twi-ny recommended events

NEW YORK OYSTER WEEK: OYSTER SHELLEBRATION AND MORE

Tasty bivalve mollusks will be on special menus and at special events all over the city during New York Oyster Week

Multiple venues
September 10-27
www.oysterweek.com

Oysters have been an important part of New York City culture practically from the beginning, and not just because of how delicious and extravagant they are. “There used to be enough oysters in New York Harbor to process all the water there, which is one of the reasons environmentalists want them back,” Mark Kurlansky wrote in his celebrated 2006 book The Big Oyster: History on the Half Shell. “And perhaps this is also why oysters taste like eating the sea.” You can swallow the slimy bivalve mollusks while learning more about them at the Oyster Shellebration, taking place September 12 ($100, 5:00 – 8:00) in the newest section of Brooklyn Bridge Park at Adams and John Sts. Sponsored by the park conservancy and One John Street, the event will feature tastings of East Coast oysters, clam chowder, shrimp rolls, canapés, beer, Champagne, wine, and more, with Oyster Concierge Julie Qiu, Master Mermmelier Kevin Joseph, and Chef Rob McCue as well as experts from the Billion Oyster Project and the Beacon Institute for Rivers and Estuaries. Be prepared to discover that oysters aren’t just good, they’re good for all of us, for many reasons. Oyster Shellebration is part of New York Oyster Week, in which more than a dozen participating eateries will be preparing special menus highlighting oysters; the festivities kick off with the second annual Brooklyn Oyster Riot, being held September 10 at the Brooklyn Brewery ($95-$125) and featuring East and West Coast oysters served by oyster farmers, who will also share stories and answer questions. Also on the festival menu are the Shuckeasy on September 17, the Big Gay Oyster Brunch on September 20, and Oystoberfest and the Stone Street Oyster Festival on September 26.

WORD, ROCK, AND SWORD V: A FESTIVAL EXPLORATION OF WOMEN’S LIVES

Toshi Reagon (l.) and friends will come together for fifth annual festival

Toshi Reagon, Nona Hendryx, and friends will come together for fifth annual festival exploring women’s lives

Multiple venues
September 13-20, free – $25
www.wordrocksword.com

“Word, Rock & Sword” might describe itself as “a festival exploration of women’s lives,” but it also makes clear that “All are welcome” to these eight days of live music, panel discussions, film screenings, yoga, workshops, and other special events, many of which are free and require advance registration because of very limited space. The festival was started by singer-songwriter and activist Toshi Reagon, who explained in a statement, “We struggle in a political climate that still tolerates and actively encourages systemic discrimination against women — from the workplace to the doctor’s office. We witness congressional attacks on funding for Planned Parenthood; the harassment and murder of abortion providers; the denial of access to affordable health care; the constant vulnerability of women and girls to violence and sexual abuse; the daily struggle of women to hold families together in our ailing economy. We will come together to share our gifts and focus our intentions for the twenty-first century.” The fifth annual festival begins September 13 with an Opening Service in a private home with song, poetry, art, storytelling, and silent meditation and continues with such other programs as the discussion “Beyond the Hashtag: Using Art and Technology to Combat the Criminalization of Our Communities,” presented by the Astraea Lesbian Foundation for Justice and the Ford Foundation; “Babies!” with Amy Matthews, which examines the learning experiences of newborns and toddlers; the multisensory anatomy lesson “Sound, Movement, and Mapping Our Bodies” with Matthews and Lydia Mann; Imani Uzuri’s healing creative-expression workshop “Water from the Well”; and “A Musical Celebration of Women’s Lives Year 5” ($20-$25), a concert at (le) poisson rouge with Nona Hendryx, Joan as Police Woman, Martha Redbone, Tamar-kali, SassyBlack, Gina Breedlove, and many more, produced and directed by Reagon and hosted by Karen Williams.

LOAD OUT!

Arts and cultural organizations can donate and acquire costumes, props, furniture, and more at Load OUT!

11 East Third St.
Saturday, September 12, free for artists and students, $5 for general public, 11:00 am – 2:00 pm
www.fabnyc.org

The biannual Load OUT!, which has been “helping artists recycle together since 2011,” is hosting its fall 2015 event on September 12, sponsored by Fourth Arts Block, which is dedicated to helping develop the East Fourth St. Cultural District that includes numerous small theaters and nonprofits. On September 10 and 11, arts and cultural institutions are invited to donate, by appointment only, their gently used costumes, props, furniture, and office equipment so they can be reused by other arts organizations and individuals, instead of just going into Dumpsters as garbage. This creative repurposing saves companies money while also cutting down on waste. Admission is free for artists and art students and five bucks for the general public.

ONE NITE ONLY / THE DEUCE: BRING ME THE HEAD OF ALFREDO GARCIA

Warren Oates gets the starring role he always deserved in Sam Peckinpah’s dark, surreal tequila Western, BRING ME THE HEAD OF ALFREDO GARCIA

BRING ME THE HEAD OF ALFREDO GARCIA (Sam Peckinpah, 1974)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Thursday, September 10, 9:30
718-384-3980
www.nitehawkcinema.com

Predictably, one of my freshman-year film classes featured weekly screenings of such all-time classics as Citizen Kane, The Godfather, and The Searchers. But when the professor assigned topics for our two papers that semester, he chose a pair of works he considered underrated, overlooked masterpieces. One was Nicholas Ray’s Bigger Than Life, in which James Mason plays a teacher overcome by a prescription drug addiction. The other was Sam Peckinpah’s Mexican cult favorite, the awesomely titled Bring Me the Head of Alfredo Garcia, which Williamsburg’s Nitehawk Cinema is presenting September 10 as part of its ongoing “One Nite Only” and “The Deuce” series. Befitting this crazy film, the evening promises prizes and surprises, a beer-infused after-party, and music by DJ Bones. Following his bitter experience with MGM over Pat Garrett and Billy the Kid, California native Peckinpah headed south to shoot a very strange tequila Western about an American loser making one last stab for love and wealth. Longtime sideman Warren Oates, who had previously appeared in Peckinpah’s Ride the High Country, Major Dundee, and The Wild Bunch, gets one of his only lead roles as Bennie, a down-on-his-luck former army officer now running a third-rate Mexico City bar and playing “Guantanamera” over and over again on the piano for tips. He is approached by a pair of dapper gentlemen, Sappensly (Robert Webber) and Quill (Gig Young), who need his help in locating a man named Alfredo Garcia, offering Bennie ten grand. What Bennie doesn’t know is that there is a one-million-dollar bounty on Garcia’s head put out by El Jefe (Emilio Fernandez), a warlord whose daughter, Theresa (Janine Maldonado), was knocked up by Garcia, a noted ladies’ man. As it turns out, Bennie’s girlfriend, a prostitute named Elita (Isela Vega), knows exactly where Garcia, a lover of hers as well, is buried, the recent victim of a fatal car accident. The film then turns into a violent and lurid road movie as Bennie and Elita encounter some extremely shady characters, including a couple of biker rapists (Kris Kristofferson and Donnie Fritts), a pair of locals also after Alfredo’s noggin, and Garcia’s family. All Bennie wants is to make some fast cash so he can take Elita away from all of this abject madness, but it’s not going to be nearly as easy as he expected, and a whole lot bloodier.

Bring Me the Head of Alfredo Garcia is an absolutely unforgettable film, featuring an absolutely unforgettable performance by Oates (Two-Lane Blacktop, Stripes), who is spectacularly seedy as Bennie, whether professing his love for Elita, trying to act suave in front of professional hit men, removing crabs from his genitals, or talking nonsense to a disembodied cranium. At one moment he is ever-so-cool, while the next he is a sweaty, pathetic derelict who just can’t catch a break. But you can’t help but love the poor schlemiel, even after he makes mistake after mistake. Garcia also has a decidedly feminist edge, depicting exceptional inner strength from Theresa and Elita. Peckinpah received total control over the film, with no studio people involved, and it shows, as he takes it places no suited executive would ever allow. “Hollywood no longer exists. It’s past history,” Peckinpah told Variety in October 1973 after having several films significantly cut and reedited by studios. “I’ve decided to stay in Mexico because I believe I can make my pictures with greater freedom here.” Peckinpah, who was battling the bottle at the time, also takes a shot at himself in the film when Bennie says, “You ought to be drunk in Fresno, California. This place is a palace.” The auteur, who made only fourteen feature films in his career — he got his start directing television series in the 1950s and ’60s, from Gunsmoke and The Rifleman to Zane Grey Theater and The Westerner — was born in Fresno in 1925; he died in Inglewood, California, in 1984 at the age of fifty-nine. Kentucky native Oates died in Los Angeles two years earlier at the age of fifty-three. But they each left behind quite a legacy, including this small gem, a bizarre, unusual, very dark and creepy Western that really, at its immense heart, is just a tender little tale of love and redemption.

INGRID BERGMAN AT BAM / THE INGRID BERGMAN TRIBUTE

BAM celebration of Ingrid Bergman centennial kicks off with theatrical presentation featuring Isabelle Rossellini and Jeremy Irons

BAM Howard Gilman Opera House, BAMcinématek: BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Tribute: Saturday, September 12, $35-$85, 8:00
Film festival: September 13-29
718-636-4100
www.bam.org/theater
www.bam.org/film

Following hot on the heels of MoMA’s Centennial Celebration of Ingrid Bergman, honoring the one hundredth anniversary of the actress’s birth on August 29, BAM joins the party with two special programs. The festivities begin on September 12 with “The Ingrid Bergman Tribute,” a multimedia theatrical staging in the Howard Gilman Opera House created and written by Ludovica Damiani and Guido Torlonia in collaboration with Isabella Rossellini, one of Bergman’s three daughters. The presentation, directed by Torlonia (Handmade Cinema), will feature Rossellini and Jeremy Irons performing material based on interviews, unpublished letters, and Rossellini’s own memories and will also include home videos and unreleased film clips. Damiani has previously staged tributes to such cinema giants as Luchino Visconti and Federico Fellini. The one-night-only event will be followed by the film series “Ingrid Bergman at BAM,” a fourteen-movie, seventeen-day festival that includes some of the works shown at MoMA in addition to other classics and lesser-known fare. One of the greatest films ever made, Casablanca, starts things off on September 13; the festival also includes such gems as Anastasia, Notorious, Europa ’51, Gaslight, Spellbound, and Murder on the Orient Express as well as Gustaf Molander’s A Woman’s Face, Per Lindberg’s June Night, Vincente Minnelli’s A Matter of Time with Liza Minnelli and Charles Boyer, and Lewis Milestone’s Arch of Triumph with Boyer and Charles Laughton. Bergman, who was nominated for seven Oscars, winning three, while also capturing a Tony for Joan of Lorraine and two Emmys, for Startime and A Woman Called Golda, died of breast cancer on her sixty-seventh birthday in 1982.

DANCENOW JOE’S PUB FESTIVAL 2015

Chelsea Murphy and Magda San Millan (photo by Yi-Chun Wu)

Chelsea Murphy and Magda San Millan will host the DANCENOW Challenge at Joe’s Pub on September 12 (photo by Yi-Chun Wu)

Joe’s Pub
425 Lafayette St. by Astor Pl.
September 9-12, 24, $20-$30, 7:00
212-539-8778
www.dancenownyc.org

For its twentieth annual season, the DANCENOW Joe’s Pub Festival looks to the past, present, and future of the artistic discipline, as fifty choreographers return to the small Lafayette St. stage to present works of no more than five minutes. The festival, which encourages experimentation and innovation, takes place September 9-12, with each night hosted by different dance makers and DANCENOW veterans. “This celebration is about honoring the amazing artists, many of whom got their start through DANCENOW and now have very successful careers, who took a leap of faith to create work for our unconventional programs over the past two decades,” DANCENOWNYC founder and producer Robin Staff said in a statement. “After twenty years, DANCENOW remains steadfast in its ‘less is more’ vision, embracing limitation as a powerful inspiration for creativity.” On September 9, Raja Feather Kelly/feath3r theory and B.S. MOVEMENT: Bryan Strimpel and Shaina Branfman oversee a program with such choreographers and companies as the Bang Group, Aszure Barton & Artists, Jane Comfort & Company, and PearsonWidrig DanceTheater. On September 10, Deborah Lohse/a.k.a. TruDee and Mark Gindick host binbinFACTORY/Satoshi Haga & Rei Fukuzawa, Li Chiao-Ping Dance, Heidi Latsky, and others. September 11 includes Jamal Jackson Dance Company, Gus Solomons Jr., TAKE Dance, and ZviDance, with hosts Larry Keigwin and Nicole Wolcott. And September 12 is led by Chelsea Murphy and Magda San Millan (Chelsea & Magda), with Doug Elkins Choreography, Claire Porter/PORTABLES, Amber Sloan, and more. On September 24, there will be a dozen encore performances, along with special guests Brian Brooks and Nicholas Leichter.

THE BLACK PANTHERS: THE VANGUARD OF THE REVOLUTION

Documentary looks at the history and legacy of the Black Panther movement

THE BLACK PANTHERS: THE VANGUARD OF THE REVOLUTION (Stanley Nelson, 2015)
Film Forum
209 West Houston St.
September 2-15
212-727-8110
filmforum.org
theblackpanthers.com

At the beginning of The Black Panthers: The Vanguard of the Revolution, Black Panther Ericka Huggins says, “We know the party we were in, and not the entire thing. We were making history, and it wasn’t nice and clean.” Documentarian Stanley Nelson spent seven years making the revelatory film, which details the rise and fall of a group of radical militant African American men and women who decided to fight back against the white establishment and show that black lives matter, almost half a century ago, and no, it isn’t all nice and clean. Nelson (Freedom Riders, The Murder of Emmett Till) combines powerful, rarely seen archival footage with new interviews of the people who were involved in this revolution, which was more complicated than it is often given credit for. The film is sharply one-sided; although a handful of former police officers and FBI agents state their case, their views are given short shrift. “The Panthers were a criminal organization, were violent, and they wanted to kill cops. That’s all I needed to know,” says Ron McCarthy of the LAPD. But Nelson primarily speaks with many surviving members of the party, including Kathleen Cleaver, Elaine Brown, Emory Douglas, Elbert “Big Man” Howard, Jamal Joseph, Flores Forbes, in addition to historians and journalists who put it all in perspective.

Radical, militant organization fights for black rights as it attempts to stage a revolution

Radical militant organization takes on the establishment in the 1960s and ’70s

Nelson and editor Aljernon Tunsil (Jesse Owens, The Abolitionists) weave together a compelling, and surprising, portrait of the organization, delving into the stories behind such critical personalities as Huey P. Newton, Eldridge Cleaver, David Hilliard, Fred Hampton, and Bobby Seale. The film examines police raids, media coverage, FBI infiltration, trials, and the Panther infighting that ultimately led to their downfall. Perhaps the most frightening images in the film, however, involve the Panthers’ interaction with the police, particularly when coming out of a building with their hands up and their shirts off, trying to prove to the primarily white officers that they are unarmed so they don’t get shot in cold blood. It’s a vivid reminder of some of what’s still happening today around the country while serving as a fascinating companion piece to F. Gary Gray’s Straight Outta Compton; in fact, Nelson employs a potent, funky soundtrack by Tom Phillips along with period songs by Billy Paul, the Chi-Lites, Eugene Blacknell and the New Breed, and Fred Wesley & the J.B.’s. “It is essential to me as a filmmaker to try and give the viewer a sense of what it has meant to be black in America and consider this within our contemporary context,” Nelson explains in his director’s statement. “The legacy of the Black Panther Party had a lasting impact on the way black people think and see ourselves, and it is important that we look at and understand that.” The Black Panthers: The Vanguard of the Revolution does just that, shedding new light on a misunderstood, troubled, and dangerous organization whose legacy can still be felt today. Film Forum is hosting more than a dozen special panel discussions during the film’s run there (September 2-16), with several appearances by Nelson as well as such Black Panthers as Forbes, Joseph, Omar Barbour, Claudia Williams, and Charles “Cappy” Pinderhughes along with journalist Jamilah Lemiux, writer Rita Williams-Garcia, Panther attorney Gerald Lefcourt, and others.