This Week in the Voice: Rikers Con Job


This week in the Voice, out today, Graham Rayman chronicles a Corrections Department jail con, which has resulted in investigations for “falsifying reports, beating inmates, and violating department regulations.”

In food, Robert Sietsema heads to Hazar, a Turkish newcomer in Bay Ridge, and finds the city’s best falafel, “Pleasingly studded with sesame seeds, they’re aerodynamically streamlined like Frisbees, so frying produces more crisp surface area proportionate to the interior, and also allows the insides to cook thoroughly.”

Maura Johnston makes note of the summer’s strange, wet weather and how it has impacted the season’s concert-going, explaining that the Deftones know how to outperform a storm, “The merciless wind meant that Chino Moreno and his bandmates were only slightly protected from the elements by the stage’s overhang, but he was still a master frontman, and fully appreciative of all the people who were letting themselves get soaked sans ponchos.”

Karina Longworth gets political in her review of The Campaign and determines that it doesn’t make much meaningful commentary about our fractured system: “Like past-his-peak Perot, The Campaign is basically a footnote, a goof on our broken political system that’s good for a certain novelty, but as a challenge to the dominant order? It’s ultimately impotent.”

Michael Feingold finds that Bring It On restores a key element to American musical theater — the juxtaposition of silliness and seriousness, “Bring It On (St. James Theatre) perfectly exemplifies the new synthesis: a giddy old-style musical, but with new-style Sunday-school moral lessons tacked all over it, about a teenage girl whose one goal in life is to be captain of a high school cheerleading squad.”

And in art, Brian Chidester discusses how Rebel Diaz and Secret Project Robot represent a key change in the art world, “Instead of announcing a set of well-intentioned demands by means of manifesto, the fractal-art movement (handmade, street art, low-brow) has enacted a paradigm shift by changing the dialogue to a kind of micro-economic collectivism, where art’s new role is nothing less than the complete transformation of marginalized and decayed neighborhoods into creative utopias .”

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