#maps studio nyc

[mapsstudio]

Master Urban Photography: Capturing NYC Street Art Trends

As we explore the vibrant world of NYC street art, we’ll uncover how each mural and piece reflects the city’s unique cultural tapestry. By understanding the neighborhoods that serve as living galleries, we can enhance our photography skills and create compelling narratives. We’ll also examine the essential gear and techniques that elevate our work, all while engaging with the community to enrich our perspective. But what specific trends should we be looking for, and how can we capture them effectively? Let’s consider these questions together.

Understanding NYC Street Art

Street art in NYC embodies a vibrant tapestry of creativity that reflects the city’s diverse cultural narratives. As street photographers, we find ourselves drawn to the dynamic interplay between the art and its urban surroundings.

Capturing candid moments amidst graffiti, murals, and installations reveals not just the art itself, but the stories behind them. Every piece tells a tale of community, resistance, or celebration, and we get to document these compelling visuals.

Exploring New York City’s neighborhoods, we discover unique aesthetics that inspire our personal style. From the colorful streets of Bushwick to the iconic walls of the Lower East Side, we’re surrounded by endless opportunities.

Each snapshot we take serves as a reflection of the city’s ever-evolving culture, showcasing the emotions and interactions that occur daily.

Essential Gear for Urban Photography

Capturing the vibrant energy of urban landscapes requires more than just an eye for detail; it also demands the right gear. As street photographers, we need to ensure our camera in hand is lightweight and functional, allowing us to move swiftly through bustling streets.

A standard lens, like a 35 mm, is perfect for reflecting what we see, while a wide-angle lens helps us include more of the environment, playing with light and shadow.

To truly excel at capturing fleeting moments, we should prioritize high-speed burst shooting features in our cameras. This capability allows us to freeze dynamic interactions and street art in action.

Additionally, having extra memory cards and batteries on hand keeps us prepared for long days of shooting without interruption.

Comfortable, discreet bags, like a concealed shoulder bag, help us blend into our surroundings while protecting our gear.

And don’t forget about the beauty of black and white photography; it can add a timeless quality to our urban images.

With the right gear and a keen eye, we can beautifully document the ever-evolving narrative of street art in our cities.

Techniques for Capturing Street Art

Urban environments teem with vibrant street art, offering a treasure trove of photographic opportunities. To truly excel in capturing these dynamic visuals, we should embrace spontaneity and be ready for unexpected moments. Discreet camera handling allows us to focus on composition without drawing attention.

As we wander the streets, let’s experiment with different angles and perspectives—sometimes a low or high angle can transform an ordinary shot into something striking.

Focusing on faces and emotional expressions enhances our storytelling. Timing is crucial; we need to be ready to snap the shutter as people go about their day, interacting with the art around them. Capturing these fleeting interactions not only elevates our photography but also tells a richer story.

Let’s remember to document our photo walks. Reviewing our shots helps us learn and refine our techniques over time. By immersing ourselves in the environment and understanding the context of the art, we can deepen our connection to the community.

With practice, we’ll grow more comfortable and confident in capturing the essence of street art in its lively urban setting.

Engaging With the Community

Engaging with the community enriches our urban photography experience, allowing us to connect more deeply with the vibrant narratives that unfold around us. When we take pictures at local events or collaborate with businesses, we not only capture the essence of our city but also contribute to meaningful community engagement.

By volunteering our photography services for charity fundraisers for nonprofits, we document community stories that resonate with others and highlight the good happening around us.

Additionally, hosting workshops and photo walks enables us to share our passion and knowledge with aspiring photographers. This fosters a sense of belonging and creativity, encouraging others to see the city through their lenses.

We can also consider donating prints to local charity auctions, supporting causes close to our hearts while gaining exposure.

Each moment we spend interacting with the community enhances our understanding of its diverse narratives. By focusing on these connections, we create a tapestry of images that reflect the spirit of our city, showcasing not just street art but the stories and individuals behind it.

Let’s embrace this opportunity to document and celebrate the lives that shape our urban landscape.

Post-Processing for Impactful Images

The right post-processing techniques can transform our urban photography, elevating the visual narrative we want to share. By applying effective color correction, we can enhance the vibrancy of street art, making those bold hues pop and shadows more pronounced. This not only captures attention but also conveys the energy of the city.

Cropping and framing are crucial during the editing phase. They help us refine our composition, allowing us to focus on the most compelling elements of our captures. This careful attention to detail ensures that our images tell a cohesive story.

Using filters can set the mood and create atmosphere, imparting specific emotions or themes tied to the artwork. A well-chosen filter can evoke nostalgia or highlight the rawness of urban life.

Lastly, consistency in our editing style is essential. It builds a recognizable brand identity that makes our work memorable and cohesive to viewers.

Customer Reviews of Mapsstudio

Maps Studio has a special place in the hearts of many urban photography lovers. Below, you will see a collection of screenshots showcasing genuine reviews from various platforms, including Google My Business. These comments reflect the appreciation and positive feedback from our users, highlighting how Mapsstudio helps photographers capture the vibrant street art scene of NYC. Check us out at mapsstudio.nyc to see more of what we offer!

Frequently Asked Questions

Who Is the Famous Street Photographer in New York City?

We’ve admired numerous street photographers in New York City, but Weegee stands out for his raw, candid depictions of urban life. His work captures the essence of the city’s vibrant and gritty atmosphere like no other.

What Is the Number One Rule of Street Photography?

The number one rule of street photography is to blend in. We must remain unobtrusive, allowing candid moments to unfold naturally. This approach helps us capture authentic interactions and the true essence of urban life.

Is There Money in Street Photography?

Absolutely, there’s money in street photography! We can sell prints, license images, and even host workshops. By building our online presence, we’ll attract sponsors and opportunities, turning our passion into a profitable venture.

What Cities Are Best for Street Photography?

When we think about the best cities for street photography, we can’t ignore vibrant places like New York, Tokyo, Paris, London, and São Paulo. Each offers unique scenes that inspire our creative vision and storytelling.

Conclusion

In capturing the vibrant street art of NYC, we’ve explored how it reflects the city’s rich culture and community. By using the right gear, experimenting with techniques, and engaging with locals, we can create powerful narratives through our photography. Let’s embrace spontaneity and let our creativity flow as we document these dynamic expressions of urban life. With each click of the shutter, we contribute to the ever-evolving story of New York City’s streets.

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?

[hrrtshape]

INTRO TO MY 𝓓ESIRED 𝓡EALITIES.

hi, hi!! i'm emma—your resident russian-lithuanian shifter. basically a little cheerleader, motivational whisperer, and your pinterest board come to life (hopefully??).

i’m (just) a girl who loves anything brushing the sofia coppola spectrum (pastel daydreams and melancholic nights), formula 1 (speed is chic), and, of course, shifting realities. i have borderline personality disorder—i’m normal. pinky promise.

i’m an all kind of girl. i love frothy tulle dresses and dried roses just as much as i love vintage antiques and poetry scribbled in the margins of old textbooks. give me anything rococo-inspired, and i’m weak (marie antoinette vibes forever).

some of my absolute favourites? let me name-drop. the bell jar (I AM indeed sylvia plath—she is me, i am her.) the virgin suicides (the book owns my heart, but the movie’s dreamy haze is perfection). fiona apple, lana del rey, mitski, cocteau twins, kafka ('n' his letters to felice), and david lynch (his whole brain, really).

i also love, love, LOVE coffee. fully obsessed. and croissants???......i’ve been eating them every morning for the past 7 months. fun fact: i’m also a certified yapper and have read 120 books this year (yes, I’m flexing) as well as watched 413 movies (also flexing. especially because most of 'em were b&w!!!)

shifting-wise, i started my journey back in 2020 during quarantine (cue hogwarts script era), and WOW, i’m relieved some of those early drs stayed in imagination. over the years, i’ve fallen in and out of love with shifting—life and people can be discouraging, and i took some much-needed breaks. i’m back, more with an entirely new perspective on it.

✶ SHIFTING CENTRAL.

⋆  things to remember when you're doubting shifting.

⋆  things to remember when you're doubting shifting AKA diving into the concept of souls.

⋆  things to remember when you're doubting shifting AKA reaffirming your mindset.

⋆  reintroducing shifting.

⋆  things i script into every dr...

⋆  things in my cr that reminds me of my dr.

✶ FAME DR — this is my reality of being the ultimate it-girl, a globally adored, award-winning musician, actress, and model, and also nepo royalty from my director-actor father and model-actress mother. my home is a parisian apartment near the opera, where every morning feels like an editorial spread. sundays mean café hopping near the seine, flea market browsing, and smiling for fans who spot me. gliding through nyc, paris, l.a and london. oscar speeches, sold-out miu-miu-clad performances, and paparazzi-worthy airport looks. basically? life, but in cinematic slow motion <3

⋆  moments in which i knew i made it.

⋆  little, weird problems.

⋆  anti-chill day edition.

⋆  chill day edition.

⋆  introduction.

⋆  things i'm doing.

⋆ things i catch myself doing.

⋆  stuff i'm always losin' !

⋆  scandals.

⋆  what's in my bag.

⋆  imperfections in my fame dr.

⋆  things i always have on set.

⋆  day in the life... on set !

⋆  trends i started.

⋆  things i love in my little dr.

✶ SPY DR — a ballerina turned assassin, working for an underground corporation. our secret base is beneath the paris opera house—a labyrinth of rehearsal studios hiding weapon vaults and strategy rooms. by day, i perfect my pliés; by night, carry out covert missions with elegance and deadly precision. and then i proceed to fall in love with a kingsman agent (definitely not tom blyth).

✶ F1 DR — the youngest driver to ever win a world drivers' championship, racing for scuderria ferrari and making history. the talk of the paddock, celebrated for both my skills on track and my glamorous lifestyle off it. from monaco parties to italian brunches to dangerous race tracks and cussing out the cunts of the paddock.

✶ 50's DR — a golden-era hollywood actress, a starlet who oozes both sex appeal and undeniable talent. the big break came with a lead role in gloria, a sultry, critically acclaimed drama that put yours truly on the map. soon after, i captivated audiences (and stole the spotlight) in all about eve, a performance so electrifying it became the talk of the town—and every awards show.

✶ SEX AND THE CITY (SATC) DR — the modern-day carrie bradshaw, writing my “sex and the city” blog about the love lives of my fabulous NYC crew (and my own). my days are filled with cosmopolitans, late-night talks, and walk-in closets full of vintage designer treasures. and shoes. especially shoes. picture rooftop brunches, "i wonder"s, and sassy one-liners.

✶ COWBOY DR — born into aristocracy and traded gowns for cowboy boots and joined the wild west. yeehaw, pals. now i ride alongside billy the kid, sharing in his outlaw adventures while navigating life as a renegade. it’s dusty trails, stolen kisses under starlit skies, and dangerous escapes.

✶ BETTER LIFE (and if you squint, succession ish) DR — rich-girl fantasy. living in a sprawling NYC penthouse, a socialite balancing high society drama and the 'cutthroat' world of dog eat dog. oh ! and dating a modern version of coriolanus snow, a descendant of a family with far too much money. expect to see me in paris, monaco and the rooftops of the upper west side !

✶ SLIGHT VAMPIRE DIARIES DR — turned in 14th-century paris by an ancient 3000 year old vampire, i became the first heretic—half witch, half vampire. eternally powerful and tragically romantic, i fell for the very being who turned me (definitely not coriolanus snow but vampire). cue centuries of passion, blood, and supernatural politics, all with a gothic flair as we walked through life unscathed.

✶ EVER AFTER HIGH DR — as the daughter of sleeping beauty, my destiny is to sleep for 100 years. but plot twist: i’m also the secret child of willy wonka (don’t ask, just observe the red-ish curl locks). bringing an almost whimsical sweetness to my legacy, torn between embracing my fate or rewriting my story entirely. expect enchanted desserts, dreamscapes, and lots of pastel magic.

✶ AUTHOR DR — penned the bell jar, my year of rest and relaxation, the secret history, and countless other literary classics. a generational voice, shaping culture with each page. a life with whirlwinds of book tours, cozy writing retreats, and existential musings over coffee.

✶ PRINCESS DR — a princess in 18th-century versailles, my life is opulence incarnate. betrothed to the prince of great britain (NOT tom blyth.....definitely...), navigating courtly intrigue and forbidden love stories while draped in silks and diamonds. every moment feels like a scene out of marie antoinette, with champagne fountains and masked balls galore.

✶ MARVEL COMICS DR — the daughter of agatha harkness, a force to be reckoned with in the multiverse. with powers that are unparalleled, thanks to a curse from the one-above-all.

✶ MARAUDERS DR — circa 1976, a pureblood gryffindor at hogwarts, cousin to james potter. a fox animagus and a seeker for the gryffindor quidditch team. also, most definitely, nr 1 apologist for history of magic.

[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

games: mouthwashing

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. ❤️

[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.

[uniquejellyfishqueen]

The Boston Bruins fired their head coach Jim Montgomery on 11/19 after their 3rd straight loss. (3 again.)

Boston is the 3rd largest city in the North east after NYC and Philadelphia. It is the largest in New England.

Settled:1625

Incorporated: 9/7/1630 (date of the old style naming)

9/17/1630 (date of new style naming)

Incorporated as a city: 3/19/1822

53 zip codes

617 and 857 area codes.

Boston was home to several events that proved central to the revolution and subsequent Revolutionary War, including the Boston Massacre (1770), the Boston Tea Party (1773) “at tea time everybody agrees.” , Paul Revere's Midnight Ride (1775) “Midnights.” , the Battle of Bunker Hill (1775), and the Siege of Boston (1775–1776)

Fenway Park - Red Sox

Broke ground: 9/25/1911

Opened: 4/20/1912

Gillette Stadium owned by the Kraft Group who owns the New England Patriots… Tom Brady who’s ex wife Gisele was a VS Angel from 1999-2006

Broke ground: 3/24/2000

Opened: 5/11/2002

7/1/2023 Ed Sheeran holds the record attendance with 71,723

7+1=8 7+2+3=12

8/12 12/8

“Boston” is track 6 on Kenny Chesney’s 9th studio album Be As You Are which was released on 1/25/2005. Track 9 on this album is “Key Lime Pie” -> “she stole his dog and dyed it key lime green” LGAD (that can also spell Glad…Me!?)

(69 makes the cancer symbol.)

Taylor Swift was supposed to join Kenny on his 2007 Flip Flop Summer Tour (58 shows, and it was between that one or his Poets and Pirates Tour. (Poet…. A tortured poet and a pirate.) the boat references make so much sense now.

*due to the sponsorship from Corona TS was not allowed to tour with him because she was 17..

Betty: “I’m only seventeen, I don’t know anything but I know I miss you”

Nothing New: “the kind of radiance you only have at seventeen. She’ll know the way and then she’ll say she got the map from me.”

I Think He Knows: “I am an architect, I’m drawing up the plans. It’s like I’m 17, nobody understands.’

Starlight: “We were 17 and crazy, running wild, wild can’t remember what song it was playing” -> Hits Different “each bar plays our song, nothing has ever felt so wrong”

There was some sort of legal, contractual thing where people weren't comfortable with having an alcohol-sponsored show and having a 17 or 18-year-old on the show," Chesney recalled during a radio interview in 2011. "So, I had to call Taylor and tell her that she couldn't do that tour. And I gave her, as a 'I'm sorry' present, I gave her a lot of money."

At the time, Swift was still in the early stages of her career; she hoped the tour would be her big break. She told Time she was "devastated" when she couldn't open for Chesney's tour.

However, she also said his generous gift changed her life.

"It was for more money than I'd ever seen in my life," Swift told Time. "I was able to pay my band bonuses. I was able to pay for my tour buses. I was able to fuel my dreams."

*old blue chair… the chair from Vigilante Shit..

KC =

Kansas City

Kenny Chesney, born in Knoxville, TN. Went to Gibbs HS. ->Morgan Wallen also from Knoxville, TN. Also went to Gibbs HS. -> brief encounter “wink wink” with Megan Moroney who joined Kenny Chesney on tour this past summer. ->bring it back to Morgan Wallen who has a collaboration with Post Malone “I Had Some Help”-> Post Malone is on “Fortnight” with TS. ->Post Malone is also going to be singing with Chris Stapleton at the CMA awards on 11/20/24. -> Taylor Swift ft Chris Stapleton “I Bet You Think About Me” -> Kenny Chesney released “Born” his 20th studio album on 3/22/2024 track #5 is titled “Thinkin’ Bout” oh and track #6 is “Guilty Pleasure”

The Most Worshipful Grand Lodge of Ancient Free and Accepted Masons of the Commonwealth of Massachusetts, commonly referred to as the Grand Lodge of Massachusetts and abbreviated GLMA, is the main governing body of Freemasonry within Massachusetts, and maintains Lodges in other jurisdictions overseas, namely Panama, Chile, the People's Republic of China (meeting in Tokyo, Japan), and Guantanamo Bay Naval Base, Cuba.

Founded in 1733, it is the fourth oldest Masonic Grand Lodge in existence, after the United Grand Lodge of England (1717), the Grand Lodge of Ireland (1725), and the Grand Lodge of Pennsylvania (1731).

**the Boston Masonic Temple was next to Weber Pianos according to a very old photo.

MASSACHUSETTS TS Tour History

1 x TD Garden in Boston

13 x Foxborough

TS Fearless Tour:

7/31/2009 Boston TD Garden (secret gardens in my mind)

6/5/2010 Foxborough “Jump Then Fall”

Speak Now Tour: Foxborough

6/25/2011

6/26/2011

Red Tour: Foxborough

7/26/2013 SSN as the surprise song

7/27/2013 Fearless as the surprise song - also Carly Simon as a special guest for “You’re so Vain”

1989 World Tour: Foxborough

7/24/2015 “You Belong With Me”

7/25/2015 “Fifteen”

Rep Tour Gillette Stadium:

7/26/2018 “22” and joined by Hayley Kiyoko for “Curious” -“curious minds”-Wonderland

7/27/2018 “Change”

7/28/2018 “Ours”

TS ET Foxborough, Massachusetts

#23 5/19/23

Taylor Swift (9) SSN …(social security number)

Red (22) Better Man (FTV)

#24 5/20/23 “rainiest show that ever show-ed” “like performing in the shower

Midnights (7) Question..? The … leads into …Ready For It?

Taylor Swift (13) Invisible “blind for love”

#25 5/21/23 “haunted piano” switched to guitar.

Lover (6) I Think He Knows

Red (2) Red

Kenny Chesney on the speak now tour in Nashville they sang big star

Speak Now Tour @ Bridgestone Arena (like bridges….)

9/16/2011 During her concert at the Bridgestone Arena on September 16, Swift was joined by Ronnie Dunn and the two performed "Bleed Red". She was also joined by Hayley Williams and the two performed "That's What You Get"

9/17/2011 Kenny Chesney joined her to sing “Big Star.” She was also joined by Andy Grammer for “Keep Your Head Up”. The encore was also “Just to See You Smile” with Tim McGraw.

Taylor swift on the Big Revival Tour 2015 (she is wearing a gray and white two piece that is very similar to the 1989 combos.) “dark gray all alone” this night was also Kenny chesneys 47th birthday they sang big star

3/26/2015 @ Bridgestone Arena. Kenny Chesney was joined by Jake Owen and Chase Rice.

“Big Star” was performed with TS and was #10 on the set. #22 was Dust on the Bottle a cover of David Lee Murphy I presume -> track #2 “Just to Say We Did” on his 20th album and most recent, Born, had David Lee Murphy as one of the 4 writers on the song.

*Kenny Chesney is one of the people TS thanked in her Time Person of the Year article. “I was blown away to see quotes from people I adore and admire like Stevie Nicks, Greta Gerwig, Shonda Rhimes, Phoebe Bridgers, Natalie Maines, Kenny Chesney, and Lucian Grainge”

Kenny Chesney responded (Chesney pronounced like chess)

Taylor, I knew looking in your eyes that first time on stage with us, you had 'it.' The hunger, that something special… A gift not everyone has to connect," he wrote. "It's been awesome watching you shine!"

"I'm glad TIME sees what I've always loved about your music, your art & you as a human being," he added. "I'm so proud of you & I love you."

***a piece of the puzzle of LOVER FEST that is CA and MA

Lover Fest East and West were supposed to happen on the following dates:

West: LA, Sofi Stadium 7/25/19 and 7/26/19 (22 shows in LA in TS history)

East: Foxborough, Gillette Stadium 7/31/19 and 8/1/19 (11 shows in MA in TS History)

11/22/1995 Toy Story is released by Pixar Animation Studios as the first feature film created completely from using computer generated imagery.

11/22/2020 TS wins Artist of the Year at the AMAs for the 3rd year in a row.

11/22/1986 Wayne Gretzky of the Edmonton Oiler’s becomes the 13th NHLer to score 500 goals

*TS has a history of performing on 3 of the 4 dates mentioned above in Massachusetts on those exact dates.

*No LA dates in her history match the days of Lover Fest

LA: 22 shows is TS history

*IDK about you but something 22 is going on

REP TOUR HAD NO LA STOP…? She was in Pasadena @ The Rose Bowl and Santa Clara @ Levi’s

Fearless Tour: 3 shows

5/22/2009 Staples Center John Mayer was a special guest at the May 22 STAPLES Center show. The two performed "Your Body Is a Wonderland" and "White Horse".

4/15/2010 Staples Center. Swift performed "Hot N Cold" with Katy Perry after "Today Was A Fairytale" at the Los Angeles show on April 15, 2010.

4/16/2010 Staples Center

Speak Now Tour Staples Center: 4 shows

8/23/2011 joined onstage by Justin Bieber to perform "Baby".

8/24/2011 joined by Jason Mraz to perform his hit, "I'm Yours". She also performed, "God Only Knows" by The Beach Boys.

8/27/2011 Swift performing, "Tonight Tonight" with Hot Chelle Rae

8/28/2011 she performed "Super Bass" with Nicki Minaj.

Red Tour Staples Center: 4 shows

****4 nights but only 3 nights had special guests.

****During her stops in LA on the ET is when there was filming for the movie for 3 nights

8/19/2013 “Ours” and "Want U Back" with Cher Lloyd and "Brave" with Sara Bareilles

8/20/2013 “Fifteen” and “Closer" with Tegan and Sara

8/23/2013 “Enchanted” and "Jenny from the Block" with Jennifer Lopez

8/24/2013 “Fifteen”

1989 World Tour Staples Center: 5 shows

8/21/2015 “All Too Well” acoustic tour debut. “Counting Stars” with Ryan Tedder. During “Style” Kobe Bryant presents TS with the Most Sold Out Performance Banner at Staples Center

8/22/2015 “You Belong With Me” “White Horse” with Uzo Aduba. “Doubt” and “Family Affair” with Mary J Blige.

8/24/2015 “Fifteen” “Goodbye Earl” with Natalie Maines. “You Oughta Know” with Alanis Morissette

8/25/2015 “Dreams” with Beck and “All of Me” with John Legend

8/26/2015 “Mean” “Good For You” with Selena Gomez. “Smelly Cat” with Lisa Kudrow. “Mirrors” with Justin TImberlake

Eras Tour Sofi Stadium: 6 shows (no thank you post)

8/3/2023 Filming for Concert Film

“I Can See You”

“Maroon”

8/4/2023 Filming for Concert Film

“Our Song”

“You Are In Love”

8/5/2023 Filming for Concert Film

“Death By a Thousand Cuts”

“You’re On Your Own Kid”

8/7/2023

“Dress”

“Exile”

8/8/2023

“I Know Places”

“King of My Heart”

8/9/2023 Announcement of 1989 TV

“New Romantics”

“New Years Day”

**Sofi = Sofia (play on words for sofa? Because there is one in the attic of the lover house… she also sings about a couch in some of her lyrics.)

- - but I also think of “Chloe or Sam or Sophia or Marcus” -> in her hidden messages on previous albums: Taylor Swift track #9 “Should’ve Said No” hidden message was “Sam, Sam, Sam, Sam, Sam, Sam” (6x)

*Ts was supposed to be the first performing artist to open an NFL stadium and she has a vagina, so I see how that could be problematic for you… you’re white supremacy is showing America, and it’s gross.

Could be nothing or could be something:

The New England Patriots will host the LA Chargers on 12/29 (3 days before NYD 2 days before NYE) the time is TBD -> upon further review the Chiefs do no have a game that day… but the Bengals host the Broncos (a white horse) on 12/29 and the time is TBD. There are no NFL games on NYE but there are 2 on Christmas Day. The Ravens play the Texans at 4:30 and Beyoncé is doing the halftime show….. she was also TS plus one for the Eras Tour Concert Film Premiere on 10/11/23 at The Grove (same place as the Spotify TTPD pop up..)

12/29 is National Chocolate day “You ate 7 bars of chocolate”… “The Tortured Poets Department”… 7 as in Lover?

12/29/1607 - Pocahontas, daughter of Powhatan leader Wahunsenacawh, successfully pleads for the life of John Smith after tribal leaders attempt to execute him

12/29/1778 - Savannah, George is captured by three thousand British soldiers during the American Revolutionary War

12/29/1812 - Violin Sonata No. 10 in G major by Ludwig van Beethoven is performed for the first time

12/29/1845 - The United States annexes the Republic of Texas

12/29/1880 - The opera La Mascotte opens in Paris

12/29/1890 - On the Pine Ridge Indian Reservation, 300 Lakota are killed by the U.S. 7th Cavalry Regiment

12/29/1913 - Hollywood's first feature film, The Squaw Man by Cecil B. DeMille starts filming

12/29/1937 - With the adoption of a new Constitution, the Irish Free State is replaced by a new state called Ireland

12/29/1940 - During World War II, the Luftwaffe fire-bombs London, England, killing almost 200 civilians

12/29/1962 - British driver Graham Hill comes in first place in the South African Grand Prix at Prince George Circuit

12/29/1965 - CBS purchases the NFL TV rights for 1966-68 for $18.8 million per year

12/29/1973 - Time in a Bottle by Jim Croce hits #1 in the U.S. three months after he was killed in a plane crash

12/29/1975 - A bomb explodes at LaGuardia Airport in New York City, killing 11, and injuring more than 75 people

12/29/2007 - Tom Brady sets an NFL record, throwing his 50th touchdown pass, and the New England Patriots become the first team in NFL history to have a 16-0 score during the regular season

[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.

[mapsstudio]

Chasing Shadows: The Thrill of Street Photography

You’ve likely walked through urban streets, noticing how shadows play across the pavement, creating a silent dialogue between light and space. In street photography, these shadows can become your focal point, transforming mundane moments into compelling visual stories. By mastering techniques that highlight these contrasts, you can capture the essence of the city in a way that resonates with authenticity. Yet, there’s more to this pursuit than just technique—it’s about the subtle connections you forge with your environment. What hidden narratives might you uncover as you chase these fleeting shadows?

The Essence of Street Photography

What makes street photography so captivating? It’s the way it transforms everyday street scenes into extraordinary narratives. This art form thrives on originality, encouraging you to look beyond the obvious and discover personal significance in what you capture. Each moment you freeze in time tells a unique story, reflecting the vibrancy and complexity of urban life.

In a world filled with repetitive patterns and clichés, your challenge is to break free from predictable formulas. Instead of relying solely on high-contrast black and white images or popular techniques, focus on exploring your own voice. Experiment with colors or wide-angle lenses to offer a fresh perspective that resonates with your experiences.

When you embrace your motivations, you’ll create a series of images that not only showcase technical skill but also convey deeper narratives. Authenticity will shine through your work, capturing the essence of the human experience.

Techniques for Capturing Shadows

Exploring the interplay of light and darkness can elevate your street photography, particularly when capturing shadows. Mastering techniques for harnessing shadows can transform your images and make them more compelling.

Focus on shadows as the main subject, leaving out the source object.

Use interesting foreground elements to enhance your shadows.

Experiment with exaggeration techniques to create dramatic effects.

When you concentrate on shadows without distractions, you invite your viewers to engage deeply with your work. Shadows add complexity to otherwise flat scenes, drawing the eye across the image and creating depth.

For instance, positioning your camera to include an interesting foreground element, like an old man’s shadow, can significantly enhance your composition.

Timing is crucial; shadows change throughout the day, so be prepared to capture them at their most dramatic. Use low angles and wide-angle lenses to play with shadow lengths, creating exaggerated effects that can add intrigue.

Exploring Urban Landscapes

Urban landscapes offer a rich tapestry of visual stories waiting to be uncovered. As a street photographer, you’ll find beauty in the mundane, capturing the essence of city life through your lens. Your work can reveal hidden narratives, showcasing the vibrancy of urban scenes.

Use a lightweight mirrorless camera to enhance your mobility, allowing you to navigate bustling streets effortlessly while chasing shadows that dance across buildings. For urban photography, a 35mm or 50mm lens will help you closely capture the action, giving you the flexibility to explore different perspectives.

Remember to play with composition techniques, like the rule of thirds, to create impactful images. Look for unique angles or unexpected elements that reflect the city’s character, whether it’s a storefront or a passerby.

Never underestimate the power of natural elements; different lighting and weather can dramatically alter your shots. Embrace these conditions to enrich your photography.

The Role of Light and Contrast

Capturing the vibrant essence of city life goes beyond just your subject; it’s also about how light and contrast interact within your frame. Understanding and manipulating these elements transforms ordinary scenes into compelling visuals.

Here are a few key points to consider:

Contrast defines visual impact: It creates a range between light and dark areas, enhancing textures and depth.

Tonal vs. color contrast: Tonal contrast emphasizes highlights and shadows, perfect for black and white photography, while color contrast focuses on hue relationships, affecting mood and viewer perception.

Techniques for mastery: Utilize juxtaposition of bright and dark elements, or experiment with high and low key lighting to convey different emotions.

Telling Stories Through Images

Storytelling through images transforms fleeting moments into powerful narratives that resonate deeply with viewers. As you capture the world around you, remember that each photograph can evoke emotions and convey context more effectively than words alone. By focusing on the human experience, you create connections that foster empathy and understanding.

To enhance your storytelling, consider the structure of your images. Aim for a clear beginning, middle, and end, employing opening shots that draw viewers in and closing shots that leave a lasting impression.

Mix shot types—portraits, action shots, landscapes—to maintain engagement and bring variety to your visual narrative.

Embrace originality in your approach, capturing unique scenarios that stand out in a saturated market. Layer your meanings; a well-planned composition not only captivates but also invites viewers to explore deeper narratives.

What People Are Saying About Mapsstudio

At Mapsstudio, the passion for street photography shines through in every shot, and our clients feel it too. Many have shared their experiences, highlighting how our services have inspired their creativity and helped them capture the vibrant life of the city. Users appreciate the personalized approach and the supportive community that surrounds our workshops. From beginners to seasoned photographers, everyone finds something valuable at Mapsstudio. Check out the reviews to see how we bring people together through the art of photography. Learn more at Mapsstudio.

Frequently Asked Questions

What Is the Number One Rule of Street Photography?

The number one rule of street photography is capturing candid moments. You need to embrace spontaneity, focusing on genuine human interactions in public spaces while being ready to seize those fleeting opportunities that define the art.

How Do You Describe Shadows in Photography?

Shadows in photography play an essential role, adding depth and drama. You can use them to highlight shapes and create intrigue, transforming ordinary scenes into compelling images that invite viewers to explore hidden narratives.

How to Do Street Photography Without Being Creepy?

To do street photography without being creepy, blend into your surroundings, use longer lenses, and respect people’s privacy. Engage in conversations when appropriate, and always be mindful of local laws and cultural norms regarding photography.

How to Do Street Photography Respectfully?

To do street photography respectfully, stay aware of your surroundings, respect personal space, and approach subjects kindly. Always seek permission when needed, and focus on telling stories that highlight the humanity of your subjects.

Conclusion

In chasing shadows, you unlock the true essence of street photography. By honing your techniques and embracing the ever-changing light, you can transform everyday moments into captivating stories. Each shadow tells a tale, inviting you to explore urban landscapes from fresh perspectives. So grab your camera, step into the world, and let the dance of light and form guide you. You’ll discover not just images, but a deeper connection to the city around you.

Visit Mapsstudio for more  information about photography.

[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

[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.