This week in the Voice, out today: Nick Pinto busts bail and explains how jail really works, writing about OWS and incarceration: “As the Occupy Wall Street movement has introduced a new young generation of mostly white, mostly middle-class activists to civil disobedience, arrest, jail, and the inner workings of the criminal-justice system, they’re learning firsthand what New York’s poor, black, and immigrant communities have known for years: The criminal-justice system is rotten.”
In food, Robert Sietsema goes for the goat and other delicacies at Benares, a new upscale Indian restaurant: “The real regional treasure comes from Kakori, a traditionally Muslim enclave famous for its mangoes and civil servants. Cooked in the tandoori oven, the ground-lamb Kakori kebabs surprise you with their poppy seeds and predominance of chiles, for a tongue-searing spiciness.”
Maura Johnston goes on crush patrol in her essay on Carly Rae Jepsen, noting: “Call Me Maybe”– performed by the Canadian Idol alum Carly Rae Jepsen and at No. 8 on the Billboard Hot 100 that was active as this issue went to press — has evoked sheepish grins and exclamation-point-filled blog posts from music listeners of all stripes, engendering excitement not because of the boldfaced-name antics of its proprietors but because of the way it’s sweetly arresting.”
Nick Pinkerton looks at Richard Linklater’s Bernie, a dark comedy starring Jack Black: “But unlike most movies that fall under that label, it never indulges in flagrant naughty posturing, nor does it offer the viewer a firm, comfortable point of view from which to sit back and bear witness.”
Michael Feingold reviews a desegregated version of A Streetcar Named Desire, writing that “Blanche and Stanley, Nicole Ari Parker and Blair Underwood, belong to a new generation of media-bred performers who can summon up specific emotions quickly and forcefully. Point by point, everything is done accurately, and the points are often made with great freshness; the difficulty lies in getting the points to coalesce into a person.”
And in art, Ben Davis looks at performance pioneer Lorraine O’Grady, writing: “Born in 1934 of mixed Caribbean and Irish background, she graduated from Wellesley in 1954, worked as a government economist, lived in Scandinavia, volunteered for Jesse Jackson, did translations for Playboy, and penned some pioneering rock-and-roll criticism (including for The Village Voice) — all before deciding to become a visual artist in the turbulent post-conceptual New York of the late 1970s.”
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