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Nobody's Lunch

I wrote about the show a couple of days ago. It has been extended a few days, until Sunday the 17th. Click here and use discount code “LYNCH” for $17 tickets.

Billionaires for Bush - Arkansas Chapter

My mother sent me an article from the Arkansas Democrat Gazette (state paper, article not online) about Michael Moore’s appearance in her town of Conway. The Billionaires for Bush have an Arkansas chapter now! Article excerpt:

During his speech on the campus of the University of Central Arkansas in Conway on Sunday night, filmmaker and Bush antagonizer Michael Moore encountered so warm a reception that even the onstage deaf interpreter clapped along at the more robust applause lines. The only opposition encountered by Moore – who had been roundly booed a month earlier in his press seat at the Republican National Convention – came preshow, from a mass of young protesters gathered outside Reynolds Performance Hall. The group was dressed though it was bound for the gilded box of an opera hall. The sentiments of their protest signs were over the top, even for the farthest reaches of political activism: “Four More Wars!” demanded one, waving out from the dust cloud of pearls, crushed velvet and cufflinks. “It’s a Culture War,” sneered another, “And We’re Winning.” Besides the incongruous extremism of the messages – garish, decoded and impolite slogans delivered in the noblesse obligest of packages – there were other clues that these protesters were not as out of step with Moore’s incredulous liberalism as they seemed on the surface. For one thing, the protesters were awfully young to be seriously going around dressed like Thurston Howell and his wife, Lovey, from Gilligan’s Island. And then there were the hairstyles: a fauxhawk here, a rockabilly pompadour there, to tip the groups’ whitegloved hands.

In fact, the protesters were Hendrix College and UCA students who had taken up the banner of Billionaires for Bush, a group that first came to notice during the Republican National Convention, when they staged a mock tea party in Central Park. Satirizing what they see as President Bush’s favoritism to corporations and the super-rich, the Billionaires show support for John Kerry by espousing their interpretations of the most craven and policy-embroidered positions of conservatives : Irony as activism – which, when you think about it, might be the natural evolution of dissent in an age when collegians trust Jon Stewart of Comedy Central’s Daily Show more than Dan Rather.

“With the straightforward protests, you get these grimaces and it’s unapproachable,” Michael Inscoe said later. Inscoe, a navy-suited Billionaire, is also a 22-year-old English major from Maumelle. “The entertainment factor of this makes people pay attention to it.”

“Each one of us has a different target audience we’re going for,” explained Nick Stinson, a 19-year-old economics and business major from Houston. “My role is some sort of CEO, or an executive at Halliburton or Enron.” Before becoming a Billionaire for Bush, Stinson organized a similar protest of what he perceived as the crass consumerism driving MTV’s Rock the Vote bus tour, which made a stop on the Hendrix campus last month and, in addition to registering new voters, set up an expo of booths with marketing promotions. “They don’t care whether you vote,” said Stinson. “They care whether you buy Cingular or Ben & Jerry’s.” To get his point across, Stinson and some friends dressed in suits and staged a “business luncheon” in the Hendrix cafeteria. “We just went in and sort of made a ruckus,” he said.

Afterward, they realized their movement was similar to the approach of Billionaires for Bush, and Stinson and several like-minded friends spent the Thursday before Moore’s visit brainstorming caricatures of right-wing values and scrawling them on cardboard placards.

Then, there was the wardrobe wrangling. How do you affect Brooks Brothers polish on a Gap budget? You do what movers in the counterculture have always done, which is to subvert and co-opt the style of the mainstream by using what’s on hand, then augmenting your resources with thriftstore finds. “It was definitely easier for some people than others,” said Seth Baldy, a 22-yearold environmental studies major whose previous act of political protest was organizing STARC, Students Transforming and Resisting Corporations. “One guy had a full tuxedo,” he marveled. “He even had… what are those things that wrap around your stomach?” We ventured that he was perhaps describing a cummerbund. “That’s it,” he said. “A cummerbund. All I had was this raggedy old blazer and this tie.”

“I was nervous that people weren’t going to get the irony,” said Kate Lloyd, 19, a philosophy major from Huntsville, Ala. Lloyd wore a button-front shirt with a necktie and a big Hello! My Name Is name tag, on which she had written “Prescott.” “I’m a trust fund kid,” she explained. For the protest, Lloyd brandished a sign that read “Warning : Affordable Health Care May Result in Dangerously Low Profits.” “A lot of the girls are supposed to be trophy wives,” she said of her sisters-in-arms, many of whom had zipped themselves into satiny evening gowns. Then Lloyd sighed the universal lament of the underwardrobed college girl. “I didn’t have a formal dress.”

Emboldened by the response Sunday night – Moore’s camera crew told them they were the best Billionaires for Bush they’d seen – the group will be reconvening for weekly demonstrations outside Conway’s City Hall at 5 p.m. every Friday until the election. The Billionaires realize that the move will place them before a possibly less supportive audience than was gathered for the Moore event, and one with an extra layer of insulation from the group’s irony: their cars. “We’ll have to make bigger signs,” Stinson said. “And the slogans will have to be shorter and more precise.”

Compare|Decide|Vote

I learned about Compare|Decide|Vote from Cory Arcangel (warning – web page with sound).

They do some great side-by-side comparisons of Kerry and Bush positions, but I went to see the ad by Ben Jones and Paper Rad. Click on the “see the ads”, then “Play the Game” to see it.

Peter Hort: A "progressive" running on the Conservative Party line?

The words “progressive” and “convervative” (except for the use of “fiscally conservative”) do not appear on Peter Hort’s web site. However, the word “progressive” is used in mailings sent out by his supporters (more on that in another post), and in his responses on this web site to my previous posts about him.

When I wrote about his campaign for Congress here and here, I hadn’t realized that he was also running on the New York Conservative Party line. The Conservative Party is anti-choice and anti-gay. Not only are they opposed to gay marriage, they are opposed to civil unions. Their Senate candidate, Marilyn O’Grady, is running a television advertisement portraying Senator Schumer and his Republican opponent as gay grooms atop a wedding cake.

Sen. Charles Schumer hit the airwaves yesterday with the first TV ad of his front-running re-election effort even as a challenger from Garden City launched a spot portraying the Democratic incumbent and another challenger atop a gay marriage wedding cake.

Citing support by Schumer and Republican challenger Howard Mills for gay civil unions and abortion rights, Conservative Party candidate Marilyn O’Grady’s TV spot featured male figurines representing the two men atop the cake.

“Schumer and Mills, the perfect liberal couple,” O’Grady’s 30-second ad states. “Only conservative Marilyn O’Grady stands with President Bush to defend marriage and protect the unborn.”

Mr. Hort’s web site makes no mention of his being on the Conservative Party ticket. The campaign materials I’ve seen in my neighborhood of Chelsea don’t mention the Republican or Conservative parties. I had to visit the NYC Board of Elections to find that out. His web site issues page says nothing about civil rights, gay or otherwise, and abortion rights.

Isn’t it fair for New Yorkers to ask how someone can run on the Republican and Conservative Party lines and claim to be a progressive candidate? Was it merely expedient to get on those ticket lines, and he doesn’t agree with their positions? Or does he believe them but won’t say that in his campaign literature? Neither answer is one that should win votes.

UPDATE: James says that this post seems to let Mr. Hort off the hook for being a Republican if you don’t read the earlier posts. I’m not saying the GOP isn’t an anti-gay, anti-abortion party. I’m saying that Mr. Hort makes the argument, which many people do, that there is a place for moderates in the GOP. I don’t happen to believe that. I believe that a vote for any GOP candidate for the House is a vote to keep Tom DeLay in power. I do not know how Mr. Hort justifies being on the Conservative Party ticket if he claims to be a moderate. There is no “moderate” wing of the Conservative Party in New York. I think that’s the point of the party.

Last week for Nobody's Lunch

We saw The Civilians’ Nobody’s Lunch last Thursday, and I’ve been remiss in not writing it about it sooner.

A play at the place where Andy works, recommended by both Choire and me? How could you miss it? Besides, for the visual arts readers of this blog, the cast includes Alix Lambert.

I mentioned it earlier, but that was before we had seen it.

I think it is still more of a work in progress than Gone Missing, but that isn’t really a complaint for a work from a group like The Civilians. Heck, I saw Wooster Group’s “To you, the birdie” three times in various stages of completion.

The theme of Nobody’s Lunch is epistemology — how do we know what we know? The stories range from what we get when the cast cold-called every Jessica Lynch in a phone book anywhere in America, to the… spirit channeled by one of Damian Baldet’s characters who says alien creatures feed on our fear and love the world America has created. In a strong cast, he really stands out with a brilliant performance in the piece.

There is plenty of humor in the work, but there are also moments that made me pretty emotional. Christina Kirk’s character that tells us of her childhood experience in a cult is chilling. KJ Sanchez gives us part of an interview with her 73-year-old mother, and when it’s followed by Baron Vaughn singing “I want to die for something”, I will admit James and I got a bit teary.

In addition to a brilliant cast, Michael Friedman’s songs really stand out. I don’t have to tell anyone who knows me that I hate conventional musicals, but there are ones like Hedwig or Urinetown that I do like. Generally, they are ones with clever music that sounds as if it’s aware of what’s happpened since 1940 in music, and that has some political content. Michael’s lyrics are very smart, and when he pulls a line into a song that you heard a character speak earlier in the evening, it adds additional depth. He writes in a number of styles, and one of my favorites in this one is the Song of Progressive Disenchantment, performed by Caitlin Miller. As you might guess, it’s in the style of a Brecht/Weill song, such as Surabaya Johnny. It’s also hilarious.

I have information on discount tickets to see it:

Special 2-for-1 tickets to NOBODY’S LUNCH available until 10/14 (10/7 and
10/10 excluded). Special price available ONLY through PS 122 box office:
212.477.5288. Offer subject to availability.

Use code: LUNCHFOR2

That Gone Missing link above is a post of mine that includes some MP3s of earlier songs by Michael.

Two photography shows at Yancey Richardson

They both close Saturday, so get on over there. Yancey Richardson is on 22nd Street in Chelsea.

Mitch Epstein’s show, titled Family Business, documents the collapse of his father’s furniture and real estate business in Holyoke, Massachusetts. It also becomes a document of the collapse of small businesses and old city downtowns. A number of the images would be moving without the background story, but they’re devastating as soon as you know it.

mitch-epstein-flag.jpg
Flag, 2000, 30 × 40 inches, Chromogenic Print

mitch-epstein-warehouse.jpg
Warehouse, 2000, 50 × 60 inches, Chromogenic Print

Appropriately, the other show is Oraien Catledge’s Cabbagetown, with images from his book of the same name. Catledge photgraphed the people of Cabbagetown, a small, impoverished milltown not far from downtown Atlanta. The images are from the 80s, but look like WPA photographs of sharecroppers during the Depression.

[images from the gallery’s web site]