This week in the Voice, out today, Camille Dodero writes about the FBI’s investigation of revenge porn entrepreneur Hunter Moore, noting: “as more unsuspecting subjects ended up on Is Anyone Up, more of them claimed that they’d been hacked — that someone had actually gained access to their e-mail accounts and stolen their images, which had not, in fact, been previously sent to people who later submitted them for publication after relationships soured.”
In food, Robert Sietsema swallows nettles! “The ingredients at Parish Hall are mainly local and seasonal. The menu has a mountain theme, too, as seen in the Alpine breakfast (originally called the Slide Mountain breakfast, name-checking the highest peak in the Catskills): slow-cooked egg, charcuterie, cheese, Anarchy in a Jar jam, and raw vegetables. Like many a mountain slope, the menu seethes with nettles, the weed used to torment Christ.”
Maura Johnston previews the Afghan Whigs’ upcoming reunion shows, and finds that the soul-punk group: “will offer a much-needed shot in the arm to the pillowy, unsure-of-itself landscape offered by indie in 2012.”
Karina Longworth considers culture clash in Sacha Baron Cohen’s The Dictator: “in his third collaboration with director Larry Charles, Sacha Baron Cohen plays Admiral General Aladeen, the young, dumb dictator of fictional North African nation Wadiya. Under Aladeen’s rule, oil-producing, uranium-enriching Wadiya is a hostile threat to global peace and capitalism…A poor little rich boy with no limits and no one to love, he’s sort of the Muslim-extremist version of Arthur.”
Michael Feingold goes to see Gentleman Prefer Blondes: “The quality held good all evening, bringing out the best in Trude Rittman’s inventive dance arrangements and supporting the exceptionally strong choral singing in Hugh Martin’s stunningly extravagant, Kay Thompson-influenced vocal arrangements. One of the show’s exceptionally good ideas was to restore the traditional division of the chorus into singers and dancers. “
And in art, Ben Davis checks out Brazilian Hélio Oiticica’s contemporary conceptual pieces, explaining: “his increasingly highly prized body of work has a funky magic all its own, well in evidence in Galerie Lelong’s rare, spare presentation of three of his pioneering art environments (including his very first such work, from 1960). They are well worth exploring — and not just because there’s a free glass of orange juice in it for you, either.”
Go to Runnin’ Scared for all our latest news coverage.