What Curtis came up with is kind of a love letter to one of the largest corporate sandwich meat manufacturers in the United States. He lists 11 ways to think about Boar's Head as a personality, from its humble, turn-of-the-century horse-cart beginnings to lesser known facts about its modern competitive streak:
As of today, we’re pleased to consider submissions of your previously unpublished short stories of 1,500 words or fewer, via an email to literaryupstart [at] thelmagazine [dot] com. Complete details here.
This spring, semi-finalists (12-15 in total) will be invited to read said stories at one of our three seminfinal readings, at some bar someplace, in front of a live, lively audience, and a panel of judges comprised of members in good standing of New York City’s exalted literary community; after issuing their critiques, the judges will pick the winners who’ll advance to the final, where the readers will vie for a cash prize and publication in our annual Summer fiction Issue.
Plus! Booze specials! Trivia! Stage banter that’s barely been reworded since 2005! Watch this space over the next month, as we announce more about the competition, including dates, venues, judges, submission deadlines, and surprises (surprises!). We look forward to seeing you at the readings. Or I do, anyway.
The art bloggosphere is atwitter today with news that New Museum associate director and director of exhibitions Massimiliano Gioni—curator of, amongst others, the NuMu's just-closed Carsten Höller exhibition, its best-attended ever, and the critically acclaimed Ostalgia—has been named the director of the 2013 Venice Biennale. Gioni, a popular curator on the international biennial circuit, previously directed the eighth Gwangju Art Biennale in Korea in 2010, served as artistic director of the fourth Berlin Biennale in 2006 and was a co-curator of Manifesta two years earlier.
NME has discovered that the voice belongs to Ghanaian-born, Nashville-based singer Ruby Amanfu. Amanfu, most well-known for being one half of the singer-songwriter team Sam & Ruby, had one of her songs nominated for a Grammy in 2007, as well as a 2003 pop single, "Sugah," that did particularly well in Europe while on the UK's Polydor Records. She appeared on Conan around this time last year, singing back-up on "Funnel of Love" with Wanda Jackson and Jack White. You can listen to Amanfu on "Love Interruption" as well as see her performing Adele's "Rolling In The Deep" on NBC's The Sing-Off after the jump.
Anyone who’s scrolled through concert photos online knows it becomes extremely difficult to distinguish between them unless they’re of a spectacular, overproduced or hammy performance. Often angles and lights are awkward; image quality and composition are not always the foremost concerns. How would they look in a gallery? Well, Fort Useless, the small front room of an inconspicuous row house in Bushwick—one of the neighborhood's better-named, lesser-known DIY spaces—just opened a group exhibition of New York music photography by 13 female photographers who shoot for Brooklyn Vegan, Stereogum, NPR and the like.
“I gave a speech recently, an empowerment speech to a gay audience, and it included the line ‘I’ve been straight and I’ve been gay, and gay is better.’ And they tried to get me to change it, because they said it implies that homosexuality can be a choice. And for me, it is a choice. I understand that for many people it’s not, but for me it’s a choice, and you don’t get to define my gayness for me. A certain section of our community is very concerned that it not be seen as a choice, because if it’s a choice, then we could opt out. I say it doesn’t matter if we flew here or we swam here, it matters that we are here and we are one group and let us stop trying to make a litmus test for who is considered gay and who is not.”
You can listen to the playlist on Spotify if you're a member, or just check out the tracks, along with Ms. Tangorra’s comments, below.
We're all familiar (right?) with MoMA PS1's summertime architectural interventions into its cement-and-gravel courtyard, but this winter the Long Island City contemporary art museum is trying something new. On Sunday February 5 it will inaugurate the Performance Dome, a geodesic structure erected in its courtyard that, through May 13, will host
performance art deathmatches special programs every Sunday.
Follow Henry Stewart on Twitter @henrycstewart
Life is hard for the Tyrannosaurus rex: not only are all its buddies extinct, but every visit to Jurassic Park ends in tragedy. And then there are all the little things, like trying to make balloon animals, trying to put on a cardigan, trying to floss, trying to shuffle a deck of cards, which are all impossible due to T-Rex's tiny arms, and hilariously illustrated by Hugh Murphy on his Tumblr T-Rex Trying. It all started one week ago with T-Rex trying to paint his house (above) which was the first such joke exchanged between Murphy and his brothers that he decided to draw. You'll recall that I more or less predicted this earlier this month, when I projected that 2012 would be an exceptionally good year for dinosaur art. (TDW)
Follow Benjamin Sutton on Twitter @LMagArt
Here's another art factoid from the "I probably could have guessed that" file—which also contains news that Van Gogh was the aughts' most famous artist; prolific Modern master Pablo Picasso has more stolen artworks to his name than any other artist living or dead (and that's after the recent recovery of 271 of them, and Mark Lugo's stash). Other artists on the "Most Wanted by Art Thieves" list include Dali, Warhol and even Rembrandt, but the second-most stolen artist is a part-time New Yorker of whom you've probably never heard.
Whatever else the above tweet from pop-star M.I.A. says (and I'm legitimately confused on some points) it serves as double-confirmation of her widely rumored appearance with Madonna and Nicki Minaj at this Sunday's Super Bowl half-time show. The trio will reportedly perform "Give Me All Your Luvin'," the first single from Madonna's M.D.N.A (oh, brother) which is not-so-coincidentally set to drop later this week. The much-anticipated song, which will soon be referred to by area dads as "whatever the hell was going on between "Like a Virgin" and "Vogue"" will be "previewed" on this Thursday's American Idol (as a modern attention span appropriate blip, no doubt). Also popping up, in a somewhat less-explicable fashion during Madonna's half-time extravaganza will be LMFAO and Cee-Lo Green. It should be really goofy. I'm kind of excited.
He doesn't lack for alternatives; probable apocrypha has it that the neighborhood's stretch of Third Avenue holds a Guinness record for bars per square mile, or per capita, or something. But those spots tend toward the sorts of places you'd cruise for chicks with a frat brother or wine and dine the head of the chamber of commerce. There are old, well known, sometimes wonderful places (and their more recent counterparts), but none reflect even a little the new Brooklyn sensibility centralized in the borough's northern precincts; an iconic lunch counter, Hinsch's, only recently, under new ownership, began grilling veggie burgers. They're not places that appeal deliberately to the young, the hip, the creative.
Until, perhaps, now.
Earlier this month Orchard Street gallerist Lisa Cooley announced that her gallery would move to 107 Norfolk Street, a location familiar to many as the venue Tonic. And last week the gallery Hauser & Wirth—which has locations in London, Zurich and on the Upper East Side—announced it would take over the massive former garage on West 18th Street that housed the infamous roller disco and club The Roxy. But the club-to-gallery transition is nothing new; in fact it's something of a natural cycle in New York real estate ecology, as evidenced by these 5 Galleries That Were Legendary Nightlife Spots.
Strange Weekend, the full-length debut from Mauro Remiddi’s project Porcelain Raft, hits a blissful sweet spot with its airy vocals, densely produced music, and cascading melodies. But there’s also a surprising depth here, a willingness to take that sound in unexpected directions. It doesn’t hurt that Remiddi has been making music since the mid-1990s, or that he has a wider range of influences to draw from than one might expect from a one-man dreampop outfit. What makes Strange Weekend stand out is its attention to detail: touches like Remiddi’s use of a range of vocal approaches on “Drifting In and Out,” or the bits of glam-rock swagger, such as on “Unless You Speak From Your Heart.” Though there’s a clear shoegaze influence here, it’s elements like these that help differentiate Porcelain Raft from many of Remiddi’s peers.
I checked in with Remiddi in advance of his stop at Webster Hall tomorrow night to talk about the making of the album, his use of layered vocals, and more.
The proposal, a zoning amendment, provides an exemption for rooftop greenhouses on top of commercial buildings from the lot's floor area ratio and height restrictions. According to New School environmental studies professor Nevin Cohen and a recent study by the Urban Design lab, this amendment could open up 1,200 acres of previously unavailable commercial and industrial rooftops for farming.
facebook? did I miss something?
I never got a facebook site because I don't want to spend my free time…
"Welcome to the Machine . . . Where have you been? It's alright we know…