Clinton visits ‘Broad City’ set

12 Dec 2015 | Author: | No comments yet »

Hillary Clinton to Appear on ‘Broad City’ Season Three.

Broad City has secured a major guest for its upcoming third season: Hillary Clinton revealed Friday that she filmed a scene with comedy series stars Ilana Glazer and Abbi Jacobson. “Crying red white & blue tears. Hanging w/kween @HillaryClinton on the set of season 3,” Broad City’s official Twitter posted alongside of photo of Clinton, Glazer, Jacobson and executive producer Amy Poehler, who frequently portrayed Clinton on Saturday Night Live. Hillary Clinton and Broad City tweeted a couple of teasers today about the candidate’s guest appearance in show’s third season, which premieres Feb. 17 on Comedy Central.

And in her latest attempt to appeal to millennial women, Clinton will appear alongside comedy’s hottest stars Abbi Jacobson and Ilana Glazer on their show, Broad City. This isn’t Clinton’s only comedic television appearance in recent months: Clinton recently played Val the bartender in an SNL sketch that featured cast member Kate McKinnon in her usual role of the Democratic presidential frontrunner. To help ease the wait, Glazer and Jacobson have dropped a series of web exclusive videos in recent months, including the discovery of a Yom Kippur loophole, a painful day at the spa and revealing their Halloween costumes. 2015 may not bring everything that Back to the Future II promised it would: flying cars, self-lacing shoes, we don’t see ’em happening over the next 12 months. (Then again, don’t bet against Nike.) But this year will definitely pack plenty of punch when it comes to cultural happenings. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again. Victoria Ruiz and Joey DeFrancesco, lead singer and guitarist of the most exciting punk band in America today, Downtown Boys, are eating pizza before a show in their hometown of Providence and discussing the finer points of Internet policy. “We really need to connect on-the-ground policing with Internet surveillance and the criminalization of the Internet and think of it all as the police state, and state violence,” Ruiz says as The X-Files plays on the TV overhead.

For those tired of living in a country where it’s OK to give equal weight to #AllLivesMatter and to consider abortion a crime, where hourly workers are expected to be grateful for the scraps they get and never ask for more, and where xenophobia and gun culture have blurred together with patriotism, you’ve got two choices for public events: a Bernie Sanders rally or a Downtown Boys show, and Victoria Ruiz is a better public speaker. The Providence band’s two LPs, a 2012 self-titled effort and this year’s Full Communisim, are galvanizing blasts, but seeing Downtown Boys live electrifies every nerve. There are a few elements at play here: the abrasive horn section of Adrienne Berry and Emmett Fitzgerald, drummer Norlan Olivo’s manic abilities, which often lead to his standing on his drum kit as the crowd lifts the two of them together. But chief among them are Ruiz’s introductions to songs, which feel like Amy Goodman channelling X-Ray Spex’ Poly Styrene, Ta-Nehisi Coates meeting Fugazi’s Ian MacKaye. She talks about the slave trade, pointing out the markers and businesses that made up the transactional components of America’s original sin, connects these corporations to modern-day landlords and the police, draws these institutions into whatever room they’re playing, and then encourages their destruction through song.

Poehler – as erstwhile parks administrator Leslie Knope on Parks and Recreation – once called her “the strongest, smartest punching bag in the world”. (Knope also kept a framed photo of the former first lady in her office.) The crowd inevitably explodes into a physical manifestation of these anthems, slamming against each other in the type of solidarity where they know, they truly know, that in the fight against invisible and violent superstructures, they’re the ones who will win. It’ll be hard for Clinton to insert herself into any of Jacobson and Glazer’s scripts without conferring a tacit endorsement of pegging, bong-ripping, or other such Broad City–worthy behavior.

Yet here are Ruiz and DeFrancesco, eating pizza, drawing a direct line from the late Aaron Swartz’s work on the Stop Online Piracy Act of 2012 to their performances. Ruiz had just moved to Providence from California, intrigued by its arts scene and cheaper rent than New York, and had taken a job at the Renaissance Providence Hotel, where she met DeFranceso. From there, he had also formed a band named after an early Springsteen lyric: “And them downtown boys sure talk gritty/It’s so hard to be a saint in the city” (“It sounded tough and fun but also queer,” he elaborates).

Ruiz quickly joined the band, and when she heard about Segal’s work for hotel workers, joined his Congressional campaign doing Spanish language outreach. Segal took a strong interest in Downtown Boys — DeFrancesco refers to him as the band’s unofficial label. “I was thinking of new ideas how to harness the Internet into these organizing campaigns that Demand Progress was doing, how to take the energy he saw at our shows,” DeFrancesco says, “to channel it into what he and Aaron had been working on for so many years. I pitched the idea a year ago of making a website focused on radical artists.” That site, now known as Spark Mag (a Downtown Boys–affiliated DIY venue in Providence is named Spark City), boasts interviews with artists like Baltimore rapper Abdu Ali and Atlanta post-punk band Algiers as well as essays, like Priests’ Katie Alice Greer on presenting as femme and Don Giovanni’s Joe Steinhardt on Spotify economics. Greer initially signed Downtown Boys to Priests’ label Sister Polygon — she says that seeing them for first the first time felt like the “most naturally insane joyful angry thing” — and the band is currently signed to Don Giovanni. I feel like we’re challenging them.” “It’s really amazing to go into a room of white dudes,” adds saxophonist Berry. “We kill, slash and thrash.” At this point, though, the band rarely gets all-white crowds. “People of color come out,” says Victoria.

Providence has a proud musical tradition of abrasiveness, going back over a decade with noise bands like Lightning Bolt and Black Dice. “We take the loud, noisy aspect from Providence and bring it to our band in a punk, pop, controlled way,” Norlan says. As they begin their set at New Urban Arts, they quickly show how they’re able to not only control that noise but also use it to galvanize anyone looking to destroy what’s outside those walls. How the physical energy in this room can be redefined on the Internet, how the kids of color, the queer kids, anyone here hassled by the cops can take that energy and redefine their future. “Coming in on a wave!” she and Joey yell at the start of their first song. “On a wave of history!”

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