Concert for Immigration Rights: Glasser, Underground System, Tigue, Elena Moon Park & Friends, Ashley Bathgate, and Ljova Wednesday March 22, doors 7 pm at Le Poisson Rouge: $25
Le Poisson Rouge is hosting a benefit this week for the New York Immigration Coalition, which is cool. As you might expect, they’ve put together an eclectic lineup to help rake in the cash for a chill cause: defending immigrants rights. Funds are going directly to the New York Immigration Coalition (NYIC) which provides services that LPR says are “particularly crucial in the wake of the recent presidential executive actions.” Hear, hear.
Old Dude Winter took the opportunity of his last week in charge to drop a final bowel movement on us: a big ol’ pile of snow to which the city adds its own secret ingredients –mostly street juice and dog refuse– resulting in the world’s grossest Slurpee flavor. But hope may have arrived just in time with a new music video from Bigmun & Frost. Shot in July of last year, it’s a reminder of what summertime is all about in Brooklyn– and for John Bigmun it’s not just backyard kiddie pools filled with beer, it’s also the Giglio Feast that goes down every year in Williamsburg at Lady of Mount Carmel. “It’s like the most amazing thing in the world,” he said. “It’s old Brooklyn, it’s the old country.”
Fet culture and cinema? I mean, duh, guys, they’re a match made in heaven– er, whichever circle of hell doms and bronies go to. (Dunno about you guys, but that’s where I’m hoping to end up, Lucifer willing). That’s why Cinekink NYC– which clears up any confusion by calling itself “the kinky film festival”– is popping off this week for its 14th year.
Lady Pills, Dead Stars, RIPS, Monograms Wednesday March 15, 8 pm at Trans-Pecos: $10
Another one of our own bit the dust– say it with me: RIP Shea Stadium. Now what? Get out there and keep supporting DIY venues across the city. And yes, that also goes for homegrown spots that just happen to be certified-legit, grown-up, and now pleasant after years of hard and risky work– never forget that these dudes are threatened by the looming, apparently totally arbitrary powers that be.
Deathdays aren’t usually cause for celebration, but in the case of Christopher Wallace– better known as Biggie Smalls– it only makes sense to organize an art show dedicated to the late rapper around the afterlife. Without it, 20 Big Yearswould have denied the necromancy that runs throughout the life work of Notorious B.I.G. (his mere two studio albums are a clear sign that his life was cut too short), and that has come to define his persona after death. Even if all these ghosts still give his fans the willies. As one visitor, pointing to an altered version of Barron Claiborne’s famous photo of Biggie wearing a crown, said to her friend: “That one with the skull–it’s so morbid, but so deep.” (The friend agreed.)
Dirty Little Billy Thursday March 9, 9:30 pm at Nitehawk: $16
Legends and lore of the Old West have been distorted so horrendously for modern entertainment purposes that what most people know about Billy the Kid they’ve learned from The Wild Wild West (arguably Will Smith’s greatest cinematic/symphonic achievement ever) and a National Geographic Channel reenactment where the infamous, down-n’dirty, sharp-shootin’ gunslinger is portrayed by a male-frickin’-model.
At first it was sort of sad that for this year’s rendition, Spring/Break Art Show had traded its eccentric, labyrinthine location inside a disused section of the historic James A. Farley Post Office in Chelsea for an actual office space. But when the elevator doors opened on the 23rd floor of the Condé Nast building in Midtown, the switch-up immediately made so much sense–because, let’s be real, an artist-led hostile takeover of corporate America is exactly what we need right now (even it it’s just for a few days).
Eames Armstrong, The New York Review of Cocksucking, Scant, Brandon Lopez, Lacanthrope, Sapphogeist Monday March 6, 8 pm at Alphaville: $10
Is life even real anymore? Well, considering that we, fine people of this once and forever great city, now have a band named The New York Review of Cocksuckingto call our very own, it’s hard to believe that reality right now is indeed real. How could it be? Especially when the official soundtrack to our lives, at least for a moment– jazzily improvised by none other than the duo Michael Foster and Richard Kamerman (who have done the right thing in choosing a moniker that sounds like a James Franco-produced lit mag)– is a truly alien form of avant-garde freakwave. Lend your ears to their looping tape noise (disintegration incarnate) and saxophone sounds easily mistook for the pleasure wales of fornicating dolphins, and discover that the finite world is overrated.
K: A Film About Prostitution Thursday March 14, 10 pm and Wednesday March 29, 7:30 pm at Spectacle: $5
“K” is just one film screening as part of Spectacle’s month of March series, Tricks of the Trade: True/False Portraits of Sex Work, which features four separate, cross-cultural, semi-fictional, but mostly very real portrayals of sex work. Shot in Budapest in 1989 by director György Dobra, the doc captures the world’s oldest profession– prostituáltakról in Hungarian (try saying that one ten times fast)– at a time of turmoil, when Communist Party-controlled governments and institutions across the Eastern Bloc were collapsing. Hungarians found themselves in an especially bizarre position because things in their country at least… were fairly calm during the transition to democracy.
PC Worship’s new album Buried Wish, out now from Northern Spy records (Image courtesy of Northern Spy).
Phrases like “hard to pin down” and “defies easy categorization” get thrown around way too much, but PC Worship truly has a chameleonic presence. Northern Spy, which last week put out the band’s new album Buried Wish, describes it as a “dedication to categorical ambiguity.” Their free-flowing ways consist of improvisational live sets, an ever-rotating cast of musicians, homemade instruments (like frontman Justin Frye’s “Shitar”), and a hazy sort of eclecticism that brings tape loops, sludge rock, and free jazz together with so-called “Eastern” rhythms and avant-Americana.
School Night! with Active Bird Community, Mannequin Pussy, GTY, In India Monday February 27, 8 pm at Baby’s All Right: FREE with RSVP
LA is invading Brooklyn with an installment of School Night!, a weekday showcase featuring cool bands and presumably some awkward schoolgirl attire, put on by Chris Douridas of LA’s coolest college radio station KCRW.
RSVP and get in the door free before 9:30 pm. After that you’re on your own– even so, the show will only put you out $5. Brooklyn Brewery has volunteered to play the coolest lunch lady ever and hand out free beer, which you too can partake in as long as you can get your butt in the door between 7 pm and 8 pm.
Desire Will Set You Free Friday February 24 (7:30 pm), Saturday February 25 (5 pm), and Sunday February 26 (7:30 pm) at Spectacle: $5 (probz best to buy in advance)
Because it’s shot in the sort of bold, hyper-real HD-quality style that’s available to even low-budget filmmakers now, Desire Will Set You Free already feels too real from the POV of click-play. Which is funny, because filmmaker Yony Leyser (who stars as Ezra, an American expat) is celebrating the freewheeling, anything-goes Berlin of the twenty-teens (aka now), a place where weirdos, freaks, and artists can live out their fantasies, especially the sexy ones, which is all about negating the supposedly fixed norms of society and transgressing life as it was handed to us. Even the title, “Lust Macht Frei” in German, is the opposite of the infamous “Arbeit Macht Frei,” which appeared sometimes welded into iron gates at the entry point to Auschwitz and other Nazi death camps.
Berlin has been the place for your coolest friends to flock to over the last several years, and if you haven’t made the trip, “Desire” is definitely a great way to get acquainted with the city’s “hedonistic queer underground,” as Spectacle writes, and its nonstop, freaky deaky nightlife. The theater is hosting three screenings that serve as the film’s New York City premiere, and judging by the sparkly cast (Dev Hynes, Peaches, and Nina Hagen, among others), the promised “Q&A with special guests” is probably gonna be pretty great.
This 1979 sci-fi-tinged horror film is a Cronenberg classic, and Anthology is screening it this weekend as part of its Canadian classics series, Gimme Shelter: Hollywood North.In part,The Brood is exactly what we’ve come to expect from the filmmaker’s own “body horror” sub-genre obsession– blood, guts,– but the film puts even more weight on what’s in some ways a much spooky psycho-thriller-style of horror storytelling that recalls The Shining (and, sure, stylistically the two movies feel cut from the same cloth too).
At the center of the film is a woman, Samantha Eggar, who is deemed psychologically unstable and pursues experimental treatment by a doctor who believes that dramatic physical changes in the body’s chemistry can eradicate mental illness. Meanwhile, Eggar’s ex-husband steps in to take care of their daughter, and promptly pursues full custody. She might be far away, geographically and mentally, but Eggar knows what’s up, and her treatment has the terrifying consequence of enabling her to undertake “the spawning of a brood of murderous mutant children who act on [her] rages.”
Cronenberg wasn’t just guessing, either– he was actually in the middle of his own messy divorce and custody battle when the film was under development. Anthology writes that the director has called The Brood “my version of Kramer vs Kramer, while noting that that film’s ‘happy ending’ was a million miles away” from his own take on the process of unraveling a marriage.
Hey! The Oscars are coming up. I bet you, like myself, could care less. Like, really, why would anyone wanna spend their Sunday evening (Friday February 26 at 5:30 PST) watching a bloated film industry hand out a bunch of little gold alien man statues to a film literally called La La Land in an awkward display of “Hey! Look at us! Seriously, we aren’t racist”? The award ceremony (and really, any mainstream award ceremony) has so little to do with our day-to-day lives that it’s barely worth kvetching about. And yet here we are…
Thankfully, the Metrograph has put together an alternative program hosted by TVTV, a “guerrilla video”-making collective that got its start in San Fransisco way back in 1972,”– like, long before it was full of the dregs of humanity (i.e. tech bros). Consisting of tape from the 1976 award ceremonies, when Lily Tomlin was nominated for Best Supporting Actress for her roll in Nashville, TVTV put together this
“close-up look at Hollywood’s annual awards ceremony that mixes intimate behind-the-scenes views with deadpan comedy, featuring [Tomlin] as a mousy homemaker watching the Oscars in her suburban home.”