This Week in the Voice, out today, the Village Voice Media series “Crossing The Line” offers several different perspectives on U.S. immigration policies. Chuck Strouse writes of Sunday voting bans: “In a brazen attempt to steal this fall’s election, Florida’s Republican lawmakers have outlawed voting on Sunday, an African-American tradition. Indeed, across the United States, from Montana to Maine and Texas to Tennessee, 41 states have recently passed or introduced laws to restrict voter registration and early voting, and generally limit suffrage.”
For the food section, Robert Sietsema samples Boukiés, unorthodox Greek cuisine in the former Heartbreak space, “Although the food can be remarkable, the space remains badly laid out, a challenging labyrinth of wicker chairs and tiny tables that force you to tack back and forth like Odysseus’s galley to visit the bathrooms. Watch out for the Minotaur!”
In music, Maura Johnston describes Dead Sara as surviving the uncertain seas of the rock music world, “It musically feels a lot more open than much of the compressed-to-2014 post-nu-metal that I’ve heard while tooling around the Spotify playlist that, week after week, tracks the songs on Billboard’s chart. There’s actually space between the instruments, as opposed to the sonic anvils popular rock acts so often throw down on record, and the result is less aurally oppressive and more electrifying.”
Nick Pinkerton reviews Prometheus in film, and notices shadows of Alien, “Prone to shallow ponderousness, Prometheus works best when it steps back from contemplating the cosmos to enter the domain of flesh-and-blood and hereditary terror. There are a few set pieces here that will find a place of honor among aficionados of body horror and all things clammy and viscous, that will stain the memory long after such significant-sounding bits of dialogue like ‘That being said, doesn’t everyone want their parents dead?’ have gone.”
Andy Propst unveils, well, a production of The Golden Veil, “Organized chaos, wry irony, and shrewd intelligence all flow through Normandy Raven Sherwood’s The Golden Veil. Produced by the National Theater of the United States of America, with its signature combo of low-tech theatrical wizardry and high-energy performance, the show puts the oft-told tale of a shepherdess whose virtue is compromised by a man above her station through a host of period and contemporary prisms. “
And in art, Robert Shuster checks out a show where environmental science intersects with art, “Flocks of birds fall from the sky. Frogs emerge from ponds malformed. An eyeless baby dolphin washes up on a beach. Is environmental catastrophe looming? Brandon Ballengée — a researcher of amphibian abnormalities who leans toward this ominous view — has put together an unsettling mix of art and science with an unabashed activist agenda.”
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