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COMMENTARY: FIRST HOMOPHOBIA, NOW ON TO RACISM

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NEWS: BRING BACK THE BROADWAY AUDITORIUM

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GOP DODGEBALL, MORE TROUBLE AT BMHA

BY GEOFF KELLY

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STUDIOSOPHIA.BIZ | 903.1009 County Republicans have been playing something akin to dodgeball (no teams, every man for himself ) in their search for a candidate to challenge Erie County Executive Mark Poloncarz this fall. Two weeks ago, Erie County Comptroller Stefan Mychajliw withdrew his name from consideration and declared his support for Erie County Clerk Chris Jacobs, even though Jacobs had not declared his candidacy.

This week Jacobs withdrew his name from consideration and declared his support for Amherst Assemblyman Ray Walter, even though Walter has not yet declared his candidacy.

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Walter, as The Public’s Alan Bedenko points out in his online column, is taking one for the team.

Popular in his district, Walter has little name recognition anywhere else. He is not well positioned to raise the million dollars or so a credible campaign will need to take on Poloncarz, whose polling shows the incumbent to be popular and generally regarded as quietly efficient and scandal-free.

Bedenko ends his column with a fine point: How come the GOP hasn’t rolled out Erie County Legislator Ed Rath III as a challenger to Poloncarz? He’s got money and his last name is on the county office building. My guess: Rath isn’t interested in losing any more than Mychajliw or Jacobs. All three harbor ambitions for higher office and may not want to tarnish their brands and fatigue their fundraising capabilities (substantial for Rath and Jacobs, less so for Mychajliw) on a race that they’ll probably lose.

Who knows what Mychajliw will run for next.

Either Jacobs or Rath might wait for a better shot at county executive in four years. Rath may hope to become a state senator some day. Jacobs might run for Congress or try to become the first Republican mayor of Buffalo since Chet Kowal.

Walter, on the other hand, is a Republican in the New York State Assembly. That’s a lonely job.

He may not feel like he has much to lose, and filling the ballot line gives him chit to cash in with the party at some later date.

THE RAIN KEEPS COMING DOWN ON THE BUFFALO MUNICIPAL HOUSING AUTHORITY.

Last Tuesday, March 31, the Buffalo office of the US Department of Housing and Urban Development—the federal agency that funds BMHA—sent a troubling letter to BMHA’s board of commissioners. In the letter, HUD informs BMHA that is had been “designated Substandard by HUD” for the fiscal year that ended in June 2013. The letter goes on to explain the principle reason for the judgment: Generally, when a public housing agency becomes management substandard, it has failed to maintain an acceptable occupancy level in its developments. This is the main cause for the substandard score for the BMHA. The BMHA currently has 598 vacant units, and an overall occupancy rate of 84%. The waiting lists for both of BMHA’s Section 8 programs are closed, as are those at Belmont Shelter Corporation and the Rental Assistance Corporation of Buffalo for the fact that they are too long, ands people are waiting years to get a voucher in order to obtain assisted housing, while nearly 600 units of public housing sit vacant and deteriorating.

Amherst Assemblyman Ray Walter.

HUD points out that all 170 units in the A. D. Price Courts housing development are empty, as are 279 of 414 units at the Perry Homes project.

When HUD raised concerns about the vacancy rate at Perry Homes in 2013, BMHA argued it was keeping the units intentionally vacant in hopes of winning redevelopment funding for the site through HUD’s Choice Neighborhood program. BMHA bulloxed its application for that grant, however, “will not proceed with any new development directly on that site due to presumed lack of municpal support for any projects on that location.”

It must be emphasized that those units intentionally left vacant in anticipation of…future development pursuits will continue to be counted against the BMHA, and can potentially lead to an overall troubled status when the Department scores BMHA [for fiscal year 2014].

HUD informs BMHA that it has 30 days from receipt of the letter to create and adopt a recovery plan that will lead to an overall occupancy rate of 93 percent or better. “BMHA is in a precarious financial position,” the letter says, affirming recent reports that the authority’s fund balance has dipped dangerously low. “It is imperative that specific corrective actions be taken as soon as possible to avoid potential receivership.”

HUD sent copies of the letter to each commissioner (except, curiously, Hal Payne) and to Mayor Byron Brown, who appoints all but the two commissioners elected by BMHA residents.

HOW’S THIS FOR A SYMPATHETIC NOTE: While

casting her yes vote on Governor Andrew Cuomo’s budget, Bronx Democrat Carmen Arroyo said that teachers who didn’t like the newest evaluation protocol should “go work at McDonald’s.” Read Shane Meyer’s analysis of the issue at dailypublic.com. And while you’re there, have a listen to “Public Speaking,” the new podcast by Buffalo’s strangest agent, Pat Kewley. P

APRIL 18, 2015 12PM-6PM APRIL 19, 2015 11AM-5PM KARPELES MANUSCRIPT LIBRARY MUSEUM 453 PORTER AVE - BUFFALO, NY {buffalosmallpress.org}

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NEWS COMMENTARY

HOOSIER HOMOPHOBIA CRUSHED, RACISM CONTINUES ON

BY MICHAEL I. NIMAN

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to rule black killings of whites as being justified. The laws, they claim, elevate conflicts to killings, legally sanctioned by the vague concept of what constitutes a perceived threat, which is often dubious in a corporate-authored popular culture that exploits black masculinity as an icon for danger.

THE RESPONSE TO HOOSIER HOMOPHOBIA

has been heartening. When Indiana Governor Mike Pence laid his signature on that state’s new antiLGBT rights legislation, the blowback was immediate. And it was powerful. Just days after celebrating the passage of a “Religious Freedom Restoration Act” by hosting anti-gay bigots at a private signing ceremony at the statehouse, Pence shifted into reverse, attempting to undo the Hoosier state’s sudden rebranding as the Mississippi of the Midwest.

It didn’t hurt that some of those unnaturally minted corporate persons joined the fight, uncharacteristically flexing their superhuman muscles on the side of human rights. Add a few city and state government travel bans to Indiana, the sudden halt of construction on the headquarters of the Republican-leaning Angie’s List, and a condemnation from the Indiana-based NCAA, and the game was over.

The he-man bigots that make up the majority in the Indiana legislature waddled back into Indiana Governor Mike Pence. their voting pens, quickly snorting out a “fix.”

So, before any Hoosiers could enjoy blasphemPainting the corporations as heroes is a false ing their lord by claiming God-given rights narrative. The real heroes are still the people to deny wedding cakes to same sex couples, who, in threatening to perceive the corporaYOU APPROVE ERRORS WHICH provision ARE ON THIS PROOF, THE theIF legislature negated the bigotry tions as uncool, threatened their brand value in PUBLIC Indiana’s CANNOT “Let’s beBEbigots in the name PLEASE of HELD RESPONSIBLE. EXAMINE THE AD and forced them to do the right thing. The last God” law.

THOROUGHLY EVEN IF THE AD IS A PICK-UP. generation has produced ever-shrinking reFollowing close in the shadow of the Indiana turns on corporate investments in homophobia, CHECK COPY CONTENT legislature wereTO their counterparts in� Arkansas, MESSAGE ADVERTISER with folks increasingly finding it repulsive. So so Thank inspiredyou

by Indiana’s bill to allow discrimifor advertising � CHECK IMPORTANT the true DATES power still lies with the people, who, nation the name of GodPlease that they scribbled with inTHE PUBLIC. at the first peep of maybe boycotting Indiana their own rancid version, plagiarizing the basic � CHECK NAME, ADDRESS, review your ad and check commerce, won the culture war and protected concept of errors. responding same-sex marriage for any The tooriginal PHONE #, & WEBSITE basic human rights for LGBT Hoosiers. This rights by denying LGBT human rights.

Their layout instructions have is truly inspiring. version the as Republican-controlled Ar- OK (NO been passed followed closely as � PROOF CHANGES) kansas state legislature by aoffers landslide, and that possible.

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PROOF OK (WITH CHANGES) design services two �bellowed state’s governor, Asa with Hutchinson, BUT RACISM STILL GETS A PASS at no to charge.

THE hisproofs determination sign the law. Then the Less inspiring, and really troubling, is the lack PUBLIC corporate is not responsible Wal-Mart person stepped into the Advertisers Signature of any similarly effective movement to protect forWal-Mart any erroressentially if not notified fray. owns Arkansas, so within 24 dutifully hours ofreversed receipt. course. Like basic human and political rights for people of Hutchinson ____________________________ ThePence, production department Mike he ultimately signed a revised bill, color. What we just saw in Indiana and Arkanhave a signed proof in Date _______________________ as must awkward as the dual bills in Indiana. sas was wonderful and heartening. The fight to order to print. Please sign protect LGBT rights is far from over, and we The simple story here is since corporations run Y15W11 and fax this back or approve Issue: ______________________ need to keep the pressure on and confront hothe world, it’s good to have them on your side. by responding to this email. mophobes as they appear. Meanwhile, where is The reality, of course, is that despite the babthis momentum when it comes to combatting THIS PROOF MAY ONLY BEthe USED FOR PUBLICATION blings of politicians and occasional justice IN THE PUBLIC. similarly draconian pieces of legislation crafted of the Supreme Court, corporations aren’t by reactionary bigots to target people of color? people, persons, or sentient beings of any sort.

Let’s start with “stand your ground” laws. These And if they were, as the documentary film The Corporation accurately concludes, they would laws legalize using deadly force, almost always be sociopaths. Corporations aren’t stepping in dispatched from a gun, if the killer perceives a to protect LGBT rights because it’s the right threat to his or her life, with no requirement thing to do. They’re stepping in because it’s to attempt to retreat from the situation before the right thing for their bottom line. They are opening fire. The key word here is “perceives.” chartered to do one thing: accumulate money.

Florida was the first state to enact such an The threat of real living sentient persons boyexplicit right to kill law in 2005. It was most cotting corporations because they are located famously used to defend George Zimmerman, in, do business with, or otherwise are connectwho shot and killed Trayvon Martin in 2012 ed to a hate state threatens that bottom line. because he perceived the Skittles-wielding So does any negative perception of their most black teenager as a threat to his life. valuable assets, which are their brands; emCritics of the laws claim they exacerbate the bedded in people’s psyches, they must remain effects of existing racial biases in the courts, “cool” in order to ply their magic. Association which are three-and-a-half times more likely with homophobes is no longer cool. Worse, it’s to rule white killings of blacks as justified than uncool. Bad for the brand.

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Since Florida enacted its “stand your ground” law, 23 other states, including Indiana, have followed suit, either with new rightto-kill laws or by beefing up existing codes with right-to-kill provisions.

Not only have we not seen an effective groundswell of support to combat these racist laws, but, in the case of “stand your ground” laws, the corporations have taken sides with the racists. According to the Center for Media and Democracy, many corporations—including Exxon, AT&T, Coca-Cola, Pfizer, UPS, and Wal-Mart—funded the American Legislative Exchange Council (ALEC), the political lobby that helped write at least 10 of these state laws. Coca-Cola, Wal-Mart, and others stopped funding ALEC in 2012 after a boycott, but still haven’t come out against the laws in the way that many corporations did in response to the anti-LGBT bills in Indiana and Arkansas.

Then there’s the revival of Jim Crow style laws aimed primarily at suppressing the black and Latino vote by placing onerous ID requirements on voting. According to the American Civil Liberties Union (ACLU), nine states proposed or enacted such laws in 2013, and another six joined them last year. The corporate-funded ALEC helped author many of these laws as well. The laws create barriers to voter registration and actual voting, ostensibly to combat a voter fraud problem, though such fraud results in less than a dozen or so arrests per year nationwide. The end result of the new laws, however, has been to disproportionately disenfranchise black and Latino voters by the millions.

Corporations supported these laws, not necessarily because they harbor racist ideologies but because they were good for the bottom line.

Suppressing the black vote helps elect corporate-friendly Republicans, who in turn lower taxes for corporations and their owners, gut environmental regulations and labor laws, and sponsor anti-union bills. All of this leads to increased corporate profits. Hence, there’s been no corporate outcry against these laws.

PAPERS, PLEASE There is also a spate of new state laws that ostensibly target undocumented migrants and immigrants, but in design and effect target all visible Latinos and Asians, including native-born and naturalized US citizens. The first of these laws was Arizona’s notorious SB 1070 “papers, please” law, enacted in 2010. Aside from requiring local police to check the immigration status of anyone they detain, the bill also allows them to demand citizenship papers from anyone they “suspect” may be in the country illegally.

COMMENTARY NEWS The liberal news site Think Progress reported in 2010 that the Arizona law was authored with the help of the Federation for American Immigration Reform’s legal wing, the Immigration Reform Law Institute. According to The Southern Poverty Law Center, the federation is a bona fide “hate group,” run by key staff members with “ties to white supremacist groups, some are members, and some have spoken at hate group functions.” The federation, they report, “has accepted more than $1 million from a racist foundation devoted to [academically discredited] studies of race and IQ, and to eugenics.”

Since 2010, Republican legislators have proposed clones of the Arizona law in more than 20 states; so far five states, including Indiana, have passed and enacted such laws. According to the ACLU, “Laws inspired by Arizona’s SB 1070 invite rampant racial profiling against Latinos, Asian-Americans and others presumed to be ‘foreign’ based on how they look or sound.” Most Americans don’t carry birth certificates, passports or enhanced licenses, hence the laws create chaos for anyone targeted by the police, which in practice primarily means people of color.

Again, these laws slipped onto the books and people of color started getting unjustly pulled over and detained, without the effective type of outcry we rightfully saw last week in response to Indiana and Arkansas’s anti-LGBT legislation.

WEIRD OKIE HATE Some of these hate bills have gotten so weird as to make one wonder whether their sponsors are literally frothing at the mouth and drooling on their desks. Take Oklahoma, for example.

Legislators there went through the arduous process of passing an amendment to their state constitution to prevent their state courts from adopting Sharia law in place of Oklahoma and US law.

Of course, even in the highly improbable event that Oklahoma voters and courts wanted to adopt Islamic fundamentalist religious law in place of local, state, and federal law, such a move would already violate a plethora of existing provisions in the Oklahoma and US constitutions, making the amendment redundant.

A federal court struck down the amendment, essentially because it was just plain silly. But the root of this move to amend the constitution, whether or not the legislators who enacted it were drooling on themselves when they voted on it, was deadly serious. The law was a simpleton attempt to single out Muslims, who make up 0.2 percent of Oklahoma’s population, as somehow threatening the values of the state.

Similar bills, some mentioning Sharia law and some just mentioning “international law,” are popping up in statehouses around the country, in what the ACLU describes as a “disturbing trend” of “anti-Muslim bigotry.” Where’s the outcry when Muslims are singled out in hate legislation?

Indiana’s recent anti-LGBT legislation produced one of the most inspiring, effective political actions in modern time—all within the course of a week. Anti-bigotry overwhelmed Indiana’s hateful legislature, forcing them into retreat on their attempts to oppress their LGBT population. It’s not time, however, to drop the boycott threats and other actions designed to isolate the Hoosier state. Indiana still has “stand your ground” and “papers, please” laws on the books. The fight against legislatively sanctioned bigotry in Indiana is not over. It’s only just begun.

Indiana isn’t among the worst states in terms of bigotry and oppression. They aren’t among the states that have enacted, or are in the process of enacting, voter suppression laws, for example. And Indiana does have a history of populist progressive politics. Much of the outcry over the recent anti-LGBT law came from outraged Hoosiers. This is one reason the Indiana legislature and governor retreated so quickly. There are other states, however, with fresh hate legislation on the books that have elicited little local or national outcry. Corporations do business in those states, and we do business with those corporations. Those corporations and state legislatures need to face a level of pressure similar to what we saw last week in Indiana. Racism isn’t cool, either.

Michael I. Niman is a professor of journalism and critical media studies at SUNY Buffalo State.

His columns are available globally through syndication and are archived at mediastudy.com.

PHOTO COURTESY OF THE BUFFALO HISTORY MUSEUM.

LOOKING BACKWARD: INSTITUTE FOR THERMAL RESEARCH “Buffalo manufactures more heating apparatus than any other city in the world. Here are located three large plants of the American Radiator Company, and also their Institute for Thermal Research.” – The Journal of the American Society of Mechanical Engineers, June 1915 The Institute for Thermal Research, 1807 Elmwood Avenue, was constructed for the American Radiator Co. in 1910, with an expansion in 1924. At the time this photograph was taken in 1925, the company claimed the Institute for Thermal Research was the only facility in America devoted to “the problems of better warmth.” The building contained administrative offices, a lecture hall, and laboratories filled with thermometers, humidostats, flue-draft gauges, water meters, fuel consumption recorders, and other instruments used to measure the performance of radiators and boilers.

It is one of Buffalo’s finest extant factory administration buildings, designed by Schmidt, Garden & Martin with later additions by Bley & Lyman in the “Gardenesque” style, which melds classical massing and Prairie-style minimalist detailing. The factory complex, including the Institute for Thermal Research, was shuttered in 1959. Developer Rocco Termini is currently restoring the 47,600-squarefoot building, which will soon be reborn as the Arco Lofts, with 38 residential units and commerP cial space. -THE PUBLIC STAFF DAILYPUBLIC.COM / APRIL 8, 2015 / THE PUBLIC

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NEWS LOCAL PHOTO COURTESY OF THE BUFFALO HISTORY MUSEUM.

Bowling in the Broadway Auditorium.

BRING BACK THE BROADWAY AUDITORIUM The Broadway barns, now facing demolition, was once one of the city’s premier civic centers

BY JEFF Z. KLEIN BULLDOZING HISTORY TO HONOR HISTORY may seem like a contra-

dictory idea, but Mayor Byron Brown seems prepared to do exactly that. The Brown administration is discussing a plan to demolish the Broadway barns on the near East Side. That’s the building that has served as a truck garage and road salt storage facility for the city’s Department of Public Works for more than six decades.

Brown’s plan is to throw down the hulking old structure in order to clear land for unspecified “development” along the Michigan Street African-American Heritage Corridor. At first blush it’s an admirable concept. After all, in its current state the garage is a dilapidated shed of brick, corrugated metal, and broken skylight windows, and the exhaust from the sanitation trucks and snowplows it houses is not healthy for nearby residents. And who could object to any project meant to highlight the history of black Buffalo?

There’s one problem. Tearing down the Broadway barns would obliterate a significant piece of the history of black Buffalo—and Six Nations history as well, not to mention Buffalo’s civic history as a whole.

Because before the Broadway barns became a garage, it was the Broadway Auditorium, Buffalo’s premier indoor site of civic assembly from 1910 to 1940. There, on Broadway between Milnor and Nash, Joe Louis fought, Jay Silverheels played lacrosse, and many other great national and local athletes boxed, wrestled, ran, skated, cycled, bowled, and otherwise entertained generations of Buffalonians.

Nor was this once grand building simply a sports venue. It hosted dances and concerts—Enrico Caruso, Ella Fitzgerald, and Cab Calloway performed there—as well as circuses, masquerade balls, rallies, conventions, and conferences, including one where President Woodrow Wilson spoke. It was a National Guard armory from 1884 until 1907. Its legacy goes back even further, to 1858, when it was built, smaller and more castle-like, as an arsenal. A small part of that original arsenal still remains, making the cavernous shed one of Buffalo’s oldest extant civic structures. In a city littered with abandoned buildings, somehow the Broadway Auditorium has always proven useful.

And if the Broadway Auditorium is no longer suitable as a municipal truck garage in this, its fourth or fifth guise in more than 150 years of service, its sturdy construction and vast, airy interior give it the potential for further usefulness in a new guise. Even its 1910 façade is said to be intact behind the exterior brickwork.

But that potential may go unrealized. In recent years the mayor and members of the Common Council have quietly pushed for demolition of the building, arguing that it obstructs the Nash House Museum, the Michigan Street Baptist Church, the Langston Hughes Institute, and the Colored Musicians Club—the centerpieces of the city’s nascent African-American Heritage Corridor.

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THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

“You go to the Nash House and you see this monolith there that just takes over a third of the block,” Common Council member David Franczyk told the Buffalo News in 2011. “It’s out of proportion. It totally takes away from that experience. If you’re a tourist coming in, you see this building with trucks going in there.”

Exactly how chimerical may be the notion of tourists arriving in great numbers to visit the Nash House is open to debate. But Brown seemed to argue for the idea in February when he told state lawmakers in Albany he would seek funding for a new facility to house the city’s entire public works department, including trucks and plows. He explained to the News that the facility would be located in another, “more industrialized” part of Buffalo, allowing for the demolition of the Broadway Auditorium.

Estimates for the cost of a new public works facility begin at $40 million. Meanwhile, yet another vacant lot would be created where the Broadway Auditorium stands today. With nothing having materialized on the long-vacant lots nearby, Brown’s vision of development for the Broadway barns site falls somewhere between optimistic and dubious.

Last week, some city officials said they favored reuse of the Broadway Auditorium rather than its demolition, in light of its history and potential future utility. Even Franczyk walked back his 2011 remarks.

But Brown did not respond to repeated requests for comment, nor did Common Council President Darius Pridgen, in whose Ellicott District the building stands.

If a clash over the Broadway Auditorium’s future is shaping up, it would pit an unusual set of opponents. On the demolitionist side would be Brown and Pridgen, two of the city’s top black politicians, and groups seeking to highlight Buffalo’s black history.

Yet the preservationist side would also include groups seeking to highlight Buffalo’s black history, as well as Native American and civic history—a recipe for a heated debate that goes beyond the usual argument over the future of an old building.

Any possible dustup could have its first round on Tuesday afternoon, April 21. That’s when the Michigan Street African American Heritage Corridor Commission holds its next public meeting, where the subject of the Broadway Auditorium is sure to come up.

THE SWEET SCIENCE Even if Joe Louis had not fought at the old Broadway Auditorium, its boxing pedigree alone makes it a place of note. The heavyweight champions Jack Dempsey, Primo Carnera, and James J. Braddock fought there, as did Benny Leonard, the great Jewish lightweight champion. Harry Greb, rated the best middleweight of all time by boxing historians, fought there 14 times between 1916 and 1926.

And of course, Jimmy Slattery, the hard-drinking son of a First Ward firefighter who briefly reigned as light heavyweight champion, ran up an incredible 71-1 record in bouts at the Broadway Auditorium, cheered on by his adoring fans.

But Louis’s moment at the Broadway Auditorium, on the night of January 11, 1937, is of exceptional significance, not to mention an event that makes Brown’s push to eradicate the building in the name of black history seem especially contradictory.

“One of the greatest fight crowds ever to witness either a title or non-title bout in Western New York is expected to jam the Broadway Auditorium tonight to see Joe Louis, the fanciful Brown Bomber from Detroit,” the Courier-Express wrote that morning, capturing the air of expectation surrounding the match.

The previous June, Louis had been knocked out at Yankee Stadium by Max Schmeling, the heavyweight from Nazi Germany—a stunning defeat for Americans, and especially for black Americans.

“No one else in the United States has ever had such an effect on Negro emotions—or on mine,” Langston Hughes wrote of Louis, and went on to describe the reaction in Harlem to Louis’s defeat: “After the fight, which I attended, I walked down Seventh Avenue and saw grown men weeping like children, and women sitting on the curbs with their heads in their hands.”

Louis, out to avenge that defeat, scheduled a series of bouts intended to culminate in a rematch with Schmeling. One of them was the Broadway Auditorium fight, against Stanley Ketchel, a lightly regarded former Louis sparring partner called “the blond Jerseyite” by the Associated Press.

The auditorium was at capacity, 7,328, when ticket sales were stopped due to fears of overcrowding. Louis-Ketchel was the last of a seven-bout card; when Louis appeared the fans greeted him with “a tremendous cheer,” according to the AP. The fight lasted only to the 31.5-second mark of the second round, when Louis knocked Ketchel out with a lightning left. But the crowd was still thrilled to see the boxer the Courier called “the amber assassin” apply “the famous Louis bombing process.”

His Broadway steppingstone behind him, Louis stayed overnight at the Vendome Hotel, a famed black nightclub nearby on Clinton Street, and departed the next morning for an exhibition fight in Minneapolis. He went on to defeat Braddock, the heavyweight champion, that June, and Schmeling in 1938, a victory viewed as sweet vengeance not just for the Brown Bomber but for all black Americans.

Louis was one of several black fighters to box at the Broadway Auditorium in the pre-Civil Rights era, including such legendary pugilists as Joe Jeannette, Battling Siki, John Henry Lewis, and Henry Armstrong.

LOCAL NEWS PHOTO COURTESY OF THE BUFFALO HISTORY MUSEUM.

A cycling race in the Broadway Auditorium, 1938.

“All the great black fighters fought at the Auditorium,” the Buffalo boxing historian Bob Caico wrote in an email he said he sent to the mayor and some council members in 2012. “Many local black fighters fought there as headliners when many were not allowed to fight in other parts of the country.”

Caico—now president of the Buffalo Veteran Boxers Association, the organization better known as Ring 44—concluded that email with a plea: “I know the building is in rough shape now but we believe some sort of recognition should be given to what the Auditorium was for the community. If you need any information please do not hesitate to contact us.”

Caico said last week he received no response from the mayor or other politicians.

THE CREATOR’S GAME However significant a role in Buffalo’s African-American history the Broadway Auditorium played, it may have had a bigger role in Native American history, as one of the founding venues of box lacrosse in the early 1930s.

Traditional lacrosse was moved indoors by the owners of the Montreal Forum and Maple Leaf Gardens, as a way to fill open dates in those arenas during the Great Depression. In 1932 and 1933 Buffalo had a team in the first indoor pro league, the Buffalo Bowmans, who ran the Broadway Auditorium floor against the Toronto Maple Leafs, Toronto Tecumsehs, and Cornwall Colts. They also played against teams from Pittsburgh and Chicago.

The Buffalo Bowmans’ big stars were the Smiths, four Mohawk brothers and cousins from the Six Nations lands at Grand River, near Brantford, Ontario. They’d played together as part of an unbeatable team in Atlantic City.

Perhaps the best of the Smith brothers, Harry, lived for a while in Buffalo, where he also became a local Golden Gloves champion.

He was handsome, and so fast he earned the nickname Silverheels.

He went to Los Angeles, got into films, and emerged as a star in the 1940s, billed as Jay Silverheels. Under that name he appeared in more than 80 films, became famous playing Tonto in The Lone Ranger television series, and founded the Indian Actors Workshop. He spoke out against Hollywood stereotyping of Indians and pushed white directors to cast native actors in native roles.

But at the Broadway Auditorium in the 1930s, Smith was only part of a huge wave of box lacrosse, from municipal leagues to the pros, often featuring Iroquois players from Buffalo, Western and Central New York, and Southern Ontario. They reveled in their ethnicity, and the local papers gleefully played it up as well.

“Son of Mohawk Chief Shines as Bowmans Bow to Toronto 7,” read the headline to Cy Kritzer’s Buffalo Evening News article on the first professional lacrosse game at the Broadway Auditorium.

In 1934 a Pittsburgh paper referred to the Bowmans as the Buffalo Indians and gave their starting lineup as “Little Elk, Deerfoot, Chief Martin, Tecumseh, Long Boat and Running Deer.” In reality, the starting lineup of seven players featured Harry Smith, two other Smiths, and, in goal, Judy “Punch” Garlow, another Mohawk star whose voluminous scrapbooks can be viewed online today at Wamps Bible of Lacrosse, bringing the Broadway Auditorium’s forgotten past as a locus of Six Nations culture vividly back to life.

Still, the history of Native American lacrosse achievement in Buffalo and the Broadway Auditorium is largely forgotten today, even as the Bandits draw crowds of 15,000 to the First Niagara Center.

Some say the dominant culture’s silence on such matters is no coincidence.

“I think it’s almost intentional, because they don’t want Native people to be acknowledged,” said Paula Whitlow, director of the main Six Nations heritage preservation institution in Brantford, the Woodland Cultural Centre. “They think if everyone forgets about them, then we’re a forgotten people. And this has been occurring for 300, 400 years—it’s not anything new.”

Whitlow said she supports recognition of the legacy of Six Nations lacrosse in Buffalo and at the Broadway Auditorium specifically.

COMMUNITY SHOWCASE Almost every night during its 30-year heyday in the pre-television era, the Broadway Auditorium was alive and brimming with civic activity: basketball, jitterbug contests, wrestling, bowling, dog shows.

Buffalo Orpheus, the high society group that supported the Buffalo Symphony Orchestra, held its annual pre-Lenten masquerade carnival ball there, champagne flowing and colored lights flashing.

In January 1931 the Buffalo Majors of the American Hockey Association played on a newly installed ice surface at the Broadway Auditorium, the first pro hockey game within the city limits. (Only six games were played there, but since the building dates to the 19th century, it may be the oldest in the world to have hosted a hockey game.)

And six-day bicycle races thrilled crowds. “Cecil (Speed’s My Business) Yates and Heinz Vogel stormed into undisputed first place in the six-day bike race at Broadway Auditorium shortly after 1 o’clock this morning,” the Courier wrote on March 9, 1940, “climaxing a riotous evening of unprecedented jamming that had another banner throng fairly tearing the roof off of the venerable structure.”

Within a few months all events had decamped the venerable structure for downtown and the newly built Memorial Auditorium. It reverted to Army use during World War II and by 1952 found new purpose as the garage for the city’s streets division. Today, Memorial Auditorium, lamentably, is gone, yet the old Broadway Auditorium still stands.

But for how long?

WHAT’S NEXT

The Broadway barns may be somewhat dilapidated, but the building remains structurally sound, according to Steven Stepniak, the commissioner of the Department of Public Works, Parks, and Streets. “It needs a new roof and some other things,” Stepniak said last week, but added it has several years of useful life left—a good thing, he noted, because any new public works facility is still some time off in the future.

While demolition of the building is not imminent, its future is nevertheless precarious.

“It’s definitely not something you want in the middle of a tourist attraction,” said Karen Stanley Fleming, chairperson of the Michigan Street African American Heritage Corridor Commission, the nonprofit agency funded by the New York State Legislature to guide the creation and growth of the neighborhood as a cultural tourism destination.

“We have called for removing city services from that site and a feasibility study of what is architecturally significant and should be saved and what could be torn down,” Fleming said of the Broadway barns.

The Heritage Corridor commission can only make recommendations to the city on what to do with its building. The commission takes no official stance on the Broadway barns’ future, but Fleming said the commission could support some kind of repurposing.

“The commission’s management plan recognizes that the property has a very high significance both historically and architecturally, and that includes significance in terms of black history,” Fleming said. She said that whatever happens to the building, “we’d hope it’ll be something in keeping with the corridor’s vision to be a world-class tourist destination in an attractive neighborhood where residents can live, work and play.”

What might such a repurposing look like? In New York City, old armory buildings of similar ages and dimensions as the Broadway barns are in use as active public gathering places.

The Park Avenue Armory on the East Side of Manhattan is a venue for the arts. The Fort Washington Avenue Armory in Upper Manhattan, converted to an indoor track and field facility in 1997, is now considered one of the country’s premier field houses, constantly busy with high school, college and adult runners on its six-lane track. The Kingsbridge Armory in the Bronx is being converted to an ice center, with multiple rinks for hockey, figure skating, and curling.

Buffalo may not need another ice center, but the idea of converting the Broadway Auditorium into a track and field facility is attractive to Greg Lavis, president of the Checkers Athletic Club, one of Buffalo’s biggest running clubs.

“We would love someplace like that,” Lavis said. “There’s really not any good place to run indoors. There are some gyms with indoor tracks, but nothing measured and usually just one or two lanes. I’d imagine the schools would like it, and some of the colleges.”

Corporate money funded the conversion of the Armory in Upper Manhattan. It is less likely such money would be available in Buffalo, unless some funding came from the $40 million Brown requested from the state for a new public works facility.

If somehow the Broadway Auditorium were remade into a field house for public school kids, college students, and adult athletes, it would be in constant use, creating a steady flow of people that would at least enliven a currently depopulated neighborhood and at most generate the establishment of businesses there. That would transform the Michigan Street corridor from a static place of small museums meant for occasional tourists into a vibrant daily destination for the citizens of Western New York.

Other reuses for the building have been discussed for the Broadway barns, like convertig it into an arts center. Carl Paladino said last week he thought it would make “an awesome music house of some sort, for smaller concerts or other entertainment events.”

Paladino is often at odds with African-American leaders, but occasionally he aligns with black interests, as he did last month in financing the restoration of the Broadway Theater by Western New York Minority Media Professionals. Paladino said he was not considering investing in the restoration of the nearby Broadway Auditorium if the city were to sell the building, but he wanted it preserved—a fate that eluded Memorial Auditorium, whose destruction he called “a big mistake” and “really stupid and shortsighted of our city fathers.”

“The thought of them knocking this down without making use of the infrastructure—how insane is it to knock something down that has all that value to it instead of putting it to another use?” Paladino said. “It’s as devoid of insight as anything I’ve seen.”

It’s perhaps telling that Stepniak, the city official most familiar with the Broadway barns, wants to see the building standing and repurposed after his snowplows and sanitation trucks leave.

“There’s historical significance to that building,” he said. “I love Buffalo’s history, and I believe this is part of it. Just because we don’t need the building doesn’t mean that building’s done with—it still has plenty of useful life left. It’s up to people to just get a game plan together with other folks and say what the best future use is for that facility.”

Awareness of the Broadway Auditorium’s history, and of its potential going forward, seems to change the minds of at least some demolitionists.

Four years ago Franczyk saw the building as a big, ugly monolith that ought to be torn down to clear space for the African-American Heritage corridor. Last week at the start of a phone conversation he amended those comments slightly, saying the original armory walls that date back to the 1850s should be left standing and affixed with some kind of historical plaque.

Then he was informed of the Broadway Auditorium’s history: Joe Louis, Ellis Fitzgerald, Cab Calloway, Jimmy Slattery, Woodrow Wilson, Jay Silverheels, Little Three basketball. “Okay,” he said, “but it still looms like an aging colossus that doesn’t have any architectural significance, and it’s pretty ugly.”

Then he was told of some of the ideas for repurposing the aging colossus, like retrofitting it into a public field house.

“You have something there—that’s not a bad idea,” Francyzk said.

“Let someone make a proposal. I’d be willing to look at any reasonable proposal.”

Whether the most important demolitionist, Mayor Brown, is willing to listen to reasonable proposals for the future of the Broadway P barns remains to be seen. Last week, he wasn’t saying.

DAILYPUBLIC.COM / APRIL 8, 2015 / THE PUBLIC

7

ARTS REVIEW Rebuilt Engine by Justine Kurland.

No Vacation Days by Josh Kline.

LABOR INTENSIVE

OVERTIME: THE ART OF WORK ALBRIGHT-KNOX ART GALLERY 1285 ELMWOOD AVE / ALBRIGHTKNOX.ORG

Overtime: The Art of Work at the Albright-Knox

BY JACK FORAN ANYONE WHO’S EVER WORKED will enjoy the Albright-Knox

Art Gallery’s terrific current exhibit Overtime: The Art of Work. And profit from it. Figuratively, that is, not literally, though in a more real sense than the Fedex worker interviewed in a video profits from the overtime he may have to put in to complete his rounds. Which is actually more in the nature of loss—of personal time, personal life, personal dignity—than profit. (Though clear profit for the Fedex company.)

The topic of work is the topic of human dignity. When Adam bit into the apple and first incurred the necessity to work, it wasn’t about some task that had to be done. It was about the indignity of the work requirement.

Wall copy near the start of the exhibit talks about how artists have been drawn to work as subject matter especially since the rise of industrialization in the middle of the 19th century, roughly coinciding with the beginning of the art world’s modernist period. “While some artists reacted with nostalgia,” the wall copy says, “romanticizing traditional and artisanal trades, others eschewed such idealizations.” Some by straightforward documentation of the horror actuality of much industrial work, others by openly advocating for social justice for workers.

A bit of a surprise is the presence of four iconic Albright-Knox collection items we’ve seen numerous times before—some of what’s left of the collection’s older stuff after the great sell-off a few years ago—but never in an explicitly “work” context. The four pieces nicely illustrate the wall copy point about artists really only gearing up on work as a topic starting with the industrial age. They include

IN GALLERIES NOW

BY TINA DILLMAN = ART OPENING 464 Local Art Gallery & Gifts (464 Amherst Street, Buffalo, NY 14207 464gallery. com): Context Contingent: MICA Alumni Group Exhibition, opening Fri Apr 10, 6-10pm, on view through April 29. WedFri: 12-6, Sat-Sun: 12-4, by event or appointment.

1045 Elmwood Gallery for the Arts (1045 Elmwood Avenue, Buffalo, NY 14222, 716-228, photographics2.com/store/welcome-to-our-studio-1045-gallery-store): Jordan Burby & Seth Huges, student art show (visual design) opening Fri Apr 10, 7-9pm, on view through April 14. Thu & Fri 11-6, Sat 11-4 and by appointment.

Albright-Knox Art Gallery (1285 Elmwood Avenue, Buffalo, New York 14222, 8828700, albrightknox.org): Overtime: The Art of Work & Eye to Eye: Looking

8

Joshua Reynolds’s Cupid as a Link Boy (1774), Thomas LeClear’s Buffalo Newsboy (1853), Honoré Daumier’s Laundress on the Quai d’Anjou (1860), and Berthe Morisot’s Woman Sewing (1879). A link boy was a boy employed to carry a link—a kind of torch—to light travelers along a pathway at night. So the beautiful boy with wings in the painting is technically working. But given the notably phallic character of the torch he is bearing, in addition to the Cupid reference, work—labor—is not the main point of this mid-18th-century painting. Whereas, the other three items—all from the 19th century—are clearly about work, we come to see better in the context of this show.

The Fedex piece is by artist Josh Kline. In addition to the interview with the driver/deliveryman, it includes three sculptural Fedex box filled with items symbolizing the main points of the video interview: No Sick Days, No Vacation Days, and Unpaid Overtime.

Another wonderful installation is on a performance project by artist Maria Laderman Ukeles, the core element of which was to personally thank and shake hands with each one of the thousands of New York City Department of Sanitation employees for the work they do collecting trash and garbage and keeping the city (relatively) clean. Usually a thankless task, or worse. In a video, sanitation workers talk about the public near-total lack of appreciation for the task they perform, often under duress conditions, and near-pariah status they incur in performing this necessary and unpleasant job.

They talk about how when they take their legitimate lunch break, people call in to the Sanitation Department and report them. Why aren’t they working?

Beyond Likeness, both shows on view through May 17; Arturo Herrera: Little Bits of Modernism, on view through Apr 5; David Adamo in the Sculpture Court, on view through May 17: Robert Heinecken: Surrealism on TV, on view through May 31. Tue-Sun 10am-5pm, open late First Fridays until 10pm.

Art Dialogue Gallery Custom Framing (5 Linwood Avenue, Buffalo, NY 14209. artdialoguegallery.com): New work by Donald Scheller, on view through May 29. Tue-Fri 11am-5pm, Sat 11am-3pm.

Artists Group Gallery (Western New York Artists Group) (1 Linwood Ave, Buffalo, NY 14209, 885-2251, wnyag.com): 19th Annual Juried Members Exhibition-Modern Works, juried by Nina Freudenheim. TueFri 11am-5pm, Sat 11am-3pm.

Artspace Buffalo Gallery (1219 Main Street, Buffalo, NY, 14209): 8th annual residents’ exhibition 2015, on view through April. Sat & Sun 12-4pm.

Atrium 124 Gallery (124 Elmwood Ave, Buffalo, NY 14201, 631-5777 ext. 698): Works

by Julian Montague and Dan Carey on view through April 9.

THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

Benjaman Gallery (419 Elmwood Avenue, Buffalo, NY, 14222, 553-8483, benjamangallery.com): An Exploration of Regional Art over Three Centuries, with a focus on the paintings of Robert N. Blair. Opening reception Apr 3, 7-10pm; Thu-Sat 11-5pm, Sun-Wed by appointment.

Big Orbit (30 Essex Street, Buffalo, NY 14222, cepagallery.org/about-big-orbit): The Tenant, (A Solitary Experience), UB Thesis Exhibition by Avye Alexandres, opening Fri Apr 3, 8-11pm. On view through Apr 19 (allow 45-60 minutes to experience the work, since there is a walk included). Fri & Sat 12-6pm and by appointment.

Box Gallery (Buffalo Niagara Hostel, 667 Main St, Buffalo, NY 14203): Pseudo-Phernalia, installation by Kate Gaudy up through April.

BT&C Gallery (1250 Niagara Street, Buffalo, NY 14213, 604-6183, btandcgallery. com): Opening Reception, Thu April 9, 6-9pm, Some Things, work by Roberley Bell, on view through May 29. Hours, Fri 12-5pm or by appointment.

Another installation is on worker health and safety. It is by artist Fred Lonidier and features gritty reality flavor posters with forthright to the point of brutal photo documentation of the debilitating effects of performance of typical blue-collar tasks eight hours a day, over an extended period. The display items are selected from the artist’s project called Health and Safety Game. Game in the frequent cynical sense of that word. A specifically management game, in which the workers are pawns.

There is a roomful of videos by Chinese artist Li Xiaofei from his Assembly Line project, showing different aspects of factory life in modern-day China, some still shots, some motion pictures. The segment on a salt and sodium sulfate factory connects industrial production to environmental devastation. Another segment shows just face and head shots of factory workers. You don’t see their hands, don’t see exactly what they’re doing, but clearly they’re making widgets. Maybe assembling cell phones. Probably ten hours a day, six days a week.

Lots more. And given so much, it seems churlish to mention what’s not given. But there’s nothing about how the computer and cell phone have transformed the eight-hour day into a twenty-fourhour work day, the latest mode of work world tyranny. And little or nothing on what the introductory wall copy calls “romanticizing traditional and artisanal trades.” The William Morris opposition impulse to industrialism, adhering to production modes that could not compete with industrialism—at least on industrialism’s terms—and so seemed to fall by the wayside, but did not die but live on. Now we have artisanal beer. Whereas the industrial mode is unsustainable as well as inhuman, as this exhibit clearly demonstrates.

Albright-Knox Curator Cathleen Chaffee put the exhibit together.

P It continues through May 17.

¡Buen Vivir! (148 Elmwood Ave. Buffalo, NY 14201): Photographs by Orin Langelle, Struggles for Justice: Forests, Land, and Human Rights—Late 80s to Late 90s.

Buffalo Arts Studio (Tri Main Building 5th Floor, 2496 Main Street, Buffalo, NY 14214, 833-4450, buffaloartsstudio. org): Assemblage by Megan Conley, Binary ConScience by Stacey Robinson, & Jump Start a student exhibition, all on view till May 2, Tue-Fri 10am-5pm, Sat 10am-2pm, Fourth Fridays until 8pm.

Buffalo Center for Arts and Technology (1221 Main Street, Buffalo, NY 14209, 2591680, buffaloartstechcenter.org): Currently on view, Graham Mitchell Sears, on view through mid-April. Mon-Fri 10am3pm.

Buffalo & Erie County Botanical Gardens (2655 South Park Avenue, Buffalo, NY 14218, 827-1584, buffalogardens.com): Gardens’ Painting Class, included with admission; Mar 20-May 25, Mon-Sun 10am-5pm.

Burchfield Penney Art Center (1300 Elmwood Avenue, Buffalo, NY 14222, 878-6011, burchfieldpenney.org): LISTEN! A Four Day Launch of performances, dance & music, Thu Apr 9-Sun Apr 12. Free Admission on Fri April 10 and opening reception 5:30-7:30 for The Likeness of Being; Portraits by Philip Burke; Selections from a Soldier’s Portfolio, Patteran: A Living Force & Moving Power: Robert Blair; Portrait of a Media Artist: Emil Schult. Ongoing: The Scrutiny of Objects: Sculptures

by Robert A. Booth on view till Aug 30; Body Norms: Selections from the Spong Collection, on view till Aug 30; Inquisitive Lens: Richard Kegler/P22 Type Foundry: Charles E. (The Font Project), on view through May 17; Audio Graphics: Charles E. Burchfield on view till Aug 23; A Resounding Roar: Charles E. Burchfield, on view through Aug 23. Tue, Wed, Fri & Sat 10am-5pm, Second Fridays until 8pm, Thu 10am-9pm, Sun 1-5pm.

Burchfield Nature and Art Center (2001 Union Road, West Seneca, NY 14224, 677-4843, burchfieldnac.org): West Seneca Art So

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Still from Rachel Rampleman’s Girls Girls Girls (Highline Ballroom, NYC) at CEPA Gallery. ciety, opening April 10, 7-9pm, on view through April 30. Tue-Fri 104pm, Sun 1-4pm, see site for upcoming classes.

Canisius College Mary and Lou Vogt Art Gallery (Canisius College 2001 Main Street, Buffalo, NY 14208, 888-8412): Inked, works by Patrick Willett, opening Fri April 10, 5-7pm.

Canisius College Alumni Hall (Canisius College 2001 Main Street, Buffalo, NY 14208, 888-8412): Homestory Deutschland: Black Biographes in Historical and in Present Times, a project by the Initiative Black People in Germany, closing reception, Fri Apr 10, 7-830pm.

Castellani Art Museum (5795 Lewiston Road, Niagara University, NY 14109, 286-8200, castellaniartmuseum.org): Artists View the Falls: 300 Years of Niagara Falls Imagery, on view through Aug 16; Bring to Light: installation by Kurt Von Voetsch & Michael Beam on view through Apr 26; Gary Sczerbaniewicz: High Strangeness, on view through May 3. TueSat 11am-5pm, Sun 1-5pm.

CEPA (617 Main Street, Buffalo, NY 14203, 856-2717, cepagallery.org): Baby’s on Fire, first major survey of NYC artist, Rachel Rampleman. Opening reception, Sat April 11, 7-10pm. Show on view through May 30. Mon-Fri 9am-5pm, Sat 124pm.

Dreamland (387 Franklin Street, Buffalo, NY 14202, facebook.com/ dreamlandarts.buffalo/timeline): Porn Displacement, appropriation digital art by Christiano Flopes, on view through Mar 28.

Eleven Twenty Projects (1120 Main Street, Buffalo, NY 14209, 8828100, eleventwentyprojects.com): The Sacrifice: A Retrospective (1980-2013) of Joe Orffeo, opening Fri April 10, 6-9pm, on view till May 9. Open by appoinment only.

El Museo (91 Allen Street, Buffalo, NY 14202, 464-4692, elmuseobuffalo.org): RH Stamps: Friends of Mine Forgotten… …Memories Lost and Found Again, on view through Apr 10.

Enjoy the Journey Art Gallery (1168 Orchard Park Road, West Seneca, NY 14224, 675-0204, etjgallery. com): Trillium Roads by Matthew Palmo, on view through April 4. Tue & Wed 11-6pm, Thu & Fri 2-6pm, Sat 11-4pm.

Fargo House Gallery (287 Fargo Avenue, Buffalo, NY 14213, thefargohouse.com, visit website for appointment): Currently on view, Caitlin Cass: Benjamin Rathbun Builds Buffalo, on view through April.

Hallwalls (341 Delaware Avenue, Buffalo, NY 14202, 854-1694, hallwalls.org): Amid/In WNY Part Two, survey of local and regional contemporary artists on view through May 1. Tue-Fri 11am-6pm, Sat 11am-2pm.

Impact Artists’ Gallery (Tri Main Building, 2495 #545, Buffalo, NY 14214, 835-6817, impactartistsgallery.org): Feb 4-Mar 13, Beyond Reality, fantasy art exhibit. WedFri 11am-4pm, Sat 11am-2pm.

Indigo Art Gallery (47 Allen Street, Buffalo, NY 14202, 984-9572 indigoartbuffalo.squarespace.com): Metamorformations, work by Lynn Northrop, on view through April 25. Opening reception Fri Apr 10 7-9pm. Wed & Fri 12-6pm, Thu 12-7pm, Sat 12-3pm, and by appointment Sundays and Mondays.

IPRINTFROMHOME Gallery (2630 Elmwood Avenue, Kenmore, NY 14217, (800) 736-8652): Rotating works by local photographers.

Kenan Center House Gallery (433 Locust Street, Lockport, NY 14094,

433-2617 kenancenter.org/arts/ gallery.asp): Wood, Paper, Scissors; Book Art, Sculpture and Collage by Diane L. Bond, Jodi Harvey-Brown, Marie Prince & Doris Timkey, on view through Apr 26.

Mon-Fri 12-5pm & Sun 2-5pm.

Karpeles Manuscript Library (North Hall) (220 North Street, Buffalo, NY 14201, 885-4139, rain. org/~karpeles): On view: Buffalo Boxers: A Cultural Celebration.

Tue-Sun 11am-4pm.

Karpeles Manuscript Museum (Porter Hall) (453 Porter Avenue, Buffalo, NY 14201, 885-4139, rain. org/~karpeles): On view Maps of the United States, and upcoming Early Maps of the World. Tue-Sun 11am-4pm.

Lockside Art Center (21 Main Street, Lockport, NY 14094, 478-0239, locksideartcenter.com): Currently on view, Made by Hand, sculpture exhibit. Fri-Sun 12-4pm.

Manuel Barreto Furniture (430 Delaware Avenue, Buffalo, NY 14202, 867-8937, manuelbarreto.com): Nothing Happens Twice, work by Jozef Bajus, reception and book signing April 3, 6-9pm. Exhibit on view through May. Tue & Wed 11am-5pm, Thu-Sat 10am-6pm.

Meibohm Fine Arts (478 Main Street, East Aurora, NY 14052, 652-0940, meibohmfinearts. com): Joe Orffeo (1926-2013): Retrospective Part II (19802013) on view though Apr 18. TueSat 9:30am-5:30pm.

Native American Museum of Art at Smokin’ Joes (2293 Saunders Settlement Road, Sanborn, NY 14123, 261-9251): Open year round and free. Exhibits Iroquois Artists work. 7am-9pm.

Niagara Arts and Cultural Center (1201 Pine Avenue, Niagara Falls, NY 14301, 282-7530, thenacc.org): Lewiston-Porter Students Art Exhibition, Mar 21-Apr 18, 2015. MonFri 9am-5pm, Sat & Sun 12-4pm.

Niagara County Community College Dolce Valvo Art Center (3111 Saunders Settlement Road, Sanborn, NY 14132, 614-5975): Borrowed History: New Paintings & Sculpture by Bruce Philip Bitmead & Peter Fowler, on view through Apr 15. Mon & Tue 12-5pm, Wed & Thu 12-7pm, Fri 12-3pm, Sat 11-3pm.

Nina Freudenheim Gallery (140 North Street, Buffalo, NY 14201, 8825777, ninafreudenheimgallery. com): Ground, by Joan Linder, on view through Apr 29. Tues-Fri 10am-5pm, Sat & Mon open by appointment only.

Pausa Art House (19 Wadsworth Street, Buffalo, NY 14201, 6979069, pausaarthouse.com): Elemental, by Rosemarie Bauer Sroka, on view through Apr 25.

Thu-Sat 6pm-12am.

Project 308 Gallery (308 Oliver Street, North Tonawanda, NY 14120, 523-0068, project308gallery.com): Buffalo Society of Artists Annual Members’ Exhibition on view though April 25, Opening Reception Fri Apr 10. Tue & Thu 7-9pm and by appointment.

Project 308 also holds classes and rents their facilities, for more information visit their website.

Queen City Gallery (617 Main Street, Buffalo, NY, 14203, 868-8183, queencitygallery.tripod.com): Rotating members work on view.

Tue-Fri 11am-4pm and by appointment. Open late every First Friday from 6-10pm and every Thursday Open Mic, 7-9pm.

River Art Gallery (83 Webster St. North Tonawanda, NY 14120, 260-1497, riverartgalleryandgifts. com) Northern Reflections: a collection of works by Deanna Weinholts. Mar 7-Apr 4, Wed-Sat 11am-4pm.

Sugar City (1239 Niagara Street, Buffalo, NY 14213, buffalosugarcity.org): Free Space, a group art show. Gallery hours: Sat 4/11, 5-11pm, Sun 4/12, 5:30-11pm.

TGW@497 Gallery (497 Franklin Street, Buffalo, NY 14202, 9496604): Refind, metal discoveries

by Robert Then & Richard Rockford. Wed-Fri 12-5pm, Sat 12-3pm.

UB Anderson Gallery (1 Martha Jackson Place, Buffalo, NY 14214, 8293754, ubartgalleries.org): Cravens World: The Human Aesthetic, on view though Dec 31, 2015. Exhibition will include archaeological and ethnographic objects from Annette Cravens collection. WedSat 11am-5pm, Sun 1-5pm.

UB Art Gallery (North Campus, Lower Art Gallery) (201 Center for the Arts, Room B45, Buffalo, NY, 14260, 645-6913, art.buffalo.edu/ resources/lower-gallery): Interstices: The 2015 Rumsey Competition Exhibition: Lydia Daggett, Kayleigh Fogle, Lauren Goetzmann, Elise Roy & Qiong Wu. TueFri 11am-5pm, Sat 1-5pm.

UB Art Gallery (North Campus, Project Space) (201 Center for the Arts, Room 155, Buffalo, NY, 14260, 645-6913, art.buffalo.edu/resources/project-space): New work by 2013-14 Rumsey Competition winners: Harumo Sato & Amber Sliter. On view through April 18.

Tue-Fri 11am-5pm, Sat 1-5pm.

Unity Gallery (1243 Delaware Ave, Buffalo, NY 14209): The Journey Continues, a collection of paintings and found object mosaics by Judi Witt, on view through Apr 29.

Villa Maria College Paul William Beltz Family Art Gallery (240 Pine Ridge Terrace, Cheektowaga, NY 14225, 961-1833): Photography Program Student Exhibit, opening Apr 10, 5-7pm, up through Apr 24. MonFri 8am-8pm, Sat 10am-5pm.

Western New York Book Arts Collaborative (468 Washington Street, Buffalo, NY 14203, 438-1430, wnybookarts.org): 7th Annual Edible Book Festival, Sun April 12, 4-8pm. In the gallery-Sunnyoutside: Ten Years of Godo Books Done Well, up till May 2. WedP Sat 12-6pm.

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Sports Focus Physical Therapy (531 Virginia Street, Buffalo, NY, 14202, 332-4838, Sportsfocuspt. com): Visual Parables by Glenn Kroetsch. Open First Fridays April 3 & May 1, 6-9pm.

Squeaky Wheel (617 Main Street, Buffalo, NY 14203, squeaky. org): Special reception, Sat Apr 11, 7-10pm for opening of Storefront Gallery with an Installation

by Rachel Rampleman. In the gallery: Liz Bayan’s UB Thesis Exhibition, Handle with Care, on view through April 25. Open to the Public Tue-Sat 12-5pm.

Stangler Fine Art (6429 West Quaker Street, Orchard Park, NY 14127, 870-1129, stanglerart.com): Currently on view, 6 Ways: 6 Women Artist 6 Different Mediums. MonFri 11am-5pm, Sat 11am-3pm.

Starlight Studio and Art Gallery (340 Delaware Avenue, Bufflao, NY 14202, starlightstudio.org): Ubiquitous Benevolence, works by Larry Allen. Mon-Fri 9-4pm.

Studio Hart (65 Allen Street, Buffalo, NY 14202, 536-8337, studiohart.com): Great Valley Sketchbook, paintings and prints

by Tom Rooney, Opening Reception Fri Apr 3, 6-9pm. On view through April 25. Tue-Fri 11:30am3:30pm, Sat 12-4pm, and open every First Friday 6-9pm.

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ALLENTOWN: 5BR 3BA w/ formal DR, parlor w/ fp & bay window. Open kit w/ granite & island, mstr BR w/ walk-in, fin 3rd flr w/ libr. 45 Irving, $489,500. Susan D. Lenahan, 864-6757(c) AMHERST: 6BR 4.5BA. Cherry kit w/ SS, LR w/ fp, sunrm w/ wet bar. Hot tub, pool, 1st flr guest ste (poss in-law ste or home ofc), 40+K in recent improvements. 625 LeBrun, $970,000. Susan D. Lenahan, 864-6757(c) CLARENCE: Stunning 4BR 2.5BA w/ master ste & lndry on 1st flr. Kit w/ granite; loft, 3BR/1BA up, fin. bsmt, newer mechs. Wmsvle schools.

6096 Wellesley, $359,900. Ellen Drexler, 912-1966(c) DELAWARE DIST: Stately 4+BR, 4.5BA. Poss in-law; kit w/ SS, gas fp & sitting rm, LR w/ wbfp, mstr ste, fin 3rd flr w/ 3 rms, bath & storg. 41 Chapin Pkwy, $799,500. Susan D. Lenahan, 864-6757(c) DELAWARE DIST: 3BR 2BA condo. LR w/ wet bar, strg unit & parkg. New kit, bths, windows. 24hr doorman. 1088 Delaware, #16-IJ, $559,900. Susan Lenahan, 864-6757(c) ELMWOOD VLG: Victorian splendor w/ period details. 5 BR, 1.5 BA. Excellent mechanics. 246 Norwood. $409,900. Mark W. DiGiampaolo, 887-3891(c)

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716-819-4200 431 Delaware Avenue Buffalo, NY 14202

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THE PUBLIC QUESTIONNAIRE:

CHARMAGNE CHI

BY ANTHONY CHASE

QUICK-WITTED CHARACTER ACTRESS Charmagne Chi has racked up an impressive roster of mem-

orable performances in town. A lot of them have been at MusicalFare, including Kitty, the sassy gal who dates the producer in The Drowsy Chaperone; Christmas Eve, the sassy gal married to the unemployed comic in Avenue Q; and Jacqueline, the sassy gal who owns the restaurant in La Cage aux Folles.

She played Beverly in Tom Dudzick’s Miracle on South Division Street (her “Queen of Heaven” speech was hilariously unforgettable and Helena Landless in The Mystery of Edwin Drood at the Kavinoky.

Famed for her love of dogs and her cheerful world view, Chi’s glorious voice and quick wit have helped her land numerous plumb roles, each of which she imbues with fresh originality. Along the way, she has landed a couple of Artie nominations and her appealing personality has made her an excellent host at the Artie Award ceremony.

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Soon, she’ll be Madeline True in The Wild Party at Second Generation Theatre, but in the meantime, she’s wise and nurturing Nettie Fowler in Rodgers and Hammerstein’s Carousel at MusicalFare—an uncharacteristically maternal role for an actress best known for cynical, wise-cracking dames. Nettie sings two great R&H numbers, “June Is Bustin’ Out All Over”—famed for its impossible-to-remember lyrics (Google Leslie Uggams); and the inspiring, if saccharine anthem “You’ll Never Walk Alone.”

Or, as Charmagne herself describes the character, “Nettie is super into the month of June and encourages others to walk with a buddy.”

Here, clever Ms. Chi submits to the Public Questionnaire.

What word would your friends use to describe you?

Social media confirmed that my friends are divided on this topic. If I ever go missing, do not ask any of them to describe me if you want me to be found. Also, going forward I will totally be that girl who turns to Facebook to crowdsource her self-esteem. Thanks, The Public!

What quality in your current character is most unlike your own personality?

Nettie Fowler is not funny. Like at all.

What quality in your current roles is most like your own personality?

She gets very excited about life’s simple pleasures. Like clambakes. Both of us could sing about clambakes all day.

When and where were you the happiest?

Here and now.

What is your idea of hell on earth?

Learning how to play a board game. I have zero interest. Let’s just play one fake round and figure this s*** out on its feet.

What is your greatest fear?

Adopting a dog that won’t live forever. So far, so good.

Which talent do you most wish you had?

I wish I could play an instrument. Musicians and what they do is a total mystery to me.

What superpower do you most wish you had?

The ability to heal myself and others.

What would you change about your appearance?

Nothing. My outside is great. It’s my insides that are rotting. Can you see those? Can I change those? They need to get it together.

What trait do you most dislike in others?

I don’t like it when people are unreliable. So “unreliability.” Is that a word? Google says it is but it sounds made-up.

What do you most value in your friends?

Trustworthiness.

What quality do you most value in a good director?

Patience. I develop during the rehearsal process.

God bless those actors who can show up ready to open. Or who can read the script before the first table read.

What is your guilty pleasure?

Animated films.

Who is your favorite fictional hero?

Jane Eyre. I’m pretty sure no one else will pick her.

Who is your real-life hero?

Ragen Chastain.

What do you consider to be the most overrated virtue?

Temperance.

On what occasion do you lie?

I lie about my age all the time. Lie up, people.

By a decade at least. We all look amazing for someone who is 10 years older.

What was the subject of your last Google search?

Virtues. Did you know there are seven?

If you come back in another life, what person or thing would you like to be?

If I have to come back, I want to be one of those six-year-olds who is on the news because I remember every detail of my previous life. I don’t want to waste a moment of my next life re-learning how to play even one board game.

What role, in which you will never be cast, is perfect for you?

I have been cast in the role of Sarah in 100 percent of the productions of Ragtime that have taken place in my car.

What is your motto?

P “There is no secret ingredient.” –Po Ping

SPOTLIGHT MUSIC

PHOTO BY BRIAN GORMAN

SMART HOUSE

BY DANIEL BAUER SMART HOUSE’S Brian Gorman tells me

that electronic music excites him because it’s limitless.

“There’s nowhere you can’t go,” says Gorman.

“I feel like it gets a bad reputation now because it seems like everyone’s doing the same thing.

But the actual potential of it is infinite.”

The challenge for any artist: chiseling down infinity into something that translates to other people. For Smart House in particular, this means creating house-tinged synth-pop that feels exciting and new while remaining dancey and relatable.

“It’s an exercise in restraint,” says Gorman.

“The busier it is, the shittier it sounds.”

When I stop by Smart House’s practice space, they’re right in the middle of this honing process, fine-tuning the arrangements they’ve worked out on Gorman’s computer. Gorman hovers over a sizeable terminal of different devices: a mixer, a keyboard, some analog synths and a box covered in illuminated buttons used to play clips on the fly from his laptop. He launches a pulsing drumbeat. Vocalist Alek Ogadzhanov bobs on one foot, his fingers finding their place on his keyboard as drummer Matt Chavanne taps his sticks together—a signal for Gorman to route a click track to his headphones.

And then they begin. I’d checked out their recordings online before I made the drive over, but it’s different than I’d expected. Songs like “Let’s Skip” certainly draw heavily on house music and synth-pop—like Hot Chip—but there was also a strong indie-rock influence.

(Ogadzhanov’s voice, especially, made me think of Grandaddy.)

The music Smart House play now is still as melodic and sneakily vulnerable. Ogadzhanov tells me that most of their songs are based on a juxtaposition between “melodramatic” lyrics about broken hearts and house rhythms more concerned with shaking hips. But it seems like they’ve doubled down on a single, specific focus: making people dance and keeping them entertained, which is not always easy to do, especially in a live setting.

“I always loved electronic music but sometimes it’s just boring to perform,” Gorman admits.

“You’ve got to work a little bit to keep yourself engaged and interested. You and the people watching.”

This is probably a stereotype you’re familiar with, especially if you aren’t already a fan of the genre. Ask the nearest crotchety musician

what he or she thinks of live electronic music and you’ll probably be met with a grunt. ”Why would I pay money to go watch some kid paw at his laptop?” could be a stereotypical response.

Like any sweeping statements, there is some truth in this criticism. It’s possible to play a pretty bare bones electronic set that’s boring to watch, and if you’re in the building less to enjoy the collective experience of dancing around with a bunch of strangers and more to be entertained by the entertainer, then you might feel a little cheated.

Smart House is acutely aware of this risk, pouring a lot of time and energy into ensuring that, electronic or not, their live set feels live— thus additions like Chavanne’s live drumming, which understatedly maintains the band’s momentum. Chavanne is the first to admit that he’s not doing anything too crazy behind the drum set.

“You can kind of do this all day, play four-onthe-floor beats,” he says. “Holding back and restraining, it’s going to sound better.”

And it does. Besides, he’s not really restraining: when the energy is high, Chavanne is walloping his drum set, totally in sync with the electronic backbone of the songs. And even in quieter moments, the presence of real live drums infuses the synthesized elements of the music with a whole lot of blood.

As they play, Gorman keeps one eye on his bandmates and one eye on his rig, the “nucleus” of Smart House’s music. Chavanne and Ogadzhanov rise and fall with the backing track, getting caught up in the energy.

“If we’re doing a longer jam session and it’s a dancey beat, I can kind of get lost in it,” Chavanne tells me later, and Ogadzhanov nods in agreement.

“It’s trance-inducing, absolutely.”

Like any band in the early stages of practicing, just settling into a groove, they still haven’t worked out all of their cues. As Chavanne and Ogadzhanov fall into a reverie, Gorman stays just above it, finally waving them off to discuss the dynamic trajectory of the arrangement.

Between the backing track, the pulse of Chavanne’s bass drum and the wash of Ogadzhanov’s synth, the music pounds forward like a train, and Gorman plays conductor to make sure it doesn’t get away from them.

The goal, after all, is to put the audience into a four-step trance, and the key to making that happen is to not get hypnotized yourself.

THE VINE BROTHERS For the first time as part of our series The Public Presents, we’re bringing in a band from out of town, a band we’re familiar with and have enjoyed as a staff: Brooklyn’s The Vine Brothers. They caught our attention when they played a charming and intimate set at a small house show during last year’s Infringement Festival. The three-piece band— Greg Bucking on guitar, Joe Credit III, and upright bassist Garrett Jones—may worship at the altar of Django Reinhardt with their gypsy-jazz stringed attack, but hints of Tom Waits and the Band burn like myrrh through their soulful, Americana chantry. They’ve even been known to play the occasional N’awlins-flavored cover of “Sing Sing Sing” by the King of the Swing, Louis Prima. Their latest album, The Devil and the Deep Black Sky, ranges from a lazy float down the Mississippi on songs like “No Desire,” to ruckus, knee slapping fun on songs like “Tune to Go.” Don’t miss them this Saturday, April 11 at The Public Presents at Nietzsche’s with Smart House and Strange Acres.-CORY PERLA

PRESENTS:

SMART HOUSE

THE VINE BROTHERS & STRANGE ACRES W/

SAT, APRIL 11 / 9PM / $5 NIETZSCHES, 248 ALLEN ST.

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FORM OVER FUNCTION Buffalo native Mark Thomas Duggan recently returned from four years volunteering in the Republic of the Philippines as an artist, educator, and disaster documentarian. More at mthomasduggan.com.

DAILYPUBLIC.COM / APRIL 8, 2015 / THE PUBLIC 13

EVENTS CALENDAR PUBLIC APPROVED

IN PRINT

DR. OOO

“Fuq Dr. Ooo” (Song) RIYL: Atmosphere, Kool A.D., Elzhi

The former Kinda Like Dreamin’ tag-team member has been making noise since his return from NYC last year. The 40-ounce-guzzling MC dropped the video for “Fuq Dr. Ooo” (shot over various snowy Buffalo locations this past winter) last week, another recent release through the busy Equality Knowledge & Light.

PHOTO BY SHERVIN LAINEZ

WILDER MAKER + HUSSALONIA THURSDAY APR 9 7PM / MOHAWK PLACE, 47 E MOHAWK ST. / $5 [INDIE] This Brooklyn-based five-piece is a stunning example of the good things that can happen when pushing at the confines of alt-country and letting convention take a back seat. On the surface, Wilder Maker seems entirely familiar, echoing bits of Whiskeytown and Bon Iver with the more classic tones of The Band and Neil Young. Vocalist/songwriter Gabe Birnbaum’s tales of loss and regret have plenty of bite, but it’s the complexity of the arrangements revealed below the tuneful exterior that keep you coming back: jazzy pockets of shifting time signatures, brief glimmers of dissonance, creepy echoes and chanted repetition all recur under a guise of twangy-pop that’s much more than initially meets the ear. Birnbaum’s honesty comes across not only in his writing, but also in his delightfully under-produced, gritty vocals, softened in spots by co-ed crooning a la keyboardist Katie Von Schleicher. They’re at Mohawk Place on Thursday, April 9 supporting the second in a trio of EPs, Everyday Crimes Against Objects Of Desire, Vol 2., out this week.

-CHRISTOPHER JOHN TREACY

Buffalo’s Hussalonia will play in support. The phrase “pop does not mean popular” appears on the front page of Hussalonia’s website. It is part of the name of the band’s latest album, the full title of which is Pop Does Not Mean Popular: A Polite Introduction to Hussalonia (2004-2014). The album, as you might glean from the title alone, is a strange examination of pop culture. Billed as an introduction to the band (they’ve released dozens of songs and several albums and EPs since their formation in 2004), the record presents a semi-cynical take on the struggle of small time bands in an oversaturated musical climate. “You’ll never be famous, you’ll never be a millionaire.

There are just a few of us who love what you do,” lyrics from the album’s second track, “Never Be Famous,” neatly sum up the attitude behind this record. Take this opportunity to catch Hussalonia in a rare live appearance. -CORY PERLA

THE MALONES

“Green Rock” (Song) RIYL: Arctic Monkeys, the Strokes, the Slums

The previously unreleased track from the former buzz trio was included on Sampler 6, the latest compilation of unearthed songs, covers, and other oddities from the DIY label Steak & Cake Records.

THURSDAY APR 9 La Femme Women's Expo

5pm Buffalo Niagara Marriott, 1340 Millersport Hwy [EXPO] “We believe that women succeed by helping other women succeed,” says Agathi Georgiou, host of a Buffalo-based women’s expo called La Femme by Agathi. The third annual expo, created to “empower, educate, and inspire” local women will feature vendors including salons and spas, health and cooking, fitness, and clothing related business—businesses that, according to Agathi, have the goal of bettering themselves and women. La Femme by Agathi will be held at the Buffalo Niagara Marriott on Thursday, April 9. -THE PUBLIC STAFF

The David Dance

BREACH, THE BELOVED

So Far From Parkside (Album) RIYL: Panda Bear, Thundercat, Tame Impala

The new project from instrumental hip hop artist and producer Romello finds the artist tackling a lo-fi, psychedelic tone and experimental songwriting.

LOCAL SHOW PICK OF THE WEEK BUFFALO SEX CHANGE w/ THE TINS, AIRCRAFT THE HIVE WED, APRIL 8 / 7PM / $6

9pm North Park Theatre, 1428 Hertel Ave. $7 [SCREENING] A week after the successful screening of Buffalo 66, the North Park presents the local premiere of another film by a native son who left for the life in New York City 20 years ago. Don Scime stars in The David Dance, adapted from his play about a late-night DJ who only comes alive when he’s on the air. When his sister asks for his help in adopting a child from Brazil, the scene is set for both to confront issues from their past that have produced the self-doubts that are impeding their futures. The David Dance was shot entirely in Buffalo, Clarence, and Williamsville, and in a year of festival screenings has picked up several awards for Best Narrative Feature. Scime will be present to introduce the film and answer questions after the screening on Thursday, April 9. -M. FAUST

Roberley Bell: Some Things 6pm BT&C Gallery, 1250 Niagara St. free [ART] Through her investigations of the “natural” seen in our contemporary landscapes, Roberley Bell creates slick, brightly colored sculptures that initiate a dialogue between the interior and exterior. Bell has received several grants and fellowships over the years, including, most notably, the Pollock Krasner Fellowship, and a Fulbright Scholarship. - TINA DILLMAN

14 THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

Bob Dylan's Imitators Contest

Reel Queer: Call Me Kuchu

7pm sign up, 8pm show, Nietzsche’s, 248 Allen St. [FUN] Bob Dylan’s in the air again and he is sharing breath with Frank Sinatra. Having just released an album of standards, he’s chosen his media outlets carefully, giving an exclusive interview to AARP. As MusiCares Person of the Year, he spoke and joked at length regarding his influences during a candid speech in February. I recall a moment of fandom clarity that occurred on a winter’s eve, but then maybe it was summer, too. It was in the year of Love & Theft or just after. In the haven of Nietzsche’s, Michael Meldrum and the Buffalo Song Project were playing the post-Sinatra songwriter standards. That night Michael played “All Along the Watchtower,” and I remember his voice delivering it like it was newborn. This Thursday, April 9, it time again for the annual Bob Dylan Imitator’s Contest, started by Michael Meldrum 28 years ago. It is an opportunity for Dylan lovers to converge and conspire, and to honor Michael’s memory. -ERIN VERHOEF

7pm Hallwalls, 341 Delaware Ave. $5-$8 [SCREENING] “Kuchu,” a word of Swahili origin used as a catchall for homosexual, becomes the centerpiece of this documentary that chronicles the fight for gay rights in Uganda, a county that explored making homosexuality punishable by death during filming. Call Me Kuchu follows Uganda’s first openly gay man, David Kato and retired Anglican Bishop Christopher Senyonjo as they battle persecution in their public and private lives. -AARON LOWINGER

Dumpstaphunk 10pm the Waiting Room, 334 Delaware Ave. $15-$18 [FUNK] Dumpstaphunk builds it right into their name: Yes, they’re funky, but there’s a unique flair, too. The band hails from New Orleans and takes the Crescent City’s musical heritage, mixes in some soulful blues, and throws it into a

CALENDAR EVENTS

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THE TOMMY Z BAND $5 »ADVERTISER 18+ � MESSAGE»»TO Doors: 8pm Show: 9pm

LIVEMUSICEVERYNIGHTFOROVER30YEARS!

WEDNESDAY

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THURSDAY

APR 9

Wood Candy

(50’s Rock n Roll)

APR 10

AMERICA'S GOT DOWNTON FRIDAY APR 10 7PM / SHEA'S PERFORMING ARTS CENTER, 646 MAIN ST. / $43.50 [COMEDY] For those of you who think Downton Abbey is just a glorified soap opera, Luke Kempner agrees. From London’s West End theater scene, Kempner is an actor fluent in various forms of singing and dancing, but it’s his impersonating prowess that give his triple threat status a sharper edge.

Kempner came out as a impersonation virtuoso in his viral YouTube video, “Downstairs at Downton,” in which he portrayed a myriad of characters from the aforementioned drama, with chilling and hilarious accuracy. He took to the live arena, and after making a splash throughout the U.K., he’s bringing America’s Got Downton to the Western hemisphere. In this delicious one-man parody, the dusty, conservative Downton characters find themselves, yet again, racing to save their estate from financial ruin, but this time they encounter modern British television icons (X Factor, Great British Bake-Off). These anachronistic exchanges, coupled with Kempner’s acute writing, convey quite a bit about the drama-obsessed British television landscape and keep the audience in stitches throughout.

Swiftly and seamlessly, Kempner transitions between characters—at times, whilst mid-song—but the true magic lies in his firm grasp of everything Downton, from character mannerisms to the dialogue— which could have been written by Julian Fellowes himself. This level of accuracy secures a consistently clean distinction between over 30 impressions. Catch Luke Kempner at Shea’s Performing Arts Center from Friday, April 11 through Saturday, April 12. -KELLIE POWELL

rhythmic blend of funky force. The melody tradeoff between cousins, Ivan and Ian Neville lead the group in the same way their fathers led the Neville Brothers through the 1970s and 1980s. It’s clearly just in the genes. The band will take taking the stage this Thursday, April 9, at Waiting Room with Space Junk. The show itself has a later start time of 10pm for anyone who is attending Lotus at the Town Ballroom or the Wood Brothers at The Tralf earlier in the night. -JS

bob dylan’s imitators night 8PM $6

Lotus 7pm Town Ballroom, 681 Main St. $22-$25 [ELECTRONIC/DANCE] Electronic music has long been folded into the typical bass, guitar, and drums arrangement, but it wasn’t until recently that the two have coexisted in such an organic way in a live setting. As the late 1990s gave way to the early 2000s, bands began experimenting with different electronic equipment on stage during live shows. Employing the use of standard instruments and introducing things like drum machines and synthesizers, bands began to bridge the gap and go off in directions previously unexplored. While they might not be pioneers, few would disagree that Lotus has been one of the biggest influencers over this new sonic exploration. The band began their ascent in the early 2000s, sharing a vision similar to acts like the Disco Biscuits and STS9, while making sure to put their own unique spin on the general sound. Fast-forward to today, and the instrumental group is still at it. They released their latest album, Gilded Age, in July of last year and are now taking the new music on the road to do what they do best: take a song and explore its vast musical boundaries.

Lotus comes to the Town Ballroom this Thursday, April 9. The band has a history of playing strong shows in Buffalo and enjoying their time so much that they’ve done back to back dates in the past. This unfortunately won’t be one of those tours, but you can bet that they will certainly pack all of that energy and excitement into one night. -JS

8pm UB Center For The Arts, 103 Center For The Arts $31.50 or $13.50 for students [DANCE] RIOULT Dance NY will be welcomed to the stage at University at Buffalo’s Center for the Arts on Saturday, April 11 at 8pm.

The modern dance company was first founded in 1994 by husband-and-wife duo Pascal Rioult and Joyce Herring in their New York City apartment. Over the years the company has grown and gained a strong following in the dance world, known for displaying sensual, articulate, and exquisitely musical works. Rioult, a former principal dancer with the Martha Graham Dance Company, has successfully choreographed 40 dance pieces, known for premiering at least one new work each year. The company will be in residence at the institution from April 6-11. Before their showcase presentation there will be a special pre-performance talk at 7:15pm.

-VANESSA OSWALD

Single Mothers

6pm Studio at the Waiting Room, 334 Delaware Ave. $10 [PUNK] It took more than five years for the ballsy Ontario punk outfit Single Mothers to finally release a debut full-length—last year’s Negative Qualities—mainly due to recurring lineup issues.

At not even a half hour, it still turns out to be well worth the wait. The abandon characterized on the mostly-ferocious 10 tracks therein matches the cover art perfectly—a drawing of expressionless, brief-clad male figures beating each other on a barroom floor. This isn’t arty punk nor is it some emo-pop hybrid, instead, Single Mothers embody the spirit of boredom, disgust, and frustration that motivated the very beginnings of punk while carefully avoiding noisy devolution. Front guy Drew Thomson channels John Lydon’s obnoxious sneer, as many have before, but his writing actually backs it up, which is considerably more impressive. Hear for yourself this Friday, April 10 at Studio at The Waiting Room.-CJT

CONTINUED ON PAGE 16

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716.200.1893 • BUFFALOIRONWORKS.COM DAILYPUBLIC.COM / APRIL 8, 2015 / THE PUBLIC 15

EVENTS CALENDAR

THE WOOD BROTHERS + WILLIE WATSON THURSDAY APR 9 8PM / TRALF MUSIC HALL, 622 MAIN ST. / $20-$23 [INDIE] The Wood Brothers are a band who symbolizes all that is right with music. The organic approach this threesome takes on Americana music is a deep history lesson in blues, jazz, bluegrass, soul, and overall songwriting at its best.

Brothers Chris and Oliver Wood formed the band and run vocal harmonies amidst their upright bass and guitar roles. The pair are joined by multi-instrumentalist Jano Rix who typically plays a percussion-based role. This week we got the chance to chat with Oliver Wood before the Wood Brothers are come to The Tralf on Thursday, April 9 with by special guest, Willie Watson.

What are the pros and cons of having your brother in the band?

As for pros: We have many shared experiences from growing up together and we take a lot of pride in our ‘”family business.” Cons: We can’t really fire each other.

How do your diverse musical backgrounds complement one another?

We have different strengths that seem to balance out nicely. Chris is a real virtuoso on his instrument. It’s rare to see someone play like that in a band that focuses on songs and singing. Pairing his upright playing with my raw and sloppy approach on guitar seems to work well somehow.

Did the addition of Jano Rix change the chemistry and direction of the band?

Jano has added the perfect ingredients for us to grow into a “band” as opposed to a duo. His drum and percussion work is great, but he’s also a great keyboardist and singer, so he’s opened things up in terms of how we write/record and perform live. We can sing three-part harmonies or feature him on piano, and also break down to our fully acoustic formation with him on shuitar (his homemade percussion instrument). I believe he and his friend Matt Glassmeyer have been building them for a while—converting crappy old guitars into percussion instruments. You can learn more at Shuitar.com You’ve made it known that your new record is ready for mixing, so when can fans expect to hear it? How and where has the sound evolved to?

Our new record should be out early this fall. As writers we’ve become more collaborative than ever. We’re using Jano on piano/keyboards more, and we even have Chris on electric bass (first time in Wood Brothers history).

What is your favorite cover to bust out at a show?

“Love Her with a Feeling” by Freddy King -JEREMIAH SHEA You might remember Watkins-Glen native Willie Watson as a founding member of Old Crow Medicine Show, which he officially left in 2011. His consummate banjo playing helped the Medicine Show gain considerable popularity with the same roots-focused audience that embraced Gillian Welch and Dave Rawlings, the latter of whom went on to produce their albums. Now on his own for several years, Watson again teamed up with Rawlings for his first solo outing, a mix of traditional songs and obscurities entitled Folk Singer Vol. 1, out last year. -CHRISTOPHER JOHN TREACY

CONTINUED FROM PAGE 15

Roxy’s Takeover

PUBLIC APPROVED

10pm Nektar, 451 Elmwood Ave. [DANCE PARTY] The spirit of Allentown’s dearly-departed nightclub will be resurrected for one night only featuring the DJs and people that made the big red house on Main one of the most fun and welcoming spots in town. DJ E will be spinning dance records and ex-Roxy’s bartenders Julia Greenwood and Amie Zinzola will be taking care of the libations. -AL

SATURDAY APR 11 Farm2Curb: Know Your Farmer 2pm Ashker's Main Street, 1526 Main St. free [FOOD] On Saturday, April 11 at Ashker’s Main Street location (1526 Main Street), Farm2Curb, founded in 2014, will host Know Your Farmer—a great opportunity to show some love for the real-deal farmers serving the WNY region. Farm2Curb is on a mission to build healthy communities in Buffalo by reconnecting people to their local and sustainable food sources. The event takes place 2-6pm.

Get to know your local farmers while enjoying an afternoon of food, music and community outreach. All are welcome and donations will be accepted. Visit farm2curb.org for more information. -SEAN HEIDINGER

Jack Wagner

8pm Seneca Niagara Bear's Den, 310 4th St. $50 [POP] Jack Wagner shared much of his early music with his fictional self, Frisco Jones of 1980s-era General Hospital. From his power ballad, “All I Need” to the tuneful, “The Right Key,” Wagner transmitted his hits—he wrote most, if not all of his music—via Jones. After five albums and a brief hiatus, he resurfaced in 2014 with On The Porch, featuring introspective, catchy pop cuts, that are 100% Jack. Catch Jack Wagner at Seneca Niagara Casino Bear’s Den on Saturday, April 11. -KP

Giant Panda Guerilla Dub Squad 8pm Tralf Music Hall, 622 Main St. $13-$15 [ROCK] For most, the sounds of reggae music take them to a warm place, washing away worries. Here in Buffalo, not only do we lack a large presence of those bands, but were hit by a brutal winter. Luckily for everyone, Buffalo’s sister city, Rochester, birthed one of the best reggae bands in recent years in Giant Panda Guerilla Dub Squad. The group has been at it now for over 10 years, and in the process has amassed a large and loyal following. GPGDS is making a run through New York State with stops in Ithaca and Albany before they set their sights on Buffalo this Saturday, April 11 for a show at The Tralf. Danielle Ponder & The Tomorrow People opens the show. -JS

16 THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

HELENA FRIDAY APR 10 9PM / LIFT NIGHTCLUB, 257 FRANKLIN ST. / $13 [ELECTRONIC/DANCE] A model and acclaimed “fashionista,” Helena has become a well-known name in the EDM world. Born in the United Kingdom, raised in Australia, and now based in Los Angeles, she is currently on an April tour and will make a stop in Buffalo at LiFT Nightclub on Friday, April 10. Additionally, she has played in London, Minneapolis, and New York City, and will finish up the month in Boston and Las Vegas. To get an idea of what vibe she brings and what crowd she draws, she has shared the stage with Avicii and has found herself at home at Ultra Music Festival, undoubtedly inspiring hand-raised air punching and a lot of sweaty dancing. Presented by Factory Nightlife, local support will include Jesse Aaron and Nik Stylez. This event will be dress to impress and strictly 21+. -ALICIA GRECO

CALENDAR EVENTS Rachel Rampleman: Baby’s On Fire

7pm Squeaky Wheel, 617 Main Street free [ART] Those who are interested in checking out something new in Buffalo will not want to miss this opening. CEPA Gallery presents the first major gallery survey of Brooklyn-based multimedia artist Rachel Rampleman on Saturday, April 11. She will be the inaugural artist in Squeaky Wheel’s new Storefront Gallery, which will be viewable 24/7, and her work will also be found inside Squeaky Wheel’s micro-cinema during public viewing hours. Rampleman’s work explores elements of American culture that often are overlooked, focusing on subjects related to gender, artifice, and spectacle. Highlighting strong female personalities and the rock culture of the 1980s, this Midwestern-born artist uses mainly timebased media to challenge stereotypes associated with women living in a man’s world. In addition to the prolific body of work that will be on view through out the Market Arcade, a limited edition artist book will be available through Linoleum Press.-TINA DILLMAN

PUBLIC APPROVED

SUNDAY APR 12 7th Annual Edible Book Festival 4pm Western New York Book Arts Center, 468 Washington St. $5 or $3 for members [LIT] Sink your teeth into the toothsome musings of your favorite book, or rather, its cover, at the 7th Annual Edible Book Festival. On Sunday, April 12 the WNY Book Arts Center invites participants to create edible books to display, consume, and rival its contemporaries. Prizes will be awarded to the Best Tasting, Most Book-Like, and Most Creative Use of Materials, in three divisions: professional, amateur, and youth. Highlights of this family-friendly event include crafts, raffles, and delicious literature. -KP

TUESDAY APR 14 River City Extension 7pm Studio at the Waiting Room, 334 Delaware Ave. $12-$14 [ROCK] Formerly an eight-piece vehicle for the songwriting of Joe Michelini, now touring in a group of five to support the brand new Deliverance (Anchor & Hope), New Jersey's River City Extension makes spirited and jangly music that appeals to both fans of Americana and indie-pop.

The new disc offers an even wider palette of musical possibilities, injecting the mix with delicious (and unexpected) bits of 1970s AM-radio soul. The results are more accessible than past releases, but it's far from a sellout. Instead, Deliverance presents a musical snapshot (taken, amusingly enough, at a lodge in the Poconos) of a talented band that's capable of weaving powerful hooks into their progressive arrangements without over-sanding the edges. They're at Studio at The Waiting Room on Tuesday, April 14 with Cold Fronts and Our Modern Moloch. -CJT

JOE NICE SATURDAY APR 11 9PM / GYPSY PARLOR, 376 GRANT ST. / $8 [DUB STEP] As a part of the Gypsy Parlor’s weekly showcase “Off the Beat Grant Street,” Baltimore dubplate master Joe Nice will return to Buffalo for Frosty Tone’s opening night to perform at the venue on Saturday, April 11. Joe Nice has been collecting dubplates and establishing himself as one of North America’s most highly esteemed dubstep DJs since 2001. He began his career when he joined the 2 Charming Crew, a collective of Charm City DJs. Influential in streamlining dubstep into the United States, he began by playing the genre through his internet radio show on Gourmet Beats, as well as co-founding and hosting as resident DJ for the first dubstep night in the states at Dub War NYC. “History’s getting better. It’s a fine wine, it gets better with age. Everyday, all day,” Joe Nice said in regard to the genre in a video interview at a show at the venue in 2007. Known worldwide, Joe Nice was also the first American DJ to play on the legendary London radio station, Rinse FM. Off the Beat Grant Street was established as a means of creating a scene at the West Side's clairvoyantly-inspired bar, the Gypsy Parlor. “It started because since there is no walk-through traffic we have to create a scene and a destination. Having no walk-through traffic works to our benefit because we can push the boundaries with the music we play because people are coming there specifically for us,” said owner Gabrielle Mattina. “Off the Beat Grant Street has a double meaning. Off the beaten path; we are not on a main strip...It’s underground, just like the music we play.” Also performing along with Joe Nice will be Jamestown’s GRIMEace, Basha, Stuntman (aka Uglydude), NeckBrace, Alldaydnb & Tokyo Knuckles, and VEYEB & Buffalo Joe. -ALICIA GRECO

PUBLIC APPROVED

WEDNESDAY APR 15 Dan + Shay: Where It All Began Tour 7pm Town Ballroom, 681 Main St. $20-$25 [COUNTRY] Country music duo, Dan + Shay—Dan Smyers and Shay Mooney—burst onto the scene last year with a deliciously catchy single, “19 You + Me”. Dripping with charm and honeyed harmonies, it quickly topped country charts. Their debut album, Where It All Began, solidified their flair for penning heartfelt lyrics over infectious melodies.

Shay’s springy vocals soar along Dan’s polished guitar lines. That chemistry shoots them down a promising route on the country pop map. Catch Dan + Say with Canaan Smith at the Town Ballroom on Wednesday, April 15. -KP

Decoder

7pm Squeaky Wheel, 617 Main St. $7, free for Squeaky Wheel members [SCREENING] If you enjoyed Liquid Sky, the last entry in the Kaleiodotropes film series at Squeaky Wheel, by all means make plans to see Decoder, a film from the same post punk/sci-fi vein. Made in West Germany in 1984 and rarely screened since its initial release, it is best remembered for a soundtrack that includes contributions from such early 1980s underground icons as Einstürzende Neubauten, SofCell. The The, Genesis, P-Orridge and Christiane F. Adapted from the work of William Burroughs (who also appears), the film stars Einsturzende Neubauten’s F.M. Einheit as a young musician who discovers that muzak played at his local hamburger joint is a government creation to control the population’s emotions. He also discovers that his own industrial sounds can produce just the opposite effect, something that brings him to the attention of an underground cult. Shot with heavily filtered colors to create a queasy urban dystopia, it’s a fascinating document of the pre-digital era and a time when information was considered power, before the internet turned it into another kind of noise. Decoder will be screened at Squeaky Wheel on Wednesday, April 15. -M. FAUST

LIGHTNING BOLT + METZ WEDNESDAY APR 15 7PM / MOHAWK PLACE, 47 E MOHAWK ST. / $13-$15 [NOISE ROCK] The last time Brian Chippendale, singer and drummer of noise-rock band Lightning Bolt came to Buffalo, it was in a raw, downtown warehouse space under his solo moniker, Black Pus. With a stack of amplifiers behind him and donning a fearsome mask equipped with a microphone, Chippendale played one of the most spastic, captivating, and loudest shows I’ve ever been to. Some people walked out because of the ear piercing sound created by Chippendale’s roaring, echoed vocals, his frenzied drumming, and blaring noise gate effects. At the time, it was unclear if his main project, Lightning Bolt, would release another album or if they’d ever make it back to Buffalo again. Now Lightning Bolt is touring on the heels of Fantasy Empire, their latest LP—released by Thrill Jockey Records in March—and perhaps their best album since 2003’s Wonderful Rainbow. The two piece—Chippendale on drums and vocals and Brian Gibson on bass—have become champions of avant garde noise rock among their Providence Rhode Island School of Design colleagues like Black Dice and Pink and Brown, and Fantasy Empire—with its frantic, yet contained aural aesthetics—only underlines their superior status. On Wednesday, April 15 they’ll return to Buffalo for a show at Mohawk Place—presented by ESI Events and The Tralf—with Toronto noise-punk band, METZ. On May 5 the Sub Pop-signed three-piece post-hardcore band will release Metz II, the follow up to their 2012 self-titled debut album—a pop-damaged fuzz-punk album, which garnered them critical acclaim. -CORY PERLA P DAILYPUBLIC.COM / APRIL 8, 2015 / THE PUBLIC 17

EATS NEWS + REVIEWS

WITH SPRING COMES LAKE EFFECT Premium ice cream maker opens its doors for the season

BY CAITLIN HARTNEY

DESPITE THE LONGER DAYS and (slowly) climbing temperatures,

Lake Effect is in the forecast. But this time, Western New Yorkers aren’t complaining.

In a sure sign of spring, Lockport’s Lake Effect Artisan Ice Cream will open for the season on Friday, April 10. The announcement, which came via social media last week, was made to the rejoice of the company’s loyal and surely winter-weathered fans, many of whom look forward to the opportunity to jump on the I-990 for a taste of the company’s unique inshop offerings, which include a rotating menu of ice cream flavors, freezie pops, cookie sandwiches, and over-the-top milkshakes and sundaes.

Lake Effect co-owners Jason Wulf and Erik Bernardi were busy planning and experimenting in the offseason, and they are excited to reveal the results of their labor to patrons as the season unfolds. A locally driven sundae featuring Public Espresso coffee ice cream, Paula’s Doughnuts glazed fry cake pieces, and dough-

nut glaze and espresso toppings will be among the new items. Lake Effect will also begin selling ice cream cakes, the first iteration of which will likewise showcase Paula’s Doughnuts.

Not everything will be new, however. Momofuku-inspired marshmallow and cornflake crunch cookies will continue to flank Salty Caramel in one of Lake Effect’s more popular takes on the ice cream sandwich. Niagara County-brewed Steampunk Cider will once again grace the menu in the form of a freezie pop. And fan-favorite Gin and Juice Sherbet, featuring London dry, orange, and grapefruit, will make a reappearance, as will a retooled version of Lake Effect’s Blood Orange and Angostura Bitters Sherbet, which will be rebranded this year as Graycliff Sunset.

As if spirits-infused frozen desserts aren’t ex-

LAKE EFFECT ICE CREAM 79 CANAL ST, LOCKPORT LAKEEFFECTICECREAM.COM

citing enough, Lake Effect will soon be mobile. Wulf and Bernardi plan to put a decked out three-wheeled Cushman truckster on the road by mid-summer. ”It’s basically a freezer on wheels,” Wulf chuckled when asked about the venture.

The truckster, which will play traditional ice cream truck music covered by local bands, will be confined to Lockport initially, but the duo hopes, in time, to build an entire fleet of “odd little trucks” to serve a wider geographical area.

Speaking of which, Lake Effect will also move its production facility to a 7,000-square-foot

COURTESY OF LAKE EFFECT ICE CREAM

building near its flagship store. The move will eventually allow the company, which produces its products exclusively in small batches, to offer online ordering and to open new locations.

So while we (hopefully) won’t have any more snow this season, there’s a strong chance Western New York will be seeing more of Lake Effect.

P

PHOTO COURTESY OF BUFFALO EATS

On my visit, the Nola—a classic pork frank with ham, provolone, olive salad, and fried oysters—was merely fine.

The dog itself was barely charred, which made it practically indistinguishable in taste and texture from the thick slice of ham wrapped around it, and the oysters became flabby and less appealing the longer the dog sat. But the olive salad was a bright and briny counterpoint to the fattiness of the other toppings, and had I finished my dog with haste, the oysters likely would have maintained their integrity.

Other items were hit and miss. The domestic feta, mild pepperoncini, out-of-season tomatoes, and canned olives that topped the Greek lamb dog weren’t assertive enough flavorwise to balance the musk and gaminess of the sausage. But the pickled vegetable, cilantro, and jalapeno-crowned bahn mi dog, inspired by Vietnamese sandwiches of the same name, was a table favorite. As were the fresh-cut fries. My dining companion and I happily lingered in our sun-drenched seats until we polished off the entire order.

GET 'EM WHILE THEY'RE HOT This baseball season, try something different on a bun

BY CAITLIN HARTNEY ON THURSDAY, APRIL 9, the Buffalo Bisons will take to Coca-

Cola Field to kick off the 2015 season.

This comes as welcome news to people who relish the sights and sounds of America’s favorite pastime and look forward to attending games with loved ones in tow. For me, its significance lies in its gustatory relevance. And with the first pitch (to be thrown this year by Rex Ryan, FYI), ballpark food season will be in full swing.

The definition of ballpark food is certainly open to debate. This year, the Bisons announced that pizza logs, pulled pork sandwiches, and Oreo churros will be among the new concessions offered. But said novelties are just that—novel. For purists, nothing beats the classics: peanuts, popcorn, nachos, and, of course, hot dogs.

Few foods celebrate warm weather like encased meat in a bun.

There is something about the smell of the grill, the snap of the casing, and the taste of char taken to the precipice of disaster that invokes memories of time spent outdoors, youthful carelessness, and family. Unfortunately, as a person with an aversion to 18 THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

boredom and a healthy fear of errant foul balls, aggressive seagulls, and having my face plastered on the Jumbotron, I don’t get to games as much as a good Buffalonian probably should.

Fortunately, downtown now offers alternative venues for getting a quick sausage fix.

The most obvious stop—Dog é Style—is within walking distance of Coca-Cola Field. Its tongue-in-cheek name may have raised a few eyebrows initially, but I was more offended by the formalwearclad cartoon hot dog logo. It looks like a lost character from the mid-century “Let’s All Go to the Lobby” movie theater concession ad. It’s incongruous with the design and feel of the space.

Questionable marketing decisions aside, Dog é Style offers unique variations on the charbroiled link we have all been conditioned to love. Plain-Jane Wardynskis are available, but the restaurant’s claim to fame is its custom-blend sausages and outside-the-box toppings, ranging from an all-beef on weck dog, complete with horseradish mayo, to a link topped with foie gras, mushrooms, and aioli.

The lamb link at cocktail and sausage den Ballyhoo was better on my visit than Dog é Style’s version. The ground shank was more grassy than gamey, and the sausage’s curry seasoning and raita curtailed any potentially off-putting notes. The ground beef-based Steakhouse sausage topped with creamed spinach was perfectly fine and homey in the sense that it tasted like the cube steaks I ate as a child. It was comforting and familiar, if not exciting—a dish I could imagine my meat-and-potatoes grandmother eating with gusto.

The potato chips that came with the sausages left me longing for another helping of Dog é Style’s fries, and I wished that the cabbage in a side order of slaw had been more thinly sliced to allow it to properly break down under the salt and acidity of the dressing. The standout side was an outrageously creamy helping of stovetop macaroni and cheese, enlivened with a healthy dose of cayenne. It’s also worth mentioning that my cocktail—a Last Word—was perfectly executed. But that’s another article.

Both venues offered mixed-bag but overall pleasant experiences in their own right, but neither proved a perfect substitute for a ballpark frank. For that, I might actually have to go to a game.

But I’ll probably just wait for the Ted’s rumored to be opening P on Chippewa.

DOG É STYLE

BALLYHOO

128 GENESEE ST, BUFFALO

211 S. PARK AVE, BUFFALO

DOGESTYLEBUFFALO.COM

FB: BUFFALOBALLYHOO

BEER DRINKS

THE NEW BREW ON THE BLOCK Rusty Nickel Brewing Company opens in West Seneca

PHOTOS COURTESY OF RUSTY NICKEL BREWING COMPANY

RUSTY NICKEL BREWING COMPANY

BY MICHAEL CHELUS

THE REVITALIZATION OF the beer brewing industry in Buffalo

has taken various forms in the last few years. Some of the new breweries that have popped up have been started by individuals with years of experience in the commercial brewing industry.

Others have been started by talented homebrewers and craft beer enthusiasts who wanted to take their passion for great beer to the next level. Rusty Nickel Brewing Company (RNBC) in West Seneca is a brewery that falls into the latter category. Founded by a team of three that features an award-winning homebrewer and passionate craft beer enthusiasts, RNBC opened its doors last month, bringing more quality beer to the scene in Western New York and another brewery to the Southtowns.

Situated behind the Ebenezer Ale House in West Seneca, RNBC is owed by Jason Havens, Scott Fiege, and Dave Johnson. Jason and Scott are natives of Greece, New York, and Dave was born in Brewster, New York. All three came to Western New York separately and got to know each other through membership in the Western New York Beer Club. After more than three years of discussion and planning, the three combined Dave’s talents in homebrewing and the passion for great beer shared by Jason and Scott to open RNBC. In its first few weeks since opening, business has been brisk.

They’ve received a great response from Western New York, especially the Town of West Seneca. The brewery also has special relationship with the Ebenezer Ale House. The owners of the Ale House encouraged the three to open their brewery in a

4350 SENECA ST, WEST SENECA / RUSTYNICKELBREWING.COM

building they owned behind their restaurant. In addition to being ardent supporters of RNBC, they also reached an agreement for the new brewery to brew an IPA made especially to be served in the locations of the Ale House. The demand was so great for this beer, it sold out in four days. The relationship between the Ebenezer Ale House and RNBC has been mutually beneficial so far, with each enjoying increased sales due to the other’s presence.

Scott estimates that nearly a third of their business has been patrons of the Ebenezer Ale House stopping over before or after their meal.

mocha and nutty notes of the beer. Not Your Grandpa’s Cream Ale was an exciting take on a classic style. Its genesis is the classic cream ale so popular with previous generations of Western New Yorkers. This version was stronger and more developed, while still smooth and easy to drink. The Oatmeal Cookie Ale was full of vanilla and oat notes. Don’t let that fool you—it’s a big beer at seven percent ABV. My pour of Slice O’Heavens was on nitro and was packed with orange flavor; the beer aims to resemble a creamsicle. This beer was also strong at a hefty 8.5 percent, but remained approachable.

The interior of building was designed and constructed by the owners of the RNBC along with an army of family and friends. It took 18 months from the time Jason, Scott, and Dave got the key to the building to where they are today. The brewery currently has a five-barrel brewing capacity with plans to expand to 10 barrels in the near future. As a farm brewery, most of the grain used by RNBC comes from New York State. RNBC plans on using as many raw materials as possible from Western New York as they become available.

The brewery plans not only to brew creative and unique styles of beer but on bringing mixology seen at breweries in other locations across the country to Western New York. This will allow RNBC to mix its various styles of beer together in exciting and ever changing combinations, giving patrons new reasons to continue to stop by.

When I toured RNBC, there were no beers with any significant hop content on tap. However, there were some interesting, creative beers that gave a good indication of the beers this brewery can produce. On tap on my visit were a Chai Tea Milk Stout, Not Your Grandpa’s Cream Ale, Oatmeal Cookie Ale, and Slice O’Havens Imperial Cream Ale. The milk stout was thick and rich with an understated chai tea flavor that went very well with the

RNBC is currently open on Fridays and Saturdays but will expand hours as the weather improves. You can book private events at the brewery, and it will host live music from local bands in its beer garden when it opens as the weather warms. The grand opening is presently scheduled for the end of May. The Public’s weekly beer column is produced in collaboration with the Buffalo Niagara Brewers Association.

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FILM REVIEWS

IN CINEMAS NOW:

BY M. FAUST & GEORGE SAX

PREMIERES DANNY COLLINS—Al Pacino stars in a sentimental drama inspired by the true story of a musician who discovers that John Lennon once wrote him a letter of encouragement. With Bobby Cannavale, Christopher Plummer, Annette Bening, and Jennifer Garner. Directed

by Dan Fogelman Reviewed this issue. Amherst GETT: THE TRIAL OF VIVIANE AMSALEM—From Israel, a courtroom drama detailing the endless efforts of a woman to obtain a divorce from her husband, who doesn’t want to grant it. Starring Ronit Elkabetz and Simon Abkarian. Co-directed by Elkabetz and her brother Shlomi. Reviewed this issue. Amherst

Ronit Elkabetz in Gett: The Trial of Viviane Amsalem.

Ben Stiller and Naomi Watts in While We’re Young.

THE MARRIAGE TRAP GETT: THE TRIAL OF VIVIANE AMSALEM / WHILE WE’RE YOUNG WOMAN IN GOLD / DANNY COLLINS

BY M. FAUST

THE LONGEST RIDE—This year’s Nicolas Sparks adaptation features Alan Alda as an old man looking back on his life and a lost love while trapped in an automobile after an accident. With Scott Eastwood, Britt Robertson, and Melissa Benoist. Directed by George Tillman Jr. (Men of Honor). Area theaters WHILE WE’RE YOUNG-Comedy starring Ben Stiller and Naomi Watts as a Brooklyn couple entering middle age who, feeling alienated from their friends because they don’t have children, take up with a younger couple (Adam Driver, Amanda Seyfried). With Charles Grodin and Peter Yarrow. Directed by Noah Baumbach (The Squid and the Whale). Reviewed this issue. Amherst WOMAN IN GOLD—Helen Mirren in a true story as a woman seeking to recover from the Austrian government a valuable painting that had been stolen from her family by the Nazis. Featuring Ryan Reynolds, Daniel Brühl, Charles Dance, Katie Holmes, Elizabeth McGovern, and Jonathan Pryce. Directed by Simon Curtis (My Week with Marilyn). Reviewed this issue.

Eastern Hills Cinema, North Park

FOUR FILMS TO WRITE ABOUT: Where do I start? The one I liked

best? The one most of you are most likely to be interested in? All that’s clear is the one that ranks last.

Let’s start with the one that most needs the push because you’re least likely to have heard of it. I admit that I dragged my heels before watching the DVD screener of Gett: The Trial of Viviane Amsalem, about an Israeli woman’s attempts to get a divorce. But after I finally put it in and pushed play, it kept me fascinated for a running time of nearly two hours.

A little background is in order: Until very recently, civil marriage did not exist in Israel. You could marry under the auspices of your religious authority or you could apply for a “couplehood union,” which sounds like the insufficient “civil union” options generally available to same-sex couples in the United States.

By the same token, divorces in Israel can only be granted by religious authorities. Jewish marriages can be dissolved only if the husband agrees to a divorce; if not, the woman is considered a “chained woman.”

Viviane Amsalem (Ronit Elkabetz) is a woman seeking a gett, a writ of divorce from her husband Elisha (Simon Abkarian). When she first applies she has lived apart from him for three years, after 30 years of marriage. There is no question in her mind that they are incompatible and that she has no wish to live with him. She has been living with her siblings, and as the owner of a beauty parlor is self-supporting. To our eyes, there is no reason not to grant the divorce.

But the trio of rabbis to whom she must plead her case see only that her husband will not give her the gett. There is no adultery, he hasn’t beaten her: What’s the problem?

Gett takes place entirely inside the room where Viviane argues, with the help of her advocate Carmel (Menashe Noy). It is essentially a courtroom drama, though technically it is not a court: the rules are vague but unbending. And Viviane has to struggle every step of the way, even to get her husband to show up. If he doesn’t, the rabbis argue that they have no way to compel him other than to set another hearing in a few months.

As the months turn into years, the trial becomes a Kafkaesque absurdity.

The film has elements of humor, especially in the testimony of some of the witnesses Viviane calls.

Gett is the final in a trilogy of films about this couple written and directed

by Ronit and Shlomi Elkabetz. The others—To Take a Wife and 7 Days (Shiva)—have not been released in the United States. Hopefully that will change with the success of Gett, because it would be interesting to go back and fill in the story of this couple’s unhappy history. But it’s not necessary: cunningly directed and well acted, it’s a wholly rewarding film on its own.

WHILE WE’RE YOUNG IS, I think, the best film yet from Noah Baumbach, writer-director of The Squid and the Whale, Frances Ha, Greenberg, and occasional collaborator with Wes Anderson, for whom he scripted The Life Aquatic with Steve Zissou and Fantastic Mr. Fox. If it has a fault its that it may be a bit overstuffed, jumping from one story to another in the third act, but I think Baumbach reconciles the two adequately.

Ben Stiller and Naomi Watts star as Josh and Cornelia a Brooklyn couple in their 40s. Having decided not to have children, they find themselves increasingly alienated from their friends, who they feel are becoming infantilized by their babies. They become friends with a hipster couple in their 20s (Adam Driver, Amanda Seyfried). Josh, a documentary filmmaker who has been stuck on his latest project for nearly a decade, sees in them a freshness that he feels can rejuvenate them.

This leads to a variety of comedy not unfamiliar to Ben Stiller fans, which finds him getting into uncomfortable situations through his own stubborn foolishness. But midway the story shifts as Josh discovers that his new friend’s apparent innocence is a mask for ambition, which may just be the dark key to what he was never able to achieve himself.

As a non-breeder, I admit to being pleased to find a rare film that dares

20 THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

to stand up for the idea that your life is valid even without children. But being a parent shouldn’t disqualify you from enjoying While We’re Young: Baumbach’s satire is gentle and even-handed, and his wry observations on aging in the post-boomer era are spot on. (And kudos to whoever cast Charles Grodin as Josh’s father-in-law, a famous filmmaker who knows what it takes to get ahead, and veteran folkie Peter Yarrow as the aged academic whom Josh obsessively films.)

GIVEN THE PROPENSITY OF MANY FAMILIES to spend holidays at the movies, you have to wonder why the Weinstein Company chose to release Woman in Gold the week after Easter: It’s exactly the kind of feelgood historical drama that families unfettered by young children flock to if only for its general inoffensiveness.

The film is based on the true story of Maria Altmann, who as a young woman fled Austria with her husband to escape the Nazis. Most of her family, successful Jewish industrialists, were killed and their art collection confiscated. One of those paintings, Gustav Klimt’s Portrait of Adele Bloch-Bauer, wound up in the Belvedere Palace in Vienna, where it became known as Austria’s Mona Lisa. After the Austrian government announces a policy of returning stolen artworks to their rightful owners, the now-elderly Maria (or at least as elderly as you can appear when you’re played by Helen Mirren) has decided she should have it back. And because she can’t afford an able attorney who specialize in this field, she hires young Randy Schoenberg (Ryan Reynolds), who is the grandson of composer Arnold Schoenberg.

That’s the kind of detail you couldn’t invent, and to the best of my knowledge Woman in Gold is less egregious than most recent “based on a true story” films in re-writing history. Sad to say that may be the script’s greatest problem: the real story involves a lot of legal wrangling that isn’t terribly cinematic. And director Simon Curtis (My Week with Marilyn), in his efforts to create a David vs. Goliath story in which the Austrian government is morally indistinguishable from the Nazis, steamrolls over anything potentially ambiguous in the script, including the absurd overvaluation of art and the fact that Altmann’s legal claim to the painting is fought through a legal loophole. It’s a movie made for audiences who like nice scenery, some heart-tugging moments (all unnecessarily hammered home by a syrupy score) and the chance to look at Dame Mirren, who can do this kind of thing in her sleep.

ON THE SUBJECT OF GREAT ACTORS working below their pay grade: At last year’s Toronto International Film Festival, Al Pacino appeared in two first-rate films that indicated he was finally starting to pay more attention to the roles he was taking. Sadly, The Humbling (from the novel by Philip Roth, scripted by Buck Henry and directed by Barry Levinson) went to video on demand, while Manglehorn (directed by David Gordon Green) is still trying to drum up attention at lesser film festivals.

Instead, we get to see Pacino in theaters in the silly Danny Collins, a star vehicle making use of all of his flamboyance and little of his skills as an actor. He plays a highly unlikely rock star (think Neil Diamond by way of the worst of Rod Stewart) who decides to atone for his sins by seeking out the son that resulted from a long-ago affair he can barely remember. That the son (Bobby Canavale) wants nothing to do with him is no surprise, given that we’d have no movie otherwise. When not trying to work is way into the life of his son’s family, Danny holds court at the New Jersey hotel where he’s staying charming not-a-fan manager Annette Bening. And because Danny was inspired by the discovery that John Lennon wrote him a letter of encouragement in the early 1970s, it’s all scored by Lennon songs used in the most thuddingly obvious ways.

I won’t tell you that it’s not occasionally fun watching Pacino ham it up in this ridiculous role. (No such luck for Christopher Plummer, even more miscast as his manager.) But this directorial debut of Dan Fogelman is what you’d expect from the writer of scripts like Fred Claus, The Guilt P Trip, and Crazy Stupid Love: schmaltz with onion powder.

ALTERNATIVE CINEMA CALL ME KUCHU (2012)—Documentary set in Uganda following the efforts of David Kato, the country’s first openly gay male, and retired Anglican Bishop Christopher Senyonjo to fight a pending bill that would make homosexuality punishable by death. The screening will be followed by a Skype Q&A with filmmakers Malika Zouhali-Worrall and Katherine Fairfax Wright.

Part of the Reel Queer Film Series, co-presented by Squeaky Wheel. Thu 7pm. Hallwalls, 341 Delaware Ave (Hallwalls.org) (squeaky.org) DECODER (West Germany, 1984)—Post-punk sci-fi based on the writings fo William Burroughs about a musician who discovers that muzak is a government plot to induce docility. Featuring F.M. Einheit, Bill Rice and Burroughs; previewed this issue. Wed April 15 7pm. Squeaky Wheel, in the Market Arcade Building, 617 Main St. (squeaky.org) IVORY TOWER—Documentary examining the future of higher education in the face of profit-based expansions that have sent costs spiraling out of reach of many Americans. Directed by Andrew Rossi (Page One: Inside The New York Times) Free and open to the public. Mon 4pm. D’Youville College, 158 ALT Building, 320 Porter Ave. NORTH BY NORTHWEST (1959)—Cary Grant is an innocent man on the run from he’s not sure who. Eva Marie Sainte is on hand to help, with James Mason and Martin Landau hovering about. Mount Rushmore, orgasmic fireworks, crop duster chase—you know all this already. Tue-Wed, Fri-Sun 7:30pm. Screening Room STAR TREK II: THE WRATH OF KHAN (1982) — Easily the best of the Star Trek movies: instead of pandering to the expectations of Trekkies who want to see the original series endlessly regurgitated, director Nicolas Mayer went back to expand on what made the show a success in the first place. (He didn’t do nearly as well in Star Trek VI.) Check out co-star Kirstie Alley’s Vulcan eyebrows. Fri-Sat 11:30am. North Park THE USUAL SUSPECTS (1995)—Who is Keyser Söze, and why is petty crook Kevin Spacey saying all those terrible things about him? It doesn’t hurt this now-classic crime film to know the answer in advance. Gabriel Byrne, Stephen Baldwin, Chazz Palminteri, Benicio Del Toro, Kevin Pollak, Pete Postlethwaite, Dan Hedaya, and Paul Bartel co-star; directed by Bryan Singer. Presented by the Buffalo Film Seminars. Tue 7pm. Dipson Amherst Theatre

IN BRIEF: (THEATER INFORMATION IS VALID THROUGH THURS APRIL 9)

CINDERELLA—The surprising thing about Disney’s live action version of the perennial is how little it differs from their 1950 animated version or any other traditional telling of the fairy tale, despite the contributions of director Kenneth Branagh and screenwriter Chris Weitz (About a Boy). Branagh’s direction is stolid and tentative, as if he wasn’t sure how to spark things dramatically. The production is heavily opulent but not very striking in appearance. Lily James, from Downton Abbey, makes a serviceable but bland heroine; Richard Madden, from Game of Thrones, is an appealing Prince. Co-starring Hayley Atwell,

PLAYING NOW FILM PADDINGTON—The beloved “short but polite” talking bear of children’s books comes to the big screen in a good-natured movie that will be beloved by Anglophiles of all ages. Combining computer effects with animatronics and voiced

by Ben Whishaw, Paddington’s story stays close to the books as he journeys from “darkest Peru” to London in search of a home. For dramatic structure the movie borrows from 101 Dalmations in the form of Nicole Kidman as a Cruella De Vil-ish taxidermist in a snakeskin jumpsuit. It was co-written and directed by Paul King, but don’t expect anything as anarchic as The Mighty Boosh, the cult comedy show he’s best known for: Special effects aside, it’s as traditional as a cup of hot chocolate. The cast includes Hugh Bonneville (Downton Abbey’s Earl of Grantham), Sally Hawkins, Peter Capaldi, Julie Walters, and Jim Broadbent, along with other faces you’ll probably recognize if you’re a Britcom fan. -MF Dipson McKinley Mall, Four Seasons Cinema

Helen Mirren and Ryan Reynolds in Woman in Gold.

Cate Blanchett, Helena Bonham Carter, Stellan Skarsgård, Derek Jacobi, Ben Chaplin and Rob Brydon. -GS Dipson Flix, Regal Elmwood, Regal Niagara Falls, Regal Quaker, Regal Transit, Regal Walden Galleria

HOME—Runaway alien meets a girl on the road in this animated feature. Directed by Tim Johnson (Over the Hedge). AMC Maple Ridge 8, Dipson Flix, Regal Elmwood, Regal Niagara Falls, Regal Quaker, Regal Transit, Regal Walden Galleria

DELI MAN—A nostalgic celebration of that once-ubiquitous urban culinary institution, the Jewish Delicatessen. This spirited, occasionally poignant documentary examines those distinctive restaurants which have offered a rich, if unpretentious, gastronomic experience for well over a century in America’s larger cities, although, as the movie makes clear, now in greatly diminished numbers. Directed by Erik Greenberg Anjou (The Klezmatics: On Holy Ground).

-GS North Park ENDS THURSDAY 4/9

INSURGENT—Teen dystopian sequel. Starring Shailene Woodley, Miles Teller, and Theo James.

Directed by Robert Schwentke (R.I.P.D.) AMC Maple Ridge 8, Dipson Flix, Regal Elmwood, Regal Niagara Falls, Regal Quaker, Regal Transit, Regal Walden Galleria IT FOLLOWS—The climax makes no sense, but what’s good in this arthouse horror movie (from the writer-director of The Myth of the American Sleepover, David Robert Mitchell) is so good that you can almost forgive it. In a suburb of Detroit, teens are stalked by a murderous entity that can assume any form and is only visible to the person it is currently stalking.

Mitchell understands that postmodern horror movies are games, but plays the one he has invented straight-faced: there are more genuine scares here than any movie I’ve seen in a long time. Starring Maika Monroe, Keir Gilchrist, and Daniel Zovatto. -MF Dipson Amherst Theatre ENDS THURSDAY 4/9

FIFTY SHADES OF GREY—B&D goes mainstream in the movie adaptation of the books that have sold an estimated 100 million copies (even though no one will admit to liking them). Starring Dakota Johnson, Jamie Dornan and Jennifer Ehle. Directed by Samantha Taylor-Johnson (Nowhere Boy). Four Seasons, Regal Quaker, Regal Transit FOCUS—A subdued Will Smith stars as Nicky, veteran con man, who takes on fledgling femme fatale Margot Robbie as a protégé—but who’s seducing whom? As a romance among thieves, Focus at its best has some of the sultry ambiance of Out of Sight: The soundtrack has more smooth funky grooves than a 1970s prom, and if Smith and Robbie are no George Clooney and Jennifer Lopez, they’re not bad either. Location shooting in Manhattan, New Orleans, and Buenos Aires keeps things looking nice, and the story only stumbles in the third section as writer/directors Glenn Ficarra and John Requa (I Love You Philip Morris) go overboard in lulling us off guard prior to their big finale. With Gerald McRaney, Rodrigo Santoro, and BD Wong. -MF Four Seasons, Regal Transit, Regal Walden Galleria

KINGSMAN: THE SECRET SERVICE—“Give me a farfetched theatrical plot any day,” says the villain to the hero during a discussion of spy movies in one of this comic book adaptation’s more bluntly self-referential moments. Far-fetched and theatrical it is, and pretty entertaining to boot, even if it leaves you feeling slightly soiled for succumbing to such excesses as a parade of exploding heads that David Cronenberg could never have imagined. The story is essentially an Anglicization of Men in Black, minus most of the sci-fi and the overt comedy. Working from the same comic book creators who spawned his hit Kick Ass, director Matthew Vaughn pits a secret organization of immaculately clad British spies (suit fetishists will swoon) against Samuel L. Jackson as a frustrated billionaire with a desperate plan to cure global warming. The sequence with Colin Firth slaughtering the congregation at a stand-in for the Westboro Baptist Church—to the tune of “Free Bird”—is probably the most jaw-dropping thing you’ll see all year. With Taron Egerton, Mark Strong, Michael Caine, and Mark Hamill. -MF Four Seasons, Regal Elmwood, Regal Quaker, Regal Transit

Al Pacino in Danny Collins

FURIOUS 7—AKA Fast and Furious 7. Starring Vin Diesel, Paul Walker, Jason Statham and Michelle Rodriguez. Directed by James Wan (Saw). Now playing at AMC Maple Ridge 8, Dipson Flix, Regal Elmwood, Regal Niagara Falls, Regal Quaker, Regal Transit, Regal Walden Galleria, Transit Drive-In

CULTURE > FILM

GET HARD—After Unfinished Business and The Wedding Ringer, you’d think star-vehicle VISIT DAILYPUBLIC.COM comedies would have bottomed out for FOR the MORE FILM year. Let’s hope the nadir is this tired farce starring Will Ferrell as a dumbass businessman on his way to prison who hires the only black man he knows (Kevin Hart) to teach him survival skills. It’s awash in jokes reeking of racism and homophobia, and while I’m sure that the films creators would argue that they’re simply trying to air out VISIT these differences, they utterlyDAILYPUBLIC.COM lack the finesse to walk that line. With Alison Brie and Craig T. Nelson. Directed by Etan Cohen (My Wife Is Retarded). -MF AMC Maple Ridge 8, Dipson Flix, Regal Elmwood, Regal Niagara Falls, Regal Quaker, Regal Transit, Regal Walden Galleria

CULTURE > FILM

LISTINGS & REVIEWS >>

FOR MORE FILM LISTINGS &

THE LAZARUS EFFECT—A quartet of young medical researchers discover a way to bring the recently dead back to life. Having apparently never seen a horror film, they proceed to do so, to their regret. For a while the scientific gobbledygook in this thriller feels reasonably plausible, at least by the low standards of the genre, and the debates among our crew raise interesting questions about our ideas of life after death. But that all goes out the window for a third act of generic monster movie stuff, with lots of build up for presumed sequels. (Don’t count on it: This has been on the shelf since it was filmed in 2013).

Starring Mark Duplass, Olivia Wilde, Sarah Bolger, Evan Peters, and Donald Glover.

Directed by David Gelb, which is the same name as REVIEWS >>the director of the documentary Jiro Dreams of Sushi—can it possibly be the same guy? -MF Regal Walden Galleria

RUN ALL NIGHT—Liam Neeson’s fourth action thriller in a hair over one year seems to have been intended to be one of the grittier of the bunch, closer to A Walk Among the Tombstones than Taken 3. He plays an aging Brooklyn hitman who has to try to save his estranged adult son from the gangster (Ed Harris) he’s been working for since they were kids. It starts out as a hard-boiled tale, but by the midpoint dialogue and character fly out the window in favor of unnecessary action sequences. There’s a great cast for fans of middle aged tough guys: along with Neeson and Harris, you have Vincent D’Onofrio, Nick Nolte and Bruce McGill, though none of them are given nearly enough to do: I’m willing to bet that a lot of story and dialogue were cut from the script to make room for more gunplay and explosions. Directed by Jaume Collet-Serra (Non-Stop). -MF. Flix Stadium 10, Regal Elmwood THE SECOND BEST EXOTIC MARIGOLD HOTEL—The title is its own review for this sequel to the 2011 film about British retirees who find a new lease on life in a run-down hotel in India. Haphazardly and indifferently plotted, it has no more purpose than to give fans of the original more of the same, with the entire cast returning (minus Tom Wilkinson, of course). The script lays up the role of Maggie Smith, whose role on Downton Abbey has made her the Don Rickles of her mileu, and evenly parcels the rest of the time among Judi Dench, Dev Patel, Bill Nighy, Penelope Wilton, Celia Imrie, Ronald Pickup, and newcomers Richard Gere, Tamsin Greig, and David Strathairn. Caveat emptor: It was made for fans of the previous film and expects that you remember all the details of its plot. Directed by John Madden (Shakespeare in Love). -MF Dipson Amherst Theatre, Dipson Eastern Hills Cinema ‘71—Belfast 1971. An inexperienced young British soldier is separated from his unit during a riot, and his struggle to survive reveal more factions to “the troubles” than he realized. Debuting director Yann Demange is less interested in politics than momentum, among the memorable set pieces he assembles, perhaps the best is the street riot that rises as quickly and implacably as a tsunami. The thick accents and murky lighting will be an impediment to some viewers, but the overall effect is undeniable.

Starring Jack O’Connell, Richard Dormer, Sean Harris, and Sam Reid. -MF Eastern Hills ENDS THURSDAY 4/9 WHAT WE DO IN THE SHADOWS— Jemaine Clement (of Flight of the Conchords) and Kiwi filmmaker Taika Waititi (Eagle vs. Shark) are the creators and stars of this mockumentary about slackers who are also vampires. The movie is a bit overlong, and as always in this kind of thing the jokes are hit and miss. But more than enough of them connect to make the laugh quotient worth the ticket price. -MF Dipson Amherst Theatre ENDS THURSDAY 4/9 WILD TALES—From Argentina, this nominee for the Best Foreign Language Film is an anthology of six stories about people having really bad days. The brief opening segment hits a little harder than expected what with the recent Germanwings incident. But the best segments—an incident of road rage that spirals out of control; a wrathful bride who learns at her wedding that her new husband was unfaithful; an engineer (Ricardo Darín, a familiar face to foreign movie buffs) decides to fight an unfair parking ticket—are little masterpieces of escalation with satisfying climaxes. Hugely enjoyable. Starring Ricardo Darín, Leonardo Sbaraglia, Oscar Martínez, and Erica Rivas. Directed by Damián Szifrón. -MF Dipson Eastern Hills Cinema P

CULTURE > FILM

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WNYBAC’S 7TH ANNUAL EDIBLE BOOK FESTIVAL / Sunday, April 12 4-8pm An international family-friendly festival inviting participants to create edible books that are exhibited, documented & then consumed! Creations are ranked by local celebrity judges & prizes are awarded. Interested in participating or attending? wnybookarts.org/ events 634.0989

TURNAROUND SKATES, a unique roller skate shop on Westside seeks motivated, reliable employees for retail sales, web, & social media! Perks include traveling, incentives, and use of car. We’re a relaxed dog friendly and kid friendly environment. Email Turnaroundskates@gmail.com for full description or send resume!.

GOOD NEIGHBOR NOTICES HAPPY BIRTHDAY! ELIZABETH SELLARI LAURYN COHOON DJ LOPRO (19) DALE ALI TOM FALCONE ERIK HANSEN (17) PATRICK HIGGINS JACK BEST KIM COHEN KARA R.

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SARA HEIDINGER PHOTOGRAPHY specializes in weddings, family portraits, business portraits as well as ARCHITECTURE & REAL ESTATE photography. For more information call: 984.1534

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70. What has begun in earnest and what this puzzle celebrates

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8. Broadway bomb

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THE ARTS PHOTOGRAPHY

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“I’m a true prince ss, can’t you see? I’m Oscar a a little bunny waiting for my new royal family at the SPCA. Come adopt me and meet some of my loyal subjec ts!” . YOURSPCA.ORG .

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THIS PROOF MAY ONLY BE USED FOR PUBLICATION THE PUBLIC.

MARKET 22 THE PUBLIC / APRIL 8, 2015 / DAILYPUBLIC.COM

PHOTOS BACK PAGE

DYNGUS DAY Monday, April 6, 2015

PHOTOS BY NANCY J. PARISI Politicians from every level of government walked through one of Buffalo’s poorest neighborhoods during the annual Dyngus Day parade, the Americanized celebration of a Polish tradition in which men and women squirt one another with water guns and hit one another with pussy willows on the day after Easter. Lieutenant Governor Kathy Hochul used her power as acting governor over the holiday weekend to declare the march through the Broadway-Fillmore district an official state parade. Thousands of Western New Yorkers descended on the neighborhood that was once a diverse hive of factory workers, including many Polish Americans, downing Tyskie and Zyweic and eating kraut, pierogi, and kielbasa along the parade route before dispersing into the social halls of the enormous century-old churches that were once the gathering places of the community to polka to “Roll Out the Barrel” and “Who Stole the Keeshka?”

—JUSTIN SONDEL

DAILYPUBLIC.COM / APRIL 8, 2015 / THE PUBLIC 23