Year Dispactké2003                                                           p. 6 -------------------------------------------------------------------------------

Goldie - "Metalheadz.03" (Moonshine)

I usually shy from listing "compilations" when discussing records because I've often thought them second and third generation rehashing of existing pieces of work. With the exception of some awesome inspiring DJ sets-transcending the very tracks that they use-I usually stay away from the format when considering strong recordings. Yet, in addition to having just such a magnificent set (mixed masterfully by the man himself, though too short), this "Metalheadz.03" compilation from Goldie's Metalheadz label has the conceptual benefit of being tracks solely from one label and a collection of tracks on that label over the last five years or so when the artists on Metalheadz were pretty low-key and underground, especially as far as we here in the states are concerned (and no doubt pressing astounding wax somewhere underground as we speak). I just have to get my jungle fix somewhere and these discs do it for me: that fuckin' rhythmic jump-up hard jungle 'n bass, old school but metallic futuristic 21st century breakbeat. The Rufige Kru "Rhythm Killa" and "Terminator" cuts themselves, along with Loxy & Ink's "Headz Roll" are really enough to make this essential for hard beat heads in need of that fix.

Heather Hart, Tompkins Square Park, Mayday Celebration, April 27

DJ Red Alert was good, and Frankie Bones gave the kids what they wanted-that hard gabba stuff (and then finished everything with a hip-hop set, contemporary, not old school!). But Heather was the hero this day, coming on between the two. She rocked smart electro (NOT electroclash), hip-hop, and then some smooth techno. She's usually bang! bang! hard but for this celebration in the park she turned everybody out with intelligent, "historical", mad interesting party grooves. If only we could get somebody spinning this shit nightly somewhere.

Matthew Dear - "Leave Luck To Heaven" (Ghostly International)

VICE Magazine, "The Special Issue", double January issue

When I first saw the cover and realized the gist of this issue I was like, "Oh fucking no, these guys have finally went over the edge of bad taste", in no way funny. But if you read the issue you'll see how conceptually brilliant it is, and tender in many ways too. The whole thing wouldn't have worked if there was any impression of "exploitation" to it. The fact that the issue had a strong sense of non-pandering made it all the more real. Don't hate, VICE still rocks.

Asian Orange Sound System, BPM, Williamsburg, August 23

Me really get inside Riley and Simon's Asian Orange Sound experiment this Saturday night. Four players: decks, sequencer & keys, drums, bass. The musical possibilities endless-lots of samples mixed with live jamming, scratching extravaganzas, crazy soundscapes. Mad turntablist dub found sound jam extravaganza. Me (and Megan) like. These dudes should so be doing the Movement festival in Detroit that I'm thinking of calling D. May up to get them there myself (if he'll take my call).

Living Inside the Grid, curated by Dan Cameron, New Museum of Contemporary Art, February 28 - June 15

ICE by Robert Kramer

Saw this film at Rooftop films in Brooklyn right before spring and was simply blown away. Here are portions of a synopsis lifted straight from Steven Puchalski's SHOCK CINEMA: "Financed by the American Film Institute way back in the late 60's, ICE is a powerfully subversive 16mm gem, that spins a fictional tale of rebellious citizens, an oppressive government and terrorism. The leads are a ragtag group of freedom fighters who

realize that the increasingly-fascist State is actually our enemy, and the only means of liberation is through violent struggle and a unified revolutionary front. [ ] The episodic script revolves around an underground Leftist organization that's centered in NYC, as they plan guerrilla activities, protest against American influences in Mexico, deal with internal disputes, and eventually coordinate a major, city-wide, heavily-armed offensive against the State. These aren't just long-haired freaks, mind you; they're old and young, men and women, intellectuals and naive flakes, who all have a common dedication -- to selflessly rise up and create a free society. [ ] The film leaps between various individuals and their projects -- such as making educational films on how to transport radicals across borders, stockpile guns and make homemade explosives -- even as the authorities and their "security police" close in on dissenters, with National Identity Cards and Travel Cards keeping the population in check, prisoners tortured and the media kept in the dark. [ ] Kramer (who passed away in 1999) went from Newark, NJ community organizer to become one of America's most politically motivated indie filmmakers [ ] Nowadays, it's difficult to believe that message-heavy, radicalized films such as this not only had US distribution, but also played mainstream art theatres! Filmed throughout NYC (including authentic apartments, airports, the main Post Office and even Port Authority terminal), Kramer gives it all a raw documentary-style edginess. "

The Jump 'N' Funk Fela Kuti Party, Martinez Gallery, last Saturday of every month

All the Real Girls by David Gordon Green

Not as wondrous and enlightening as "George Washington", but touching, sad, and beautiful nonetheless. When Noel tells boyfriend Paul that she slept with the other guy you could just feel the air suck out of the both of them, along with everyone in the theater I saw the film in. Simple, nonsensical, magical, ghetto(white), warm. A soul-warming piece of work. Green is the real deal.

The Wooster Group, New Work (in-progress), November 19 -December 19, The Performing Garage

One of five double entries this year (with Moodymann, J Mandle Performance, E-Man, and Fela in a manner), this as yet unnamed Wooster Group piece will hit the stage officially in April of 2004 and is astounding. I've seen so many of their pieces at this point that I was of the (mistaken) belief that I could no longer be surprised by them. This piece ("Poor Theater" may be its eventual title) is by far the most experimental, mind-boggling thing I've ever seen by them. Two halves. One a type of recreation of a "theater troupe's" interpretation of Grotowski's "Akropolis", IN POLISH-guttural, strong, rich, mesmerizing. The second half is a kind of actor-ly exploration of Movement Theater and dance. That's the best way to explain it, actors talking about and physical exploring the tenets of post-modern dance, mocking, explaining, being. Difficult, dumfounding, astonishing.

Laurel Canyon by Lisa Choldenko

Ain't nothing like a woman comfortable in her skin, and man does Frances McDormand seem so in control (more or less) of her being here, sexually, creatively and otherwise. She just glows. Maybe I'm just a sucker for movies with ménage-a-trois (near) in them.

Finding Nemo by Andrew Stanton & Lee Unkrich

Lincoln Center Jazz Orchestra, Celebrate Brooklyn Festival, Prospect Park, July 3

I've never been a big fan of Wynton Marsalis. His Jazz Orchestra's first set out in Prospect Park seemed to confirm all my misgivings-safe, almost scripted, tight for sure, but, well, yawn. Whatever-a night underneath the stars in Brooklyn's beautiful Prospect Park. But then the second set was a wonder: A really hot Latin number that they tore through, the big band heads out on the grass losing it. A wonderful Thelonius Monk tune. They did a couple of original numbers that were hot, including one called "Stomp". I was standing and grooving and zoning inside the music with the rest of them by the end. The encore's closing number was something called "Train Caboose" that had the wind section recreating train whistles, shouting them at each other, and the rhythm section jump-marching along like the chug of a train-sounds, the piece was modern, if not "post". A real riot, didn't think Wynton had it in him.