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Monday, January 17, 2021

take a spinI’m pretty sure I’ve seen this sort of contraption before, but never sitting on the curb awaiting trash pickup. Which is where I cameraphoned this one, on 14th Street as I approached Union Square (which is just about right, all told).

Yes, this is a wheel of fortune, as the garbageman out-of-frame informed me. But a jury-rigged one, built from an old bicycle wheel (note the old foot pedal, now used as a hand crank) with a deck of playing cards stuck into the spokes. My favorite touch: The inclusion of a couple of MetroCards in the circle-spinning rotation. A New York-style wildcard!

Wish I had been in on the casino night connected to this sidewalk artifact. The picture is enough, short of hauling the junk away myself.

by Costa Tsiokos, Mon 01/17/2011 08:27pm
Category: Creative, New Yorkin', Photography
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Monday, January 03, 2021

There are a gazillion eateries surrounding New York’s theater district, but none of them have the distinctive ambiance of Joe Allen Restaurant. Said ambiance is delivered by The Flop Wall: A decades-old collection of theatrical posters from some of Broadway’s most spectacular/overhyped flops.

I’ll have to drop into Joe’s for lunch sometime, to see the wall art for myself. The online slideshow is fine, but not particularly user-friendly. It does include the poster for 1972′s “Via Galactica”, a seven-performance sci-fi musical flameout that seemed doomed from the start:

For a moment the show was to be called “Up,” but when posted next to the Uris [Theater] name on the marquee, it sent an unfortunate message. Once again, the title became “Via Galactica.”

Hopefully, Joe Allen’s has reserved some wall space for the next sure-bet addition to this rogues gallery, the body-count building spectacle that is “Spider-Man: Turn Off The Dark”.

by Costa Tsiokos, Mon 01/03/2021 08:57am
Category: Creative, Food, New Yorkin'
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Tuesday, December 21, 2021

If you’ve ever pondered how superheroics and supervillainy would translate into real-world collateral damage, Law and the Multiverse provides legalese as applied to the comic-book context:

The answers are dry, technical and funny in their earnestness. The Second Amendment, [co-blogger James] Daily suggested, would protect many powers, but “at least some superpowers would qualify as dangerous or unusual weapons (e.g., Cyclops’ optic blasts, Havok’s plasma blasts)” that are “well beyond the power of weapons allowed even by permit.” Those super-duper powers would be tightly regulated, if not banned outright.

Then there’s this jurisprudential nugget: When Batman, the DC Comics hero, nabs crooks, is the evidence gathered against the bad guys admissible in court? Not if he is working so closely with Commissioner Gordon that his feats fall under the “state actor” doctrine, in which a person is deemed to be acting on behalf of government and thus is subject to the restrictions on government power. In fact, he might be courting a lawsuit claiming violations of civil rights from those who were nabbed.

Leave it to a couple of blawging lawyers to suck all the fun out of superpowered mayhem. On the other hand, it’s good to know that supervillain-insurance residual pools would keep a lid on premium payments.

by Costa Tsiokos, Tue 12/21/2010 10:33pm
Category: Bloggin', Creative, Pop Culture, True Crime
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Sunday, December 19, 2021

The most popular theatrical play that you’ve probably never heard of is “Almost, Maine”. Why is this quirky look at snowbound New England romance the rage of high-school and repertory stages across the land, when it flamed out years ago Off Broadway?

Maybe it was because the play — composed of nine vignettes — offered material that students could break off and perform at drama competitions and that professional actors could present at auditions. Or could the key to success be that the text can be performed by as few as 4 people or as many as 19?

“If you are a professional playwright looking to make it in New York, you write something with the smallest possible cast,” said Doug Rand, chairman of the licensing company Playscripts Inc. “Amateur theater groups want to have as big a cast as possible. New York really hasn’t generated that kind of work in decades. So, when you come across that work, it’s like water in the desert.”

Curious creative economics. Although there must be something to it, as I prefer plays that are as focused and stripped-down as possible, including a tight cast of less than a half-dozen characters. Consequently, I doubt that “Almost” would be to my liking, at least not past the first couple of vignettes.

As for the play’s backdrop, Maine’s national profile probably hasn’t benefited this much since that ship blew up in Havana harbor.

by Costa Tsiokos, Sun 12/19/2010 01:49pm
Category: Creative, History, New Yorkin'
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Thursday, December 09, 2021

What happens when you start typing in the names of all 50 States (plus the District of Columbia) into Google? You get autocomplete drop-down results that may or may not jibe with the proper map labels.

The results of the top autocompleted phrases indicate that big-time college football programs, especially in the South, have a strong online presence. No surprise, considering how much sports drives search activity.

The surprise results are more fun, of course: The historical-reference “Missouri Compromise” for the Show-Me State (bordering, comically, on Kansas’ misplaced “Kansas City Chiefs”, to boot). “Delaware Water Gap” is an odd one. And let’s not even go near “Montana Fishburne”

(Via Flavorwire)

by Costa Tsiokos, Thu 12/09/2021 08:29am
Category: Comedy, Creative, Internet
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Saturday, November 27, 2021

Villainize that Comic Sans all you want, but it may have an educational-retention advantage over prettier typefaces:

[Princeton University] researchers found that, on average, those given the harder-to-read fonts actually recalled 14% more.

They believe that presenting information in a way that is hard to digest means a person has to concentrate more, and this leads to “deeper processing” and then “better retrieval” afterwards. It is an example of the positive effects of what scientists call “disfluency”.

“Disfluency is just a subjective feeling of difficulty associated with any mental task,” explained psychology professor Daniel Oppenheimer, one of the co-authors of the study. “So if something is hard to see or hear, it feels disfluent… We’d found that disfluency led people to think harder about things.

Along with Comic Sans, the other intense-comprehension fonts tested were Bodoni, Haettenschweiler, and Monotype Corsiva. All these were versus the “easy” Arial — admittedly, as generic a baseline font as there is.

The concept makes sense: If you expend more mental energy toward something, you’re likelier to remember it, just due to the effort. The biggest challenge is achieving balance — using a font that’s distinctive enough to stick in memory, but not so stylistically out-there that it’s an indecipherable chore to read.

And while this information delivery method is ideal for receptive learning, it’s not a good idea for other media messaging:

The traditional strategy is to design all of the information you’re presenting in a way that is as clear and easy to read as possible. This makes sense, I think, because most often designers are tasked with delivering information to an audience that is assumed to be at worst hostile and at best indifferent to the message. But this policy may be self-defeating in non-advertising contexts.

So if the message is meant to be rapid-fire and not particularly deep, then clean font design is the way to play it. For deeper mental penetration, the funkier designs work. I’m not sure all advertising needs to adhere to the former; you want the sales pitch to stick, after all. If anything, the “easy” fonts are best applied to video-based delivery, where just getting the exposure counts. Anything meant to be more lasting, like print and archived text, can go with the complex serifs/sans serifs.

by Costa Tsiokos, Sat 11/27/2010 05:11pm
Category: Advert./Mktg., Creative, Science, Society
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Friday, November 26, 2021

hello neighbors
Let’s throw practicality and reality right out the window while we imagine a world with country populations relocated to their equivalently-ranked national territories.

So basically, China moves its global No. 1 population to the world’s largest country by land area — which happens to be next-door neighbor Russia. More dramatically, the No. 2 world population of India moves across the globe to Canada, the planet’s second-largest country. And so on.

No need for Mr. and Mrs. America to call the moving vans, though:

Strangely enough, the US itself would not have to swap its population with another country. With 310 million inhabitants, it is the third most populous nation in the world. And with an area of just over 3.7 million square miles, it is also the world’s third largest country. Brazil, at number five in both lists, is in the same situation. Other non-movers are Yemen and Ireland. Every other country moves house.

Meanwhile, other nationalities would have to adjust to strange new climes and neighbors, like the above-referenced 1-billion Indians in the Great White North. Although one current geopolitical flashpoint would merely shift from northeast Asia to southern Africa in this statistical re-shuffling:

Those South Koreans probably couldn’t believe their bad luck. Of all the potential new friends in the world, who gets to be their northern neighbour but their wacky cousin, North Korea? It seems the heavily militarised DMZ will move from the Korean peninsula to the South African-Botswanan border.

by Costa Tsiokos, Fri 11/26/2010 09:27pm
Category: Creative, Political, Society
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Tuesday, November 23, 2021

spread the disco-ease
It’s not quite the rockin’ pneumonia and the boogie-woogie flu, but I like the idea of being “disco infected”.

And more than that, I like the (remixed) song of the same name by Australian electronic/dance unit Dirty Laundry. Along with this cover art. The surgical mask on a mod-looking girl really sells the concept.

by Costa Tsiokos, Tue 11/23/2010 11:39pm
Category: Creative, Pop Culture
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Monday, November 22, 2021

skin and bones
Last seen imposing his aesthetic on mainstream pop culture, a certain West Coast graffiti artist is currently laying down ink on Manhattan hotel-guest skins:

It was a scene that unfolds along low-rent commercial strips in towns big and small, but this was no storefront tattoo parlor, with neon signs in the windows and folding chairs in cramped quarters. Instead, it was the pop-up studio of Mister Cartoon — a tattooist who counts Eminem, Beyoncé and Mena Suvari as clients — at the Marcel at Gramercy, an upscale boutique hotel looking to distinguish itself from the pack.

As part of the hotel’s artist-in-residence series, Mister Cartoon, who is based in Los Angeles and usually has a three-to-six-month waiting list for appointments, which can cost tens of thousands of dollars, has created original artwork that hangs in the lobby. And from Nov. 14 through Wednesday, he is offering his services out of a two-bedroom suite.

A tattoo artist-in-residence? Seems more properly a Chelsea Hotel thing, versus this celebrity-whoring boutique. As if to underline the clientele, the article features Tommy Hilfiger‘s rehabbed son booking a session with Cartoon.

I wonder if Hilfiger Jr., or anyone else, has requested the above sombrero-skull sample of Cartoon’s work? Despite my fondness for this detail, my revulsion of body ink ensures that I won’t be getting it seared onto my skin.

by Costa Tsiokos, Mon 11/22/2010 08:49pm
Category: Creative, Fashion, New Yorkin', Pop Culture
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Sunday, November 21, 2021

It’s a common enough sighting on the streets of New York: An oversized inflatable gray rat, positioned in front of some business or other that’s not giving its unionized workers a fair shake. Little did I know that this symbol of labor unrest is 20 years old:

The vinyl vermin quietly marked their 20th birthday this year. The folks at Illinois-based Big Sky Balloons and Searchlights, creators of the inflatables, made their first rat for a Chicago bricklayers union in 1990.

Business was soon blowing up — the rats became an instant, unlikely symbol of corporate greed and anti-union work sites.

The company — a nonunion shop, by the way — says the majority of its business is done on the East Coast. The rats range in height from a relatively small 6-footer to the super-sized 25-footer. The costs can run upward of $8,000.

I haven’t walked past one of these strike mascots lately, but next time I do, I’ll acknowledge the anniversary by leaving a hunk of birthday cheese (signified by a candle stuck in the middle) at its feet. It’s not as good as not patronizing the offending business, but it’s really more about the symbol of protest, rather than the protest itself.

by Costa Tsiokos, Sun 11/21/2010 09:22pm
Category: Business, Creative, History
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Sunday, November 14, 2021

I’m a sucker for a good musical remix — especially if it totally reinterprets the original song. And probably even more than that, a good remix title will snag me as well. Something about that parenthetical addendum to the track title speaks to me, promising an extra-special sound experience. And the more creative the tag is — whether it’s simply an unusual band/artist name, or a thought-out rework description — the more likely I’ll be to listen to it.

Below are my favorite remix titles, from my personal music collection. There are actually a lot more than I thought there’d be — I had guessed a maximum of five or six, but ended up with these 17. No particular order, although the first few are definitely the most compelling in my view:

1. “Lost and Found (Jaded Alliance Club Mix)”, Delerium feat. Jaël

2. “Mixtress (Son of the Electric Ghost Remix)”, DJ Baby Anne

3. “Filthy/Gorgeous (ATOC vs. Superbuddha Remix)”, Scissor Sisters

4. “Calabria (Hot Pink Delorean Remix)”, Enur feat. Natasja

5. “Circus (BitchSLAPhappy 3 Ring Circus Remix)”, Britney Spears

6. “Remedy (Kitch ‘n Sync Remix)”, Little Boots

7. “Fancy Footwork (Death To The Throne remix)”, Chromeo

8. “Boomerang (29 Palms Polysynthetic Remix)”, Cirrus

9. “Change of Heart (What Kind of Breeze Do You Blow Remix)”, El Perro Del Mar

10. “Boy In the Window (Ursula 1000 Artic Chill Extended Remix)”, The Gentle People

11. “Alejandro (Son of Vader Lipstixx Rmx)”, Lady GaGa

12. “Sympathy For The Devil (Who Killed The Kennedys Mix)”, Laibach

13. “Pink Neon (The Amalgamation of Soundz Dub)”, Natalie Walker

14. “Nice Day (Wamdue People Remix)”, Persephone’s Bees

15. “You’re Gonna Get Yours (Reanimated TX Getaway version)”, Public Enemy

16. “How To Kill A Radio Consultant (The DJ Chuck Chillout Mega Murder Boom)”, Public Enemy

17. “Who Stole The Soul (Sir Jinx Stolen Souled Out Reparation Mixx)”, Public Enemy

by Costa Tsiokos, Sun 11/14/2010 10:42pm
Category: Creative, Pop Culture, Wordsmithing
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Thursday, November 04, 2021

daand da
This is too good to not steal repurpose: A surrealistic play contained within a single Twitter post.

@hotdogsladies: “MAKE ROOM FOR DADA: A PLAY” ACT I ME: Aw. I broke the ice cube tray. ELLIE: Is it chocolate? ME: Why? ELLIE: I like chocolate. [exeunt]

With four characters left over from the 140-limit, too. Impressive. Of course, only a dada theme would make sense (or, more to the point, not make sense) within the cramped context of a tweet.

Maybe this will inspire a slew of tweeted playwriting? Some director can trawl the Twitterverse for a couple of dozen such quickie plays to curate and produce, presenting them “A Night of Social Media Theater”. Imagine the buzz…

by Costa Tsiokos, Thu 11/04/2021 10:53pm
Category: Comedy, Creative, Social Media Online
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Wednesday, November 03, 2021

When you, the writer, just can’t muster up the gumption to “murder your darlings”, it’s time to turn to Soylent.

Well, someday it’ll be time, perhaps. For now, it’s an experiment in crowdsourced copy editing, on a micropayment scale:

Soylent is an add-in for Microsoft Word that uses Mechanical Turk as a distributed copy-editing system to perform tasks like proofreading and text-shortening, as well as a type of specialized edits its developers call “The Human Macro.” Currently in closed beta, Soylent was created by compsci students at MIT, Berkeley, and University of Michigan.

And yes, the concepts at play — both the mass participation and the meat-grinder aspects of editorial tasking — are the inspiration for the iconic-cinematic name:

[Lead researcher Michael] Bernstein said they were looking for something familiar but also true to the idea of what they created. Soylent, is made of people. It is indeed, people.

“The original name was Homunculus,” Bernstein said. “It didn’t have the same ring to it.”

I’m guessing there’ll be no bragging about Soylent being powered by “Green” energy? That would put the tongue far too firmly into cheek.

(Via @Aerocles; who I thanked with a snarky “tasty!” retweet)

by Costa Tsiokos, Wed 11/03/2021 10:46pm
Category: Creative, Internet, Pop Culture, Publishing
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Tuesday, November 02, 2021

This year marks the 150th anniversary of election of Abraham Lincoln. The subsequent path to Southern secession and war is being chronicled in “Disunion”, a New York Times historical blog:

The story of the Civil War will be told in this series as a weekly roundup and analysis, by Jamie Malanowski, of events making news during the corresponding week 150 years ago. Written as if in real time, this dispatch will, after this week, appear every Monday. Additional essays and observations by other contributors, along with maps, images, diaries and so forth, will be published several times a week.

This is a nice approach in presenting a conflict that’s no longer a central fixture in the national psyche. At least not directly — certainly, the regional and social faultlines are still pretty apparent, even if the linkage to dynamics from a century and a half ago are no longer acknowledged. That’s an unfortunate consequence of the passing of living memory.

The history geek in me digs this. Especially when I come across an article permalink structure from 1860.

by Costa Tsiokos, Tue 11/02/2021 09:58pm
Category: Bloggin', Creative, History
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Friday, October 22, 2021

I’m not familiar enough with the geography of the Los Angeles metroplex to know anything about Culver City. So I don’t know how cool CulverLand, a limted-time life-sized boardgame art installation incorporating a stretch of the city’s sidewalks, really is:

In CulverLand, human game pieces can proceed to the next square, for example, when they are passed by a car painted the same color as their current square.

An alternate drinking-game version involves matching cocktails to the colors.

But it definitely sounds cool, both virgin and alcholic editions.

This bit stood out for me:

When [CulverLand artist John] Derevlany field-tested his creation, composed of the six most common car colors, he had to reduce the bright hues, especially greens.

“Artistically, I wanted lots of blue, red and green, but two-thirds of cars are black, white or gray-silver,” he said.

That majority representation of neutral-tone car colors reinforces what I noticed when I visited LA earlier this year:

Odd experience while sitting at an intersection on Hollywood Boulevard for some 15 minutes: Practically every single non-livery vehicle that rolled by was either white, black, or some grey shade in between. No joke, by the time I actually started paying attention, I didn’t see a single passenger car with a colorful hue whiz by. It was bizarre. Is there some sort of prohibition against rainbow-colors paintjobs on your ride in Hollywood?

So I guess there really is some sort of groupthink/hivemind against true-color automobiles amongst Angelenos? Perhaps a bizarre manifestation of the decades-old car culture in Southern California — the gas-guzzlers are so ingrained into the fabric of life there that there’s no desire to make them stand out visually? Worthy of further investigation, I think.

Anyway, I’d almost like to see a similar chutes-and-ladders creative application on Manhattan’s streets. Except that we don’t need yet another thing clogging up the sidewalks. Maybe Brooklyn instead…

by Costa Tsiokos, Fri 10/22/2010 12:15pm
Category: Creative, New Yorkin', Society
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Saturday, October 16, 2021

If nothing else, the past couple of years have demonstrated how economics follow patterns that owe more to chaos theory than predictive modeling. And the recent Nobel Prize winners are an acknowledgement of this:

What this year’s prize does clearly indicate is that the Nobel committee believes economic theory is messy and getting messier… The last Nobel awarded for an all-encompassing mathematical theory of how the economic world fits together was to Robert Lucas in 1995 for his work on rational expectations. Since then… the Nobel crew has chosen to honor either interesting economic side projects or work that muddies the elegance of those grand postwar theories of rational actors buying and selling under conditions of perfect competition.

The variables outnumber the known quantities, and the Nobel hardware validates this chipping-away analysis. The dismal science is also a scattershot one.

by Costa Tsiokos, Sat 10/16/2010 08:10pm
Category: Business, Creative, Society
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Monday, October 11, 2021


Last night’s “MoneyBart” episode of “The Simpsons” likely won’t be remembered as anything more than yet another latter-day edition of a series well past its prime. On the other hand, its opening-credits “couch gag” sequence might overshadow it, thanks to the participation of British graffiti artist Banksy:

The minute-long opening sequence begins almost as usual, but with Banksy’s tag being sprayed across Springfield monuments, and a masked Bart writing “I must not write all over the walls” over the walls of his schoolroom.

It then pans to a dark, dilapidated factory where dozens of workers animate sketches of the family. Cats are shown being thrown into a wood chipper to create stuffing for merchandise such as Bart Simpson dolls. A unicorn, chained to the factory wall, is used to punch holes in DVDs.

The titles end with a grim image of the logo of the show’s owner, 20th Century Fox, guarded by searchlights, a watchtower and a barbed wire fence.

And let’s not forget the beast-of-burden panda being whipped, or the decapitated dolphin-head whose tongue was used to seal merchandise boxes. And this did actually air on network air.

It’s important to remember that such over-the-top imagery is traditionally par for the course for the series. All the online debate over a “message” being sent by Banksy is ill-founded — the absurdity of the politically-incorrect symbols exposes the inherent parody. And, as has been noted, if the FOX higher-ups signed off on this expression, just how “subversive” can it truly be?

Still, something memorable from the old animated warhorse. Almost makes up for the fumes the show has been running on for the past decade-plus.

by Costa Tsiokos, Mon 10/11/2021 11:23pm
Category: Creative, Pop Culture, TV
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Thursday, September 30, 2021

hide, seek
It’s not like there’s anything unique about an outdoor advertisement being defaced by a sticker decal. But the cameraphoned example above (Flickr-embiggened here) displays a streak of creativity: Pretty model’s face, already fairly anonymous in a fashion-advertising sense, made even more anonymous by blocking out her eyes. For a slapdash application of street art/promotion, it’s well done.

The quasi-conspiratorial Hidden Friends label definitely adds to the effect. It appears to be a loose artists collective, that may or may not have acquired its name from a common Facebook user setting. Applying the phrase offline heightens the almost oxymoronic meaning…

I snapped this photo near the corner of 42nd Street and Madison Avenue. If it was eyecatching enough to make me pause in my usual mid-day running around, then you know it’s got impact.

by Costa Tsiokos, Thu 09/30/2010 10:17am
Category: Advert./Mktg., Creative, Fashion, New Yorkin', Photography, Social Media Online
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Sunday, September 26, 2021

spooky circle
Autumn has definitely set in here in the Northeast. As much as I like the summertime heat, I’m grateful for the climactic shift.

I’m also eager for the onset of my favorite holiday, strictly in terms of decor: Halloween. So much so that, time permitting, I’ll start hanging up my ghosts, jack-o’-lanterns and other seasonal decorations this week, a good month before trick-or-treating time. (I used to think such premature displays were tacky, but whatever — by now, I’m accustomed to becoming that which I once despised.)

To further jumpstart the ghouls-and-goblins spirit, I’m re-posting the above photo, purloined from Flickr. I still get a kick out of it, after two years of showing it off. I’ve yet to find a suitable site to recreate this white-sheet ghosts staging — I don’t have a tree available for such a spooky seance. But hopefully, it’ll inspire me to come up with a reasonable facsimile in the space I have to work in.

by Costa Tsiokos, Sun 09/26/2010 10:33pm
Category: Creative, Photography
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Saturday, September 11, 2021


I despaired over not finding a date for yesterday evening’s performance of Melt, an avant-garde dance/theatrical performance taking place in lower Manhattan:

Eight dancers perched on a wall and wrapped in sculptural beeswax and lanolin costumes are slowly melting away, progressing in euphoria and exhaustion as if approaching the sun, melting until their souls escape their ephemeral bodies and disintegrate into light.

But, when I settled in for the show, I was glad I hadn’t roped anyone into tagging along. Because I probably would have gotten an earful about the lack of seating. By which I mean, there was no seating. By which I mean, I was sitting, Indian-style, on the ground. And since this was an outdoor performance, directly under the Manhattan Bridge and right next to a massive industrial-salt pile, it was concrete I was sitting on.

Not that I minded. It was only a half-hour of squatting, and the action on the “stage” (really a stone-slab wall with metal perches) kept me enraptured enough that I didn’t notice any discomfort. A companion probably only would have reminded me of the lack of proper butt-parking.

As for the show itself, well, I was always a sucker for ultra-intepretive stage expression:

In “Melt” the women tip from side to side, stretch and weave their limbs, and bend forward, down or stretch up. Though they don’t move in unison, they generally change tempo together (as in Merce Cunningham choreography, this gives the impression of a flock of birds all reacting together to the same noise or change of breeze). But now and then one or more individuals undercut the group with a different trend…

A few arm movements suggest wings in flight. Mainly, though, the choreography suggests passivity. Nothing registers more than the way the dancers frequently turn their faces to one side, close their eyes as if avoiding the glare and open their mouths as if craving air.

Despite the obvious Icarus analogy with the beeswax, I found myself wondering if the long, draped lanolin strands from the dancers’ costumes truly represented trailing wings, or really were earth-bound tendrils. The sensation of flight was counteracted by the performers’ actual fixed location.

It was definitely enjoyable. Had it gone on any longer, I think it would have lost some impact, at least in the wordless format it displayed. And not once was I tempted to disobey the signs off to the side, that warned to “not touch the salt”. So I was satisfied, for a Friday night.

by Costa Tsiokos, Sat 09/11/2021 07:56pm
Category: Creative, New Yorkin'
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Tuesday, September 07, 2021

Does “Bed Intruder Song” represent the future of popular music’s creative process?

The song’s source material could not have been more unlikely: A local TV news report from Huntsville, Ala., about an intruder who climbed into a woman’s bed and tried to assault her.

But with some clever editing and the use of software that can turn speech into singing, the Gregory Brothers, a quartet of musicians living in Brooklyn, transformed an animated and angry rant by the victim’s brother into something genuinely catchy.

The resulting track, “Bed Intruder Song,” has sold more than 91,000 copies on iTunes, according to Nielsen SoundScan, and last week it was at No. 39 on the iTunes singles chart. Its video has been viewed more than 16 million times on YouTube.

And to top it off, the song was No. 89 on Billboard’s Hot 100 chart for the week of Aug. 20, ranked among singles by Katy Perry and Usher. The chart takes into account sales and radio play as well as online streaming.

“It’s not easy to get on that chart,” said Silvio Pietroluongo, director of charts at Billboard. “There are plenty of decent radio songs that don’t reach the sales chart.”

I dunno. This feels like a fluke to me. It’s not the first time that current events inspired music of the moment, and it won’t be the last. I’m guessing this sound-modified, Internet-sourced raw material will peter out, much like other gimmick musical genres did in years past. Same goes for Cee-Lo’s “Fuck You” viral.

by Costa Tsiokos, Tue 09/07/2021 11:56pm
Category: Creative, Internet, Pop Culture
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