This Week in the Voice: Hunter Moore's Revenge Porn
This week in the Voice, out today: Camille Dodero profiles Hunter Moore, the hard-partying entrepreneur behind revenge porn site Is Anyone Up, writing: "Hunter Moore is trying to screw a 20-year-old woman on my lap. It's after 2 in the morning, we're squashed in a stretch limo with 11 others, stray limbs jumbled onto the vehicle's floor like a pile of sticks. The California-based revenge-porn profiteer and his rail-thin companion, a Long Island dance teacher, are reclined on our legs, their necks on my knees, as the 26-year-old alternates between making out with her and another blond girl to his right--a 21-year-old from Philly who will later call this 'the wildest night of my life.'"
In food, Robert Sietsema checks out Brooklyn Wok Shop, which he finds to be bland, Americanized Chinese food: "Let's say you craved Chinese food of the kind snagged from carryouts when you were a kid. But, somewhat absurdly, you wanted to enjoy it in a bistro setting complete with slightly upscale decor, wine and beer, comfortable seating, and ingredients that were sustainably sourced. Don't mind paying two to three times the normal price? Brooklyn Wok Shop is your place."
Andy Beta details Black Dice's new direction, "When the band started 15 years ago in Providence--as an assaultive, post-hardcore, blood-drawing entity that would soon move to Brooklyn and become that borough's highest-decibel chest-cavers--a casual admittance of such bourgeois pleasures would seem anathema. Yet change might be the band's modus operandi after all these years."
Nick Pinkerton needs to know the shelf life of Clinton-era nostalgia, and endures Titanic 3D and American Reunion to find out: Rewatching the affair between Kate Winslet's rebellious haute-monde refugee, Rose, and Leonardo DiCaprio's free-spirited steerage passenger, Jack (as in London), it's hard to find a line that might resonate across generations like a 'Frankly, my dear, I don't give a damn.' But the power of Titanic didn't come from originality; it came from punching clichés across with a seldom-seen directness and sincerity that seemed pure of heart, 'old-fashioned,' or plain corny, depending on your perspective."
Michael Feingold listens to homeless boys sing in Newsies: " In our current political atmosphere, that constitutes an intriguingly ironic and equivocal fact. Perhaps inevitably, the result is an intriguing, equivocal show. Full of bright, entertaining moments and youthful energy, Newsies mingles those virtues with peculiar flat moments and shifts of tone that leave a thoroughly mixed impression, as if the big corporation were trying to turn a smiley face toward newly riled-up workers and consumers, but with deep reluctance in its corporate heart."
Christian Viveros-Faune kvetches a bit about the modern state of art, but is relatively happy with Stan Douglas and Vibha Galhotra's direction: "The real difference between work that encourages addressing the world and that which refuses to can be summarized pretty simply: It's often what distinguishes artists who believe that they have something to say from others who, for whatever reason, feel that they have to say something."
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