#maps studio nyc

[mapsstudio]

Exploring NYC’s Innovative Urban Photography Techniques

As we navigate the bustling streets of NYC, we uncover innovative techniques that redefine urban photography. By leveraging the city’s unique interplay of light and shadows, we can capture candid moments that truly resonate. With the right gear, such as mirrorless cameras and prime lenses, we’re able to experiment with angles and compositions that tell powerful stories. But what are the specific locations and tips that can elevate our approach? Let’s explore how we can transform our urban photography journey and discover the hidden gems waiting to be captured.

Innovative Techniques for Urban Photography

Innovative techniques are essential for capturing the vibrant essence of urban life in photography. In our exploration of New York City, we’ll find that the interplay of light sources and shadows creates a dynamic urban landscape, perfect for candid photography techniques.

By adjusting our camera settings, we can better adapt to the rapid changes in light that city life presents. We recommend using Aperture Priority or Shutter Priority modes while keeping our ISO between 800 and 6400 for optimal exposure.

Participating in street photography workshops can sharpen our skills and help us learn to engage with our surroundings. The bustling streets offer endless opportunities to capture genuine emotions and spontaneous moments.

We should aim for locations with high foot traffic, where we can patiently wait for the perfect shot to unfold.

Utilizing unconventional angles can elevate our compositions, allowing us to tell unique stories through our images. By focusing on the nuances of daily life, we can create a visual narrative that resonates with the energy and rhythm of the city.

Embracing these innovative techniques won’t only enhance our photography but also deepen our connection to urban environments.

Essential Gear for NYC Photography

As we embark on our urban photography journey in New York City, selecting the right gear plays a crucial role in capturing the vibrant life around us.

We recommend using mirrorless cameras for their compactness and lightweight design, which makes them ideal for the bustling streets. Models like the Fujifilm X100 or X-T line are particularly popular among street photographers.

When it comes to camera and lens choices, having one or two prime lenses, such as 35mm and 50mm, will help us capture spontaneous moments more effectively. These focal lengths enhance our familiarity with the scene and allow quicker shooting.

To optimize our settings, we should avoid auto mode and instead use aperture priority or shutter speed settings. A flexible ISO range of 800-6400 is essential, given NYC’s rapid light changes.

We should start with an aperture of F8 to ensure good depth of field and maintain a shutter speed of at least 1/250th during the day. By adjusting the ISO or aperture as needed, we can ensure sharp, dynamic images that reflect the energy of the city.

Best Locations for Street Photography

Street photography thrives in vibrant locations that pulse with life and character. When we think about street photography in New York, several spots come to mind that perfectly embody the city’s energy.

The streets of New York, especially areas like Brooklyn and Queens, showcase a rich tapestry of cultures and stories. Here, we can capture candid moments with street performers and artists, adding depth to our urban photographs.

Another fantastic location is the Lower East Side, where street art flourishes on building facades, offering striking visual contrasts. The murals not only enhance our compositions but also tell stories about the community.

We can’t forget about Times Square, where the lighting conditions create a dynamic environment, especially at night with all the neon lights.

Don’t miss out on Central Park, either. It provides a beautiful backdrop where nature meets urban life, giving us a chance to capture the diverse activities of city dwellers.

Exploring these locations helps us discover unique narratives, making our street photography in New York truly unforgettable.

Tips for Capturing Candid Moments

Capturing candid moments in urban photography brings our images to life, revealing the stories hidden in everyday scenes. To truly excel in this art form, we need to embrace a few key techniques that enhance our storytelling.

Listen and Observe: By tuning into our surroundings, we can anticipate fleeting moments that tell a story.

Patience is Key: We must wait for those genuine interactions, resisting the urge to rush our shots.

Stay Ready: Always have our camera handy, utilizing available light to capture authentic atmospheres.

Understanding light and composition plays a crucial role in this process. We’re not just shooting images; we’re crafting narratives.

By focusing on the right moments and framing them thoughtfully, we can convey deep emotions and connections. Candid photography asks us to be present in the scene, allowing us to capture unguarded expressions that resonate with viewers.

Let’s commit to being patient and engaged, ready to seize those unplanned moments. In doing so, we transform our photography into rich storytelling that reflects the vibrant life of the city around us.

Mastering Light and Composition

While we immerse ourselves in urban photography, mastering light and composition is essential for creating compelling images. Understanding how to manipulate light sources and employ various composition techniques can elevate our work. For instance, utilizing depth of field allows us to isolate our subjects, drawing attention while blurring distracting backgrounds.

We can also use the concept of “frame within the frame” to guide viewers’ eyes toward our main subjects, enhancing their visual experience. Additionally, using spacious versus confined compositions can evoke different emotions; spacious scenes inspire feelings of freedom, while confined settings can create tension.

Here’s a quick reference table to summarize our techniques:

What Our Clients Are Saying

At Maps studio, we value the feedback from our clients and strive to provide the best urban photography experience in New York City. Below, you will find a selection of reviews from various platforms like Google My Business. These comments reflect our commitment to quality and customer satisfaction, showcasing how our services have impacted those who have chosen us for their photography needs. For more information, visit our website at mapsstudio.nyc.

Frequently Asked Questions

How Can I Develop My Unique Style in Urban Photography?

To develop our unique style in urban photography, let’s experiment with various angles, embrace candid moments, and tell compelling stories. By continuously exploring and reflecting on our experiences, we’ll refine our artistic voice together.

What Are the Best Times of Day for Shooting in NYC?

We find the best times for shooting in NYC are during golden hour and twilight. The soft light enhances our photos, while vibrant city life adds energy. Let’s capture those magical moments together!

How Do I Approach Strangers for Candid Photography?

When we approach strangers for candid photography, we smile, make eye contact, and respectfully ask if we can capture their moment. It’s essential to be genuine and considerate; most people appreciate the interest.

What Legal Considerations Should I Be Aware of in NYC Photography?

When we’re taking photos in NYC, we should remember to respect privacy laws and avoid commercial use without permission. It’s crucial to stay aware of public vs. private spaces to keep our photography legal and ethical.

Can I Use My Smartphone for Effective Urban Photography?

Absolutely, we can use our smartphones for effective urban photography! They’re portable and versatile, letting us capture spontaneous moments. With a little creativity and practice, we’ll transform ordinary scenes into stunning visual stories.

Conclusion

In our journey through NYC’s vibrant streets, we’ve uncovered innovative urban photography techniques that truly bring the city’s essence to life. By embracing the interplay of light and shadows, utilizing the right gear, and honing our skills, we can capture candid moments in unique ways. Let’s continue exploring the best locations and pushing the boundaries of our creativity, ensuring every shot tells a compelling story of urban life. Together, we can make our mark in this dynamic photographic landscape.

Visit Mapsstudio for more  information about photography.

[ryanseslow]

How to Create Paper Cut-Out Reliefs: Tips and Techniques for Beginners

Back again with another lil' series of 2D wall relief paper cut-out forms. Both of the pieces below follow the same process and technique. Im really happy with the process and outcomes. Im working on animating them as we speak. I'll add them to this post later. My paintings inspire my drawings, and my drawings are inspired by those same forms found in my paintings. It makes sense that every so often I want to make those forms "pop out" and off the surface of a flat plane. Alas, it all starts with a quick sketch. See below, just a series of light loose free flowing lines take the lead, forward ->

Here we have a dude posing for a profile style portrait. Most likely, this is inspired by the NYC B-Boys from the years 1983 - 87ish. Either way, it's nostalgia for me. Once the sketch feels good, I'll break out the paper and x-acto knife. I keep telling myself that one day Ill work with another material other than paper for these works, perhaps wood or metal.. It will happen, I can foresee it for sure, hang in there. Im using a white bristol paper for the cut outs, I believe it is the vellum type and not the glossy, but either or will work just fine. I love to cut paper and the whole medium of paper art in general.

Paper cut-outs, also known as paper cutting or Kirigami, is a traditional art form that involves cutting shapes and designs out of paper. The history of paper cutting can be traced back to ancient China and Japan, where it was practiced as a folk art. The Chinese and Japanese would create intricate designs, often featuring animals, plants, and mythical creatures, and use them as decorations for festivals and special occasions. I always loved it and have felt inspired by these pieces.

Using the sketch above, I apply the "map" of the shapes and forms that I see. Sometimes I redraw those forms on the paper that I will cut out, and sometimes I just "draw" with the x-acto knife to recreate the forms. Sometimes, it's a combination of both of those techniques. There is also a series of "out-take / byproduct" cut outs that do not make the final piece, those can be saved and used for the next piece, obviously!

I layer the forms on top of each other to compose the arrangement as a whole, its fun to watch it all come together, in the next phase, you will need some kind of durable tape or you can make little paper forms that can be pasted to both sides of the forms as they stack, this will create the gauge and depth of the piece once it is placed onto the wall.

This is the final composition above, I love it! I used a roll of duct tape to make small cylinder forms that connect the pieces together, the piece as a whole comes "off of the surface of the wall" by about 1.5 - 2" inches - you can play with this a bit but keep in mind, the tape makes the piece heavier and it will want to comply with gravity :)

I hung the piece (also temporarily adhered via the same duct tape) for the photoshoot and to also get a good look at how it will function on the wall. I have an old painted fire place in my studio that is a great surface for hanging things, I love the contrast of textures between the bricks and the paper, as you know, the shadows will be super cool to see too.

Once I had the whole piece constructed I took a few pictures of it. I immediately wanted a clean vector line drawing of the whole character. I brought the photo into adobe Fresco and used a vector brush to draw this lovely variation. This is how my brain works, I switch paths because I know they are really pipelines to the "next thing" that I will push this to, so forward we go.

Then, it was light source and photo shoot time. Im not really happy with these picture as traditional "photographs" as I know I can do a much better job, but, as a series of "sketches" for a planned photo shoot, these will really help to make those plans a reality. I love neon colored lights. I have a bunch of them from various places and spaces that I found on the internet. Amazon has a great selection of flashlights with various colored light options. Get a few and play around with how the light can effect your work and the shadows that it creates. This is where the depth and gauge of your pieces play a role. The photos below are also a part of the same session, which all took place over a few days.

Here is another variation with a different character.. What do you think? Shall I make more?

[doomandgloomfromthetomb]

The B-52's - Roseland, New York City, April 19, 1982

I was in NYC for a couple of days earlier this month and though time was limited, I did of course find a minute to visit a local record store — Academy Records on W. 18th St. Digging through the $5 bin, I found a nice copy of the B-52's' David Byrne-produced Mesopotamia mini-album, which I've always loved, but have never had on vinyl before. A no-brainer! As I checked out, I noticed that Mesopotamia had been recorded at Bob Blank's Blank Tape Studio, and some quick Google mapping revealed that I was just moments away from where that studio used to be on 37 W. 20th St. A legendary spot, as a footnote in Jesse Rifkin's great This Must Be The Place details:

"[T]he studio's discography includes Television's seminal punk single "Little Johnny Jewel"; disco hits by Musique, Class Action, Crown Heights Affair, and Inner Life; groundbreaking remixes by deejays like Larry Levan, Francois Kervorkian, and Tee Scott; and no-wave/mutant disco albums by the likes of James Chance, Lydia Lunch, Lizzy Mercier Descloux, and DNA. It was the favored studio of genre-bending auteur Arthur Russell, and classic albums by Talking Heads (Speaking In Tongues), the Gun Club (Miami), Joe Bataan (Mestizo), Ashford & Simpson (Solid), the B-52's (Mesopotamia), Miami Sound Machine (Eyes of Innocence) and Sun Ra (Lanquidity) were all tracked there."

All that and Madonna's first single, too! New York City is like this, of course — a neverending web of connections, a labyrinth of layers upon layers upon layers. You could spend your life walking down its streets, discovering the strange stories behind every building's facade. I could never hack it there full-time, but god bless the people who can!

Anyway — the B-52's! What a wonderful band. Here they are at Roseland (239 W. 52nd St.) right around the time that Mesopotamia came out. A killer SBD tape, featuring an expanded lineup: Dave Buck and Ralph Carney on horns. We get a bunch of the new mini-album, plus plenty of stuff from their already stuffed back catalogue. As with any B-52's tape, I'm sure it's not as good as being there in person, but it's still one heck of a party. Nip it in the bud!

(Oh and hey — this old Pitchfork column of mine has more live jams if you need to further celebrate the miracle of the B-52's.)

[pennylambchops]

lynxes intro ^_^!!

HIIIHIHII!!! im lynx!! you can also call me avianna or avi (my irl name), but nearly everyone just calls me lynx. i use she/her, im a lesbian and minor whos supersupersuper hyperfixated on ride the cyclone currently!! i have heavily suspected (by parents, friends, ectect..) adhd and autism, but im unable to get a proper diagnosis currently. my all time favorite characters are jane doe (ride the cyclone) and penny lamb (legoland), i absolutely ADORE them hence the username

FUN LITTLE FACTS YEAHHH

i own 11 pets (three cats, bearded dragon, africian fat tailed gecko, pitbull, red footed tortise, two corn snakes, ball python, fluffy tarantula)!!

ive lived in florida my whooole life and havent been out once..(get me out)

i do school completely online

ive seen theatre south playhouse live 3 times!!

im putero rican and american

i have an AMAZING girlfriend nikky mwa mwa i love you sm nikky ☹️☹️

FAVORITE..

musicals: RIDE THE CYCLONE!! i also really like falsettos, heathers and hamiltion

plays: legoland

movies: but im a cheerleader

shows: the good place, edge of sleep and stranger things

artists/bands: emily rohm, the crane wives, and chappell roan

people: nikky (MY BEAUTIFUL GIRLFRIEND MWA), apollo, kholby (my twin sibling trust), child, bri, cody and my moots

animals: cats, shoebill storks, manatees, lynxes, budgies, africian painted dogs, and dolphins

ride the cyclone productions: theatre south playhouse and station theatre have my heart by far, but i also really love the original productions, 2015 chicago, 2016 nyc with tiffany tatreua, majestic rep, and inner voice studio

DNI

basic dni stuff (racists, transphobes, homophobes, MAPS you get the deal)

two faced people

miles/flop queen monique supporters

anti-furries

zionists

people who completely deny legolands existence?? 😭

penny lamb/jane doe dislikers

IDONT KNWOI :(

OTHER SOCIALS

tiktok (@/pennylambcoded)

youtube (@/funkylyynx)

instagram (@/pennylambchops)

pinterest (@/pennylambcoded)

pronouns page

@funkylynx • Pronouns.page

[heroesriseandfall]

For nerds like me I think they just put Donna’s apartment in the Hudson. 👍

Tales of the Titans (2023) #3

Donna Troy: 2400 W. 70th St. #1512, New York, NY 10230

There’s no 2400 W 70th or zip code 10230, obviously, and since the highest numbers on that street lead toward the Hudson, she’s definitely in the fictional apartment that is totally not in the Hudson. Here’s where the street ends:

Some residences I can remember from NTT to give this new fake location some company:

The original Titans Tower was in the East River. I could cite specific comics but, it’s just all of NTT. The current Titans Tower as of Titans (2023) is in Blüdhaven.

There is this map of NYC from the DC / Mayfair Games “Atlas of the DC Universe” (1990):

The second Teen Titans HQ (before Titans Tower) was in Farmingdale, Long Island (Who’s Who: The Definitive Directory of the DC Universe v1 #23).

After the third team of Titans got together, Vic had an apartment on 11th Avenue and 44th street (New Teen Titans v1 #8)

Donna & Kory’s shared apartment was in the East 80s (New Teen Titans v1 #16).

Gar lived in the Dayton Estate in East Hampton (Tales of the Teen Titans #50). This is where Donna had her wedding to Terry (love the wedding issue, hate the guy).

As of NTTv2 #12, Joey Wilson lived in New Hyde Park with his mom, Dick lived in Central Park West (also his apartment was canonically haunted), and Kory lived in Greenwich Village, on 8th street off Mercer.

After coming home from several months in space, Kory got a SoHo apartment where Dick moved in with her not long after (New Teen Titans v2 #32, #39; Who’s Who Update 1988 #2). Dick moved back into his old apartment after Jason died (New Titans #57).

Raven got her first apartment which was a studio above a theater on Broadway (New Teen Titans v2 #35). Before that she had just lived in the Tower since joining the team.

The base for the Outsiders team Roy and Dick founded after Donna died was in Brooklyn (Outsiders (2003) #1).

There are definitely more references to locations elsewhere but these are the ones I already have in my notes, just to remember where she is in relation to where they’ve all been before. ❤️

[mapsontheweb]

New York City map identifying what tract, in NYC, incarcerated New Yorkers come from

by u/LukaCola

TOOL USED: Visualization made using R Studio

Packages include: sf, ggplot2, leaflet, dplyr, tidyverse, haven, RColorBrewer, tmap, tmaptools

SOURCE: Data comes from New York 2020 census data https://data.census.gov/cedsci/ and https://latfor.state.ny.us/data/ - I unfortunately cannot share the tract level shapefile, but there are many available for New York City. This is possible due to recent legislative changes that require New York City to count incarcerated persons based on their home prior to incarceration, effectively eliminating some forms of prison gerrymandering in the state.

The calculation is relatively simple but I first transformed the block level data to tract level data as I find tract level visuals much more readable.

Then I subtracted the NYC 2020 census values from the adjusted population values and filtered out negative values, as prisons such as Rikers island result in a high negative population.

There is an issue where people are fairly heavily undercounted, with only about 16,000 incarcerated persons accounted for while there are about 40,000 that come from NYC. I have tried to work out this discrepancy but have had trouble figuring it out. It may be that the legislative task force's data simply under-adjusts due to known issues where they could not effectively locate a prisoner's original address, but I haven't been able to get in touch with them to figure this out. As helpful and valuable as their data is, they had to work with DOCCS data which is not always usable for this purpose.

The purpose of this is to identify what neighborhoods are most affected by incarceration, the data isn't especially surprising but it is interesting to see it mapped out. It was also an exercise in learning how to do GIS work and part of an ongoing project - so please forgive some of the sloppiness and lack of neighborhood labels.

E: Also figure I'd head this one up - this data can be contentious, but I am doing this out of interest for the communities affected. Incarceration is one of a few ways people can lose voting rights and the high rate of incarceration in these communities effectively hurts their voting power. For the purpose of drawing voting districts, this impact should be considered, especially as Black and Hispanic voters are especially impacted.

E2: Also here's the same on the block level, if you want to get really granular (I find this one much harder to visualize general trends though)

https://imgur.com/CH7MToI

E3: See here for discussion on rate vs total

https://www.reddit.com/r/dataisbeautiful/comments/yq0ik8/oc_new_york_city_map_identifying_what_tract_in/ivpdidp/

[ahiddenpath]

Otakon 2023

Lil ramblin' about the con beneath the cut! But above the cut, my spoils!

I haven't been to a con since NYC Comicon in 2015, so this was a ride!

Amazing Stuff:

-Meeting @citrus-cactus at the Digimon redubbed movies screening! It was so amazing to meet her after being in the same online community for... Like... God, who even knows, like ten years?!?!?! And she is so lovely!

-THE DIGIMON REDUBBED MOVIES SCREENING!!! More on that here!

-My haul above! A sweet lil Kou-chan figure and a Luna plush from the dealer's room and an artbook from Shouri and a Sonic keychain from the artist's alley!

Not my fave stuff and neutral observations:

For reference, I went to Otakon all three days from roughly age 14 straight through college?? Well, in college it would have been Sat/Sun only. After that, I guess I didn't go that often, but any comparisons I make are to that time period (roughly 2003-2011 ish).

The DC convention center as a venue:

-The convention center was easy to get to from the Metro!

-The building was much bigger and better able to handle the crowd than the Baltimore Convention Center.

-There was. NO SIGNAGE. WHATSOEVER. For ANYTHING. Absolutely horrendous. What there WERE were volunteers/employees who bellowed directly into your face to... Do the things you were already doing. Or to... Walk the other way around the pillar. Because the other side leads into the faerie realm or some shit, idek.

-The guide books used to have maps, schedules, opening and closure times, etc. There was a map in this guidebook, but the opening and closing times for different parts of the cons and the event schedule were not printed. Meaning I had to use my phone to know, for example, when and where the Digimon screening event was... And there was poor reception the dealer's room in the lowest level.

Although the event schedule site couldn't load, I was blessed that some of Citrus' discord messages were getting through. She alerted me that the screening room was filling up and told me the room number (bless!!!! Thank!!!).

The con compared to ones I remember:

-I was shocked that there was a digimon panel and two separate Digimon screenings in one day? And the Digimon movie redub screening event was full to capacity- I missed the first film because I was next in line at the shut door D: So, like, Digimon is alive, and I saw two Daisuke cosplays, a Ken cosplay, and someone with a Patamon plush attached to their baseball cap. Patahat! There wasn't much merch. Citrus spotted the main place offering digimerch and sent me there (I got the Kou figure there). She also saw the lone Digimon fanart in Artist's Alley, and we found someone who made baby stage plushes. Another dealer's room place had some vintage plushies of the digimon that looked... like they had been through... some stuff.

Basically, Digimon seems to still be very much alive in terms of audience interest, but not so much the merch and fan art. I don't know what to make of that.

-The con seemed a lot less lively than the ones I remember. I only saw a few interesting cosplays (like the kind where you go, how did they even do that?!). My husband pointed out that the hall is far larger, however, and that the cosplay folks have tons of photo studio rooms to go to. They were likely there.

-The extra space was deeply appreciated (compared to what I'm used to from the Baltimore days), but... Okay, so the Dealer's Room provided empty space. Every aisle had an end area to "pull over in," whether it's for a water or food break, a photo op, or to wait for your bud to make a purchase.

PEOPLE STILL STOPPED DEAD DIRECTLY IN THE MAIN THROUGHWAY. WHY. WOULD YOU DO THAT. PLEASE I AM BEGGING-

My husband says I'm dreaming if I think the provided empty space will stop people from doing that, lol!

-DEMON SLAYER. EVERYTHING IS DEMON SLAYER. THERE IS NOTHING BUT DEMON SLAYER. Look, I enjoy Demon Slayer too, but good gracious, it's clearly the Naruto of the 2020s in terms of popularity.

-I learned who Rem is. Good God there were a lot of Rem figures.

-Looking at my purchases, I bought for three "classic" IPs and supported an artist I've followed for a long time. No new stuff. And I'd say the merch overall was about half "vintage" stuff and half newer stuff. Lots of Sailor Moon, DBZ, Pokemon, etc.

General Con Hardships:

-So a friend suggested to me recently that I might have sensory issues. I balked, because jfc have you seen my list of issues, please don't suggest another, I beg, I am full up, can I have some less sir.

Uh basically she mentioned how much she used to love going to the movies and I said, "I don't go anymore, I can't understand the voice audio." And she was like- Okay so it's true that some movies don't mix sound properly and can't be understood well, but if it's all movies... Um, babe, I think that's an auditory processing issue.

She suggested I get ear plugs, and god DAMN I wish I had them at the con.

Riding in the metro in tunnels? The whoosing and clanking hurt. Volunteers absolutely bellowing in your face at the con? Look, I guess it's their job, but please I am going to cry if you scream in my face like that. People playing music at the loudest volume in the dealer's room and hallways? Why, why would you do that. Someone was walking around playing an ocarina on the way to the dealer's room, so I was stuck with her for about 10-15 min, and I genuinely wanted to lock the damn thing in her backpack on a timer somehow, lmao. Look, ocarinas are easy enough to get the correct note out of, but they are difficult to control tonally. That high-pitched, harsh PHWEEEE noise clawed at my ears.

Of course, you can't control other people. The best I can do is accommodate myself to suit the place I'm going, which means... The damned ear plugs.

Apparently sensory issues and anxiety go hand-in-hand, as of course people feel stressed if the signals around them aren't being processed in the "typical" way, causing strain.

So... The con was exhausting and just... Difficult. But! I'm really glad I went! And I'll just buy the gd earplugs, here's what was recommended to me.

Also, PS: I found a piece of rare digimon merch that was way out of my budget at a dealer's room stand. But when I came home and looked it up, I found it for 35% less (which, at this price point, was a lot). AND NOW I HAVE AN ABSOLUTE TREASURE ON THE WAY AND I CANNOT WAIT TO SHOW YOU! Also, honestly check the retail on stuff in the dealer's room before you buy, this must be why there's no reception down there-

I am ready to not attend a con until next year! But to also go next year! Maybe I'll meet more of my online pals!!!! :D

[i-am-the-entertainer]

Tick, Tick... Boom! Filming Locations

Some people have too much time on their hands. I am one of those people.

One of the things I love about Tick, Tick... Boom is the obvious affection the filmmakers have for the NYC theater scene, an affection shared with the film's subject Jonathan Larson. To that end, I recently decided to try to identify some of the filming locations in the film.

One thing that was extremely helpful in this process was the "special thanks" list in the film's credits, which names a lot of the orgs that were used in location shooting and from which I was able to make some really good guesswork.

Note that this is mainly for location shoots. Things like the recreated Moondance Diner, which was done on a set, are not included in this.

508 Greenwich Street - Jonathan's apartment

(from MWhiteShelley on Twitter/X) This is probably the most obvious location: Jonathan Larson's actual address. While interiors of the apartment itself were filmed on a set in a soundstage, it is obvious on viewing the film that there was some location shooting at the building, most prominently in "No More" when Jonathan and Michael enter and climb the stairs.

The Underground Theater at Abrons Arts Center - The musical theater workshop scene

(from their website) You'll probably recognize this brutalist theater from the Stephen Sondheim workshop scene (which, according to this video, was one of the last scenes shot) – it also briefly appears a few shots earlier in the scene where Ira Weitzman is observing Jonathan rehearsing. The Abrons Arts Center is located in the Lower East Side and is part of the Henry Street Settlement.

The Strand Bookstore - "30/90" and Sextet

(From an article by The Guardian, photo by Bruce yuanye Bi/Alamy) The Strand is instantly recognizable to New Yorkers, maybe less-so for others unless you've visited as a tourist. It's a giant independent bookstore located two blocks from Union Square. Prominently featured in "30/90" and visited by Jonathan during the "Sextet Montage" where he tries to sell some of his records.

Teatro LATEA at the Clemente - Susan's dance recital

(from their Instagram) This one was a little harder, because obviously it's just a black box theater and how many of those are there in NYC? What clued me in was 1) the Clemente Soto Velez Cultural and Educational Center, where Teatro LATEA is located, is thanked in the credits and 2) those chairs (a little bit more obvious in this photo). I've seen and worked a fair number of shows in that theater, and as soon as I noticed the very distinctive chairs for Susan's dance recital I was able to look more closely at the scene and immediately could map out the layout of Teatro Latea.

The Delacorte Theater - "Why"

Another easily recognizable location for locals, the Delacorte is the amphitheater where Jonathan sneaks in and sings "Why". It doesn't get named in the film but it does in the stage version.

Hunter College's Thomas Hunter Hall Sixth Floor North Dance Studio - The Superbia workshop

(from Facebook) This was, without question, the hardest location to find. In the film it's identified as being in the Theater District, specifically at Playwrights Horizons (an Untapped Cities article about filming locations even claims this, and uh, basically gets everything wrong). However, if you've ever been to the modern Playwrights Horizons, it looks very different, both on the inside and the outside, and while they do have rehearsal spaces in a slightly less-remodeled building on Lafayette Street, none of the spaces there look like that. The reference to Hunter College in the credits narrowed it down, and then it was just a matter of finding photos of the studios (this gallery of recent restoration work shows the different angles that you will recognize from the movie), discovering an architectural plan of some planned renovations in the building, and then looking out the windows of the building and comparing it to Google Maps street view to figure out which side of the building it was on.

...I have waaaaay too much time on my hands.

I do want to point out, Thomas Hunter Hall is actually located on Lexington Avenue between 68th and 69th, quite a few blocks northeast from the Theater District depicted in the film.

New York Theatre Workshop - The framing scenes

(from a New York Theatre Guide article) The real Jonathan Larson's artistic home, where he performed both Rent and the original version of tick, tick... BOOM! thirty years ago. Both the theater's exterior (at the start of "Louder Than Words") and interior (the tick, tick... BOOM! performance scenes) feature prominently in the movie.

Fun fact: when they were shooting the film in March, they originally planned to film the NYTW scenes inside a recreated set because there was a show playing at the theater at the time (though not referenced in the linked video, I happen to know that the show was Endlings by Celine Song, the writer/director of the recent Oscar contender Past Lives) but when filming restarted the theater was available again because of the shutdown.

Any other locations you recognized that I didn't include? Let me know! Currently trying to figure out where Michael's apartment building (Victory Towers) was located – the scene in the car leading to the arrival at teh building makes me think it's somewhere near Central Park, but that footage could also have been filmed separately.

[whatiwillsay]

It's in front of Electric lady studios. They / he are recording. Look at the parking meter number in the photo in DM, in NYC you can get the parking meter locations. No one can see him coming out of her apt and then race to the West Village to get this picture. It's a 30 minute walk and 1.5 mile drive.

Here's the link to the location of the parking meter. Why didn't they go together? Because he wasn't there to begin with and again, she doesn't like him enough for them to travel together? Just sayin.

https://www.google.com/maps/@40.7333135,-73.9988793,3a,15y,156.02h,86.98t/data=!3m6!1e1!3m4!1slTxtI0tyyXw0FijrdyCkIQ!2e0!7i16384!8i8192

what?? they’ve been traveling together. do you mean because he showed up at one location without her they can’t be together? c’mon don’t be silly. there is no good pr from tatty. they’re really together.

daily mail is just stupid and writing clickbait.

[firedragon1321]

Do you have a favorite generation of Pokémon? If not, feel free to ignore this ask.

This is kind of a long, complicated answer. And it kind of exploded. Because there's multiple elements to each generation. So short version- Gen 7 for story, Gen 5 for region, no conclusive answer for Pokemon or gameplay. If you want a more detailed explanation, I have (a lot) below.

Gen 7 is my all-time favorite story (the orginal Sun and Moon is superior to USUM imo). It's followed by Gen 9 and Gen 5 in that order. Gen 9 infused so much life into its supporting characters (even the Elite Four), so it's a shame it was so buggy. Gen 5 asked some great questions about the relationship between humans and Pokemon, but then backpedaled to the status quo last-minute and completely chickened out in B2W2 (those games are still great, though). Gen 8 had a lot of possibility, but I felt like they kept dropping the ball. I started playing in Gen 4, so I have a fondness for those games, too (despite their many, many faults).

For region, it's Gen 5, followed closely by Gen 7 and 1. Unova is such a vibrant region, and being based on NYC also helps. Alola's culture is interesting (a region with no league?). While Kanto is very well organized mechanically.

For Pokemon, I don't have a favorite gen. I've studied Gen 1 to learn how to draw Pokemon, so I'm most familiar with its design tics. But I think each gen has good and bad Pokemon (which is why genwunner logic baffles me). I do like the subdued, nature-themed color palette most Hoenn Pokemon share. And it was interesting what they were trying to do with Gen 5's roster. It exposed the mechanical importance of common Pokemon who don't get a regional counterpart each generation, like Geodude.

Gameplay-wise, Pokemon games are the same with the addition of a gimmick here and there. They're all fun to play, so I don't have a favorite there. I don't do a lot of side-stuff like Battle Frontier or contests, so I can't judge based on those. Though I did a lot of PokeStar Studios because I was doing a "roleplay file" where the protagonist spent a lot of time there. It was pretty fun, and I'm glad to see Mecha Tyranitar is a real Pokemon now.

Also, my least favorite gen is 2. I've only experienced Johto through HGSS. But it had a weird collection of Pokemon (most of which were connected to previous Pokemon or were useless when introduced), and all the fun stuff was on the Kanto map.

(Though given that Pokemon was released during the end of the Game Boy's life cycle, half-expected to flop, and then experienced a surge in popularity resulting in global demand for "Pokemon 2"? Everything I don't like about it was basically a rush job, and I can understand that. The developers are only human.)

I see Aegislash in your avatar. Gen 6 is pretty low on my list for overall game experience (XY was my second least favorite in the series- save the obvious fun stuff like Team Flare and the ultimate weapon- and ORAS was just RSE with bonus bells and whistles). I really hope Legends Z-A will bring a better Kalos experience than the 3DS, because its Pokemon deserve it. Aegislash is a banger. Same with Furfrou. I've missed these Pokemon and can't wait for their inevitable return.

[urban-living-discounts]

NYC Neighborhood Highlight: Bushwick, Brooklyn

The month of August is slowly approaching its sunset, let’s finish off the month with another aspiring neighborhood that could be your forever home.

This week we're plunging headfirst into Bushwick – Brooklyn's chameleon neighborhood. What is it exactly? A pulsating, respiring art gallery? A beer aficionado's utopía? Let’s find out.

Bushwick Overview

Picture this: On one street corner, an old building that has weathered more history than your grandma's photo album. Next door? A coffee shop so nascent, the paint still emanates fumes. 

That's Bushwick for you – a place where yesterday and tomorrow are entangled close together.

Not long ago, this neighborhood pulsated with hard work and factory horns. Now? It magnetizes anyone who's ever ogled a paintbrush and mused, "I could make out a living with that." with its street art.

Echoes of its industrial roots linger on in its architecture, with many old factories and warehouses converted into lofts, studios, and art spaces.

Bushwick Rent and Real Estate Prices

Bushwick’s real estate market has seen a big growth in recent years, making it an attractive option for both renters and buyers.

Prices are skyrocketing faster than a feline scaling a tree, but they haven't yet breached the stratosphere... yet.

Rentals: Yearning to christen Bushwick your domicile? Brace yourself to disgorge about $2,500 per lunar cycle for a one-bedroom abode. 

But here's the twist – that price tag ricochets more vigorously than a tyke in the throes of a sugar rush, contingent on your proximity to the L train (alias the Cool Express). 

Sales: Contemplating purchasing in this neighborhood?The median sales price for a home in Bushwick is approximately $800,000.

That could secure you anything from a dwelling that predates sliced bread to a gleaming new apartment bristling with more gadgetry than a spy's arsenal.

Why are investors circling Bushwick? Two words: untapped potential. It’s like witnessing a caterpillar slowly turn into a butterfly with tattoos and knows how to mix a mean cocktail.

Best Things to Do in Bushwick

Ever wondered what happens when you toss art, nightlife, and a dash of Brooklyn magic into a blender? You get Bushwick - a neighborhood that doesn't just come alive, it practically jumps off the map and dances on your doorstep.

Explore Street Art: A visit to the Bushwick Collective is a must. This outdoor gallery features murals from artists all over the world, turning the neighborhood’s streets into an open-air museum.

Visit Breweries and Distilleries: Fancy imbibing whiskey where people once punched timecards? Kings County Distillery has got your back. 

Check Out the Local Art Galleries: Signal Gallery and Transmitter are just two of the many spaces showcasing cutting-edge contemporary art. These galleries are also home to emerging artists.

Relax in Maria Hernandez Park: Feeling a bit overwhelmed? No worries! Maria Hernandez Park lies at the heart of Bushwick. It's where the neighborhood comes to catch its breath, spread out a blanket for a picnic, and remember that grass isn't just something hipsters use to decorate their lattes.

So, is Bushwick the crown jewel of NYC neighborhoods? Well, that's like asking if pizza is the king of foods – it all depends on your taste buds. 

But here's the deal: if you're hunting for a slice of Brooklyn life that's equal parts gritty and pretty, with a side of the unexpected, Bushwick's serving it up 24/7.

Ready to explore more of NYC's neighborhood buffet? Let's chat! We can whip up an adventure that'll make your feet tired, your camera full, and your stories legendary.

Let’s connect so we can get started on your search for deals to add to your portfolio. Call me at 917-627-5677 or send an email to ehaliva@elliman.com. 

Talk soon, 

Eli

[mapsstudio]

3 Best Emerging Photography Styles in NYC

As we explore the ever-evolving landscape of photography in NYC, we can’t ignore the rise of three distinct styles that are redefining visual storytelling. Candid photography captures the essence of city life in real-time, while mixed media techniques challenge traditional boundaries, inviting us into a world of layered creativity. Eco-conscious practices also emerge, reflecting a growing commitment to sustainability in art. Each of these styles offers unique insights into the urban experience, and there’s much more to uncover about their impact and significance.

Candid Photography

Candid photography thrives in the vibrant streets of New York City, inviting us to capture authentic moments that tell compelling stories. As we explore the bustling sidewalks, we can employ subtle acting and engagement techniques to approach our subjects inconspicuously.

By avoiding direct eye contact, we blend into the environment, allowing life to unfold naturally around us. A friendly smile or a simple question can elicit genuine expressions, creating a connection that enriches our street photography.

Patience is key; lingering in high-traffic areas increases our chances of capturing those fleeting moments. When we wait for subjects to enter our frame, we enhance our awareness and ability to detect captivating scenes.

Travel light with minimal gear, using a mirrorless camera or prime lens, which keeps us agile and ready for spontaneous shots.

We can optimize our camera settings by using aperture priority mode and maintaining shutter speeds above 1/250th to freeze action. By making our camera an extension of our instincts, we can document the rich tapestry of life in NYC.

As the New York Times highlights, the city’s authentic moments are waiting to be captured in our candid photography.

Mixed Media Techniques

How can we elevate our photography by blending different artistic techniques? Mixed media photography offers us an exciting avenue to explore creativity in new ways right here in New York.

By integrating varied art forms, we can break free from traditional photography confines and engage our viewers with innovative experiences.

Here are some techniques we can experiment with:

Projection: Use light sources to cast patterns on subjects, adding layers of color and texture.

Paper: Create unique backgrounds and textures by arranging different papers and materials.

Metal: Incorporate found metal objects to add dimension and interest to our compositions.

Paint: Apply paint creatively to photos, changing perceptions and enhancing visual storytelling.

Print Juxtaposition: Layer photographs with printed images to convey deeper narratives or abstract messages.

As we dive into mixed media techniques, let’s embrace the limitless possibilities of our imagination.

This approach not only enhances our artistic expression but also allows us to connect with the vibrant culture of New York, transforming our photography into powerful visual statements.

Let’s explore and redefine how we capture our world!

Eco-Conscious Practices

Embracing eco-conscious practices in photography allows us to not only enhance our artistry but also protect the environment we love to capture.

We can start by understanding the full lifecycle of our equipment. Choosing brands that prioritize sustainability and energy-efficient manufacturing is essential. Supporting companies with take-back programs for recycling old gear and investing in second-hand equipment can significantly reduce our carbon footprint.

Utilizing natural light is another impactful practice. By creatively using reflectors or diffusers, we can minimize our reliance on artificial lighting. When we do need extra light, opting for energy-efficient LED solutions is a smart choice. Planning our shoots to reduce unnecessary travel further lessens our environmental impact.

Let’s also consider our editing processes. By choosing non-toxic alternatives for photo processing and turning off energy-consuming equipment when not in use, we can contribute to a greener practice.

Embracing digital formats reduces paper waste, and utilizing local suppliers cuts down on transportation emissions.

Together, we can champion eco-friendly practices in photography, promoting a sustainable future while continuing to tell compelling stories through our lenses.

Let’s make a positive impact on both our art and the planet.

Customer Reviews and Insights

At Mapsstudio, we value the feedback from our clients. We’ve gathered reviews from various platforms to showcase our commitment to quality and creativity in photography. These testimonials reflect the experiences and satisfaction of our customers in New York City. Stay tuned to see what our clients have to say about their time with us! For more information, visit Mapsstudio.

Frequently Asked Questions

What Photography Is in High Demand?

We’ve noticed that candid and authentic photography is in high demand, capturing genuine moments. Event photography also thrives as people seek to document significant life events, while vibrant images cater to social media audiences.

What Is the Most Photographed Place in New York City?

We think Times Square is the most photographed place in New York City. Its vibrant lights and energetic atmosphere draw countless photographers, capturing spontaneous moments that truly reflect the essence of urban life and diverse communities.

What Is the Most Popular Style of Photography?

When we think about the most popular style of photography, we’ve noticed a shift towards candid and street photography. It captures real moments and stories, reflecting our shared experiences and the vibrant life around us.

How Much Do NYC Photographers Charge?

When we consider how much NYC photographers charge, we find rates typically range from $100 to $300 per hour. Package deals can vary significantly, reflecting each photographer’s experience, specialty, and the type of shoot required.

Conclusion

In exploring these three emerging photography styles in NYC, we’ve discovered the vibrant ways artists are pushing boundaries and staying true to their craft. Candid photography captures the essence of urban life, while mixed media techniques invite us to rethink visual storytelling. Eco-conscious practices remind us that art can be both beautiful and responsible. As we embrace these trends, let’s support the creativity that reflects our dynamic city and encourages a more sustainable future.

Visit Mapsstudio for more  information about photography.

[themovieblogonline]

Louis Stancil's NYC Studio Opens in Iconic Broadway Location

I had the pleasure of attending the ribbon-cutting ceremony for the grand opening of the Louis Stancil Acting Studio in the heart of Times Square, and let me tell you, it was a moment as iconic as the setting itself. Picture it: bright lights, Broadway vibes, and a crowd buzzing with excitement. This wasn’t just another ribbon-cutting; this was a celebration of a Black-owned business making a bold statement in the acting world. Louis Stancil The Man of the Hour Louis Stancil, the man of the hour, stood proudly at the helm. At just 34 years old, Stancil has already made significant waves in the industry, and now, with his new studio in New York City, he’s poised to shape the next generation of talent. And not just any talent—this studio is all about inclusivity and providing a space for those who’ve historically been underrepresented in the arts. That’s right, folks; this isn’t just an acting studio. It’s a movement. The studio’s Midtown Manhattan location at 1560 Broadway, housed in the legendary Actors Equity Building, is a fitting backdrop for Stancil’s vision. This expansion to New York marks the third location for Louis Stancil Acting Studios, with successful spots already thriving in Atlanta and Los Angeles. But this New York opening isn’t just about adding another pin to the map; it’s about creating a beacon for aspiring actors in the city that never sleeps. Stancil himself has a background that reads like a script for a blockbuster. Hailing from Baltimore, he found his passion for acting on the set of The Wire. Fast forward a few years, and he’s now a renowned acting coach and studio owner, having trained the likes of Meek Mill and cast members from the Will Smith-produced Charm City Kings. His work speaks volumes, and now, New York City is about to get a taste of that magic. The grand opening event was nothing short of spectacular. The ceremony featured an appearance by actor Justin Hurtt-Dunkley of Mare of Easttown fame. The energy was infectious, and the talent was undeniable. It’s clear that this studio is going to be a major player in the acting scene. The Louis Stancil Acting Studios Now, let’s talk about the studio itself. The Louis Stancil Acting Studio is more than just a place to learn lines. It’s a comprehensive training ground where aspiring actors can hone their craft through scene study, voiceover work, and screenwriting. Whether you’re a newbie looking to break into the industry or a seasoned actor wanting to sharpen your skills, this studio offers something for everyone. And in a city as competitive as New York, having a supportive and inclusive space like this is invaluable. Stancil’s commitment to diversity and representation is at the core of everything he does. You can tell that he understands the importance of representation and having a space where you can be yourself. Opening a studio in New York City seems like a dream come true for him. The August 10th opening wasn’t just a start; it was a statement—a declaration that the Louis Stancil Acting Studio is here to make a difference. With National Black Business Month also in full swing, the timing couldn’t be more perfect. This studio is a testament to the power of Black-owned businesses and the impact they can have on communities and industries alike. So, if you’re in the New York area and have dreams of making it big in the acting world, or if you just want to witness a piece of history, make your way to 1560 Broadway. The Louis Stancil Acting Studio is open for business, and trust me, this is one door you’ll want to walk through.

[dankusner]

FANCY — by Ray Davies (not Hugo Largo nor Mimi Gooese [sp?])

“Hugo Largo remains one of the freshest and most contemporary groups of our time. These songs are sweet lullabies for a troubled world.” — Michael Stipe

"Forty years after their formation, no music sounds quite like Hugo Largo. Their hushed, majestic atmosphere — which veers toward ambient dream-pop but emerged from the noisy No Wave scene of 1980s New York — is the result of open-ended exploration and pure vision, an embrace of mystery and a refusal to compromise.

Even the basic components of the band — two bassists (Tim Sommer and Adam Peacock), a violinist (Hahn Rowe), and a one-of-a-kind powerhouse vocalist (Mimi Goese) — set them apart from any peers or contemporaries.

With Huge, Large and Electric: Hugo Largo 1984-1991, a new box set via Missing Piece Records, their entire catalog, as well as unreleased and live recordings are finally

To celebrate the 40th anniversary of their formation, Hugo Largo will release Huge, Large and Electric, a three LP set featuring all of the band’s studio output (1988’s Drum and 1989’s Mettle) including a full album of previously unreleased and live recordings (Hugo Largo Unreleased and Live 1984-1991).

These albums are long out of print, and will be released on streaming services for the very first time.

The set includes essays from Michael Stipe, who produced the band’s debut release Drum, along with Brian Eno and Hugo Largo member Tim Sommer.

an appreciation of Hugo Largo ‘the great lost band of post punk…’ 21 March 2017

an appreciation of Hugo Largo ‘the great lost band of post punk…’

hugolargo_1[1]Hugo Largo: A Silent Scream

A cold autumn evening: October 1988.

Glasgow Barrowland provides a familiar refuge from the wind and rain.

A sizeable crowd has gathered to see That Petrol Emotion.

The bar is busy, the atmosphere cheerful.

As the support act take to the stage, there is minimal migration to the front.

The musicians take up their positions, and at first glance something is not quite right.

First of all, the band doesn’t appear to have a drummer.

Even more worryingly, on closer inspection, much to the chagrin of the tousled assemblage of noiseniks increasingly impatient to get their rocks off, there’s no guitar.

Suddenly, two bass guitars map out a crisscrossing rhythm one on top of the other, then an electric violin fills the expanse of the venue as exquisitely as if it were painting frescos on the walls of a yawning cave.

There’s something strange about the singer too.

She smiles.

Then she begins to sing.

Her voice is piercing.

Elastic.

Ecstatic.

Then, rather disturbingly, she drags a steak knife across her neck.

Few in the audience take any notice.

Conversations continue over the music.

Some bodies trudge away disconsolately looking for the bar.

Furrowed brows are everywhere in evidence.

But, randomly dotted around the ballroom, there is the odd silent soul, rooted to the spot.

Transfixed.

For those rapt few, it was as if the people on the stage had dropped out of the sky from another planet.

Unknown-2

“I thought we were the greatest fucking band in the world”, says Tim Sommer, founder of Hugo Largo, the remarkable 1980s NYC four piece.

For those fortunate – or old – enough to have been around at the time, Hugo Largo were precisely that:

incontrovertibly unique, out on a limb.

As evidenced by that Barrowland performance, not everyone felt the same, but for those enraptured by their gently ravishing mysteries, they became something of an obsession.

There was no-one remotely like them.

Hugo Largo made only two records, both of which have been long unavailable.

It is now thirty years since the first, Drum, was released, but there exists renewed optimism that the pair might be reissued later this year.

The band’s line up of two bass guitars (Sommer and Adam Peacock), electric violin (Hahn Rowe) and singer (Mimi Goese) raised eyebrows at the time.

Unsurprisingly so, for they had set out to be different and had been refining their unorthodox approach to making music for some considerable time before 1987.

A dyed in the wool music freak, Sommer was a former punk fanzine writer, a highly regarded journalist for NY’s Trouser Press and for a period in the early ’80s, Sounds’ New York correspondent.

He was also a veteran of the NY hardcore scene, having worked with Thurston Moore, Swans and the Glenn Branca Ensemble.

His philosophy paralleled Howard Devoto‘s, whose characteristically sardonic remark that he had formulated “the revolutionary idea that one could play slow songs”, was similarly instructive.

For Sommer, during one of the most fertile eras of rambunctious guitar noise, believed that ‘quiet’ could be punk, or more precisely, that ‘punk’ could be quiet.

There’s little doubt that working for Trouser Press and Sounds helped shape Sommer’s musical sensibilities – he always expressed a preference for the UK post-punk sounds of PiL and more particularly Young Marble Giants, who would become a crucial influence on Hugo Largo‘s sound. “

I saw them in the fall of 1980 – they announced onstage it would be their last ever show – and that changed everything for me.

They didn’t jump around, they were quiet, joyful, but soooo punk rock to me.

I thought:

I see the future now.”

For Tim it seems, punk was more to do with attitude and inventiveness than simply fiddling around with the volume level.

“In 1982 I first had the idea of a quiet noise band.

Occasionally, in the NY noise scene, some bands were playing beautiful stuff, but none were quiet, none were experimenting with low volume. I wanted to keep it quiet and contained, mixing the energy of Stiff Little Fingers with the minimalism of PiL and Young Marble Giants. Rock & roll had always been: block one – guitar; block two – bass; block three – drums; block four – vocals. It was the way The Beatles did it, The Velvet Underground, Led Zeppelin, Sex Pistols – that’s what you call rock’n’roll right?”

Sommer was aware of his own limitations as a musician, admitting:

“I wasn’t a very good guitar player. I was an OK bass player. So I felt I could make these basses work in an ensemble way, playing off one another – it seemed natural to me.

There was an English band I’d seen in NYC (Delta 5) who had two basses but didn’t really use them in that ensemble way.

Then there was one song by The Cure (‘Primary’) which was all bass – that was really interesting.”

“I had an apartment on Thomson St. in Greenwich Village. I’d play one bass line into a boom box and then play it back and play along with it. I wrote four or five songs that way.

I played some of the songs to my then girlfriend [Lucy Sexton] who had a big loft apartment in the West Village in Manhattan. She and her roommates would dance around and recite things.”

The flatmates gave Sommer the confidence he needed.

“[They] thought this was something we could do. I think it was Lucy – although it could have been Mimi – who came up with the name.

She used the phrase to describe those giant sweaters in thrift stores: Hugo Largo sweaters!”

It wasn’t long before Anne and Lucy decided they wanted to do their own thing, but Mimi stayed on.

Fellow bassist Greg Letson, whom Tim had known from the Glenn Branca Ensemble was there at the inception, and it wasn’t too long before they were performing live.

Tim recalls: “We got our first gig at Maxwells in April ’84. We put together a few songs and we played. People loved it. We instantly began getting more gigs.”

However, they weren’t always made to feel welcome.

“In the mid-80s if you showed up at a club without drums, they assumed you were playing folk music! We would have to explain: ‘No, this is an alternative rock band!’

They were soon joined by Hahn Rowe, another GBE veteran, who began engineering their live sound (“like Brian Eno had done during the early Roxy Music shows” says Hahn).

“Two bass and vocals is pretty complicated for the average soundman – most of them fuck it up” says Tim, “so Hahn started being our soundman, and then playing a little violin. He did that until mid-1986, when he finally came on stage with us.” Before then, in January 1985 Letson, without warning, suddenly quit.

“I was sitting around at home in Hoboken and he called me.”

The message was abrupt: ‘I don’t want to do this anymore.’

“Mimi invited me over and suggested Adam Peacock – her then boyfriend – could fill in. He’d been to all the shows and knew how to play bass.

We rehearsed once, and then played a gig opening for Billy Bragg at Danceteria, which went really well.

Adam was a much better fit than Greg.

Greg was technically a better musician than any of us, but he didn’t add anything creatively.

Once Adam came into the band, he and I started writing together.

Until then it had just been Mimi and I.”

Peacock was self-taught and had no problem stepping in.

“I had a brief gig with Cool It Reba within a week of moving to NY, finding myself on stage at CBGB’s on a Saturday night and then touring up and down the East Coast on the back of their debut LP, on one occasion even opening for REM.”

Musically, there was a meeting of minds right away.

“On so many levels we didn’t get on” adds Tim, “but we never disagreed about music. It was an incredibly harmonious musical environment.

We would hand Mimi pure instrumental tracks and she would come up with a melody and lyrics over them.

She never changed anything we did and we never changed anything she did.”

Peacock remembers how he and Sommer collaborated together.

“We would get together in my bedroom with our little amps and just play – sometimes one of us starting something off with a little fragment of something.”

The bass parts were like “left and right hands of the piano, one of us acting sort of as a metronome, one of us taking a melody or progression on top.

That subsequently branched into pieces written specifically for guitar and bass – the Mettle LP being quite full of that.”

Tim recalls making a demo in late ’85/early ’86.

“I gave a copy to Michael Stipe who was a friend of mine. I wasn’t expecting a response. He liked it and said ‘let’s go down to Athens and make a record’, so in June ’86 we went down to Athens for two days and made the Drum EP with Michael and John Keane.

It was really magical. I can’t think of a single negative energy or memory associated with that period.

There was a big local NY indie label – Relativity – who offered to put it out.

They were very excited and supportive.

By early ’87, we were playing live a lot around New York and once the EP came out we started flying.

We went on a long tour of the States with The Feelies, then a couple of our own tours, but at the same time we started having the personal problems that led to us breaking up so prematurely. But musically, it was amazing.”

Drum showcases both Goese’s unshackled vocal performances, best exemplified on ‘Scream Tall’, ‘Harpers’ and ‘My Favourite People’, alongside the jaw-clenching tension of ‘Grow Wild’ and the subtly menacing urgency of the startling ‘Second Skin’.

A beautifully unsettling hysteria pervades the record.

Theres a wizard cover of The Kinks‘ ‘Fancy’ and Stipe himself makes a number of interventions, most remarkably on the gorgeous ‘Eureka’.

Drum was released in two formats, initially as a seven track EP, then later extended to a nine track album.

While reviews were generally positive, the band were not the type to be easily pigeonholed, meaning that outside of New York, media coverage was slender, and musical comparisons often predictably lazy.

“From the beginning, Tim always posited that Hugo Largo was a punk band”, recalls Hahn.

“Of course, that was an outrageous notion, but Tim was very savvy about labels and how the band would be portrayed in the music press.”

Naturally so, after all he had started out as a music journalist, but frustratingly for Sommer “The Cocteau Twins were the only band that we were compared with.

I always felt we had more in common with The Durutti Column, whom we played with both in London and New York.”

In the U.K. at least, the band were often compared to AR Kane, another band who, for the time being at least, had the British music press tripping over themselves in a rush to invent new genres upon which they could shower their loquacious approval.

‘Oceanic rock’, ‘dreampop’ – in many ways both slightly unsatisfactory labels – had their roots here.

In the meantime, live shows were leaving audiences spellbound.

Mimi is unequivocal in her conviction that the superior HL experience was the live performance.

“I think it’s hard to capture the feeling of two basses recorded. I’m glad for the recordings but the live show had the palpable power.”

Tim recalls:

“I’ve always had the attitude that whether we played to 20 or 200, I always knew that there would be a percentage of the audience that would be blown away – like ‘What the fuck is this? I fucking love this!’ – and that gives you a lot of confidence.

Mimi came up with things that were just out of this world.

I never asked her what anything meant.

She loved the sound of words, the tone and shape of words: the meaning wasn’t that important.

She taught me that music that didn’t have descriptive or intelligible lyrics could still achieve an extraordinary emotional power.”

“I trained as a dancer not a singer”, explains Mimi.

“I think that informed my gymnastic vocal style. In fact, I didn’t know how to read music so I would draw a graph of the vocal melodic line to remember it.

Because I wasn’t trained, I didn’t have a lot of rules in place.

My main rule for writing lyrics was to stay descriptive and no love songs.”

The band were making waves and some illustrious names were beginning to take note, amongst them David Byrne and Brian Eno, who duly signed them to his Opal Records label – which had a distribution deal with Warner Bros – in ’88.

From the outside the future may have looked rosy, but the resultant album was the last long player they would release.

Long before the rippling subaquatic expanse of sound that was Mettle had hit the shop shelves in early ’89, relationships within the band had begun to disintegrate.

As Tim explains:

“By late ’88, it was clear we couldn’t really coexist as personalities in the group.

I was difficult.

Mimi was difficult.

In different ways.

We were very strong personalities.

Mimi was a deeply brilliant artist but very modest, very polite, whereas I was positive we were the greatest band in the world.

Mimi would never have said anything like that.

More likely she would have seen Hugo Largo as one expression of the many different types of art she was making.

Adam and Hahn were somewhere in between.

Despite that, we never stopped being creative when we worked together – from the first day to the last.

When we kept getting better offers through ’88, that was alien to Mimi.

She did not at that point have the same cognisance of the music business as I did.

She had modest expectations and I had enormous ones.”

Meanwhile, Peacock points to the lack of objective advice from the band’s management and notes:

“When things really started happening – a residential recording studio, our big Warners contract, European tours – it was all happening so fast that we kind of got swept along without managing to touch base with each other.”

The band’s last recording was the Christmas song ‘Gloria’ (aka ‘Angels We Have Heard On High’).

“By then we had a more vibey sound as opposed to the more choppy metronomic sound that was on Drum“, explains Sommer.

Before long, Hugo Largo was no more.

Six months or so afterwards, the band, minus Tim, regrouped, but it wasn’t the same.

“Even when I was being a dysfunctional person, I still understood what that band was about. I wasn’t surprised or upset about it, because I have so much respect for the talent of Mimi, Adam and Hahn, but neither was I surprised that it didn’t work.”

Looking back now, how does Sommer reflect upon the band’s recorded output?

“Drum feels much more taut – but it’s a collection of songs. Mettle felt more like a sound – a whole sound. If people ask about our music, I play them ‘Country’ or ‘Eskimo Song’ from Drum or ‘Martha’ and ‘Halfway Knowing’ from the second record.

I was involved in the composition of every song on the first record, but in the second there is a whole lot I had nothing to do with.

Despite that, I prefer Mettle.”

For Peacock it is Drum which represents the band’s sound at its most powerful.

“Drum is still very much from our basement phase – all spare and minimal – whereas Mettle has us following our spirits into (for me) slightly self-indulgent anything-goes experimentation.

Drum is pure, whilst Mettle is us after we’d been given carte blanche and a huge amount of money to record the record we were basically playing live – and that’s perhaps it’s failing.”

As so often happens in rock history, Hugo Largo‘s implosion appeared to come at the height of their popularity and the peak of their creative powers, but they had made a lasting impression.

For Hahn, “the fact that our music was diametrically opposed to the noisy and raw aesthetic of the NY noise scene was sometimes taken as a type of sly defiance of the norm.

Personally, I thought we never really fit into any one arena. We were misfits and that became part of the appeal of group in my estimation.”

If for some Hugo Largo was a visionary concept, Goese would argue that providence played its part.

“To say it was a fully formed concept negates the influence of NYC’s underbelly community, the atmosphere of the time, luck, chance, magic and the input from people involved. It’s important to acknowledge the confluence of factors and the unknown. It evolved organically. For how little music we recorded, it’s shocking we are remembered at all.”

When Sommer talks about Hugo Largo his passion remains unambiguous.

“I don’t know why I was so sure that a band could work without drums, but from day one it seemed they weren’t necessary, and – without sounding like too much of a dick – I take 100% credit for being the architect of the idea.

I’m not the person who made it work, I’m not the person who realised the idea – that was very much the work of Hahn and Adam and Mimi and myself.

I didn’t make another record til 2005. I know why that is.

When I hear music in my head the vocabulary is Hugo Largo’s vocabulary.

I’m still thinking in Hugo Largo colours.

I’m using different musicians and performers, but those are still the colours I think in.

Who else would you want to work with but Mimi and Adam and Hahn? They were the best.”

A new generation of Huguenots await the discovery of one of the ’80s best kept secrets, who sound as remarkably fresh today as they ever did. Go on, enter the silence…

[With thanks to Tim, Adam, Mimi and Hahn, each of whom is still making music, although sadly not with one another. Tim’s career has come full circle and he is music columnist for the New York Observer]

[rogertyler44]

Breathe, Move, Transform: This Is Why Vera Yoga Is a Fitting Addition To Your Map Of Nyc Yoga Destinations.

New York City can be best described as a city of energy, with people aiming and striving for better and unstoppable motion. Due to the fast-growing world, it becomes crucial to look after your health. Yoga presents a profound strategy with the help of physical training, which is performed together with the mind and spirit. However, the availability of numerous studios complicates the identification of the best yoga classes in NYC search. That is why Vera Yoga is ready to assist you with the growth of your exercise routine and make it a pleasant experience.

Embrace Your Uniqueness: A Spectrum of Yoga Styles

Vera Yoga takes cognizance of the fact that everyone has his or her practice. Newcomers can start with Gentle Hatha classes, while advanced learners can try Vinyasa, which has powerful movements, or even Yin, which is very close to meditation. We even have aerial Yoga for those who wish to be more creative and out of the norm.

Everyone Stands for You in Vera Yoga

Volunteering and togetherness are also important at Vera Yoga, as it is a brand for clients and friends. Our studios allow you to meet people who are like-minded, and you will not feel awkward doing your practice. Our classes are still small compared to some of the massive leaders in the market in NYC, which gives you or your employees the attention our experienced instructors can deliver.

More Than a Workout: A Sanctuary for Your Well-being

Vera Yoga does not limit itself to saying it has the best yoga classes in NYC. All our studios have been created to be a safe place for your mind, body, and soul. Both spaces are intentionally decorated to create a calming environment that invites relaxation and reflection from the business of an individual's day.

Conclusion

At Vera Yoga, we think that Yoga as a practice involves many aspects of one's being: physical, emotional, and mental, and therefore, all our classes are a combination of asana/poses, breathing exercises, meditation, and mindful techniques. Thus, if you are looking for a sanctuary to achieve harmony and foster well-being in the middle of New York, welcome to Vera Yoga! We encourage everyone to open the door to his or her new yoga adventure and find out how this form of physical and spiritual discipline can change one's life.

[brenpaidhi-blog]

Hell Hath No Fury - Chapter 1

Hell Hath No Fury

BrenPaidhi

Summary:

Leading a double life is complicated when one of those lives is a superhero, two double lives (and two superheros) even more so. Add a third (or is it a fifth) life in the form of an NYPD Lieutenant, and you understand what Trish Walker, Beth Kane and Lt. Rita Ortiz learned some time ago: Life in the big city can be hell.

Copyright © 2022

This work is rated Mature because of some explicit descriptions of sex in Chapters 16, 25, 42 and 44.

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Notes:

What's in a name? That which we call a rose, blah, blah, blah. It turns out when you have to take fictional cities and translate them into real ones, names are important; at least the real names.

Metropolis is a no-brainer. The Big Apple. Gotham is a bit more problematic. It has been used to refer to NYC, but in the comics it seems to be in New Jersey. For this story, however, I prefer to place it in Chicago since The Windy City stands in for the home of The Dark Knight in the movies. Star City is Seattle (natch), but Central City is a bit more vague so I chose St. Louis for the home of S.T.A.R. labs and the residence of the fastest man on Earth. Other locations will be translated as the need arises. Anyone who has objections to my version of mapping, please suspend your disbelief for the time it takes you to read and, I hope, enjoy this version of reality.

One more note: You fill find several sections of dialogue that are not in English. Those sections are linked to their English translation. Those of you who are reading on a PC can simply hover your mouse over the section to see the translation. If you are reading from a mobile device just press and hold the link to see the translation.

I include song lyrics in several chapters. Those songs are important since they help convey what the characters are feeling, and some of them may be familiar to you. Where I could I have included links to the songs themselves, and I encourage any reader to click the link, listen, and enjoy.

Patricia Walker, Hellcat, Kyle Richmond and Nighthawk are the intellectual property of Marvel Comics.

Elizabeth Kane, Alice, Julia Pennyworth and Carmine Falcone are the intellectual property of DC Comics.

Rita Ortiz, John Irvine, Joe Slovak and Ray Quinn are the intellectual property of Steven Bochco Productions and 20th Century Fox Television

This is a work of non-commercial fan fiction and not intended for, or to be used for, commercial purpose.

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Chapter 1: Don't look a gift horse...

Trish positioned the final ice pack on her right knee and wrapped it with an elastic bandage, just like she had the other two.

She lay back on her bed, inhaled deeply and slowly, eyes closed, and enjoyed the complete lack of motion for several seconds.

She did not open her eyes as she spoke.

"Alexa set a fifteen-minute timer."

"Fifteen minutes," the female voice replied, "starting now."

The bed was not the only piece of furniture in the one-room studio apartment. There was a chair, an end table, and a small desk. Trish could visualize the entire apartment and its contents without opening her eyes. It would take her less than a minute to list all the other contents of the small room. One place setting, one set of silverware, and two glasses, all bought from Goodwill, like the small table lamp, the Degas print of a dancer mounted on the wall just above her head, and the two framed photos of the couple that anyone who visited here would assume were the parents of Kathy Rambler, the woman who had signed the apartment lease, whose name was displayed through the cellophane windows on the envelopes that sat on a counter in the small kitchen.

If that hypothetical someone were to observe the woman, clad only in underwear and a tank top, who lay beneath the framed print of a woman dancing on pointe, the woman with ice packs on her right knee, left shoulder, and left wrist, and bruises on her right rib cage and shoulder, there would be no mistaking the figure of an elite dancer, unless they were to mistake it for the figure of an elite gymnast or an elite fighter. Any and all of those were true, even though it had been years since the woman lying still with her eyes closed had put on a pair of pointe shoes or taped her wrists to protect them during her sixty-second bar routine.

Trish's eyes opened at the sound of her timer expiring.

"Alexa, stop."

Trish knew she should get up, put the ice packs back in the freezer, clean her suit, and take a shower before leaving this small refuge for the slightly larger one three floors up. She should at least get up and close the window she had used as her entrance thirty minutes ago, but she lacked the will to move.

Fuck it, I might just sleep here tonight,  she thought.

She had done it before when the aches and pains reached a certain point and only responded to bourbon and ibuprofen. For those occasions, she kept a dark wig and a pair of sunglasses in the apartment, just in case anyone saw her leave and wondered why Trish Walker was coming out of Kathy Rambler's apartment. She could always say that Kathy was her girlfriend, but that opened her up to invitations for both of them and excuses why Kathy could not attend.

Sorry, my fictional alter ego has a prior engagement kicking the living shit out of the New York underworld tomorrow night.

Trish's eyes settled on the goldenrod ( it's not yellow, dammit, how many fucking times do I have to tell you? ) ballistic hyper mesh formfitting suit which lay where she had dropped it on the floor. She knew the blood would easily wash off. But the sweat-soaked absorbent liner was already beginning to smell up the apartment with that combined vinegar and ammonia smell that told her she was eating more protein than her body could metabolize.

She was thirty-seven years old as of one week ago. Trish knew she couldn't keep acting like she was still in her twenties, but her body was very good at reminding her when she forgot. Her natural ability to heal much quicker than the average person, which had helped her through her dancing, gymnastics, and fighting phases, had slowed down but was still there, as were her natural physical abilities.

"You have a gift," Kay had said to her one day after class at SAB, "I have been doing this long enough that I know a star when I see one. You have a bright future ahead of you."

That was only days before 911, back when the world was different. Before Hellcat was even a thought in her mind.

"If you go down this road, you don't get to come back afterward," Hank had said a few months afterward when she had convinced him that she was committed to a future that Kay had not predicted for Trish.

"None of us get to go back. There's no back to go back to."

"That made almost no sense," he said.

"Fuck you."

Hank's smile was all the answer she needed.

Trish looked towards the kitchen, where she kept the bourbon and ibuprofen. The suit lay on the floor halfway in between.

"Dammit," she groaned as she rolled to her side and sat up.