Art Troupe WIFE Brings Spellbinding Performance To LA’s Hammer Museum

Step inside the world of WIFE and witness a mystical phenomena. Born of three Los Angeles-based dancers, (Jasmine Albuquerque, Kristen Leahy, and Nina McNeely), she is known as A Trinity of Illusory Performance Makers.

WIFE creates an all senses engaged theatrical experience. If you have seen her live you know it’s a full body—and out of body—experience. Through projected body-mapping animations, sculpture, light, self-crafted music, costumes and choreography, WIFE makes the imaginary a reality. Although, when you’re in her performance presence it feels more like a fleeting moment of surreality—an electric alternate reality you want to stay suspended in.


 

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On Wednesday, June 22, WIFE (represented by Maavven) brings her latest creation, Enter The Cave, to Hammer Museum in LA. Loosely based on Plato’s Allegory of the Cave, Enter the Cave is a story of transformation and transcendence told through illusion. The performance is meant to rearrange our notions of reality, space, and time.

The free performance begins in the Hammer Museum Courtyard at 7:30PM PST and can be live streamed, here.

The Lost Lectures Returns to NYC — But We Don’t Know Where Yet   

Lost Lectures NYC

Last year’s Lost Lectures. © Tod Seelie, courtesy Hyperallergic.

Originating in London, “The Lost Lectures” — a series of unexpected events hosted in a secret location — is returning to New York City for its second installment this Friday.

Aimed at taking intellectual discourse outside of institutional settings like corporate-fueled buildings or universities, the Lost Lectures NYC, co-sponsored by Brooklyn-based art blog Hyperallergic, will include guest speakers, art installations and performances in a yet-to-be-announced location (though it’s promised to be at most a 40 minute journey from Union Square).

Highlights of last year’s Lost Lectures included Amanda Lepore discussing having the “most expensive body on earth,” an impressive performance by Brooklyn-based dancers Flex is Kings, and musical sensation Blood Orange (AKA Dev Hynes).

 

Diana Al-Hadid

Artist Diana Al-Hadid photographed by Sarah Trigg. Courtesy Hyperallergic.

This year’s installment boasts Blonde Redhead’s Kazu Makino unveiling never-before-seen material, a top secret performance from indie filmmaker Josephine Decker, and a talk with internationally renowned visual artist Diana Al-Hadid.

Naturally, free beer will be provided by Brooklyn Brewery (and coconut water from ZICO if you’re on the wagon).

If you’re an urban explorer with a thirst for alternative events, it’s definitely worth checking out. Ticket holders will be informed of the location tomorrow.

Nicolas Roeg Returns with WWI Romance ‘At Sunset’

As the English master of violent sexual obsession and radical nonlinear storytelling, director Nicolas Roeg has been the man behind some of my absolute favorite films. His early features are a mix of feverish aesthetics and editing with psychologically potent narratives that spin on their own axis of pleasure and pain. Although best known for his sci-fi mind-bender The Man Who Fell to Earth, it was Performance—which he shot as well as co-directed—that has become one of those films that feels like a part of heart, I could be totally content having it play on loop forever across my bedroom wall. And then there’s his erotic psychodrama Bad Timing, which plays into just about every one of my cinematic fetishes and really made me fall head over heels for Roeg’s unqiue style. 

But in the last few decades his films have been far and few between, disappearing and reemrging with lackluster work. However, Screen Daily reports that Roeg has apparently gotten himself back into the directorial seat, developing a romantic WWI drama, At Sunset. The film looks to be a, "tale of a torrid affair between a woman in her late 40s, early 50s and a young lad from Yorkshire. She is a wealthy landowner, he is a former labourer on a big estate… the madness of the First World War brings them together." Psychosexual anguish? Violence and emotional upheaval? Count me in! 

At Sunset is apparently still in the casting process with "France’s top female actress" in the running. Okay then, might I suggest Isabelle Huppert and Michael Fassbinder for the roles? Both too old? Okay, Juliette Binoche and Benedict Cumberbatch? Whatever, I’m on board.

Celebrating the Best of Ry Cooder on His 66th Birthday

Hey y’all, it’s Ry Cooder birthday and this calls for celebration. The iconic American guitarist, singer, and composer has been wrapping us in a dusty world of sound since the late 1960s, creating his own idiosyncratic style that mixes a fine blend of genres—folk and blues to tex-mex and rock to jazz and soul. Just the coolest dude, Cooder has also scored some of the most memorable soundtracks of the 50 years from Nicolas Roeg’s Performance to, perhaps his best work, Wim Wenders’ Paris, Texas. His sound conjures up vivid images of desolate and beautiful American landscapes, making you long for escape to a somewhere warm in a "vast country where nobody [knows you].  Somewhere without language, or streets." So grab some tequila, saddle up in front of a sunset, and have a listen. Enjoy.

I Knew These People

Poor White Hound Dog

Face to Face That I Shall Meet HIm

The Long Riders

Tramp Em Up Solid

The Border

Cancion Mixteca

Bomber Bash

Maria Elena

She’s Leaving the Bank

Y Tu Que Has Hecho

Crossroads

‘Never Sleep Alone’: Get Tickets and Get Laid at Tomorrow’s Last Show

In our obsession with shows about sex, singles, and ways of helping singles have sex, it is with great sadness that we announce this season’s final performance of Never Sleep Alone this Friday (tomorrow). Yes, we are in fact talking about that New York Times-acclaimed show that helps singles hook-up (evidence provided). And since each show sells out before you can even say “but I’ve been involuntarily chaste,” get your tickets today so you can get laid tomorrow.

Watch hot sexual psychologist and music therapist Dr. Alex Schiller perform sex-infused pop songs, dispense golden advice from her book Get Laid or Die Trying, and encourage mingling and on-stage make outs between all the rows and legions of single people in attendance. If you’re feeling timid or you’re with a date, just sign up for the more expensive “voyeur” seat in the back and watch the action unfold while you wish you were single again.

The last show is happening at the usual spot: Joe’s Pub at 9:30pm. And a ticket includes free access to NSA’s after-party, which is at a secret and always-sexy location. DO NOT miss the after-party. Trust us. It just might be the last time you’ll ever hook-up.

Until Friday, September 14 at 9:30pm, of course! When Never Sleep Alone returns to Joe’s Pub and our nether regions do a little dance. 

Is This the Best Cover of Radiohead’s ‘Creep’ Ever?

Apart from being popular when it was released in the early ’90s, Radiohead’s song "Creep" has lived on in people’s musical hearts due to several cover versions of the song, by everyone from Kelly Clarkson to Macy Gray–a version sung by Belgian choir group  Scala & Kolacny Brothers even served as the anchor of the trailer for The Social Network. But could this version, sung by Broadway actress-cum-recording artist Carrie Manolakos, be the best one ever? Only one way to find out! Check out the video, via Gawker, after the jump (and skip ahead to 2:25 if you’re too impatient to listen to the whole thing).

Our Man in Miami: Radiohead’s First Concert of Tour Very Ho-Hum

If Radiohead were a book, they’d undoubtedly be a literary novel; something lauded by both critics and independent booksellers and, perhaps most importantly, cherished by the type of folks who aren’t afraid of spending time alone, undoubtedly reading literary novels. While there’s (still) something to be said about those who (still) write literary fiction, not to mention folks who (still) find solace in open books, the twain don’t make for a great night out at the arena. Which is to say that Radiohead’s Miami showing would’ve made for great headphone, but it sure didn’t make for great spectacle.

Last night’s American Airlines Arena appearance was one of the most highly-anticipated events on an ever-crowded concert calendar — and rightly so too. Radiohead have long been sticking to their proverbial guns and making the kinda music that makes the distinguished minions go mad. They are sharp. They are true. And they are wowful. They’ve also showed that the world can be won on one’s own terms, provided of course one’s willing, if necessary, to go it alone.
 
Of course, it’s been a very long time since Radiohead had to go it alone, or deal with the kind of rigors faced by arch independents. Nevertheless, they remain the epitome of non-compromisers, and their fans treat (and worship) them accordingly. Problem is, said legions seem to spend so much time congratulating themselves on their impeccable taste, they forget what it was that gave everything flavor in the first place.
 
At the Triple A, in the first of a US tour that will take Radiohead to scores of arenas pretty much just like the one where the Heat hold court, thousands upon thousands of like-minded souls stood patting themselves on their proverbial backs. Radiohead, in turn, sang them new-fangled lullabies. Oh, there were a few bright, shining moments (notably the pairings of both “Lotus Flower” with “There There” and “Airbag” with “Body Snatchers”), and, with few exceptions (i.e. a loop glitch in “Give Up the Ghost”), the band played on. But that’s just it: Radiohead played on instead of being on; they weren’t the inspired, soarful wonders we’ve come to know and dig. They were, in a term, ho-hum.
 
I know I’ll get a lotta flack for this, but I’d gone seeking transcendence. We wouldn’t accept anything less in my literary fiction, why should we accept less in our most literary of bands?