#clinton street theater

[xplainthexmen]

WHAT?! Somehow, we've been doing this for a decade?!

Jay & Miles X-Plain the X-Men will be celebrating our 10th birthday on April 13 in Portland, Oregon, with a live show at Clinton Street Theater (10 AM - 12 PM) followed by a birthday party at Books With Pictures (2 - 5 PM)!

RSVP HERE FOR ONE OR BOTH EVENTS!

FINE PRINT:

Both events are free and all-ages-friendly (assuming you're down with your kid learning a few choice swears).

The live show is mask-mandatory; masks will be provided at the door for anyone who doesn't bring their own. (The party is outdoors and therefore mask-optional.)

There will be both party favors (free) and merch (legal currency or barter), the latter including a fancy new 10th-anniversary print by Colleen Coover!

We welcome costumes and other benign silliness.

[lapatbol]

Clinton Street Theater, Portland.

[theinternetisaweboflies]

[sweaterkittensahoy]

They're just up the street from us, I should hit the midnight showing!

Clinton Street Theater, April 1, 2023

[little-obsessions]

[tickleinvaforums]

Trail of the Lonesome Pine Outdoor Drama:

The Trail of the Lonesome Pine Outdoor Drama is worth checking out. You'll love their show. The Trail of the Lonesome Pine Outdoor Drama, based on the novel by John Fox Jr., is the Official Outdoor Drama of Virginia and one of the longest-running outdoor dramas in the country. Set in Wise County, Virginia starting at 10 PM. Set in the little town of Big Stone Gap, Virginia, the "Trail" drama is an excellent entertainment experience for the whole family. The theater is outdoors, yet since it seats fewer than 400. Seats are spacious and comfortable, and getting in and out isn't a problem. When you arrive at the Barbara Polly Theater, please be aware there will be metal barricades at Clinton Avenue and Jerome Street. These are to close the street in front of the playhouse for the use of their patrons. You will enjoy their show. No Doubt!

[drchucktingle]

TICKETS LINKS ARE HERE: https://us.macmillan.com/tours/chuck-tingle-bury-your-gays/

YES BUCKAROOS the time has come for you to trot with me live and in person on the BURY YOUR GAYS BOOK TOUR. ask anyone who has previously trotted, this is not your average book tour these are SHOWS so come ready to get RILED. 

on camp damascus tour most book stores did not have enough room and we had to turn many buckaroos away, so this time many of these shows are in off-site theaters. HOPEFULLY there will be enough room in larger venues but i will say it again for the buckaroos in the back, IF YOU ARE THINKING ABOUT COMING TO SEE YOUR BUD CHUCK THEN GET TICKETS NOW because last time most of them sold out. ALSO almost all dates on this tour give you a free copy of BURY YOUR GAYS with ticket purchase.

as of posting this there are three dates that do not have ticket links yet: los angeles, bozeman, and new orleans, but check back for when those trot online. EVERYTHING ELSE IS AVAILABLE NOW

more details for you buckaroos:

JULY 8TH - NEW YORK, NY at STRAND BOOKSTORE

JULY 10TH - BROOKLINE, MA with BROOKLINE BOOKSMITH at COOLIDGE CORNER THEATRE

JULY 12TH - ST. LOUIS, MO with LEFT BANK BOOKS at THE HEAVY ANCHOR

JULY 13TH - DOYLESTOWN, PA at THE DOYLESTOWN BOOKSHOP

JULY 15TH - NASHVILLE, TN with PARNASSUS BOOKS at THE NASHVILLE PUBLIC LIBRARY

JULY 16 OR 17TH - NEW ORLEANS, LA with TUBBY & COOS. more info to come

JULY 19TH - SALT LAKE CITY, UT with UNDER THE UMBRELLA BOOKSTORE at UTAH MUSEUM OF CONTEMPORARY ART

JULY 20TH - BOZEMAN, MT at COUNTRY BOOKSHELF

JULY 31ST - SEATTLE, WA at THRID PLACE BOOKS (LAKE FOREST PARK)

AUGUST 2ND - PORTLAND, OR with ALWAYS HERE BOOKSTORE and guest buckaroo TJ KLUNE at CLINTON STREET THEATER

AUGUST 4TH - LOS ANGELES, CA with NORTH FIGUEROA BOOKSHOP at DYNASTY TYPEWRITER

[humansbgone]

Humans-B-Gone! was accepted to the Oregon Short Film Festival for Fall 2023!

It's happening on Sunday, November 12, 2023 at Clinton Street Theater, if you're near Portland!

[lboogie1906]

Sylvia Woods (February 2, 1926 – July 19, 2012) was a restaurateur who founded the restaurant Sylvia’s in Harlem on Lenox Avenue with her husband, Herbert Woods in 1962. The soul food eatery is a popular gathering place for Harlem residents and tourists not far from the Apollo Theater.

She was born to Julia and Van Pressley in Hemingway, South Carolina. She met her husband Herbert Woods in a bean field when she was 11 years old and he was 12. They married in 1944 after he followed her to New York. They had four children together. She graduated from high school in Hemingway. She trained to become a beautician in New York and ran a beauty shop in South Carolina. She worked in a hat factory and as a waitress at a restaurant called Johnson’s Luncheonette in Harlem (1954-62). When the owner wanted to sell, he offered the place to her for $20,000.

During the early 1990s, the business expanded and now seats up to 450 people. It has a catering business. Organized and started by her son Van in 1992, she came out with her line of soul food products that are sold nationally. Her products include many of her special sauces, vegetables, spices, syrup, and cornbread and pancake mixes. She produced two cookbooks: Sylvia’s Soul Food Cookbook and Sylvia’s Family Soul Food Cookbook. The restaurant remains owned and operated by the Woods family. In August 2011, they celebrated 50 years in Harlem. Guests have included Quincy Jones, Diana Ross, Muhammad Ali, Bill Clinton, Robert F. Kennedy, and President Barack Obama.

She stepped down from the day-to-day operations of the restaurant when she was 80 years old. Her husband predeceased her in 2001.

In 2014, the corner of W.126th Street and Lenox Avenue in Harlem was co-named “Sylvia P. Woods Way.” Due to the immense popularity of her soul-food staples, She was known as “the Queen of Soul Food.” Spike Lee used Sylvia’s restaurant as a location for Jungle Fever. #africanhistory365 #africanexcellence

[seph7]

J.T. Walsh (1999)

I like Oliver Stone movies, but I stayed away from his Nixon when it was in the theaters in 1995, and never rented it on video. As the child of good California Democrats, I grew up hating Nixon. When I was in my twenties and he was president, he gave me more reason to hate him than I ever wanted. When he died I didn’t want to think about him anymore.

One night, though, flipping channels after the late news had closed down, I happened onto Nixon running on HBO, and I didn’t turn it off. I was pulled in, played like a fish through all the fictions and flashbacks, dreaming the movie’s dream: waiting for Watergate.

It came into focus with a strategy session in the Oval Office. Anthony Hopkins’s Nixon is hunching his shoulders and look­ing for help. James Woods’s impossibly reptilian H. R. Halde­man is stamping his feet like Rumpelstiltskin and fulminating about “Jew York City.” Others raise their voices here and there—and off to the side is J. T. Walsh, the canniest and most invisible actor of the 1990s, doodling.

As almost always, Walsh was playing a sleaze, a masked thug, here a corrupt government official, White House adviser and Watergate conspirator John Ehrlichman—as elsewhere he has played a slick Hollywood producer, a college-basketball fixer, the head of a crew of aluminum siding salesmen, a porn king who makes home sex videos with his own daughter, a slew of cops (Internal Affairs bureaucrat on the take in Chicago, leader of a secret society of white fascists in the LAPD), and a whole gallery of con artists, confidence men who seem to live less to take your money than for the satisfaction of getting you to trust them first.

Walsh in the Oval Office is physically indistinct; he usually was. At fifty-two in 1995 he looked younger, just as he looked older than his age when, after eight years as a stage actor—most notably as the frothing sales boss in David Mamet’s Glengarry Glen Ross—he began getting movie roles in 1986. Except near the end of his life, when his weight went badly out of control, his characters would have been hard to pick out of a lineup. Like Bill Clinton he was fleshy, vaguely overweight, with an open, florid, unlined face, a manner of surpassing reasonableness, blond in a way that on a beige couch would all but let him fade into the cushions. He had nothing in common with even the cooler, more sarcastic heavies of the forties or the fifties—Victor Buono’s police chief in To Have and Have Not, say, or the coroner in Kiss Me Deadly, their words dripping from their mouths like syrup with flies in it. He had nothing to say to the heavies appearing alongside of him in the multiplexes—Dennis Hopper’s psychokillers, Robert Dalvi’s scum-suckers, Mickey Rourke, with slime oozing through his pores, the undead Christopher Walken, his soul cannibalized long ago, nothing left but a waxy shell.

Walsh’s characters are extreme only on the inside, if he allows you to believe they are extreme at all; as he moves through a film, regardless of how much or how little formal authority his character might wield, Walsh is ordinary. You’ve seen this guy a million times. You’ll see him for the rest of your life. “What I enjoy most as an actor,” he said in December 1997, two months before his death from a heart attack, “is just disappearing. Most bad people I’ve known in my life have been transparent. Not gaunt expressions—they’re Milquetoasts. It’s Jeffrey Dahmer arguing with cops in the streets about a kid he’s about to eat—and he convinces them to let him keep him. And takes him back up and eats him. What is the nature of evil that we get so fascinated by it? It’s buried in charm, it’s not buried in horror.”

Walsh’s charm—what made you believe him, whether you were another character standing next to him in a two-shot, or watching in the audience—was a disarming, everyday realism, often contrived in small, edge-of-the-plot roles, his work with a single expression or a line staying with you long after any memory of the plot crumbled. As a lawyer happily tossing Linda Fiorentino criminal advice while an American flag waves in the breeze outside his window, Walsh taps into a profane quickness that for the few moments he’s on-screen dissolves the all-atmosphere-all-the-time film noir gloom of John Dahl’s The Last Seduction. In The Grifters, as Cole Langley, master of the long con, he radiates an all-American salesman’s glee (“Laws will be broken!” he promises a mark) that makes the hustlers holding the screen in the film—Anjelica Huston, John Cusack, Annette Bening—seem like literary conceits. Yet it all comes through a haze of blandness, as it does even when Walsh plays a sex killer, a crime boss, a rapist, a racist murderer, as if at any moment any terrible impression can be smoothed away: How could you imagine that’s what I meant?

In the Oval Office his Ehrlichman, whom America would encounter as the snarling pit bull lashing back at Senator Sam Ervin’s Watergate investigations committee, retains only the blandness, occasionally offering no more than “I don’t know if that’s such a good idea” before returning to his doodles. It was this blandness that allowed Walsh to flit through history—in Nixon playing White House fixer Ehrlichman; in Hoffa Team­ster president Frank Fitzsimmons, locked into power by a deal that Ehrlichman helped broker; in Wired reporter Bob Woodward, who helped bring Ehrlichman down—but as Walsh sits with Nixon and Haldeman and the rest you can imagine him absenting himself from the action as it happens, instead contemplating all the roles in all the movies that have brought him to the point where he can take part in a plot to con an entire nation.

What makes Walsh such an uncanny presence on-screen—to the degree that, as the trucker in the first scenes of Breakdown, or Fitzsimmons as a drunken Teamster yes-man early in Hoffa, he seems to fade off the screen and out of the movie, back into everyday life—is that while the blandness of his characters may be a disguise, it can be far more believable than whatever evil it is apparently meant to hide. Even as it is committed, the evil act of a Walsh character can seem unreal, a trick to be taken back at the last moment, even long after that moment has passed—and that is because his characters, the real people he is playing, can appear to have no true identity at all. You can’t pick them out of the lineups of their own lives.

At the very beginning of his film career, in 1987, in David Mamet’s House of Games, Walsh is the dumb businessman victim of a gang of con men running a bait-and-switch, then a cop setting them up for a bust, then a dead cop, then one of the con men himself, alive and complaining, “Why do I always have to play the straight man?” The straight man? you ask him back. In Breakdown, in a rare role in which he dominates a film from beginning to end, he first appears as a gruffly helpful trucker giving a woman a ride into town while her husband waits with their broken-down car. She disappears, and when the husband finally confronts the trucker, with a cop at his side, Walsh’s irritated denial that he’s ever seen his man before in his life seems perfectly justifiable—even if, as Walsh saw it, that scene “had a residual effect on the audience. ‘Don’t catch me acting’—when I lied, deadpan, on the road, you hear people in the audience: ‘He’s lying!'”The moment came loose from the plot, as if, Walsh said, “I’m not just acting”—and that, he said, was where all the cheers in the theaters came from when in the final scene he dies. He had fooled the audience as much as the other characters in the movie; that’s why the audience wanted him dead.

Walsh’s richest role came in John Dahl’s Red Rock West. The mistaken-identity plot—with good guy Nicolas Cage mis­taken for hit man Dennis Hopper—centers on Walsh’s Wayne Brown, a Wyoming bar owner who’s hired one Lyle from Texas to murder his wife. As Brown, Walsh is also the Red Rock sheriff—and he is also Kevin McCord, a former steelworks bookkeeper from Illinois who along with his wife stole $1.9 million and was last seen on the Ten Most Wanted list. Walsh plays every role—or every self—with a kind of terrorized assurance that breaks out as calm, certain reason or calm, reasoned rage. He’s cool, efficient, panicky, dazed, quick, confused. You realize his character no longer has any idea who he is, and that he doesn’t care—and that it’s in the fact that they don’t care that the real terror of Walsh’s characters resides. You realize, too, watching this movie, that in all of his best roles Walsh is a center of nervous gravity. His acting, its subject, is all about absolute certainty in the face of utter doubt. Yes, you’re fooled, and the characters around Walsh’s might be; you can’t tell if Walsh’s character is fooled or not.

At the final facedown in Red Rock West, all the characters are assembled and Dennis Hopper’s Lyle is holding the gun. “Hey, Wayne, let me ask you something,” he says. “How’d you ever get to be sheriff?” “I was elected,” Walsh says with pride. “Yeah, he bought every voter in the county a drink,” his wife sneers—but so what? Isn’t that the American way? Get Walsh out of ‘this fix and it wouldn’t have been the last election he won.

Watching this odd, deadly scene in 1998, I thought of Bill Clinton again, as of course one never would have in 1992, when Red Rock West was released and Clinton was someone the country had yet to really meet. In the moment, looking back, seeing a face and a demeanor coming together out of bits and pieces of films made over the last dozen years, it was as if—in the blandness, the disarming charm, the inscrutability, the menace, the blondness, moving with big, careful gestures inside a haze of sincerity—Walsh had been playing Clinton all along. He was not, but the spirit of the times finds its own vessels, and, really, the feeling was far more queer: it was as if, all along, Bill Clinton had been playing J. T. Walsh.

[xplainthexmen]

Jay & Miles X-Plain the X-Men, Episode 449 - Dressing the X-Men, with Russell Dauterman

In which artist Russell Dauterman joins us to discuss super-powered costume design!

X-PLAINED:

Why it’s important to get a professional to design your superhero costume

Why Miles doesn’t trust the government

Russell’s history at Marvel

Designing for the Hellfire Gala

Mutant fashion

The word “fashionize”

Iconic looks

Modernizing superhero costumes

Powers vs. personality

Punk goddess Storm

Designing for drawability

Magic hair

Russell’s influences

Definitive Rogue costumes

X-Men ‘97

Best X-team costumes

Jay’s holy grail cosplay

Magic hair, cosplayed

Costume retrospectives

Where to find Russell online

Evil twin trends of the 1990s

Fuck You Pink

NEXT EPISODE: Jay & Miles Live at the Clinton Street Theater!

Check out the visual companion to this episode on our blog!

Find us on Apple Podcasts or Spotify!

Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here!

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[carolinemillerbooks]

New Post has been published on Books by Caroline Miller

New Post has been published on https://www.booksbycarolinemiller.com/musings/the-overthrow-of-reason/

The Overthrow Of Reason

When a high-speed train is barrelling down the track, a person who knows the trestle ahead has been washed away has one obligation–to run in the direction of the impending disaster in the hope of assisting survivors.  Those of us who sense our country is nearing a failed state face the same obligation. Explanations may vary about how our democracy came to this pass. One reason is fear.  Many of us feel our way of life is threatened by a growing number of strangers different from ourselves. Feeling alienated, some of us fall into a frenzy, hoping to preserve what’s familiar but ending up morphing into agents of chaos, ready to destroy the country in a misguided effort to save it. The philosopher Eric Hoffer once noted that the human psyche requires us to believe in the devil.  Hitler depended upon our dark side. If Jews didn’t exist he once said, they would have to be invented. (The True Believer, by Eric Hoffer, Harperennial, Modern Classics, 1989, pg. 91.) Hate has its purpose, Hoffer admits. It releases us from the burden of thought and narrows freedom to a one-way street that ends in tyranny.  The absolute right to bear arms, for example, absolves many from guilt when they see children murdered in their classrooms.   Those who cry, “Right to Life” are similarly infected. Religious conservatives who are willing to impose their absolutes upon believers and non-believers alike seem unmoved by the reality that antiabortion laws result in women’s deaths. Fanaticism, if allowed to grow, drives a stake through the heart of reason. What flourishes in its place are lies. Donald Trump insists the 2020  Presidential election was stolen from him.  His flock echoes the refrain until the lie gains the ring of truth. Oddly enough, there is a reason for this phenomenon. Scientists have proved that people accept lies more readily than truth. Why?  No one knows. Yet it is a fact that robots detect falsehoods better than humans. Lies are common in politics.  A majority of voters believe Democrats are spendthrifts and Republicans are better at handling the national debt. The truth is the opposite.  Reagan took the deficit from $70 billion to $175 billion. Bush 41 raised it to $300 billion. Clinton got it to zero. Bush 43 took it from zero to $1.2 trillion.  Obama halved it to $600 billion.  Trump raised it again to a trillion.     People even lie to themselves. Republican House Representative Lauren Boebert imagined she took a high moral ground when she warned Drag Queens to stay out of her district. Yet, while attending a performance of Beetlejuice, she was escorted from the theater for engaging in heavy petting with a man who owns a bar that hosts Drag Queen shows. Hypocrisy isn’t new.  It has plagued human beings since recorded time.  What’s changed is that shame no longer appends to it. A nation with no respect for truth isn’t choosey about its leaders. The line between private and public benefit gets blurred in the minds of the greedy and self-interest passes for the country’s welfare. A would-be tyrant like Donald Trump may exhort his followers to engage in insurrection under the guise of patriotism, but he makes dupes of them and vulnerable to rudderless malcontents who would destroy democracy for no other reason than they believe it’s possible.     What are we to do, those of us who see our democracy like a train hurtling down the track to its doom? We must vote, of course, in both local and national elections. Walking a precinct or making phone calls for a candidate is important. Writing a check to support a political campaign is also a good idea. But before we take these actions, let us be resolved in this.  We must choose reason and truth in the defense of our country.  …thoughtful citizens can change the world. Indeed it is the only thing that ever has.  (Margaret Mead.)

[lauraglazer]

Every Monday in March is the Agnès Varda Forever Festival @cst_pdx! My fave is on 3/13! Movies start at 7pm and we usually go early for a drink next door @lucky_horseshoepdx so meet us there 💌 Le Bonheur - Monday, March 6 Daguerréotypes - Monday, March 13 Mur Murs - Monday, March 20 The Beaches of Agnès - Monday, March 27 Buy tix or series pass online www.cstpdx.com #agnesvardaforever #agnesvarda #agnèsvarda (at Clinton Street Theater) https://www.instagram.com/p/CpRivTKOYKW/?igshid=NGJjMDIxMWI=

[portlandnet]

If you go to the Clinton Street Theater (and it's a great theater), you might see NET featured on a pre-film slide! Thank you to Steven Williams at the Clinton Street Theater for getting NET in front of filmgoers and, I will add, the longest running Rocky Horror Picture Show cabaret in the world!

[queefburglaring]

THIS WAS SO FUCKING COOL!! thank you clinton street theater i love you forever

[masg1313]

NYC Music Venue Guide

Brooklyn

Alphaville

140 Wilson Avenue (Bushwick)

alphavillebk.com

Baby’s All Right

146 Broadway (South Williamsburg)

babysallright.com

Barclays Center

620 Atlantic Avenue (Prospect Heights)

barclayscenter.com

The Broadway

1272 Broadway (Bushwick/Bed-Stuy)

thebroadway.nyc

Brooklyn Bowl

61 Wythe Avenue (Williamsburg)

brooklynbowl.com/brooklyn

Brooklyn Made

428 Troutman Street (Bushwick)

brooklynmadepresents.com

The Brooklyn Monarch

23 Meadow Street (East Williamsburg)

thebrooklynmonarch.com

Brooklyn Music Kitchen

177 Vanderbilt Avenue (Clinton Hill)

brooklynmusickitchen.com

Brooklyn Paramount

385 Flatbush Avenue Extension (Downtown Brooklyn)

brooklynparamount.com

Brooklyn Steel

319 Frost Street (East Williamsburg)

boweypresents.com/venues/brooklyn-steel

Elsewhere

599 Johnson Avenue (East Williamsburg)

elsewhere.club

Kings Theatre

1027 Flatbush Avenue (Flatbush)

kingstheatre.com

Market Hotel

1140 Myrtle Avenue (Bushwick)

markethotel.org

The Meadows

17 Meadow Street (East Williamsburg)

thebrooklynmonarch.com

Music Hall of Williamsburg

66 North 6th Street (Williamsburg)

musichallofwilliamsburg.com

Pioneer Works

159 Pioneer Street (Red Hook)

pioneerworks.org

Purgatory

675 Central Avenue (Bushwick)

purgatorybk.com

The Sultan Room

234 Starr Street (Bushwick)

thesultanroom.com

Warsaw

261 Driggs Avenue (Greenpoint)

warsawconcerts.com

The Woodshop

21A Meadow Street (East Williamsburg)

thebrooklynmonarch.com

Xanadu (Roller Arts)

262 Starr Street (Bushwick)

xanadu.nyc

Manhattan

Apollo Theater

25 West 125th Street (Harlem)

apollotheater.org

The Beacon Theatre

2124 Broadway (Upper West Side)

beacontheatre.com

Bowery Ballroom

6 Delancey Street (Bowery)

boweryballroom.com

The Bowery Electric

327 Bowery (Bowery)

theboweryelectric.com

Central Park SummerStage

East 71st Street & East Drive (Upper East Side)

summerstage.com

City Winery

25 11th Avenue (Pier 57) (Chelsea)

citywinery.com/new-york-city

Gramercy Theatre

127 East 23rd Street (Gramercy Park)

thegramercytheatre.com

Hammerstein Ballroom

311 West 34th Street (Midtown)

hammersteinballroom.com

Irving Plaza

17 Irving Place (Union Square)

irvingplaza.com

Joe’s Pub

425 Lafayette Street (NoHo)

joespub.com

Knitting Factory

101 Avenue A (Alphabet City)

ny.knittingfactory.com

(Le) Poisson Rouge

158 Bleeker Street (Greenwich Village)

lpr.com

Madison Square Garden

4 Penn Plaza (Midtown)

msg.com

Mercury Lounge

217 East Houston Street (Lower East Side)

mercuryloungenyc.com

Night Club 101

101 Avenue A (Alphabet City)

Palladium Times Square

1515 Broadway (Times Square)

palladiumtimessquare.com

Racket

431 West 16th Street (Chelsea)

racketnyc.com

Radio City Music Hall

1260 Avenue of the Americas (Rockefeller Center)

radiocitymusichall.com

Rockwood Music Hall

196 Allen Street (Lower East Side)

rockwoodnyc.com

The Rooftop at Pier 17

89 South Street (The Seaport)

rooftopatpier17.com

Sony Hall

235 West 46th Street

sonyhall.com

Terminal 5

610 West 56th Street (Hell’s Kitchen)

terminal5nyc.com

The Theater at Madison Square Garden

4 Penn Plaza (Midtown)

thetheateratmsg.com

The Town Hall

123 West 43rd Street (Theater District)

thetownhall.com

United Palace

4140 Broadway (Washington Heights)

unitedpalace.org

Webster Hall

125 East 11th Street (East Village)

websterhall.com

Queens

Cassette

68-38 Forest Avenue (Ridgewood)

sundownbar.com

Forest Hills Stadium

1 Tennis Place (Forest Hills)

foresthillsstadium.com

Knockdown Center

52-19 Flushing Avenue (Maspeth)

knockdown.center

The Rockaway Hotel

108-10 Rockaway Beach Drive (Rockaway Park)

therockawayhotel.com

Trans-Pecos

9-15 Wyckoff Avenue (Ridgewood)

thetranspecos.com

TV Eye

1647 Weirfield Street (Ridgewood)

tveyenyc.com