[PARTY] Stop me if you’ve heard this one before, but this Saturday, February 20, Buffalo Iron Works is hosting their annual Cure vs. Smiths dance party— the thirteenth overall, and third since making the move from Mohawk to Iron Works. The Smiths and the Cure many similarities, but just as many differences as well. Both bands were prominent in the 1980’s alternative scene, and heavily influential in the decades that followed, both in and out of their native England.
[JAZ] Fifteen graduate students from the University of Michigan come to Buffalo’s Dreamland this Saturday to represent the school in their one of a kind Creative Arts Orchestra (CAO). These students play music that is a representation “of our ethos for creative improvisation across boundaries” while still drawing from other sources.
[INDIE] If you had sepia vision and were to extract as many kinds of sounds from your pedals as there are cloud formations—while riding a merry-go-round—you very well might end up with music not so dissimilar to Klozapin’s. The three-piece Brooklyn trio is opulent in their approach to psychedelic, generating chambers of dazed feedback that ripens into visceral lo-fi at its finest.
There’s nothing in the world worse than an ultra right-winger who adopts the language of civil rights because he feels the system has wronged him. But Friday’s arrest of Gia Arnold, one time right-wing challenger for what was then Republican George Maziarz’s Senate seat, is emblematic of the hilarity of the dominant Palinist wing of western New York’s tea party scene.
[JAZZ] Moshe Shulman, a tango instructor adjunct professor of world music at UB, and multi instrumentalist, will join Miguel Benitez, Miranda Scoma, and Ben Levitt for a set of gypsy jazz, tango, and klezmer music, on Thursday, February 18 at Pausa Art House.
Last last month, Billy Paladino, CEO of Ellicott Development, sent a letter to Buffalo Common Council President Darius Pridgen, urging Pridgen to vote against conferring local landmark status to the apartment building at 329 Franklin Street, known as the Bachelor.
In 1989, when Michael Moore burst on the documentary film scene with his unprecedentedly successful film Roger and Me, the late film critic Pauline Kael was not among those acclaiming his debut. The titular Roger was Roger Smith, then chief executive of General Motors, and Moore’s comic conceit was that his film documented his efforts to get an opportunity to interview Smith about his company’s closing of a plant in Flint, Michigan (yes, that Flint, Michigan) and the consequential loss of thousands of jobs.