Wednesdays are rough - colloquially referred to as the hump day of the week, it's usually a relatively unexciting day. Regardless of how your Wednesday is going (flying by or dragging on), there's at least one piece of exciting news for this day. For New Yorkers, this is the day of the week that each new Village Voice is released!
A free publication like AM New York and the Metro, the Village Voice is well known around the New York City. It may not have the daily crosswords and sudokus to keep you occupied like the free daily publications, but it IS a great guide to the arts scene of the city. While the other free publications do offer some city guides and upcoming events, the Village Voice should be your go-to guide if you're looking for a unique event. They break up their offerings into different sections such as Music, Dance, Art, Movies, and Food, and they talk about new openings, one time events, and ongoing offerings. Each issue has listings of events for the coming week, as well as numerous reviews.
I'm very fond of the Village Voice - it has entertaining news articles, and has always paid a fair amount of attention to the city's dance scene even when other papers would only allow a column for all of the dance events and reviews. Some of their classifieds and ads may be a little seedy at times, but this paper is an excellent guide to what you should attend each weekend (or even during the week!). So, if you're not sure what to see or do one day and I haven't posted anything to your liking recently, pick up a copy of this publication on a nearby street corner. It's free and always worth flipping through - it focuses on a lot of the downtown scene, but includes events throughout the city. You can also visit it online and find more information on upcoming events, reviews, and headlines.
Wednesday, August 18, 2010
Sunday, August 8, 2010
Mad Decent Block Party
Yesterday's weather was perfect: sunny, hot but not humid, and breezy. So instead of sitting in my apartment all day and cleaning as I should have done, I decided to venture out into the city in search of adventure. I had heard about a block party being put on in South Street Seaport, so I braved the dysfunctional weekend schedule of the 4/5 trains and headed downtown to meet a friend and check it out.
Upon arrival to the block party hosted by Mad Decent, some sort of indie rock band was playing on a stage, surrounded by a dancing crowd and several beer and merch booths. The scene quickly shifted as Ninasonik took the stage. The rest of the lineup consisted of great DJs and acts such as Major Lazer, Bosco Delrey, DJ Sega, and Maluca. Most of the artists were Brooklyn-based, and there were also numerous special guests within each set - at least in the half of the block party that I witnessed, having arrived quite late into the event.
Although not every act was dynamite, I would definitely describe the event as mad decent. Several of the artists were incredibly engaging, and by the end everyone was definitely dancing. There was also singing along, professional hip hop dancers on the stage, and a bit too much crowdsurfing and crowd members trying to jump up on the stage. Although the crowd was a little obnoxious at times, probably due to the large quantities of beer sold and lax security, it was definitely a great way to spend a Saturday afternoon. The scene, mostly full of dance and club music, seemed a little out of place in the classy South Street Seaport, but the breeze from the water and the enthusiasm of the performers was infectious and fun to witness. The night ended with being sprayed by multiple champagne bottles and getting shut down before Maluca could perform her hit El Tigerosa, but that's what you get for a rowdy crowd and a free event.
If you have other plans, I wouldn't suggest rearranging your life to attend this block party next year, but it's definitely worth stopping by for if nothing else is going on. It's fun to dance, and you get an accurate representation of the music scene going on in New York - Mad Decent brings different acts to each of its block parties in order to celebrate the local flavor. So be on the lookout for next year's lineup once it's announced - it's not a bad way to spend a gorgeous day!
Upon arrival to the block party hosted by Mad Decent, some sort of indie rock band was playing on a stage, surrounded by a dancing crowd and several beer and merch booths. The scene quickly shifted as Ninasonik took the stage. The rest of the lineup consisted of great DJs and acts such as Major Lazer, Bosco Delrey, DJ Sega, and Maluca. Most of the artists were Brooklyn-based, and there were also numerous special guests within each set - at least in the half of the block party that I witnessed, having arrived quite late into the event.
Although not every act was dynamite, I would definitely describe the event as mad decent. Several of the artists were incredibly engaging, and by the end everyone was definitely dancing. There was also singing along, professional hip hop dancers on the stage, and a bit too much crowdsurfing and crowd members trying to jump up on the stage. Although the crowd was a little obnoxious at times, probably due to the large quantities of beer sold and lax security, it was definitely a great way to spend a Saturday afternoon. The scene, mostly full of dance and club music, seemed a little out of place in the classy South Street Seaport, but the breeze from the water and the enthusiasm of the performers was infectious and fun to witness. The night ended with being sprayed by multiple champagne bottles and getting shut down before Maluca could perform her hit El Tigerosa, but that's what you get for a rowdy crowd and a free event.
If you have other plans, I wouldn't suggest rearranging your life to attend this block party next year, but it's definitely worth stopping by for if nothing else is going on. It's fun to dance, and you get an accurate representation of the music scene going on in New York - Mad Decent brings different acts to each of its block parties in order to celebrate the local flavor. So be on the lookout for next year's lineup once it's announced - it's not a bad way to spend a gorgeous day!
Saturday, August 7, 2010
Paul Taylor's 80th Birthday Celebration
This past Thursday, I attended the Lincoln Centers Out of Doors performance series to see the Paul Taylor Dance Company (along with its second company, Taylor 2). When I attend dance performances, I'm always happy when there's a large crowd - and this was certainly the case for this particular show. I arrived half an hour early, trail mix and water bottle in hand, and ended up sitting on a ledge surrounding all the chairs in order to get the best view possible. Most of the chairs near the front of the stage were already full, and the crowd kept piling in. I wasn't too far away, and the angle from the ledges wasn't too bad... and I avoided all the body heat of the chair crowd! While waiting for the show to begin, my roommate and I made friends with a fellow ledge sitter who offered to let us borrow his binoculars occasionally throughout the show, which was very exciting. This just goes to show, be nice to the people around you and they might even help you out!
As the performance began, with the help of the percussion and brass band known as Asphalt Orchestra, I ran into a classmate who informed me that a recent graduate from our school had just joined the Taylor 2 company - so we remained on the lookout (with the binocular assistance, of course) for his stage appearances. The two pieces Taylor 2 performed were classics - the abstract 3 Epitaphs and the beautiful Esplanade.
Then the original company took the stage to perform three works - Airs, Syzygy, and Company B. Airs, similar to Esplanade, was characterized by more flowing movements and classical music accompaniment, whereas Syzygy was a more erratic, abstract piece to synthetic music. The final work, Company B, is one of my favorite Taylor works - performed to the stylistic voicings of The Andrews Sisters, this piece integrates social dance with modern dance to create a fun piece with undertones of war drama.
Throughout this amazing performance, it was easy to pick out one of the leaving dancers - a short blonde by the name of Julie Tice. She is breathtaking in Taylor's choreography, and she will be sorely missed - the flowers thrown and the standing ovation given at the end of the night showed just how much her artistry has been appreciated. The other company member retiring, Orion Duckstein, was also excellent along with the rest of the company, but Tice stood out throughout the night. It will be interesting to see how the new members of both the original company and Taylor 2 fit in - some of them have only been in rehearsal for two months, and already they are performing Taylor's classic works and executing them well, which bodes well for the companies.
The night ended with the crowd singing Happy Birthday to Paul Taylor to celebrate his 80th - and I can't imagine a better way to spend your birthday than seeing your company and work thrive. I can only hope that Taylor continues creating new works and training his company as he continues to age, because Thursday night's performance was excellent proof that both he and his company are alive and kicking! So check out their future performances - both companies tour frequently, but also perform at colleges such as Adelphi and at New York City Center in late February.
As the performance began, with the help of the percussion and brass band known as Asphalt Orchestra, I ran into a classmate who informed me that a recent graduate from our school had just joined the Taylor 2 company - so we remained on the lookout (with the binocular assistance, of course) for his stage appearances. The two pieces Taylor 2 performed were classics - the abstract 3 Epitaphs and the beautiful Esplanade.
Then the original company took the stage to perform three works - Airs, Syzygy, and Company B. Airs, similar to Esplanade, was characterized by more flowing movements and classical music accompaniment, whereas Syzygy was a more erratic, abstract piece to synthetic music. The final work, Company B, is one of my favorite Taylor works - performed to the stylistic voicings of The Andrews Sisters, this piece integrates social dance with modern dance to create a fun piece with undertones of war drama.
Throughout this amazing performance, it was easy to pick out one of the leaving dancers - a short blonde by the name of Julie Tice. She is breathtaking in Taylor's choreography, and she will be sorely missed - the flowers thrown and the standing ovation given at the end of the night showed just how much her artistry has been appreciated. The other company member retiring, Orion Duckstein, was also excellent along with the rest of the company, but Tice stood out throughout the night. It will be interesting to see how the new members of both the original company and Taylor 2 fit in - some of them have only been in rehearsal for two months, and already they are performing Taylor's classic works and executing them well, which bodes well for the companies.
The night ended with the crowd singing Happy Birthday to Paul Taylor to celebrate his 80th - and I can't imagine a better way to spend your birthday than seeing your company and work thrive. I can only hope that Taylor continues creating new works and training his company as he continues to age, because Thursday night's performance was excellent proof that both he and his company are alive and kicking! So check out their future performances - both companies tour frequently, but also perform at colleges such as Adelphi and at New York City Center in late February.
Monday, July 26, 2010
HBO Bryant Park Summer Film Festival
With all my summer craziness lately, I've forgotten to blog - but I haven't, luckily, forgotten to pay my bills. As I was sending in my last Time Warner bill, I noticed something exciting on the envelopes... free movies!
That's right. For once, Time Warner is doing something pleasant for New Yorkers! Time Warner is hosting the HBO Bryant Park Summer Film Festival, where movies are shown to the general public at Bryant Park after sundown. Similar to a drive-in movie, this is a unique way to see a movie - bring a blanket, some snacks, and a friend to check it out.
For anyone not yet familiar with the city, Bryant Park is located by 42nd Street and 5th Avenue. Much smaller than Central Park, Bryant Park is home to a skating rink and shops during the winter months, beautiful views and activities during the summer months, and is always accessible by the subway lines B, D, F, and M, and the nearby Grand Central lines 7, 4, 5, and .
Tonight is one of my favorite movies, Monty Python and the Holy Grail. Unfortunately I have to pass up going to see this particular installment of the festival, but coming up are more great movies such as Bonnie and Clyde, so I hope to be going soon and reporting back to you all!
That's right. For once, Time Warner is doing something pleasant for New Yorkers! Time Warner is hosting the HBO Bryant Park Summer Film Festival, where movies are shown to the general public at Bryant Park after sundown. Similar to a drive-in movie, this is a unique way to see a movie - bring a blanket, some snacks, and a friend to check it out.
For anyone not yet familiar with the city, Bryant Park is located by 42nd Street and 5th Avenue. Much smaller than Central Park, Bryant Park is home to a skating rink and shops during the winter months, beautiful views and activities during the summer months, and is always accessible by the subway lines B, D, F, and M, and the nearby Grand Central lines 7, 4, 5, and .
Tonight is one of my favorite movies, Monty Python and the Holy Grail. Unfortunately I have to pass up going to see this particular installment of the festival, but coming up are more great movies such as Bonnie and Clyde, so I hope to be going soon and reporting back to you all!
Monday, July 5, 2010
An Ode To Being Early
Yesterday was the Fourth of July, which is quite possibly my favorite of all holidays. As any pyrotechnic-loving American would, I traversed over to my local fireworks show. Being in Manhattan, I headed over to the West Side, where I watched the event last year. Instead of showing up late after work and fighting the cops to meet my friends who were scrunched onto the grass like last year, this year we planned ahead. We ended up on Pier 71 (near the cafe) by 6:30 or so where we had ample room, picnic supplies, blankets, and a phenomenal view. By showing up a mere two or three hours earlier, we had a breathtaking view of the fireworks, personal space without kids running rampant over us, and more time to hang out with friends.
So, this is my quick ode to timeliness when it comes to performances. Fireworks may not be the same as a concert or a night at the ballet, but the principle stands true. Note: Ticketed events with pre-assigned seating do not necessarily apply, just make sure you show up with enough time to find your seat for those events. But for general admission and free events - the earlier, the better!
Whether it's waiting in line for student rush tickets (or free tickets like Shakespeare in the Park - can't wait to see it this year!) or heading to a free concert, it's best to show up early. Work and other schedules obviously impede this from time to time, but the best way to ensure a ticket or a good spot is simply to take the time to come early. It's best to go with some friends and some snacks, and maybe even a game or a blanket. But please, be observant of bathroom rules (sometimes you will not be allowed to leave the line/area so consider your liquid intake!) and line etiquette (don't save spots for ten friends that are going to show up minutes before the line moves, it's RUDE!).
The general rule for showing up early and getting guaranteed tickets/good seats varies by event. On Broadway, it depends on how popular the show is - I used to show up at 5am for the Spring Awakening line, and the box office didn't open until 10am. For Chicago, however, I just walked in any time of the day (still a great show, but it's been around longer). And for free concerts, if you want to be in the front row show up a few hours early, but if you want a decent view, you're generally safe with an hour or so before the event. And for Shakespeare in the Park, be sure to plan ahead - last year, my roommate went at 4am in order to ensure tickets, and on our way home from the West Side last night a little past midnight there were already people lined up (though we're hoping this isn't for every show - Al Pacino is great and all, but I have no desire to sleep out in Central Park).
So arrive early, get your tickets or great seats, and enjoy your shows this summer! And be sure to bring some paper and pens if your friends are easily bored - consider playing the name game, where you write the name of a famous person and put it on your neighbor's forehead... everyone asks yes and no questions until everyone guesses correctly (like in Inglourious Basterds). We played this last night, and it was a huge hit, and the time until the fireworks passed super quickly.
So, this is my quick ode to timeliness when it comes to performances. Fireworks may not be the same as a concert or a night at the ballet, but the principle stands true. Note: Ticketed events with pre-assigned seating do not necessarily apply, just make sure you show up with enough time to find your seat for those events. But for general admission and free events - the earlier, the better!
Whether it's waiting in line for student rush tickets (or free tickets like Shakespeare in the Park - can't wait to see it this year!) or heading to a free concert, it's best to show up early. Work and other schedules obviously impede this from time to time, but the best way to ensure a ticket or a good spot is simply to take the time to come early. It's best to go with some friends and some snacks, and maybe even a game or a blanket. But please, be observant of bathroom rules (sometimes you will not be allowed to leave the line/area so consider your liquid intake!) and line etiquette (don't save spots for ten friends that are going to show up minutes before the line moves, it's RUDE!).
The general rule for showing up early and getting guaranteed tickets/good seats varies by event. On Broadway, it depends on how popular the show is - I used to show up at 5am for the Spring Awakening line, and the box office didn't open until 10am. For Chicago, however, I just walked in any time of the day (still a great show, but it's been around longer). And for free concerts, if you want to be in the front row show up a few hours early, but if you want a decent view, you're generally safe with an hour or so before the event. And for Shakespeare in the Park, be sure to plan ahead - last year, my roommate went at 4am in order to ensure tickets, and on our way home from the West Side last night a little past midnight there were already people lined up (though we're hoping this isn't for every show - Al Pacino is great and all, but I have no desire to sleep out in Central Park).
So arrive early, get your tickets or great seats, and enjoy your shows this summer! And be sure to bring some paper and pens if your friends are easily bored - consider playing the name game, where you write the name of a famous person and put it on your neighbor's forehead... everyone asks yes and no questions until everyone guesses correctly (like in Inglourious Basterds). We played this last night, and it was a huge hit, and the time until the fireworks passed super quickly.
Friday, June 18, 2010
Richard Move's Latest Movie
I first heard about Richard Move a year or two ago in a dance history course while studying the history of Modern dance in America. Move impersonates the famous Martha Graham from time to time, and in the video I saw of him, he was working with famous post-modern dancer and choreographer Yvonne Rainer. This video may not make sense to someone that isn't familiar with the differences between Graham and Rainer, but anyone studying modern and post-modern dance is sure to get a huge thrill from this video.
Move does not just impersonate Graham for a career, however. In addition to being insanely humorous, he is also a film maker. His latest film is entitled BloodWork - The Ana Mendieta Story. The film tells the sensational story of Mendieta, who died after falling naked out of her apartment window, thirty four flights up. She was an artist prior to her death, and the story certainly sounds scandalous and worth a view.
To see the film, you will have to head to libraries and museums rather than your local theater. The film will be at NYU's Fales Library from August 1 to October 8. It will also be shown at MoMA's PS1 extension in Long Island City from May 7 to October 18. Whether or not you're interested in this particular film, PS1 is supposed to be extremely experimental and interesting - it's only $5 for students to get in, and is accessible via subway. I'm not sure I'll make it to this movie - it's not entirely my cup of tea - but anything by Move is sure to be interesting at the very least, so maybe I'll end up seeing it. If not, if anyone does see it: let me know how it is!
Move does not just impersonate Graham for a career, however. In addition to being insanely humorous, he is also a film maker. His latest film is entitled BloodWork - The Ana Mendieta Story. The film tells the sensational story of Mendieta, who died after falling naked out of her apartment window, thirty four flights up. She was an artist prior to her death, and the story certainly sounds scandalous and worth a view.
To see the film, you will have to head to libraries and museums rather than your local theater. The film will be at NYU's Fales Library from August 1 to October 8. It will also be shown at MoMA's PS1 extension in Long Island City from May 7 to October 18. Whether or not you're interested in this particular film, PS1 is supposed to be extremely experimental and interesting - it's only $5 for students to get in, and is accessible via subway. I'm not sure I'll make it to this movie - it's not entirely my cup of tea - but anything by Move is sure to be interesting at the very least, so maybe I'll end up seeing it. If not, if anyone does see it: let me know how it is!
Sunday, June 13, 2010
New York City Ballet: Architecture of Dance
Ballet has the stigma of being old, dry, and unexciting - I remember my family griping about "serious ballets" before coming to one of my numerous dance recitals growing up, and even now it's often tough to get a non-dancer to come with me to see a ballet performance. This stigma is extremely unfortunate, however, because the work being done in the ballet world right now is extraordinary and anything but old.
New York City Ballet is one of the major ballet companies based in NYC, and was created by the ballet master George Balanchine. The company performs his legendary works with great frequency (one of his works will most often close a show), but the company is anything but a stale shrine to this artistic genius. While they keep alive the spirit and original choreography of Balanchine, the current Ballet Master and Artistic Director (Peter Martins) has also kept the company fresh and exciting.
This current season, showing at the David H. Koch theater in Lincoln Center from May 2 to June 27, is titled Architecture of Dance. In addition to showing the standard Balanchine works and a mix of old choreography created for the company, seven new ballets have been commissioned. The choreographers worked with an architect, the Spanish-born Santiago Calatrava to create the scenery for the stage. It is rare to have such collaboration with other artists for a ballet performance, and this type of interaction between artists shows just how innovative NYCB is attempting to be.
In the performance I saw last night, I saw an older work by Christopher Wheeldon, a premiere by Mauro Bigonzetti, and a Balanchine piece set to music by George Gershwin.
Wheeldon's piece, "After the Rain," was a ballet in two short acts. The second act in particular, featuring Wendy Whelan and Craig Hall, was breathtaking. Whelan was ethereal and beautiful, and Hall, who I had never seen before, was simultaneously strong and elegant. Using simple costumes and background scenery, this piece was an excellent example of Wheeldon's contemporary style.
The Architecture of Dance piece in last night's bill (Bigonzetti's "Luce Nascosta") was not quite what I anticipated. I had expected a more overt use of architecture, but this piece instead used a simple moving decoration overhead and an innovative use of lighting (square spotlights, gobo designs flooding the stage, and so on). Architecture aside, this piece was phenomenal. The costumes were dark but worked well with the mood, and the movement was individualized and unique. The repetition of certain themes pulled the piece together well, and it was so powerful that at times I was even close to tears! It is very much in the realm of contemporary ballet, and I highly suggest catching this piece before the season ends.
The last piece was a standard Balanchine fare, "Who Cares?" It was well done, especially showing off the talents of now-famous Tiler Peck and a rhythmically stellar Robert Fairchild. It is from Balanchine's more Broadway-influenced period, but full of legitimate choreography and funny narratives to keep you entertained.
I plan on going again soon to see at least one more of the newly commissioned ballets - I'm particularly looking forward to the pieces by Peter Martins, Christopher Wheeldon, and Alexei Ratmansky. Lucky for me, this is financially possible - normal ballet tickets cost big bucks, but students can rush the show for a mere $12!
To get these cheap tickets, go to the box office in the David H. Koch theater an hour before curtain with your valid student ID. You can pay with cash or credit card, and then enjoy the West Side or simply sit by the fountain until the curtain goes up. Be sure to get there at least ten minutes prior to curtain in order to get seated, and consider bringing opera glasses if you get seated too far up. Last night I got to sit in the Second Ring and didn't have a bad view, but seat availability for rush tickets changes from night to night. And a word to the wise - the gelato in Lincoln Center is the perfect refreshment right before entering the theater, just make sure you finish it before walking in!
New York City Ballet is one of the major ballet companies based in NYC, and was created by the ballet master George Balanchine. The company performs his legendary works with great frequency (one of his works will most often close a show), but the company is anything but a stale shrine to this artistic genius. While they keep alive the spirit and original choreography of Balanchine, the current Ballet Master and Artistic Director (Peter Martins) has also kept the company fresh and exciting.
This current season, showing at the David H. Koch theater in Lincoln Center from May 2 to June 27, is titled Architecture of Dance. In addition to showing the standard Balanchine works and a mix of old choreography created for the company, seven new ballets have been commissioned. The choreographers worked with an architect, the Spanish-born Santiago Calatrava to create the scenery for the stage. It is rare to have such collaboration with other artists for a ballet performance, and this type of interaction between artists shows just how innovative NYCB is attempting to be.
In the performance I saw last night, I saw an older work by Christopher Wheeldon, a premiere by Mauro Bigonzetti, and a Balanchine piece set to music by George Gershwin.
Wheeldon's piece, "After the Rain," was a ballet in two short acts. The second act in particular, featuring Wendy Whelan and Craig Hall, was breathtaking. Whelan was ethereal and beautiful, and Hall, who I had never seen before, was simultaneously strong and elegant. Using simple costumes and background scenery, this piece was an excellent example of Wheeldon's contemporary style.
The Architecture of Dance piece in last night's bill (Bigonzetti's "Luce Nascosta") was not quite what I anticipated. I had expected a more overt use of architecture, but this piece instead used a simple moving decoration overhead and an innovative use of lighting (square spotlights, gobo designs flooding the stage, and so on). Architecture aside, this piece was phenomenal. The costumes were dark but worked well with the mood, and the movement was individualized and unique. The repetition of certain themes pulled the piece together well, and it was so powerful that at times I was even close to tears! It is very much in the realm of contemporary ballet, and I highly suggest catching this piece before the season ends.
The last piece was a standard Balanchine fare, "Who Cares?" It was well done, especially showing off the talents of now-famous Tiler Peck and a rhythmically stellar Robert Fairchild. It is from Balanchine's more Broadway-influenced period, but full of legitimate choreography and funny narratives to keep you entertained.
I plan on going again soon to see at least one more of the newly commissioned ballets - I'm particularly looking forward to the pieces by Peter Martins, Christopher Wheeldon, and Alexei Ratmansky. Lucky for me, this is financially possible - normal ballet tickets cost big bucks, but students can rush the show for a mere $12!
To get these cheap tickets, go to the box office in the David H. Koch theater an hour before curtain with your valid student ID. You can pay with cash or credit card, and then enjoy the West Side or simply sit by the fountain until the curtain goes up. Be sure to get there at least ten minutes prior to curtain in order to get seated, and consider bringing opera glasses if you get seated too far up. Last night I got to sit in the Second Ring and didn't have a bad view, but seat availability for rush tickets changes from night to night. And a word to the wise - the gelato in Lincoln Center is the perfect refreshment right before entering the theater, just make sure you finish it before walking in!
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