this is a post-cd-release party for GIVING THE TABLE A NAME, which will be making its live debut performing as a quartet, with drums and alternating basses and acoustic guitars.  seven songs will be played from the cd, tines, as well as two from the cd, goby: stuck between the nodal points.
 
GIVING THE TABLE A NAME is something of a dreamlike extension of rock music, falling roughly into the softcore genre, and putting an emphasis on vocal harmonies, sometimes dissonant, sometimes soothing, and intertwining instrument melodies.
 
the performance will take place amidst a somewhat minimal installation.  wine and non-alcoholic beverages available at the bar, as well as sweets provided by sweet talullah, a local independent caterer located in greenpoint.
 
the entire show has been conceived to work as a whole, and a large portion of the profits will be going to city harvest.  visit  GIVING THE TABLE A NAME for additional information.

With New York in the SuperBowl, we decided we couldn't compete.

So come see the game on the big screen and experience the games off it.

The Stitch Project is an art exhibition showcasing a variety of work made, designed and performed by artists in various stages of their careers.  The Stitch Project creates a collaborative home for art of all kinds.  It includes painters, fashion designers, graphic designers, photographers, and architects. It allows them to showcase their work alongside each other in a setting surrounded by performances from live bands, aerial acrobats, dancers and street artists.  The Stitch Project is a party fueled by an enthusiasm that only comes from artists who are free to do as they like Art.

This year the show features:

Andrew Poneros 

Leon Ried

Steph Goralnick   

Blake E. Marquis 

Ralf Milan, a hitman, arrives in Montpellier to kill an important witness. He checks in a hotel without knowing that his neighbour has become neurotic after his wife left him.

"L'Emmerdeur" (1973) is the French movie which originated a US remake directed by Billy Wilder -"Buddy Buddy" (1981), starring Jack Lemmon and Walter Matthau. It was the last Wilder movie, not bad, but this original one is far better.

French star Lino Ventura and Belgian singer Jacques Brel were friends, they shot their first film together with Claude Lelouch "L'aventure c'est l'aventure". They wanted to team again and chose established comedy director Edouard Molinaro for adapting this movie, written by Francis Veber -who later became another master of French comedy.

The comedy is excellent, with two actors at their peak. Brel and Ventura characters are so different and have nothing in common. Taken individually there are not funny -one is serious and cold, the other is sad and a loser. BUT their combination is absolutely comical. (The way Brel calls Ventura -"Monsieur Milan!"- is irresistible!)

Edouard Molinaro directed other great comedies -among them two films with Louis De Funès and "La Cage aux folles", the gay comedy starring Michel Serrault and Ugo Tognazzi. Molinaro is at ease in making "L'Emmerdeur", many scenes are also shot by himself carrying a camera on his shoulder.

But the other leading person behind the film is Francis Veber. His lines and situations are typical of the comedies he'll direct later -among which "La chèvre" with Depardieu and Pierre Richard, "Le diner de cons" and "Le placard". He enjoys creating strange situations by using completely different actors ensuring comical situations.

One last thing: Jacques Brel's character is called François Pignon.  Veber has used the same name in other films for one of the two leading roles -the name itself has become a synonym of an awkward, unlucky, naive and a little stupid person.

I Heart Medicinefilms Super Vlogging Party

Bring your Camera, Bring your Laptop we will be Vlogging into the night!

Performances by:

Jared Whitham

Chalko Taco

Maigin Blank

Johnny From Eclectic Method

Plus apperances by many other notorious medicinefilms members!

for more info visit civic-duties

This installment features:

1.    STINGRAY REMIX by Power Themes 90
2.    A BIRTHDAY STORY by Galen Carter- Jeffrey
3.    TO THE EVENT OF A THREAD by David Baker and Joanna Lipton
4.    KITTYPIE by Jennifer MacMillan and Alex Zhort
5    DUELLESS MORNING by George Gross
6.    SHADOW AND SPACE by Jacob Burckhardt and Ken Sackheim
7.    NOS RODEAN (THEY SURROUND US) by Jose Goicuria
8.    MISSING GREEN by Joey Huertas
9.    THE GLOWING WOMAN by Joel Schlemowitz
10.  MOTHER'S BLOOD by Myra Sito Velasquez
11.  PERROS SIN AMOR (LOVELESS DOGS) by Christina Soto
12.  FLAVOR OF THE MONTH by Rob Santana

Unless there's a big surprise this year big prize should go to to No Country For Old Men or There Will Be Blood.
So tonight we are giving you the choice between the Coen brothers' O Brother, Where Art Thou  or Paul Thomas Anderson's Boogie Night.

Here's a little bit about each film:

Boogie Night
1997 155 minutes

Reviewed by Keith Phipps
Director Paul Thomas Anderson's second film and second triumph (this year's overlooked Hard Eight was the first), is a sprawling, energetic, audacious look at the porn industry of the late '70s and early '80s. Mark Wahlberg, in a performance that allows even "Wildside" to be forgiven, plays a young stud, with a talent clearly outlined by his tight jeans, who rises to the top of the industry only to let success go to his head. A large and universally excellent cast (Burt Reynolds, Julianne Moore, John C. Reilly, Don Cheadle, Heather Graham, William H. Macy) plays the extended family he joins. Though it's incredibly stylish, Anderson and his cast never let Boogie Nights stray from its human center. For example, as a porn producer with artistic aspirations, Reynolds plays a character that could easily have been a caricature, but he conveys sleaze with heart so well that the threat never comes close to materializing. By taking on the porn industry, Anderson has chosen a subject that could easily be mined for cheap laughs. But while it's very funny, Boogie Nights taps into something much deeper with its on-target depiction of the shifting political and social tides of the '70s and '80s and thoughtful relationships between characters. It's a deeply satisfying movie.

O Brother, Where Art Thou?
2000 106 minutes

Reviewed by Scott Tobias
In Joel and Ethan Coen's joyous musical comedy O Brother, Where Art Thou?, the endless parlor game of "Name That Allusion" starts with the title, a reference to Preston Sturges' 1942 classic Sullivan's Travels. In that film, a popular director of escapist Hollywood fare announces his plans to make an earnest American epic, "a true canvas of the suffering of humanity." To research the project, he dresses up like a hobo and tries to blend in with the great unwashed, finding about as much success as yuppie Albert Brooks does "touching Indians" in Lost In America. Sturges' potent satire mocks the folly of artists who pretend to understand how the other half lives but can't truly know their experience, a lesson the Coens have clearly taken to heart. Had the Coens attempted any kind of verisimilitude in their depiction of the Depression-era South, O Brother would have been as authentic and meaningful as Barton Fink's crying fishmongers. Instead, they've crafted something far richer and more entertaining: a loving homage to '30s Americana assembled from popular icons and artifacts, and told with the intoxicating energy of a Warner Brothers cartoon. Swimming with references to literature, movies, and especially the evocative bluegrass and country music of the period—superbly arranged by T-Bone Burnett—the film cross-pollinates Clark Gable, Robert Johnson, Busby Berkeley, The Wizard Of Oz, and the KKK. And that's just in one bravura sequence. To add another layer to the mix, the story is based in part on Homer's The Odyssey, casting George Clooney as an escaped Mississippi convict whose long journey home to his wife (Holly Hunter) includes run-ins with a blind soothsayer, a trio of sirens, and a Cyclops (John Goodman). Joining him in chains are fellow escapees John Turturro and Tim Blake Nelson, who are drawn by the promise of splitting Clooney's buried treasure. Meanwhile, the state is in the midst of a heated gubernatorial race between listless incumbent Charles Durning and a candidate (Wayne Duvall) who claims to be a sweeping reformer and "a friend to the little people," meaning he travels with a midget and a broom. O Brother moves along the same loose, ramshackle narrative lines the Coens mastered with The Big Lebowski, which risk falling into flat and disjointed episodes but instead hold boundless possibilities. Pleasure can be gleaned from every aspect of the production—the Soggy Bottom Boys' performance of "I Am A Man Of Constant Sorrow" is a particular highlight—but the Coens are serious about their hero's salvation and sincere in their affection for the period. Coming from filmmakers many dismiss as condescending smart-alecks, O Brother's warmth is a disarming surprise.