ISSUE 1 2007 1

Volume I. Issue 1

Cover Art by Jaime Sunwoo

ISSUE 1 20072 ISSUE 1 2007 3

TABLE OF CONTENTS

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TART/EXHIBITSOutlook on the Lower East Side: Clayton Patterson Satsumatic Getting to the Point (Georges Seurat: The Drawings) Featured: Zoe Burke Making a Home: Japanese Contemporary Artists in New York To See is to Know (BODIES...The Exhibition)

4 6 8 10 13 16 14

15 17 18

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THEATERA Classic Challenge (Pygmalion) Double Review (The Phantom of the Opera, Aida)

Restaurant Spotlight: Manna Kitchen

Where I Live: Coney Island Subway Stories: Just Another One

FOOD

IN THE LIFE OF

FASHION Do’s & Don’ts 22

23

24 26 27 28 30

BLAST FROM THE PASTHalloween 07’ Collage The Greenwich Village Parade

MUSICConcert Review: Say Anything Album Reviews

Featured: Weechos

COMICSRajani

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There are some things that seem to easily withstand the test of time. The distinct neighborhood of the Lower East Side in Manhattan is one of them. The Lower East Side has battled with dark episodes in its history such as riots and excessive drug abuse that have since died down. The Lower East Side is a patch-work of many memorable locations with vibrant his-tory and deep meaning. Clayton Patterson’s pho-tography of the Lower East Side preserves and captures these ideas best. The day-to-day lives of the drug addicts, prostitutes, homeless and punk rock-ers that have resided in the Lower East Side for the last twenty years are displayed vividly in his collection. Patterson’s pho-tography invokes an aura of hostility that cor-responds to the struggles and problems within the community. Whenever he sees a person who repre-sents destituteness or pain he makes sure to capture the lifestyle of that person in his images. Patterson’s work demonstrates the insecurity of some of Man-hattan’s toughest times. Untitled (I know where you live) [1990] shows two homeless peo-ple under a bus stop that

has an advertisement from New York Newsday claim-ing “We Know Where You Live.” This piece creates an ironic link between the subject and the back-ground. The piece Untitled (Cochise) [1992/2007] is just as vivid when it comes to describing everyday life in the Lower East Side. Patterson ac-knowledges those people

who most others will ne-glect, giving an up-close and personal view of the neighborhood. He de-picts a place that is not pure or utopian in order to remind us that there are issues and problems in the world that need to be resolved. Through his photography, Patterson paints an image of how life in the Lower East Side

OUTLOOK ON THE LOWER EAST SIDE:CLAYTON PATTERSONby Victoria Kam

Clayton Patterson, Untitled (we know where you live), C-print, 1990/2007. Courtesy of the artist.

A R T GALLERIES

was twenty years ago and how it developed into the diverse and vi-brant neighborhood it is today.

UPPER LEFT: Clayton Patterson, Unti-tled (drag queen- Mr. Fashion), C-print,1987/2007. Courtesy of the artist.UPPER RIGHT: Clayton Patterson, Untitled (Micheal Wilson), C-print 1990/2007. Courtesy of the artist. BOTTOM: Clayton Patterson, Untitled (Cochise), C-print, 1992/2007. Courtesy of the artist.

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SATSUMATIC by Rio Nosé

SATOSHI OHTERA

His theme was “the fusion of plants observed in the garden with a SciFi sense.” Ohtera evinced both na-ture and technology in his computer graphic illustra-tions. I think that Ohtera successfully demonstrated the complex relation-ship between nature and technology; the idea that since so many people use technological instruments, they are becoming part of nature as we know it. In one of his pieces, there is a large robot standing in the middle of a forest with branches and leaves stick-ing out of his body. When

From October 18 to the 27th, HPGRP Gallery New York and Denen Shuzo proudly presented an exhibit featuring three native Satsuma illustrators: Satoshi Ohtera, Chinatsu, and Shoichiro Takei. They used their artistic skills in computer media, fashion,

and picture book draw-ing to compose artwork inspired by the natural beauty and cultural his-tory of Satsuma. This ex-hibit presented a new art movement -”Satsumatic.” Japan is composed of many different regions, each having different ideas

that form a unique region-al identity. Satsuma, now known as Kagoshima Pre-fecture, is located on the southernmost tip of main-land Japan. The Satsuma movement was an impor-tant time period during which the people of this re-gion adopted new cultural elements. Christianity, for example, was introduced into Japan by Saint Fran-cisco Xavier in the 1600’s. Also, the feudal system was destroyed and Satsuma accepted Western culture due to political and social changes at the end of the Edo period, the time when the Meiji Restoration of 1868 took place. Because of these changes, impe-rial Japan became very powerful and many new, talented artists emerged.

1

A R T GALLERIES

CHINATSU Chinatsu only used four colors; black, to represent the dark side of Kagoshi-ma; red, to represent pas-sion and the feminine; blue, to represent the sea and the masculine; and white, to connect the world. Her theme centered around showing the “boldness of a ZRPDQ�ZKR�ÀQGV�VWUHQJWK��beauty and an emphasis on tradition while living in the new age of Satsuma culture”. I have seen her artwork before, as it is used in different kinds of fashion media. Chinatsu’s artwork was my personal favorite, because it looked very simple and yet showed a deep understanding of Satsuma cuture. Also, the boldness of her illustrations seemed very powerful. SHOICHIRO TAKEI

Takei was like any other boy when he was a child; he enjoyed drawing small illustrations and comics. His hobby as a child became a profession, and he be-gan making illustrated pic-

people dancing, with the large and glittering night sky hovering over them. The sky seems a little melan-choly, but the two people dancing at the bottom of the sky appear very merry. This was an excellent ex-hibit to visit in order to learn about the Satsuma move-ment and its impact on the culture of the region and the country of Japan as a whole. The three artists successfully interpreted the culture and behavior of the people of Satsuma.

you look closely, you can see that there are people standing inside, looking out of the window. I think that this piece is very clever. Humans are beginning to overuse technology; it is now part of everyday life.

ture books for little children. The drawings and stories he composed for the Satsuma exhibit display the love of Satsuma’s people for their natural surroundings.

On the wall of the ex-hibit stretched one of his picture books. This was a story about a little dog who falls in love with a stuffed animal dog, and goes on a journey to save her from a hectic festival. Takei’s largest piece was my favorite; he drew two

3

2

5

4

1 Shoichiro Takei, HPGRP Gallery2 Satoshi Ohtera, HPGRP Gallery3 Chinatsu, HPGRP Gallery4 Chinatsu, HPGRP Gallery5 Chinatsu, HPGRP Gallery

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The Museum of Modern Art’s current ex-hibit, “Georges Seurat: The Drawings,” is a show worth exploring. Georg-es Seurat, (1859-1951), is most popularly known for his neo-impressionistic style of pointillism, an art form which requires both intense attention to detail and incredible patience to execute. It involves the ap-plication of miniscule points of color and light to create a pixilated perspective of the scene being depicted. The exhibit at the MOMA, however, features Seurat’s drawings and sketchbooks, and provides a unique win-dow into the journey of this painter and his trans-formation from conform-ist to revolutionary rebel.� ,Q� WKH� ÀUVW� URRP� RI�this show, the drawings on view capture the rudimen-tary output of a young art-ist. Demonstrating good form, these pictures mark Seurat’s early experimenta-tion with an array of media ranging from crayon to col-ored pencil. Although the works often yield a sketchy quality, they hold to correct and realistic proportions. In this same space one can easily detect the artist’s initial foray into im-pressionism. He captures nudes with a realistic rendi-tion but has them emerge

from a sea of graphite darkness. These pieces are simple yet captivating for their focus on shadow and movement. Seurat experimented with conté crayon, charcoal, black chalk, and graphite on paper. He played with the results of uneven hand pressure and he was just beginning to discover how he could utilize the mate-rials together and sepa-rately to varying effects.

The pieces exhibited in the second room of this show are rather dark and gloomy, with an emphasis RQ�HLWKHU�ÀJXUHV�DV�D�ZKROH�or on their faces. A rather intriguing work is that of the artist’s mother. Produced from 1882-1883, the portrait is drawn with conté crayon on paper. What is so cap-tivating about this piece is that it is deceptively simple. The mother’s face is light around the nose, cheeks,

GETTING TO THE POINTA R T EXHIBITS

(continued on page 36)

by Amanda Hayley Sonnenschein

Georges Seurat, At the Concert Européen, conté crayon and gouache on paper, 1886–88. Courtesy of The Museum of Modern Art, New York.

your

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LaG Mag: What kind of artwork do you do?

Zoe Burke: Basically I do SXQN�VKRZ�Á\HUV�DQG�SXQN�band art. I like having a voice in my community My friends keep asking me to do art for their bands and they pay me, so why not?

LGM: Music seems to in-spire you. Are there any VSHFLÀF� � EDQGV� WKDW� GR"

ZB: In I Am Me, I wrote

down lyrics from CRASS, an anarchist punk band from the early 80’s who really inspire me.I’ve had people tell me that they like my artwork because it brings back an old school sense. I don’t

A R T featured

Zoe Burke

really agree with that, because I put a lot of crazy stuff in my art-work like band aids, and little hearts where they shouldn’t be around dirty looking kids who are drinking and getting messed up and I think that adds a little personal touch to the old school things people say I do.

LGM: Do you have any interesting experiences with bands you did art for?

ZB: I haven’t really

Zoe Burke,

Fast Food Die Young,

pen

Zoe Burke,

I Am Me,

mixed media

Photograph by Benny Lam

Interviewed by Jaime Sunwoo

done much for bands that aren’t really close personal friends of mineEarlier this year I was sup-posed to make something for The Casualties. They are probably the biggest punk band in the world right now, and I was going to do a t-shirt graphic for them cause the guitarist’s girl-friend found me somehow, saying how she really liked my stuff and I thought it was great because they’re the biggest punk band in the world but they never got back to me because they’re basically all alco-holics, haha.

LGM: Where do you see yourself in ten years? Are you planning to pursue an art career?

ZB: Well I mean, that’s what I think I do best, so yeah, probably. I don’t re-ally know what kind of art, but I work in pen and ink.

LGM: What art classes are you taking in La-Guardia right now? ZB: Right now I’m just do-ing advanced print be-cause they don’t offer pen and ink classes. They offer illustration but I hear that’s a pretty BS class.

LGM: A lot of artists try to incorporate their political opinions in their artwork. How do you feel about that?

ZB: Well you know, the thing about punks is that they all get into being so political. I think I just make fun of that a little bit. In Fast Food Die

Young, I’m just like, hey, I love fast food and I don’t care if it makes me fat.

Zoe Burke,

Casualties Flyer, pen

Photograph by Benny Lam

ISSUE 1 200712 ISSUE 1 2007 13

Zoe Burke, Rich-->Punx, pen/

marker

I don’t care, if they say there are huge corpora-tions destroying the world. I like to be funny in my art.

LGM: You try to make fun of punk stereotypes. Do people ever judge you?

ZB: People can stereo-type if they want but it’s their choice. If they want to stereotype me, I’m go-ing to stereotype them.My art is just about being stupid and completely enforcing the stereotype cause it’s funny. People actually think that people are like this and it’s not really true. I don’t know, I think it’s kind of ironic.

Zoe Burke, Post Stickers, mixed

media

For all you art lovers out there who are looking for something a little different from the well-known museums such as the MoMA, Whitney, Met, or Guggenheim, you must check out one of the lesser-known galleries located at the Japan Society on 333 East 47th 6WUHHW� LQ�0DQKDWWDQ��+HUH�\RX�ZLOO� ÀQG�a unique collection of art from contem-porary Japanese artists that call New York home, including Yoko Ono, Ushio Shinohara, Kunie Sugiura, Yuken Teruya, and Aya Uekawa. One of my personal favorite art-ists in the exhibit, Noriko Ambe, uses her meticulous skills to create masterpieces made of hand-cut paper layered on top of each other in order to construct beautiful, amorphic, and 3-dimensional sculptures. Besides the sheer beauty of the work, you can spend hours mesmer-ized by the level of craftsmanship and detail invested in her pieces. Another artist showing in this gallery is painter Aya Uekawa. Her work is so spectacu-lar that I even mistook her paintings as computer generated art. These are just two of the many artists in this exhibition. Overall, walking through the halls of this gallery was just a wonderful ex-perience. From the modern Japanese architecture of the Japan Society itself to looking at the artwork, you will leave truly invigorated. I highly suggest a visit

Making a Home: Japanese Contemporary Artists in New York

The Japan Society presents

by Harlie Brindak

Noriko Ambe, Sculpaper 2, cuts on yupo, 2006.

Courtesy of the artist.

Aya Uekawa, A Safety Crown, acrylic on

wood panel, 2007. Courtesy of the artist.

A R T EXHIBITS

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THEATER

Pygmalion is probably best known as the play that was adapted into WKH�VWDJH�DQG�ÀOP�PXVLFDO�My Fair Lady. The Round-about Theatre version, which opened on Octo-EHU� ��WK�� IHDWXUHV� WKH� ÀOP�actress Claire Danes in her Broadway debut as Liza Doolittle and actor Jef-ferson Mays as Henry Hig-gins. The production is di-rected by David Grindley.

The curtain rises on a crowd of Londoners wait-ing out a torrential down-pour under a majestic aw-ning. There are a number of scenarios occurring si-multaneously. This should have been an exciting montage of different walks of life and language being

observed and recorded by the linguistic expert Henry Higgins. However, the scene, though visually arresting, was presented statically. There was no HEE� DQG� ÁRZ� RI� JURXS-ings. The actors stood on an equal plane declaim-ing their situations straight to the audience with little thought to verisimilitude or dramatic focus. We should have made note of Mr. Hig-gins making note of others. Instead, he was hidden behind a column, his pen and pad surreptitiously dis-creet. Similarly, Liza burst onto the scene in shadow and confusion. Without the crowd’s recognition and obligatory applause for the movie star, her en-trance might not have

UHJLVWHUHG� DV� VLJQLÀFDQW�� The opening scene was indicative of the balance of the production. The sets, designed by Jonathan Fen-som, were beautifully ren-dered interiors rotated into play on a turntable. The angles were interesting but the usable space was lim-ited. The cramped feeling was only enhanced by the actors’ lack of physicality. Mr. Mays was somewhat more adept at utilizing the space, but his petu-lant stomping and childish posing came across as an actor’s arbitrary blocking choices instead of a direc-tor’s thematic visualization.

A CLASSIC CHALLENGEReview by

Amanda Hayley Sonnenschein

The art of drama has had a long and venerable history dating back to the Greeks. Over the centuries, it has evolved and given rise to many permu-tations. It is unfortunate that in our pop culture there is no great demand to view many of the classic examples of dramatic literature. Broadway willingly bankrolls musicals of movies, Disney car-toons, and special effects extravagan-zas, but as for the classics, revivals are relegated to limited engagements, and usually only if they can be headlined by a famous movie star. It is within this con-text that the Roundabout Theatre pre-sented Pygmalion by George Bernard Shaw at the American Airlines Theater.

(continued on page 34)

Courtesy of roundabouttheatre.org

The Phantom of the Opera is a musical about an ashamed, hideous man who sets his eye on Christine, a young dancer with a great voice. He uses her as a vessel for his music and forces the opera to let her sing the lead role in their productions, contributing to her rise to fame. The phantom’s dilemma is that he is in love with Christine, who already has another love interest. The theater company is constantly trying to come up with ways to destroy the phantom. As for the rest, you’ll have to see it for yourself! There is a reason why The Phan-

tom of the Opera is the longest running show on Broadway. The majority of the cast is very talented in both acting and singing. The elaborate costumes and eye-catching sets added to the musi-cal’s brilliance. The lake on the way to the phantom’s lair is particularly impres-sive. A thick smoke is released onto the stage to create an eerie effect, covering what would be the surface of the lake. Then, elaborate candles rise out of the stage. This set is exceptionally memo-rable. The orchestra is also breathtaking and dramatic. The music and score con-tribute to the enchantment of the show.

Set in Ancient Egypt, Aida is a classic story about forbidden lov-ers. Aida is the Ethiopian slave of Amn-eris, a powerful Egyptian princess. Aida and Amneris are both deeply in love with Radames, a mighty general who commands the Egyptian army when it goes to war with Ethiopia. Radames loves Aida and hopes to win the war, making him able to free and wed her. This opera is breathtaking. The score for Aida can be called an ex-ample of Italian Romanticism with an exotic twist. The voices of the actors are brilliant and rich and the choreography is beautiful. The scenery is complex, ab-solutely stunning and at times even sur-prising, with real horses galloping onto the stage! Aida is performed at the Met-ropolitan Opera in Lincoln Center and on weekdays tickets sell for as low as $15. You will not regret going to see this!

THEATER

DOUBLE REVIEW by Valerie Wang

Courtesy of tecfa.unige.ch Courtesy of welcomebooks.com

(continued on page 35)

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The most fas-cinating part about the mu-seum is that the bodies are of actual human beings who have been pre-served through special meth-ods. Though the various body parts are kept in glass cases, the bodies them-selves are not; but don’t worry, they don’t smell. The exhibition al-lows one to learn about the hu-man body with incredible visu-als, creating the opportunity for an examination of the body from many different perspectives. Some parts of the body- cer-tain muscles rather than whole arms or legs- are exposed in order to show others, like veins or bones. The exhibition also has bodies that have been cut in half in order to illustrate the body’s symmetry, or the rela-tionship between the body’s major organs. There is also a body that has been divided into four sections in order to il-lustrate the distribution of fat in different body segments. The exhibition also shows the effects of various diseases on the human body. There is an

entire room dedicated to showing how smok-ing, alcohol consump-tion, cancer, and strokes affect the lungs, liver, larynx, and brain. The presentation of the bodies is excellent. Ev-ery room starts off with a body and a general de-scription. Everything is narrowed down as you continue on through the room. Each body part is shown with information next to it, allowing the visitor to learn in-depth about all the body parts.

In addition, on the walls, there are small fun facts and blown up projections that show how blood vessels, veins, and other parts of the body work.

One may argue that this exhibi-tion is unethi-cal because it uses bodies from China that have been unclaimed. In China, if a body is unclaimed, it is donated to sci-ence. The knowl-edge that the deceased had no choice in the matter of having their body donat-ed to science dis-turbs many peo-ple. There may even be relatives of the deceased still searching for them. Never-theless, this exhi-bition provides an educational e x p e r i e n c e

for all, providing every-one with an opportunity to see real human bodies and how they function.

Walking through a museum of dead bodies may make some people queasy, but not me. Kept open by popular demand in spite of the controversy, “BOD-IES… The Exhibition” is a museum that shows the visi-tor how the human body looks and how it works.

TO SEE ISTO KNOW

by Katrina Cortes

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Courtesy of Bodies...The Exhibition

� � � 7KH� ÀUVW� UHVWDXUDQW� ,� UH-viewed for the Lag Mag had to be Korean because too large an amount of people have never consumed it. Sure, you’ve had Chinese and Japanese before, but Korean cuisine is totally dif-ferent. Manna Kitchen is on 18th street between Park and Broadway, by Union Square. It’s actually really small and KDUG� WR� ÀQG�DQG�FRPSOHWHO\�closed on Sundays, but it’s a fairly cool place and the food is rather tasty. I’ve been there a few times already so I’ve grew a special admira-tion for the restaurant , but I will be as harsh as necessary.

Often, the people who en-joy Korean food like Bulgogi, which is basically barbecued beef with a really delicious sweet sauce. They have the dish here, but I’ve never tried it so I can’t give my opinion. The Korean rice cakes are particularly tasty. They are re-ally chewy and I found that the Spicy Rice Cake appetizer is particularly good. Although it is an appetizer, the portion is really large, and it may be too spicy for everyone to handle, so I suggest ordering a bowl of rice with it, or in the case of a weak ability to eat spicy foods, avoid it completely. On the Noodle Soups section of the menu are Ra-Myun, U-Dong, and So-Myun, which are basically Ramen, Udon, and Somen, respectively. I’ve tried the Ra-Myun and So-Myun, and found both fairly good. The Ra-Myun

cooked kind of taste.

Manna KitchenRESTAURANT SPOTLIGHT:

by Ariana King

Taste:

noodles were actually memorable and I found WKHP� ÀUVW�UDWH�� � 7KHUH�are broth choices to suit personal preferences, so I can say there might just be some noodles to suit you. Jap-Chae is JHQHUDOO\� D� ÁDYRUVRPH�plate of noodles with vegetables and tradi-tionally beef (it can be substituted at Manna Kitchen) but I don’t rec-ommend it from this par-ticular place because, to be honest, I’ve had better elsewhere. Some meal choices come with the traditional side-dishes that Korean food tends to be famous for, including the famous Kimchi. The Asian Pear Salad is also good be-cause I’m not a fan of pears, but I like Asian pears, which taste dif-ferent from regular ones. The Chicken Teriyaki is pretty good; it was re-ally rich and sweet. The tofu dishes are also not bad and have JRRG� ÁDYRUV�� 0DQ\��but not all of the dishes tended to be bland, but have a very home-

Most students are not awash in money, and all dishes are under $16. Only the beef or other meat dishes are over $10. The prices are usually around $8 per dish, but the SRUWLRQV� DUH� ODUJH� DQG� ÀOOLQJ��They have a lunch special from Monday- Friday where you can get a meal and side dishes for a reasonable price.

Environment:

The environment is actually nice. It’s a small quaint place that always smells fragrant and is exceptionally warm dur-ing the winter. Order a soup and eat when it’s cold out-side for maximum comfort. They also have a snack stand.

Overall:

The food is good, the pric-es are good, and the envi-ronment is nice. There are quite a few tofu dishes and other vegetarian options. Although there are many great Korean restaurants scattered throughout NYC, Manna Kitchen is certainly a great place to start.

Price: $ $ $ $

Art by Ariana King

ISSUE 1 200718 ISSUE 1 2007 19

WhereI Live:

The Q train clatters to a halt at the Ocean Parkway stop at the border of Coney Island and Brighton Beach. 7KH� ÀUVW� WKLQJ� \RXOO� QR-tice is scaffolding, which hides some of the over-grown train tracks and DOVR� WKH� EHDXWLIXO� YLHZ�of the ocean. The name Coney Island has tra-GLWLRQDOO\� EHHQ� XVHG� WR�GHVFULEH� WKH� DPXVH-ment parks and the ERDUGZDON��EXW� LW� LV�DOVR�the name of a vibrant and historical neigh-borhood. People from GLYHUVH� FXOWXUDO� EDFN-JURXQGV� FDOO� WKLV� SODFH�home, and each region of Coney Island repre-VHQWV� D� GLIIHUHQW� JURXS�

by Maria Plotkina

Photography by Maria Plotkina

Upon descending the steps from the elevated WUDLQ� VWDWLRQ�� \RX� ZLOO� ÀQG�\RXUVHOI� LQ� WKH� FHQWHU� RI� DQ�area that is home to main-ly Jewish immigrants and WKHLU� IDPLOLHV� IURP� FRXQWULHV�of the former Soviet Union. They do their shopping and eating in nearby Brighton %HDFK��EXW�PDQ\� OLYH� LQ� WKH�FOXVWHU� RI� WDOO� DSDUWPHQW�EXLOGLQJV� WR� WKH� ULJKW� RI� WKH�train tracks known simply as 7UXPS�DQG�:DUEDVVH��(YHU\�

EXLOGLQJ�KDV�D�SDUN�RU�ODZQ�QHDUE\��DQG�WKHVH�DUH�XVX-DOO\�ÀOOHG�ZLWK�VPDOO�FKLOGUHQ�VFUHDPLQJ� LQ� 5XVVLDQ� DQG�their grandmothers gossip-ing on lawn chairs nearby. To the right of Brigh-WRQ� %HDFK� $YHQXH� DQG�

the Q train is a relatively small park known as $VKHU� /HY\�� 7KH� SDUNV�crowning glory is the large, canopied stage ORFDWHG�LQ�LWV�FHQWHU��<RX�FDQ�XVXDOO\�ÀQG�JURXSV�of local teenagers sit-

“Every building has a park or lawn neaby,

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nearby.”

WLQJ�DURXQG�RQ�WKH�EHQFK-es or playing soccer or IRRWEDOO�RQ� WKH� ODUJH�ÀHOG��EXW�HYHU\�ZHHN�GXULQJ�WKH�VXPPHU�WKHUH�DUH�FRQFHUWV�held on the stage. Some DUH�VPDOO�� ORFDO�DIIDLUV��EXW�well-known artists like ABBA have also performed there.� ,I�\RX�FRQWLQXH�ZDON-ing down Brighton Beach $YHQXH�� \RXOO� VRRQ� ÀQG�\RXUVHOI� DW� D� GHDG�HQG�LQWHUVHFWLRQ� ZLWK� :HVW� �WK�6WUHHW��7KH�RFHDQ�LV�WR�\RXU�

ISSUE 1 200720 ISSUE 1 2007 21

WUHHV� WR� \RXU� ULJKW�� /LQFROQ�High School is a zone school that nevertheless has an excellent photography program and is well-known IRU�LWV�VSRUWV��$IWHU�\RX�FURVV�XQGHU�WKH�)�WUDLQ��\RXOO�SDVV�a newly renovated Mc-Donalds that serves mainly teenagers and senior citi-zens who have nowhere else to spend their time. 7KH� VXUURXQGLQJV� UHPDLQ�RUGLQDU\�XQWLO�\RX�UHDFK�WKH�very short Sheepshead Bay 5RDG��ZKLFK� LV��RI�FRXUVH��QRZKHUH� QHDU� WKH� DFWXDO�Sheepshead Bay). There is D�SHUSHWXDO�VPHOO�RI�EXUQW�UXEEHU� DURXQG� WKLV� DUHD��and to the left looms a JURXS�RI�DSDUWPHQW�EXLOG-LQJV� NQRZQ� DV� /XQD� 3DUN�� 7KRVH� RI� \RX� ZKR�have seen the tragic mov-LH� 5HTXLHP� IRU� D� 'UHDP�will immediately recognize WKH�EXLOGLQJV�DV�WKH�KRPH�of one of the main char-acters. Indeed, the movie

OHIW�� EXW� LI� \RX� WXUQ� ULJKW�\RXUH� LQ� IRU�D�VFHQLF�ZDON�between even more tall DSDUWPHQW� EXLOGLQJV� DQG�well-kept green lawns. .HHS� ZDONLQJ� XQWLO� \RX�UHDFK�1HSWXQH�$YHQXH��D�EXVWOLQJ� VWUHHW� ZLWK� PDQ\�cars and complicated traf-ÀF�OLJKWV��:DON�RQH�EORFN�WR�WKH�ULJKW�DQG�\RXOO�ÀQG�WKH�excellent “Bagle Store,” WKRXJK� WKH� ZRUG� EDJHO�is misspelled in the front window. To the left is a small shopping plaza that contains two pharmacies, RQH�EDQN��VHYHUDO�GLVFRXQW�stores, a diner, and a piz-]HULD�FDOOHG�5RFFRV��,I�\RX�OLNH�WKLQ��FUXQFK\�SL]]D��WKHQ�5RFFRV� LV� IRU� \RX�� 3HUVRQ-ally, I go there for their rolls; ÀYH� GROODUV� ZLOO� JHW� \RX� D�VWHDPLQJ�� GHOLFLRXV� FKLFN-en, spinach, or meatball roll.� $V� \RX� FRQWLQXH�GRZQ� 1HSWXQH� $YHQXH��\RX�ZLOO� VHH� JOLPSVHV� RI� D�ODUJH� VFKRRO� WKURXJK� WKH�

ZDV� VHW� DQG� ÀOPHG� LQ� WKH�LPPHGLDWH� VXUURXQGLQJV��7KH� URRIV�RI� WKH�/XQD�3DUN�EXLOGLQJV� DUH�PXFK� HDVLHU�to enter than portrayed in WKH�PRYLH��WKRXJK��DQG�RI-IHU� EHDXWLIXO�� FDSWLYDWLQJ�views of the neighborhood and the ocean. There is a small path leading off from 1HSWXQH�$YHQXH�LQWR�/XQD�3DUN��DQG�\RX�FDQ�IROORZ�LW�IRU�D�VKRUWFXW�LQWR�WKH�KHDUW�RI� &RQH\� ,VODQG�� &RQWLQX-LQJ� GRZQ� 1HSWXQH�� \RX�ZLOO�ÀQG�P\ULDGV�RI�DXWR�UH-pair shops, the Mark Twain Middle School, and many DSDUWPHQW� EXLOGLQJV� ERU-GHUHG�E\�WKH�SROOXWHG��EXW�nevertheless beloved, Co-ney Island Creek. Also, on 1HSWXQH�$YHQXH�DQG�:HVW���WK�LV�D�IDPRXV�EULFN�RYHQ�SL]]HULD� FDOOHG� 7RWRQQRV��going strong since 1924. It boasts what might be called the best pizza and the longest lines in Brooklyn.�$IWHU�ZDONLQJ�WKURXJK�/XQD�

3DUN�IRU�D�EORFN�RU�WZR��\RX�ZLOO� ÀQG� \RXUVHOI� FURVVLQJ� D�VPDOO�VWUHHW�FDOOHG�:HVW���WK��7R�\RXU�OHIW�\RXOO�VHH�JOLPSV-HV�RI�WKH�DPXVHPHQW�SDUNV��EXW�LI�\RX�NHHS�ZDONLQJ�IRU-ZDUG� \RXOO� VHH� WKH� &RQH\�Island- Stillwell Ave. train VWDWLRQ�� ,W� VHUYHV� WKH�'��)��4�and N trains and also hap-pens to be the most energy-HIÀFLHQW� VXEZD\� VWDWLRQ� LQ�WKH�FLW\�GXH�WR�LWV�DWWUDFWLYH�solar-panel and glass-plat-HG� URRI�� &URVV� XQGHU� DQG�VKRYH�\RXU�ZD\�WKURXJK�WKH�FURZG�� DQG� \RXOO� VHH� 6WLOO-ZHOO�$YHQXH��7KH�6:�FDIp�on the corner of Stillwell and Mermaid has good coffee DQG� FKHDS� pFODLUV�� ,I� \RX�look down Mermaid Ave-QXH��\RXOO� VSRW�DW� OHDVW� WHQ�grocery stores with Mexican ÁDJV�RQ�WKH�ZLQGRZV��7KHUH�are many Hispanic people in this part of the neighbor-KRRG�� EXW� 5XVVLDQV� KDYH�

“ In the winter, this area is cold and

HPSW\��EXW�LQ�WKH�VXPPHU��WKHUH�DUH�

KXJH�FURZGV�RI�GLYHUVH�SHRSOH�IURP�

all of New York City pushing and

shoving their way down the street.”

been moving in steadi-ly. A relatively long time ago, the neighborhood XVHG�WR�EH�DOO�,WDOLDQ��DQG�there are several rem-QDQWV�RI�WKDW���LQFOXGLQJ�

(continued on page 34)

D�FKXUFK�DQG�0DMRU�0HDWV��a store with friendly owners DQG�D�VDZGXVW�ÁRRU���VFDW-WHUHG�WKURXJKRXW�WKH�DUHD�� ,I� \RX� ZDON� WRZDUGV� WKH�RFHDQ� GRZQ� 6WLOOZHOO�� \RX�PD\�ÀQG�\RXUVHOI�LQ�D�IDPLO-iar area. Here is the heart of WRXULVW�&RQH\� ,VODQG�� 7KHUH�DUH� PXOWLSOH� SL]]HULDV� DQG�fried chicken stores nearby, and instead of spending IRXU�GROODUV�RQ�D�WLQ\��LQHG-LEOH�DQG� UXEEHU\�SLHFH�RI�ERDUGZDON�SL]]D�� \RX�FDQ�come here and pay only WZR� IRU� VRPHWKLQJ� PXFK�bigger and tastier. In the winter, this area is cold and HPSW\��EXW� LQ�WKH�VXPPHU��WKHUH� DUH� KXJH� FURZGV�of diverse people from DOO� RI� 1HZ�<RUN�&LW\� SXVK-ing and shoving their way down the street. The wall between the Pizza on the 5XQ�DQG�WKH�IULHG�FKLFNHQ�place contains a very bi-]DUUH�DQG�YHU\�FRORUIXO�PX-UDO��0DQ\�DQ�KRXU�FDQ�EH�spent simply standing there DQG�WU\LQJ�WR�XQGHUVWDQG�LW�� 2QFH� \RXYH� ÀQDOO\�PDGH� LW� WR� 6XUI� $YHQXH��\RX�KDYH�DQ�XS�FORVH�YLHZ�RI� WKH� $VWURODQG� DPXVH-

ISSUE 1 200722 ISSUE 1 2007 23

Don’t wear stripes and spots at the same time, LW·V�SDLQIXO�WR�look at.

Jeans and black leg-JLQJV����,W�MXVW�doesn’t work--- It’s old now, so DON’T DO IT.

It’s getting FROG����:KHWKHU�it be small, soft ones or big, poofy ones, scarves are a PXVW�

:H�ORYH�colored WLJKWV��

DOS DON’TS

& Fashion

By Rio Nose Photography by Benny Lam

BLAST FROM THE PAST: HALLOWEEN 07’

By Benny Lam

ISSUE 1 200724 ISSUE 1 2007 25

��3UREDEO\�GXH�WR�JOREDO�warming, Halloween ZDV�XQXVXDOO\�ZDUP�WKLV�year. The leaves on the trees were yet to brown DQG� ÁRZHUV� EORVVRPHG�WR� UHPLQG�XV�RI� WKH�HY-HU�SHUVLVWHQW� VXPPHU��$OWKRXJK� WKLV� ZHDWKHU�made it pleasant to stroll DURXQG�WKH�FLW\��LW�GLGQ·W�IHHO� TXLWH� OLNH� +DOORZ-een. The air became FKLOO\� RQFH� WKH� VXQ�started to set. Breathing in crisp air and the wind EORZLQJ�WKRXJK�RXU�KDLU��Halloween began for XV� GXULQJ� WKH� *UHHQ-wich Village Parade.

��0DVTXHUDGHG�FURZGV�screamed along cos-WXPHG� SDUDGHUV� DV�the line between the DXGLHQFH� DQG� SHU-IRUPHUV�EOXUUHG��*KRVWV��zombies, and drag TXHHQV� VWUXWWHG� DFURVV�6L[WK� $YHQXH�� &RPSD-QLHV� VXFK� DV� =���� DQG�Bacardi sponsored HODERUDWH� ÁRDWV�� 7KH�0LVV� +RUURUIHVW� ÁRDW�ZDV� SDUWLFXODUO\� H\H�catching with blood-LHG� ]RPELHV� VTXLUPLQJ�in a giant barred cage.

By Jaime Sunwoo Photography by Harlie Brindak

GREENWICHVILLAGE

Some displayed

their artistic talents

in the parade--- look

at the size of these

skeletons!

Sea

monsters,

perhaps?

The Miss Horrorfest

Float in all its ghoulish

entirety.

People of all ages came to participate in the parade and VRPH� RUJDQL]HG� JURXS� GDQFHV��A crowd favorite was a choreo-graphed performance of Michael -DFNVRQ·V� ´7KULOOHU�µ� /XFN\� IRU� XV��ZH�HQGHG�XS�VWDQGLQJ�QH[W�WR�DQ�RYHUO\�JUHJDULRXV�PDQ�ZKR�FRQ-VWDQWO\�UHTXHVWHG�KXJV�IURP�SDVV-LQJ�SDUDGHUV��6RPH�RI�WKHVH�VKRXW�RXWV�OHG�WR�D�PRUH�LQWLPDWH��SHU-sonal interaction with them. This JX\�JRW�D�OLWWOH�WRR�SHUVRQDO�DQG�ZLSHG�KLV�ÀQJHU�RQ�+DUOLH·V�IDFH�

�,W�ZDV�D�JUHDW�QLJKW��7KH�*UHHQ-wich Village Halloween Pa-rade did not disappoint this \HDU�� %ULQJ� RQ� +DOORZHHQ� ��·�

HALLOWEENPARADE

Flying skulls held

by face-painted

paraders.

A clone trooper

thinks to him-

self. Hmmm....

ISSUE 1 200726 ISSUE 1 2007 27

MUSIC

Say Anything is an indie rock band from LA. 7KH\�JRW�WKHLU�VWDUW�LQ�������UHOHDVLQJ�SRS�SXQN�VRXQG-LQJ� (3·V� OLNH� Menora/Ma-

jora and Junior Varsity and one LP, Baseball. Being VXFK� DQ� REVHVVLYH� IDQ�� ,�FDQ�WHOO�\RX�WKDW�WKHVH�DUH�QRW�VROG�DQ\ZKHUH��EXW�DUH�available to download all RQ�WKHLU�IDQ�IRUXP�IRU�IUHH��All their songs are fantas-WLF��(YHQ� WKH�PRVW�HPR�RI�HPR�� OLNH� ¶$�:DON� 7KURXJK�+HOO�·�VWLOO�JHWV�PH�SXPSHG��<RX� PLJKW� EODPH� WKHLU�old emo moods on their songwriter/frontman, Max Bemis. In their song, ‘That LV� :K\·� RII� RI� WKHLU� QHZ�DOEXP� In Defense of the

Genre, there is a line that UHDGV�� ´<RX� FDQ·W� PDNH�WKH�WXUNH\�FROGHU����RU�VNHZ�PH� OHVV� ELSRODU�µ� DFWXDOO\�DSSOLHV� WR�RXU� ORYHO\� OHDG��

ZKR�DFWXDOO\� LV�GLDJQRVHG�with bipolar disorder. It’s cool to know that even WKRXJK�KH·V� JRW�SUREOHPV�and the band’s got prob-lems, they’re all together trying to make it happen for them. They signed with 'RJKRXVH� 5HFRUGV� LQ� $X-JXVW������DQG�UHOHDVHG�...Is D� 5HDO� %R\ with an addi-WLRQDO� (3��:DV�D�5HDO� %R\. ,W� ZDV� UH�UHOHDVHG� LQ� �����

after they signed with J Re-FRUGV��$�SURXG�PRPHQW�� ,�think. There was some mis-hap with their release, and EHFDXVH�RI� OLPLWHG�VXSSO\��they were being sold for XS� WR� ���� RQ� H�ED\�� %RWK����,V�D�5HDO�%R\ and In De-

fense of the Genre are a bit more “hard-rock” than WKHLU�ROG�VWXII��EXW�LW�VWLOO�JLYHV�PH�WKDW�VDPH�ÀQH�IHHOLQJ�� $URXQG� 6HSWHPEHU��,·G� ERXJKW� WLFNHWV� IRU� WKHLU�0\6SDFH�0XVLF� 7RXU� FRQ-FHUW� ZLWK� +HOOR*RRGE\H��The concert was on Octo-EHU� ��WK� DW� WKH� +DPPHU-VWHLQ� %DOOURRP�� � &RVWXPHV�ZHUH� RSWLRQDO�� EXW� ZHO-FRPHG��,W�ZDV�D�QLFH�YHQXH�ZKHUH�WKH�JX\V�JRW�IULVNHG�at the door and cameras DUH� SURKLELWHG�� EXW� DUH�HDV\� HQRXJK� WR� VQHDN� LQ��The Polysonics started off WKH�VKRZ�ZLWK�WKHLU�XSEHDW�techno vibe. Then Dan

by Ren Santiago

CONCERT REVIEW

(continued on page 35)

MUSIC ALBUM REVIEWS

*D�*D�*D�*D�*DSpoonMerge Records%<�%(11<�/$0��

� 5HWXUQLQJ� ZLWK� WKHLU� VL[WK� DOEXP�� WKLV� 7H[DV�based indie rock band strikes another effort-OHVVO\�UK\WKPLF�DOEXP�DORQJ�ZLWK�O\ULFV�WKDW�DO-PRVW�ÁRZ�WKURXJK�\RXU�WRQJXH��:LWK�WKH�DOEXP�titled Ga Ga Ga Ga Ga��PXFK�RI�WKH�FRQWHQW�LV�VDUFDVWLFDOO\�ZULWWHQ��ZLWK�KLQWV�RI�VRXOIXOQHVV�and intelligence emerging along the way. It LV�DV� WKRXJK�D� OLJKWHU�YHUVLRQ�RI�2N�*R�VWROH�WKH� WDPERXULQH� IURP� WKH�KLSSLHV�RI� WKH���·V�DQG�FROODERUDWHG�ZLWK�WKH�HQWKXVLDVWLF�KDQG�clap generator. Lead singer Daniel managed WR�FRQWURO�WKH�YRFDOV�ZKLOH�JXLGLQJ�WKH�VRXQG�towards the more relaxing walk-down-the-VWUHHW�RQ�D�VXQQ\�GD\� GLUHFWLRQ�� (VFDSLQJ�IURP�WKH�ROG�SRS�VKHOO�LQ�WKH�SUHYLRXV�DOEXPV��6SRRQ�KDG�VXFFHVVIXOO\�HYROYHG�LQWR�D�PRUH�DPELWLRXV� FODVVLF� URFN� VRXQG� ZLWK� D� VWHDG\�GUXP�EHDW�� ,W� LV�RQH�DOEXP�ZRUWK\�RI�EHLQJ�SLFNHG�XS�RQ�\RXU�QH[W�YLVLW�WR�WKH�UHFRUG�VWRUH�

Are Dead and Some7KH�<RXQJ�.QLYHV Shifty DiscoB<�/28,6�3(5$/7(���

� � ,I� \RX·UH�D� IDQ�RI� WZHHG�RXWÀWV��DQ-JU\�(QJOLVK�SHRSOH��LQGLH�URFN�RU�VRPH�strange combination of the three then \RX�VKRXOG�JLYH�WKLV�D�VHULRXV�ORRN��&R-LQFLGHQWDOO\��7KH�<RXQJ�.QLYHV�FRQWDLQ�DOO�RI�WKHVH�DVSHFWV�LQ�RQH��:HOO��WKUHH��considering it’s a three piece band. %XW�� ,� GLJUHVV�� %URWKHUV� +HQU\� 'DUWQDOO��7KRPDV�´+RXVH�RI�/RUGVµ�'DUWQDOO�DQG�2OLYHU� $VNHZ� PDNH� XS� WKH� UDZ� DQG�SXQN�LQÁXHQFHG� EDQG�7KH� <RXQJ�.QLYHV�EHJDQ�WKHLU�URDG�WR�VXFFHVV�ZLWK�WKH� UHOHDVH�RI� WKHLU�DOEXP� The Young

Knives...Are Dead�� )RUWXQDWHO\�� IRU� XV�IDQV��LW�ZDV�H[SDQGHG�LQ�WKH�HDUO\�VXP-PHU� RI� ������ ,W� KDV� EHHQ� UH�GXEEHG�7KH� <RXQJ� .QLYHV���$UH� 'HDG���$QG�6RPH�� ,W� FRQWDLQV� D� :+233,1*� IRXU�more tracks than the original total-LQJ� DQ� 81%(/,(9$%/(� HOHYHQ� WUDFNV��The sarcasm is meant for a somewhat SRVLWLYH�HIIHFW��%HDU�ZLWK�PH�� WKRXJK��,W·V�UHDOO\�ZRUWK�D�OLVWHQ�RU�WZR���RU��\RX�NQRZ�� LW·OO� ODVW� \RX� IRUHYHU�� ,W·V� PXVLF�

Recommended tracks:Track 1 “Don’t Make Me a Target”7UDFN���´<RX�*RW�<U��&KHUU\�%RPEµ�7UDFN���´7KH�8QGHUGRJµ�

ISSUE 1 200728 ISSUE 1 2007 29

MUSIC FEATURED

WEECHOS

RAPPERJoe Martin

BEAT BOXERSJullian BrownWesley Ramos Manny Ortiz Ryan Isles Keef3 CarterJhonathan PadillaChris Agron

Interviewed by

Jaime Sunwoo

��,�FDXJKW�WKH�:HHFKRV�LQ�IXOO�SHUIRUPDQFH�GXULQJ���WK�SH-ULRG�RQ�WKH�WKLUG�ÁRRU�LQ�IURQW�RI�RXU�VFKRRO·V�3K\V�(G�RIÀFH��)URP�D�GLVWDQFH��,�FRXOG�KHDU�rhythmic beat boxing and a raw, distinct voice, rolling over a smooth, extemporized UDS�� 6SRWWLQJ� D� VPDOO�� KXG-dled crowd, I yearned to see who the mystery rapper from across the hall was. I peeked RYHU�WKH�VKRXOGHUV�RI�RQH�RI�the seven head bobbing EHDW� ER[HUV� WR� ÀQG� VRPH-one I had not expected. ��,Q�WKH�PLGGOH�RI�WKH�JURXS��,�IRXQG�D�FRPSDUDEO\�VPDOOHU�ER\� ZLWK� VTXDUHG� VKRXOGHUV�ZHDULQJ�D� UR\DO� EOXH� VLON� WLH�and khaki pants. The boy’s hair was neatly combed over to the side, and he GRQQHG� D� EXWWRQ� XS� VKLUW�WKDW� ZDV� WXFNHG� LQWR� KLV�SDQWV���+H�VSDW�RXW�IUHVK�O\U-LFV� DV� WKH� FURZG� ERXQFHG�and swayed to each word he rapped. Camera phones ZHUH� ZKLSSHG� RXW�� UHFRUG-ing the rare appearance despite the risks of getting FDXJKW��3HRSOH�ZKR�SDVVHG�WKURXJK�WKH�KDOOV�FDPH�WR�D�KDOW�LQ�LQWULJXH��HYHQ�0U��(YHU-HWW�VWHSSHG�RXW�RI�KLV�RIÀFH�to catch the phenomenon. The performance ended in FKHHUV� DQG� SOD\IXO� VKRYLQJ��After they settled down, I ZDV�OXFN\�HQRXJK�WR�KDYH�D�brief interview with the crew.

QUESTION: What do you guys call yourselves?

ANSWER: The Weechos. Joe Martin is our main rap-per. The rest of us beat box.

Q: How did you meet?

A: We all met randomly from LaGuardia. We became friends with Joe through his rapping. He kept free styl-

ing during lunch and he’d come to different tables. We all ended up collaborating and adding on to the group.

Q: Are you all vocal majors?

A: Actually, just one of us. We’re all art ma-jors. We have one drama major but he’s actually cool, haha.

Q: Inspirations?

A: Slick Rick, Big Daddy Kane, LL Cool J, Kool G Rap, Doug E Fresh, Big C, Blackalicious.

Q: Do you guys ever perform onstage?

A: We hope to.

Q: :KHUH�FDQ�ZH�ÀQG�WKH�Weechos?

A: Anywhere---4th period lunch, in the senior lounge, in the hallways, we’ll be there.

ISSUE 1 200730 ISSUE 1 2007 31

ISSUE 1 200732 ISSUE 1 2007 33

� ,� VWRRG� RQ� WKH� XS-town 1 train. I was going home after school trying to read +DPOHW, knowing WKDW� ,� ZRXOG� OLNHO\� HQG� XS�reading the Sparknotes for it later that day. As I stood there listening to my iPod, ,� KHDUG� WKH� VRXQG� RI� WKH�GRRU�EHWZHHQ�WKH�VXEZD\�FDUV� RSHQ� DQG� DEUXSWO\�VKXW�ZLWK�WKDW�FOLQNHW\�FODQN�in which it always closes. I WXUQHG��H[SHFWLQJ�WR�VHH�D�homeless person. Lo and behold, it was indeed a homeless man. He was most likely somewhere in his ODWH�WZHQWLHV���+LV�GLUW\�EOXH�VZHDWHU�ZDV�LQVLGH�RXW�DQG�he wore his hair in some sort of messy ponytail. He was wearing far too many layers for the weather. He had already be-JXQ�WDONLQJ�RQFH�,�SDXVHG�what I was listening to. I had a tendency to try to lis-ten to the poor people on the train. Their speeches ZHUH� DOZD\V� TXLWH� VLPL-ODU�� � 7KRXJK� ,� SDLG� KLP� D�smidgeon of my attention, ,� GRXEWHG� WKDW� DQ\ERG\�else did. Most people were looking at their shoes or the shoes of the person stand-ing in front of them. The rest were trying their hardest to avoid looking at the home-OHVV� JX\� E\� IHLJQLQJ� LQWHU-est in the advertisements DERXW� OHDUQLQJ� (QJOLVK� RU�WKH�ZDUQLQJ�DERXW�KDYLQJ�WR�EH�RQ�RQH�RI�WKH�ÀUVW�ÀYH�

FDUV�WR�JHW�RII�DW�6RXWK�)HU-U\���,�FKRVH�WR�ORRN�RXW�WKH�train car window into the GDUN� DE\VV� RI� WKH� VXEZD\�WXQQHO�WR�DYRLG�VHHPLQJ�DV�LI� ,�ZHUH�DFWXDOO\�WDNLQJ�LQ-terest in the man’s speech. I tried not to listen too intently as the man spoke of terrible experiences in shelters and hostels and how he had to sleep in Riverside Park the previ-RXV� QLJKW�� � $Q\RQH� FDQ�PDNH�XS�PDXGOLQ�OLWWOH�VWR-ries and recite them like a 6KDNHVSHDUHDQ� VROLORTX\��so what makes this man different from the rest of the people who beg for PRQH\�RQ�WKH�VXEZD\"��,I�,� ZHUH� WR� GUHVV� XS� LQ� UDJ-gedy clothes and tell a sad VWRU\��,�FRXOG�FROOHFW�D�IHZ�FRLQV�LQ�DQ�ROG�FRIIHH�FXS�IURP� D� IHZ� XQVXVSHFWLQJ�VWUDSKDQJHUV���:KDW�PDNHV�this man deserve the eight

cents I received in change IURP� WKH� GHOL� HDUOLHU"� +H� ÀQLVKHG� WHOOLQJ�RI�his horrifying experience in WKH�SDUN�DQG�,�WKRXJKW�WKDW�KH�ZRXOG�PRYH�DORQJ�DQG�collect money from sev-HUDO� JHQHURXV� 1HZ� <RUN-HUV��EXW�DV� WKH�WUDLQ�SXOOHG�into the 116th Street sta-WLRQ�� KH� VDLG�� ´,�ZRXOG� OLNH�to recite a poem I wrote.” “Oh no he didn’t,” ,� WKRXJKW� LQ� P\� KHDG�� � ,�VRXQGHG� OLNH� YDOOH\� JLUO�in my own mind. De-spite my hasty reaction, a little bit of me wanted WR� KHDU� WKLV� JX\·V� SRHWU\� “Oh no, not again,” KH�EHJDQ��WU\LQJ�WR�SURMHFW�his voice over the herd of SDVVHQJHUV� SXVKLQJ� WKHLU�way on board. The line grasped my attention and the attention of the rest of

��������������by Paul Vergara

Art by Gwendolyn Kehrig-Darton

“ ”

(continued on page 35)

ISSUE 1 200734 ISSUE 1 2007 35

ment park. A little to the right is the Keyspan Park EDVHEDOO�VWDGLXP��KRPH�RI�the Brooklyn Cyclones and ablaze with neon lights ev-ery evening. Close to it is 3HJJ\�21HLOOV��D�EDU� WKDW�holds many small concerts. 7R� WKH� OHIW� WKHUH� LV�D�PXOWL-WXGH�RI�FRWWRQ�FDQG\�DQG�ice cream shops, as well DV� YDULRXV� VKDG\�ORRNLQJ�VRXYHQLU� VKDFNV�� 7KH� VWUHHW�LV�DOVR�KRPH�WR�WKH�DQQXDO�Mermaid Parade, as well as WKH� SRSXODU� 6LUHQ� )HVWLYDO� The three tallest rides in the park are: the Cyclone, DQ�DQWLTXH�ZRRGHQ� UROOHU-coaster that is both amaz-LQJ�DQG�WHUULI\LQJ��WKH�:RQ-GHU� :KHHO�� D� IHUULV� ZKHHO�that offers one of the most EHDXWLIXO�YLHZV�RI�WKH�DUHD��and the observation tower, a slow ride excellent for those who wish to take ev-erything in while snapping SLFWXUHV��,Q�EHWZHHQ�WKHVH�three rides there are doz-ens of others, ranging from YLUWXDO� UHDOLW\� VSDFH� ULGHV�to kiddy helicopter rides to small rollercoasters that VSODVK�\RX�ZLWK�ZDWHU��7KHUH�LV�DOVR�D�PXOWLWXGH�RI�SKRWR�booths and candy stores VFDWWHUHG� WKURXJKRXW�� � *R� GRZQ� DQ\� QXPEHU�of small streets that lead towards the ocean, and \RXOO� ÀQG�\RXUVHOI�DVFHQG-ing wooden steps that lead WR� WKH� ERDUGZDON�� )URP�KHUH�� \RX� ZLOO� ÀQDOO\� VHH�WKH� EHDFK� XS� FORVH� DQG�SHUVRQDO�� 7KHUH� LV� D� KXJH�expanse of sand, dotted E\�RUDQJH�OLIH�JXDUG�FKDLUV�and piles of rocks that stick RXW�LQWR�WKH�ZDWHU��$�OLWWOH�WR�the right is a relatively new

ÀVKLQJ�SLHU�ZKHUH�\RX�FDQ�ÀQG� PDQ\� PLGGOH�DJHG�PHQ�ZLWK�ÀVKLQJ�SROHV�DQG�EXFNHWV��,Q�WKH�VXPPHU��RQ�weekends especially, the beach is packed with peo-ple and the water is packed with garbage. However, if \RX�JR� LQ� WKH�PRUQLQJ�RQ�a weekday, away from the FURZG��\RXUH�LQ�IRU�D�SOHDV-ant experience with warm water and great waves. Strolling down the board-ZDON�\RXOO�ÀQG�PRUH�VRXYH-QLUV� VKRSV�� D� 0F'RQDOGV��DQG� PDQ\� MRJJHUV� DQG�people simply taking walks. After passing the Cyclone, \RXOO� ÀQG� WKDW� WKH� FURZG�KDV� WKLQQHG� RXW� DQG� WKDW�there is a large wall with a PXUDO�RQ�LW�WR�\RXU�OHIW��7KH\�repaint the wall with vari-RXV� RFHDQ�WKHPHG� FKDU-DFWHUV�� VXFK� DV� 3RVHLGRQ�and random sharks and MHOO\ÀVK�� HYHU\� IHZ� \HDUV��,I�\RX�FRPH�WR�WKLV�SDUW�RI�WKH�ERDUGZDON�RQ�D�)ULGD\�QLJKW� GXULQJ� WKH� VXPPHU��\RXOO�ÀQG�D�FURZG�RI�SHR-SOH�ZDLWLQJ�IRU�D�WUXO\�VSHF-WDFXODU�GLVSOD\�RI�ÀUHZRUNV��.HHS�ZDONLQJ��DQG�WR�\RXU�OHIW�\RXOO�VHH�WKH�HQWUDQFH�WR� WKH� IDPRXV� 1HZ� <RUN�$TXDULXP�� <RXOO� ÀQG� HY-ery kind of marine animal WKHUH��IURP�ÀVK�WR�VKDUNV��WR�dolphins to stingrays, and there is always a special demonstration or display KDSSHQLQJ�� ,WV� GHÀQLWHO\�ZRUWK�D�YLVLW�RU�WZR��$V�\RX�FRQWLQXH� RQ�� WKH� PRRG�becomes distinctly more 5XVVLDQ� XQWLO� ÀQDOO\�� \RXOO�be able to see Asser Levy park, where we started RXW��WKURXJK�WKH�WUHHV��:DON�down the steps from the boardwalk and keep go-

CONTINUATIONSWhere I Live: Coney Island

Perhaps the greatest disappointment came with the lack of chemistry be-tween the two main char-acters. In this interpreta-tion, Henry Higgins seemed to be a closeted gay or DVH[XDO�PDQ�ZKR�ZDV�RQO\�excited by the prospect of creating a believable ODG\� RXW� RI� WKH� ORZO\� /L]D���7KLV� FRXOG� KDYH� EHHQ� DQ�interesting choice if the character was indeed ex-cited and interested by the act of his creation. Un-IRUWXQDWHO\�� WKHUH� ZDV� QR�VXFK� VSDUN�� � 6LPLODUO\�� /L]D��as played by Ms. Danes, ZDV� XQLQYROYHG�� � $� SDZQ�to the end, she showed QR�VSXQN��QR�GHOLJKW�LQ�KHU�accomplishments and no XQGHUVWDQGLQJ�RI�KHU�JURZ-ing predicament as a lady with no society to which VKH�FRXOG�UHWUHDW���7KH�DF-tress had little command of WKH�VWDJH�DQG�DOWKRXJK�D�dialect coach appears in the credits, her accents, both Cockney and the SHUIHFWHG� SURSHU� (QJ-lish, seemed inconsistent. � 7KH�VXSSRUWLQJ�FKDU-acters fared a lot better. %R\G� *DLQHV� ZDV� D� FRQ-

ing down Ocean Parkway XQWLO�\RX�UHDFK�WKH�4�WUDLQ�once again. Alternatively, \RX�FDQ�KHDG�EDFN�GRZQ�6XUI� $YHQXH� WRZDUGV� WKH�Coney Island train station.� 7KRXJK� WKH� IDPRXV� DUHD�of Coney Island will soon be torn down and reno-vated, the distinct atmo-sphere of the neighbor-hood will most likely remain the same. Drop by for a YLVLW��ZKHWKHU�\RX�JR�LQ�WKH�VXPPHU� RU� ZLQWHU�� \RXOO�EH� VXUH� WR� ÀQG� VRPHWKLQJ�WKDW�FDWFKHV�\RXU� LQWHUHVW�

Theater Review: A Classic Challenge

ÀGHQW� &RORQHO� 3LFNHULQJ�and Helen Carey gave a VROLG� DQG� DVVXUHG� SRUWUD\-al of Henry’s mother, Mrs. Higgins. Also notable was Jay O. Sanders who ex-ploded onto the set as the irrepressible Doolittle and VXVWDLQHG�KLV�UHIUHVKLQJ�HQ-HUJ\�WKURXJKRXW�KLV�VFHQHV� Classical theatre can be vibrant and relevant to PRGHUQ� DXGLHQFHV�� � :LWK�a director’s strong vision JXLGLQJ� DFWRUV� DGHSW� DW�KDQGOLQJ� WKH� ODQJXDJH��WKH� JUDQG� JHVWXUHV�� DQG�the emotional context of their characters with grace DQG�HDVH��WKH�SXEOLF�ZRXOG�embrace the genres of the SDVW��DQG�%URDGZD\�FRXOG�thrive with an eclectic ar-ray of theatrical history. 7KLV�SURGXFWLRQ�RI�3\JPDO-LRQ��XQIRUWXQDWHO\��LV�QRW�WKH�vehicle to accomplish this.

2YHUDOO�� WKH� PXVLFDO� LV�WRXFKLQJ�� WHDU� MHUNLQJ�DQG�DOO�DURXQG� ZRQGHUIXO��7KH�RQO\�WKLQJ�,�ZRXOG�FULWL-FL]H� DERXW� 7KH� 3KDQWRP�RI� WKH� 2SHUD� LV� WKDW� -XOLH�Hanson, who plays Chris-tine Daae on Monday and 7KXUVGD\�� KDV� D�PHGLRFUH�voice and she doesn’t VHHP� WR� ÀW� WKH�SDUW��+RZ-ever, I expect the main ac-tress, who plays Christine, -HQQLIHU�+RSH�:LOOLV��LV�EHWWHU��+RZHYHU��+RZDUG�0F*LOOLQ��who plays the phantom, has an excellent voice and is a great actor. Mari-lyn Caskey, who plays Ma-GDPH�*LU\�� LV�DOVR�ÁDZOHVV�Despite its minor frailties, The Phantom of the Opera LV�XQGRXEWHGO\�D�PXVW�VHH��

Theater Review: The Phantom of the Opera

Subway Stories: Just An-other One

WKH� VXEZD\� ULGHUV�� +H� UH-cited a very simple poem DERXW� WUXGJLQJ� EHWZHHQ�WKH�WUDLQ�GRRUV���+H�WROG�XV�DERXW� ZKDW� ZH� ZHUH� DOO�thinking. He knew that we WKRXJKW�WKDW�KH�ZDV�D�IDNH�DQG�WKDW�KH�VKRXOG�JHW�D�MRE�and he needs to stop both-HULQJ� XV� DIWHU� D� ORQJ�GD\���+H�WDONHG�DERXW�XV�ERZLQJ�RXU�KHDGV��WU\LQJ�WR�QRW�WR�look at him, trying to ignore that he was even there. +H� UHDG� DOO� RI� RXU� PLQGV�� He referred to him-VHOI� DV� ´MXVW� DQRWKHU� RQH�µ��+H� ZDV� MXVW� DQRWKHU� RQH�of those homeless peo-ple begging for money. :H·YH�DOO� HQFRXQWHUHG� VR�PDQ\�RI� WKHP�RQ� VXEZD\�platforms, on street cor-ners, on the train. He was MXVW� DQRWKHU� RQH� RI� WKRVH�dirty, poor, homeless men that we pay no mind to. +LV� SRHP� ZDV� WUXWKIXO�� � ,W�wasn’t a work of art; it wasn’t Shakespeare. It was the voice of a real person.� ,�GXJ�LQWR�P\�SRFNHW���The eight cents in change GLGQ·W�VXIÀFH���,�UHDFKHG�IRU�a dollar from the wallet in my bag as he passed by me RQFH�KH�ÀQLVKHG�KLV�SRHP��I handed it to him right as WKH� WUDLQ�FDPH�RXW�RI� WKH�WXQQHO� DQG� DSSURDFKHG����WK� 6WUHHW�� � 6XQOLJKW�SRXUHG� LQWR� WKH� WUDLQ� FDU�DV� LW� FRQWLQXHG� RQWR� WKH�elevated track. He said a VLPSOH� ´7KDQN� <RXµ� DQG�kept walking. The only oth-er person I saw hand him some spare change was a brown-haired Hispanic girl with blonde bangs that were gelled onto her fore-head as if they were some kind of cranial armor. He FRQWLQXHG� RQWR� KLV� WUHN�

WKURXJK� WKH� FURZG� DQG�once I heard the clinkety-clank of the door between the train cars, I pressed play on my iPod and the PXVLF� ÁRRGHG� P\� HDUV�

�IURQWPDQ� RI� <RXQJ� /RYH��GDQFHG�DURXQG�ZKLOH�WKH\�SOD\HG� ¶)LQG�D�1HZ�:D\·�before leaving the stage.

After twenty teasing PLQXWHV� RI� VRXQG� FKHFN�DQG�ROG�UDGLR�WXQHV��-DFRE�Linder walked on with his EHDUGHG� IDFH� DQG� KXJH�smile and sat himself be-KLQG� WKH� GUXPV�� $OH[� .HQW�ZDONHG� KLV� VNLQQ\� EXP� WR�the right of the stage, bass in hand. Jacob set the beat and Alex kept the rhythm and the crowd was losing it already. The most hyperactive of the fans VWDUWHG�SXVKLQJ�SHRSOH�OHIW�and right seeing how far WKHLU�GRPLQR�HIIHFW�ZRXOG�JR�� 7KHQ� FDPH� WKH� 7XUQ-ers, Jake and Jeff, who took their skinny pant-clad VHOYHV�WR�WKHLU�JXLWDUV��3DUN-HU�&DVH�IROORZHG�DQG�ÀQDO-ly, Max Bemis stood before XV�LQ�WKH�-HVXV�OLNH�PDQQHU�in which he wished for. He ZHQW�ULJKW�XS�DQG�EHJDQ�WR�EHOW�WKH�ÀUVW�VLQJOH�RII�In De-

fense of the Genre, entitled ¶%DE\�*LUO�� ,·P�D� %OXU�·� 7KH�JURXQG� VKRRN�� (YHU\RQH�ZDV�MXPSLQJ�DQG�WKUDVKLQJ�DURXQG� DQG� VLQJLQJ� ZLWK�KLP� LQ� D� JORULÀHG�PDQQHU�

The band as tight and 0D[·V� YRFDOV� ¶%HPLÀHG·�PH��7KH�ÁRRU�ZDV�SDFNHG��Personal space forgot-ten, I was cramped into the front with three legs between my own, an el-ERZ�MDPPLQJ�LQWR�P\�VLGH��and an armpit at my ear.

Concert Review: Say Anything

ISSUE 1 200736

DQG�PRXWK��EXW�IDGHV�LQWR�darkness so that it is hard WR� GLVWLQJXLVK� KHU� QHFN��hair, and even her ears IURP�WKH�EDFNJURXQG���+HU�H\HV� DUH� FORVHG� EXW� WKH\�are so faded that it makes \RX� TXHVWLRQ� WKH� YDOLGLW\�RI� WKDW� VLPSOH�DVVXPSWLRQ���The grim feel of this portrait HOLFLWV�WKH�YLHZHU·V�FXULRVLW\��FDXVLQJ�KHU�WR�SRQGHU�RYHU�WKH�QDWXUH�RI�WKH�DUWLVW·V�UH-lationship with his mother.� 7KH� SLHFHV� KXQJ� RQ�the opposing wall of this

They played ‘Skinny, Mean 0DQ·� DQG� 0D[� UHTXHVW-ed we form that sweet little circle called a mosh SLW�� :H� KXPEO\� REOLJHG�

They played songs off RI�WKHLU�ODVW�DOEXP�OLNH�¶<HO-low Cat/Red Cat,’ and a IDYRULWH� RI� PDQ\�� ¶:RZ�� ,�&DQ�*HW�6H[XDO��7RR�·�7KH\�even closed with ‘Alive :LWK� WKH� *ORU\� RI� /RYH�·�an inspiring old favorite of PLQH��(YHU\RQH�ZDV��HYHQ�before Say Anything came on- sweating like crazy, dancing, moshing and FURZG�VXUÀQJ�� -DNH� 7XUQHU�ZDV�QLFH�HQRXJK�WR�WKURZ�FROG�ZDWHU�RQ�XV��%OHVV�KLP�

Their show was amazing; they were hyped and had IXQ�SOD\LQJ�IRU�XV��:H�KDG�IXQ�EHLQJ�SOD\HG�WR��6DGO\��Say Anything soon left. It was inevitable. As if script-ed, half the crowd left, DOVR��+HOOR*RRGE\H�FORVHG�XS�WKH�FRQFHUW�DQG�HYHU\-RQH�GDQFHG�WR�KLV�EDQMR�LQ�a grand welcome to Hal-loween. It was a phenom-enal night. I didn’t even care that I was soaked in other people’s sweat.

URRP�VHHP� OHVV�DERXW� WKH�shapes and physiogno-mies of the people and PRUH� DERXW� ZKDW� WKH\�are doing and where WKH\� DUH� ORFDWHG�� � 6HXUDW�SURGXFHV� GHWDLOHG� ODQG-VFDSHV�RI�WKH�FRXQWU\VLGH��however, the artist still can-not escape conveying the gloomy, desolate side RI�KLV� VXEMHFW�PDWWHU�� �3HU-haps that was the intent. My favorite in this ODVW� JURXSLQJ� RI� DUWZRUN� LV�entitled “Plowing.” It was GUDZQ� IURP� �����������the same time period as “The Artist’s Mother,” and like that piece it was com-SRVHG� ZLWK� FRQWp� FUD\-on on paper. This work, WKRXJK� WR�P\�PLQG�RGGO\�titled, is a love scene set against a placid back-JURXQG���7KH�OHIW�VLGH�RI�WKH�composition is almost en-tirely black, yet the shape RI� D� KRXVH� DQG� D� KRUVH�FDQ�EH�YDJXHO\�GLVFHUQHG���7KH�ÀJXUHV� WKHPVHOYHV�DUH�QRWKLQJ� PRUH� WKDQ� VLOKRX-ettes placed against a FRQWUDVWLQJ�� OLJKW� VXQULVH���There is clear evidence of the origins of pointillism in this work. The sky, and HVSHFLDOO\� WKH� FORXGV�� DUH�rendered with the emerg-LQJ� VW\OH� WKDW�ZRXOG�PDNH�WKLV�DUWLVW�IDPRXV���,�SDUWLFX-larly appreciated how, by XVLQJ�\HOORZ�SDSHU��6HXUDW�FDSWXUHV� DQ� XQFDQQ\� UH-VHPEODQFH� WR� DQ� DFWXDO�VXQULVH� PHUHO\� E\� OHDYLQJ�areas of his sheet blank. ´*HRUJHV�6HXUDW���7KH�Drawings,” will be on display at 7KH�0XVHXP�RI�0RGHUQ�Art XQWLO� -DQXDU\� ��� �����

Exhibit Review: Getting to the Point