Thursday, October 13, BookCourt, 163 Court St. between Dean & Pacific Sts, free, 718-875-3677, 7:00
Friday, October 14, McNally Jackson, 52 Prince St. between Lafayette & Mulberry Sts., free, 7:00
www.henryrollins.com
Henry Rollins speaks his mind. For more than thirty years, the DC-born Rollins has been letting loose his anger at the world in the seminal punk groups Black Flag and Rollins Band, on spoken-word tours, on his IFC series The Henry Rollins Show, in self-published books, and on his current KCRW radio gig. He has seen a lot while traveling around the world, either on his own or with the USO, notebook and camera at the ready. “In my life, I have sought to bridge the gap I have felt between myself and the world,” he writes in the introduction to his latest book, the coffee-table-size Occupants (Chicago Review Press, October 1, 2011, $35). “I would hate to think that my understanding of life is derived in part from what I have not seen. While one cannot possibly see everything, I think the more one sees, the better.” Occupants consists of more than eighty color photographs taken since 2003 in such countries as Afghanistan, Bangladesh, Burma, Cambodia, India, Indonesia, Iraq, Israel, Mali, Russia, Thailand, and Vietnam, each one accompanied by conceptual text by Rollins, in the first or second person, in which he abstractly rails about fear, terrorism, AIDS, poverty, capitalism, hunger, genocide, and the struggle for peace, letting the photograph take his mind to new places, thoughts, and ideas. “The search for serenity only makes the scars scream louder,” he writes next to a picture of a praying monk in Burma. The photographs themselves are striking, from a lone boy in a parched landscape in Mali to opulent rooms in Saudi Arabia, from a man missing a limb crawling along a Thailand street to children behind a fence in Cambodia, from a military guard in front of a public photo of Mao in China to a grassy field where a house once stood in New Orleans. Rollins devotes a special section near the end to Bhopal, where he went to experience the twenty-fifth anniversary of the fatal gas explosion in 1984; he snuck into the Union Carbide factory there, capturing powerful images of the disaster that in many ways still embodies the ongoing battle between corporations and people. The book concludes with captions that specifically describe each of the photos, although even then Rollins can’t hold back his anger. “I hope it burns to the ground,” he writes under a picture of a Ronald McDonald statue in Thailand. Rollins will be at BookCourt in Brooklyn on October 13 to discuss and sign Occupants, then will be at McNally Jackson on October 14 speaking with Thurston Moore. “That should be good,” Rollins notes on his website. “He’s an interesting person.” And so is Rollins, of course.
In his hysterical 2001 black comedy The Royal Tenenbaums, eclectic indie auteur Wes Anderson (The Darjeeling Limited, Fantastic Mr. Fox) created one of the kings of dysfunctional film families. Directly inspired by J. D. Salinger’s Glass clan (Franny and Zooey, Raise High the Roof Beam), the Tenenbaums of New York City have more than their fair share of distress. After being kicked out of the house for being a lousy father and husband, Royal (Gene Hackman) returns, claiming he is dying of stomach cancer. His wife, noted archaeologist Etheline (Anjelica Huston), is now seeing her accountant, the straitlaced Henry Sherman (Danny Glover). Finance wiz Chas (Ben Stiller) is having difficulty getting over his wife’s death in a plane crash, becoming absurdly overprotective of his two young sons’ (Grant Rosenmeyer and Jonah Meyerson) safety. Tennis prodigy Richie (Luke Wilson) is recovering from a very public breakdown and soon has to admit to himself that he is madly in love with his adopted playwright sister, Margot (Gwyneth Paltrow), who is married to strange neurologist Raleigh St. Clair (Bill Murray) and having an affair with longtime family friend and Western novelist Eli Cash (cowriter Owen Wilson). Narrated by Alec Baldwin, The Royal Tenenbaums completed an impressive opening hat trick from Anderson, who had previously made Bottle Rocket (1996) and Rushmore (1998). The marvelously funny flick — which had its premiere at the 2001 New York Film Festival — is having a special tenth-anniversary screening October 13 at the forty-ninth annual New York Film Festival, followed by a discussion with the cast and crew, including Anderson and many of the stars. Additional tickets have just been released, but you better act fast if you want to see this unique event.
When they were junior high school students in South Central Los Angeles in 1979, Angelo Moore and Norwood Fisher formed the core of Fishbone, what would soon become one of the most exciting live bands on the planet. Chris Metzler and Lev Anderson document the band’s rise and fall — and rise and fall, and rise and fall, etc. — in the stirring Everyday Sunshine: The Story of Fishbone. Using archival footage, old and new interviews, and playful animation, Metzler and Anderson follow the group — Moore and Fisher along with fellow founding members Chris Dowd, Walter “Dirty Walt” Kibby II, and Kendall Jones — through its many personal and financial struggles as it tries to deal with such socioeconomic issues as racism, violence, and the anti-liberal bias taking hold of the nation in Ronald Reagan’s 1980s. Fishbone held nothing back on such albums as In Your Face (1986), Truth and Soul (1988), The Reality of My Surroundings (1991), Give a Monkey a Brain and He’ll Swear He’s the Center of the Universe (1993), and Chim Chim’s Badass Revenge (1996), mixing in pop, punk, funk, ska, reggae, R&B, soul, jazz, and hardcore, prancing about the stage without shirts, diving into the crowd, and always speaking their mind, and they hold nothing back in Everyday Sunshine as well. Narrated by Laurence Fishburne, the film really picks up speed when it delves into the Rodney King beating and the mysterious circumstances involving Jones’s religious transformation and the band’s attempt at an intervention. The decidedly unusual tale also features an impressive lineup of talking heads offering their views on the history of Fishbone, including Flea from the Red Hot Chili Peppers, Perry Farrell from Jane’s Addiction, fIREHOSE’s Mike Watt, No Doubt’s Gwen Stefani and Tony Kanal, the Roots’ ?uestlove, Gogol Bordello’s Eugene Hutz, Parliament-Funkadelic’s George Clinton, Primus’s Les Clayool, Living Colour’s Vernon Reid, Circle Jerk Keith Morris, Ice-T, and, perhaps most informatively, Columbia Records executive David Kahne, who lends fascinating insight into what made Fishbone great — and what kept them from greater success. While you definitely don’t have to know a thing about Fishbone to enjoy this very intimate documentary, longtime fans should eat it up. Everyday Sunshine has its New York theatrical premiere October 7-13 at the reRun Gastropub Theater in Brooklyn in conjunction with the release of Fishbone’s latest release, the seven-track EP Crazy Glue (DC-Jam, October 11, 2011). Metzler, Anderson, Moore, and Fisher will appear in person at many of this weekend’s screenings, at least one of which will also include a live performance.