Photo: Yannis Vlamos / GoRunway.com
BCBG Max Azria Fall 2011
Photo: Yannis Vlamos / GoRunway.com
Author Archives: famenycmageditor
The Fame Queen Takes the Pop Crown
The little monsters in Gagaland are rejoicing and dancing in the streets. Lady Gaga’s reign as pop music’s newest monarch was cemented at Sunday night’s 53rd Annual Grammy Awards telecast on CBS. She took home the golden phonograph for Best Female Pop Vocal Performance, Best Short Form Music Video and Best Pop Vocal Album. Also, she delivered one of the most anticipated performances of the evening when she sang “Born This Way,” a revamped version of Madonna’s “Express Yourself” complete with Horton-styled, Aileyesque choreography.
But while the legions of Gaga fans were celebrating, this viewer was not so happy. Overall, the 53rd Annual Grammy Awards was lackluster to say the least. I doubt I could have had a worse time watching a bunch of crickets performing a mating song on the National Geographic channel. The show opened up with LL Kool J introducing a star-studded girl group that paid tribute to Queen of Soul Aretha Franklin and included Florence Welch, Jennifer Hudson, Yolanda Adams, Martina McBride and Christina Aguilera. The crew of ladies belted out some of Franklin’s most iconic works and it seemed that the Grammys were off to a rocking start. But it appeared that music’s biggest night never fully got off the runway as the performances were sans the oomph of past Grammy shows.
More than ever before the Grammys’ formula showed like a slip hanging from an expensive cocktail dress. A physic was not needed to foretell the winners, all one needed to do was watch the performers. Almost every performer that hit the stage won their category (and frankly that bit is getting pretty old). Also the Grammys’ method of ad-hoc collabos was for the most part insipid. The most unlikely duo to perform was Ceelo Green and Gwyneth Paltrow; they along with a band of Muppets sang “F**k You.” Green looked like the Muppet Czar as he donned a colorful, feathery number that resembled an Elton John throwback. Paltrow looked sexy in a black catsuit, but the most entertaining part of this duo was watching Paltrow balance herself in a pair of uber-high colorblock heels. Another anticipated performance was that of Mick Jagger, and although it was enjoyable watching him and Raphael Saadiq on stage, I have seen Mick Jagger give more spirited performances.
One good component of the Grammys’ formula is that in this digital, Auto-Tuned age, The Recording Academy still values musicians over artists as the top honors of the night, Record Of The Year, Album Of The Year, Song Of The Year and Best New Artist were won by Lady Antebellum, The Suburbs and Esperanza Spalding instead of the pop stars du jour.
Probably the most ironic element of the 53rd Annual Grammy Awards is that it started out paying homage to the woman most synonymous with soul music and that was exactly what the show was lacking – soul. In past Grammy shows, a more eclectic blend of music was present in the selection of performances that exposed the viewers at home, especially the youth, to genres of music they would not normally listen to. Question for the academy, where was the classical, jazz, Latin or gospel music? How was this music’s biggest night when more music outside of Billboard’s Top 40 was not represented in the telecast? If this is an omen for Grammy nights in years to come, then the world should just wait for the MTV Awards because the Grammys will not be worth watching.
Photos: WireImage.com, Lester Cohen/WireImage.com, Kevin Mazur/WireImage.com
The Dragon Speaks
Low Blow, Oil on canves
“Have a nice Day,” Sh*t Happens,” T-shirts allow us to literally wear our heart and emotions on our sleeves (or should I say across our chest). Icons of history and pop culture have become iconography in fashion as their faces are plastered across cotton blend canvases. James Rieck explores non-verbal communication on multiple levels with Enter the Dragon, on display at Lyons Wier Gallery until February 26.
Using Bruce Lee as a muse, Rieck presents five lifelike oil portraits of women with T-shirts that depict fight scenes from Bruce Lee movies. Martial arts is a dialogue between two opponents, and no one did it better than Bruce Lee. The vivid depiction of the shirts serves as an unconventional and colorful reminder of his stunning form and technique.
The portraits’ names, “Cockblock,” “Body Shot,” “Low Blow,” “Black Belt” and “Gang Bang,” provided a sexual innuendo that corresponds to not only the positioning of the models, but the action in the T-shirt. Enter the Dragon is short and to the point just like a T-shirt, and the dynamic illustrations definitely did not come from a comic book.
To learn more about Lyons Wier Gallery or James Rieck, click http://lyonswiergallery.com/.
Photos courtesy of Lyons Wier Gallery
Hip to Be Fresh
Left to right: Rebecca Santilli and Sesheta Holder
Pop quiz FAMERS…what is the most important component of an ensemble? The correct answer would be accessories. In Steel Magnolias, Olympia Dukakis wittingly delivers one of the best zingers of the movie when she tells Darryl Hannah, “The only thing that separates us from the animals is our ability to accessorize.” And she was right. Prêt-à–porter does not provide women with the exclusivity of couture, but with accessories every woman can take the same piece of clothing and create an innovative, fashion forward look that evokes her own personality.
With a commitment to style, creativity and sustainability, Sesheta Holder and Rebecca Santilli give ladies another reason to whip out their credit card with Maven Fresh LTD. – an accessory line that is a mélange of Mother Nature, color, sparkle and simplicity that is hand made and 100% New York City inspired. Cute mutli-hue crochet hats, shawls and headbands and Swarovski crystals, beads and appliqués add a natural feel to a vintage collection with a modern twist.
I recently had a chance to speak to the “premiere fashion mavens” to learn more about Maven Fresh and find out what they think should be in every woman’s closet.
Tell us about your backgrounds?
Sesheta: Though I’ve always been creative with my hands, I didn’t get into designing jewelry until about 12 years ago, after taking classes on Holistic health. I learned so much about it that it inspired me to want to design things that reflected that knowledge. That’s when I self-taught myself how to bead and weave as well as crochet.
Rebecca: I’ve always followed my instincts when it comes to my own sense of color and style. Different forms of artistic expression run in my family. When I inherited what seems like an endless collection of vintage buttons, beads, and yarn from both of my “fashionista” grandmothers, I knew I wanted to start designing. Learning to crochet came after I met Sesheta and now I wish I started sooner!
How did you meet?
Sesheta: We met while working at the Long Island Children’s Museum. Rebecca was hired to fill my previous position after I changed departments. It was all part of the master plan because we bonded right away on diet (I’m mostly vegan and she was raised vegetarian) as well as on color and fashion.
Rebecca: Lots of days we would find ourselves coming to work dressed in the same color palette. It was not pre-planned…we are just totally on the same wavelength!
When did you first form MavenFresh Ltd?
Sesheta: It was back in late ’08 – MF was born from our conversations about how color excited both of us and about our common love of fashion, accessories and especially styling. We decided one day that we should start a line together.
What is the story behind the name MavenFresh?
Sesheta: MavenFresh is the combination of who we are as individuals as well as all the things that we believe that we want to share with the world. The name means that we are experts and connoisseurs in Fresh-ness – fresh style, organic living, healthy eating and more.
Describe the MavenFresh woman.
Sesheta: We believe the MF woman is ageless because we have found that MavenFresh has something for women of all ages – someone who is connected to what makes her happy and who isn’t afraid to be bold, and make a statement by standing out and pushing fashion norms.
All your jewelry and accessories are handmade. How long does it take for you to construct a piece?
Sesheta: Honestly, it can take anywhere from 30 minutes to three weeks, depending on the style and construction. We collaborate on design and sometimes creation. We know you can’t rush fabulousness so our customer has to know that many of our pieces will last a lifetime so what’s a three week wait! (This wait time really applies to our custom orders).
How do you fuse your vegan/vegetarian lifestyles into the jewelry and accessories you manufacture?
Sesheta: Our designs literally reflect who we are – people who are interested in the preservation of culture and repurposing of what is old and mixing that with new pieces/modern style. Our lifestyles encourage freshness literally – the food we eat is fresher and I think it helps inspire designs. We also are really focused on using natural components when we create.
What five essential pieces do you believe should be in every woman’s closet?
Sesheta: Skinny studded belt, day to night statement earrings, great transitional leather jacket for either casual or dressy, fabulous pair of clog or wooden heel boots [and] a MavenFresh jersey mobius. We definitely believe that it should all be accessories since you can dress up or dress down just about anything based on your accessorizing.
Accessorizing can be tricky for some women. What is one rule of thumb a women should remember when accessorizing an ensemble?
Rebecca: Don’t be afraid! So many women tell us that they could never wear something, but it is all about inner confidence.
Sesheta: Make sure that your pieces don’t compete for attention. Think of yourself like a portrait – where would you want the viewer’s eye to go first? If you start with a statement pair of earrings or a necklace, then build everything else around that so that they all work together to complete the picture.
What do you love most about New York City fashion/style?
Sesheta: I love the edge. New Yorkers are so diverse and I love that fashion can be as diverse as the people. I also love how everyone mixes vintage styles with new trends. It’s fabulous.
Rebecca: Anything goes here- and I love that! You can be inspired to reinvent your style by just a glimpse of the unique fashion combinations that surround you daily…and New York City fashion has totally confirmed my belief that it is ok to be a bit overdressed rather than underdressed.
To learn more about Maven Fresh, click http://www.etsy.com/people/MavenFresh#.
Photos courtesy of Sesheta Holder and Rebecca Santilli
Reek Da Villian’s Gift to Hip Hop
When it comes to hip hop, each part of New York City has its own story. The Bronx is the genesis; the cradle of hip hop. Brooklyn has spawned arguably some of the greatest rappers that have ever touched a Mic. Queens, Manhattan and Staten Island have also generated its fair share of legends. Long Island, or Strong Island as we called it back in the day, is not part of the five boroughs, but its contribution to hip hop has been no less than impactful.
Rakim, considered to be one of the greatest of all time, hails from Wyandanch, Long Island. His cadence and lyrical prowess single-handily created the departure point from how MCs used to spit in the early 80s, showing hip hop heads the future of MCing, and produced the blueprint for lyrical MCs of the ‘90s and beyond to use as an influence. Political super group Public Enemy was formed in Long Island. The forceful delivery of Chuck D along with his pro-black lyrics harkened back to a time when Black was beautiful and offered a voice that stimulated our consciousness, allowing us to understand the power of the burgeoning medium the streets had birthed. Strictly Business was the name of hip hop duo EPMD and set the mark for their career. On the Mic they played no games and their no-nonsense lyricism made them staples on the hip hop scene in the late 80s and early 90s. Rap group De La Soul also formed in Long Island and ushered in the “Daisy Age.” Their witty lyrics and unique samples added a much needed eclectic layer to hip hop.
As a native of Long Island the inspiration of these trailblazers was not lost on Reek Da Villian when it came to developing his own style. “My music is all different types of styles and genres,” he says, “I can make the comical records, the serious records, the good-feeling records, the street records [and] the club records. That all comes from listening to groups like De La Soul and EPMD and MCs like Rakim mixed in with Big Daddy Kane whom I love and Slick Rick and Kool G Rap.”
Reek Da Villian is a true child of hip hop. He began rapping at age seven, and by 15 he was recording music in his cousin’s studio in Freeport. In 2006, a chance encounter would serve to be his big break. Reek met Busta Rhymes , long known for being one of the liveliest MCs in hip hop and a founding member of Leaders of the New School) at a mixtape/clothing store in Uniondale. After rapping for him for five minutes, Busta asked for his number. That meeting would be that catalyst that propelled Reek into stardom. Busta became a mentor, fellow label and group-mate as Reek would become a part of the Flipmode Squad, appearing on BET’s 106 and Park and Rap City. In 2009, he left Flipmode, but the experience he acquired was invaluable. “I’m the type of person that can watch and learn something better than someone teaching me,” he confesses, “so as far as musically I just watched stuff [Busta] did and picked it up on my own. But as far as the business side, he taught me how not to rub [label] executives the wrong way, how to greet them and talk to them. He gave me all those little pointers.”
Although Reek Da Villian has yet to release a studio album, he is definitely a veteran in the underground hip hop scene releasing 10 mixtapes since 2007. “Being a new artist, record labels can tell you what they want you to do. Mixtapes give you a chance to go out and give the fans what you want them to hear. If you want to give them a more street record, you can just go out there and give them a whole street album and it could be a mixtape. And it works hand in hand with all the blogs because you can get them up and the fans can go on and support you. You can give them out for free and it’s a way to promote yourself and get heard.” Reek also points out that there are some rap artists that are just releasing mixtapes to manufacture a career and considers the mixtape game a blessing.
In 2010, Reek released his 11th mixtape titled The Gift. “I made The Gift CD like an album because I want everybody to hear it and be able to say wow if he did this for a mixtape, I can imagine what his actual album will sound like,” he states. The title reflects his attitude about the commercialism that is present in mainstream hip hop. “I wanted to give the fans something they could appreciate and that wasn’t about a dollar bill. It is a free mixtape for people to listen to like or not, but overall I say it’s the gift because it’s beautiful music, which is something the fans haven’t gotten in a while and I know that they want,” he adds.
Along with promoting The Gift, Reek plans to drop another mixtape as well as release his debut album in the summer. Hip hop has seen many changes in style since DJs took their equipment out to battle each other at block parties, but one staple in the music and culture has remained – hip hop has always been about repping where you are from. Reek Da Villian is holding the banner for Long Island and adding to long list of MCs from this area that gave depth to hip hop with good music and engaging lyrics.
To download The Gift, visit http://www.livemixtapes.com/mixtapes/12916/reek_da_villian_the_gift.html.
Photos: Courtesy of Trio Entertainment
Jurassic Park Meets The Odyssey, Dance New Amsterdam Begins Its Winter 2011 Season
In New York City, as with most cities, dinosaurs can mostly be found in museums and libraries. Their ravenous existence is now just a tale to be told – bones to be examined and gawked at. But this winter, Clarinda Mac Low and Jordana Che Toback with the assistance of Dance New Amsterdam has resurrected the Paleolithic reptiles in A dinosaur attacks a lighthouse (Scylla and Charybdis), part of DNA’s SPLICE series and the start of DNA’s winter season.
Created in 2010, the SPLICE series is an innovative, creative collaborative endeavor displaying the unique talents of two artists. Clarinda Mac Low and Jordana Che Toback are both award-winning choreographers with their own distinct methodology to approaching the vocabulary of dance and performance art. With SPLICE they debut a duel work as well as individual works.
A dinosaur attacks a lighthouse (Scylla and Charybdis) is a satirical, political multimedia performance piece that exposes the complacency that is destroying our democracy – a fact that most of us are afraid to confront. Dressed in Sarah Palinesque red suits, Mac Low and Che Toback playfully mill around with the rhetoric displayed during most political campaigns – which can compare to a Broadway production. Through song and dance they create a cheeky think-piece that will have the mind spinning. Crush the Pearl Part 1, choreographed by Jordana Che Toback, is a platform that explores the power and sensuality of motion. Clarinda Mac Low’s Double Public Blunder: Monster-us is an intentional journey into calamity. Performed by Clarinda Mac Low and Michael DiPietro Double Public Blunder is both uncomfortable and entertaining.
Part bondage, Part orgy and part SNL skit, A dinosaur attacks a lighthouse (Scylla and Charybdis) as well as Mac Low and Che Toback’s other pieces were a worthy effort in expanding the dialogue of movement and the effect it can have on those who view it. It also sets the bar for what should be an engaging, fascinating 2011 at Dance New Amsterdam and proves that DNA is a beacon for New York City artists looking to express themselves without inhibition.
Photos: Paula Lobo
Masterpiece in the Making
In 2000, the idea of the female MC standing on her own was non-exisistent – almost laughable. It had seemed that the pioneering efforts of Salt & Pepper, Queen Latifah, MC Lyte and Lauren Hill were all but forgotten about as female rap artists were relegated to play the sexy side-kick in a hip hop buddy movie literally – only playing a role in a male dominated crew. Fast forward to the end of 2010 and a female MC’s debut album was one of the most anticipated albums of the year. Nicki Minaj’s Pink Friday garnered platinum status within a month of its release and along with BET’s documentary My Mic Sounds Nice; it appeared that the industry and the world was taking an interest in female rappers once again. Poised to take the stage and stake her claim on hip hop is Kyah Baby.
Kyah Baby is a Queens native with a regal vocal delivery that has not forgotten her hip hop roots. Proof of that is her single titled “L.O.H.H (Ladies of Hip Hop)” which pays homage to all the women who paved the way for the female rappers of today. Since signing with Selfish Music Group a year ago, Kyah has been featured on “Standing on Couches” with Jim Jones, Lil Kim and Lloyd Banks and has received spins on Hot 97 and Power 105.1. At the end of 2010, Kyah released her debut mixtape titled The Rough Draft, a slight glimpse of this female lyrist’s true talent. If The Rough Draft actually lives up to its title, then I predict this female MC will definitely be a part of the new wave of female rappers sweeping hip hop.
F.A.M.E NYC had an opportunity to speak to Kyah Baby about The Rough Draft, her musical style and influences.
How did you first begin your relationship with DJ Self and the Selfish Music Group?
I first began my relationship with DJ Self when I met him through another artist on Selfish Music Group. Self had heard me on a mixtape and was interested in having me as an artist as soon as he heard me. I went to go meet him at the station; we discussed some things and took it from there.
How did growing up in Queens influence your musical style and vocal delivery?
I don’t think Queens itself influenced my musical style and delivery; I think my experiences in life did that. But, growing up in Queens has given me certain knowledge and encouragement that it is possible for someone like me to make it. When growing up, I saw people like LL Cool J, Mobb Deep, 50 Cent [and] at present Nicki [Minaj] made it, it gives me a lot of faith and hope.
How did you receive the name the Freestyle Princess?
[Laughs] I never heard that nickname before, maybe the “Princess of Hip Hop.” But I am known for blessing the people with a quick 16 [bars].
What compelled you to write and record “L.O.H.H (Ladies of Hip Hop)”?
It’s funny because I tell the same story every time. What actually influenced me was when I was at Summer Jam. I was saddened to see only one female performing there. It just made me reminisce on when there were many females in the game all at once – all for one in unity. I just thought it would be the right thing to do, to show these women that they are remembered and have made a difference for females in the game as well as up & coming females like myself.
The new millennium has thus far seen a virtual disappearance of female MCs from mainstream hip hop. Do you believe that the success of Nicki Minaj is ushering a new age for ladies in hip hop?
I really can’t call it, it’s just the beginning. I’m focused on my music. My first mixtape The Rough Draft is out right now and available to download for free on www.datpiff.com.
How did you come up with the title of your new mixtape?
It came from the first title I had for my mixtape, which was actually Sincerely, Kyah, but then I thought that sounds like the end of something. I’m fresh and new, so I have to start from scratch. That’s when I thought…before you compose a proper piece of writing, you go through the outline, the rough draft, the edited version, the final essay, things like that. So, I just figured ‘Hey, why not start out with the rough draft.’
What is your favorite track off The Rough Draft?
My favorite track off The Rough Draft is number five, “Doesn’t Matter.” The song is really personal [and] about things I’ve been through with friends and family as well as my personal thoughts on a lot of things.
Name your top five Hip Hop albums/mixtapes of all time.
Wow, top five in hip hop. It’s funny because I grew up off R&B, [Laughs]. I would have to say Jay-Z’s Blueprint 3, Eminem’s The Marshall Mathers LP, 50 Cent’s Get Rich or Die Tryin’, Lil’ Kim’s Hardcore and Biggie’s Life After Death.
Do you have performances lined up? If so, where?
There’s no official dates yet, but if you stay connected with me and follow me on twitter.com/KYAHBABY_SMG, that’s @KYAHBABY_SMG , I’ll definitely post show dates, radio interviews, videos and photo shoots, so look out for that. Also, make sure you type “Kyah Baby” in YouTube. My videos are up, so go check that out as well.
Besides The Rough Draft, what else should your fans expect from you in 2011?
The Rough Draft was 2010, [Laughs]. For 2011, they can expect more videos, more songs [and] more mixtapes… basically a takeover!
Fame, No Detours
While making the rounds at different art shows and fairs for F.A.M.E NYC, I have met my fair share of artists, curators and collectors. No one will dispute that New York City is the Mecca for art in North America. Aspiring and even established artists migrate to New York in the hopes of being on the positive end of the statement, “If I can make it there, I’ll make it anywhere.” Artists like Jennifer Murray, who just celebrated the opening of her first solo show at a New York City gallery, or Billy the Artist, whom I first met in 2007 and whose services have been commissioned by Hyundai, Sony and MTV, are well on their way to creating a prosperous career in the art world. But if you are fresh off the bus from Penn Station and looking to make a name for yourself, what happens next? You find employment just to get by, create art whenever you can and pray that success finds you. Katharine T. Carter believes that this philosophy will only lead to failure. Poverty is not mark of a good artist nor is it necessary for anyone looking to live as an artist.
Katharine T. Carter is President and CEO of Katharine T. & Associates, a PR and promotional marketing firm exclusively for artists. With the help of fellow art colleagues, she combined 25 years of experience, advice and essays to create her own seminal work of art titled Accelerating on the Curves: The Artist’s Roadmap to Success, a 363-page beacon that guides an artist through the channels of obscurity and places them on the fast track to notoriety and financial achievement.
Accelerating on the Curves: The Artist’s Roadmap to Success consists of three books and meticulously details how an artist constructs his/her career. Book one has nine chapters and three stages. Stage one begins on the local and state level and features how to create a buzz wherever the artist resides by meeting the right people, generating the proper media presence and exhibiting and selling the artist’s work. Stage two illustrates how to take the foundation created in stage one, and expand the artist’s profile regionally. Stage three demonstrates what is needed for the artist to complete his/her ultimate destination and national recognition. Book two contains the blueprint for manufacturing a winning press kit. Book three is a composite of inspiring essays written by art insiders.
Ever since man began painting crude images on walls, there have been individuals blessed with the gift to create a dialogue with humanity without words. There have also been those who choose to see their talent as not only a gift, but a calling – a means to craft a destiny. But as time shifts, the way in which an artist becomes prominent in his/her time has most certainly changed. If paint, canvases, brushes and other elements used to create art are essential tools for an artist’s survival, then Accelerating on the Curves: The Artist’s Roadmap to Success must be considered an indispensible component as well. It exposes how to turn one’s art into a business using the media and networking, and is a bible for anyone pursuing a thriving career in the arts. It is a worthy read for any artisan regardless the genre and promises to be the best $95 investment you will ever make.
Photo courtesy of Katherine T. Carter & Associates
The Bitch in Me
As a small girl I kept my face in books (perhaps that is why I am writer today). Reading to my mother while she made dinner was one of my favorite pastimes. The XX chromosome dictated my reading selection and I always seemed to fancy tales that were epic in scale, took place in a land far away and had at least one damsel in distress. Not only did the words enrapture me, but the illustrations kept me fascinated as well. In the myths and fairytales I read as a child, the wolf always played an essential role. In Little Red Riding Hood the wolf was a cross dresser that had such an obsession with the girl in the crimson cloak that he slaughtered her grandmother and pretended to be her in an effort to get close to his target. In ancient mythology, a she-wolf suckled twins Romulus and Remus. Her milk-filled tits fed the starving babies that were abandoned and left to die. She was their first foster mother, and as men the twins would become known as the founding fathers of Rome.
Jennifer Murray has her own story with the she-wolf. As we stood in front of one her creations last Thursday, she revealed to me the catalyst that manifested into the furry siren. While in college, Jennifer was experiencing circumstances that required a Waiting to Exhale moment. When she finally had the opportunity to release, a wolf was delivered. Further developing the seed that had been planted long ago, Jennifer brings the mysticism and allure of the she-wolf and cougar that has been skulking in our social conscious to the surface in Displaced Fables/Damaged Dreams, her first solo exhibition. Displaced Fables/Damaged Dreams is an imaginative exploration of the female mystique and its multiple perceptions. Using charcoal sketches on stretched paper, mixed media canvases and hanging installations, Jennifer balances the fierceness, femininity and fragility of these creatures with great detail and perfect symmetry. With baroque fabrics, flowery patterns, wallpaper with foliage and yarn she literally weaves a tapestry of visual anecdotes that create a new vocabulary for women.
With “The Queen/Bitch Diptych” Jennifer presents the face of two she-wolves, their necks surrounded with fabric like a Medici collar. The canine lassies hang side by side one looking stoic and magnanimous, the other is tempestuous with snarling fangs. “White Drawing I” displays a she-wolf haphazardly suspended in white sheets, perhaps the colorless cloth is preventing her from moving or could be removing her from a perilous encounter, thereby becoming her saving grace. “Decoy Triptych” depicts a wolf straddling a sheep and a sheep mounting a wolf cleverly exposing the facades we flaunt when hiding our true selves. What I found particularly interesting about this piece were the beleaguered expressions of the mounted animals, they reflect the burden of constantly having to carry a disguise.
I first became acquainted with Jennifer Murray and her work at the last year’s Affordable Art Fair. Upon first glance I knew I would like to see more of her creations. In total, I was extremely impressed with Jennifer’s initial introduction to the New York City art scene. Displaced Fables/Damaged Dreams achieved its goals in positioning the viewer in fragmented narratives and dreamlike visions allowing us to decipher how textile flying machines, birds, wolves and cougars related to our human experience. As I toured the exhibit, I kept returning to “Spiker,” a drawing of a cougar with bold material covering her back. She was crouched, her front paws resembling a pouncing stance. Her eyes were sexy, determined and primal. Looking at this totemic symbol of womanhood I was reminded that within me and every woman there is a little girl playing dress up, a battle-axe ready to strike, a wolf ready to howl at the moon and an empress ready rule. The trick is harmonizing these characters in the story of our lives as effortlessly as Jennifer composed the scenes of this exhibit.
Displaced Fables/Damaged Dreams will be on display at Raandesk Gallery, located on 16 W. 23rd Street until March 5.
Photos: MyNameIsPhoto.com and F.A.M.E NYC Editor
Slideshow: F.A.M.E NYC Editor
A Freestyle Thing
In the 90’s freestyling, an improvisational form of rapping in which lyrics are produced off-the-top-of-the-head, was the test to prove a rapper’s true MCing prowess. With an accompaniment of a beat box, track or simply acapella, rappers proved why this burgeoning form of music was truly an art. In the theatre, the art of improvisation is nothing new; improvised performing can be traced back as far back as the 16th centuries across Europe. Modern improv is generally accredited to Viola Spolin, widely considered to be the grandmother of improvisational theatre and falls into two groupings, shortform and longform.
Fusing the best of shortform (short scenes initiated by an audience suggestion) and longform (a production in which short scenes are connected by the story and characters), Baby Wants Candy is an autoschediastical klatsch of epic proportions. A cast of rotating players breaks the fourth wall (generally a standard in live theatre) and asks the audience for a title to a production that has never been seen. Once one is shouted out, the actors and a live band construct a side-splitting musical that is guaranteed to be one of the blithest 60-minutes one will ever spend in a theatre. Baby Wants Candy offers an once-in-a-lifetime theatre experience; the scenes, dialogue and musical numbers are only displayed for that performance. If you missed it, then you missed it. But the silver lining is there is always an innovative, clever, inspiring musical on the horizon just waiting for the audience to name it. Baby Wants Candy is an unforgettable display of the human imagination.
Like hip hop, jazz is another musical genre that welcomes improvisation. A group of players on stage make an offer, inviting us to come on an aural journey of pop-up riffs and harmonious ad-libs. It is an offer most times the audience can not refuse. In improvisational theatre, an offer, which refers to an actor defining a scene, is also made. Once an offer is accepted, another actor will initiate a new offer and so on creating a spontaneous house of cards. Improvisers call this “Yes, And…” While watching artisans on stage, I also have a sort of “Yes, And…” experience. Generally it happens when something is lacking in the performance, but with this troupe of zany entertainers, I did not say, “Yes, and…,” I screamed, “Woohoo!” On the way home I had to convince myself that the audience member that provided the title was not a mole, which I believe is the greatest testimony to the cast’s mastery of their art. Baby Wants Candy makes me crave improv.
Baby Wants Candy will be performing Saturday evenings at the SoHo Playhouse, located on 15 Vandam Street, until February 26. To learn more about Baby Wants Candy, click www.babywantscandy.com.
Cast photo and logo courtesy of Noreen Heron & Associates, Inc.
F.A.M.E NYC Magazine 