This Week in the Voice: Occupy Spring
This week in the Voice, out today, Nick Pinto tells the story of Occupy Wall Street's warm-weather return: "Dedicated Occupy activists dismissed the possibility that the movement had already run its course and promised an 'American Spring,' kicking off a new season of activism with May Day events coordinated across the country. As it turns out, spring came early."
Robert Sietsema checks out John Brown Smokehouse, a barbecue restaurant in Queens: "From a dizzying array that includes the usual spare ribs, brisket, pulled pork, and chicken, you might also spot turkey, ham, pork belly, lamb sausage, hamburgers, strip steak, pastrami, short ribs, and foie gras."
In music, Maura Johnston writes about Madonna's identity crisis in MDNA: "It's an odd tack for someone who has made a career out of turning her name into a synonym for controversy and great pop songs, and it's enough to make one wonder if the fragmented Internet age has freaked her out in a fundamental way, making her feel like she has to reclaim her throne as the most prominent female pop star of the MTV era."
Karina Longworth looks at Whit Stillman's first film in 14 years, Damsels in Distress. The release makes the filmmaker nervous: "I ask him how it feels to be presenting a new film to the world after all this time. 'I'm very worried,' Stillman says, his eyes fixed on a spot on the table somewhere past his chicken. 'I'm a worrying person.'"
St. John's Red Storm Men's Basketball vs. Georgetown Hoyas Men's Basketball
TicketsSat., Feb. 25, 12:00pm
New Jersey Devils vs. New York Rangers
TicketsSat., Feb. 25, 5:00pm
New York Knicks vs. Philadelphia 76ers
TicketsSat., Feb. 25, 7:30pm
New York Rangers vs. Columbus Blue Jackets
TicketsSun., Feb. 26, 5:00pm
Michael Feingold finds Dan LeFranc's The Big Meal to be "an elegant theatrical incarnation of her statement, following four generations of familial infighting, incomprehension, and helpless grief through one unending metaphoric meal."
And in art, R.C. Baker looks back at Keith Haring's wide-ranging work: "Sincere and industrious, he created art that could be engagingly celebratory or polemically pissed, but which, as it progressed, too often slid into one-note turgidity. Brooklyn Museum's 'Keith Haring: 1978-1982' surveys the start of his career, from college endeavors to his legendary guerrilla posters in the New York subways."
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