When you search “New Music” on Google, the results are overwhelming. New hip-hop, pop, Latin, new wave, classical and other genres are listed for what seems to be an infinite number of pages. But while none of these genres are new music, they aren’t entirely wrong either, as the new music genre cannot be confined or compared to any other music type. New music is classical, in that many composers write for violin, piano or flute, but it is also pop in that it uses electronic sounds and riffs; even still, it is also opera, rock, hip-hop and other music types.
It is considered something of a cinematic clichÈ: the wide-eyed child stepping under the big top for the first time, walking out hours later to swear to anyone who’ll listen that he or she will join the circus.
The story rarely plays out. Inevitably, the kid comes to his or her senses and picks up a seemingly sensible career, like accounting or lawyer. Yawn.
“You end up making a lot of words in the world of neon,” Krypton Neon Studio co-founder and artist Kenny Greenberg said as he sifted through a pile of discarded words in his Long Island City shop. Twisted white tubes that turn a spectrum of bright colors when plugged in lay on the concrete ground — “smile,” “come,” “the,” “a” and “extraordinary.”
The words come from broken signs and Broadway play displays. The “a” came from a neon piece for the traveling performance of “The Producers.” During the show’s travels they broke the “a” several times, and Krypton would have to ship a replacement to wherever they were. After several last minute Fed-Exes they decided to make a backup just in case.
It’s about people — where they live and what they stand for, or what they could stand for or appear to stand for.
“Strength of Character,” a group photography show, is one of the many exhibitions open for viewing from May 15 through 19 as part of the LIC Arts Open, a week in which most of Long Island City’s art studios, stores, galleries and performance spaces open their doors to show off — not in a braggy way but in a “you might have not known our neighborhood had such a high concentration of artsy talent” way.
One day, while biking to work, Jessica Findley noticed her jacket flapping in the wind. She was working on a project with inflatables at New York University at the time and conceived the idea of a group of bikers wearing inflatable costumes. She mentioned her idea to a friend, but soon forgot all about it.
Following the September 11th attacks when Findley was “not in a good place,” her friend called and encouraged her to pursue the idea.
Willy Russell's musical “Blood Brothers,” which enjoyed healthy runs both in London’s West End and on Broadway, is being staged anew by the Astoria Performing Arts Center through May 18. A tragic tale of how class can dictate one’s direction in life, the show is perhaps more relevant today than ever.
Recently during a rehearsal break, director Tom Wojtunik likened some of the events in the show to today’s world.
From 1975 to 1979 the Khmer Rouge ruled Cambodia.
Its leader, Pol Pot, envisioned a preindustrial society centered around small rural villages. He vacated the cities and forced everyone to move to the countryside where they were born. Artists, intellectuals, urbanites and anyone with even a hint of opposition were the first of the two million people out of a country with a population of eight million executed.
Set in the court of the legendary King Arthur, the now-classic musical "Camelot" began its original Broadway run late in 1960, becoming forever linked to the presidency of John Kennedy, whose tenure is often referred to as the Camelot era.
The show is being presented in concert form by Beari Productions in Bayside through May 5.
Don’t go to this show looking for works that just please the eye. Some are pretty or entertaining, yes, but all have a complex theory or analyze a social issue that goes beyond the aesthetics. Grab the curator’s essay and study the plaques.
‘Better Homes’ calls up images of women in pearls with their fine china as seen on the glossy pages of the iconic magazine Better Homes and Gardens. The SculptureCenter’s current exhibit by the similar name plays with this idea.
Queensborough Community College has soul.
The Spinners, who started their reign on the Top 40 charts in the ’50s, will perform hits like “Cupid,” “I'll Be Around,” “Could It Be I’m Falling in Love?” and “Games People Play” at a May 5 show at Queensborough Performing Arts Center.
When ordering a plate of seafood paella, you might imagine traditional images of Spain, like flamenco dancers and plucking guitarists, not necessarily the whitewashed houses and ancient ruins of the Greek isles.
But some Greek chefs in Astoria are ushering in a new wave of Greek fusion cuisine, combining traditional dishes with other ethnic influences or modern flourishes.
Replace the sound of blaring car horns and the clackity-clack of passing trains with the calls of the woodcock and whistling of a springtime breeze through shorefront trees. Above, twinkling stars provide a more natural glow than the fluorescent illuminations in office building windows. Rising in the east — a big ball of light.
That isn’t a lamppost, a traffic light, or even the spotlight from an NYPD helicopter. Nope, that’s the moon.
Author Stephen Maitland-Lewis hopes his novel “Emeralds Never Fade” will put another personal face to the history of the Holocaust so that these “horrors are never repeated.”
His book, which he will be reading from at Queens College on April 21, chronicles the fictional lives of two boys living in Germany in the late ’20s. Leo Bergner is Jewish and Bruno Franzmann is not.
The Music Man is coming to Queens.
Grammy-nominated singer and pianist Michael Feinstein will be performing at the Kupferberg Center for the Arts at Queens College on May 4. Feinstein serves as the artistic director for The Center for the Performing Arts in Carmel, Ind., but more notably is known for being an archivist and performer of the Great American Songbook, a compilation of the iconic songs of the 20th century, from “Over the Rainbow” to “Singin’ in the Rain.” One of his five Grammy nominations comes from his covers of Frank Sinatra’s works.
Ed Kaplan is an artist of many styles. He paints photorealistic movie stills on televisions and landscapes and landmarks around Queens and citywide, as well as motorcycle bodies and surrealist multicolored works.
The once-quiet residential neighborhood of Ridgewood is rapidly becoming home to a dynamic art scene. Over the last two years large influxes of artists and gallery owners have migrated to Ridgewood from such places as Manhattan’s Chelsea district and Brooklyn’s Williamsburg and Greenpoint.
At the end of 2012 there were roughly a dozen art galleries operating in Ridgewood compared to three years prior.
When the curtain rises each night on Queens College’s production of the musical comedy classic “A Funny Thing Happened on the Way to the Forum,” audiences will likely find themselves roaring with laughter at the nonstop rollercoaster of onstage shenanigans. Little could they imagine the laborious preparations that will have gone into making it all appear so effortless.
Under the keen directorial eye of Broadway veteran Charles Repole, chairman of the Department of Drama, Theatre & Dance, which is presenting the show in collaboration with the college’s Aaron Copland School of Music, rehearsals for the show began five weeks prior to the scheduled April 11 opening night.
Considering Jackie Robinson’s prominent position in American history, it’s frankly surprising that the film industry had not done a biopic on him until the just released “42,” which stars Chadwick Boseman as Robinson and Harrison Ford as Branch Rickey, the Brooklyn Dodgers general manager who signed him to a contract in 1946 that would finally integrate Major League Baseball a year later.
Screenwriter and director Brian Helgeland wisely limits this fast-moving film to the 1946 and ’47 seasons, and there is certainly enough material for him.
In the cold annex basement of the Free Synagogue of Flushing about a dozen actors start the process of turning a script into a production.
“You really need to make eye contact,” writer and director Mark Lord says. “It’s a fine line between reciting and making it very conversational.”
Even before Hurricane Sandy, the Rockaways were a new frontier for the city’s arts community. The storm, which devastated the peninsula, has not stopped that. If anything, it may have only piqued the interest of that community.
In the days, weeks and even months after the storm, the city’s arts community reached out and helped in the recovery process, including bringing water, food and supplies to the peninsula and helping gut homes and businesses destroyed by the surge.
The exhibition that premiered at the Museum of the Moving Image yesterday presents music videos not as a distraction on Sunday mornings or something to practice Friday night dance moves to (although dancing is encouraged in a room with a big screen and several mirrors), but as art.
“Finally the music video as an art form will be given its due,” museum Executive Director Carl Goodman said.
In 2010, 13 students were selected to leave their homes in New York City and spend two weeks at the base of the Himalayas in India. They lived in Dharamsala, a largely Tibeten-populated village in India with host families, abandoning the comforts that come with living in a developed neighborhood. “Across All Borders,” directed by Kier Moreano and Erika Houle, documents their journey.
The film opens with quick shots of graffiti, the Brooklyn Bridge and the subway. Deep, saturated colors pop off the screen showing off the city palette and are interwoven with traditional Indian folk music playing in the background, no doubt preparing the audience for a tale of clashing cultures and global awareness.
Julie Sriken and Jim Vasquez were tired of watching school music programs getting cut for lack of funding.
Rather than complain, they created Jamaica Drum Jam in 2012, a nonprofit music education program aimed at bringing musical instruction and performances to low- and moderate-income neighborhoods in New York City.
Alewife isn’t a misnomer. It is about the beer. The bar has 28 drafts available; all craft, all specially chosen by owner Patrick Donagher.
The attention to quality and unique offerings led the brew geeks at RateBeer.com in January to dub Alewife the best beer bar in the entire city. It’s something the staff takes pride in, and the bar itself places beer at the heart of everything it does.