This BOMB Podcast features a reading and Q & A by Tiphanie Yanique at Brownstone Books in Brooklyn, NY on April 29th, 2010. Yanique reads from How to Escape From a Leper Colony, her debut collection that explores the fragile yet crucial connections and nuances of race, culture, class, and religion between the US and the Caribbean islands.
Genevieve Belleveau’s performance series Church of gorgeousTaps and the Reality Show (part salon, part group-therapy session, part house party) draws inspiration from Lutherans and addicts alike to create a secular Sunday afternoon sanctuary for those seeking community. It’s your typical backyard Brooklyn ritualistic group meeting…with the minor addition of a wannabe pop-star sage.
So much to say about this book touching on the deadening effects of mindless employment, on marital dysfunction, middle-class preoccupations, dipsomania, and realty. Real estate, the unfailing conversation starter for those deeming themselves worthy of being called New Yorkers, trumps all of the subplots in L.J. Davis’s very dark comedy.
When Antichrist premiered at Cannes, the Internet went buzzing. Critics lambasted it as gratuitously violent, scatterbrained, and misogynistic. Director Lars von Trier, meanwhile, kept up his auteur-of-doom persona and, at a press conference, crowned himself the best film director in the world.
For the last five years, Robert Crumb, the father of underground comix, has been laboring over a graphic retelling of the first book of the Bible.
Remember the old pulp novels-two-in-one, back-to-back and upside-down? When you finished one, you could flip the book over and read the other. This binding style, called tête-bêche (head-to-toe) was never taken up by “finer” literature (but imagine a Jean Rhys tête-bêche with The Crack-Up)—until now, with Mal-O-Mar’s release of Dan Hoy and Jon Leon’s poetry collections, The Hot Tub and Glory Hole.
Emory Douglas joined the Black Panther Party soon after it was formed in 1966, and quickly began to work on the party’s newspaper, the Black Panther. By 1967, he was the Minister of Culture for the party and became responsible for what developed into an incredible trove of what the New Museum’s exhibition wall text calls “Dangerous pictures … meant to change the world.”
A brand new mother unsentimentally nudges her crying newborn toward her breast just after giving birth. “Is life all that bad, already?” she asks. The scene cuts abruptly to the interior of a moving car whose radio is broadcasting a harrowing description of a roadside bomb blast. Forty vignettes shot in nearly as many locations internationally, Michael Almeyreda’s new film, Paradise, has no clear narrative or documentary premise.
Bobbie Oliver erases the line between the painted and the paint.
When a child is raised according to political doctrine, political decisions and personal habits become one and the same.
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