SLEATER-KINNEY, from p.32
Kinney song ever to get commercial
radio airplay. It could have been a
New Wave hit circa 1980, with keyboards
swooping in and out of the
mix, a booming beat, and direct
hooks.
Sleater-Kinney’s move isn’t unprecedented.
U.S. Girls’ “In a Poem
Unlimited” and Priests’ “The Seduction
of Kansas” couched leftist
sentiments in a sound closer
to Talking Heads or Blondie. Earlier
this year, Sharon van Etten’s
“Remind Me Tomorrow” went for
an ‘80s arena-rock sound that departed
from that era’s radio fare
only by incorporating squelchy analog
synthesizer. It’s pretty trendy
for indie artists to move away from
guitars and toward electronics and
the dancefl oor. But Sleater-Kinney
never before hinted at this.
While “Hurry On Here” and “The
Dog/ The Body” go for hooks, others,
like “Ruins,” build up complex
textures. Tucker and Brownstein
(both of whom are bisexual and
were once a couple) continue to mix
their voices and guitars together. At
its best, it combines fuzzed-out guitars
with pop-oriented sensibility.
While “Broken,” a tribute to Christine
Blasey Ford, mixes overtly political
lyrics (“she stood up for us/
she testifi ed”) and emotional trauma
(“I’m breaking in two ‘cause
I’m broken inside”), Sleater-Kinney
use a candy-colored surface to hide
anger. “Bad Dance” suggests “if the
world is ending now, let’s dance
the bad dance we’ve been rehearsing
our whole lives” in an update
on Prince’s “1999.” “The Future Is
Here” describes a life of alienated
labor and loneliness.
Weiss’ playing along with programmed
beats shows why she
might be unhappy with the band’s
direction. Its sound was more
unusual than it fi rst appeared:
they’ve never used a bassist, so
Weiss was its entire rhythm section.
The paradox of “The Center
Won’t Hold” is that it’s an extremely
good album that doesn’t sound
much like Sleater-Kinney.
SLEATER-KINNEY | “The Center
Won’t Hold” | Mom + Pop Records |
Drops Aug. 16 | sleater-kinney.com
WHAT YOU GONNA DO, from p.32
tests), he’s an outsider. When he
fi lms them confronting the police,
he’s in little danger of getting tazed
and arrested.
Here, Minervini balances character
study and political drama
very well. Judy Hill is the closest
“What You Gonna Do When the
World’s On Fire?” has to a main
character. A singer who has fi nally
achieved her goal of owning a bar,
she knows how precarious her situation
is. Around 90 minutes into
the fi lm, she reveals secrets in her
past, attempting to help another
woman in a similar situation. The
fi lm also devotes attention to Ronaldo
and Titus, teens very conscious
of the danger adolescence
poses for black youth. A subplot
about performances by Mardi Gras
Indians feels thrown in for relief.
“The Other Side” and “What You
Gonna Do When the World’s On
Fire?” describe very different aspects
of the same country. Depicting
intense emotions at a distance,
they run the risk of voyeurism in
different ways. Can someone who’s
high on heroin consent to whatever
might follow while being fi lmed?
Minervini frequently fi lms the New
Black Panthers outside, chanting
“Black power! Fuck the police!,” but
he also captures intimate scenes of
emotional vulnerability that seem
remarkably un-self-conscious.
On the other hand, his subjects
have a clear answer to the question
posed in this fi lm’s title. If their
lives are extremely diffi cult, at least
they’re actively taking on the KKK
insurgence and racist murders in
their neighborhoods. “What You
Gonna Do When the World’s On
Fire?” doesn’t have any clear solutions.
Obviously, a song following
the arrest of several activists is no
answer to America’s problems. But
the fi lm’s mix of political rhetoric
and respect for its subjects’ everyday
experiences, while showing
the connections between the two,
offers implicit hope. So does the
way it fi nds beauty in situations
guaranteed to cause trauma without
minimizing their damage.
WHAT YOU GONNA DO WHEN
THE WORLD’S ON FIRE? | Directed
by Roberto Minervini | KimStim
| Opens Aug. 16 | Film at Lincoln
Center, 144 W. 65th St. | fi lmlinc.
org
WE ARE HIRING!
The Board of Elections in the City of New York is hiring Poll Workers to serve
at poll sites across New York City. Become an Election Day Worker and you can
earn up to $2,800 for completing the training course, passing the exam and
working ten Election Days.
ELECTION INSPECTOR
REQUIREMENTS
• Registered voter residing in the City of New York
• Enrolled in the Democratic or Republican party
• Able to read and write English
DUTIES
• Prepare the poll site for voters
• Assist voters during the voting process
• Close the poll site
• Canvass and report election results
• Assist other poll workers as needed
TRAINING
• All Inspectors must attend a training class and
pass the exam
INTERPRETER
REQUIREMENTS
• A permanent U.S. resident over 18 years of age
and a resident of New York City
• Fluent in English and the interpreter’s language
• Spanish interpreters needed in all boroughs
• Chinese interpreters needed in Manhattan,
Brooklyn & Queens
• Korean, Hindi and Bengali interpreters
needed in Queens
For Hindi Interpreters: Please note on your application
if you can also speak Punjabi.
• Does not have to be a registered voter
DUTIES
• Assist non-English speaking voters by translating
voting information into covered languages
during the voting process
TRAINING
• All Interpreters must attend a training class
and pass the exam
HOURS/LOCATION
FOR PRIMARY/GENERAL ELECTION
• 5:00 a.m. until the polls are closed and results reported, which will be after 9:00 p.m.
• Must be willing to travel within the borough for assignment to a poll site
9 EARLY VOTING DAYS
• Please visit website for detailed hours and dates
• Must be willing to travel within the borough for assignment to a poll site
HOW TO APPLY
Visit nyc.electiondayworker.com to apply. If you have any questions, please call: 866-VOTE-NYC
(866-868-3692). TTY Number 212-487-5496
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AND THE ENTIRE
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ANTIQUES AND ESTATE BUYERS
WE W
PAY $ CASH $ FOR
ALL GOLD, GOLD & STERLING SILVER
COSTUME JEWELRY, ALL COINS, PAPER
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WATCHES (WORKING OR NOT)
TIFFANY, BACCARAT, LALIQUE
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