ENTERTAINMENT

Theater Review: “Big Fish”

The hype is true. Undeniably, absolutely, one-hundred percent true. Rarely do I cave into “must-see” hysteria from popular and artistic culture. When I am told that something or someone is too extraordinary to be missed, I subconsciously set my expectations high. So high in fact, that upon seeing the “not-to-be-missed” performance, this self-proclaimed “Snooty Crankypants” greets the mass acclaim with my usual temperate response: “That was OK.” And then I creep back into my curmudgeonly dungeon and wait for the next over blown phenomenon to arrive.

In this rare case, I have joined the leagues of wise musical theater aficionados who have placed Norbert Leo Butz on a towering pedestal. From major roles in Rent, Wicked, Dirty Rotten Scoundrels and Catch Me If You Can, this flexible showman rightfully joins the ranks of Broadway royalty. Butz is in fact, one of our finest contemporary theater performers and is triumphantly leading an accomplished cast in Director Susan Stroman’s production of Big Fish.

This splashy musical is based on the novel by Daniel Wallace, and the Columbia Pictures film written by John August. August also wrote the book to this stage version. Big Fish tells the story of Edward Bloom (Butz), a small town “average joe” who is known for spinning hyperbolic tales of grandeur to family and friends. Bloom’s son, Will (Bobby Steggert) , is about to tie the knot and fears that his now elderly father, whom he barely understands, will hijack the ceremony with one of his infamous fables. Shortly following the wedding, both father and son are faced with life altering moments and slowly start to learn more about one another. Much of the narrative unfolds in the past through Edward’s “memory” and Butz has the daunting task of playing him both as a young man and a now aging senior. If Tony voters don’t recognize his flawless performance, we might as well call Suzanne Somers and ask her if she is available to revive her catastrophic one woman show, The Blonde in the Thunderbird. In other words, Butz is a shoe-in for at least a nomination. While not a matinee idol in the traditional sense, he brings immeasurable acting flexibility, humor, charm and winsome warmth to this demanding leading man role.

What makes Edward’s life story so pleasantly curious is the fact that it has been either exaggerated or completely fabricated. What is the purpose of it all? In his own words: “Surprise ending. Wouldn’t want to ruin it for you.” While I won’t ruin the surprise ending, I would advise that you bring an ample supply of Kleenex. The final moments of the show will soften even the hardest of hearts. My guest and I, along with most theatregoers, exited to the streets with tears in our eyes–an indication that this piece has served its purpose of affirming life and portraying grace extended beyond boundaries.

But like the central character (and every human being for that matter), the show itself is not without its’ flaws. Much of the criticism I have towards this stage adaptation is the very same criticism I had from the 2003 film. Both are too long. Bloom’s stories, while whimsical and imaginative, frequently begin to stagnate into a sea of boredom. Similar to an unruly drunk uncle at a family gathering who has repeated the same stories for the last five years, we wish that we could simply fast forward to a fresh chapter.

Composer Andrew Lippa has penned some tuneful and memorable songs for the show, most of which have a driving, rambling, country essence. Appropriately, they match the restless spirit of Edward Bloom and the small town from which he hails. In particular, Edward’s songs, (“Be the Hero”,”Fight the Dragons”) serve as cheery self-help anthems-reminding us to reach beyond ourselves and to carve our own destinies. Sure they border on schmaltz, but just a touch adds richness to the mix. In Act two, Sandra Bloom (the elegant and classy Kate Baldwin) delivers a straightforward, but lovely ballad (“I Don’t Need a Roof”) about the unfailing love for her husband and the power of marriage. Some of the other music however, becomes as tedious as the tall tales and does little to propel the story.

The trend of Image projections seem to crop up in a majority of Broadway shows these days and while I am not usually a fan, designers Julian Crouch, Benjamin Pearcey, and Donald Holder have brought us a panorama of beauty and spectacle which perfectly complements, but never upstages the story.

The ensemble of Big Fish is solid and everyone is bringing top talent to the stage. But the show truly belongs to Edward Bloom. While you should be suspicious about how he is weaving the story of his own life, it would be foolish not to believe that Butz has breathed inexhaustible life into him and is giving us a legendary performance that will be talked about in truth for years to come.

Big Fish, which opened on Oct. 6th has unfortunately posted a closing notice for Dec. 29th, 2013. I could be cheeky and use puns like, “Get a ticket before the fish swims away” or “You’ll be hooked by Big Fish” but I’ll simply be dull and boring and say. “Go see it!”

Big Fish is playing now through Dec. 29th 2013 at the Neil Simon theater (250 W. 52^nd street between Broadway and 8th Avenue). Tickets available at the box office, online at http://www.ticketmaster.com/Big-Fish-a-New-Broadway-Musical-tickets/artist/1859083or by phone: 877-250-2929

Big Fish Act II Susan Stroman: Director and Choreographer Credit Photo: Paul Kolnik studio@paulkolnik.com nyc 212-362-7778 — Big Fish
Act II
Susan Stroman: Director and Choreographer
Credit Photo: Paul Kolnik
[email protected]
nyc 212-362-7778

PORN STAR – Bareback or condoms? (my thoughts and an announcement)

by Charlie Harding

In the past couple weeks, the controversy over bareback porn reared its head again. The announcement by Lucas Entertainment that they were starting a bareback line of films (after many years of intense criticism of performers who bareback and studios who filmed it) seemed to be the spark that reignited that controversial fire. The announcement that Porn Superstar Trenton Ducati had been signed as their first bareback exclusive star added to the chatter… both positive and negative.

My first point is about bareback versus condom porn in general. I find it interesting that we only find condom-less porn as being taboo in the gay porn culture. The majority of straight porn has been bareback for years, and with much less talk and scorn for its stars. Bareback straight porn is the norm, and no one seems to question that. In the gay world, after our ranks were decimated by HIV/AIDS in the past decades, we developed an extreme sensitivity to illness exposure and for some reason it was deemed that porn should be forced to carry the burden of being the role model for gay sex. While I understand that porn has an opportunity to teach a lesson, we need to remember that’s not the main reason it exists. PORN IS CREATED TO ENTERTAIN AND PROVIDE A FANTASY, not necessarily as a tool for social activism.

The next point on which I pondered after Trenton’s recent move to bareback porn, has to do with public disclosure of a porn star’s HIV status. Trenton talked about making responsible, informed decisions as to who he will or won’t film with, and caught a lot of negative comments with his first bareback flip-flop scene partner choice of Blue Bailey. As I read through the public comments section of one of the porn blogs that talked about the scene, the commenters spouted mostly gossip, rumor and shock. Many of the folks were making huge assumptions and leaps calling Trenton HIV positive simply because he shot bareback porn, or because of who he chose to shoot with. My point? Unless you are actually having sex with him, his status whether negative or positive, does not directly concern you. Each of us in the industry make informed decisions as to what risks we are willing to take, and act accordingly. A performer’s HIV status is no one’s business except their own and their sex partners both in front of and behind the camera. Again, PORN IS A FANTASY created to entertain, so as long as you enjoy seeing the activities on-screen, then it is serving its purpose.

My third point is this. If bareback porn offends you, DON’T WATCH IT. Here’s another example… While country music isn’t something I enjoy, I don’t rally against it and try to force others not to listen to it. I just choose to change the station to a different type of music. As a consumer, that’s what we can do. Watch what you enjoy, and ignore the rest. But it is not your right to force me to only watch what YOU think is appropriate. I’m not going to limit your choices, so don’t try to limit mine.

My final announcement and point is that I am now also filming both condom and bareback porn. As this article is being published, I am actually on set filming a bareback scene with my special buddy Mike Dozer (@mikedozerxxx). He and I have an amazing chemistry, enjoy each other immensely on and off the set and wanted to take our connection and put it on film. Does me shooting bareback mean that my HIV status will be questioned? YES, unfortunately it will. I can say that I just tested again 7 days ago for a shoot I have in a week with a condom using studio, and I am still HIV negative, not that its anyone’s business but mine and my sex partners. Am I being irresponsible by choosing to film bareback? No, I am choosing based on my own research and the information I have, to do something that I WANT TO DO with scene partners that I WANT TO DO. I am continuing as I always have to take whatever level of risk (or lack thereof) I am comfortable with, and producing FANTASY material for the public to enjoy. I am not attempting to convince everyone to have bareback sex, and I am not saying anyone else should stop using condoms. Will I have people angry and upset that I am choosing to film bareback as well as condom porn now? OF COURSE I WILL. And I tell those folks this: Watch what you want to watch, just like I will film what I want to film. There’s enough porn out there for everyone!

New York City Photography: 5 Ave Homeless

by Mark Giarrusso

In New York City, there is no greater divide between the haves and, quite literally, the have-nots than in Midtown Manhattan. According to reports from CBRE in 2012, rents between 49th and 59th Street on 5th Avenue were $3,000/ sq ft. Tourists line up to pay $60 for a t shirt and there are 24 hour computer stores. However, lost amongst the glitz and glamor are those who have fallen through the cracks of city society. Those whose stories are too infinite to mention and whose circumstances are too complicated to explain. They sleep on church steps and subsist on hand outs and charity.

If you have followed this journal you have seen some of these photos before. One could argue that it has been some what exploitative of me to use others destitution as “art”. I assure you that was never my intention, but only to simply showcase life as I saw it. However, I think there may be some merit to that argument. In order to rectify this I am re-presenting those same photos in this journal specifically to raise awareness to their plight.

In the end, it really doesn’t matter what keeps them on the streets, be it drugs, or mental illness, or disability, or anything else; just as it doesn’t matter what you do about it, as long as you do something. Give something. Even if all you do is think about it and discuss it in polite company. I hope that by doing this journal I have done something. I hope to do more.

Sleeping — Photo by Mark Giarrusso, 2013

Umberella — Photo by Mark Giarrusso, 2013

Album Review: Laurel Halo – Chance of Rain

by Rio Toro

Laurel Halo: Chance of Rain
Similar Artists: Holly Herndon, Steve Reich, Maria Minerva
Genre: Experimental
Label: Hyperdub

Laurel Halo is an artist who proudly and defiantly resists categorization. When she dropped her debut full length on Hyperdub last year after an enticing run of experimental EPs, little to no one knew what to make of it. Like her releases before it, Quarantine was pretty much acclaimed around the board, but there was also a sense of rabid confusion surrounding it: largely, with her untouched, often off-key vocals…among other odd production decisions. Listening to Quarantine now though — after the talk surrounding it has finally begun to slow — I think I finally get what Laurel was trying to achieve with it. While the word “post-pop” is thrown around a lot these days, I feel Laurel was the first artist to succeed in making an album worthy of that descriptor. Through its 12 beguiling tracks, Laurel playfully explored the surrounding aura of pop (if only for a few measures at a time), while simultaneously dissecting and reassembling its organs into her own mutant entity. It’s an enigmatic work that we most certainly won’t see anything like again…as it turns out even from her.

It’s all absurdly challenging too; Laurel isn’t simply hitting random buttons on her keyboards and hoping for something interesting to disperse. This talent of hers isn’t completely revealing though, as she is undoubtedly the next in line of those virtuosic musicians whose aims are so awkwardly skewed to the point that that we lose track of what they are trying to accomplish through the course of a track. A single 6 minute track may see Laurel flirting with techno, minimalism, noise, ambient and classical music, yetshe never fully indulges in any of them. While the combination of these genres isn’t unique in its own right, Laurel succeeds in forming them into a demented whole that is unique to her name. As those who have seen her perform live will say, Laurel’s brain seems to work in a loop that is far outside the norm (I’m personally willing to bet she’s on the Autism spectrum).

Her work thus far has been strange and beautiful (if not always enjoyable), but her vision continues to remain essential in the furthering of electronic music. On her latest full length, Chance of Rain, she takes a step back from the dizzying post pop of Quarantine and delves into an equally chaotic instrumental excursion that is by turns soothing and alarming. Quite like Beyond the Green Door — her EP from earlier this year — Chance of Rain is rooted in metallic techno with lush, environmental undertones. However, she has moved away from any four on the floor stability to more fully incorporate her wide stylistic capabilities.

Largely built out of a series of live improvisations, Chance of Rain takes the form of a metaphysical journey down a rabbit hole. The 9 consistently evolving tracks exist as a decomposition of what a proper techno set should sound like, and she has done a great job of putting the pieces in a discernible pattern. While each track unfolds sporadically, as an entire piece, Chance of Rain is brilliantly melded experience. Opener, “Dr. Echt”, as well as the closer, “-Out”, both focus on Laurel’s rubbery piano scales amidst waves of rising ambience. Another brief track, “Melt”, is a 2 minute foray into cinematic drones and out of place orchestral pieces. These shorter tracks are juxtaposed against epic 8 minute ones, such as the title track, which fades in and out of jazzy free floating piano chords and hard hitting bass stomps. “Ainnome” is similarly epic with its crystalline ambient textures and swelling beats. Still, the only track that comes close to being full on techno is “Thrax”, which is a constant build of gooey bass, noisy percussion and warped vocal samples. It’s the one crowd pleaser on an album that seems to be in a constant state of disagreement with the listener.

Just like her previous work, Chance of Rain is an album that is often very difficult to become immersed in. With its constantly changing foregrounds and backgrounds, these tracks are transient in nature, and will revolt against the casual listener. It’s an incredibly frustrating album — one of the most aggravating I’ve heard this year — but it’s for this reason that I have become compelled to it even more. So many albums have came out this year that I have initially raved about, only to realize I had become bored with them a few months down the road. From her ungrounded approach, to the out of this world cover art (drawn by her own father), to the way she plays tricks with the listeners perception, Chance of Rain is an album that will take countless more listens to wrap my head around. In this sense, Laurel Halo has given us a true gift; a puzzle that will take months or possibly even years to solve.

Track Listing:
1.) Dr. Echt
2.) Oneiroi*
3.) Serindip
4.) Chance of Rain*
5.) Melt
6.) Still/Dromos
7.) Thrax*
8.) Ainnome*
9.) -Out

Album Highlight – *

Official Site

Shaky Premise Weighs Down Thicker Than Water

by Michael Tyminski

Thicker Than Water: Sunday at 9 Eastern on Bravo

Over the last quarter of a century, there has been a particular and increasing fascination in the lives of the extremely wealthy. This can initially be traced back to Lifestyles of the Rich and Famous, Robin Leach’s original ode to people with way more money to burn than most people will see in a lifetime. From there, MTV unleashed Cribs, it’s own ode to celebrity housing. Few networks, however, have truly used this formula like Bravo, with it’s multiple Real Housewives shows and it’s newest show, Thicker Than Water, which debuted Sunday night.

Thicker Than Water follows the Tankard family as they go through their daily life. The family tree starts with patriarch Ben and matriarch Jewel, whom made their money through Ben’s gospel jazz empire, Jewel’s evangelism, and both of their numerous side gigs. Together with their four kids (leading to the Tankards referring to themselves as the “black Brady Bunch”), they work to not only better their own lives (they make no secret that their good life was somehow god’s plan) but the lives of others. However, tensions can flare as the whole family (including Brooklyn’s daughter and Benji’s wife) live under one roof and the Ben’s tight rule.

As advertised, Bravo tried to market Thicker Than Water using the family flaunting their wealth as a primary hook. The show itself opens this way, and quite frankly it does more harm than good, as the family justifying buying themselves a new jet and new high-end luxury vehicles ends off coming off both super conceited and cartoonish. Furthermore, it strikes a weird chord as Benji’s justification of the new Benz harkens back awkwardly to prior televangelism scandals (notably Jim Bakker’s).

However, when the show stops being about rich people and starts being about a family dealing with family issues, the show begins to shine. This is especially notable as the show remained surprisingly tear-free for a show that appears on Bravo’s Sunday lineup, instead focusing on the little things: Cyrene’s prom, Brooklyn’s minithon, and Ben’s heavy-handedness. It’s when things become mundane that everyone feels less stilted (except for wife Jewel, who has a relentless devotion to the show’s main premise) and this breathing room makes for a surprisingly light reality show.

From the technical perspective, Thicker Than Water vindicates itself especially well in the way it’s put together. The show definitely takes a lighter hand on the cut-ins, often using them to illuminate what the various family members must be muttering to themselves after conversations with each other. An added bonus is that it makes much of the show’s exposition come off so much more seamlessly, as Brooklyn’s sordid past comes out during a date where her blind date mentions his interest in bad girls.

The Final Verdict: On a network that prefers its’ reality soapy and wine-soaked, Thicker Than Water is a light, breezy, and refreshing change of pace. Weirdly enough, however, it also seems to be the sort of show that will become much better the more it becomes a show about nothing, as the show always stumbles the second it starts laying the prosperity-theology on thick. I’d wait and see on this: if Thicker Than Water ends up being a story about a family who happens to have an obscene amount of money, it could be onto something, but if it ends up turning into a show about the flaunting of wealth the show will have squandered any promise it has.

2014 Oscar predictions: Whose got the best shot?

by Peter Foy

And the Oscar race begins…

Damn, we’re in mid-November already? The Oscar race is in full swing, and we have all the familiar parties present and accounted for, and in just two months we’ll know for certain who’ll be running the final lap to the Oscars, and wasn’t it just last week that I had seen Before Midnight, and was telling everyone it was a shoe-in for best picture…well, at least my best picture. As astounding in craft as that film was, it just looks too European and arty to fit the Academy’s definition of prestigious, plus it came out way back in May. As much as I’d like to tell you that the whole theory about awards season is a myth, it’s just irrefutable that the Academy pays select attention to films that come out during the October-December period, and no matter how great a summer release is, it’s integrity it likely to diminish in the eyes of Acadamy members when it comes time to cast their votes. A shame indeed, but all is not lost, as it looks like this year might see quite a few people taking home a little golden guy for the very first time, and be every bit deserving the honor for their hard work as well. Here are my thoughts on how surprising and not so surprising some of the categories for the 86th Academy Awards will be.

Best Foreign Film

Blue is the Warmest Color will definitely be nominated, and there’s little doubt that it will win also. It was the first film at Cannes to win the Palm d’Or for both directing and acting, and it’s reception has been overwhelmingly positive. What’s more, the film has been doing very well for an NC-17 rated French film that is only being played in a handful of theaters throughout America, and this is something the Academy is certain to notice. However, the Iranian The Past does have a shot, as director Asghar Farhadi’s 2011 film A Separation won for this category two years ago, and it’s possible that Academy voters will find more merit in a film that focuses on characters in an older age group.

Best Director

Noah Baumbach, Destin Daniel Cretton, James Ponsoldt, and Richard Linklater should all be nominated in this category…but they all almost definitely will not. It’s the same thing every year, as we tend to see quite a few great indie/arthouse filmmakers get snubbed in this category just cause there films don’t tend to fit the frame work that the Academy prefers (it also doesn’t help that they all released their films during the summer months). Instead you can expect the usual suspects to be nominated here. The likes of Martin Scorsese, David O. Russel, and the Coen Brothers are likely to take up 3 of the five slots, but maybe we can expect two irregulars as well. Steve McQueen and Alfonso Cuaron both have equal chances of getting a nomination this year, and it’s rather likely that they both will as well.

Best Actor

Leonardo DiCaprio, Tom Hanks, and Forest Whitacker are the easy guesses, but there are other likely candidates as well. It would seem criminal not to at least consider Chiwetel Ejiofor for a nomination, after his harrowing portrayal as Solomon Northup in 12 Years a Slave. Matthew McCoanaughey is very likely to receive his first best actor nomination this year (about damn time!), but his characher in Dallas Buyers Club is a little too grimy and diseased to win him the award. Also, it would be satisfying to see Joaquin Phoenix receive another nomination this year, as critics have been saying that in Her he finally plays the sweet and loving character that so many of his previous roles suggested he was so sublimely capable of.

Best Actress

I very much would like to see Brie Larson receive a nomination in this category, as she delivered such a complex and emotional performance in Short Term 12, but sadly I don’t think it’s likely that the Academy will acknowledge a little-seen indie film starring a 24-year old actress previously best known for comedies. Instead though, we’ll have to look at a veteran actress who starred in an internationally successful film directed by one of Hollywood’s most beloved directors. Those that have seen Woody Allen’s Blue Jasmine must understand that Cate Blanchett is a lock for a nomination (if not a straight up win). Don’t be surpised to see her competing against the likes of Sandra Bullock and Meryl Streep also.

Best Picture

I’m not a fan of The Academy’s decision to allow more than 5 films to be nominated for best picture. I feel that by including up to 10 entrees in this category, it’s just a desperate ploy for the Academy to try to appeal to all different demographics, and give summer blockbusters (albeit better than average ones) some spotlight come the big day. So you can expect the regular prestige flicks (Saving Mr. Banks, Lee Daniels’ The Butler, The Wolf of Wall Street), along with the slightly more offbeat fare (Inside Llewyn Davis, American Hustle, Nebraska), along with one or two films that are more in the realm of genre (Gravity, The Hobbit ). I feel it’s still too early for me to pin-point on who is likely to win or not, but I can tell you one thing: It won’t have Before or Midnight in the title.

Pop Superstar Lady Gaga Is Failing… Here is Why

by Ryan Shea

Lady Gaga… still a superstar?

A couple of years ago, Lady Gaga was truly at the top of the world when it comes to music and beyond. Adored by millions of fans, the pop superstar emerged from out of no where with her Avant Garde style not only in fashion but when it came to her music as well. She won multiple VMA’s and Grammy’s and was touted by so many people as the next Grace Jones or Madonna. Now only five short years after the release of Gaga’s first album, “The Fame”, a lot of those people have become naysayers and think that she has run out of steam in such a short time. As for Britney Spears, more to come on that.

I can say that I am still to this day a huge fan of Gaga’s, but at the same time there is a point where oversaturation comes into play, even when it is someone like her who is consistently changing her style and tune to stay with the times. There are certain artists that seem to narrowly avoid that term, such as Rihanna for instance, where she comes out with a fresh album every year yet always seems to hit the right notes of pop, R&B and even EDM hits that shoot her straight to number one on the Billboard Hot 100. Yet, there are artists that can take too long of a break in between and not develop the way that a lot of them would’ve expected to. Christina Aguilera is a prime example of that. Her last two album releases have been critical and commercial flops and the only thing she seems to have going for her anymore is a gig on “The Voice” and the occasional guest appearances on other artists songs (Maroon 5, Pitbull, etc). She never seemed to have the fluidity that other pop divas have had before her in terms of transitioning herself to keep up with the times. To go from teen pop singer to dirrty girl to 50’s pinup throwback to a Gaga rip off to being a dirrty girl yet again doesn’t really equate to how you progress naturally in this industry. Justin Timberlake on the other hand, who took seven years off to focus on an acting career amongst other things, came back with a roar in 2013 with “The 20/20 Experience”, an album that shot him straight to number one and has subsequently brought him into the music game, something that he started over 15 years ago. For Lady Gaga, she tends to fit into the middle of this. Here is why.

Gaga’s latest album “ArtPop” is her first in almost three years, mainly due to a broken hip that kept her off the stage for a year. Of course, that is completely understandable. But in this ever present world of chew em up and spit em out pop culture, sometimes taking a break that long makes you lose fans and have them gravitate to a newer and fresher pop star. Although “Born This Way” was a commercial and critical success to a certain degree, many critics thought it was tacky that for the week of her release she listed the album as 99 cents as a ploy to sell more albums in its first week. Granted it worked (a million plus) but many of the songs that were released didn’t get the praise that her previous hits (Bad Romance, Poker Face) did. One critic said it sounded like “a major artist sprinting to please everyone all the time”. The album was a bit all over the place and didn’t seem to have the cohesion that her previous efforts did, added onto the fact that it was a rushed album that was made in 2 weeks which other critics called out as well.

At the same time, there is a bit of oversaturation with how Avant Garde you can truly be. Every performance or outfit is something completely different from the rest but there are people out there that think a simple LBW would shock people more than anything. “The Fame” album was a great album in that it did a lot without having to do much at all. I personally feel like she is at a stage in her life where she has to keep pushing the envelope to the point where no one will push back. There was also a big battle when she released the first song off of “ArtPop” called “Applause” when she did it the same week as Katy Perry’s “Roar”. Both pop songs with completely different messages and beats. Katy’s was a simple song about overcoming a relationship with a great pop beat, Gaga’s was ultimately about her self absorbed way of saying she lives for her plans applauding her (sorry/not sorry but that’s my opinion) to a beat that sounded like a weird throwback to the mid-80’s dance movement. Who won in that? Katy. Katy seems to take the smart approach with her music because it is approachable and easy to listen to, whereas once again Gaga tends to be a bit all over the place just to please an audience that is wanting more and more from her. Sometimes, less is more.

“Roar” ultimately hit number one where “Applause” peaked at number 4. Many artists would kill to have a number four slot on any chart but when you are a superstar like Gaga number one should be an easy get. It was also stated by many fans and people alike that the song took a while to really get into whereas “Roar” and other big anthems that have come out recently like “Wrecking Ball” by Miley Cyrus and “Royals” by Lorde were instant hits. Not at all saying that going outside the lines is wrong just to get a number one single, but at the same time it is good to conform at some point and do something simple. Her follow up to “Applause” called “Do What You Want” featuring R&B King R. Kelly (a very odd choice but a good one at that) has only hit number 13 and has been on the charts for a couple of weeks, and is presently dropping. Funny thing is this track is MUCH better than her first release, and another song off the album called “Dope” is even better. Are there just stronger showings on the Billboard charts right now? Maybe.

There are also two major artists with albums coming out that Gaga has to compete against- Eminem and Britney Spears. Both artists who over the history of their careers have done what only a handful of other artists have been able to do and reach- diamond status (10 million plus sold on one album). I believe for Gaga to rise above the pack she will have to come out with a song that truly shows why we fell in love with her in the first place and not necessarily “try so hard”. Am I a hater- absolutely not. I am just stating it like I see it and see how she has transitioned over the course of the past couple of years. Gaga is a talented woman who will be around for a long time, I just hope that we look back on it in a positive way and not a negative one, that is all. Check out Billboard for all major music news and album releases.

Album Review: DJ Rashad – Double Cup

by Rio Toro

DJ Rashad: Double Cup
Similar Artists: Traxman, DJ Spinn, TEKLIFE crew
Genre: Footwork, House
Label: Hyperdub

No matter what your brain tells you, don’t stop listening…

I frequently give people this advice before they begin listening to DJ Rashad; specifically anything off of his extensively jarring 2012 LP, TEKLIFE VOL. 1: Welcome to the Chi. All it takes is a few seconds until you become hit with one of the steepest learning curves in modern dance music. Despite the fact that this music is first and foremost intended for the purpose of riotous dance battles, the sounds of DJ Rashad, to most listeners, will initially be more likely to cause a headache than a sweat. Take “Azz”, off of Just A Taste Vol. 1 for example, which along with many of his other tracks from that period, sees him working with muddy, one word vocal loops circling around battling snare drums, hi-hats and bass at 160bpm. He does this with zero attention towards accessibility, which makes for an awkward, often uncomfortable listen for the unaccustomed ear. Still, his music is attention grabbing beyond belief — even from a home listening, feet on the floor perspective — and I will often get a compulsive urge to listen to his music even when I can’t remember ever being head over heels for it. To put it simply, what works for DJ Rashad most certainly doesn’t work for others, and even when he’s at his best, he’s not for everybody.

From his hard hitting and authentic style that has (until now) remained innately within the realms of footwork, you would imagine DJ Rashad would care very little about appealing to a large scale audience. This is why his more culturally conscious minded transformation by way of London’s Hyperdub is all the more confounding. Out of all the records to come out this year, this is by far the one I am most torn about, as I am by turns thrilled and disappointed by the accessible, party oriented direction DJ Rashad is traveling in. Don’t get me wrong; there’s no real question whether Double Cup is a good record or not. It’s easily DJ Rashad’s most accomplished work to date — I’d even go as far as saying it’s the record he’s been working towards his whole career. It’s so good, though, that it’s perhaps too alluring and accessible to be part of this whole footwork thing.

There’s very little that remains rooted in the underground on Double Cup, and his retreat from the tiny sub-corner that was his stomping ground has caused his style to lose some of its most intriguing qualities. For instance, there’s none of that awful abrasiveness, little to any of his head scratching vocal hooks, and an under abundance of any off-putting repetition. Worst of all, it’s relatively easy to listen to in one complete sitting (*gasp*). Instead of giving us whiplash, on Double Cup, DJ Rashad has treated us to 13 perfectly evolving aural sensations that dexterously traverse a gallery of neatly contained structures and ideas. Forget about what’s wrong with it, there’s so much that isn’t wrong with this record that I would feel 100% content if I never had to listen to it again.

Ok, ok, I’m joking, a bit, but there is something with Double Cup that is preventing me from loving it. It’s funny that no one (to my knowledge) has made the comparison yet, but the feeling I get when listening to this album is strikingly similar to how I feel about Disclosure’s Settle. Both records take a left field style and extort it to its extremes of accessibility. While Rashad — being the founding member of the TEKLIFE crew — certainly isn’t making a mockery of his style, he’s instead going in the opposite direction, and approaching his sound with an unbridled seriousness that seems too over the top. There are other similarities between the two records as well, such as the overwhelming amount of guest spots (11 out of the 13 tracks) and through the roof production values. These 13 songs are all so wondrously executed in such a direct and precise manner, that they almost lack personality; or how I like to put it, humanity.

Of course, this is all relative to footwork’s past (not that I consider myself an expert on it), as newcomers will likely find solace in the brilliant use of ricocheting samples and glorified drum programming. In terms of the former DJ Rashad lovers though , Double Cup can be likened to the most popular kid at your high school. It’s the guy that has the coolest clothes, the girl with the prettiest makeup and the most expensive boob job, and the person everyone wants a piece of. From an outsiders perspective, it appears to be immaculate, but once you take a further look, you realize its a cold, lonely place.

Track Listing:
1.) Feelin (feat. Spinn and Taso)*
2.) Show you how (feat. Spinn)
3.) Pass that shit (feat. Spinn and Taso)
4.) She a Go (feat. Spinn and Taso)*
5.) Only One (feat. Spinn and Taso)
6.) Everyday of my Life (feat. DJ Phil)
7.) I Don’t Give A Fuck*
8.) Double Cup (Feat. Spinn)
9.) Drank, Kush, Bars (feat. Spinn)*
10.) Reggie*
11.) Acid Bit (feat. Addison Groove)
12.) Leavin (feat. Manny)
13.) Let U No (feat. Spinn)*
14.) I’m Too Hi (feat. Earl)

Album Highlight – *

A Restaurant to Call His Own: Fred Mero and the New La Rosetta

by Jaime Kohl

Now you may not have heard of La Rosetta, but Fred Mero’s name has been synonymous with many great food establishments, such as the four seasons and the boathouse in the New York City scene over the past 20 years. Now he has gone off on his own with Vincenzo Roberto to open up La Rosetta.

One thing that was clear throughout the meal was the attention to detail. They cook with a “process well worth it.” I came in on a cold afternoon and asked the chef to take his pick and cook for me what he would want.

Hydro Arugula Salad: Muscat raisins, shaved Parmiggiano, Marcona almonds, Vin cotto

Mero’s process was clearly evident in the Arugula salad. What seems like a simple salad was taken to the next level with its details. The salad was a Hydro Arugula Salad with Muscat raisins, shaved aged Parmiggiano, Marcona almonds with a Vin cotto dressing. I was amazed at how much I enjoyed this salad, because I am not a huge fan of raisins. They just don’t tend to be my thing, but these were homemade raisins and where we can see that “process well worth it.” Chef Mero takes the Muscat grapes and roasts them over night in a very low temperature oven. This process pulls all of the flavor into the raisin and creates a texture that is far more pleasing in a salad than your typical raisin, plus they do not stick to your teeth. There is a creaminess the raisin that compliments that pure and beautiful Marcona Almonds and rich Vin cotto dressing with the bitter greens. This is a salad that I would not have ordered on my own; but I was more than happy enjoying every bite of the delicate salad.

Seafood Risotto: Shrimp, lobster, calamari and muscles with lemon and herbs in a parsley broth.

Next course; Seafood Risotto. Risotto is a fickle thing. Everyone has their perspective and way of doing it. Some want it soupier, some like it drier. I like a good texture and toasting on my rice. That was the one thing missing for the beautiful bowl. That warm toasted texture would have put this stick to the ribs dish over the top. The lobster was cooked to perfection. Fresh large chunks of that delicious white and red meat danced in the lemon parsley with grace. The calamari and muscles were absolutely perfectly cooked. All of the seafood was incredible fresh and clean, pure white and shinny (right where it should be). The jumbo shrimp were delicious and served with the heads on. So if you’re adventurous you can enjoy sucking the briny head and popping a little post Halloween eyeball into your mouth (no joke they happen to be delicious).

With fresh berries, mint and cookie — Banana Ice Cream with Lemon Sorbet, fresh berries, mint and cookie

To close out the meal, I requested something very light. Next thing I knew there was a beautiful bowl presented to me with banana ice cream, fresh berries, a light cookie, a beautiful classic lemon sorbet and a small sprig of mint. At first I wondered banana and lemon, really is that a flavor combo you really want; but it sure is. I loved it. The cookie added a nice texture, but the extra crumb did not actually add enough texture to be noted. Once again the freshness of the ingredients was clear with the berries. The lemon sorbet cleaned my palate and re-energized me to get started on my way.

All and all I truly enjoyed La Rosetta. I have no need to wonder why Ruth Reichl had called Fred Mero’s cooking perfect in the past. Here he is at La Rosetta without the support of a big name working to develop his very own passionate organic and sustainable version of foodie nirvana.

But if you don’t believe me, please check out any of these reviews… CBS, Zagat’s and Manhattan Sideways.

Theater Review: “After Midnight”

by Ryan Leeds

The cast of "After Midnight" Photo courtesy of Matthew Murphy — The cast of “After Midnight” Photo courtesy of Matthew Murphy

To those who read their playbill before a show begins, I am not disclosing any spoiler alerts here. The second to last musical number in Broadway’s After Midnight is called “Freeze and Melt”. It is a boisterous song and dance number in which this hugely talented cast strikes choreographed poses that are either frozen in place or fluid and sexy. The song could also summarize your feelings to what has occurred in the previous eighty-five minutes at Broadway’s newest musical offering.

After Midnight, which opened at the Brooks Atkinson Theater on Sunday night, is a reconcieved version of Cotton Club Parade, a hugely successful revue which played briefly at City Center Encores a few seasons ago. Led by the debonair Dule Hill (TV’s Psych and The West Wing), After Midnight is a tribute to jazz legend Duke Ellington, whose fifty year career included four years at New York’s famed Cotton Club, the central setting for the piece. Hill serves as the narrator and recites the poetry of Langston Hughes between generally familiar American standards.

From the start,this revue experiences a frozen moment. What should be a rousing, full throttle introduction to the ensemble and the night that awaits is instead only a competent and functional opening number (“Daybreak Express”). For a song structured like a locomotive picking up steam, this version lacks vigor and vitality. Moments later however, when an elegant trio of ladies (Carmen Ruby Floyd, Rosena M. Hill Jackson, and Bryonha Marie Parham) cozy to the microphone and provide a smokin’ version of “Between the Devil and the Deep Blue Sea”, we have no choice but to swoon and melt. Luckily, we are treated to more of these moments including American Idol’s Fantasia whose renditions of “I Can’t Give You Anything But Love” and “Stormy Weather” infuse a new, livelier breath into already solid classics.

Other vignettes in the show seem a bit shoddy. As our leading man, Hill (an accomplished actor with less accomplished vocal skills) begins to sing, “I’ve Got the World On A String”, he grasps a red balloon. Soon he is surrounded by ensemble members who join in his “balloon-ography”. What could be modest and charming staging instead has the earmarks of a show with cheesy production values.

Tony Award winner Adriane Lenox raises the thermostat and brings two winning moments to the show. In “Women Be Wise”, she offers boozy, but sage wisdom to ladies who might want to show off their men. In “Go Back Where You Stayed Last Night”, Lenox is a woman scorn, but delivers it with a lighthearted, tongue in cheek fashion.

There is much to admire in After Midnight, the first of which is the predominantly marvelous choreography by Warren Carlyle (who also directed). The cast delivers first rate dancing with seamless flair. Vocally however, there is little to applaud aside from the previously mentioned female trio and Ms. Barrino.

Without a doubt, the best part of After Midnight is the brassy, classy, phenomenal sound of the the orchestra. This seventeen piece band, hand picked by jazz great Wynton Marsalis, remains onstage during the show and accomplishes for the American songbook what Steve Jobs accomplished for computers. They alone make staying up late well worth it.

“After Midnight” at the Brooks Atkinson theatre (256 W. 47th between Broadway and 8th Avenue). Tickets available at the box office, online at www.telecharge.com or by phone at 1-800-745-3000. In the “guest star” role, Fantasia is featured through February. k.d. Lang succeeds her, and Toni Braxton will appear with “Babyface” in March.

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