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Home , Big Youth, Dr Alimantado, Gregory Isaacs, Jeremy Marre, Joe Gibbs (producer), Joe Higgs

BAMcinématek presents Do the , a 14- film series celebrating ’s music and the 50th anniversary of the nation’s independence, Aug 2—6

Opens with new hi-def restoration of Ted Bafaloukos’ in first NY theatrical showing in more than a decade

Closes on Jamaican Independence Day (Aug 6) with OnePeople, the country’s official 50th anniversary doc, premiering simultaneously in Kingston and

Live performance by Deadly Dragon featuring legendary DJ

Producer Clive Chin of Randy’s Records and Cherry Kaoru Hulsey (Rockers) in person

The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek.

Brooklyn, NY/Jul 11, 2012—From Thursday, August 2 through Monday, August 6—the 50th anniversary of Jamaican independence—BAMcinématek presents Do the Reggae, a 14-film series dedicated to the country’s unique and widely influential musical tradition. Focusing on vintage films from 1971 to 1983, the series opens with the -set Rockers (1978), Ted Bafaloukos’ rousing Rasta adaptation of De Sica’s The Bicycle Thief. Also screening are seminal nonfiction exploration Land of Look Behind by Alan Greenberg, three parts of the British series Deep Roots Music, Jeremy Marre’s Roots Rock Reggae, and possibly the earliest feature film on reggae, Horace Ové’s Reggae. The series is named after ’ eponymous song—the first to use the word “reggae.”

Reggae was born in the late 60s from previous genres and rock steady, all stemming from Jamaica’s folk music, mento. Distinguished by the offbeat accent and socially conscious influences including the Rastafarian faith, reggae is a deeply experimental and influential musical form, single-handedly paving the way for rap, hip-hop, and the remix (invented in the early 70s in Jamaica). Through decades of political unrest in Jamaica and racial violence against Caribbean immigrants in Europe and North America, reggae in all its forms has endured as an essential conduit for social protest, individual expression, and spiritual exploration.

Although ’s (1972—Aug 3) is widely considered the watershed film about reggae, Ted Bafaloukos’ Rockers (Aug 2), showing theatrically for the first time in New York in over a decade in a new hi-def restoration, is the original artifact of Rasta cinema. The only feature by Bafaloukos, Errol Morris’ longtime production designer, Rockers is essentially The Bicycle Thief in a tenement yard and follows renowned drummer Leroy “Horsemouth” Wallace playing himself in this loose yet subtly powerful portrait of

scraping by in the shanty town. Both a celebration of Jamaican music and culture and an eye-opening document of the hand-to-mouth life of musicians, Rockers’ “nonstop soundtrack…and mountaintop prophesies that reveal the spiritual roots of reggae establish what the music business means to impoverished islanders and how the drug-fueled religious ceremony behind the music matters even more than money” (Noel Murray, The Onion AV Club). As a special bonus, Rockers will be followed by “Downtown Top Ranking in a BAMstyle,” a party at BAMcafé with Deadly Dragon Sound System and featuring legendary DJ Ranking Joe on the mic.

Henzell’s aforementioned classic pulp tale The Harder They Come features as island outlaw Ivanhoe Martin. Before Bob made it big stateside, Cliff took the circuit by storm, unveiling this new reggae sound to American audiences. Based on the namesake Jamaican bandit and folk hero from the 40s, the film not only made Cliff a star, but tells the story of reggae in a microcosm: the country boy going to Kingston to make it big, the push-and-pull of the Rasta spirituality and rude-boy swagger, the greed and mafia tactics of shady record producers, the ganja (of course), and a love for the movies, with Cliff’s bad-boy persona crystallizing at a rowdy screening of a spaghetti western (see Buck and the Preacher below for more on the western genre in reggae).

The gems of the series are its documentaries, and possibly the greatest nonfiction portrait of Jamaica is Alan Greenberg’s Land of Look Behind (1982—Aug 3), an exquisitely profound meditation on the island—from its Rasta tenets to its still-endemic colonialist tendencies and history of tragic political violence. Greenberg, who worked with Werner Herzog on Heart of Glass, took the German master’s longtime cinematographer Jorg Schmidt-Reitwein to Jamaica. The pair documented a country in flux after the death of , including awe-inspiring shots of the funeral procession (used liberally in the Kevin McDonald’s new documentary Marley). The result is one of the most poetic travelogues ever committed to celluloid, as well as an indictment of a police state rife with violence and poverty. One of Jim Jarmusch’s favorite films (he called it “striking... beautiful... near-perfect”), Land of Look Behind is a chilling, heartbreaking, and stirring small masterpiece, and Greenberg’s only film.

Famed music documentary producer Jeremy Marre (: Soul Survivor) went to the island for a mere snapshot of the music scene at its height and returned with Roots Rock Reggae (1977—Aug 5), a unique hour-long document most famous for rare footage of influential producer Lee “Scratch” Perry gesticulating wildly behind the boards at his celebrated Black Ark studio. Marre also trains his lens on reggae forefather Vincent Chin’s renowned record store, Randy’s; harmony trios and The live at their peak; DJs U-Roy and U-Brown riding the (rapping); and Inner Circle at their most famous, living high up in the hills of Kingston away from the “sufferation.” Legendary reggae producer Clive Chin (son of Vincent Chin) will appear for a Q&A after the screening.

Howard Johnson’s Deep Roots Music (1983—Aug 5) is the closest thing to a comprehensive documentary on reggae, ending in the era of the early 80s. Incisively narrated by none other than DJ (’s producer and reggae mentor) and shot by award-winning DP Roger Deakins (No Country for Old Men), this seminal, multi-part history of reggae is no PBS-style primer. Letting the music speak for “i-self,” this British series lingers on performances and evokes the languid, severe island life while honestly exploring the spiritual and militant aspects of reggae. Individual episode descriptions are listed below.

One of the most revelatory films in the entire series, and quite possibly the first feature ever made on reggae, is master director Horace Ové’s documentary on the genre, Reggae, which has not shown in the US in decades. The centerpiece of Ové’s film is a 1970 UK concert featuring Toots and the Maytals, , the Pioneers, John Holt, and others. For such an early exploration, Reggae is remarkably prescient for understanding both the societal impact and force of the music, with an empathy for both black and white youth culture. The Trinidadian-born auteur, who later explored Black Power in Britain with Pressure, is not only an incisive interviewer with players in the British reggae scene, but also lets the music explode, complemented by beautiful compositions and camerawork and punctuated by playful, rhythmic, and ironic editing by Franco Rosso (Babylon—Aug 4).

The series features numerous other essential but rarely screened works in the genre: Babylon (1981), Franco Rosso’s cult feature on sound systems in Britain; Jerry Stein’s Word, Sound and Power (1980— Aug 5), a portrait of seminal session band , which Greil Marcus calls “the closest film audiences are likely to get to modern Jamaican music and to the ideas, experiences and emotions behind [it];” James P. Lewis’ Heartland Reggae (1980—also Aug 5), which documents the most important live reggae event of its era, the , featuring Bob Marley in his first appearance after his attempted assassination; and Dickie Jobson’s Countryman (1982—Aug 4), a delightfully campy Rasta fisherman cult political adventure. And, as a special tribute to great 70s DJ I-Roy, Do the Reggae includes his favorite film (and the subject of an eponymous song), Buck and the Preacher (1972—Aug 4), an antebellum black western starring Sidney Poitier (also making his directorial debut) and Harry Belafonte as the title characters, guiding a wagon train of newly freed slaves west to frontier exodus— possibly the Rastafarian-est western ever made.

Do the Reggae closes with the world premiere of OnePeople, a crowd-sourced documentary comprising video submissions from individuals around the world expressing—through song, dance, poetry, landscapes, artwork, and stories—what Jamaica means to them. Produced by Justine Henzell (daughter of Perry Henzell), this Jamaica-50 project will premiere simultaneously in London and Kingston, exemplifying the nation’s motto by uniting the work of many filmmakers into the collective film of one people.

Press screenings to be announced.

For screeners or press information, please contact Gabriele Caroti at 718.724.8024 / [email protected] Lisa Thomas at 718.724.8023 / [email protected]

Do the Reggae Film Schedule

Thu, Aug 2 4:30, 6:50*, 9:15pm: Rockers *Followed by “Downtown Top Ranking in a BAMstyle” with Deadly Dragon Sound System featuring Ranking Joe in the BAMcafé

Fri, Aug 3 2, 6:50pm: Land of Look Behind 4:30, 9:15pm: The Harder They Come

Sat, Aug 4 2pm: Buck and the Preacher 4:30pm: Reggae 6:50pm: Countryman 9:15pm: Babylon

Sun, Aug 5 2pm: Deep Roots Music: “Revival” + “Ranking Sounds” 4:30pm: Deep Roots Music: “Black Ark” + Word, Sound and Power 6:50pm: Roots Rock Reggae 9:30pm: Heartland Reggae

Mon, Aug 6 7, 9:15pm: OnePeople

Film Descriptions

Babylon (1981) 95min Directed by Franco Rosso. With David N. Haynes, Trevor Laird. While racism smolders overhead in the streets of South London, an underground cabal of black Britons seeks refuge in the heavy dub of British band Aswad’s “Warrior Charge.” This incisive declamation of Thatcher-era racial inequality follows Rasta sound system leader Blue (Aswad’s Brindsley Forde) as he defends his musical ambitions from the xenophobia of employers, neighbors, police, and the National Front. Fearless and unsentimental, Rosso’s feature tempers the hazy bliss of the dancehall sounds with harrowing scenes of violence. “Although Babylon shows what it's like to be young, black and working class in Britain, the final product turns dramatized documentary into a breathless helter-skelter. Rather than force the social and political issues, Rosso lets them emerge and gather momentum through the everyday experience of his central character Blue (sensitively played by Forde)… the sharp use of location, the meticulous detailing of black culture, the uniformly excellent performances and stimulating soundtrack command attention.”—Time Out London Sat, Aug 4 at 9:15pm

Buck and the Preacher (1972) 102min Directed by Sidney Poitier. With Poitier, Harry Belafonte, Ruby Dee. With names like Clint Eastwood, Josey Wales, and Lee Van Cleef, and tunes like “Django Shoots First,” reggae DJs have taken the western very seriously. As a tribute to the DJ I-Roy, possibly the greatest dj and most eloquent man on the mic in the 70s, the series features his favorite film (and the subject of an eponymous song), the antebellum black western starring Poitier (also making his directorial debut) as Buck and Belafonte as the charlatan priest. The two guide a wagon train of newly freed slaves west to frontier exodus. If any western could be deemed Rasta, this is it! Sat, Aug 4 at 2pm

Countryman (1982) 102min Directed by Dickie Jobson. With Countryman, Hiram Keller, Carl Bradshaw, Basil Keane, Freshey Richardson, Kristina St. Clair. Created around the persona of real-life Rasta fisherman Countryman, who still lives on Jamaica’s Hellshire beach, this beloved camp workout is both a celebration of ital living and a loopy, politically tinged adventure. Featuring a corrupt police captain (beloved Jamaican actor Bradshaw), obeah (Jamaican “voodoo” mysticism) apparitions, and a dreadlocked contract killer with his own dub theme music, the plot is simple: Fellini’s Satyricon’s Keller and his real-life wife play two tourists who crash their single prop in a beachfront paradise, get nursed back to life by the titular Rasta superhero and natural mystic, and then get framed by the police and have to escape. It is all set to dread tunes featuring Marley, Perry, Toots, and Aswad, and an atmospheric score by famed session keyboardist . Sat, Aug 4 at 6:50pm

Deep Roots Music: “Black Ark” (1983) 50min Directed by Howard Johnson. This episode of the British doc series focuses on the most important spiritual and cultural movement in Jamaica——and all its philosophies. Rastafarian elders and youth alike rush across a landing strip to welcome Ethiopian emperor in stirring newsreel footage from his miraculous visit to the island in 1966; a silhouetted, flag-waving Lee “Scratch” Perry introduces himself as King David; Bob Marley channels James Brown in an extended workout of his dreadest tune, “War;” a motorcade of and his black nationalists stand nobly in footage from the 20s; Perry’s tween daughter accompanies a breathtaking skeletal version of “No Woman No Cry” in the rubble of her dad’s studio; Nyabinghi drumming elder Count Ossie performs for his Highness; and the Mighty Diamonds go truly deep in the studio. with Word, Sound and Power (1980) 60min Directed by Jerry Stein.

Seminal session band Soul Syndicate played on more than a thousand records, backing everyone from to Bob Marley, and its members are individually responsible for famous reggae “riddims” (instrumentals). Band leader George “Fully” Fulwood’s bass anchors the timeless “Stalag 17,” which can be heard on ’s “Bam Bam.” Focusing on Fully and legendary lead guitarist Earl “Chinna” Smith, Stein trains his lens on deep performances in the yard and lengthy interviews in the hills high above, with Rasta consciousness ever-present. “Unique in its blend of tension and relaxation, movement between city and the country…the closest film audiences are likely to get to modern Jamaican music and to the ideas, experiences and emotions behind [it]” (Greil Marcus). Sun, Aug 5 at 4:30pm

Deep Roots Music: “Revival” (1983) 50min Directed by Howard Johnson. Using a wealth of archival drawings and photographs, as well as interviews and performances with historian folklorist Miss Lou and legendary percussionist Scully Simms “in the yard,” this episode explores the Jamaica’s music as it evolved from a Spanish to a British slave colony in the 1600s. Its indigenous folklore and strains of spiritual practice—from obeah (Jamaican “voodoo” mysticism) to kumina (the Jamaican religion derived from Congolese practices), and Revival (the African-influenced Christian movement) to the creation of mento, Jamaica’s first proper folk style into the American-influenced ska— are coupled with one-of-a-kind early-60s footage of a 16-year-old Jimmy Cliff and Toots and the Maytals. with Deep Roots Music: “Ranking Sounds” (1983) 50min Directed by Howard Johnson. Focusing on what is arguably the most dynamic aspect of reggae—sound systems (outdoor mobile discotheques) and their DJs (in reggae, a DJ is a actually an MC “toasting” or rapping over records), the primary agents for the music’s innovation in writing, production, and arrangement—“Ranking Sounds” features one of the most legendary sound system operators, the rock steady innovator ; sax legend Tommy McCook; vintage footage of the first DJ superstar U-Roy in the studio; and extended interviews and phenomenal performances of foundation DJs Count Machuki and Sir Lord Comic. Don’t miss the latter seriously skanking in a red Adidas track suit! Sun, Aug 5 at 2pm

The Harder They Come (1972) 98min Directed by Perry Henzell. With Jimmy Cliff, Janet Bartley, Carl Bradshaw, Ras Daniel Hartman, Basil Keane, Bob Charlton. “The hero can't dead till the last reel!” Before Bob Marley made it big stateside, Henzell’s pulp tale of island outlaw Ivanhoe Martin (Cliff) took the midnight movie circuit by storm, unveiling the new reggae sound to American audiences. Based on the namesake Jamaican bandit and folk hero from the 40s, the film not only made Cliff a star, but also tells the story of reggae in a microcosm: the country boy going to the city of Kingston to make it big, the push-and-pull of Rasta spirituality and rude-boy swagger, the greed and mafia tactics of shady record producers, the ganja, and a love for the movies, with Cliff’s bad-boy persona crystallizing at a rowdy screening of a spaghetti western. And let’s not forget the tunes: Cliff’s title track, plus “You Can Get It If You Really Want,” ’ deeply spiritual “Rivers of Babylon,” DJ Scotty’s “Draw Your Brakes,” and Desmond Dekker’s “007.” Toots and the Maytals in the studio recording “Sweet and Dandy” is worth the price of admission alone! Fri, Aug 3 at 4:30, 9:15pm

Heartland Reggae (1980) 86min Directed by James P. Lewis. One of the most important live reggae events ever, the One Love Peace Concert on April 22, 1978, was organized to end the political violence between the two opposing Jamaican parties, then Prime Minister ’s socialist People's National Party (PNP) and ’s right-wing Jamaican Labor Party (JLP). It was also the first concert appearance by Bob Marley after his assassination attempt. Ironically the brainchild of two rival political gangsters, Bucky Marshall (PNP) and Claudie Massop (JLP), the concert culminates with Marley doing a rousing rendition of “Jammin’,” in which the superstar beckons Manley and Seaga to the stage and holds their hands together over the crowd. The concert did nothing to quell the killings, and both gang leaders met violent deaths within two years. Nevertheless, this loose doc

features other amazing live performances of the time: a strident as militant as ever, a dynamic fronting Inner Circle at the peak of its popularity, as well as and U-Roy, both donning three-piece suits (neon green and yellow, respectively), and teen sensations Althea and Donna “and ting” their number one hit, “” in matching khaki. Sun, Aug 5 at 9:30pm

Land of Look Behind (1982) 90min Directed by Alan Greenberg. With , Bob Marley, , Louis Lepke. This exquisite, profound meditation on Jamaica, from its Rasta tenets to its still-endemic colonialist tendencies and its tragic political violence, is a chilling, heartbreaking, and stirring small masterpiece— proclaimed by Jim Jarmusch to be one of his favorite films. Greenberg, who worked with Werner Herzog on Heart of Glass, took the German master’s longtime cinematographer Jorg Schmidt-Reitwein, to the island to document a country in flux after the death of Bob Marley, including awe-inspiring shots of the funeral procession (which are used liberally in Kevin McDonald’s new documentary Marley). The pair created one of the most beautiful poems about the country ever committed to celluloid, as well as an indictment of a police state rife with violence and poverty. "Striking... beautiful... near-perfect" (Jim Jarmusch). Fri, Aug 3 at 2, 6:50pm

OnePeople (2012) 60min World Premiere Produced by Justine Henzell. The festival closes with this crowd-sourced documentary comprising video submissions from individuals around the world asked to expressing—through song, dance, poetry, landscapes, artwork, and stories— what Jamaica means to them. Produced by Justine Henzell (daughter of Perry Henzell), this Jamaica-50 project will simultaneously premiere in London and Kingston, exemplifying the nation’s motto by uniting the work of many filmmakers into the collective film of one people. Mon, Aug 6 at 7, 9:15pm

Reggae (1971) 60min Directed by Horace Ové. Perhaps the most revelatory film in the series, and possibly the first feature ever made on the music, is master director Horace Ové’s documentary on the genre, Reggae, not shown in the US in decades. The centerpiece of Ové’s film is a 1970 concert in the UK, featuring Toots and the Maytals, Desmond Dekker, the Pioneers, John Holt, and others. For such an early exploration, it is truly prescient in its understanding of both the societal impact and force of the music, with an empathy for both black and white youth culture. The Trinidadian-born auteur, who later explored Black Power in Britain with Pressure, is an incisive interviewer with players in the British reggae scene including founders, legendary DJ Mike Raven, and others, but also lets the music explode, complemented by beautiful compositions and camerawork and punctuated by playful, rhythmic, and ironic editing by Franco Rosso (Babylon—Aug 4). The shots cut between Toots doing a frenzied rendition of “Monkey Man” and the original King Kong, then feature industrial footage of white tourists sunbathing in Jamaica over Laurel Aitken’s socially conscious “Deliverance Will Come.” Sat, Aug 4 at 4:30pm

Rockers (1978) 100min New Hi-Def Restoration! First NY theatrical showing in over a decade! Directed by Ted Bafaloukos. With Leroy “Horsemouth” Wallace, Richard “Dirty Harry” Hall, Monica Craig, Marjorie Norman, Jacob Miller, Gregory Isaacs. The Bicycle Thief in a tenement yard literally follows renowned drummer Leroy “Horsemouth” Wallace playing himself in this loose yet subtly powerful portrait of scraping by in the shanty town, the only feature ever directed by Bafaloukous, (Errol Morris’ longtime production designer). From the opening, when a Rasta leader addresses the camera directly over a chant of “,” the Rastafarian anthem par excellence, Rockers is nothing short of profound, comedic, ecstatic, and revelatory—both an eye- opening document and indictment of the hand to mouth life of musicians (”sufferahs”) in the shantytown (that tiny shack is Horsemouth’s actual house). It is also a celebration of reggae music and culture, with cameos by dozens of luminaries including sax legends Richard “Dirty Harry” Hall and Tommy McCook, famed producer , singers Gregory Isaacs and Jacob Miller, DJs , Dr. Alimantado and

Dillinger, and a young Burning Spear singing acapella on a moonlit beach. “Between the nearly nonstop soundtrack, the rhythmic footage of vinyl records being pressed, and the mountaintop prophesies that reveal the spiritual roots of reggae, Bafaloukos establishes what the music business means to impoverished islanders, and how the drug-fueled religious ceremony behind the music matters even more than money” (Noel Murray, The Onion AV Club). Thu, Aug 2 at 4:30, 6:50*, 9:15pm *Intro by Cherry Kaoru Hulsey

Roots Rock Reggae (1977) 60min Directed by Jeremy Marre. With Jimmy Cliff, , Bob Marley, Lee Perry, Jack Ruby. Famed music documentary producer Marre (James Brown: Soul Survivor) went to Jamaica for a snapshot of the music scene at its height and returned with a timeless, unique document. Highlights include: Scratch recording , and while gesticulating wildly behind the boards at the Black Ark (Roots Rock Reggae is one of the only filmed documents of the studio); shots of reggae forefather Vincent Chin’s renowned record store, Randy’s; harmony trios the Abyssinians chanting their Rasta anthem “Satta Massagana;” The Mighty Diamonds live at their peak, DJ U-Brown riding the while following in the footsteps of his mentor U-Roy in red, gold, and green suit; and Inner Circle at their most famous, living high up in the hills of Kingston, them belly full away from the sufferahs. Sun, Aug 5 at 6:50pm Q&A with Clive Chin

About BAMcinématek

The four-screen BAM Rose Cinemas (BRC) opened in 1998 to offer Brooklyn audiences alternative and independent films that might not play in the borough otherwise, making BAM the only performing arts center in the country with two mainstage theaters and a multiplex cinema. In July 1999, beginning with a series celebrating the work of Spike Lee, BAMcinématek was born as Brooklyn’s only daily, year-round repertory film program. BAMcinématek presents new and rarely seen contemporary films, classics, work by local artists, and festivals of films from around the world, often with special appearances by directors, actors, and other guests. BAMcinématek has not only presented major retrospectives by major filmmakers such as Michelangelo Antonioni, Manoel de Oliveira, Shohei Imamura, Vincente Minnelli (winning a National Film Critics’ Circle Award prize for the retrospective) Kaneto Shindo, Luchino Visconti, , but it has also introduced New York audiences to contemporary artists such as Pedro Costa and Apichatpong Weerasethakul. In addition, BAMcinématek programmed the first US retrospectives of directors Arnaud Desplechin, Nicolas Winding Refn, Hong Sang-soo, and, most recently, Andrzej Zulawski. From 2006 to 2008, BAMcinématek partnered with the Sundance Institute and in June 2009 launched BAMcinemaFest, a 16-day festival of new independent films and repertory favorites with 15 NY feature film premieres; the fourth annual BAMcinemaFest, with over 20 NY premieres and one North American premiere, ran from June 20—July 1, 2012.

Credits

The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek.

Visit the Steinberg Screen at the BAM Harvey Theater opening in Fall 2012 made possible by The Joseph S. and Diane H. Steinberg Charitable Trust.

BAM Rose Cinemas are named in recognition of a major gift in honor of Jonathan F.P. and Diana Calthorpe Rose. BAM Rose Cinemas would also like to acknowledge the generous support of The Peter Jay Sharp Foundation, The Estate of Richard B. Fisher, Brooklyn Borough President Marty Markowitz, Brooklyn Delegation of the New York City Council, New York City Department of Cultural Affairs, New York State Council on the Arts, Bloomberg, and Time Warner Inc. Additional support for BAMcinématek is provided by The Grodzins Fund, The Liman Foundation and Summit Rock Advisors.

BAMcinématek is programmed by Florence Almozini with assistance from Nellie Killian and David Reilly. Do the Reggae programmed by Gabriele Caroti. Special thanks to Cherry Kaoru Hulsey/Blue Sun Film; Clive Chin; Alan Greenberg; Jeremy Marre; Jerry Stein; Justine Henzell; Tabitha Mathews/Icon UK Group; John Bentham/Outlaw 23; Christopher Lane & Michael Horne/Sony Pictures Repertory; Chris Chouinard/Park Circus; Jim Lewis/Canada Offshore Cinema; Lynn Lafontaine/Library and Archives Canada; Eric Liknaitzky/Contemporary Films Ltd; Jim Leavitt & Neil Robertson/VP Records—Greensleeves; Hadrian Belove/Cinefamily; Philip Maysles; Sam Fleischner; Clint Weiler/MVD.

General Information

Tickets: General Admission: $12 BAM Cinema Club Members: $7, BAM Cinema Club Movie Moguls: Free Seniors & Students (25 and under with a valid ID, Mon—Thu): $9 Bargain matinees (Mon—Thu before 5pm & Fri—Sun before 3pm no holidays): $8

BAM Howard Gilman Opera House, BAM Rose Cinemas, and BAMcafé are located in the Peter Jay Sharp building at 30 Lafayette Avenue (between St Felix Street and Ashland Place) in the Fort Greene neighborhood of Brooklyn. BAM Harvey Theater is located two blocks from the main building at 651 Fulton Street (between Ashland and Rockwell Places). Both locations house Greenlight Bookstore at BAM kiosks. BAM Rose Cinemas is Brooklyn’s only movie house dedicated to first-run independent and foreign film and repertory programming. BAMcafé, operated by Great Performances, is open for dining prior to BAM Howard Gilman Opera House evening performances. BAMcafé, currently on hiatus until mid-September, also features an eclectic mix of spoken word and live music for BAMcafé Live on select Friday and Saturday nights with a special BAMcafé Live menu available starting at 8pm.

Subway: 2, 3, 4, 5, Q, B to Atlantic Avenue (2, 3, 4, 5 to Nevins St for Harvey Theater) D, N, R to Pacific Street; G to Fulton Street; C to Lafayette Avenue Train: Long Island Railroad to Atlantic Terminal Bus: B25, B26, B41, B45, B52, B63, B67 all stop within three blocks of BAM Car: Commercial parking lots are located adjacent to BAM

For ticket and BAMbus information, call BAM Ticket Services at 718.636.4100, or visit BAM.org.