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biglisbonnews · 2 years ago

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Fresh Pressed: Neverland Digital's Medusa's Ball This is Fresh Pressed, in which photographer Matt Weinberger takes us inside some of the rawest moments happening in NYC and beyond. Fresh Pressed is all about encountering the juicy ideas, aesthetics and people shaping culture through the lens of the city's many creative scenes.Neverland Digital’s Medusa’s Ball (3/25)NYC art/music house and creative agency Neverland Digital (Nora Luciano, Elsie Drew and Ester Shmulyian) hosted Medusa’s Ball at BAF Art Gallery, where guests and collaborators all came together to party like the gods. The event was thrown in honor of Medusa, with ten visual artists tasked with creating and presenting work inspired by Medusa’s famous story. The group show featured a 30-foot glowing snake in the middle of the room, projection work, interactive pieces, photography and paintings, all created by local artists. They also presented live music, opening up with refreshing jazz by Wayne Tucker and Addison Frei, followed by Stew Jefe who rapped and hyped everyone up for Max Volante (producer, songwriter and instrumentalist) and his band. Max had some seriously great vibes and got the whole crowd feeling his soul as they swayed and danced around to the electric energy of his genre-bending performance.We Take Manhattan Party @ Old Flings (3/22)Organized by Allyson Camitta (aka Shallowhalo) and Charlie Baker, the We Take Manhattan party at Old Flings brought together some of the city’s most influential downtown scenesters for a night of shoulder-to -shoulder dancing and cramped but quality conversation. The event was the fourth party in the ongoing party series organized by Allyson and Charlie. The name of the party series is a reference to the Leonard Cohen song "First We Take Manhattan," which explores the idea that once one takes over Manhattan, one can take over the world. In addition to Shallowhalo and Charlie Baker DJing, Curtis Everett Pawley, aka The Life, took to the DJ booth and played a set to the delight of the audience. Shallowhalo is on tour at the moment — they just put out a new single, "Renaissance Affair," and have a single release show on April 5 at Elsewhere Zone One where Thoom and Birthday Girl will be performing and Angel Emoji will be DJing. I wouldn’t be surprised if the lyrics ring true: first they’ll take over Manhattan, then Berlin and, in no time, the world. The next We Take Manhattan party will be at The Cock on April 26.Stand Up NYC Drag Benefit @ 3 Dollar Bill (3/21)Aiding the fight against the anti-trans bills that have just been passed in Tennessee, NYC drag performer Julie J sold out the Brooklyn venue 3 Dollar Bill (in one day) for a night of community and drag. The cast included RuPaul's Drag Race current contestants and alums Marcia Marcia Marcia, Olivia Lux, Luxx Noir London and Jax as well as NYC staples Marti Gould Cummings, Rify Royalty, Janelle NO.5 and so many more fabulous talents. Elaborate costumes, riveting performances, mesmerizing hair and makeup and heart-pounding dance moves filled the night as the crowd came out to support Julie J and the wonderful cast of performers that came out to "drag out the vote." A key element of the event was to encourage everyone to register to vote so that they could have their voice heard via casting a ballot. The event felt like both a protest against anti-trans, anti-queer and homophobic legislation and a celebration of democracy. Political and community organizer Samy Nemir Olivares took the stage in between drag performances to give a speech explaining the importance of the event and why the community needs to get together and fight against harmful legislation. Proceeds from the event benefitted the ACLU of Tennessee, The Trans Formations Project and Black Trans LiberationBlack Trans Liberation. Baby's Presents SXSW NYC Beat (3/18)The NYC (and LA) music scene took over this little corner of Austin at the SXSW NYC Beat concert — presented by Baby's All Right — at popular downtown venue "The Cave and The Creek." The showcase featured two stages, both sporting incredible lineups of musicians. The indoor stage was curated by Sunflower Bean and featured sets by The Life, Strange Ranger, Thus Love, Malice K, Hello Mary, Model/Actriz and Sunflower Bean themselves. The energy inside was booming, with a mix of music industry professionals and seasoned concertgoers vibing out.Things got pretty wild in the later sets, and, by the end of the night, as Sunflower Bean took the stage, the crowd was stirring up into a bountiful mosh pit of bodies smashing into one another. The outdoor stage, curated by Perfectly Imperfect, featured sets by Eera, Mgna Crrrta, Club Eat, Damon Rush, Blaketheman1000, Snow Strippers, The Helpp and Isabella Lovestory. This side of the venue was more electronic-heavy and brought out a younger demographic of fans than those inside, with bubbly fans ripping cigarettes and jumping up and down as they popped to their favorite bops. Isabella Lovestory gave a particularly compelling performance to end the night, wrapping things up with a cherry bomb bang. The Helpp is no easy act to follow but Isabella managed to go beyond holding her own, delivering what felt like the perfect storybook ending to a night filled with great performers.Austin Rave by 1222 BY-PRODUCT With Snow Strippers, Club Eat, Eera (3/17)The Snow Strippers may be the next big thing. The band is a duo made up of members Tatiana Schwaninger and Graham Perez. They met in Florida back in 2018 and began making music together around the end of 2021. The duo produces an electronic, icy eargasm sound, making music that makes you want to dance. This is the kind of stuff that will make you bang your head with no shame as you ride a crowded L train to work. Graham had been producing music for a number of years, while Tati had no previous experience making music before they teamed up. Despite her lack of prior experience, she has the voice of a thousand snow angels. Their live set was a fun departure from the more refined sound you might hear when streaming their music online. In concert, Tati jumped around the stage, glitching into multiple dimensions of hype and glory, pulling the whole audience into dark recesses of happiness and fun. Alongside the Snow Strippers, Club Eat and Eera also took the stage and gave solid performances, providing the concertgoers with additional icy cold, refreshing beats to enjoy.You Missed It's Backyard Bash (3/17)The Kerwin Brothers have struck again, succeeding in throwing an absolutely epic party, co-organized with the Mauri sisters, Cristina and Andrea. With backyard tattoos, unlimited booze, oil wresting, free cigarettes, and a lineup that included High, The Dallas Cowboys, May Rio, Blaketheman1000, Nite Fire, Tagabow, Hotline TNT and The Frost Children, everything was in place for an incredible night to ensue. And ensue it did. Smashing beers and taking flash pics, the crowd of mostly local college students and NY/LA weekend visitors partied harder than a school of fish during summer vacation. In NYC, it's very rare to ever get to party in a backyard, so all of the NY locals had the time of their lives. Green grass turned to mud as the crowd jumped around to the electric sets by the many talented musical acts. The Dallas Cowboys stood out for their ability to get the crowd moving, and once the crowd was going, the energy didn’t stop for the rest of the night. They say everything is bigger in Texas and that rang true for the crowd's energy. Legendary nightlife photographer Mark Hunter, aka The Cobrasnake, claimed that it was potentially in the top 10 parties he had ever been to. Yeehaw and God bless Texas!Simone Films Oscars Watch Party @ Nine Orchard (3/12)Simone Films, founded by filmmakers Rebekah Sherman-Myntti and KJ Rothweiler, is a New York-based independent entertainment company doing things unlike any other production company in NYC right now. It's known within the downtown scene as a pillar in shaping a certain subset of the creative community. The company has achieved some degree of a cult following via its exciting events and through curating other scene-centered activities such as hosting a popular actors' studio for up-and-coming talent with teachers such as Michael Imperioli, Alex Ross Perry, Dolly Wells and Peter Vack. On this particular occasion, Simone Films threw a banger of a party, with drinks flowing, an abundance of popcorn and a bumping vinyl DJ set by Billy Jones, the owner of the popular music venue Baby’s All Right. The Oscars watch party was attended by actors, directors, musicians, podcasters, art shmos, indie sleaze queens, cinephiles and a slew of other creatures of the downtown scene. Some notable attendees included Bart Cortright, Makunda Angulo, Eugene Kotlyarenko, Lotfy Nathan and Marcelo Gaia. The owner of Nine Orchard, Andy Rifkin, also pulled up to the event. One thing is clear: Simone Films knows how to bring together a large group of exciting people. It wouldn’t be a surprise if a number of the attendees are at the Oscars in a few years, rather than watching it on TV.The Twink Next Door's Party Backstage @ Dallas BBQ (3/11)Texas-sized piña coladas, glitter and faux fur were all the rage behind the scenes at The Twink Next Door’s debut NYC runway show, unveiling his new collection as a tease of what’s to come as he plans on dropping his new clothing line, TWINK, this Friday. Inspired by icons like Julia Fox, Lady Gaga and Cruella DeVille, The Twink Next Door is bringing maximalist experimental fashion to the downtown NYC scene in stride. Throwing a fun, quirky, DIY aesthetic into the Wild West that is Dallas BBQ made for an undoubtedly memorable (albeit mildly chaotic), ultimately fabulous experience. The collection ate, and so did lots of the attendees. As far as I can tell, this BBQ stood for big, bold and queenly. Those fits were royally delicious. You Missed It Party @ Baby's All Right (3/4) https://www.papermag.com/fresh-pressed-neverland-digital-medusa-2659589146.html

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betweenthetimeandsound · 3 years ago

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Three Minutes to Eternity: My ESC 250 (#210-201)

#210: Joy Fleming -- Ein Lied Kann Eine Brücke Sein (Germany 1975)

“Hör auf zu spielen und lerne zu fühlen, Wie viele Menschen Freunde sind, Lerne zu singen, vertraue so wie ein Kind,”

“Stop playing and learn how to feel, How many people are friends Learn how to sing, trust just like a child”

For an older and low-placed entry, this German entry has become a fan favorite! Despite this, I wonder if I really like this enough to make my top three of 1975, because I don't go back to listen to it often.

But when I do, it just takes the conductor's stomping to get me into the mood. It's just a great way to start a song~

While the chorus somehow bugs me a little bit, because of how jarring it is (Joy shouts it all out, in comparison to the verses where she has a somewhat lower register), how it builds really helps with getting the party started. The orchestration also helps with the joie de vivre of the song, and Joy manages to live up to her name on stage.

Personal ranking: =3rd/19 Actual ranking: 17th(?!)/19 in Stockholm

#209: Muriel Day -- The Wages of Love (Ireland 1969)

“There will be bridges to be crossed And there'll be teardrops to be lost...”

Ireland’s first upbeat song is a diversion from their first four entries in more ways than one. Not only it’s performed by a woman for the first time, but it also warns about the pains of love—while it’s a great experience, you have to pay a lot in the process. (This actually reminds me of one vintage Eurovision blogger talking about how Horoscopes incorporates a more liberal sound with Ireland's conservatism at the time--maybe it was from the same lines?)

And Muriel has an absolute ball on stage with her uber-high lime green dress. She twirls her microphone around when arriving, bounces up and down like she just got a can of Red Bull, and dances as if it was for the last time. The orchestration really helps out on giving out this vivacious vibe (though the lyric "it can make you live/it can make you die" in context is quite horrifying behind the upbeat track).

Basically, this was an upbeat track which I would've switched out for one of the upbeat winners.

Personal ranking: 3rd/16 (though here, it's 4th/16. A mismatch in rankings, which you can see again in the future) Actual ranking: 7th/16 in Madrid

#208: Alenka Gotar -- Cvet z Juga (Slovenia 2007)

"Moj beli cvet, moj daljni svet Daj, vrni se, moj bodi spet”

“My white flower, my faraway world Come, return, be mine again”

I've never been a big fan of opera--not just in Eurovision, but also in general. I recognize they have beautiful voices and worked on them for the performance, but I never really like the instrumental or the actual song.

Cvet z juga, however, managed to incorporate opera in a way which is actually enjoyable. Not only because of Alenka’s powerful vocals, but also the nostalgia created with the poetic lyrics and the instrumental. It’s a combination of classical and modern--it's not a dance-floor bop (despite the percussion in the background), but it's definitely out of the ordinary.

Combined with a subtle but effective gimmick (Alenka's light-up hand at the end), and you have Slovenia's first qualifier in the semi-final. Definitely deserved.

Unfortunately, Alenka's gone off a bad path since then...)

Personal ranking: 6th/42 Actual ranking: 15th/24 GF in Helsinki

#207: Giorgios Alkaios and Friends -- Opa! (Greece 2010)

"Έκαψα το χθες, νύχτες μου παλιές Κι από το μηδέν αρχίζω όσο κι αν δε θες Δάκρυα καυτά ψέμματα πολλά Πλήρωσα όσο χρωστούσα και τα δανεικά"

"I burnt the past, my old nights And I start from scratch even if you don’t want me to Hot tears, too many lies I paid what I owed and borrowed"

"Motherf---ing testosterone!"

The Scandinavia and the World recap for the 2010 contest basically sums up Opa! as this, with all the tribal cries and torn up shirts. I've also heard it described as the "Love Love Peace Peace" of Greek entries, with the prevalent cry "Opa!", strong ethnic influences, and Cretean lyre to boot.

But beyond that, there's a deeper meaning behind the lyrics. By late 2009-early 2010, Greece was facing the burden's of the Great Recession, which would envelop the country in many years. Their GDP would drop by 26% between 2008 and 2014, and unemployment rose up to 25% at the same time. This economic maelstrom led to public uprisings and an exodus of the highly educated.

Opa is a cry for joy--not just to party, but also to fight against a wave of despair considering the circumstances. It strives to give life and inspiration by those who need it, even if it means starting over. And while economics will trump national pride in the end, one asserts themselves as stronger than they think. And that's what makes it an important part of the Greek Golden Age at Eurovision.

Personal ranking: 6th/39 Actual ranking: 8th/25 (GF) in Oslo

#206: Boris Novkovic feat. Lado -- Vukovi Umiru Sami (Croatia 2005)

"Do zore je ostao još koji sat A vani nemir, k’o da je rat Oblačim kaput i odlazim Da sve zaboravim"

"Only a few hours left till dawn And outside unrest, as if a war is on I put my coat on and leave To forget everything"

Balkan ballads are one of the main joys out of Eurovision; obviously from that region, they feature folk instrumentation and sad lyrics about love. Vukovi umiru sami fits into this mold well, but I only managed to put this in tenth place because of the variety of songs on offer, ranging from glam rock to a wholesome peace ballad.

Over time, however, it has grown on me.

The poetic lyrics stood out the most for me--they tell of an end of a relationship on the Danube (which really grounds the song in its origins, despite the fact I associate it with Central European countries as a whole) and the loneliness of the man in it. There's a mournful nature about it, especially with the choir in the background.

And the way it build is so fantastic, amplifying the story and the stakes. The "Dunavoms" between the last two choruses are well-done and elevate this song to greatness.

I planned to rewatch 2005 to see how my rankings change, and thought it would get to be in my top five. Because of a typo on my list, I needed another song to fit the overall order of the list.

And finally, Vukovi umiru sami is in my top five. :)

Personal ranking: 5th/39 Actual ranking: 11th/24 GF in Kyiv

#205: Marlayne -- One Good Reason (the Netherlands 1999)

“Give me one good reason and I will give you two Say: "I love you forever", say you will, say you do...”

The guitar intro made me think this would be a song I would listen to outside of Eurovision. It reminded me of Michelle Branch’s songs in the early 2000s (of which, Breathe is my current all-time favorite song); her debut album, The Spirit Room, would only be released in 2001!

Alternatively, it has a very country-pop vibe, but it still has a sense of optimism which continues through the entire song. I love how sunny and earnest it is, and it got a really solid result out of it! Unfortunately, it would be the Netherlands' best placing until 2013, but at least it was a jolt of quality in a mediocre year.

Personal ranking: 4th/23 Actual ranking: 8th/23 in Jerusalem

#204: Niamh Kavanaugh -- In Your Eyes (Ireland 1993)

“Love's been building bridges between your heart and mine I'm safe here on my island, but I'm out on the edge this time”

One of the most nail-biting votes in Eurovision came in this particular contest: because Malta's phone connection malfunctioned, they had to wait until the end to give their points. At that point, Ireland was 11 points ahead, which means if Malta gave the runner-up their twelve, the latter would win by one point.

The Maltese jury ended up giving Ireland their twelve, which would give Ireland their second consecutive win in the 1990s, along with a point record which would only last a year.

I’ve never felt the vulnerability of falling in love, but I love the narrative arc in the lyrics, which crescendos with the chorus. Niamh’s voice is a bit harsh at times, but delivers on it with a stately grace in a choice suit.

What also seals In Your Eyes for me was the graceful orchestration thanks to Noel Kelehan. It's especially prevalent in the chorus--the studio cut doesn't do it justice...

Personal ranking: =6th/25 Actual ranking: 1st/25 in Millstreet

#203: Sonia -- Better the Devil You Know (United Kingdom 1993)

“I'll give you my heart and my soul if you give me your love..”

...not unlike with the song Ireland was competing with for the win! While the studio cut is decent enough, Better the Devil You Know wouldn't have gotten so close to victory without the live music aspect of it.

It’s not only the orchestration here, but also Sonia’s fun performance and her cute moves. The track is reminiscent of SAW, but it feels like being at a sock hop in a diner and dancing the night away. The backing vocalists do a good job too; I like how they harmonize the in the chorus .

That all being said, would've this made a better winner? It's hard to tell--it would've been more upbeat than most of the 1990s other winners, but In Your Eyes has aged quite well. And I have several other favorites, so I'm not the best one to comment on it.

Personal ranking: =6th/25 Actual ranking: 2nd/25 in Millstreet

#202: Serebro -- Song #1 (Russia 2007)

“Gotta tease you, nasty guy So take it, don't be shy Put your cherry on my cake And taste my cherry pie”

Unfortunately, song #1 neither placed on top of the 2007 class, nor was it the first song performed that year So, in more than one case, Song #1 is a misnomer.

Nor are they particularly unique amongst bands--Serebro has some similarities to tATu in 2003, in that they are a girl group with a sensual aesthetic. But while tATu's Eurovision entry is more dark, Serebro's has more attitude and edge.

Such saucy lyrics are what makes Song #1 such a total jam, albeit one the fandom overlooks. The dark production increases the attitude of this song, and I love the girls’ stage presence too! Especially those costumes (again, going back to the tATu comparisons, in that they were best known for their school uniforms, hehe); they never fail in adding some sexiness to the performance.

Personal ranking: 5th/42 Actual ranking: 3rd/24 GF in Helsinki

#201: Severina -- Moja stikla (Croatia 2006)

“Zvrc, zvrc, tražit ćeš moj broj, Kuc, kuc, kucaj nekoj drugoj, Jer još trava nije nikla, Tamo gdje je stala moja štikla!”

"Ring, ring, you'll search for my number, Knock, knock, go knocking somewhere else, For the grass has not yet sprouted, Where my high heel has stepped!”

There’s a lot of silly lyrics in Moja Stikla. From mentioning “sex” to “Afrika Paprika”, it’s easy to suggest that this is nonsensical. I’m reading over the lyrics again myself, and they tell quite a different story—of a woman who just wants men to stop hitting on her.

Even now, I'm still confused on how Zumba and African paprika make sense in avoiding men. Or high heels.

But it all doesn't matter when the music starts. Severina's backing vocalists add to the performances, with their solid harmonies and fun presence. Combined with Severina’s own high energy, it’s a good example of turbo folk (even though there was a bit of controversy about whether it actually sounds like Croatian music), and it’s all kinds of fun!

Personal ranking: 4th/37 Actual ranking: =12th/24 GF in Athens

#esc 250 #esc top 250 #esc germany #esc ireland #esc slovenia #esc greece #esc croatia #esc netherlands #esc russia #esc united kingdom #vintage eurovision #three minutes to eternity

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