twi-ny recommended events

APRIL SMITH AND THE GREAT PICTURE SHOW

April Smith is sure to put on quite a great show at Brooklyn Bowl and Maxwell’s (photo by Eric Ryan Anderson)

Friday, May 14, Brooklyn Bowl, 61 Wythe Ave., $5, 9:00
Saturday, May 22, Maxwell’s, 1039 Washington St., Hoboken, $10, 9:30
www.myspace.com/aprilsmithmusic
www.brooklynbowl.com
www.maxwellsnj.com

April Smith appears to be an anachronism. The young Toms River native grew up listening to music on an eight-track-tape player, and her latest album, the absolutely delightful, fan-funded SONGS FOR A SINKING SHIP (Little Roscoe, February 2010), has an old-time feel to it, Tin Pan Alley meets Brooklyn indie pop shaken up with the zeitgeist of her biggest influence, Tom Waits, with plenty of Andrews Sisters sprinkled in. Over the course of eleven songs and thirty-four minutes, Smith and her crack band, the Great Picture Show – Marty O’Kane on guitar, Brandon Lowry on keyboards, the single-named Stevens on bass, and Elliot Jacobson on drums (Nick D’Agostino takes over the kit on tour) – play engaging, charming songs, opening with the awesome one-two punch of the thrillingly romantic “Movie Loves a Screen” and the rough-and-tumble “Terrible Things.” Smith seems to be able to write a catchy hook in her sleep, from the strip-teasy “Can’t Say No” to the bouncy “Colors,” with lyrics that detail in-between relationships as lovers chase, stalk, or leave one another, never in full bliss. “It does no good to resist your charms / I just come running back with open arms / You treat me mean, you hurt me so / I should have learned my lesson oh so long ago,” Smith sings on “Can’t Say No.” She also displays a wry sense of humor on “Drop Dead Gorgeous,” admitting, “Oh, you’re so enchanting / when your mouth is closed / And with a mouth like that / who needs politics and prose.” April Smith and the Great Picture Show will be at Brooklyn Bowl on May 14 as part of the Deli’s Best of the NYC Fest, with Motel Motel and Shayna Zaid & the Catch, and at Maxwell’s on May 22 with Hey Battlefield.

TWI-NY TALK: JOSH WILKER

Josh Wilker has been experiencing breakout success with CARDBOARD GODS (photo by Abby Theuring)

CARDBOARD GODS by Josh Wilker (Seven Footer Press, April 2010, $24.95)
Thursday, May 13, Nike Store, 255 Elizabeth St., with bubblegum-blowing contest, 7:30
Monday, May 17, Book Revue, 313 New York Ave., Huntington, 7:00
Tuesday, May 18, Two Boots, Grand Central Terminal, 7:00
www.cardboardgods.net

Back in the 1990s, we spent many a late night at such dive bars as the International, the Idiot, and Rudy’s discussing life, literature, and sports with Josh Wilker, his older brother, Ian, and their inner circle of trusted friends. Josh has always been the most introspective of the crew, and he has now turned that penchant for self-examination into the compelling, extremely entertaining memoir CARDBOARD GODS: AN ALL-AMERICAN TALE TOLD THROUGH BASEBALL CARDS, adapted and expanded from his popular blog, which has been delighting readers since 2006.

In short chapters that begin with an image of a baseball card from his personal collection, Wilker relates his unusual, fascinating story growing up in Vermont in the 1970s with his brother, his mother, his father, and his mother’s lover, Tom, as well as his current life in Chicago with his wife, Abby. Wilker doesn’t just include such obvious Cardboard Gods as Hall of Famers Johnny Bench, Nolan Ryan, and Rickey Henderson; in fact, it is most often the lesser-known mediocrities, from Rowland Office and Rudy Meoli to Carmen Fanzone and bubblegum-blowing champion Kurt Bevacqua, that bring out the best of his natural talent, finding some aspect of the player’s history or physical appearance to tie in with his life. Wilker gets most excited when talking about his beloved Boston Red Sox, but you don’t have to be a BoSox fan, or even know a thing about baseball, to be amazed by Wilker’s impressive skills as a chronicler of the ups and, mostly, downs of daily existence.

We caught up with Wilker via e-mail as he set out on his whirlwind book tour, which brings him to New York City and Long Island this week and next and then to Fenway Park for an event with the Spaceman himself, Cardboard God Bill Lee.

twi-ny: On your blog, you have described yourself as “socially anxious” and suffering from “self-mortification.” What’s it been like for you getting out in the world, meeting and greeting strangers and fans who either already know or are about to find out so much about your personal life?

Josh Wilker: I’ve only had one reading so far, and it was pretty low-key. Not exactly the Beatles at Shea Stadium. I did get a chance to talk to a few people who had been reading the blog, and that was fun because we just ended up talking about baseball cards. The anxiety comes during the lead-up to these things. Right now I’m getting ready to go off on a road trip to do several readings, and I’m getting nervous again, just like I was in the lead-up to the first reading. It definitely helps that I have the cards themselves to hide behind. I get nervous about being in any kind of a spotlight, but the spotlight is really on my old cards, not me, and even more importantly there’s really not much of a spotlight anyway. I realized this as I was walking to my first reading with a feeling in my stomach like I was going to be stripped naked in front of a packed stadium. I kept walking by all these people who weren’t going to my reading, who had no idea about my reading. All but a fraction of the population so tiny as to be nonexistent don’t know or care one iota about my book. I find this comforting, and also depressing.

twi-ny: You’ve been doing interviews and writing pieces for dozens of websites, including espn.com, GQ, and the Huffington Post, while also working on your next book, which again will meld childhood with baseball by taking on THE BAD NEWS BEARS. What’s your writing schedule like, since you also have a full-time job?

JW: That next project you mention is actually THE BAD NEWS BEARS IN BREAKING TRAINING, not THE BAD NEWS BEARS. (The difference? More Kelly Leak.) I was supposed to have a manuscript wrapped up by now but I had to get an extension because of the other writing you mention. It’s been hectic, especially with the paying job and the unpaying job of keeping up the chatter on my blog. I get up early every morning and get to it as soon as I can pry myself away from Howard Stern, and I go until I have to run for the train to work. I still find time, heroically, to practice my religion, which is glaze-eyed laziness borne atop sitcom reruns and huge piles of pasta washed down with beer.

twi-ny: You hold nothing back when writing about your family situation in Vermont back in the ’70s as well as today. How has your family reacted to the book’s powerful honesty?

JW: Everyone has given me the thumbs-up in one way or another. They have always been very supportive of me and of attempting to be creative and expressive in general. I think various parts of the book may not be exactly pleasant for one or another family member to relive. I think that they see that they are the heroes of the book. I hope so.

twi-ny: On May 17, you’ll be appearing at the forty-sixth vernal assemblage of the Blohards, a luncheon meeting of the Benevolent and Loyal Order of Honorable Ancient Red Sox Die Hard Sufferers of New York. What goes on behind those secretive closed doors? Is there such a thing in Chicago, where you now live, or do you root for the Sox in lonely obscurity?

JW: Ha! I really don’t know much about the Blohards, but I’m looking forward to finding out. Secret handshakes and planning to make Steve Guttenberg a star (again), hopefully, capped with a keg party and Ping-Pong. As for Chicago, I mostly do my rooting alone, which suits me, but in the 2004 playoffs I did learn of a bar that transplanted Red Sox fans had started gravitating to in droves. It had always been my dream to be in a screaming crowd if the Red Sox ever finally did it, and so I went to that bar and was able to flail around in a packed room with tears in my eyes for the moment of victory. I went back to the bar for a playoff game in 2007 (not the clincher) and it had devolved into a near-empty dump with a couple of decidedly anti–Red Sox grumblers leaning over their drinks.

BEETLE QUEEN CONQUERS TOKYO

Jessica Oreck reveals Tokyo’s love of bugs in unusual documentary

BEETLE QUEEN CONQUERS TOKYO (Jessica Oreck, 2009)
Film Forum
209 West Houston St.
May 12-18
212-727-8110
www.filmforum.com
www.beetlequeen.com

Collecting insects as pets is a way of life in Japan, and first-time director Jessica Oreck captures this obsession with bugs in the surprisingly effective and highly unusual documentary BEETLE QUEEN CONQUERS TOKYO, playing at Film Forum May 12-18. Oreck, a docent and animal keeper at the American Museum of Natural History, traces the history of the relationship between Japan and bugs in a nonlinear narrative that often plays like a fiction film, especially when showing a young boy shopping for a particular insect – his favorite costs fifty-seven dollars – much the way children in the West look for dogs or cats, or following an insect hunter as he searches the forest for specimens to sell. Oreck cuts between dazzling, colorful shots of fast-paced, modern-day Tokyo backed by a thumping, bass-heavy soundtrack and calmer, more subtle scenes of nature as people discuss their love of beetles, crickets, and other creepy crawlers. But Oreck doesn’t present the Japanese treatment of insects as a strange fad or craze, instead seeing it as yet another relationship with nature and beauty that Westerners are unable to understand. Oreck will be at Film Forum for the 6:30 and 8:20 screenings on May 12 and 14, bringing with her some live exotic insects, and will also be at the 4:40 show on May 16 with INSECTOPEDIA author Hugh Raffles.

NEW YORK PHOTO FESTIVAL

Marc Garanger’s photos of Algerian women are part of the “Bodies in Question” exhibit at the New York Photo Festival

THE FUTURE OF CONTEMPORARY PHOTOGRAPHY
Multiple locations in Dumbo
May 12-16, $15 per day, $30 festival pass
www.nyphotofestival.com

The New York Photo Festival takes place this week in locations all over Dumbo, including the powerHouse Arena, St. Ann’s Warehouse, Tobacco Warehouse, Brooklyn Bridge Plaza, the Archway Under the Manhattan Bridge, featuring exhibitions, portfolio reviews, a scavenger hunt, lectures, conversations, panel discussions, and after-parties. This year’s main shows are “Object Lesson” curated by Vince Aletti at 81 Front St. (front), “Use Me, Abuse Me” curated by Erik Kessels at Smack Mellon Gallery, “Bodies in Question” curated by Fred Ritchin at St. Ann’s Warehouse (north), and “Hidden Books, Hidden Stories” curated by Lou Reed at St. Ann’s (south) and 81 Front St. (back). Among the satellite shows are the Latin American Pavilion at the Dumbo Arts Center, “Where Storytelling Lives” at 111 Front St., “DutchDoc! Space” at Kunsthalle Galapagos, and “Human Rights & Photography,” “Room 103 & Warzone,” and “Outsider Land” at Tobacco Warehouse. Most of the special programming is scheduled at St. Ann’s, with such highlights as a DIY photobook workshop (May 13-14 at 1:00), a lecture on obsessive collecting by Paul Kooiker (May 13, 3:00), a series of film screenings (May 13 at 8:30), an illustrated talk, Q&A, and book signing with Zed Nelson (May 14 at 11:00 am), Eirik Johnson and Jason Houston in conversation (May 15, 4:30), and a presentation by Bill Jacobson (May 16, 2:00).

KATE GILMORE: WALK THE WALK

Women in yellow are boxed in atop a large cubicle in Kate Gilmore installation in Bryant Park (photo by twi-ny/mdr)

Bryant Park Fountain Terrace
Sixth Ave. at 41st St.
Daily through May 14, free, 8:30 am – 6:00 pm
online slideshow
www.publicartfund.org

For her piece at the 2010 Whitney Biennial, “Standing Here,” SVA graduate Kate Gilmore dons a pink polka-dot dress and high heels and attempts to escape from a tall, narrow column. Having broken out, it seems she has headed south to Bryant Park, where she has set up “Walk the Walk,” a live-performance installation running through Friday, May 14. Every day from 8:30 to 6:30, mimicking the average workday, a group of women dressed in matching bright yellow dresses and beige pumps march atop an eight-by-ten similarly yellow structure in random choreographed movements; they could be in the office carrying out mindless duties, making their way to work through Grand Central Terminal, or rushing through the park to pick up lunch and then get back to their desk. (The setup even recalls a boxing ring, as if the women are fighting to survive in the business world.) The Technicolor yellow clashes with the grays, greens, and blacks of Bryant Park and the surrounding buildings, standing out in a way that contrasts how their uniforms make them all look the same. As the women weave in and around each other, they occasionally stomp on the surface, creating a percussive soundtrack that is especially effective if visitors listen to it from inside the hollowed-out cubicle structure. Gilmore, who was born in Washington, D.C., and lives and works in New York City, will be at Bryant Park on Tuesday at 12:30 to give a free lunchtime talk on the installation, a project of the Public Art Fund.

MOMIX

MOMIX’s BOTANICA is back at the Joyce, along with a greatest-hits package

Joyce Theater
175 Eighth Ave. at 19th St.
May 11 – June 6, $10-$59
212-645-2904
www.joyce.org
www.mosespendleton.com

Last year, MOMIX performed BOTANICA at the Joyce, what we called “an eco-friendly multimedia exploration of the four seasons, with the company’s talented cast of ten taking on the roles of flora and fauna, ocean waves, trees, rocks, birds, hornets, a storm, and just about everything else under the sun — well, actually, including the sun.” The inventive group, headed by artistic director and founder Moses Pendleton, is back at the Joyce to celebrate the dance troupe’s thirtieth anniversary, first presenting ReMIX May 11-23, a fortnight of their greatest hits and highlights, including pieces from ORBIT, LUNAR SEA, OPUS CACTUS, and BASEBALL, followed by two weeks of BOTANICA. MOMIX’s pieces range from the awe-inspiring to the gimmicky, constantly surprising audiences with inventive uses of light, sound, costumes, props, and the human body. A Dance Chat with Pendleton will follow the May 19 performance.

THE DAY EAZY-E DIED

National Black Theater
2031 Fifth Ave. between 125th St. & 126th Sts.
Tuesday, May 11, $10, 7:00
www.facebook.com/pages/The-Day-Eazy-E-Died
www.imagenation.us

In 1995, Compton rapper Eazy-E, born Eric Lynn Wright in 1963, died of AIDS at the age of thirty-one. The profound effect the influential performer, producer, and member of N.W.A had is central to James Earl Hardy’s book THE DAY EAZY-E DIED, now being turned into a film, about a young Harlem man whose life is turned inside out when Eazy-E’s illness goes public. On Tuesday, May 11, Hardy, writer-director Kirk Shannon-Butts, producer Trevite Willis, and musical genius Daniel Bernard Roumain will come together for a special multimedia screenplay reading at the National Black Theater, followed by a Q&A and reception. The evening is hosted by ImageNation, an organization that “fosters media equity, media literacy, solidarity, cross-cultural exchange and highlights the humanity of Pan-African people worldwide.”