NEW ART WORKS on Exhibition
Through to JANUARY 22nd 2014
Through to JANUARY 22nd 2014
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BUREAU OF ARTS AND CULTURE CLASSIC FILMS: TWELVE MUST SEE FILMS and WHY
BUREAU OF ARTS AND CULTURE CLASSIC FILMS
TWELVE MUST SEE FILMS and WHY
AMERICAN GRAFFITI BIG WEDNESDAY BREAKING AWAY CROOKLYN
LA BAMBA THE OUTSIDERS QUADROPHENIA REBEL WITHOUT A CAUSE
REPO MAN SWING KIDS THE GRADUATE WEST SIDE STORY
These 12 Classic Youth Films Express a certain Social Angst that is
still very much relevant for the Youth of Today's Current Society.
AMERICAN GRAFFITI
One of the most important films reflecting on American Pop Culture ever.
Produced by Francis Ford Coppola. Directed by George Lucas. Starring a cast
of new stars that have all gone on to have stellar careers in the film industry: actors, directors, producers. Richard Dreyfuss, Ron Howard, Harrison Ford, Cindy Williams, Suzanne Somers, Kathleen Quinlan, Candy Clark, Charles Martin Smith, Mackenzie Phillips, Bo Hopkins. A Film that holds up every time it is viewed. A nostalgic look at a time and a place in America just before we were hit with the death of the Kennedy's & other social leaders, Vietnam and a complicated world which forever changed our lives in America. This film went onto inspire the Television Show : HAPPY DAYS. As well as many teen/music films such as DAZED & CONFUSED by Independent Film Maker Richard LINKLATER. One can also see that this film production opened the door for Alan ARKUSH's
Classic Musical Teen Film: ROCK & ROLL HIGH SCHOOL. 
BIG WEDNESDAY
The most authentic fictional SURF FILM ever created. Directed & co - written
by John Milius, who would go on to put a surf scene in just about every film he would ever participate in, famously: the surf scene in APOCALYPSE NOW.
This film seems to capture West Coast Surf culture with the perfect blend of the nostalgic aspects of the early days on into the more cynical ones. Friendships, initiations, love, war and growing up with the waves. Another perfect ensemble cast, an original musical score and a voice over narration that perfectly tells the story like a good book. For a full Review Scroll down.
BREAKING AWAY
Growing up poor or middle class in an area where others are more privileged
is one of the themes running through this hilarious and charming film about
Biking, Friendship, Playing by the Rules and yes, ' Breaking Away ' from the
pack, traditions and false ideals. A story about finding & respecting yourself
in a world that refuses to do so. Dennis Quaid in an early and heartfelt performance. Directed by Peter Yates with a screenplay by Steve Tesich.
A great use of Classical Music throughout the entire production. Other cast members include: The incredible Paul Dooley as the dad, Barbara Berrie as
the Mom and Dennis Christopher, Daniel Stern and Jackie Earle Haley as
' The Cutters ' [ for cutting school ]. A fabulous uplifting production.
CROOKLYN
Spike Lee dishes up this family film which is loosely based on scenarios
created by his brother and sister and thier early childhood in Brooklyn.
A hilarious film that personifies the 1970's with all the pitch perfect hooks
and props, music and experiences that define the period. A heartbreaking
and yet wonderfully funny film that nails exactly what many of us went
through during our childhood experiences in America at that particular
time and place. Outstanding performances by the entire cast. As usual
Spike Lee's casting choices from Del Roy Lindo as the dad, Alfre Woodard
as the mom and a whole crop of new actors as well as Isaiah Washington,
RuPaul, Vondie Curtis-Hall and of course Zelda Harris as the young girl
who plays our lead character. With a great soundtrack, richly produced
and as usual great direction.
LA BAMBA
LA BAMBA
A musical bio that lovingly tells the story of singer Ritchie Valens, though
at the same time, tells a basic family dynamic of growing up, falling in love,
being accepted or not and dealing with life's opportunities under pressure.
A fabulous soundtrack that helped to put the band Los Lobos on the map.
This was a follow up to the success of Luis Valdez's play & film ZOOT SUIT.
With themes that describe the latino experience, musical prodigies, inter
racial love and crossing over into the mainstream American music charts.
This film, along with the Buddy Holly Story, Great Balls of Fire and the
many films on Elvis Presley,opened the door for the entire genre of music biographies that have lead up to: RAY, Walk the Line, Sid and Nancy.
Lou Diamond Phillips in his first starring role, Esai Morales in a pinnacle
supporting role as Ritchie's brother, Rosanna DeSoto as the mom and
Joe Pantoliano, Elizabeth Pena, Brian Seltzer and Tony Genaro supporting.
The OUTSIDERS
The OUTSIDERS
An outstanding adaption of an S. E. Hinton novel by Francis Ford Coppola.
The perfect film that reflects life on the, ' other side of the tracks '. Another
film that has a cast of new stars that will all go onto great careers in film:
C. Thomas Howell, Matt Dillon, Emelio Estevez, Rob Lowe, Patrick Swayze,
Tom Cruise, and Coppola regulars: Tom Waits, Diane Lane & Glen Withrow.
Heroic & authentic, sympathetic & rough, innocent & tough, all without
any slips in performance, style or structure, a really great film about family, friends, tribes and looking back one more time, before moving forward again. What's it like to be an American in middle America ? This is what it's like.
QUADROPHENIA
The first of several great films created by The Classic Rock & Roll Band:
The WHO. A semi autobiographical tale of Mods and Rockers in and around
the London music scene just prior to the creation of bands like the WHO.
The clash between the Mods & the rockers, not unlike the same clash we
see within the other films listed in this review: The Outsiders, Breaking
Away, Rebel without a Cause, Big Wednseday. The Who will go onto create,
The Kids are Allright & the Classic Rock opera TOMMY. Being authentic,
demanding respect from authority, rebelling against previous values and
searching for acceptance, but ultimately tossing it all away for self respect
are just a few of the themes in this great fictional film. Once again, many
of the cast members will become regulars and have entire careers and comebacks time & time again. Most notably: Ray Winstone in Sexy Beast, Timothy Spell in the films by the great Mike Leigh, Sting and of course a very young Phil Daniels, Leslie Ash, Mark Wingett, Phil Davis. Directed by Franc Roddam. With music by The WHO and the use of period music specifically Booker T and the MG's classic 'Green Onions', which is also used in American Graffiti and The Flamingo Kid [ another great film ]. 
REBEL WITHOUT A CAUSE
The benchmark of all great films about growing up. There had many teen
films before, but none could ever touch it after. The fact that it was filmed
in technicolor put it a cut above the juvenile delinquent genre that had been mostly filmed in low budget black & white. Of course, the pinnacle performance by James Dean in a role that absolutely never goes out of style. Each generation rediscovers this film and immediately relates. His sensitivity, his search for truth, his sympathy towards Sal Mineo and his love for Natalie Wood as well as the need to be accepted and respected all ring true to the kids of today's society.
The other films in this article could never have existed without the creation
and popularity of Rebel without a Cause. This is the quintessential teen film.
Although, it also speaks to the ever changing evolution from one generation
to another. A great original soundtrack, rich technicolor with realistic and dramatic performances. Supporting roles by Jim Backus [ the Voice of Mr Magoo ] and Dennis Hopper. Directed by Nicholas Ray and written by Stewart Stern based
on a story by Irving Schulman.
REPO MAN
Another small but interesting film about life in Los Angeles by director Alex
COX, who would later direct the classic Sid and Nancy biop on Sid Vicious of
the Sex Pistols Punk rock band that helped to start an entire revolution in
rock and roll music that still exists. Repo Man weaves between the new
music of the time and the different types of folks who inhabit Los Angeles.
The film is a satire on all types of people, much like the music of that time,
bands like Black Flag, The Circle Jerks, Iggy Pop, Suicidal Tendencies, The
Plugz and FEAR all made fun of society, so too does this film. With Emelio
Estevez and Harry Dean Stanton battling it out with for and among space
aliens, low riders, musicians and of course stealing back automobiles. Car
chases through the L.A. River, Low budget special effects and performances
by many real musicians such as band members of The Untouchables and
Circle Jerks make this a sort of time capsule of a time and a place. At the
time, this film was considered a cynical look at society, looking back at it
today, its almost innocent.
SWING KIDS
Music, politics and friendship collide into a whirlwind force among a group
of friends in Germany during the take over of Europe. Inspired loosely on
actual events in the life of people such as Django Reinhardt. Another cast
of important actors including: Christian Bale, Frank Whaley, Robert Sean
Leonard and Barbara Hershey. Loyalty is the running theme in this music
filled portrait which starts out as a story of friendship but swiftly veers into
a political thriller of the historical variety. An outstanding sound track with
great performances by an ensemble cast. The film asks us how far will we
go to be a success in our own time and place ? Loyalty to friends, to our own values, to our life may be more important than acceptance by the group, especially when the group is a destructive, controlling and obvious plague
on a free society such as ours.
THE GRADUATE
A hilarious, sensitive and heartbreaking story of one young man's journey into
self discovery after graduating from college. The film that put Dustin Hoffman
on the map. A soundtrack that launched Simon & Garfunkle into music stardom.
As well as introducing the directing career of, up to that point, comedian Mike Nichols who with Elaine May, had a string of successful comedic albums based
on their night club act. With a screenplay co written by Buck Henry of Saturday Night live fame and career making appearances by Anne Bancroft, Norman Fell, Katherine Ross, William Daniels and Murray Hamilton uttering the now classic, phrase, " I have one word for you … PLASTICS." Which seems to personify the artificial world that Hoffman's character is thrust into. An entirely different kind
of comedy that broke the mold on controversy, humor and the sad realities that would lay ahead for an entire generation in search of truth, love and once again, breaking away from the values of those that have preceded us. A great film with
a surprise ending that still to this day, is embarrassing, exulting & entertaining. Somewhere between the sympathetic soundtrack, the innocent performances
and the heartfelt realities of life, a strange and original cinematic experience emerges. No film has ever matched this blend since. The graduate opened the
door to a slew of new films that became a sort of a new and different genre:
The Heartbreak Kid & Carnal Knowledge among them.
WEST SIDE STORY
The classic updated version of Romeo & Juliet told here in New York City, between two rival gangs of kids from different ethnic backgrounds. This
film still holds up in every way, shape and form. Cinematography, costumes, dialogue, songs and of course the transformative choreography and music.
Leonard Bernstein developed this project for well over a decade and to this
day it is as fresh and relevant as any film about the youth of society today. Romance, violence, loyalty and the difficulty in crossing over from the folks
you were born with into the person you are in love with, are just a few of
the themes touch on here. The song lyrics are so entirely up to date, that it
is downright astounding how fresh and relevant this film is. Marijuana, Cops
and Detectives, Gangs, Social Workers, Fashion and most of all Love. This film becomes more and more impressive as time goes on. West Side Story contains performances by natalie Wood, Rita Moreno, Russ Tamblyn, David Winters,
George Chakiris, Tucker Smith and a cast of outstanding actors /dancers and
of course a soundtrack that makes it an utter and complete classic film that
will never go out of style.
[ Tap the titles below to visit links to these great classic youth films ]
VISIT THE BUREAU MAIN WEBSITE FOR AUDIO & SLIDE PRESENTATIONS
AN APPRECIATION OF HIS FILMS AND LIFES WORK BY JOSHUA A. TRILIEGI
FILM REVIEWS: TRIUMPH OF THE WALL . ON THE ROAD .
LIFE OF PI . SPENCER SUSSER: HESHER . BERT STERN: ORIGINAL MADMAN
FILM PERFORMANCE APPRECIATION: KRISTEN STEWART
BERNARD HILLER ACTING COACH TO THE STARS DISCUSSES HIS WORK & NEW BOOK
NEW YEARS EVE : NEW YORK CITY
Heres a List provided by The New York TIMES:
THE BAD PLUS The members of this acoustic power trio have recently diversified their output — hear Ethan Iverson, the group's erudite pianist, on the righteous new album "Tootie's Tempo," by the drummer Albert Heath — but that doesn't dilute their potency. The band, with Reid Anderson on bass and David King on drums, can be tender or vaulting; above all, its music bursts with openhearted possibility, a good fit for the threshold of a new year. At 9:30 and 11:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $150, including both sets and a $25 drink credit, with finger food and party favors. (Nate Chinen)
CHRIS BOTTI Perhaps it's his trumpet tone, suggestive of a shiny surface in soft focus, that has made Mr. Botti an instrumental pop star for our age; perhaps it's his approachable charm and the self-conscious ease with which he inhabits the role. Whatever the case, Mr. Botti knows how to bring a dash of informality to a formal occasion (and vice versa), and has made this residency into a tradition stretching back almost a decade. At 7 and 10 p.m., Blue Note, 131 West Third Street, Greenwich Village, (212) 475-8592, bluenote.net; $85 to $145 for the first set; $95 to $175 for the second set; includes Champagne toast and party favors. (Chinen)
HENRY BUTLER WITH STEVEN BERNSTEIN AND THE HOT 9 Two-fisted New Orleans piano and old-school soul singing live on in the splashy, flashy music of Henry Butler. Whether he's riding a New Orleans second-line beat, or tossing in classical-piano flourishes, or splintering a soul song into avant-garde jazz, or radically reconstructing a Professor Longhair standard, his virtuosity is a force of nature. For this six-night engagement, which starts on New Year's Eve, he's collaborating with the trumpeter Steven Bernstein and the Hot 9, a gathering of New York City's avant-gutbucket elite, and they're likely to push one another hard. At 7:30 and 10:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232; $125 for the first show, $195 for the second. (Jon Pareles)
CAROLINES NEW YEAR'S EVE SPECTACULAR Wyl Sylvince, Vince August, Michael Che, Phil Hanley and Matteo Lane joke their way out of 2013 before a balldrop viewing. At 8 p.m., Carolines, 1626 Broadway, at 49th Street; price information at (212) 757-4100; carolines.com. (Megan Angelo)
DEADMAU5 The man with the mouse ears persists, even as dance music's rush toward pop's center has begun to leave him behind. At this show, expect the usual outfits — plenty of neon, and plenty of homemade mouse-themed clothing in homage to the star — and the usual music, the progressive house that moves rooms but not, generally, minds. At 9 p.m., Nassau Coliseum, 1255 Hempstead Turnpike, Uniondale, N.Y., (516) 794-9300, nassaucoliseum.com; $30 to $175. (Caramanica)
MATTHEW DEKAY, AVATISM The New Year's Eve dance music at Output promises a maximum of minimalism: a 24-hour party, with sets from 20 D.J.s and teams. This lineup presents not the booming trance bangers and dive bomber bass attacks that have become mainstream electronic dance music, but the sparser, more subtle approaches of deep house and techno: pinpoint sounds and incremental changes, ticking percussion and woodpecker polyrhythms. Matthew Dekay, the Berlin-based D.J. who is headlining, often calls his music "dream house." Avatism, based in Milan, promises "live," whatever that means here; one of his songs observes, "There's different spaces, I don't know." Will anyone last the full 24 hours? If so, he or she will have heard a whole lot of sampled hi-hats on the offbeat. At 10 p.m., 74 Wythe Avenue, near North 12th Street, Williamsburg, Brooklyn; $30 to $75. (Pareles)
DIIV, RATKING This year DIIV hoisted Williamsburg's garage-rock torch. Swampy psych-rockers who initially called themselves Dive, in tribute to a Nirvana song, they channel their predecessors' ramshackle stage presence, watertight melodicism and frequently inscrutable lyrics. They're preparing their second album, to be unveiled tentatively in the spring; it follows the breakthrough "Oshin," released in 2012. They are joined by Ratking, a hip-hop crew often tagged as the East Coast's answer to Odd Future for its frenetically paced rhymes, dissonant effects and rapid beats; its debut EP, "Wiki93," was released last fall. With Potty Mouth, Nothing and more. At 8 p.m., Baby's All Right, 146 Broadway, at Bedford Avenue, Williamsburg, Brooklyn, ticketfly.com; $35 in advance; $40 day of show. (Anderson)
THE DISCO BISCUITS Camp Bisco, an annual summer festival in upstate New York, is in temporary session at this band's annual year-end gig in Manhattan. This eccentric funk-dance group from Philadelphia has recently leaned more heavily toward trance and electronic dance music elements onstage, but you can still expect noodling, open-ended instrumental solos and flurries of psychedelic visuals. At 11 p.m., the Theater at Madison Square Garden, (212) 465-6741, thegarden.com; $69. (Anderson)
THE FELA! BAND The Broadway production of "Fela!" has closed, but its ensemble — including Sahr Ngaujah, who played Fela — continues to perform the Afrobeat repertory of Fela Anikulapo Kuti. Fela merged Nigerian traditions with James Brown funk and late-1960's jazz; devised a deep and burly horn-section sound; stirred in some politics; and came up with songs that simmer and seethe with patient defiance. At 9:30 p.m., the Knitting Factory, 361 Metropolitan Avenue, at Havemeyer Street, Williamsburg, Brooklyn, (347) 529-6696, bk.knittingfactory.com; $60 in advance; $70 at door; $600 for a table for two including an open bar, Champagne and other luxuries. (Pareles)
JUDAH FRIEDLANDER AND WYATT CENAC Mr. Friedlander and Mr. Cenac are joined by Sherrod Small, Joe DeRosa, Paul Virzi, Dan St. Germain, Rachel Feinstein and other guests for the Stand's New Year's Eve show. At 8:30 and 10:30 p.m., the Stand Comedy Club, 239 Third Avenue, at 20th Street, Manhattan, (212) 677-2600, thestandnyc.com; $40 for 8:30 p.m., and $60 for 10:30 p.m. (Angelo)
WOLFGANG GARTNER The bucolic coastal California town of San Luis Obispo has yielded a considerable musical output that belies its size: Weird Al Yankovic, John Darnielle of the Mountain Goats and the folk singer-songwriter M. Ward have called it home. So does Mr. Gartner, a rising tech-house auteur firmly entrenched in Britain's influential Ministry of Sound scene. His corrosive, distorted beats evoke (and encourage) the most debauched of dance parties, and his sets at Roseland Ballroom and the Coachella Festival this year further accelerated his crossover popularity from niche D.J. to mainstream draw. He spins at Webster Hall's New Year's Eve Ball, with Gesaffelstein and Brodinski drawing the late (or early morning) shift. At 8 p.m., 125 East 11th Street, East Village, (212) 353-1600, websterhallcom/events; $99. (Anderson)
GESAFFELSTEIN, BRODINSKI Gesaffelstein and Brodinski are French aesthetes who make dark, disruptive techno and electro, music that moves with seismic urgency. Gesaffelstein's is gloomier and tougher than Brodinski's, which retains a peppy air. Both ended up contributing production to Kanye West's "Yeezus." With Para One, the onetime producer for the progressive French hip-hop outfit TTC. At 8 p.m., Slake, 251 West 30th Street, Manhattan, (212) 695-8970, slakenyc.com; $50 to $170. (Caramanica)
GHE20 G0TH1K Dark, brooding, sensual, abrasive: The long-running GHE20 G0TH1K party — which spans hip-hop, electronic music, R&B and global bass music — is all of these things. At this rave, the D.J.s will include the doyenne of the scene and sound, Venus X; MikeQ, a young innovator in the New Jersey club and ballroom worlds; Shayne Oliver, also the designer of the cult clothing label Hood By Air; and Rizzla, Uniique, LSD XOXO and Danii Phae. At 9 p.m., 1040 Metropolitan Avenue, at Morgan Avenue, Williamsburg, Brooklyn, ghe20g0th1k.com; $15. (Caramanica)
GOGOL BORDELLO Downtown's waning punk hedonism endures in this Gypsy-punk troupe, whose unrestrained live carnivals mix Eastern European musicality with sweat-soaked theatrics. "Pura Vida Conspiracy," the group's rough-hewed sixth album, was released in July; it included "Lost Innocent World," its most propulsive track in years, and the soundtrack of the hourglass-themed video the band created in collaboration with the Museum of Contemporary Art, Los Angeles. With Man Man. At 9 p.m., Terminal 5, 610 West 56th Street, Clinton, (212) 582-6600, terminal5nyc.com; $35 in advance; $40 at the door. (Anderson)
GOV'T MULE On "Shout!" (Blue Note), the revved-up double album it released this year, Gov't Mule played a game of what-if, running down the track list first with its frontman, Warren Haynes — and then again, on a second disc, with guest singers like Elvis Costello, Dr. John and Jim James. It's a good illustration of the pliability that this Southern-rock jam band has made its calling card, and it bodes well for vocal walk-ons during a two-night run in a familiar room. At 9 p.m., Beacon Theater, 2124 Broadway, at 74th Street, (212) 465-6500, beacontheatre.com; $65 to $89.50. (Chinen)
INFECTED MUSHROOM This high-energy psychedelic trance act from Israel has been conjuring dizzying and spacious (though sometimes unbearable) soundscapes for almost two decades. Its music can be incantatory and gratingly optimistic, and its live show is a doozy, full of 3-D visuals displayed on side-by-side pods that hold the members, Amit Duvdevani and Erez Eisen. At 9 p.m., Best Buy Theater, 1515 Broadway, at 44th Street, (212) 930-1950, bestbuytheater.com; $50 to $70. (Caramanica)
BILLY JOEL He's being hailed as the "next franchise" at Madison Square Garden, a distinction that derives from his once-a-month schedule of shows there next year. (Surely it's not also a sop for those disgruntled with that other Garden franchise, the Knicks.) Not to be outdone, the Barclays Center is advertising this one-nighter as his first solo arena concert in the five boroughs since 2006. And the opening act, Ben Folds Five, is led by another piano man, whose lyrics on a recent album, "The Sound of the Life of the Mind," occasionally step onto Mr. Joel's turf: "Rosa Parks and DNA/Joan of Arc and J.F.K." At 9:30 p.m., Barclays Center, 620 Atlantic Avenue, at Flatbush Avenue, Brooklyn, (800) 745-3000, barclayscenter.com; $64.50 to $199.50. (Chinen)
THE JIM JONES REVUE Piano-pounding 1950s rock 'n' roll with everything turned up to 11: That's the straightforward concept, executed with rowdy abandon and proud distortion, of the Jim Jones Revue. In the early 1990s, Mr. Jones led Thee Hypnotics, reviving the fuzz-toned 1960s primitivism of the Stooges; moving back a stylistic decade doesn't hinder his throat-ripping rasp. The band headlines a night of vintage-flavored rock with the Compulsions, Jeremy and the Harlequines, New York Junk and Graveyard Lovers. 7:30 p.m., Bowery Electric, 327 Bowery, at East Second Street, East Village, (212) 228-0228; $40. (Pareles)
WYNTON MARSALIS SEPTET It's not technically an undersell if you're playing in your living room, and Mr. Marsalis, the guiding light of Jazz at Lincoln Center, has made it clear that he regards this club in those terms. What's exciting about his engagement is the band he has chosen to assemble: a near facsimile of his turn-of-the-century septet, featuring insightful partners like the trombonist Wycliffe Gordon, the alto saxophonist Wessell Anderson, the drummer Herlin Riley and the bassist Reginald Veal. At 7:30 and 11 p.m., Dizzy's Club Coca-Cola, Frederick P. Rose Hall, 60th Street and Broadway, (212) 258-9595, jalc.org; $375 for the first set; $550 for the second set; includes cocktail reception, dinner and party favors. (Chinen)
THURSTON MOORE This underground guitar god, formerly of Sonic Youth, has always been a catholic-minded collaborator, and he settles in with some fittingly raucous partners at the Stone. At 8 p.m., he'll play a duo set with the saxophonist John Zorn, who founded the club. At 10 p.m., for a separate cover, he'll serve up a postpunk fantasia with the bassist Mike Watt, a founder of the Minutemen, and the artist Raymond Pettibon, who designed the Black Flag logo (and the cover of Sonic Youth's "Goo"). Then, not long before the stroke of midnight, Mr. Moore will start up his band Chelsea Light Moving, which released a self-titled debut album this year. Avenue C, at Second Street, East Village, (212) 473-0043, thestonenyc.com; $25 at 8 p.m.; $50 at 10 p.m. (includes the 11:30 set). (Chinen)
MURPHY'S LAW, URBAN WASTE New York hardcore, 1982 to 1985. Murphy's Law, from Lower Manhattan, played fast songs about beer, partying and rule breaking. Wherever the band saw piety, it went the other way, even going so far as to sing a pro-Reagan song ("California Pipeline") to nominally lefty audiences. Urban Waste, from Queens, played faster songs about police hassles and nonconformity: a doomsday band, with a little party on the side. Murphy's Law never really ended, meeting nostalgic needs, getting a little into the ska-punk thing, gigging from time to time. Urban Waste made one great seven-inch EP and broke up, but remained influential; the San Francisco punk band Ceremony recently recorded a cover of "Public Opinion," 29 years after the original. They're both back, with one original member each: Murphy's Law's singer Jimmy Gestapo and Urban Waste's Johnny Waste. With Zombie Fight, Skum City, Death to Slater, and Sewage. At 8 p.m., the Trash Bar, 256 Grand Street, between Driggs Avenue and Roebling Street, Williamsburg, Brooklyn, (718) 599-1000, thetrashbar.com; $12. (Ben Ratliff)
MYKKI BLANCO, DJ RASHAD, IAN ISIAH A patchwork of forward-looking hip-hop, dance and R&B at this likely-to-be-rowdy show: Mykki Blanco, whose overlap of hip-hop and performance art is alternately thrilling and vexing; DJ Rashad, one of the young titans of Chicago's footwork and juke music scenes; and Ian Isiah, a sharp singer who comes on like a DIY version of The-Dream. Also with Boychild, T.E.A.M.S., Princess Nokia and more. At 8 p.m., Gramercy Theater, 127 East 23rd Street, Manhattan, (212) 614-6932, thegramercytheatre.com; $29.50. (Caramanica)
NO STATIK, NOMAD, LA MISMA, GRUDGES Pull back the lens on your life until you're looking at others' as well. Pull it back further so that you can see hundreds of days of many, many lives. Further, further — stop. One year looks pretty much like the next, doesn't it? Calendar units are pretty arbitrary, aren't they? Some of the best new hardcore punk bands, like the Bay Area band No Statik, fronted by the ball-of-fury singer Ruby, drive this lesson home with evergreen pessimism and reliance on 30-year-old verities of speed, swing, volume, shouting and feedback. They're historians of explosion. Also on the bill are three New York grindcore and noise punk bands: Nomad (singing in Japanese), La Misma (Portuguese) and Grudges (grunts). At 8 p.m., Acheron, 57 Waterbury Street, Williamsburg, Brooklyn, theacheronbk.blogspot.com; $10. (Ratliff)
PHISH This long-running, genre-defining Gen-X jam band has been playing New Year's Eve shows at Madison Square Garden since 1995, and its long sets of originals and unexpected covers have their own lore; when you see the band there, you're taking part in several different traditions at the same time. At 8 p.m., Madison Square Garden, thegarden.com; $65 to $75. (Ratliff)
PUNCH BROTHERS, SARAH JAROSZ If bluegrass were algebra, the Punch Brothers' music would be multivariable calculus, using the same (string band) instruments to explore more complex and nonintuitive possibilities: jazzy harmonies, untraditional timbres, shifty meters, Radiohead songs. There are all sorts of musicianly challenges being made and mastered in the band's songs, but the lyrics and Chris Thile's voice turn the band's cerebral efforts back toward matters of the heart. Sarah Jarosz, sharing the bill, plays banjo, mandolin and guitar, among other instruments; she is building her own intelligent, and sometimes spooky, acoustic Americana. At 9 p.m., Bowery Ballroom, 6 Delancey Street, at the Bowery, Lower East Side, (212) 533-2111, bowerypresents.com; $55. (Pareles)
RING IN THE SWING: A NEW YEAR'S EVE DANCE PARTY A tale of two dance bands, one dealing with swing and the other with clave: first, an eight-piece band led by the polished trumpeter Dominick Farinacci, with guest vocals by Charenee Wade; and then the percussionist and vocalist Pedrito Martínez leading his namesake group. The two ensembles will alternate hourlong sets until 1 a.m., at which point they'll converge in a giddy tangle, probably like a few of the couples on the floor. At 8:30 p.m., Allen Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 721-6500, jalc.org; $325, including two sets, open bar, food, Champagne toast and party favors. (Chinen)
CHITA RIVERA If any performer possesses the secret of life, Ms. Rivera, 80, seems to have it. It's in her proud, high-stepping body language; her air of mischievous, never-say-die sensuality; and her insistence on laughing at life's misfortunes that she personifies unstoppable vitality and joie de vivre. With the possible exception of Liza Minnelli, Ms. Rivera is the ultimate interpreter of the Kander and Ebb songbook, in which the brassier side of show business and life's struggles are synonymous. For her two New Year's Eve shows, she will be accompanied by her longtime trio, under the direction of Michael Croiter. At 7 and 11 p.m., 54 Below, 254 West 54th Street, Manhattan, (866) 468-7619, 54below.com; $300 and $400. (Stephen Holden)
JILL SCOTT Her sultry, jazzy, playful earth-mother voice holds cascades of words: as song lyrics and hip-hop poetry; as tales of passion, heartbreak, struggle and self-invention. Sometimes she makes intimate confessions; sometimes she offers sisterly exhortations. She released her last studio album in 2011, followed by a rupture with her longtime label; perhaps this concert will unveil new songs. Sharing the bill are the R&B singer Luke James and DJ Premier, best known as the producer for Gang Starr. At 9 p.m., Radio City Music Hall, (212) 247-4777, radiocity.com; $70 to $255. (Pareles)
TANLINES D.J. SET The photogenic duo Tanlines from Brooklyn assemble their dance floor collage from sun-bleached tropicalia, atmospheric electropop and synthetic R&B — a fitting alchemy for two Brooklynites who earned their stripes remixing tracks by the indie chameleons Glasser and Telepathe. Last year, on their debut album "Mixed Emotions," Tanlines tapped into a wistful, danceable vein as they confronted adulthood and endearing insecurities; they will most likely spin an eclectic D.J. set in Brooklyn. At 12:30 a.m., Brooklyn Bowl, 61 Wythe Avenue, near North 11th Street, Williamsburg, (718) 963-3369, brooklynbowl.com; $15. (Anderson)
STEVE TYRELL "What Are You Doing New Year's Eve?" is but one timely standard that Mr. Tyrell is sure to sing during this glittery engagement, drawing from his 2010 album, "This Time of the Year." It's his habit to set up holiday shop in this room, and what he lacks in vocal expressivity he can make up in raffish enthusiasm. At 5:30 and 9 p.m., Café Carlyle, 35 East 76th Street, Manhattan, (212) 744-1600, thecarlyle.com; $175 for the first show; $600 for the second, which includes dinner. (Chinen)
THE WILLIAMSBURG SALSA ORCHESTRA, ANTIBALAS The Williamsburg Salsa Orchestra mixes the core of the New York salsa repertory with songs from recent years of indie-rock and punk; Antibalas, the long-running Afropunk and Afro-Latin band, makes music to keep losing and finding yourself in, with chants, polyrhythm and dense horn arrangements. Both bands do party music by definition, no matter what day. 8 p.m., S.O.B.'s, 204 Varick Street, at Houston Street, South Village, (212) 243-4940, sobs.com; $40 to $160. (Ratliff)
WINTER GALACTIC The promised special effects are to include snow at this electronic dance party, where house, dubstep and trance will be thumping, buzzing, lurching and doing bass drops until 4 a.m. The headliners include Dada Life, the Swedish duo that pound out booming party anthems like "So Young So High"; Porter Robinson, an American who veers in various directions from electro house; and Rusko, a dubstep pioneer. With W&W, Bassjackers, Cash Cash and Bambi. Hammerstein Ballroom, 311 West 34th Street, Manhattan, (212) 279-7740, wintergalactic.net; $78.25 to $322.05. (Pareles)
Joshua A. TRILIEGI
Editor - in - Chief
BUREAU of Arts and Culture Magazine
BUREAUofARTSandCULTURE.com
1282 W SUNSET Boulevard Los Angeles 90026
Direct Office Line 1 213 975 0067 JoshuaTRILIEGI@Gmail.com
The American Neighborhood, Technology & Your New Years Resolution
The American Neighborhood, Technology & Your New Years Resolution
We as Americans have come a long way in the past hundred
or so years. We have the car, train and plane, the telephone,
the film and we have the television. Have we gone forward or
are we using these incredible tools of communication, travel &
expression against one another ? Imagine the delight, pleasure
and convenience these devices had once abled early Americans.
Look at how these incredibly important tools of the technological
age are being squandered, abused and wasted on ugly acts of
judgement, surveillance and communicating wrongs, perceived
wrongs and often child-like conversations of a negative nature.
It is as if Stanley Kubrik's vision of the 2001 A Space Odyssey
variety has been linked in reverse. Where the computer H.A.L.
has all the tools necessary to assist mankind and instead of doing
so, decides, in one way or another to attempt to control mankind.
But in this case, it is even worse than that. In this case, the tools
of technology have been invented and given freely, then we as a
species have reverted back to an earlier stage in our development,
utilizing the tools of invention, communication and travel only to
control, hurt or even to destroy one another. From the Jetson's to
The Flintstones, all because some people would use these tools to
express some form of hurt, oppress, judge, moralize or badger
their fellow man, their neighbor, someone they may disagree with.
Add to that those who are all too willing to throw their children
into the mix, to have their own children express some viewpoint
to a total stranger by acting out some fake scenario for the purpose
of influencing and or ' sending a message ' to a total stranger or to
a neighbor or group of people. Is this the American Neighborhood
of today ? Or is this a divisive game that will most likely backfire on
us ? What kind of world will this be when those same children, grow
up and realize what it is they were taught to do ? Most likely, they
will turn around and 'act out' some type of scenario on those who
taught them to do so in the first place. Creating an atmosphere of
indirect communication on a somewhat judgmental, critical & often
petty level. An embarrassing & futile game of false and misleading
commentary of some form or another. A bad metaphoric linguistic
nightmare that surly will set us all back by the decades. If you are
entirely unaware of what it is this writer is speaking to, congratulations.
You have, so far, avoided and some how steered clear of this game.
Unfortunately, you are not in the majority in this particular case.
Most reading this article, know exactly what it is we are talking about.
I wonder where this is all headed ? Are the private lives of Americans
that boring, that mundane, that eventless that the coming and going
of celebrities, media professionals or just some local character more
important than their own lives, their own direction, their own biography?
Each person writes their own biography on a daily basis, but spending
a majority of your day reacting to someone else's is no biography at all.
Its a petty, mindless and often way off the track game of bogus hearsay.
We are witnessing this game being played all over and I personally feel
a certain concern for those playing it. Usually and often, it is a group
activity, which puts it in the category of Fascism, Bullying, Them vs US,
type of thinking. An extreme attitude of the variety that thinks that,
" We are correct and the person we are ' playing ' is wrong ." That is
a very dangerous game indeed. This is America, in fact, this is The New
America, a place where we came to get away from tyranny, oppression
and group aspects of living. Oftentimes this game is being played by a
staff of professionals who are working for a larger business: a grocery
store, a group of drivers with a fleet of vehicles and of course corporations.
Sports, news, radio commentary, print media, headlines, billboards + more.
But here is the real problem. Once this game has been introduced,
others begin to play it, and it spirals into areas where such games can
only hurt. The American neighborhood has taken on this game at all levels
and especially in the middle and lower income brackets. A place that was
once safe from this type of dishonesty and manipulation has become
total victim, by becoming a total game field. We can only imagine that
utilizing communication devices to track the whereabouts of individuals
was thought by some to be a powerful move at first glance, but looking
again, we can easily see that this has damaged those who do the tracking
more than those who are being tracked. A losing game that hurts everyone,
but mostly it hurst the fabric of America. If your only way to influence is
through some form of phony, act out, conversation on the tele, prerecorded
radio spot or live commentary, than you are someone with no influence at all.
Some of what we are discussing here has been fueled by pseudo-psychological
double talk that is of the most elementary level. An almost embarrassing and
down right ignorant form of quasi - communicado that only the most infantile
individuals would either be influenced by or attempt to influence with as a tool.
Anyone with any sense would walk away from this type of group haranguing &
simply begin again to live their own lives. But walking away from a game like
this won't be easy. Once people who are a part of a group, people who, on their
own feel: little, diminished or worthless, may find it very difficult to leave. People who are addicted to the telephone, addicted to the car, addicted to the television and indeed addicted to playing the game on others, on unsuspecting individuals, these are fascists, these are bullies, these are a group of people who have no life of their own. For those reading this article who still do not know what we are talking about,I congratulate you a second time, I hope you never know what we are talking about. For those of you who, do, we wish you the best of luck in your recovery.
A Suggestion :
NEW YEARS RESOLUTION , STOP PAYING THE GAME AND YOU CANT LOSE.
A Reminder:
WE ARE AMERICANS, WE LIVE OUR LIVES, WE DON'T LIVE OTHERS LIVES.
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