Times Square Magazine vol.2 n.5 by Dataware

Times Square Magazine | December 2013

MASTHEAD Times Square Magazine | vol.2 n.5 | December 2013

Lorenzo Tartamella

Sarah-Louise Jean-Louis

Joey Franco

Liz Belilovskaya

Jonathan De Sua

Anna Chiazzese

Deborah Jacob

Carlos Escobar

Rich Monetti

Brooks Williams

PUBLISHER LORENZO TARTAMELLA EDITOR IN CHIEF JOEY FRANCO MANAGING EDITOR DAWN BARRETTO ASSOCIATE EDITOR MARIA CHIAZZESE EDITORIAL ASSISTANT ANNA CHIAZZESE COPY EDITOR DEBORAH JACOB CREATIVE DIRECTORS LORENZO TARTAMELLA, JOEY FRANCO, SARAH-LOUISE JEAN-LOUIS, ASHLEY MCLEAN

COVER PHOTO MATT SAYLES PHOTOGRAPHY BROOKS WILLIAMS, JOEY FRANCO, OUSSEINI MOUSTIK, CAROL ROSEGG LAYOUT DESIGN SARAH-LOUISE JEAN-LOUIS CONTRIBUTORS LIZ BELILOVSKAYA, CARLOS ESCOBAR, DONNA CHRISTOPHER , JOEY FRANCO, JONATHAN DE SUA, MICHELLE ROSADO , DEBORAH JACOB, LORENZO TARTAMELLA FOUNDER BROOKS WILLIAMS

TIMES SQUARE MAGAZINE

THE TIMESSQUARE.COM CORPORATION 303 W.42nd Street, Suite 603 NY, NY-10036 | 1-800-777-2323 info@timessquare.com

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34 Times Square Magazine | December 2013

CONTENTS

COVER STORY

15.CARRIE KEAGAN

MEET CARRIE KEAGAN FROM TV ROYALITY

18.JIM BRICKMAN

ALL AROUND-MUSIC MAN

22.LOVE X STEREO BRING ELECTRO ROCK AND POP TO AMERICA

26.BEN RECTOR

IS OUT TO MAKE ORDINARY CONNECTIONS WITH HIS MUSIC

30.A DAY FOR GRACE 34.SPOKEN WORD POET BREAKS

BOUNDARIES OF SOCIAL JUSTICE

AT THE BEST BUY THEATER ON OCTOBER 15TH

36.TAL

38.BOMBAY JAYASHRI

AT CARNEGIE HALL

42. THE VOICE’S CHRISTIAN PORTER WILL GO WITH THE FLOW AT THE CONTEMPORARY ARTS FAIR ON OCTOBER 25TH AT THE JAVITS CENTER

44. JOANNE SHAW TAYLOR CARRIES

THE CLASSIC ROAD LOAD FOR HER GENERATION

48. THE ART OF THE BRICK

@DISCOVERY TIMES SQUARE

53. NEW YORK WISDOM

MICKEY ROONEY-HOLLYWOOD LEGEND

56. FOOD FEATURED

60.SMALL BUISNESS

62.ACCESORIES AND BEAUTY 68. UPCOMING SHOWS 72.PHOTOS EVENTS

Publisherâ&#x20AC;&#x2122;s Note

Times Square Magazine | December 2013

The cold is setting in, and there is no better place than New York City to capture the beautiful holiday cheer. At Times Square, the day we all await is New Yearâ&#x20AC;&#x2122;s Eve. Hopefully many of you will make it down to Times Square. Witnessing the ball drop is a tremendous and awe-inspiring experience that everyone should see at least once in their lives. We have an extended end-of-year issue lined up with many exclusive interviews and features. Enjoy the read! Happy Holidays Lorenzo Tartamella, Publisher Times Square Magazine / TimesSquare.com

Times Square Magazine | December 2013

Meet

Carrie Keagan Morning TV Royalty As the host of VH1â&#x20AC;&#x2122;s Big Morning Buzz Live, Carrie Keagan is one of the most radiant and energetic women on morning television. She is also the lead anchor, writer and producer of Up Close With Carrie Keagan for NO GOOD TV, as well as a noteworthy regular at various red-carpet events ranging from the Emmys to the Critics Choice Awards. So letâ&#x20AC;&#x2122;s get to the nitty-gritty and learn more about her.

By Liz Belilovskaya

eagan was raised in Buffalo, New York. Many of her family members were musicians and her father was involved in television and public speaking. Needless to say, show business was always something she was close to, but her dream was to become a band promoter. After college she decided to pursue her goals and moved to Los Angeles hoping to get a job at a record label. Soon after, Carrie realized that this was going to be more difficult than she anticipated. She ended up working for a film composer named Hans Zimmer who introduced her to a whole new medium that she “never really paid attention to before” because she was so focused on music. With his help, she started to pay more attention to television, movies and the web. After a while, Carrie ended up meeting a friend of a friend who was starting an online company. It was right around the time web content was just beginning to gain massive momentum. He asked Carrie if she would be interested in doing interviews online, to which she responded, “Absolutely not!” However, she still wanted to be involved in the business. That was the beginning of NO GOOD TV. Despite declining the initial offer to conduct interviews, Keagan has gone on to do over an astounding 7000 of them. Since NO GOOD TV was one of the first companies to partner with YouTube, the company tallied up over a billion views to date. They have also amassed an enormous library of uncensored music videos and celebrity interviews. “Let’s just say that we put the ‘FU’ back into Fun,” stated Carrie with a chuckle. Keagan gained notoriety within the celebrity

circuit. When many of them see her now, they understand that the interviews will be fun, a little edgy, and very likely a tad out of the box. The atmosphere she creates is similar to that of a bar get-together, where they share stories and a few laughs over a couple of beers aiming to explore the approachable side of their personalities. Due to her experience with NO GOOD TV, Carrie came to love doing live television. “There is nothing better than knowing that you can only do something once,” exclaimed Keagan. Big Morning Buzz Live was then a natural step in her career‘s trajectory since the show features celebrity interviews and live music. For its third season, the program moved into a new studio formally belonging to VH1’s TRL and the cast couldn’t be happier. “We were a little show that could. We had no idea what the future of the show was going to be. We just wanted to make the best show that we could and to have the most fun we could possibly have during that time. Here we are, 3 years in, and they moved us down to the old TRL stage, right smack down in the center of Times Square. We are so happy and ecstatic, I’m telling you. Just the energy of walking onto that set everyday, it’s enough to keep you going! It’s so awesome knowing how much has gone down on that stage!” shared a super excited Keagan. The new space brings about new changes to the program. Interviews will take place in a more casual setting so that viewers can learn more about the hosts and their guests, but one of the biggest changes to the program are the daily live performances. Carrie is looking forward to this aspect the most, “The bookings on the show will be amazing,” she gushes.

Times Square Magazine | December 2013

As part of the Broadcast Film Critic Association, Carrie is also in the business of reviewing movies. “I watch movies all the time, constantly, everyday” she gushes. “As far as TV goes, I’m kind of a dork, I watch television all of the time anyway.” Every season she helps put together the Critics Choice Awards. As host or correspondent for the various awards shows, she makes sure to do her research. Carrie has also made many cameo appearances in various film and TV shows such as The Hangover and Reno 911. Although many of them tend to be in comedies, she is a drama fan. Living next door to Caroline’s, the famous New York City comedy club, she marvels at the comedian’s ability to go onstage and tell jokes. She believes that “If you can make people laugh, you own the world.” Being that Keagan enjoys conversing with stars over alcoholic beverages, it’s not surprising that she is also partnered with Magnifico Giornata, “the stylish and sparkling alternative to wine.” The low in calorie beverage comes in three amazing and distinct flavors: Lavender Honey, Ginger Peche and Grapefruit Blanc. When Carrie sampled the flavors, she says that she fell in love immediately. While the bottle itself is rather elegant, the various infusions make the wine truly unique. It is poised to become a staple drink of lavish parties and lovely dinner parties everywhere. Although the company has thus far launched in New York, California and Los Vegas, residents from elsewhere can order it online. Carrie Keagan is a highly pleasant, energetic and amiable person. She is also a rather talented interviewer, charismatic television personality and budding wine connoisseur who is currently positioned to be the next Barbara Walters of edgy entertainment. The massive experience she’s gathered in a relatively short time frame is nothing short of amazing, and it is due entirely to her own efforts, so it makes perfect sense that she is quickly becoming a household name.

An interview with

JIM BRICKMAN

By Jonathan De Sua

Times Square Magazine | December 2013

An All-Around Music Man Jim Brickman continues to enjoy his uniquely successful career in music â&#x20AC;&#x201C; in all of its facets. Beginning in music advertising with The Brickman Arrangement, he proceeded to billboard success with original instrumentals and vocal collaborations. Brickman has sold millions of albums and collaborated with an impressive roster of talents. Jack (and master) of many trades, has hosted several TV specials as well as his own radio show, Your Weekend with Jim Brickman. After the release of his new album, The Magic of Christmas, look for Jim Brickman to perform at Town Hall on December 11 and then the man of many talents might have his sights set on conquering Broadway next.

Times Square: Six Gold and platinum albums; ‘most charted adult contemporary artist’. What do titles and accolades like this mean to you? Jim Brickman: When I see things like that, I think of my songwriting because pretty much all of those are songs that that I’ve written. To me it’s about making your mark as a songwriter, more than anything. TS: Looking at your very diverse career, it’s hard to put your finger on one specific area. It’s easy to be pigeonholed or over-simplified. How do you prefer to be viewed? JB: It’s interesting, I think about this a lot. To me, I’m a songwriter who plays the piano and I write songs that are instrumental and that are vocal collaborations. They all come from an original songwriting point of view, so whether they fulfill as an instrumental or vocal collaborations, they all share one common theme and that is that I write close to 100% of what I do –unless it’s Christmas or something like that. TS: You express yourself across a variety of media. Did you envision yourself as an artist in general? Did you narrow your focus by being a songwriter? JB: What I have to say as an artist comes through in a very inspirational and romantic way. I’ve always been in that category -what comes naturally to me is to write melodically with beauty, hope and promise. I don’t have a lot of angry songs or heavy messages [laughing]. Most of it is idealism and hope. TS: You’re a career musician, having started in your youth. At what point were you conscious of this being your life’s path? JB: I never questioned whether I would want a career in music. I didn’t know that it would be as a performer –I would have probably been happy writing songs or playing for other people just as well. I never thought I would be as happy as I am being onstage and I didn’t set out to be a performer. When I started recording, it naturally grew out of being a recording artist, performing the songs live and I kind of found my career as a performer. There was no mission to be a recording artist, per se – I started out in the advertising business, writing commercial jingles for TV and radio. I didn’t do that as a stepping stone to becoming a recording artist. I was happy doing it and didn’t think twice about it. I didn’t get my record deal until I was in my early thirties, so I already had a lot of experience and success before I got signed. I think that helped because I was sort of more mature and ready for the new experience. TS: Do you feel your experience as an entrepreneur -with The Brickman Arrangement or Brickhouse Direct, for example- helped to prepare you for the music industry? JB: It really did because I viewed it as art, but art that also had to be delivered to people and the only way for that was to have it be a product. I think coming from the ad business, I viewed it differently knowing I had to work hard to try to get the music out there and not wait to be

discovered or for somebody to knock on my door and say, “well you’re talented. Would you like to be a recording artist?” TS: Do you feel some people take success for granted this way? JB: For some people, I consider it the ‘American Idol mentality’, where the message is that all you have to do is stand in line and audition to become famous. I think that’s part of the issue which contributes to that. TS: Do you think you would have fared differently if you had to start in the climate of today’s industry? JB: I think it would have been completely different because I do something so ‘niche’, so to speak. If I went to the labels or any of the channels which make stars now and said, “I play solo piano; that’s what I do,” I can’t imagine… “Well don’t you sing? So all you do is play the piano?” “Yup.” From a marketing standpoint, they have to think of how to sell that. Maybe it would be ‘viral’ or ‘Pandora’ –there would be channels, just different than the one I took, which was traditional radio. I became known primarily from radio airplay. TS: Describe being on the other side of the ‘fourth wall’, so to speak, as a radio host. JB: [laughing] I love it! It’s something I’ve done for such a long time, having done it every week going on 18 years. I’m naturally curious, so it comes naturally for me to inquire about what people do and how they do it. To me, that’s a large part of a desire for me to learn but also to share what I’ve learned with my audience. TS: Your collaborations read like a ‘who’s who’ in the industry from a wide variety of styles and fan bases. Is there anyone you would like to collaborate with whom you haven’t yet? JB: Most of my collaborations are driven by the albumconcept. For example, I didn’t have Johnny Mathis on a list of people I wanted to work with. Obviously I would want to, but I was thinking, “Ok, I’m working on this really classic Christmas album. Who would be perfect to compliment what I’m trying to accomplish? Gosh, wouldn’t it be great to get Johnny Mathis? Then it fits, instead of for example having Bruce Springsteen on my list and I’m working on an album called The Magic of Christmas. Then he doesn’t fit but because he’s on my list, he ends up on the album and it’s hard for me to sort of explain why he’s there. TS: What was a landmark collaboration for you? JB: The one with Johnny Mathis I have to say is really the one that stands out, especially right now because it’s just such an iconic voice around holiday time. It was surreal, amazing and couldn’t have been more perfect. He was gracious, kind and talented. Everything about it was exactly what I hoped it would be. TS: Is the album everything you hoped it would be? JB: Absolutely. I set out to do something that I felt like you could play in 1955 and in 2020 –something that to me felt classic, nostalgic, light and beautiful. It wasn’t trying to

Times Square Magazine | December 2013

contemporize something in 2013 that had been done so beautifully on its own and change it. I don’t really subscribe to that as much. TS: You’ll be performing in New York next month. What does this experience mean to you? JB: It’s always interesting because it has this feel like, “oh, you’re playing in New York!” Then when you get inside the theater, a lot of your friends are there who would come see the show anywhere else, and it’s really the same experience. I try not to put any pressure on myself. The same thing happened to me when I played Carnegie Hall, there was this imposing feeling like you have to do something different. I’ve learned along the way both with album and with live performances that you have to be who you are and the same show I would play in my hometown of Cleveland is the same show I play in New York. It’s always exiting but once you’re in the theater, it’s my show. TS: Any interesting New York stories to share? JB: I live there now and I go between New York and Cleveland. I had never lived there so it was a little bit of a culture shock but I love it. The overload of people and the overload all the way around! I’m so used to being in quiet spaces, other than when I’m onstage. It definitely raises my anxiety [laughing] and I’ve learned how to take it down a notch because it can be overwhelming. At the same time, I feel it’s invigorating – I see people I would probably never see. I’m starting to do more theater collaborations and I’m fascinated by the live theater. New York provides an opportunity to be completely entrenched in beauty and art. TS: What should we expect from you in the near future? JB: Theater is really on my mind. I’m working toward the opportunity to write a show, to take my show on the road or to Broadway. Live theater is what’s coming next. TS: Do you feel inclined to continue transcending different styles and different media? Does the learning process ever stop? JB: As long as I always keep in mind that it’s important to always be at the core of who you are and not try to be something you’re not. To play a different genre, there has to be enough elements of who I am in it, in order to be successful. Otherwise, it’s not authentic and people can tell that. TS: Jim Brickman: Studio or Stage? JB: Stage! For sure, no question about it. It’s an energy thing. I’m a fan of being in the moment with music and those moments that are unique. New York is going to be unique to that moment of the live experience. With recording, you’re never really completely done. You can always re-do it, add something or take something away. I think giving someone who’s a perfectionist the opportunity to work at something until it’s right is not always good because it becomes more of a technical process and less of an emotional one.

LOVE XSTEREO BRINGS ELECTRO Rock and Pop to America BY RICH MONETTI

Â LOVE X STEREO plays an electro rock sound that is heavily influenced by punk and alternative music of the 1990s. Based in Seoul, they are currently on U.S. tour with the release of Glow, their third album. As such, they are not shy about their ability to get audiences dancing with the proficient use of the synthesizer. But techno pop songs like Fly Over and Lose to Win, which uplift either way, start as simplistically as any unplugged artist with inspiration.

Annie Ko(AK): Toby starts with a guitar riff, and we go from there. Times Square(TS): How does one learn to play the synthesizer? AK: You just have to explore the buttons. The instrument has like 500 songs already programmed on it, so you can explore with that or just try to make your own sound. TS: How excited do you get to come to the US? AK: Well, I lived in LA until I was six, but I still get the most excited about coming here to have the Twinkies. TS: I thought they stopped making those but if you’re finding them…How do you describe your music? AK: Based on 90s alternative, it has a very electronic stream running through the pop. TS: How did you get into this type of music? AK: We really didn’t know anything about electronic music because it never interested us. But around 2007, we started using it. Going back in time we listened to bands like Prodigy, where all this started. That was really amazing, because we thought all this was machine music. But we soon realized it wasn’t. It all came from Rock, and that’s the most exciting thing that we discovered. It was like, oh this is really cool. TS: Compare playing in studio to playing live. AK: The recording studio is very hard. Everything has to be perfect. You know, if something bugs you – it’s like, yeah let’s do it again. But onstage, you get the energy from the crowd so it’s a lot more fun and much easier.

TS: Have they heard of you in North Korea. I guess not. AK: No, I guess not. TS: How are they doing up there? AK: I don’t know. The fact that you live in South Korea, you don’t pay that much attention. TS: Have you ever watched MASH? AK: Oh yeah, that was about 70 years ago. I’m surprised people still watch that show. TS: Crossing Over has to do with North Korea, correct? AK: We got a request from the Peace Corp to do a benefit for an organization that helps North Korean kids who escape and end up being beggars here. So we wrote that song in hopes that people would become more aware, and that they need help. TS: Do you get nervous in the South when the North makes all its noise? AK: Whatever they say – we’re going to start a war, it’s total crap. If you live here you know what I mean. We’re not all that interested. TS: So when our media gets all up in arms, we can just ignore it? AK: Yeah, it’s all crap. TS: Good to know. Tell me about your latest album, Glow. AK: Lose to Win is the first track. That sound is so special to us. We started small, and we kept adding to it. It was so much fun to make and has sound on a grand scale now. TS: What about Fly Over? AK: It came out of a monosynth, which is an analogue synthesizer. It is bouncy and happy. But in the end, it has a huge power intro, and I think everyone who comes to our show really likes this.

TS: How big are you in South Korea? AK: Our fans are mostly foreigners so Koreans don’t really know us. It’s funny, they don’t seek the sound first – like they want to see something rather than hearing something. TS: What was the CMJ Music Marathon? So whenever we go up and perform, we get AK: The College Music Journal. They’ve been nothing. Koreans are like, oh that’s good, and doing this since the 80s. We were the only rock that’s about it. But we figured out that we band that was invited. It was a huge deal for could do this overseas. That’s why foreigners us and a really great experience. We played keep coming to our shows, and they told us at the SPD Gallery in Brooklyn, and after that, we should go out and do something bigger at Bar Mix in the city. Both were such great than this. That’s the main reason we came opportunities to play in New York City bars. here. At the same time, we also got to see other

Times Square Magazine | December 2013

bands that were performing in the marathon. I’ve never seen anything like it. TS: Have you tried the hot dogs in New York AK: Yeah, but I really like your pizzas. TS: Where do you see this band going? AK: We got a tour right now so we’ve learned a lot, and we know what we should do the next time. Plus we made a lot of friends this time around, so that’s going to help us next time – bigger crowds, better shows. TS: Finally, what does music mean to you? AK: Without music, we’re not going to survive. It’s huge. TS: Thank you. Nice talking to you AK: You’re welcome. Bye now.

Ben

Times Square Magazine | December 2013

Rector IS OUT TO MAKE ORDINARY CONNECTIONS WITH HIS MUSIC

By Rich Monetti

en Rector was born in Tulsa, Oklahoma, and like a lot of kids, took piano lessons at an early age. In accordance, he also got bored, and it was his introduction to the guitar in high school that really put his musical and songwriting inclinations in rhythm. He rode that passion into college, performing over two hundred times as a performer, while cautiously keeping a fall back position as a business major. As such, he entered Conversion in the John Lennon Songwriting Contest in 2006 and won the grand prize. Regardless, Rector claims the win didn’t necessarily change the trajectory of his career, which currently stands on its fifth album. That said, the remarkable freshman year achievement must have breathed life into the chance to pursue music full time and leave all the academic time and study behind.

Times Square(TS): Did you actually get your business degree? Ben Rector(BR): I did. My mother would have killed me if I didn’t TS: Can’t have that. How has the business background helped your music career? BR: I think being around the business world helped me. Learning how to run a business efficiently has helped my music, because it’s more than just being creative. It’s your job – you have to be able to set yourself up to be creative, and you have to be smart about it

TS: Who were your influences? BR: I grew up listening to a mixture of pop, but I also listened to the oldies’ station. So I love a lot of the old singer/songwriters – James Taylor, Randy Newman, Billy Joel and Paul McCartney. TS: How did winning the John Lennon Songwriting contest impact your career? BR: I entered this songwriting competition on a whim. I made an EP, entered it and ended up winning, which was really awesome. But it wasn’t like everything was different. It was a cool milestone, and it was encouraging to me as a young writer to feel people were validating what I was doing. TS: Tell me about all the playing out you did in college. BR: I got really curious about songwriting in college, I started to make records and go out on tour. I did a ton of shows – maybe around 200. I would leave on Thursday night and come back just in time for classes on Monday. TS: What was your early songwriting like? BR: It was something that felt natural to me, and when I wrote songs I thought they were good. But it’s hard to replace the time and repetition of doing something a lot to hone in on what you are trying to say. So like anything else, it took me a while to hit some sort of stride, and put out songs that I felt really good about.

TS: Tell me about your songs Beautiful and Ordinary Love. BR: I think it’s weird because a lot of what we celebrate in music, movies and pop culture - it’s things that the vast majority of population doesn’t have access to. It’s celebrating extravagant wealth, fame and that kind of stuff. It made me realize the stuff people are made for isn’t about that. We’re made to connect with people, and we’re made for ordinary things. That’s the stuff worth celebrating. TS: I guess then Making Money is a bit tongue and cheek on the latest album – The Walking in Between. BR: Yeah, it is. It’s a song I would hope that if Randy Newman heard, he would smile. TS: You got a bunch of songs on Youtube. You see some of that money? BR: Yes, some money comes back from the ads, but to make a lot of money, you have to have an incredible volume of music. For the rest of us, it’s more that people are using it as a discovery tool. They’ll go check out some music, and if they like it, they head to Itunes or Amazon. TS: You’re Ben Rector. You’re in charge, is it you who has all the say in the studio?

TS: So you’re from red state Oklahoma and I’m from blue state New York. You’ve been traveling around the country for a while. Are there such differences in people?

BR: I try to hire people who I enjoy and respect enough that I want to listen to their opinion. This means part of my job is to build a group of people who are going to have better ideas than I will, so I’m definitely listening to their input. But at the end of the day, it is my record or show, and I make the final call as to how something sounds.

BR: I would say regionally there are differences. Nothing better or worse – for instance talking to you, you’re very direct, you’re to the point and I love that. So it’s funny how when I do an interview with someone who’s from the Midwest or the South, it’s very different.

BR: It’s something that challenges me, and it drives me to be better. I compare it to what golf is to a golfer. I see a lot of beauty in it, I see a lot of frustration, but it’s something that encourages me and it’s a great outlet.

TS: Nothing so vast that Washington should behave the way they do? BR: No, nothing like that.

TS: Finally, what does music mean to you?

TS: Nice talking to you BR: Same here.

TS: Maybe we should send you to Washington… So what was it like the first time you heard a song of yours on the radio. BR: I was pretty surreal. My friend called me and said, ‘oh my gosh, turn on the radio.’ I found the radio in the kitchen, turned it on, and one of my songs was playing. It was really cool, and I felt affirmed and excited.

Times Square Magazine | December 2013

I grew up listening to a mixture of pop, but I also listened to the oldiesâ&#x20AC;&#x2122; station.

Photos by Carol Rosegg

Times Square Magazine | December 2013

A DAY FOR GRACE by Liz Belilovskaya

Doug Vincent’s A Day For Grace is an amazing play because of its emotional resonance, stark delivery, but above all, honesty and personal reflection. The autobiographical story reveals Doug’s history with his alcoholic and suicidal father framed in the context of his recent past, the birth of his first child, a girl named Grace. Directed by the awardwinning Gary Tanin and accompanied by the poignant vocal stylings of Sam Llanas, the tearjerking work was wonderfully delivered. It started with a musical performance. As I walked into Manhattan’s Stage Left Studio, the show had already begun. Not wanting to interrupt, I sat in the small reception area peaking over the crowns of the other attendees trying to get a glimpse of Sam Llanas on the guitar. While my attempts proved useless, it was probably for the better. I closed my eyes and listened. Sam has a beautiful voice. It’s not pretty or soft, or even flawlessly melodic, but it is perfect for the music he was playing. A Good Day to Die, Dying In My Dreams and It Don’t Bother Me are not pop songs, nor are they particularly cheerful or danceable, but they are thoughtful and provoking. Once the musical introduction came to an end, I made my way into the theater and waited for the play to start.

Times Square Magazine | December 2013

Except for Llanas sitting on a chair on the leftside of the stage, it was empty and prop-less. The lights were dim as Doug Vincent came out. Unremarkably dressed and noticeably excited, he started his dialogue. His southern accent was easy to understand; especially so because of his crisp voice and strong stage presence. It was even soothing until he got excited and yelled the yell-worthy portions of his lines, then his voice became spine chilling. The story opened with his daughter. He talked about how he and his wife took Grace to an event, but the little girl had no interest in what the grown-ups thought she would find attractive, instead she ran between her mother and father. It turned out that that was her favorite game. As Doug continued, he began to reveal certain details about his and her life leading up to this point. We found out that she almost didn’t make it as an infant. The way Doug chose to tell his tale involved a lot of jumping back and forth; he weaved in his past experiences with the more recent ones. This tactic could be a tad confusing to some. Because particular moments may strike an emotional chord and captivate the audience so much they could loose track of the fast switching timelines, therefore paying close attention to the dialogue is strongly suggested. Yet the accompanying musical interludes appropriately highlighted specifically allotted portions of the plot and were a great tool for setting the mood as the tale took its various turns. Through flashbacks, Doug started to familiarize us with his childhood and family. We soon realized that his dad was his hero, and that he was a supportive father who loved his son more than almost anything else. Through various digressions, we also got a glimpse into the adolescent life of Doug. He seems to have considered himself to be a bad or broken guy who masked his inner demons by associating with “damaged” people he could help. Through these tangents, it was also revealed that Doug had an anger issue, which flared up at certain, even specific moments usually involving situations requiring patience and compassion that he was capable of, but not always.

As the story unraveled, we found out that Doug’s father had a drinking problem. When he a child, it was not uncommon for Doug to accompany his father to the bar where he even had his own barstool. Because of the frequency at which his father visited the establishment, his mother knew where to find her son and husband, calling the bar on the phone. At that point, Doug thought that his fathers’ drinking wasn’t such a big deal but offered to help his father quit regardless. Needless to say, he didn’t. While Doug proceeded to reveal how his life unfolded, flash forwards showed how he met his wife and how she made him deal with his anger issues. We were allowed to peak into the most private aspects of his personal life both in his past and in his present, but especially into one very particular instance. It was when he came home during his first college break. Arriving in the middle of a heated argument about a racist remark his father made in a state of drunkenness, Doug unleashed his anger. Telling off his father and reprimanding him for abusing alcohol again, Doug dismisses his father’s attempt at reconciliation by declining to come in for a hug. As a result, the broken man went down to his basement where he usually took the necessary time to sober up and come to his senses. When Doug tried to follow him, his mother stopped him, assuring her son that his father would be all right. He wasn’t. When Doug finally came downstairs, he found his father hanging from a long cord, and when he tried to resuscitate him, he failed. This is when we learn why Grace almost didn’t make it. It turns out that during her birth, her gentle little neck was also tightly gripped by the umbilical cord. But we know based on the opening that she lived allowing Doug to see that his past doesn’t have to repeat in the future giving him, and us, some much needed closure. While many critics say that the plot of the play is rather heart breaking, I venture to say that it is heart-warming because of the observable love and forgiveness Doug was capable of. After all, forgiveness and acceptance heals the heart, not breaks it.

Andrea Gibson first identified as a writer in Kindergarten when the lines from her crayon seemed to change the shape of her hands. Regardless, raised in a religiously conservative household, her early verse frivolously centered around daily life. It wasn’t until she realized that she was in love with a woman that it became necessary to start questioning everything she knew, and the boundaries of social justice became the barrier her writing was trying to alter.

Andrea Gibson

Spoken Word Poet Breaks Boundaries of Social Justice

at Th e Best Buy Th eater o n Octo ber 15 th By Rich Monetti TIMES SQUARE(TS): WHAT IS THE SPOKEN WORD MOVEMENT? Andrea Gibson(AG): The hub of it is in New York City. There are so many people doing slam and spoken word, reading their poems out loud. Otherwise, I would say it’s a movement of people telling stories and speaking passionately with their vulnerable hearts. But the movement itself is about social justice. TS: HOW DID YOUR FAMILY REACT TO YOUR REVELATION ABOUT BEING GAY? AG: Not well. We didn’t really talk for a few years, so it took a long time for them to come around. But they have at this point. TS: WHAT DO THEY THINK OF YOUR CAREER?

AG: I think that they try to avoid it. Like, my father will call me every now and then to ask how my tapes are selling. (Laughing) I don’t know if he’s up to date on the fact that we have CDs now. But they came to one of my shows a few years ago and I geared the poems to something they would like. TS: WHERE DID YOU GO AFTER THE FALLING OUT?

AG: I moved to New Orleans from Maine and started opening up. Then I moved to Colorado and joined a group called Vox Feminista, which is a radical performance group. A lot of them were older and wiser and gave me sort of an education on all that I missed. TS: WHEN DID YOU FIRST BECOME PUBLISHED OR PAID AS A POET?

AG: The way things work in spoken word is different than the career of a typical page poet. I have been recording since 2004 and published my first book in 2009. TS: TELL ME ABOUT YOUR POEM THAT WAS READ ON THE FLOOR OF THE UTAH STATE LEGISLATURE IN 2010.

AG: That was me. Christine Johnson, who was a state representative, got up in lieu of opening prayer to read Say Yes… It’s really funny because it was in the news as “a gay representative reads gay poem” at the state house, and there’s not one gay thing in the poem. But because I wrote it, it was a gay poem. TS: WHAT’S IT ABOUT?

Times Square Magazine | December 2013

AG: It’s just welcoming to all sorts of people so I can’t imagine that it was very triggering – except that for the fact that I wrote it. TS: I THOUGHT THAT WAS THE IDEA OF CHRISTIANITY – BEING INCLUSIVE, ACCEPTING THE OUTCASTS IN SOCIETY.

AG: Interestingly, I write a lot of my poems to be read to people who might never hear them. So someday, I’d like to go on a church tour, because I’d love it if my work reached more people who disagree with me. This way I might have the chance to change their minds. TS: YOU PROBABLY HAVE A LOT OF OPPORTUNITY TO DO THAT WHEN YOU GO HOME?

AG: I have rule when I visit my family that we’re not going to turn on any news. TS: YEAH, I KNOW ABOUT THAT AS THE LONE LIBERAL IN THE FAMILY TOO. I JUST WALK OUT OF THE ROOM WHEN THE POLITICS START. SO WHERE DO YOU GET YOUR NEWS?

AG: The Daily Show – like who doesn’t. And Democracy Now. TS: YEAH, I JUST HEARD A STORY ABOUT HOW JUDGES ARE MAKING MONEY BY SENDING KIDS TO PRIVATE PRISONS FOR MINOR OFFENSES. IT MAKES ME FEEL SO POWERLESS. HOW DO YOU DEAL WITH THAT FEELING?

AG: It’s a mess. They are actually tracking the test scores of Black and Latino third and fourth graders to see how many beds they are going to need in ten years. TS: BUT I MEAN GENERALLY.

AG: I don’t think that as a culture we often tell the truth, and one of the goals of an artist, is to speak the truth. So I guess I have to have faith that the more the truth is told, the more likely things will change.

TS: DESCRIBE YOUR WRITING PROCESS. AG: I write a lot for sound – to be spoken out loud. So I don’t sit at my computer, I run around my house yelling at the walls and whispering at the doorknobs. TS: I ASSUME IT MAKES IT TO A PIECE OF PAPER EVENTUALLY. AG: I have the whole poem memorized and worked out before I start writing it down. Unfortunately, I have lost poems that way, because my memory turns out to not be as good as I thought I was. TS: HOW IS ANDREA GIBSON THE PERFORMER DIFFERENT THAN THE ACTUAL PERSON? AG: I’m really shy and have intense stage fright so strange career, right? TS: THERE MUST BE A LOT OF PREPARATION. AG: It’s more emotional preparation. TS: WHAT DOES THAT MEAN? AG: I try to focus on whatever motivated me to write the poem originally. That way I can tap into that moment and deliver the poem authentically without the nervous me getting in the way. TS: AND YOUR LATEST ALBUM IS TRUCE? AG: It’s about making peace with yourself. TS: WELL, HAVE A GREAT TIME IN NEW YORK AG: Thank you so much.

TS: TELL ME ABOUT LETTER TO THE PLAYGROUND BULLY, AND HOW IT RELATES TO YOU? AG: If you found something difficult in your history, writing it down sort of reshapes it. So part of writing that poem is that I wanted to recreate my past. I could go back and say things that I didn’t feel I could say at the time. But it’s also about comforting anybody who’s experiencing it now, and maybe even resonates with the bullies? TS: WHY THE BULLIES? AG: I’ve been thinking how we all sort of contain the bully to end the bully inside us, and I also wanted to look at what does it mean to be a bully as an adult. TS: WHY POETRY AND NOT PROSE? AG: Probably because I have a short attention span. TS: CAN YOU EXPLAIN? AG: I have very quick mood swings so I can just change, write a poem and then move on to the next emotion.

Photos: Ousseini Moustik

Times Square Magazine | December 2013

TAL By: Joey Franco

Timessquare(T.S):So where did you get the name TAL National?

whole night, or we have showcases, where many different bands play, but only for a short time each.

TAL:”Tal”is for a beautiful desert in North-East of Niger. “National”represents that we have all the ethnic languages in the band.

T.S:Can you tell us a little bit about each musician in the group?

T.S:Can you describe your sound to someone who has never heard your music? TAL:It’s Nigerien rock and roll that is a mixture of traditional and modern sounds. T.S: What kind of show does the audience have in store for your New York City performance? TAL:Our shows are very energetic, and we try to involve the crowd. We brought a dancer with us on this tour, so they can expect to see some Niger dance! We are playing songs from our last two albums, as well as new songs. T.S:Have you performed in New York City Before? TAL:No, we are very excited to do it. New York is so famous around the world, it will be great to say that we have played New York. T.S:What do you think of the city? I think we should change this to“What do you think of the U.S. so far?” TAL:We are having fun playing to new audiences. The way that music is presented in the US is very different than in Niger. In Niger, either one group plays for the

TAL: Each member is from a different tribe in Niger, these tribes are very different. The differences are the language they speak and the culture.For example Keljue, the talking drum player is from the Bagobiri tribefrom the south of Niger, and he has markings of a cat on his face. We have 13 members in Niamey, but for this tour we only brought 6 members.It is still the Tal National sound, but we can’t play for 5 hours with only 6 members. T.S:Your musical themes include love, tolerance, peace, feminine beauty. How important is music in delivering a social message? TAL:By being a popular band in Niamey we understand the influence of our music. If we can sing about issues that will make the community stronger, and people follow that message, then we are doing a good job. T.S:What does music mean to you? TAL:Music is freedom of expression for me. It is a language that I can use to communicate with anyone who also plays music, regardless of what language they speak.

Bombay Jayashri at Carnegie Hall

On October 20, NY audiences have a rare opportunity to hear renowned Indian classical singer Bombay Jayashri perform at Carnegie Hall. To American audiences she is probably known for “Pi’s Lullaby” the Oscar nominated song for the film Life of Pi. She performs with HN Bhaskar on violin, Patri Satish on mridanagam, and Gridhar Udupa on ghatam.

By Deborah Jacob

Times Square Magazine | December 2013

Times Square caught up with Jayashri at her dance studio in Bangalore.

TS: You will be performing at Carnegie Hall for the first time on October 20, what can the audience expect at the performance?

Jayashri: First of all I would like to acknowledge the great Carnatic singer Sri Subramaniam who first performed there many years ago. I am honored to follow in her footsteps.

Let me give you a little historical background about Carnatic music. It was first performed in temples of south India and dates back to the 17th and 18th centuries. Sung in Sanskrit or Telegu, it is a conversation between man and god. So there is a lot of pre-composed text but with lots of room for innovation. The tradition has been passed down over the generations and remains quite true to its original form.The audience can expect to experience Carnatic music performed in its truest form. I hope to appeal to music connoisseurs as well as those that will hear Carnatic music for the first time. TS: You are a very accomplished musician. Can you tell us a about your musical background? Jayashri: Both my parents were musical and I began my musical education at a young age. My singing career is largely due to my mother – she had a dream and decided that I should pursue a musical career. My parents provided a nurturing environment and all the support for a first class musical education.

TS: Speaking of exposure, you have performed on many Bollywood films. Over the years Bollywood has gained popularity world wide, how do you account for this?

Jayashri: I think India has a lot to offer in terms of art and culture, that have deep roots, and the world is interested in the diversity of our cultural traditions. Bollywood provides a window into India though the vibrant colors, dance and music. The entertainment that Bollywood provides is universal – a good story with lots of music and dance combined with lavish costumes – leading to enjoyment that traverses the generations. TS: You are not only an accomplished musician but you also are involved in lots of charity work?

Jayashri: I believe in the transformative power of music and as such, I work with children in Bangalore. I have a Carnatic choir for children 9-16 years. I was inspired by MS Subhalakshmi, the great Carnatic singer who through her concerts and recordings, donated funds to many worthwhile causes. After my concert in New York, I will be traveling to San Jose on October 26 to perform a benefit concert for Bhoomija Trust. The Trust benefits children.

TS: It has been wonderful speaking with you. Thank you and all the best.

I am also grateful to my guru, Lalgudi Jayaraman, who changed my life and guided me. He was a true inspiration and I recall a very interesting experience: one day I arrived at this studio to find him watching a music video of Michael Jackson. I was shocked but my guru proceeded to tell me that I should observe how Michael Jackson becomes one with the music. He told me that that is my goal as a musician – to become one with the music - and once that happens it would be transforming for me as well as the audience. TS: Congratulations on your Academy Award nomination for best song for the film Life of Pi. How has that changed your life?

Jayashri: I was deeply honored and thankful for the opportunity to work with director Ang Lee and composer Michael Danna. Music is the most powerful medium and the film gave me the opportunity to create something that reached a wider audience. After all, a musician wants to share their gifts with as many people as possible. And if audiences are inspired to listen to more of my music because of the film, it leads to greater exposure for Indian classical music, particularly Carnatic music.

The Voice’s Christian Porter will go with the Flow at The Contemporary Arts Fair on October 25th at the Javits Center

By Rich Monetti

Christian Porter developed an interest in music when he learned to play the piano at a very young age, but it was his introduction to the guitar that made him realize that music was a strong possibility as a career. Inspired by singer/song writers like Billy Joel and Elton John, he began performing in local bars as a cover artist. Graduating in his appreciation to the likes of Coldplay, John Mayer and The Fray, Porter embarked on the beginnings of his own songwriting style. He recorded his first album in 2008 and released a series of originals on the EP, All About You. In and around all this, Christian made himself available to frequent casting calls for The Voice and American Idol. Slowing down acoustically the chart busting, Sexy and I know It, while adding a comedic, yet confident spin, the Pennsylvania born artist got the attention of producers and went on to make a run that came up just short of the finals. The exposure obviously kicked up his profile a number of notches, but more importantly has his original songs selling nicely on Itunes. So sitting poised to launch into super stardom, it’s fair to ask if he’s up to overcoming the potential celebrity pitfalls that many others have succumbed to.

Times Square(TS): You’re young, talented, somewhat famous and good looking… you’re not going to screw this up, are you? Christian Porter(CP): (Laughing) I’m just going to go with the flow, but I’m fortunate with the situation I’m in. Where ever my career lies –as long as I’m in music – I’ll be happy. Of course, I’d like to be playing onstage in front of thousands of people, and I’d like my songs to reach up to that of Coldplay and Maroon 5. But if it turns out I’m writing for other artists or producing – all that matters is that I’m in the business.

TS: You’re opening the Contemporary Arts Fair – What is that?

CP: It’s where all local aspiring and professional artists come out to show off their paintings, photos and crafts. TS: What does it mean to you to be part of this? CP: It means the world, because New York City is in my backyard, and it’s a great opportunity for people to show who they are as individuals.

TS: Will you sing SEXY AND I KNOW IT? CP: Yeah and some of the songs from the Voice that helped boost my career. But I’m definitely going to be playing my original songs, because that’s what I do.

TS: It’s got to be great to do originals after all the years in bars doing covers? CP: Exactly. That’s what I’ve been doing my whole life. People want to hear what they want to hear. So I’m fortunate with the help of the Voice that people are coming to see me and they’re like, play one of your own tunes. And when somebody requests one of your own tunes, you play your own tunes.

TS: On the Voice, was it Sexy and I Know It that got you noticed?

CP: Actually, no. My original audition piece was Sunday Morning by Maroon 5, but I also beat boxed it and at that point, one of the producers suddenly picked up his head. He started really listening and watching. From

Times Square Magazine | December 2013

there, I went with this attitude in which I didn’t care if they said yes or no. So I wasn’t doing the whole smiling and staring at the judges like everyone tells you to do. I was just performing the way I wanted to perform and it worked. In other words, it was me and that’s what they wanted.

TS: When did Sexy and I Know It Come into play? CP: In the next couple of producer rounds, you sing two or three songs, and I had Sexy in my Repertoire. The producers liked that and said, you should sing that. I said, ok that sounds good. TS: The way you perform it – is that confidence, silliness…

CP: This song is not only funny, but it’s so much fun to perform, and I love performing – not just sitting down in a chair singing. I was going to have the greatest time of my life onstage. Still, if nobody turned their chair, I would be like thank you very much, I had fun and that’s life.

TS: How much did it impact your musical mind set? CP: It became much more promising. It reassured me that music was what I wanted to do, because before that, it was just a hobby to play here and there. That school really gave me the boost to consider music as a full time profession. TS: What are you trying to get across in your songs? CP: I just want people to connect to them.

TS: Finally, what does music mean to you? CP: It means life. It means the world. TS: Ok, Good luck at the fair. CP: Thank you

TS: What has this meant for your career?

CP: When I was eliminated, my original music jumped up on Itunes, and I even moved ahead of Jason Mraz for a week, which was incredible. I’ve also gotten to play live in bigger and better venues. Now I actually pack a 400 person theatre, and that feels great. TS: Tell me about your writing process?

CP: My writing process is sitting down in my little studio with my guitar. But here’s the thing, it’s not so much that you plan to write a song, it just has to happen in the moment. TS: What if you happen to be driving?

CP: I just like to hum it out, and I push the demo button on my Iphone and record. Either way, I like to write the music before the lyrics – just get a sense of where my emotion will go. So I tend to write the hook, the chorus to get my main subject going. TS: How embarrassing is Rick Santorum to Pennsylvania?

CP: (Laughing) I don’t think I’m going to answer that. TS: I just not sure what to ask about Pennsylvania. How’s Allentown?

CP: Allentown is great. I went to school in Bethlehem for one year after spending 11 years in a Catholic school system. It was a performing arts school, and it was the greatest year of my life. I made more friends in that year than in the 11 years before.

Joanne Shaw Taylor Carries the Classic Road Load for her Generation

Deferring on the grunge her classmates were listening to in the late 90’s, Joanne Shaw Taylor truly found Nirvana when she broke into her Dad’s record collection at 13. Taken by Stevie Ray Vaughn, Albert Collins and Jimi Hendrix, classic rock and blues musically distanced her from the decade everyone else was in and led the Black County Englander to form her own band. Playing a charity event soon after, she got a demo into the hands of a friend of Eurythmics’ guitarist, Dave Stewart. Upon getting a listen, Stewart was on the way to London to meet the prodigy. The serendipitous break undeniable, Taylor is on her third hard rock guitar and blues album, which obviously ties to the less than dusty vinyl that continually spun around the house. But the family influence was far more than passive in spurring this rapidly rising career.

Times Square Magazine | December 2013

By Rich Monetti Â

Times Square Magazine | December 2013

Taylor(JST): It’s from growing up in a house full of guitar players. It was just what we did. Some people are craftsman or woodworkers or carpenters – we play obnoxiously loud on our guitars. Times Square(TS): Wow, that is so cool. Wasn’t like that in my family. I guess you didn’t put aside a lot of time to do your math homework. JST: No. I’m not going to lie. I was a polite student, but I wasn’t the most conscientious when it came to school.

TS: What›s your most recent album? What are you trying to get across? JST: Songs from the Road. It›s a live album. The British fans like their live albums, and I’ve been kind of hounded by them. They’ve been asking for a few years, and I have three albums of original material to draw from. It really wraps up that nicely for me. Plus, live has a lot of guitar work that goes into what I do, so it›s going to be exciting to see how this sells. TS: Do you hang out in England with Ray Davies of the Kinks? JST: I don’t. I would like to if you have his number. TS: With the cars running in the other direction, do you ever walk into traffic crossing the street here?

JST: I’ve lived in Michigan for the last four years so I›ve gotten used to it. But I was driving in England a few weeks ago, and found the headlights in front of me to be really bright - I was driving on the wrong side of the road. TS: Tell me about your writing process.

JST: I tour so much that I don’t have time to write until it’s time to do a new album. So the way I’ve found I’m best at writing is under pressure. That means if I’ve only got two weeks to come up with some material, it spurs me on. I mean I still have ideas through the year but sort them out over the course of the two weeks. Once there, I’ll write the music first and get it all arranged. In terms of lyrics, I pick the song title first. I think it sort of helps me stay on course. TS: And it’s classic rock all the way. They still call it that, they still make it?

and regretted having it, because she felt guilty. It was the kind of thing where it was, I’m sorry, I’m not in love with you. TS: When you got connected to Dave Stewart, he signed you to his label but then went out of business. You were there but suddenly lost it. What did you learn from that? JST: I was certainly disappointed, but it wasn’t the be all, end all. I realized that I wasn’t ready to do my first album anyway. I could play and sing pretty well but hadn’t started writing my own songs yet. That was pretty important to me. So I put together a three piece band to tour Europe, and in the meantime, I just worked on writing and tried to get to a stage where I felt like I could do an original album. TS: Your voice is low and raspy. What do you think of your voice, what do others? JST: It seems to be going down pretty well. As for me, it’s one of those things, I don’t think you ever like your own voice. So singing in my head, I sound fine, and then I hear it back. It’s like hmmm. TS: What about listening to your voice to make improvements? JST: I can’t think of a better way to say it than, you just got to suck it up. Like, I just did this live DVD – I hate watching myself. It never comes off how it looks in your head, but you have to persevere and find the flaws to improve it.

TS: What’s best/worst part of being a rock star – if you want to call yourself that? JST: I don’t usually but sure I’ll take it. I think it’s probably the travel. You don’t get to see your family much, but that said, I get to do what I love to do for a living. I mean you get to stand on stage, jump up and down and play really loud guitar. So you can only grumble so much. TS: You see yourself doing that jumping up and down motion at 70 like Mick Jagger? JST: I don’t think my knees will be holding up, doing it even when I’m 40. TS: Any plans on marriage, kids?

JST: Yeah, I guess so. It’s still called classic rock, but it’s just music to me – what I grew up on.

JST: I get to live vicariously through my brother. I come up and be auntie Jo Jo for a few hours, and then I get to give them back. That’s still really nice for right now.

JST: There’s a few of us out there and it fills a niche for the fans that still enjoy it and hugely support it. TS: Tell me about, You Should Stay, I Should Go.

JST: It means everything. It’s my purpose, the sound track of my life.

TS: It also seems like you’re the last one still doing it. What’s it like carrying the load?

JST: I was talking to a girlfriend who had a one night stand,

TS: Yeah, I tell my nieces Uncle-ing is hard work. They know better. Finally, what does music mean to you?

TS: Ok, nice talking to you

JST: No problem, Thank you very much.

photos: Joey Franco

at Discovery Times Square

Times Square Magazine | December 2013

Nathan Sawaya knows better than most that sometimes things really are the sum of their parts. As the creator of Discovery Times Squareâ&#x20AC;&#x2122;s LEGO-based exhibit, The Art of the Brick, his entire art form consists of assembling incredible and often monumental pieces from tiny building blocks originally intended for children. By Liz Belilovskaya and Lorenzo Tartamella

The New York based artist is experiencing major success as more and more people are falling in love with his creations. His work is accessible and he aims to make it so. “That’s the whole point of the art, to make the artwork accessible by using something like a child’s toy, like LEGO bricks, it makes the art very relatable to a wide variety of audiences. You have kids, you have adults who have played with this toy. Everyone can kind of connect with the toy, and then the fact that it’s teaching you something about art and hopefully inspiring you.” Sawaya was born in Washington but raised in Oregon before he became a New York transplant. He attended NYU and studied law that eventually led to employment with Winston & Strawn. Perhaps he realized earlier on that law was not his passion, but it was in 2004 that he finally acted on that knowledge and became a full-time LEGO artist. The rest, as they say, is history.

The LEGO Certified Professional is not a direct employee of the company despite the fact that it does recognized him as the top LEGO Master Builder in the world. He is the only person on the planet to hold the distinctive title. Perhaps that’s the reason his artwork is in such demand. He has been commissioned to create pieces for galleries, corporations as well as private collectors; he’s also frequently asked to participate in speaking engagements as well as various artistic conventions. His popularity has no bounds. He talks about where his inspiration comes from, “It all starts with an idea of course. Fortunately, with multiple exhibitions I get to travel a lot, so I’m always on the road. I’m always meeting new people, experiencing new culture, and I carry a sketch pad with me so I’m always jotting down ideas and that’s what formulates a lot of the original work you see there.” Upon entering the Discovery exhibit, visitors will view a short film where Sawaya explains his love of building with LEGOs. It’s a lighthearted introduction to a complex series of sculptures and mosaics that follow. They range from original creations to replicas of some of the most famous artworks throughout history. Right off the bat, gallery goers will notice a copy of The Scream by Edvard Munch and The Kiss by Gustav Klimt, as well as replicated works of Cezanne, Van Gough, Michael Angelo, and other popular artists.

culture symbols, and furniture replicas that are nothing short of impressive.

However, that’s just the first floor. Downstairs visitors get to see Sawaya’s original works including the iconic image printed on Discovery’s advertisements of the exhibit: a man ripping his torso as LEGO pieces fall out. Among them is his self-portrait, a man half submerged in water in front of an animated screen, and a sculpture he called “Hands” where a man is missing his. In many ways, this is Sawaya’s nightmare as he is someone whose entire livelihood depends on his hands. Yet some of his most conceptually stimulating sculptures are found in the next room, many of which are created out of single-colored blocks (Red, Blue, Green). For instance, there’s a solid blue sculpture featuring music notes with various faces crafted onto the back and an incredibly lifelike couple holding hands is in solid red. While the reason for the solid colors is not entirely clear, there are a number of these to be seen.

A piece that particularly stands out is a massive dinosaur. The true-to-life 6-foot beast is rather impressive. Since it is crafted out a small LEGO’s, its spine is one of its most striking features. Regardless, there are many works in the exhibit that will resonate with the attendees.

Nathan Sawaya is the first person to utilize LEGO’s in art. His studios, one in Los Angeles and the other in New York, are covered in more than 2.5 million colored bricks. It’s pretty safe to say that with his endless inspiration, none of those will go to waste and we can expect many more wonderful pieces by this super-talented artist. We suggest you keep an eye out for his future projects here and abroad.

Moving forward, they will notice small-scale replicas of great Athenian monuments such as the Parthenon and Egyptian architecture like the Sphinx. Towards the back of the room, they will find an enormous Easter Island head that towers over smaller pieces: a Terracotta soldier, the Venus of Willendorf fertility statue and a variety of Roman vases to name a few. In an adjacent room visitors will get a glimpse of Sawaya’s LEGO made portraits, pop

Times Square Magazine | December 2013

NEW YORK WISDOM SERIES COMING SOON JANUARY 2014

www.NewYorkWisdom.com

Times Square Magazine | December 2013

NEW YORK

WISDOM

Mickey Rooney-Hollywood Legend interview by: Lorenzo Tartamella

photos by: Joey Franco

â&#x20AC;&#x153;I am an only child. But I have 7 children and oodles of grandchildren. I love childrenâ&#x20AC;?.

Times Square Magazine | December 2013

Timessquare.com recently had the opportunity to chat with the legendary Mickey Rooney in New York’s sister city, Los Angeles. The interview took place at the famous Chinese TCL Theater. Here is a bit of New York Wisdom from the screen legend:

I started in the industry when I was two and a half and as it went along, I wanted to do good for my mother as they did not have a dime to their name. I was delivered on a table in a boarding house in Brooklyn by a Chinese doctor who slapped me and said, “C’mon kid, start crying! It’s time to go to work!”

I am an only child. But I have 7 children and oodles of grandchildren. I love children. I never look back, life is like driving a car. You look in the rear view to see where you have been but drive ahead to get to where you are going. Learn what you don’t know. Everybody worries about money, but we should give 10% to the Lord. Have respect for everyone no matter what nationality.

Hollywood is a very tough place to come to… every actor has to eat and it is not always easy to find work. It is important to get an education. Look at Leonardo Da Vinci, he was a great painter but also an inventor.

I have enjoyed my roles in Young Edison, Huckleberry Finn and Boystown. Did you know that Boystown is still open in Omaha, Nebraska? Well, there are good and bad people everywhere…..if you are good, they will write bad books about you.

photos by Brooks Williamas

FOOD FEATURED Perhaps you long for a Sunday dinner in your travels, or maybe people-watching in an extraordinary atrium above Times Square seems an apt meal setting. Others seeking an alternative to swankier settings may be drawn to an old New York coffee shop with vintage prices when meal time comes around. Here are three divergent dining options based in the neighborhoodâ&#x20AC;&#x2122;s hotels.

By Donna Christopher

Times Square Magazine | December 2013

Café Edison At the Edison Hotel 228 W. 47th St., New York (Between 8th Ave. and Broadway) T: 212-354-0368

A blended waft of toast, griddled meats, bacon, and coffee meets your senses upon walking into Café Edison. The coffee shop/ diner attached to the Art Deco style Edison Hotel is where you’ll savor a bit of old New York and historic prices appreciably.It is opposite the Barrymore where a pre-theater foursome was seen departing then crossing over to the “Betrayal” matinee a recent Saturday. The timeless space delivers comfort food that is never fussy or overpriced, in fact the cost is so reasonable a tap payer could likely blush. Payment, be forewarned, is in cash only so go prepared. The space is worn but not ridiculously so and décor is interesting with baroque details. The central theme are baroque columns embellished with white vase and vining, an element that extends to the ceiling as well.They are curiously juxtaposed amidst a sea of ordinary tables and chairs, expanse counter space with stools overlooking kvetchy mirrored and tiled wall with signage announcing the day’s specials. A sampling includes Café Edison’s signature soups. These range from matzo ball to cabbage, split pea and barley. Here you can enjoy breakfast, lunch, dinner or an any time

meal, coffee and dessert also. Dinner specials include substantially portioned roast chicken, brisket of beef or sirloin steak, soup and beverage for $16.95, a deal when you consider swankier eats are steps away. Once you settle in for a spell, perhaps drawn in by the window sign telling you to expect “deli style,” fare like “hot corned beef, brisket, salami and pastrami” you realize it’s merely a fraction of an extensive array of choices that include Jewish food and Eastern European dishes like smoked salmon and blintzes.

Meanwhile, consider assorted burgers, salads and club sandwiches, or an array of breakfast treats that include banana, walnut, chocolate chip or blueberry pancakes. There are also dinner salads with ample servings of tuna, whitefish, and chicken salad, among others. Sit at the counter and you’ll see stern looking waitresses move swiftly between the grill area and tables to serve. Your eyes will also meet see through display cases of the day’s fresh baked options. These include impossibly sized chocolate chip cookies and croissants among choices. And if you go just for dessert consider a hot fudge sundae dripping with walnuts or a banana split, milk shake or malted for a true vintage New York ending.

The best part about eating at Tony’s Di Napoli is the noise. The genial staff here makes you feel right at home despite a massive amount of people. Everyone is nicely accommodated like a Nona’s kitchen, if you happen to be Italian. Of course anyone can relate to the family meal cacophony that is central among the pleasures you will enjoy here, not least of which is the extraordinary affordably priced food that is served on platters to feed 2 or 3 people. Parties are seated by genial servers dressed in shirts and ties at tables laid in red and white checkered cloths and white linens close to one another. Everyone in this colossal dining room seems comfortable and engrossed in their own group’s conversation despite the enormity.From Chianti to Merlot every imaginable red wine is included on an impressive list displayed on one of several signature “chalkboards” throughout the restaurant. Others contain food fare though everything is printed on menus at your table as well.

photos by Brooks Williamas

Once seated, your attention is drawn to framed art that are caricatures of famous people, Jeff Goldblum, Danny Aiello Chita Rivera and Cuba Gooding Jr., among them. When new shows open the stars are offered a party at Tony’s and have their portrait painted by a resident artist, staff member Dreni Kyqykaliu said.The visit was on a recent Friday evening and four women were seen each enjoying the signature frozen Bellini, made of course with peach liqueur, Prosecco and grenadine. One at the table was celebrating a birthday. Special occasions spent at Tony’s are quite common, Kyqykaliu said. In fact the downstairs dining room is for larger dining groups and parties. Meanwhile, waiters sang to the birthday gal.

Distinctive dishes here are traditional. There’s the famed signature spaghetti and meatballs, while chicken scarpariello, which can be ordered with sausage and peppers, is popular as is “Rigatoni Vodka.” The latter, Kyqykaliu said is “a little different than anybody else’s,” without giving too much away and noting it can be ordered in pomodoro sauce, a thicker tomato sauce like gravy or marinara sauce. A broccoli and penne platter was shared recently and noted happily for its sweet roasted cloves of garlic liberally mixed with the bite sized florets evenly sprinkled over the entire top of the dish, penne perfectly al dente.Along with the macaroni came an appetizer of meatballs, each covered in tomato sauce and fresh garnish of Italian parsley, tender, savory with a hint of sweetness. Among pastas there is ravioli Bolognese, fettuccine Alfredo and rigatoni with eggplant and mozzarella, each element evenly cubed and incorporated in the dish. Other appetizers include baked clams, which are whole and delivered daily to the restaurant where they are hand-picked so they are all the same size. Calamari is also an option and always domestic, Kyqykaliu said.If you go for lunch single servings are available. Tony’s is popular with business people on weekdays and there are regulars that go 3 or 4 times. Other exceptional dishes among seafood are lobster Fra Diavolo, salmon fillet and shrimp marinara. Desserts are memorable, none other than the New York cheesecake, a creamy, crustless confection and tiramisu, both shareable and legendary from the first to last mouth-watering bite.

Tony’s Di Napoli in Times Square At the Casablanca Hotel 43rd St. between 6th and 7th Ave. 147 West 43rrd St. New York, NY T: 212-221-0100

www.tonysnyc.com

Times Square Magazine | December 2013

Trendy and magnificent and central, in the 8th floor lobby of the Marriott Marquis, is Crossroads American Kitchen & Bar.It is an apt respite to enjoy a cocktail- drink per person minimum - snack or full scale meal at breakfast, lunch or dinner – there’s a breakfast buffet. Friendly bartenders and smiling wait staff are happy to seat you and efficient in taking your drink orders. Hotel guests and outside visitors come through continuously and while the huge atrium, with a 21-foot mirrored spiral bar commands attention, an intimate dining experience is actually doable here. Restaurant and lounge seating offer a variety.There is free Wi-Fi throughout the lobby area so dining alone is a comfortable option as well. Sparkling white and red wines are notably featured, along with many imported and domestic beers and cocktails. These include the metropolitan, a combination of Absolut Citron vodka, Chambord, pomegranate juice and lemon juice. Another is called queens cocktail which features Bombay Sapphire gin, orange juice, and Martini & Rossi, both sweet and dry vermouth. Others may be drawn to the sweetly tempting urban apple especially this time of years. It contains Michters rye, apple cider, brown sugar syrup and bitters.

Crossroads American Kitchen & Bar At the Marriott Marquis

1535 Broadway, near 45th St. T: 212-704-8834

Beneath the sweeping ceiling you can relish such grill options as salmon fillet in lemon dill butter, flatiron steak with chimichurri sauce and New York strip steak with butter; as well as ahi tuna steak in lemongrass ginger butter and free range chicken breast in lemon herb butter. Also consider short ribs that are braised to seared perfection and served with shallots that were slow-roasted. The dish also boasts Swiss chard a delicate parsnip puree in a Dijon red wine sauce. Also consider a half-roasted chicken dinner that comes with buttermilk mash potatoes and bacon Brussels sprouts in herb gravy.

A place to people watch and linger if you like, you can also simply sample fare over drinks and order appetizers like lump crab cake with old bay caper tartar sauce or lobster macaroni and cheese, just imagine the creamy sauce and chunks of flesh in this dish. There’s also a salmon burger, turkey burger, roasted turkey blt, bacon cheeseburger and pan roasted cauliflower steak. The vegan entrée comes with raisins, pine nuts, capers, brown rice and red quinoa. Gluten free penne pasta in eggplants caponata is another consideration.

In early May, my husband Randy and I drove from Orange County to appear on an AM radio station at 40 Exchange Place in downtown Manhattan. I worked on Wall Street in the early 90’s and was somewhat familiar with the cross streets, but after circling the financial district numerous times we were unable to locate the address.

Our

appearance was set for 7:45pm and at 7:35 Randy, in hopes of finding a parking spot in time, dropped me off at the corner of Exchange Place. I grabbed my oversized purse and began my quest for the station.

The first person I approached was a police officer. He patiently escorted me around the block and neither of us was able to find the address. What was this? Flustered, I stomped away in my impractical three-inch pink heels and asked a young woman nearby. As she looked around aimlessly my heart began to sink. I frantically yanked my phone from my purse and checked the time. 7:42pm. I wasn’t sure if Randy found a parking spot or if he arrived at the station, but my stress level suddenly skyrocketed.“You know what, it’s ok. I’ll find it,” I murmured. I was about to give up my search when I noticed a pizza deliveryman park his bike at the front door of Cucine Bene, a well-known Italian restaurant in the financial district.

“He has to know his way around here! I exclaimed.” Before he could get one foot through the front door I clumsily ran to him and grabbed his arm. “Sir, can you PLEASE tell me where 40 Exchange Place is?” He smiled, and pointed across the street. There it was, the street number gleaming like a lost piece of precious jewelry that was always there to begin with. I thanked him repeatedly as I ran through the doors, arriving at exactly 7:45. After the radio appearance I was famished and dehydrated, and although I had been a devoted vegan since 2007 I had an unusual craving for a slice of Cucine Bene pizza. I was all too familiar with the loyalty to local business owners. Both of my parents were loyal patrons of a tiny Spanish deli

in Astoria, Queens. Every evening when my father came home from his job as a manager for a fast food place in New York City he’d arrive with a two bananas—one for me, one for him. Dad never went to the supermarket because he was confident he would find just what he needed in that deli. He and the storeowner were great friends for decades. Whenever my mother was in need of a carton of eggs or a half-gallon of milk there was no need to tell me where to go. That same deli was stocked with everything from plantains to dishwashing detergent. Some products were clearly pricier than others, but it never mattered to my parents. Both were immigrants—my father from Honduras and my mother from the Philippines. They were familiar with the neighborhood stores in their hometowns and were extremely supportive of entrepreneurs in the United States.

I was still living in Astoria when I began my career on Wall Street in 1993. Thus began my search for a deli in Manhattan that showed the same service I’d find at home. Coffee, light and sweet, something I’d never consider consuming on a daily basis, became my Monday to Friday staple. During my first few weeks of taking the subway into the city I’d watch intently as the same corporate couple—both dressed impeccably in their high-powered suits would emerge from the underground subway station and stop at the newsstand at the top of the stairs. The woman would grab the nearest Wall Street Journal while the man would ask for a cup of coffee that was lovingly shared between them. Like clockwork, two dollars were gently dropped into the tip jar before the happy couple went on their merry way. I realized that it didn’t matter where I was in New York, I was home.

Times Square Magazine | December 2013

New York Where Entrepreneurs Can Still Call Home By:Michelle Rosado

These vivid recollections seem very familiar to New Yorkers of all five boroughs. My best friend Cheryl, a Brooklyn native has frequented at Russo’s Mozzarella and Pasta for their roasted artichoke dish for over a decade. While any of us could walk into a major grocery chain and order an Italian sub or a Greek salad, residents have always flocked to their neighborhood delicatessens and favor both quality and quality, respectively.

In the last few years however, we’ve seen our favorite fruit stands and “Mom and Pop” shops close their doors. Since the real estate collapse of 2008 and the devastating superstorm Sandy ripped through the tri-state areas, retail shops and small financial institutions have had no other alternative but to either downsize or sell off their most prized possessions. Retail giants such as Wal-Mart have happily welcomed new consumers who otherwise wouldn’t think of giving them their business.

To take oneself out of the equation as a business owner and see through the eyes of the consumer, we are also resilient and faithful to our constituents. Tradition, whether passed down through generations or newly conceptualized, never ceases to fade; they just evolve through time.

As an ode to my fellow current and former business owners – the place where you’ve selflessly provided your products and services will always be your home, for there will never be a day you won’t be embraced by your fellow New Yorkers.

While this news may seem a bit daunting to some, New York is just as resilient a city as ever. Tourism has risen 229% during a six-month period in 2013 alone. 1 Despite the fare and toll hikes for subway riders and other fellow commuters, business owners always manage to see past the drudgery of a bruised economy. They are the foundation of New York’s entrepreneurial spirit and without them we’d be just a bunch of aloof consumers, robotic in our buying sense. Of course, I can see how an establishment such as Planet Hollywood would be a tourist’s dream realized, but there’s nothing like the feeling of grabbing a quick bite to eat at a nearby hole in the wall.

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Times Square Magazine | December 2013

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2 3 3.LOFT Mixed Metallic Sequin Mini Pouch

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Wool Turn Up Beanie Finely knitted in a soft wool-blend that guarantees warmth, our Wool Turn Up Beanie is an essential when temperatures drop. Style #771360151

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2 3 3.FOSSIL The Aeroflite ThreeHand Leather Watch

3.BILLABONG PHOENIX WALLET Distressed leather and braided detailing give this bifold a vintage vibe. Includes a metal logo badge at front. STYLE: MAWT3PHO

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The perfect combination of unique and understated, The Aeroflite features an easy-to-read dial and supple leather strap.

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Times Square Magazine | December 2013

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Times Square Magazine | December 2013

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The Iridium 1650 Broadway | ( 51st) 212.582.2121| www.Iridium.com

UPCOMING SHOWS

KEITH SWEAT December 28th, 2013

PAUL MOONEY January 16 , 2014

JON B January 2 2014

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For more information on tickets and more upcoming shows visit www.BBKINGBLUES.com

B.B King Blues Club and Grill 237 West 42 St 212-997-4194

Times Square Magazine | December 2013

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photos: Carlos Escobar

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Saturday October 12, 2013 Times Square Magazine | December 2013

photos by Seth Walters

photos: Courtesy CBGB Festival

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Landmark Sunshine Theater Tuesday October 8, 2013

THE WEINSTEIN COMPANY’S MANDELA: LONG WALK TO FREEDOM

hosted by U2 and Anna Wintour at The Ziegfeld Guests from the film included Idris Elba (wearing Burberry), Naomie Harris (wearing Burberry), and Director Justin Chadwick (wearing Burberry).

TWC CO-CHAIRMAN HARVEY WEINSTEIN ON NELSON MANDELA’S PASSING:

photos by Joey Franco

“One of the privileges of making movies is having the opportunity to immortalize those who have made a profound impact on humanity. We count ourselves unspeakably fortunate to have been immersed in Nelson Mandela’s story and legacy. It’s been an honor to have been granted such proximity to a man who will go down as one of history’s greatest freedom fighters and advocates for justice. I have had the privilege of spending time with President Mandela and I can say his sense of humor was as great as his optimism. We are deeply saddened by his loss; our hearts go out to his family and the entire South African nation. ”

Times Square Magazine | December 2013