff that happens, you know? Kids get hurt at a show where they mosh like idiots and have the expectation that they’re going to get hurt, and either they or their parents sue the club and cause insurance prices to go up, so venues start clamping down on what they allow at shows. Plus venue owners hear about other clubs getting sued and start sweating it. It happens all over the world… and then kids complain when places stop doing shows or stop allowing diving.
Do you do any other photography outside of shows?
I used to do promos for bands. I wasn’t really digging it, and I’m honestly really busy outside of shows with school work and all of the programming stuff that I do on the side. It was really hard pulling together the time to do it, and I didn’t really have the money for studio gear available. I’ve done some landscape shots before, which I really enjoy doing, just going through the countryside and taking pictures. I’ve been so busy in the summers with school because I don’t get summers off at Northeastern so I don’t really get to do that either. Once in a while I do it, though. I’m actually starting a film project on the side. I have an old Nikon film camera and when I travel for shows, I want to take film shots of my travels before I get there so I can save them.
Over the years, you’ve covered a lot of shows, obviously; I read in the zine you did something like 150 shows last year.
Yeah that was definitely the biggest year for the amount of shows that I covered or anything. I think about the nights where I was like, “Oh man, I wish I was at a show right now.” That boggles my mind, you know? I covered a show every other day for pretty much an entire year. It wears down on you after a while, but I don’t think I’ll be able to do as many this year because I’m going to be finally graduating and starting a full time job. Doing 150 shows in a year is wild.
Do you have any shows that have meant the most to you to be able to cover?
One in particular, definitely. Before I went to Northeastern, I went down to visit it with a friend and there was a show at the venue that became Afterhours. It was No Trigger, Lock and Key, and Eva Braun. I met Eva Braun there and those guys were great. I noticed they were wearing Converge shirts, and I was going to go to Brockton the next week to see Converge. I was really nervous because I had never been to Brockton before. It was something that over time I became comfortable with, but at the time I wasn’t. I didn’t know that area would react to a stranger coming with a camera. So I asked Eva Braun if they were going, just so I could have someone to stick around with and they were like, “Oh yeah, totally, we’ll be there, we’ll meet up with you there.” So I got to know those guys, and some members later ended up being in Last Lights.
I always wanted to go see that band. They were getting a lot of buzz. They were playing the ICC one night, and I got sick and missed it, and then they were playing BU with Four Year Strong. I got to go there because a friend of mine went to BU, and she signed me in for it. Last Lights was incredible. There was something about their performance that moved me like I’d never been moved before. I don’t mosh at shows anymore, I stopped that like five years ago, and I don’t stage dive or anything. I didn’t know this band’s lyrics at all and I’d never listened to them, and I wanted to move. I was shooting photos basically in the pit and pushing kids around while I was doing it; I was having a blast. After the set, KM was like, “Man, that band reminds me of American Nightmare when they first started, Suicide File when they first started. That band’s gonna be huge.” That night, Dom died. It’s one thing when someone says that after someone passes away, because you tend to get that kind of hype that happens when someone passes away in a band; it kind of elevates them to the next level. But the fact that people were saying that before it happened… Like, listening to their records now, it means a lot to me that I got to see them with Dom. I actually took the last photos ever of him. His family asked for photos, newspapers were calling me, and Fox called me because they wanted to run a story with a photo and stuff. I had some photos I wasn’t comfortable with a news station running from that show, so I had to deal with Dom’s family and make sure whatever I had to the news stations was appropriate and all of that.
Then when the final Last Lights shows happened, they had the singer of Eva Braun do vocals for Last Lights. That show meant so much to me because I saw this spark in people that showed that Last Lights meant a lot to them. People travelled all over for it. To see all of them get a chance to sing along to all of those songs was awesome. Dan from Paint It Black opened their set and did guest vocals for them. Dom would’ve flipped out if he knew that that happened.
There have been some other shows that have been really important to me, too, like Have Heart’s last show. I’ve seen that band grow from like an American Legion Hall band to having 2,000 people in front of them for their last show. Seeing that band go was really tough, but it was awesome to see them go out in that way. There are a lot of other shows I could go on and on about. Going on tour with Bouncing Souls, 7 Seconds, and Lifetime a couple years ago was the best mini-tour ever.
You’ve interviewed a lot of people over the years, too. There’s a good amount on your site. Do you have any favorites?
I have a few. There’s some funny ones, too. I’ve been hung up on by Against Me!, Integrity, and Bury Your Dead. You know, it’s one thing when you’re interviewing someone and you can get the feel for what you should ask and what you shouldn’t, but if it’s an interview over the phone, you don’t really have the connection to be able to read if someone’s uncomfortable with a question and if you push it too far, they could get pissed. If I had another interview with them, it’d be fine now. The Bury Your Dead interview was actually cut off by Victory Records because they enjoy censoring their artists and controlling their images.
Aside from funny interviews like that, I did an interview with Eddie [Sutton] Leeway that was one of the most intense interviews I’ve ever done. I didn’t even ask a question and he started answering stuff. I just went off to the side with him and he just immediately started with stuff. In the interview I transcribed, I actually added a question before it because I thought it was awkward that it just picked up like that. But really what happened was he just started talking about stuff and I just kind of went with it. Afterwards, he became really supportive of my zine and stuff. I just did an interview with Pat Flynn for my zine. I’d say that’s my favorite interview for how it reads. We had about seventy minutes of material and I had to cut it down to about half of the material for the article. It was just us hanging out, eating pizza, talking about life, music, and other stuff for a solid hour until the pizza place kicked us out for being there too long.
What else is going to be in the second issue of your zine besides that?
Well, one thing I’m not sure if it’s going to be in there or not, but my friend Anthony from Bastardswine recently got out of jail so I asked him if he wanted to write anything for an intro to my zine. He might have a short story in it. Then, I have an interview with Therefore I Am from right after they broke up, and one with this band from Arizona called Run With The Hunted. They’ve played a few times around here and are really good. Form & File is in there, too. I did an interview of all of them at a truck stop at like one in the morning on a park bench. I have two interviews I’m doing today for the zine: Vaccine and the singer of My Revenge from Vermont. I also have Have Heart and an interview of Greg from Debaser, which will be interesting because they broke up almost a year ago and not many people really knew why. It’s really intense to read.
I had an interview with Freddy from Madball shortly after their Boston show. I interviewed Zac Wolf, the photographer, and I also have a color photo spread of a couple of his shots, including a shot from Have Heart’s last show that no one’s ever seen before that’s basically an exclusive for the zine. I interviewed Jim from Where It Ends zine and then allowed him to interview anyone he wanted as a guest article. He interviewed Greg from The Mongoloids, but unfortunately it was right before the latest drama with The Mongoloids, so it doesn’t cover that, but still, it’s interesting to read. I was happy to have Jim involved in doing a piece. He’s been pretty active in doing mini-zines in the area. There will be some more, but I’m just deciding what will be in this issue versus the next.
I know you had a spread of Manny Mares’ photos in your first zine. Who are some of your favorite music photographers?
Todd Pollock is an inspirational photographer because he’s been around for such a long time. I mean, he did the photo on the cover of the first Ten Yard Fight record, he shot one of the first Bane shows, and he’s been really supportive of me, which is cool. He worked in the same building as my brother in downtown for a while so we all became really friendly. It’s pretty cool to have him at every show. Aaron from Return To The Pit is always at every show, too. It’s kind of like us three just hang out all the time. Al Quint from Suburban Voice has been going to shows since he saw The Clash in the late 70’s I think. He saw Minor Threat, SSD, DYS, all of those bands when they first were starting up. He’s pretty much been going to shows ever since then and putting out a zine and doing photos as well. That’s amazingly inspirational to me.
As far as actual show photography, too, I’ve been fortunate in being able to become friends with people and then see them bloom as photographers. Reed, who lives in the Boston area now (he’s from North Carolina), has a style that’s been getting really good. I taught Manny Mares how to use his first external flash when he first got one for shooting at a show. I’ve been able to see him blossom into going on tour with bands and doing film for them. It’s awesome. Zac Wolf has evolved his style so much from when I first saw his stuff. He may have become more picky, but he has reasons behind that. We talked in an interview I did with him about it and now that I know the reasons behind it, I respect it a lot more. Some people do photos as a hobby like me, and some do it as a legitimate profession. It’s sometimes easy to forget that.
[Zac does weddings and stuff like that, too, right?]
Yeah, he does weddings, senior portraits, stuff like that. He looks up a lot to Matt Miller, who also does fantastic shots. He does full lighting, like setting up a flash in every corner of the room, and he gets the lighting perfect for every show. Chris Zibutis… I think he lives in the Midwest still. I met him at the Integrity show in Baltimore a few weeks ago. He’s an amazing photographer, and he does a lot of prints so keep your eye out for those always. There are so many more… Robby Redcheeks in Philly. He’s been getting great shots at This is Hardcore every year. The list goes on. There are a lot of good really young photographers from around here starting up. Ethan Hall from Central Mass.
[Yeah he does a lot of stuff at Rad Skatepark]
He does, yeah, and I wish I could get out there, but I don’t have a car anymore so I miss going to that place. There are a lot of photographers all over the place, and I think we’re fortunate because a lot of them have really different styles and don’t step on anyone’s toes. Especially in Boston… we all love checking out each other’s shots and hanging out at shows together.
I know your site focuses on photography a lot, but in your zine you didn’t put many of your photos in there. It’s all articles and interviews. When did you first decide that you wanted to put out a physical zine?
I’ve wanted to do a zine for years. Originally, Future Breed was going to be a zine and then I decided I’d rather not make people wait forever to see a shot from a show. I wanted an immediate-type thing. I saw Return To The Pit, and kids were getting those immediate photos from a show. At first, I shot a lot of photos at shows. I’ve been more conservative lately with the amount that I shoot, but I still love that immediate kind of feel. I had all these interviews I was doing for magazines, and I’ve been doing interviews longer than I’ve been doing photos, so I wanted a way to put them out. When I was putting them online, they weren’t really getting a lot of traffic, but I think that’s just how my site is designed. It really showcases photos and not everything else. The percent of people that go interviews on my site is like 5% of the ones that go to photos. I saw doing a zine as kind of an inspirational way for me to stop posting stuff online all the time and do something outside that was much more tangible so I could actually put more attention to the articles and less on the photos. That’s why the only color you see in my zine is other photographer’s shots, not mine. I want to give more attention to articles and other people’s work that isn’t my own. I started off probably in the spring of last year when I decided I was finally going to do it. I put together a mini-zine from Sound and Fury that sold out faster than I even wanted it to. I would’ve made more if I realized the response would’ve been so good. I hate that feeling of a kid asking for a copy and having to turn him down because I ran out of copies. I put out the first issue a few months ago. I’m hoping to get them out a little bit quicker.
You do the whole thing yourself, right?
Yeah, everything from my site, to my zine, to my photos is all me, except for design. My brother Justin is my designer. He’ll handle that stuff and make sure the layout’s not all messy or whatever. All the content is me: I print it myself, I staple it myself, fold it myself, hand number every issue. The numbering is more for me to keep track of how many I do. And then on my site, I do all the content from photos to reviews to interviews to coding the actual site.
That’s really awesome. It’s cool to see people still doing zines now’a’days.
Definitely, that’s one of the main points I’m trying to make is that people can still make zines and make them well in this age of blogs. I see zines that have ads everywhere. You have to pay to get an ad in the zine and the actual thing is like five bucks and has three interviews. I just want to step it up a little bit and be like… Hey look: You can make a zine cheap, come out even and not lose money, or lose very little money, cover a lot of bands, and not have it look like a billboard, and it’ll still be good. In fact, people might enjoy that more than looking at a billboard. The only time the billboard-type thing is cool is in a zine like Rumpshaker where you get to see ads for awesome albums when they were just coming out when you revisit the zine 10 years later. Plus I think monetarily it makes sense for a zine of that caliber. Rumpshaker is essentially a hardcore book series. The internet has really cut out any sort of advertising needs in zines otherwise. Anyway, I think the only time I’ll mark up my zine is for a benefit, like if it’s for a charity. I’ve thought about it here and there, but I want to get a few issues under my belt before I start reaching that far.
Do you think you’ll ever do a compilation or anything like Jim from Where It Ends?
I’m actually helping my brother with a compilation. He moved to Vermont, and he does Get Stoked Records. He’s working on a big compilation right now for bike safety. He has a ton of bands from all over the place. I can’t announce any of them, I’ll let him do it, but I’ve been helping him get bands for it. Eventually I might do my own comp, but like five years ago I thought about doing my own label, putting out records. I almost put out a couple records for New Hampshire bands in 2005-2006. Our Last Night is one that I had discussions with about doing something more label-like with. The idea was a big daunting and ridiculous to me at the time so I passed on the opportunity. My brother’s doing a label. He’s being honest about it, and he’ll probably lose money on it, but that’s fine. He went in with that expectation. I wasn’t really ready for that then, and I’m not quite ready for it now. I book shows occasionally and help my brother put out records, but I don’t think you’ll be seeing Future Breed Records any time in the near future.
Do have any shout outs for anyone or anything you think people should check out?
Oh man, I’ve been into so many random bands lately, it’s ridiculous. If anyone wants to see bands that they should check out, just go to my site. My front page has fifty of them just in the photos list alone. If you see a band being covered more than a few times, chances are I probably like them.
In specific, there are bands I’ve been listening to lately that I think I should just give a shout out to. Confines’ new EP is awesome. I really appreciate that there’s a hardcore punk band with a strong political message that actually has something to say because that’s pretty rare now’a’days. I think Form & File’s new stuff they’ve been working on is really good. Undark and the Radium Girls, I wish you would come back because I was in the studio with them when they were recording right before they broke up, and I wish they would release that stuff. I wish Debaser would release stuff. They have a slew of songs, but they just haven’t put them out. The band Clear, it’s like a new band with members of Have Heart, Step Forward, and The First Step. I got to hear the Clear demos, and they’re awesome. I’m really psyched on that record to finally come out. I think Hostage Calm is one of the best bands out right now. The fact that they can take a hardcore sound, throw in influences from rock and jazz and whatever else, and have a strong political message rules. I’m really excited to see where they go next as a band. Transit’s been doing great things. I’m really excited for Rainfest because it was a huge highlight for me last year. I’ll be going out this year, and I can’t wait to do photos of Trial, Figure Four, Supertouch. Screaming For Change Fest in Vermont is one of my favorite fests every year. My brother’s helping put it on this year, and I’m sure it’ll be just as awesome as past years. It’s the only fest where you can go and jump off of a waterfall. You really are part of a community event up there and bond with everyone who is a participant. Anchors Up is one of the best venues around, and I really wish there were more shows there. Democracy Center is hands down one of the best spots in the Boston area. Kimberly really puts her heart and soul into that place.
Just go on my site and check out the bands on there. Check out bands like crazy because there are too many good bands out there (and I mean that in a good way), and you could just sit there all day and listen to bands and not get bored.
Last question. What’s your favorite season in New England and what’s your favorite place to be?
My favorite season is the summer. I hate the cold. Summer’s beautiful. My favorite place in New England is probably… I don’t know. I love hanging out in Boston and in the summer since it doesn’t have all of the college kids around so it’s actually really enjoyable. The shows are fun, and I wish there were more happening around here like there was a few years ago. I love it up in Bristol, Vermont, up where Screaming For Change is. It’s beautiful up there. I love going to New York and Philly to just hang out, see shows, and visit. The west coast is awesome, too. But for New England specifically, I’m content with Boston. It’s so central to a ton of places that I like to visit in the summer, plus its close enough to where the rest of my family has settled down. If I didn’t like it here, I wouldn’t be here…