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Circus maximus
The Beat Circus and others join the 'ArtRages' fundraiser, plus the 'Unite for Arts' benefit in Cambridge, and more

Next week

We’re not always able to wrap our brains around the experimental-art happenings put on by Mobius, the artist-run keepers of the avant-garde flame. But trust us: performance artists throw great loft parties. And Mobius’s annual "ArtRages" fundraiser never disappoints: throw a couple dozen multimedia installations, a half-dozen local bands (including Pee Wee Fist, circus-improv vaudevilleans the Beat Circus, and theremin orchestra the Lothars), and some beer into a Fort Point warehouse and something interesting is bound to happen. This year’s "ArtRages" takes place next Saturday, November 20, at 8 p.m. at 368 Congress Street. Tickets are $20, $15 in advance; call (617) 542-7416, or visit www.mobius.org

Next month

Thanks to state fiscal crises in 2002 and ’03, the Cambridge Arts Council saw its budget slashed by 70 percent, and that’s taken a pretty big bite out of the grant money the CAC is able to distribute to local artists. To stanch the bleeding, the CAC has organized a "Unite for Arts" benefit concert headlined by Cambridge-born jazz star Nnenna Freelon for December 1, with proceeds going directly to the CAC’s Grant Fund. The event will also feature performances by previous CAC grant recipients Snappy Dance Theater and the Underground Railway Theater, with special guests to be announced. It’s a 7 p.m. show at Sanders Theatre, 45 Quincy Street in Harvard Square, and tickets are $25 to $50, or $100 for a VIP seat and post-show reception with the performers; call (617) 496-2222, or visit www.uniteforarts.org.

And beyond

Each January 1 in Vienna, the Vienna Philharmonic’s New Year Strauss concert is the hottest ticket in town. And the popularity of the event as broadcast each year by PBS has enabled the "Salute to Vienna" tour to establish a beachhead in the US. This is an elaborate production that brings dancers from the Vienna Opera Ballet and the Hungarian National Ballet together with rented American orchestras to perform operetta selections, polkas, and a whole lotta waltzes. Only question: will dancing in the aisles be permitted when it comes to Symphony Hall, 301 Massachusetts Avenue in Boston, on January 2? Tickets are $38 to $78; call (617) 266-1200.

Leak of the week

Word on Eminem’s Encore was that Mr. Mathers was so worried about leaks that he decided to leave the album uncompleted until mere weeks before its release, then finish it in a marathon session to foil would-be bootleggers. Didn’t work: the day after Dubya’s re-election — which, by the way, the authorized leak of Em’s virulent anti-Bush single "Mosh" failed to prevent — Encore lshowed up on file-sharing networks. Advance billing among the bloggerazzi has been uniformly harsh. The verdict? Weak beats, wack voices, and a paranoid Em retreating further into a self-referential shell. All valid criticisms — our first impression of the album was, "Oh, shit — he’s turning into ’70s Elvis." But before Em loses himself in self-abnegating burp jokes and sentimental hokum, he gets a little mid-’60s Dylan on the rap game: attempting to explain, and then apologize and also not apologize for, the racist-sounding demo tape the Source unearthed last year (the short take: it’s X-Clan’s fault); deconstructing his post–8 Mile fame; and, on "Mosh," calling for revolution in the streets. It’s not funny, it’s not shocking, it may not even be great hip-hop, but — for better and for worse — it’s a more complicated Eminem. Interscope, as you might expect, freaked out when Encore leaked, and the album’s release date, which was to have been next Tuesday, has been pushed forward to this Friday, November 12.


Issue Date: November 12 - 18, 2004
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