Happy Halloween Bitches!!!

New developments in the culinary field

Domino goes green

Are you a real American

Hot for Teacher

Hooking up with
Professors
By Julia Allison

Professors’ wives may be the only segment of American society left untapped for the bright(ish) lights of reality-show infamy, but that doesn’t mean they’re not worthy. Joanne Rendell’s new novel, The Professors’ Wives’ Club, proves that the students aren’t the only ones steaming things up. Although a work of fiction, the book has been well researched: Rendell, 34, lives in a real NYU dorm and is herself a professor’s wife—her husband is a member of the faculty at the Gallatin School of Individualized Study.
Professors’ wives are in a unique position, claims Rendell. “They are often deeply connected to the university world. They live in faculty housing, take their kids to university child care and work out at the university gym. However, when it comes to university decisions, they have little power.” Still, Rendell has found herself in many, um, positions: “[I’ve] had sex in a library, on a pile of books and at an academic conference! How many other wives have had such opportunities?”
Good point. I need to get me a professor.
But Rendell is quick to warn me: “Women who marry professors are not the kind of women who’d ever have been interested in the quarterback in high school! They prefer a gentler, more nerdy kind of guy. They like a man who’ll talk to them, listen to them, do the dishes and watch the kids. Professor men are the kind of men who’ll do these things.”
Let me reiterate: I seriously need to start dating this geeky species. Of course, there must be some downsides to marrying a guy who spends his days surrounded by binge-drinking Barely Legal wanna-bes. Does the life of a professor’s wife come with a constant fear that office hours is a euphemism for underage T&A? Did a professor first concoct the naughty-schoolgirl outfit? How could you not be worried—or at least a little jealous?
“If you feel strong and secure in your relationship, like I do,” says Rendell, “you’re not going to worry about such a thing. However, these relationships do happen—you hear them whispered about. Although there are university rules these days regarding professor-student relationships, it would probably be impossible to wipe out sexual tensions in the classroom altogether. There are always going to be students who find their professors smart and sexy; and there will always be professors who like the adoration of their young, good-looking, students.”So I suppose professor-student role-playing in the bedroom is a little too realistic?
“Urck!” Rendell winces. “I can’t imagine anyone I know getting up to such antics! In such a scenario, would the wife have to complain about her grades and continually check her cell phone while the professor is performing? And would the husband have to moan about committee meetings and the pile of assignments to grade while the student is doing the do? I think academic couples know the sad and boring realities of university life too well to make such a sex game any fun!”
Well, that doesn’t sound too hot. But there’s always sexy librarian/nerdy bookworm. The stacks of Columbia, here I come!

SOURCE

booze up the day

Best news ever

Be a THRILLER ZOMBIE this Halloween!

ThrillerNYC

DANCING THE DANCE SINCE 2004



Be a Zombie and go all out. Rehearse to walk the Parade dancing Thriller and havin a fun time...

Go to http://thrillernyc.com/ for more details!

Your daily thought for the brain..

In focus: Dr. Funk

Lesheshi: Cual es el origen de tu nombre artístico y porque?

Dr.Funk: Viene de FunK PunK, mis amigos toda la vida me llaman así… y Dr. Quería darle otro toque al nombre y me acorde que con mis amigos nos decimos así... Doctor esto Doctor aquello. De ahí entonces me surgió Dr.FunK


Lesheshi: Como surge tu passion for electronic music? A ver como definirías tu estilo?

Dr. Funk: Desde temprana edad siempre me a gustado lo diferente a lo normal. Cuando conocí la escena de la música electrónica quede encantado, todo para mi era totalmente diferente, los sonidos, la buena vibra que se siente en el aire. En fin con el pasar del tiempo iba enriqueciéndome y a la ves buscando el sonido perfecto que iría conmigo. Mi estilo yo diría que es bien funky me gusta mucho el groove que le da el funk a todo los track, sonaría entonces algo como Funky Minimal Tech


Leshehi: Quienes han sido tus influencias artiscas y como han ayudado acoplar tu estilo de música?

Dr: Funk: Mis influencias vienen de Adam Beyer, Marco Carola, Andre Crom, John Digweed, Cabanne, Alexi Delano. Tocan el sonido que me gusta, Te arman un set nada cuadrado, juegan con tu mente y te llevan hasta donde todo público quiere llegar. Para mi eso son mis profesores.


Lesheshi: Vynil / CDJ / Traktor/ Abbleton. Como Dj define la importancia de cada uno.

Dr.Funk: El Vynil ahora mismo no esta en su tiempo, diría que le falta poco para que muera, ahora mismo hay una invasión con la tecnología increíble. Al Dj de ahora le gusta lo fácil y rápido, Es mas fácil entrar a una Web y comprar tu música MP3 y en 1 minutos tenerla en tu laptop, que entrar a una Web y hacer un pedido de Vyniles y esperar 1 semana que llegue. Para mi todo es lo mismo, el que hace un buen Dj no es el formato como toquen, el buen Dj es lo que el pueda hacer o como juega o invente en el momento. El buen dj debe ser Innovador y creador.


Lesheshi: What is NEK? Como surge el nacimiento de dicha organización?

Dr. Funk: NEK fue creada con el objetivo de expandir el concepto de música electrónica a través de toda la región norte. NEK no es más que una comunidad que pretende que se expanda la música a un nivel más allá de las expectativas que se tienen hasta ahora, demostrar que no solo somos personas amantes a las fiestas, sino amantes a la buena música.


Lesheshi: Es una cosa decir como artista yo quiero lograr esto, pero es muy diferente el establecerse en un país donde la música electrónica no es el plato diario del día. Como ha sido tu experiencia?

Dr. Funk: Si es muy difícil aquí llegar a donde uno quiere, Ahora mismo la escena esta en descenso, culpa del gobierno, que tiro un decreto que no se puede pasar de las 2:00AM en clubes y fiestas. Eso a afectado bastante a la escena electrónica de nuestro país.. Pero esas no son razones para yo dejar de hacer lo que me gusta, seguir adelante y seguir luchando por lo que uno quiere. La música mueve todo, algún día para muchos será el plato del día. Keep Underground Alive


Lesheshi: Que significa el Coro?

Dr. Funk: Una manera diferente de vivir, Un estilo de vida =)


Lesheshi: Como te sientes con la acogida que ha tenido tu música. Kung Funk & Pop Clown como surge el comenzar a producir tu propia material?

Dr. Funk: El Dj llega a una etapa que pasara haciendo lo mismo ósea contrataciones y contrataciones y si se queda ahí entonces cansara al público. Hay que avanzar a la 2da etapa PRODUCIR. Eso hice.... Mi nombre esta donde quería que estuviera, ya ahora estoy produciendo, creando mis propias ideas que es lo que me gusta. Pop Clown Fue mi primera producción el track todavía no a salido. Y el publico le a encantado mi idea de crear un Circo y sonarlo en las fiestas, el track lleno toda las expectativas. Kung FunK es mi 2da producción, el track viene del Kung Fu, este track no deja de gustarme creo que hice un buen trabajo, igual que el publico le a gustado mucho. Pueden oírlo en www.dr-funk.net


Lesheshi: Aside from Eletronica what else do you listen to? Algún tema que siempre llevas en la cabeza?

Dr. Funk: Si... K-10 de Misstress Barbara.


Lesheshi: A donde te ves dentro de 10 años?

Dr. Funk: En todas las tiendas de música del mundo.


Lesheshi: En breve y en corto cual ha sido el act mas recordado o memorable para ti? Porque?

Dr. Funk: Mi mejor actuación fue el Opening set que le hice a Marc Houle en la Yuca, Santo Domingo. El crowd estaba increíble y mi set fue para chuparse los dedos, cuando termine de tocar y baje del Dj Booth y me integre al crowd todo el mundo me abrasaba y me felicitaban de una manera como si todos fueran mi mejor amigo de la infancia... Se pasaron la noche entera felicitándome, fue algo increíble ver que todo el mundo le allá gustado lo que hice.


Lesheshi: Tienes planes de algún día hacer un viajecito por gringolandia?

Dr. Funk: Claro que si, mis metas son ahora salir y enseñar mi música al mundo. Espero que sea pronto.


Lesheshi: Gracias let keep it funky with Dr. Funk

Dr. Funk: Gracias a ustedes por tomarme en cuenta. Saludos y besos para todos.


Musikita:

Dr.FunK @ Palafitos Moca 26-09-2008

Part 1: http://rapidshare.com/files/151925664/Dr.FunK___Last_Friday_Palafitos_Moca__26-09-2008_Part_1.mp3
Part 2: http://rapidshare.com/files/151965414/Dr.FunK___Last_Friday_Palafitos_Moca__26-09-2008_Part_2.mp3


In Agenda








Additional Tour Dates
1 NOV @ Rojjo, Santiago
8 NOV @ Embocca, Cabarete
9 NOV @ Hotel Barcelo, Bavaro
21 Nov @ Higuey
29 NOV @ Palafitos, Moca
20 DIC @ Encuentro, Sto Dgo

Booking & Info:
info@dr-funk.net
info@orbitalbookings.net

Web:
www.dr-funk.net
www.orbitalbookings.net

Your daily thought for the brain..

booze up the day

Olafur Eliasson's Waterfalls: Better for the city than expected

As crews begin dismantling Olafur Eliasson's four arboricidal waterfall scaffolds, the mayor's office has released a report asserting that the economic impact of the installation was better than expected. When the waterfalls were turned on back in June, Bloomberg predicted the city would see some $55 million in revenue from the exhibition. A study commissioned by the city’s Economic Development Corporation says that the NYC Waterfalls generated an estimated $69 million for the city. According to City Room, that figure breaks down like so:
$15.5 million in direct spending on the exhibition’s total presentation, including building materials, construction, operation, disassembly and promotional and educational materials.
An estimated $26.3 million in incremental spending by the 1.4 million visitors to the show.
An estimated $26.8 million in “indirect spending from these expenditures.”
At a press conference today, Bloomberg told reporters, "We always knew the waterfalls [exhibition] was going to reinvigorate our city's waterfront—but its actual impact has exceeded our expectations. People didn't buy tickets or pass through a turnstile to experience the waterfalls, but this exhibition brought people to areas of the city they might not otherwise ever have visited." A company called Audience Research & Analysis conducted visitor counts and surveys throughout the summer and determined that 1.4 million people visited. 79,200 of them were visitors to the city who, were it not for the waterfalls, would not have visited or extended their visit.
Of course, there are skeptics. Carol O’Cleireacain, a former New York City budget director and expert on urban economics, tells the Times, "As in many economic models, it all depends on the assumptions you make. If you make generous assumptions, you’ll come up with generous results."

Source

Bitches is fall sale so let get it on!!!

Mid-October is a great time to start shopping. Many retailers need to clear out all the crap that they din't get to sale throughout July and early October. The means they make some room for all the new crap for all the Holidays items that start popping up in Mid October.

Take a twirl through the different shops with your eyes pealed for sale signs and try Old Navy which is currently touting up to 50% off, JCPenney.com has special online 40-50% off deals and Payless is currently offering their “BOGO” deal—buy one pair and get ½ off another item.

Hey don't knock it! You never now what deal you might find...

CMJ minus a cover? In the Park? Fucking there yo!

Unknown(at least to me) awesomer Todd P, of Brooklyn has organized an all gratis mini fest in Brooklyn's very own Central Army Plaza(located at the north pedestrian entrance of the Williamsburg Bridge in the heart of Wburg) Begining today and here is the stellar lineup!!!

--WEDNESDAY-3pm-to-9pm--> Future Islands . Hospital Bombers . Crystal Antlers . Ninja Sonik . Team Robespierre @ C.A.P. for -FREE-! (Wednesday's lineup was fully booked/organized by entertainment4every1.net)--

THURSDAY-3pm-to-9pm--> Adventure . Kirsten Ketsjer . THE PHARMACY . Die!Die!Die! . Aa (aka BIG A little a) @ C.A.P. for -FREE-!--

FRIDAY-3pm-to-9pm--> Teengirl Fantasy . Shellshag . YO MAJESTY . THANK YOU . That Ghost . BEST FWENDS . WOODS @ C.A.P. for -FREE-!
--

SATURDAY-2:30pm-to-9pm--> Red Dawn II . VIVIAN GIRLS . WHITE RAINBOW . Rob Walmart . DMBQ . PONYTAIL . Arbouretum . Pterodactyl . FIASCO . @ C.A.P. for -FREE-!

Click on Toddp's blog for times n shiz

what-happened-rock-en-espanol

Why has "Rock en Español" culture in the U.S. virtually disappeared?
Camilo Lara: I guess it never grew because there weren't enough local bands. Most of the interesting bands were coming from Argentina, Spain or México. Since there was not a big live scene, there weren't many radio or TV shows covering it. It's hard to sell something without a large media presence.

Elena Rodrigo: For some, the genre never blew up. For others, despite being a genre that didn't get mainstream radio or TV play, "Rock en Español" achieved a lot on its own. Consider all the sold out tours and that it was recognized as a Latin genre by music stores and the media. In some cases, bands were able to reach gold or platinum status in record sales, so one could argue it was a success. But if the industry and general public expected to have the success of pop or Mexican regional music in this country without having invested the same amount of money and without having put in any work, then in their eyes, it is a failure.

Ed Morales: The tastes of U.S. Latinos are different from the tastes of youth in Latin America. Rock was becoming a passé style of music in the U.S. when "Rock en Español" began to catch on in the mid-'90s. Many young people had already embraced either hip hop – which was the emerging dominant popular music – or they clung to tropical or Mexican regional music because they identified with their home country's culture.

Also, rock has a different history for Latinos who live in different parts of the country. In California, the West, and to some extent, the Midwest, rock was more accepted as a "rebel music" for Latino youth, and many Latinos of older generations participated in its development. On the East Coast and in South Florida, rock was part of Anglo culture, and being involved in rock represented "selling out" your Latino identity. There was little participation of Latinos in the development of rock music in cities like New York and Miami. Instead, salsa and other tropical music represented cultures of rebellion, and in New York, Latinos played a significant role in the creation of hip hop.

Jorge Leal: I would argue that the rise of Spanglish media outlets such as mun2, MTV Tres, LATV, and SíTV was directly tied to the rise of popularity and visibility of "Rock en Español."

“Rock en Español” empowered a generation of young Latinos by offering them fresh artistic offerings in the language of their parents. For the first time, hearing a song in Spanish was "cool" and "hip." So was learning about the latest happenings in cities throughout Latin America. The music was no longer the nostalgic and rural fare from their parents and grandparents. However, it didn't result in phenomenal record sales, nor skyrocketing radio ratings.

Enrique Lavin: It was only a niche within a Latin cultural movement, and there wasn't one group from the U.S. Latin rock scene that was able to transcend language with its sound. If Aterciopelados or Manu Chao or Café Tacvba were born in the U.S., then there may have been more of a national interest in the scene.

Juan Data: It's true, "Rock en Español" in the U.S. has disappeared and the reason is pretty obvious: reggaetón has completely taken over Latin music. It's not that reggaetón is stealing fans from rock. I just think "Rock en Español" stagnated due to its inability to generate new fans. In my work as a DJ, I've observed that the majority of Latino immigrants are interested in "Rock en Español" purely for its nostalgic value. They want to hear songs they remember listening to during their youth – that's why the Soda Stereo tour was successful last year – but they aren't interested in listening to new music by those artists or any others who have taken their place.

It's understandable that record companies stopped trying to sell them "Rock en Español" and instead focused on reggaetón, a genre that is much easier to market. Reggaetón offers young Latinos music they can identify with and consider their own because it's not a Spanish-language "copy" of English-language music (Rock en Español, rap en Español, reggae en Español). It also appropriates the style and swagger of hip hop, giving it street credibility (vital for the "macho" ego of Latino adolescents) that "Rock en Español" could never offer.

Why did the U.S. "Rock en Español" scene that produced bands like Pastilla, Volumen Cero, Maria Fatal lose steam?
Tomas Cookman: With all due respect to the artists that are mentioned, I never did see them as the bands that would help lead a charge. There were other acts that did more and went further and opened doors for others.

Lavin: These U.S.-based bands spoke to a specific audience (bi-cultural, suburban, middle-class Latinos) with a pop-rock sound at a time when Nirvana, Pearl Jam, Beck, the Red Hot Chili Peppers and the Beastie Boys ruled alternative rock. These bands didn't bring anything new to the national rock story except a foreign language.

Morales: As much as I liked bands like Pastilla, Volumen Cero and Maria Fatal, I think the bands that developed in the U.S. didn't have as much quality and grassroots support as bands from Latin America. When bands like Caifanes, Fabulosos Cadillacs, Tacvba and Aterciopelados toured the U.S., I saw tremendous enthusiasm. I also saw them play in Latin America and there was even more enthusiasm. These bands represented the passion of Latin American kids who, for the most part, have a more difficult life than kids in the U.S. They also represent an organic part of a local Latin American culture. The U.S. bands did not represent "community" in the same way, despite their talent and passion.

More importantly, perhaps, the record companies did not do enough to promote the music. There were passionate people in the industry who wanted the bands to succeed but the bands didn't display enough sales to merit support from the higher-ups. Plus, many Latin music branches of major labels resisted the music because it disrupted the usual business of promoting vacant phony pop music. There was a conflict of aesthetics.

Lastly, the emergence of "Rock en Español" happened as just as rock began to decline in the U.S. Also, the record industry in general was collapsing. Many alternative genres, from Anglo rock to jazz and dance music, lost a lot of label and radio station support as well.

Lara: None of those bands had success in the U.S. or México. I guess that's a very powerful reason to consider why the local scene didn't take off. I think their music wasn't strong enough.

Leal: Bands signed with labels – major and indie – did not know how to promote their albums. Also, these same bands kept waiting to be promoted by the labels instead of taking a more grassroots or "guerilla" approach.

While Pastilla and María Fatal’s artistic merits are without doubt, I feel they could have been more involved in the promotion and (gasp!) the selling of their music. Every scene in the U.S. is very different; what works in L.A. may not work in Chicago, but may work in New York.

Is "Latin Alternative" the successor of "Rock En Español"? Will it ever fully cross over?
Morales: Latin alternative is a legitimate successor to "Rock en Español" because it's more inclusive of music like reggae, funk and hip hop. I'm not sure whether it will ever fully cross over, but it will continue to get support from alternative radio and on the club circuit. For a real crossover, I think bands need to include at least some component of either hip hop, reggaetón, tropical or reggae, some very exceptional lyrics and creativity, a strong pop sense, and bilingual capability.

Lavin: "Latin alternative" was a natural outgrowth from the "Rock en Español" scene – which was an alternative rock movement to begin with – that added hip hop, electronica and hipster fusions like funk and reggae into the mix. Latin alternative artists have "crossed over" as much as bands like Stereolab, Sigur Rós and Cornelius have crossed over. iTunes and similar digital music stores have leveled the playing field. You can find the music you want, if you look for it. Occasionally, there will be a Manu Chao, Aterciopelados or Café Tacvba that will break out.

Lara: Well, it's happening in México. It's a reality. There are lots of bands that sell records and pack shows. It will happen if some interesting projects are appealing enough for the audience.

Leal: "Latin alternative" and "Rock en Español" are two terms that are just… ninguno es mejor o peor que otro. “Rock en Español” was coined by an Argentinean record executive in the '80s to lump rock bands into one. “Latin alternative” was created by Tom Cookman to make Latino bands sound "cooler," but the term also lumps bands into one genre. If marketing departments need these terms, so be it.

I believe bands like Café Tacvba and Kinky have already crossed over. However, with a few exceptions, it seems that the "Latin Alternative" title is given to bands that are critical darlings but can’t bring more than 500 people to a venue to save their lives. This is going on while "over the hill" bands like Maldita Vecindad, Maná, El Tri or the recently reunited Heroes del Silencio, Soda Stereo and Fabulosos Cadillacs bring thousands of fans to their shows and actually tour the U.S. I don’t see any of these “Latin Alternative” bands becoming el relevo, the replacements, the next link for these bands.

Cookman: "Rock en Español" was just a marketing term that came out of the marketing offices of a major label last century – not exactly the center of support and understanding for the genre.

Anyway, it is OK to say that the word "Rock en Español" died – as it really did suck, but to imply that a whole genre of exciting music is not relevant nor is it a force in this country and many others is just a miscalculation on their part. All they need to do is come intern in this office for a week to see how vital it is and what a real business it is. "Rock en Español" is dead. Long live Rock en Español, ha ha ha.

Rodrigo: I hated the term "Rock en Español" from the very beginning. For me it was always Latin alternative. Mostly because a lot of bands were not really just rock.

If you're talking about crossing over to the English speaking population in this country, I think it can. When the English speakers are open to hearing great new music without needing to understand every word in a song – as the rest of the non-English speaking world does – then the crossover will naturally come, but not only for the Latin rock, but for any other Latin genre.

Gustavo Fernández: I think that there’s a gray area where Latin rock falls under the Latin umbrella when "Latin" is everything but rock. The U.S. Latin rock culture prefers English-language rock and does not support Latin rock. Nor do clubs. If you can’t have a local scene with a couple of hundred bands then it won’t take off. Anglo rock radio is too corporate (everything is, for that matter) and Latin rock falls through the cracks, big time. We could go on for hours but to develop a scene, artists need to be f**ing great on stage. And play at least 150-plus shows a year. No one does that in the U.S.



Panel

Tomas Cookman: Founder of Cookman International and The Latin Alternative Music Conference (LAMC).

Juan Data: DJ and former writer for La Banda Elastica.

Gustavo Fernández: Founder of DLN (DeLaNuca) distribution, an independent Latin music distributor in the U.S.

Camilo Lara: Vice-president of EMI, Mexico. Moonlights as the Mexican Institute of Sound.

Enrique Lavin: Weekend Arts & Entertainment Editor for the New Jersey Star-Ledger newspaper. Former writer for La Banda Elastica magazine and the editor of Ñ Alternative, the Latin alternative section of CMJ magazine.

Jorge Leal: Former Los Angeles concert promoter and writer for Al Borde Magazine and Zona de Obras in Spain. Currently a writer for "Vivo" on mun2.

Ed Morales: Author of Living in Spanglish: The Search for Latino Identity in America. His work has appeared in publications like The Village Voice, Rolling Stone and The Los Angeles Times.

Elena Rodrigo: Former label manager for Café Tacvba, Enanitos Verdes, Molotov and Juanes at Universal Latino. Currently a marketing and PR consultant.


COMENTARIO DE SERGIO ESTRADA:

The real reason for the almost extinction of “Rock en Español” and the grow in the existence of Reggaetón is that even if you don’t want to admit it or saying it publicly, the young Latin culture of the 80s and 90s was always one step back from the American culture. Therefore by the time that “Rock en Español” appeared in the Latin Culture, the American culture was already into hip hop music and at the same time Salsa music was already established in New York as the musical identity for Hispanics in USA. From the mix of those two main genres was that a new rhythm was born and call reggaetón. Actually this genre is not new, it just became popular as channels like mun2 and others started to give it more relevance. Today this rhythm is part of the Latin Culture but it will disappear as soon as the American culture get tired of the rap and hip hop and start a new genre or style in the main stream, as soon as that happen, the Latin Culture will create a new rhythm to go with the flow of the American Culture.

If you want to understand more about the young Latin culture just listen to the lyrics of the all-classic “We are sudamerican rockers” from Los Prisioneros. Ha Ha Ha, it is kind of funny the name of the band because the young Latin culture is a prisoner of the American market, and if you disagree please let me know why we have to read write about the Latin Culture in English if the main market is Hispanic and they speak Spanish. Even the TV channel is in English. What happen with our culture? I know why, it is because it is easy for the Latinos in USA to try to fit if they do not have to translate and explain to their friends what they are watching in the Latin channels. However that only applies for those Hispanics that live in USA and not to the rest of SurAmerica.

We are just slaves of the American Market. I want you to think about this topic, so here are two lines from “We are sudamerican rockers” song that can give you a hint of our ever-changing Latin identity inside of USA.

“No nos acompleja revolver los estilos
Mientras huelan a gringo y se puedan bailar”

Los Amigos Invisibles @ SOB's

Soulwax, 2Manydjs, Pete Tong, James Lavelle, Luciano, Rob da Bank, Late of the Pier, The Whip

Paco Osuna @ Cielo NYC

Bordeline Burlesque

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Hasidim vs. Hipsters

Trucker hat, schmucker hat: Williamsburg’s religious Jews want the ’hood’s arty arrivistes to go away.

By Steven I. Weiss & Zackary Sholem Berger for NYMag

On Sunday, January 4, as many Jews around the city fasted to commemorate the historical siege of Jerusalem by Babylonians, more than 100 Williamsburg Hasidim were protesting what they consider a siege of their community—by New York hipsters. Under steady rain, rabbis, laymen, and schoolboys gathered across from the newly renovated Gretsch Building at 60 Broadway, an old musical-instrument factory where rapper Busta Rhymes just bought a million-dollar-plus apartment. “We’re trying to keep this neighborhood clean and honest, and these people are destroying it,” said a protester, Hershl Grinfeld.

Hasidim have called Williamsburg home since the early part of the last century, and they have little interest in seeing their slice of Brooklyn become the next Manhattan. To their way of thinking, the only things hipsters (artist’n in Yiddish) contribute to the neighborhood are skyrocketing real-estate prices and morally suspect nightlife. And as one typical message on a Yiddish online bulletin board recently put it, the trendoids “pollute the eyes and the mind.” At the same time, some hipsters have their own complaints about the Hasidim: “When you willingly have ten-plus children based on your religious beliefs, feed most of them on food stamps, and displace everyone else in the neighborhood, there’s hardly any sympathy to be had,” says Dori Mondon, a designer who recently left Williamsburg.

The two groups have little in common besides a taste for black attire, and amicable co-habitation seems unlikely. There are even ads in Yiddish papers comparing the hipsters to the 9/11 hijackers. At the Sunday protest, Rabbi Zalman Leib Fulop declared that the growth of the local artist population was “a bitter decree from Heaven.” Those selling real estate to the hipsters, said the rabbi, would “never be able to leave hell.” Meanwhile, organizers distributed a prayer entitled “For the Protection of Our City of Williamsburg From the Plague of the Artists.” Could frogs and locusts in trucker hats be next?


Definition of a Hipster
Hipster - One who possesses tastes, social attitudes, and opinions deemed cool by the cool. (Note: it is no longer recommended that one use the term "cool"; a Hipster would instead say "deck.") The Hipster walks among the masses in daily life but is not a part of them and shuns or reduces to kitsch anything held dear by the mainstream. A Hipster ideally possesses no more than 2% body fat.

Clues that you are a Hipster
1. You graduated from a liberal arts school whose football team hasn't won a game since the Reagan administration.

2. You frequently use the term "post-modern" (or its commonly used variation "PoMo") as an adjective, noun, and verb.

3. You carry a shoulder-strap messenger bag and have at one time or another worn a pair of horn-rimmed or Elvis Costello-style glasses.

4. You have one Republican friend who you always describe as being your "one Republican friend."

5. Your hair looks best unwashed and you position your head on your pillow at night in a way that will really maximize your cowlicks.

6. You own records put out by Matador, DFA, Definitive Jux, Dischord, Warp, Thrill Jockey, Smells Like Records, and Drag City.

Hipster Work Ethics

Working is a necessary evil reserved for the masses which by definition the Hipster is not a part. Work is avoided at all costs for it is truly "bohemian" to be an artist and stay at home creating art. In fact, the goal of a true Hipster is to not work at all. Work is an antiquated notion dear to an older generation.

Similar to eskimos who have 8 different terms for the word "snow," the Hipster has many terms for receiving a check from the parents:

1. getting the cush
2. picking the berries
3. waxing Oedipal
4. parimony (sometimes daddimony)
5. changing the diaper

http://www.hipsterhandbook.com/

Halloween Hos: Best Costumes According to the Whitest Kids U'Know

For Attached Ho's;

• Dr. Zizmor and a patient with tighter, firmer, younger-looking skin
• Lieutenant Jim Dangle and Deputy Trudy Weigel from Reno 911!
• Matthew Broderick as Ferris Bueller and Sarah Jessica Parker as Carrie Bradshaw
• Jim and Pam from The Office
• An inflatable rat and union worker
• Leona Helmsley and Trouble the dog
• Nancy Pelosi and Henry Paulson fighting
• Tim and Heidi from Project Runway
• Eliot Spitzer and a prostitute
• A pregnant Bristol Palin and baby-daddy Levi Johnston
• Richard Simmons and the Treats Truck

For a Ho Posse;

• Obese, slow-moving Times Square tourists
• Robert Palmer and his shellacked entourage of red-lipsticked girlies
• Tyra Banks and the cast of America’s Next Top Model
• Brangelina and their many children
• The cast of The Breakfast Club
• New Kids on the Block
• Disgruntled, out-of-work Lehman Brothers employees
• Smushed L-train passengers
• The cast of the Optimum Online commercials (“8-7-7…3-9-3…4-4-4-8!”)
• Damien Hirst and his shark tank
• Golden Girls (R.I.P. Estelle)
• Tom Otterness and his worker statues
• Andy Warhol and his Factory crew
• Garbage Pail Kids
• Serena, Dan, Chuck, Nate, Vanessa and Jenny from Gossip Girl
• Cesar Milan and a pack of misbehavin’ dogs
• Joe Six-Packs and Hockey Moms sporting John McCain paraphernalia
• Con Ed workers on break
• Bedbugs carrying a filthy mattress like pallbearers at a funeral
• Clue characters
• Synchronized dancers/drummers/LED-covered performers from the Olympics opening ceremony
• The cast of Heathers (complete with croquet mallets)
• The cast of I Want to Work for Diddy
• The cast of The Real World: Brooklyn
• Mormons on a mission
• Marilyn Monroe, Lindsay Lohan as Marilyn Monroe and Michael Musto as Lindsay Lohan as Marilyn Monroe
• The Beastie Boys circa “Sabotage”
• Brood from polygamist cult Yearning for Zion
• Publishers Clearing House gang, toting a giant check and balloons
• Early-era Beatles
• The Peanuts gang
• The freaks and/or geeks from Freaks and Geeks
• Blue Man Group
• A dozen bagels
• A line of commuters angrily waiting for one jerk to correctly swipe his MetroCard
• Washington Square Park lightsaber warriors
• The Real Housewives of New York City
• A pack of Staten Island ninjas
• The Wild Bunch
• Hillary Clinton and an angry female mob
• Landlord and an angry tenant mob
• Yorick, Agent 355, Dr. Mann and capuchin monkey Ampersand from Y: the Last Man
• Menudo!
• Mayor Bloomberg, Christine Quinn, Sheldon Silver and other term-limit hypocrites
• Hasidim and hipsters—fighting
• Hugh Hefner and The Girls Next Door
• New York street food (hot dog, pretzel, knish, shawarma, etc.)
• A Washington Square Park ensemble (the arch, the homeless person, the drug dealer, the NYU freshman guitarist, etc.)
• Michael Phelps and his six abs (plus pacifier!)
• The Dow—everybody lay there looking dead

Visit Time Out New York for the complete article

fuer • za • bru • ta \ f'where - zah - broo - tah \ rewind

I can honestly say that I am not the easiest person to be impressed. But I most admit that my experience with Fuerzabruta (Brute Force) has certainly changed my perspective on what I used to consider modern theater. Aside from been a one of a kind, it is not only the concept the woe me, it is also the incorporation of the general public as a whole within the show that truly makes this a personal encounter. "Fuerzabruta doesn't have a purpose. It is."

Fuerzabruta is not for spectators, or those seeking exclusively vicarious thrills. It is more spectacle than theater in any conventional sense, with a heavy dose of "dance club& thrown in for good measure.


To put it simply, this is the art of the circus and the fairground raised to the highest level: a series of phantasmagorical stunts celebrating acrobatic daring.

As for those of you who have not yet experience it and may wonder if is worth the $75 dollars well guess again. To experience the Brute Force is quite priceless.

Images:Lesheshi


Fuerza Bruta
Daryl Roth Theatre
101 East 15th Street at Union Square
New York NY 10003

Box Office Hours:
Tuesday-Thursday: 1pm - 8pm
Friday-Saturday: 1pm - 10pm
Sunday: 1pm - 7pm

Detailed Pricing Information:
Regular Price: $75
Rush Tickets: $25
(a limited number of $25 tickets will be sold at the box office window,
two hours before show time)

Dates & Times:
Monday NO SHOW
Tuesday 8pm
Wednesday 8pm
Thursday 8pm
Friday 8pm & 10:30pm
Saturday 7pm & 10pm
Sunday 7pm

http://www.fuerzabrutanyc.com/tickets.html

In focus: David Tunley

David Turnley was born in Indiana in 1955. He attended college at the University of Michigan, receiving a B.A. in French Literature in 1977. He became a staff photographer for the Detroit Free Press in 1980.

In 1985, Turnley went to South Afirca shoot a project called "South Africans Under Apartheid." For this body of work, he won an Oscar Barnack Award, the Overseas Press Club Award and the Canon Essay Award.

In 1989, Turnley along with his twin, Peter, went to Beijing, China to shoot a joint project called "Beijing Spring." They covered the students' peaceful demonstrations at Tiananmen Square and the authorities who attempted to silence them with martial law.

Late in 1989, Turnley traveled to Europe to witness the fall of communism. They captured the fall of the Berlin Wall, the overthrow of the Ceausescu regime and exuberance of freedom all over Easter Europe. In 1990, He was awarded the Pulitzer Prize and the Robert Capa Award.

In 1991, Turnley went to the Middle East to cover the Persian-Gulf War. However, there were srtict guidlines pertaining to what the media could show the public, so Turnley focuced on the actual lives of the G.I.'s rather than combat shots. That year, the World Press Photo Foundation awarded him with Photo of the Year.

David Turnley has several books including "Beijing Spring," "moments of Revolution: Eastern Europe" and "The Russian Heart." His work has also been published many times in magazines such as Life and National Geographic.