Humble Braggers are currently working on their follow-up to their last EP, Say, which fans of the band will get a feel for when they play at Nietzsche’s on Friday, January 23 with one-man electronic storm JeffRepeater, rapper Mic Excel, and hip hop DJ Cove. The show will be the first in a monthly series of concerts at Nietzsche’s presented by The Public.
I confess — it was the first State of the Union I’d missed in years. Jet-lagged from a quick transatlantic trip to mourn the loss of a dear relative, I didn’t make it past 9:15.
Like the vast majority of Americans, I learned about the SOTU that which American major media think was important. Obama got in a zinger. Free community college. A focus on strengthening the middle class.
“I rationalize my Oreo binges because they’re vegan.”
“If you were to call me, I’d answer. No questions asked.”
“I imagine what it would be like to decapitate the men I desire.”
The Larkin Power House, 635 Seneca Street, is one of the iconic factory buildings of what architectural historian Reyner Banham called Buffalo’s “Golden Age” of industrial architecture between 1895 and 1925.
In the heart of Buffalo’s multicultural West Side is a cozy restaurant specializing in savory Southern cuisine. Freddy J’s Barbecue is one of Buffalo’s best kept secrets, providing soul food with a touch of elegance.
Cages – Vivipary (LP)
Recommended If You Like: Bjork, Hungarian Folk, noise
HARVEY BREVERMAN is a SUNY Distinguished Professor Emeritus. His work is included in the exhibition MANmade Art: A Cross-Generational Survey on view at the Kenan Center in Lockport through February 22.
With a background in improvisational comedy, with the Eclectic Improv Company, Todd Benzin is master of the quirky and the spontaneous. An actor who disappears into his characters, in The Lion in Winter, he is, fascinatingly, playing Prince Geoffrey, the crafty and scheming prince who somehow has disappeared into history, while his brothers Richard Lionheart and John became kings.
Below, Benzin submits to The Public Questionnaire.
Why aren’t we more aware—haven’t been more aware—of this superb Buffalo artist of the first half of the twentieth century? It’s a question the Alexander Levy major exhibit at the Burchfield Penney Art Center tries to put to rest, giving the artist some due recognition. But also tries to answer. Why?