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nikki 3

Don’t Tell My Mother! Some Funny Sh*t You Won’t Wanna Keep Quiet About

“I’m in the green area” I say unhelpfully when Nikki calls, looking for me so we can start the interview. Twenty minutes later and some confusion about which “green area” I’m exactly talking about, I’m sitting down to lunch with Nikki Levy, the creator, producer and also performer of Don’t Tell My Mother: Stories About Sh*# You’d Never Want Your Mom To Know, a live comedy storytelling event that has been playing to sold out crowds since its inception seven months ago. Nikki, a successful film executive and producer at Fox, co-produces the show with Lizzie Czerner, which plays at the Bang Comedy Theater every month.

Nikki’s lifelong passion is comedy, so it’s not altogether surprising that after pursuing it in film, she decided to tackle theater. Asked how the idea for the show took root, she explains she wanted a place where her natural inclination to tell salacious, seemingly out of place stories was not only acceptable but actually welcome. “I wanted a place where it was appropriate to be inappropriate, where it was right to say the wrong thing, where it was celebrated.” She craved a space where it was ok to be crass and funny and vulgar and not be repressed or even chastised for it. “This is a place where you tell stories you don’t tell at cocktail parties, where you celebrate the mothers who f*cked you up” she finishes happily.

So she created it. The show is a live storytelling format, where 6 or 7 performers a night, actors, writers, and “real people” tell true embarrassing, horrific, funny stories that you would definitely not want your mother to know, no matter how close you are to her. Anything goes –as long as it’s true. The show, not surprisingly, is hilarious. There are stories about masturbating at the age of nine to your dad’s porn to an overweight young woman sneaking the brick of Costco American cheese into the bathroom –at three am- to avoid her mother’s rationing. It’s honest, blunt, and hilarious. It’s a brilliant idea.

When asked how she came up with this, she explains “Cheap Trick. You know Cheap Trick right?” After being forced to admit I have no clue what she is talking about, she explains that it was the song “Surrender” that gave her inspiration. I was driving home one day and I just heard this song on the radio… She breaks into song. “Mommy’s all right/ Daddy’s all right/ They just seem a little weird…” “I kept playing that song on a loop and I knew there was something in this.”

That “something” is pretty universal too. Mom and Dad are a little weird, and chances are, they made you a little weird too. No matter your age, demographic or sexual orientation, everyone has embarrassing moments, everyone has stories that they would die if their parents ever found out about.

“I have a great relationship with my mom, she is my best friend, I tell her everything. Well, almost everything… there are some things I manage to keep to myself!” I wish I were so lucky. The comment was actually reminiscent of the time I took my mom to my boyfriend’s open mike stand up, and what he talked about was the first time he did ecstasy. That was fun.

“See, you get it!” she laughs, “You can say anything.” “Real people” (like us non-industry plebeians) perform too.

The show boasts an impressive cast, featuring new people every month. Past performers include Drew Droege (New Girl, Up All Night), Lauren Weedman (The Five-Year Engagement, The Daily Show), Erin Foley (E!, Chelsea Lately), and Margot Leitman (Moth Grandslam Champion). The next show, appropriately playing May 10th in honor and celebration of Mother’s Day include Justin Halpern (Shit My Dad Says), actress Mary Birdsong (The Descendants, Reno 911), drag queen Kay Sedia (Chico’s Angels), comic Jen Kober (Treme), Huffington Post writer Mara Shapshay and Shelagh Ratner (VH1, Comedy Central). Nikki herself performs every night.

She is proud that the show, with the simple power of word of mouth and a great reputation, has been able to attract such great performers. People ask her for a chance to participate, are thrilled to be involved. “I never expected this kind of reaction,” she says. “Every show I’m nervous, every show is like the first one. I’m so excited and I’m also, like, I can’t believe this is happening.” Though it is still early, the show has been so successful there are plans to expand to New York, San Francisco, and they recently got asked to do a best of at the Comedy Central stage. This is where Comedy Central finds new, out-of-the-box note-worthy events and emerging talent: an incredible opportunity to showcase the amazing performances and the fresh inventiveness of the show.

When I joke about her running out of stories, she laughs it off. Not a chance. She has quite the arsenal. Which is lucky, because this show is destined for a long run. Brace yourselves, mothers.

 

The next show will be playing at the Bang Comedy Theater this May 10th. To find out more about the show and get tickets, visit: http://www.brownpapertickets.com/event/244093

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i vet

Film Review: I Vitelloni

Reported by Yira Melissa Vilaro

 

Upon the settling of my initial fascination and after quickly googling the English translation of the word “Vitelloni” I realized I was hardly the first person to be captivated by this “pivotal” “masterful” “turning-point” oeuvre of Fellini. However, what can I say? After sitting down to watch this beautiful film, I understood why scores of scholars, critics, pseudo-intellectuals and film snobs alike gravitate towards praising the old good cinema, the “masters” of the craft, reveling in the old rediscovered “classics” like moths to a flame in the same tired, tinged with superiority sense of reveling of the supremacy of these films, and the supremacy of the critic for understanding their greatness.

I Vitelloni sparked that spark that is not very often ignited lately, my own passion for film, what I love about it which I sometimes forget in my quest to “succeed” in the industry and because it is seldom encouraged nowadays in theaters. Yes I know; it easy to be a skeptical snob when it comes to film criticism, to put yourself on a high pedestal and exalt the lost works of Fellini or Godard or Kurosawa and lament the sad state of cinema nowadays and how there’s no trueness anymore in it and how the art has been corrupted… and so forth. I don’t want to be a snob, trust me. This weekend aside from watching I Vitelloni, I also watched the Hunger Games (front row on its premiere on Fri –tickets bought in advance like any good aficionado) and Jack and Jill (yes, the Adam Sandler movie whose existence, if you are lucky, you won’t be aware of) which was barely watchable and almost worth its torturous duration by the fact that Al Pacino stars in the most hilarious Dunkin’ Donuts commercial that I think will ever grace any TV or film screen. I do not sit down and watch movies of the fifties to feel cultured or film literate, I watch them because, a lot of the time, they are incredibly enjoyable. I can be as bored by a black and white film as the next guy –it took me 3 or 4 attempts to get through the entire La Dolce Vita, but there was something magical about I Vitalloni, something so real and approachable and that I realized I missed in cinema that awakened in me genuine emotion, genuine attachment to a film.

There is a sense of natural realism, maybe even laid-back naturalism, that comes with these performances the likes of which I haven rarely seen in cinema of the last 20 years, where characters on screen over-emote in the hopes of garnering critical acclaim, resounding accolades for a “masterful performance”, forgetting that emotions that run deep sometimes don’t find their expression on the surface. The characters felt real, timelessly so, the situations let to “se debrouiller” without haste but without over-indulging in ennui; the camera offering a glimpse into these people’s (cause after a while there were not characters anymore, these were just people –your neighbor, your distant cousin, the man that runs the nearby coffee shop) everydayness. Interactions felt real and natural, not forced, just there, maybe even without a purpose in the general narrative of the story, a lack of the feeling of contrived-ness and artifice that I feel clouds movies nowadays despite their best intentions; dialogue that did not seem forced or even there for a purpose, whose mere existence in the screen betrays a larger picture, a sense of significance within the plot it helps delineate. It was nice to see a conversation that is just happening as is, without having to wonder (voluntarily or not) how this interaction/dialogue will take on new significance as events in the movie transpire, how this “insignificant” word or look will take on new symbolic meaning as the movie develops. It was good to actually watch a film without having to question the implications of a ”superfluous” cadre within the context of the narrative it is clearly there to advance.

And lastly, I related to it because the film, about a glimpse into the lives of five guy friends at a turning point in their lives, at the crossroads between having to mature and a reluctance to grow up, is such a familiar and relatable subject, of a universality that is relevant, at least to me, with five of us in a two bedroom apartment and every penny I spend twinging the guilt and the awareness that I am growing up, that sometime I will have to take responsibility for myself (maybe even another human being!) and grab the reins of my own life full on and the knowledge I am SO not ready to relinquish the good times, and the terror and even apathetic reluctance it inspires, that it is somewhat gratifying, charming, and even soothing to see it on the screen. Yes, this is a movie from the 1950’s, but at least I’m not alone.

Naked-Juice3

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Photographed by: David Kepner
Sponsored by: Naked Juice
Modeled by: A Pretty Person
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Oberhofer

Pre-Coachella Coverage: An Exclusive Interview with Oberhofer

Reported by: Laura Sortwell

Oberhofer answers some questions for the Pretty People below and will be hitting the Coachella stage on Sunday, April 15th and Sunday, April 22nd. I was lucky to catch them for a set at Austin’s SXSW and was blown away by their killer energy and souls!

1. Who inspires you?
Nice people in general.  Every time I meet someone who is sincerely really sweet.

2. What’s your go-to song to impress someone you’re interested in?
I don’t have one of those! I just listen to whatever the mood calls for.

3. What’s your favorite city to perform in and why?
I don’t have a favorite, but I had a super good time playing in Paris.  I love speaking French, the food was delicious, and the people were really friendly.

4. Backstage in the Green room, what do you like to have on hand the most?  What’s the most bizarre thing you’ve ever seen provided to you?
I like to have superglue on hand! You never know what you’ll need it for!  On our rider we have “an autographed picture of the person who’s job it is to buy the things on our rider”, it’s a nice way to get to know the man (or boy) (or woman (or girl)) behind the curtain.

5. Who’s the one artist you sample the most?
Vincent Van Gogh

6. What music, songs, or bands do you like to listen to when you are hungover?
I don’t drink!!

7. If you could music supervise an episode of any show on TV past or present, what would it be?
And episode of Reboot

8. Backstreet boys or N’Sync
Backstreet boys were my first, but N’Sync is just a little bit better.

9. Best advice ever received?
“Living well is the sweetest revenge”

10. What’s your vice?
Joe Biden

11. How would you define love?
How would you define love?

Railroad Earth at the Fillmore

Railroad Earth at the Fillmore in San Francisco

“Oh Mama, ain’t it good to be alive? When you’re mountain top and feelin’ high…”

Those are the lyrics that first inspired me about 5 years ago to further explore Railroad Earth — a band that has a sound which, at the time, I had never quite experienced before. Their music is defined as ”newgrass” — influenced by both the traditional sounds of bluegrass, as well as jam bands such as (and most particularly) The Grateful Dead. It tends to surprise listeners that this sextet originally hails from New Jersey, but I find that to be a part of their uniqueness as a band. They embrace diversity in their music as well as their audience and strive to bring joy and inspiration to their fans all over the country.

On a wonderful excursion up the coast to that beautiful city by the Bay this past weekend with my friend Kat, I had the extreme pleasure of once again seeing the band that has become one of my absolute favorites to see live — and this time with the extra thrill of seeing them at the famous Fillmore Auditorium.

One of my favorite things about Railroad Earth’s shows is the audience. I remember the first time I saw them, at the House of Blues in Chicago, I felt like I had gone through a time warp and stepped into a different era. Teenagers, young and older adults alike all sat on the floor of the venue with their long flowy skirts billowing around them, patiently waiting for the music to begin. There is no pushing or mosh pits, no attitude or heckling. It is quite the opposite, as Kat and I once again experienced this past weekend. We were welcomed into the crowd, guided to the front of the stage, and even offered some glitter for our eyes from the new friends we had made in the front hall — which was right after grabbing a fresh red apple that the Fillmore has always offered its patrons (the urban legend is that these were provided for Grateful Dead concert-goers who may have needed some help coming down from a bit of a trip)…

A fellow fan gets his color on.

 

Kat is one of the biggest Grateful Dead fans I know and so she got me very excited to see a show in their house. Early in the first set and for the remainder of the night, I could feel the energy of the venue’s history. As the wooden dance floor moved (literally, it’s an old venue and there were a lot of people dancing! Which was a bit scary at moments, I won’t lie) to the rhythm of Railroad’s emotionally and spiritually uplifting tunes, I became very aware of all the magic that’s gone down in that joint. And the boys came up to bat and hit it out of the park — adding to the magic with one great song after another. My list of favorite Railroad songs to hear live goes on very long, but Katharine and I were both lucky enough to hear our picks of the night.

Hers was “Storms,” which brings promise in a time of darkness:

“I never dreamed it would be so hard girl
Never saved up for a rainy day
Never thought that we
Might howl and shiver
But all these storms I know will weather

All these storms we’ll ride together.”

Then shortly after came mine  – “Mourning Flies”:

“Will you ever know?
I’ll be right there with you
I have a map of your heart

The pieces & parts to make it whole again

Oh, til mourning flies
The fields awake & come alive
Darkness goes…crows appear
The scurrying squirrel…the apple tree deer

Carry me through..I’ll carry you

Where have you been?
Tell me where have you been?”

To me, this song has always been about keeping someone you have lost alive in your heart, though the beauty of all of Railroad’s songs is that they are capable of having so many different meanings to different people. Maybe it’s more clear to share how Kat defines the band: as “a pure secret adventure” — right on point, if you ask me.

Phil Lesh of The Grateful Dead joins the boys for a few.

As if the night could get any better, Phil Lesh of the Grateful Dead (and of today’s Furthur), came out halfway through the second set and joined the band in rocking the crowd with the Dead’s “Terrapin Station” (see video below), followed by Railroad’s songs “Spring-Heeled Jack” and “Crazy Fingers,” and then finishing up with another famous Dead song, “Box of Rain.”

Despite having already performed that night at Terrapin Crossroads (a new venue opening up this weekend in San Francisco), Phil Lesh was better than I’ve ever seen him (maybe not as good as my dad has ever seen him, but hey it’s 2012) as he played with the boys of Railroad. There was a clear mutual respect amongst the many talented artists on the stage Saturday night.

The second act closed with “Peace on Earth” — a (what I think will be) timeless bluegrass jam that always brings Railroad fans moving on their dancing feet. This song has a truly inspiring message given through pulsing strings and passionate voices as the boys sing to us:

 

"I need my freedom, need my open sky." Thank you San Fran.

“Inside stillness activity
In the roots of the giving tree
Follow the branches and you will see
That peace will shine with the morning

Peace on earth
Peace
Peace on Earth
Peace will shine with the morning.”

 

To find out more about the band, please visit railroadearth.com!