This week in the Voice, out today: Pete Kotz examines Mitt Romney’s brand of capitalism, and finds that it represents everything you hate about America’s economic system: “His specialty was flipping companies — or what he often calls ‘creative destruction.’ It’s the age-old theory that the new must constantly attack the old to bring efficiency to the economy, even if some companies are destroyed along the way. In other words, people like Romney are the wolves, culling the herd of the weak and infirm.”
Robert Sietsema buys into Florencia 13’s burritos and other plates, writing: “The chile relleno ($6) is a credit to the fryer’s art, a fresh Anaheim pepper stuffed with cheese and smothered in a weird creamy pink sauce. (In the Pueblan cuisine we have here, the chiles are fried in a heavy egg batter and proffered in a plain-ish tomato sauce.) You can also have Cal-Mex cuisine’s ur-specialty: pork in green chili or beef in red chili ($18), though the gravy will seem a bit thin.”
Brad Farberman has queries about Questlove’s quest — Ahmir Thompson’s search for understanding: “To Questlove, the concept of Shuffle Culture is something to be both celebrated and critiqued. It’s an approach to life that allows us to consume more information than ever before but at a rate that doesn’t always provide us the time to appreciate that knowledge.”
Eric Hynes provides a guide to the Tribeca Film Festival: “Between high-profile Hollywood launches like opening night’s The Five-Year Engagement and closing night’s The Avengers, and the micro-budgeted, literally garage-made films celebrated in the entertaining documentary Journey to Planet X, Tribeca is an all-inclusive slate of contemporary cinema. Such diversity is commendable but can also be overwhelming for the casual festivalgoer.”
Michael Feingold looks back on the late Tennessee Williams piece In Masks Outrageous and Austere, and has this to say about the playwright: “He cultivated an indulgence in alcohol, in various prescribed and unprescribed medications, and occasionally in hallucinogens, and still he wrote. In his later years, the indulgence veered downward into a virtual dependence on some combination of these external stimuli, and even then he wrote. More than any preparation he ingested, the drug that kept Tennessee Williams alive was the potent one he emitted: words”
And in art, Christian Viveros-Faune mines the myth of creative destruction and how it plays out in Valerie Hegarty’s show at the Marlborough Gallery’s Chelsea Space, an: “evocative faux Colonial take on America’s ongoing shitstorm of social, cultural, and economic upheaval. A set of astounding trick-the-eye feats that features the artist building up living-room walls, paintings, and furnishings only to tear them down again, the exhibition demonstrates rare skill and rarer artistic vision.”
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