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Britt Trachtenberg

Britt Trachtenberg

EntertainmentEventsTheater

New World Stages Presented a Production of “The Play That Went Wrong”

by Britt Trachtenberg August 16, 2023
written by Britt Trachtenberg

New World Stages presented a hilarious production of The Play That Goes Wrong. The play-within-a-play contained visual jokes, physical humor, and immense irony. The farce broke the fourth wall many times. Before the production started, the stage crew characters made last-minute fixes. 

Annie duct-taped a broken mantelpiece to the lefthand wall. Then, Trevor duct-taped a leatherbound book to the shelf. Unfortunately, they said that a dog had run off as well. They hoped to find him before the second act. Then, they exited the stage. 

In the play, the fictitious Cornley University performed The Murder at Haversham Manor. The also-fictitious Susie H. K. Brideswell wrote the 1920s murder mystery script. Chris Bean welcomed the audience to the fake play.

The university’s previous plays included Two Sisters, The Lion and the Wardrobe, and Cat. During their production of James and the Peach, the peach rotted. The production became James, Where’s Your Peach? Travis gave a speech as well.

He warned the audience not to use cell phones in the theatre. Then, he quipped, “If anyone finds a Duran Duran CD, that’s a personal item and I want it back.” The addition defined Trevor’s character. The next scene started with immediate hilarity. 

Charles Haversham lay on a couch. Thomas Colleymore knocked on the door and called his name. Downstairs, Charles’ engagement dinner ensued without him. Unfortunately, Thomas could not open the door. He ratted with the doorknob and expressed frustration. Ultimately, he used the set’s side curtain. His butler, Perkins, followed him inside.

Upon seeing Charles, Perkins took his pulse. He placed two fingers on Charles’ forehead and felt no heartbeat. Thomas declared that Charles passed away. The characters glanced at the audience with gaped mouths. Red lights flashed and a dramatic sound effect played. Charles called other characters onstage, one at a time.

Florence dramatically expressed her love for her fiancé, Charles. In a red dress, she seductively posed next to his body. Cecil portrayed his shock with theatrical gestures. The audience laughed and he purposefully broke character. He smiled brightly at the audience. Also, the dramatic effects continued.

When a character said “murdered” or “died,” the red lights flashed and the sound played. Trevor sat in a make-believe AV booth above the audience. He produced the effects. Soon, the characters froze, but the effects did not occur. Florence glanced at the booth in confusion. Trevor scrolled on his phone and laughed. The production’s storyline continued.

Thomas declared that Florence had fits. She dramatically fell onto the couch. He said that she needed her medication. He dropped a pill into her hand and she took it. Then, she sat up with her hand on her forehead. The production progressed to another bit.

Perkins still could not get the door open. Soon, it swung open. The stage crew characters looked at the audience with gaped mouths. The play continued with more jokes.

Perkins said his lines nervously. He glanced at his hands several times on which he wrote his lines. It created hilarious and momentary pauses. Soon after, Florence and Cecil revealed a plot point. The characters called Inspector Carter to solve the case.

The two mentioned an affair behind Charles’ back. Florence declared that they could finally be alone. The secretive coupe mimed several kisses. Each time, a character entered to retrieve a prop or make a comment. 

Thomas came in for the inspector’s notebook but grabbed a vase of flowers. He searched for a pen but obtained keys instead. Soon, the characters stopped entering the stage.

She expressed gratitude that Charles could no longer interfere. She attempted to kiss Cecil for real. In response, he performed exaggerated movements. He bent over backward and leaned over the couch. He smiled at the audience. It prevented Florence from kissing him again. Soon, she kissed him. Quickly, he pulled away. Inspector Carter found out about their affair.

Inspector Clark called for his notepad and pen. Thomas brought him the keyring and vase of flowers. In response, Inspector Clark glared at Thomas. Next, he reluctantly took the objects.

While alone on the stage, he questioned Florence. She posed seductively on the couch. Unfortunately, the characters said each other’s lines. It stopped Inspector Clark from asking Florence about her relationships. Instead, Florence gave details about her love life.

She shrieked that she had an affair with Cecil. Then, the detective thought of a possible scenario. 

Perhaps she murdered Charles to date Cecil. Florence suggestively lay on the couch and denied the allegations. Inspector Clark pretended to take notes. He tapped the keys against the vase. Then, he declared that he wrote enough annotations.

The production included a fifteen-minute intermission. During this time, patrons bought snacks and candy from an attendant. Chris Bean welcomed the audience to Act 2. 

He thanked the viewers because they returned for the second half. He described Act 1’s issues as “one or two minor mishaps.” He declared that many things “did not go as rehearsed.” The audience chuckled at the thought. He mentioned the snack attendant’s items as well.

He advised anyone who “ate the salted nuts to seek immediate medical attention.” Trevor leaned over his pretend AV booth with a trash can. He puked into the trash can, which caused the audience to laugh. Then, Chris exited the stage. The curtain opened to reveal a funny sight.

The stage crew characters and actors cleaned the stage. Annie vacuumed and Thomas placed orange cones down. Perkins held up a can of paint thinner. A lady in a black shirt grabbed a ladder while another woman brought out a replacement window. The curtain closed again and reopened.

The stage crew people disappeared. The characters posed on stage as though nothing went wrong. In Act 2, the play displayed growth in Annie’s character.

A door knocked Florence in the head. Afterward, Annie wore the iconic red dress over her stained overalls. She read Florence’s lines from a binder. At first, she unenthusiastically read the words. The audience applauded her effort, which caused Annie to smile. She performed with more confidence.

She had a fit during which she danced around the stage. Also, she posed cutely at random moments. Both served as a call back to initial Florence’s traits. Soon, Annie smacked her head and fell. Trevor briefly played the role of Florence.

He read the character’s lines with no emotion. Soon, he said the line which contained Cecil’s cue. Trevor dropped the binder and refused to kiss Cecil. At this moment, Cecil’s Cornely University actor explored his sexuality.

Cecil’s actor, Max, passionately kissed Trevor. In response, Trevor pulled away with alarm. It contrasted with Max’s earlier behavior with Florence’s feminine actor. Max smiled at the audience with glee. Thomas entered the stage and gasped at the sight. It served as a callback to his earlier observations. 

A character banged into a wood beam, which caused the collapse of the upstairs study. The second floor fell on Trevor. On the floor, he bled and clutched his head. Fortunately, Florence’s initial actor stumbled back on stage.

She wore a pink tank top and polka-dot underwear. Thomas declared that she did not wear clothes and smiled confidently at the audience. Unfortunately, Annie still wore the dress and wanted to play the character.

The two women upstaged each other and said their lines in unison. Soon, they tackled and flung each other out the window. Annie duct-taped the other woman’s mouth shut. Then, she taped the woman’s arms together. Annie continued to read Florence’s lines. The production progressed to another plot point.

The characters grew suspicious of Inspector Carter. They searched his briefcase and found evidence. Thomas found the Duran Duran CD in the bag as well. In his AV booth, he slumped in his chair. He raised his arm and mumbled that he owed the prop.

The playbill included information about the fake Murder at Haversham Manor play. President of the Cornley University Drama Society Chris Bean wrote a letter to the audience. He wrote it in a funny typewriter font. The playbill contained a fictitious cast list as well.

Chris Bean played Inspector Carter. Also, he directed, produced, and designed the props for the play. His other fake credits included costume designer, vocal coach, and box office manager. 

Jonathan Harris played Charles Haversham. Robert Grove portrayed Thomas Colleymore. Dennis Tyde played Perkins, while Sandra Wilkinson acted as Florence Colleymore. Max Bennett took on the roles of Cecil Haversham and the gardener. Trevor Watson operated the light and sound. Annie Twilloli stage-managed the show. The playbill contained a real cast list as well.

The list identified the actors by their character names. Brandon J. Ellis played Trevor, while Ashley N. Hildreth excelled in the role of Annie. Chris Lanceley shined in the role of Chris. Clyde Voce portrayed Jonathan. Brent Bateman performed as Robert. Trevor Braun acted as Dennis. Caroline Chu played Sandra. Adam Petheridge played Max. The production stuck with the Duran Duran motif, even after its conclusion.

The house lights went up. “Girls on Film” by Duran Duran played in the theatre.

August 16, 2023 0 comments
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MusicNewsThe Latest

A$AP Rocky Releases New Single in Partnership with Beats By Dre for the Commercial “Iconic Sound”

by Britt Trachtenberg August 9, 2023
written by Britt Trachtenberg

On July 20, Beats revealed its newest headphones, called Beats Studio Pro. The latest product symbolized the iconic accessory’s fifteenth anniversary. In celebration of Studio Pro’s launch, Beats made a new commercial in partnership with Grammy-award-winning artist A$AP Rocky.

The video, titled “Iconic Sound,” marked his directorial debut in a major commercial. The short heavily featured his high-energy music.

In a medium profile shot, the rapper wore Beats headphones. He sat next to a microphone. Rihanna asked him to buy diapers for their toddler. In the proceeding shots, ASAP Rocky prepared to go out.

He tied his boots and put a scarf on his head. In close-up profile shots, he put on the Beats headphones. Then, the commercial showed a New York City-inspired neighborhood.

A$AP Rocky ran with other men in white shirts. They passed a hotel from the music video for “Don’t Be Dumb.” The short showed an arcade, barber shop, and the exterior of Awge Record Store. Soon, the rapper hopped over the hood of a yellow taxi cab. After, he ran into Awge Bodega.

Quickly, he purchased a package of Awgey’s Diapers. Then, he dashed back out. A group of paparazzi followed him home.

In his apartment, he placed the package of diapers on the table. He exhaled and put on the Beats headphones again. The short transitioned to a close-up of the headphones.

The sandstone Beats spun thirty-hundred and sixty degrees. The color popped against the black background. ASAP Rocky’s music played a key role in Beats’ promotional video.

His latest single, “RIOT (Rowdy Pipe’n)” played in the short. Pharrell Williams produced the track. The single will appear on ASAP Rocky’s upcoming and highly-anticipated album. The rapper discussed his admiration for Beats.

“I’ve been a fan of Beats since the beginning, so this has been a full-circle experience,” said A$AP Rocky. He mentioned his inspirations as well.

He said, “I had a vision in mind for this project, and they provided the space for me to zone in and fully express my creativity.”

Customers can buy the Beats Studio Pro at Apple and authorized resellers in the U.S., Canada, Germany, and France for $349.99. The product comes in four colors: navy, sandstone, deep brown, and black. The release followed Beat’s other promotional video.

The “Still Iconic” video campaign highlighted Beats’ legacy. It depicted the brand’s evolution into a cultural phenomenon. The short featured a variety of international icons.

Beats co-founder Dr. Dre narrated the short. Bronny James, Colin Kaepernick, Eminem, and Serena Williams appeared in the video. LeBron James, Naomi Osaka, Sabrina Ionescu, and Jalen Hurts appeared as well.

Apple recently sent us a pair of the headphones to try for ourself! Below are a few of the features the new Beats boast.

The  Beats Studio Pro is definitely an exceptional upgrade on the Beats Solo Wireless. The headphones fit snuggly around my ears and they truly block out all outside noise. I was able to immerse myself fully in whatever I was listening to (i.e. podcast, music, audiobooks or phone calls (calls are much clearer!)) The headphones helped me stay focused. I love the smooth and attractive design. They are the most comfortable Apple headphones on the market. I like that they are padded all around. The audio has depth and the surround sound is impressive. Users can also, switch to Transparency mode, which lets the sounds of your environment mix seamlessly with your music when you want to stay present and aware. The headphones have approximately 40 hours of battery life in between charting and when you’re low on power, a quick 10-minute Fast Fuel charge provides up to 4 hours of playback.

August 9, 2023 0 comments
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EventsLifestyle

Diner en Blanc Returns to New York City

by Britt Trachtenberg August 4, 2023
written by Britt Trachtenberg

On September 14, the famous French-inspired pop-up dinner “Diner en Blanc” will return to New York City. This location previously created the event’s international fame. It has become the annual fashion and culinary event in cities across the globe.

In 2023, sixty-five cities host the event. Each location introduces its own culinary and cultural elements. At the glamorous dinners, thousands of attendees congregate at an undisclosed location, which remains a secret until the attendees arrive.

The guests bring the supplies required for a graceful soireé. This includes fine china, silverware, white tablecloths, and picnic food. The guests celebrate immaculate food, delicious wine, and friendship.

They eat and share conversations with friends. They dance to live music and indulge in their city’s beauty. The attendees express their unique styles. Their intricate outfits, beautiful hats, and fabulous table settings create a stupendous sight.

To learn more about the unique event, read the interview transcript with co-founder and owner Sandy Safi below.

The Knockturnal: How do event organizers choose the public space for the picnic?

Sandy Safi: It’s not easy to find a venue that can accommodate dinner for 5000 people! Our first challenge is to find the perfect space: one that is easily accessible, flat and represents the essence of the city at its finest. Oftentimes, we come across locations not originally designed for events or gatherings, but we transform them into unique and enjoyable spaces in a different light. Whether it’s a park, a street, a plaza, a pier, or even an island, these everyday walkways are transformed into extraordinary experiential spaces for one unforgettable night. Our events create cherished
memories that will last a lifetime. As you pass by the location on your way to work the next day, the space takes on a new meaning, forever etched with the magical moments shared during the event.

The Knockturnal: The event’s dress code involves all-white outfits. What does the color white symbolize?

Sandy Safi: White can symbolize many things: peace, tranquility, light, and elegance. White light is also a mix of all colours in the spectrum, and when all the colours combine, they create a white light. For us, the colour white puts everyone on an equal level for one night — it unites, it makes us all one.

The Knockturnal: Please talk about the history behind the waving of cloth napkins at the dinner’s start.

Sandy Safi: Thousands of people gather for Dîner en Blanc and, although it seems like organized chaos as everyone sets up their table, and chairs and pours their wine and champagne, the dinner officially commences when all guests are gathered and seated. The waving of thousands of white napkins indicates that we are all united and can now start the dinner. It’s our way of saying “Bon Appetit!”

The Knockturnal: Guests can select a catered picnic basket at the event. How are the dishes in the basket selected?

Sandy Safi: We look to collaborate closely with talented chefs to curate picnic baskets that are not only complete but also perfectly suited for a delightful picnic setting. When we curate a meal basket, we look for chefs to blend the richness of local flavors with a touch of French flair.

The Knockturnal: The event has live music as well. How are the musicians selected?

Sandy Safi: Embracing the essence of the local community is very important to us, which is why we prioritize supporting local artists, musicians, and performers. We look to showcase local talent, making each event an opportunity to introduce fresh and exciting acts to our audience. At the same time, we cherish the French origins that define our event. We take pride in infusing a subtle French touch into our music selection and meals. This not only pays homage to the rich heritage of Diner en Blanc but also adds a touch of elegance and sophistication to the overall experience.

By promoting local flair and honoring our French roots, we create a vibrant celebration with a range of talent and cultural influences. Our approach to being both local and international ensures that every Dîner en Blanc event is a unique and unforgettable experience.

The Knockturnal: How do local organizers join the Le Dîner en Blanc team?

Sandy Safi: When a Dîner en Blanc event takes place in a city, it sets off a ripple effect, captivating participants who enthusiastically share their extraordinary moments on social media. As the word spreads, we often receive email requests from people eager to organize this unique event in their own local city. To ensure the concept is carried out with the utmost care, Dîner en Blanc International carefully conducts interviews to select passionate local organizers who will bring magic to their communities. We also often receive emails from guests who attended the event and now want to bring it to their own hometown, or another city where they might have moved to.

After vetting the local organizers, we then support them by providing essential tools such as a dedicated website, a registration and ticketing system, and organizational assistance. Our goal is to facilitate a seamless transition, ensuring the spirit of the event remains intact while being embraced by a new city.

Together, we work closely with hosts from diverse corners of the world, fostering the international growth of this magical concept. At present, we proudly host over 43 events in the USA and twice that number globally.

Looking ahead, we envision uniting the global Dîner en Blanc community into one large, vibrant online family. This platform will serve as a hub where members can connect, share their passion for food, travel, fashion, and so much more. Our ultimate goal is to create a worldwide community that transcends borders, celebrating life’s pleasures together and forging unforgettable memories that will last a lifetime.

To register for Diner en Blanc, please use this link.

August 4, 2023 0 comments
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EntertainmentFilm

Director Takeshi Fukunaga Dishes on the Film “Mountain Woman”

by Britt Trachtenberg August 3, 2023
written by Britt Trachtenberg

New York Asian Film Foundation and Festival at Lincoln Center revealed their lineup for the 22nd New York Asian Film Festival (NYAFF). They selected the period piece Mountain Woman, which took place in Tohoku in the late 18th Century.

An outcast named Rin resided in a village suffering from food shortages. She gained courage from Mount Hayacine and its immaculate nature. According to her town’s legend, human souls ascended her after passing away. The film had a talented production team.

Takeshi Fukunaga directed the film. He wrote the screenplay with Ikue Osada. Mio Ietomi, Harue Miyake, Eric Nyari, and Hiroki Shirota produced the movie. Chikako Nakabayashi, Mike Shirota, and Shin Yasuda executively produced the motion picture.

To learn more about the film, read the interview transcript with Fukunaga below.

The Knockturnal: The nature in your film is stunning. How did you select the locations for which to shoot the film?

Takeshi Fukunaga: Most shots were shot in a town called Yamogota. We went to different places in Yamogota and tried to find something that feels, like, untouched in terms of nature. We were very, very lucky to find remote locations such as the forest with many one-hundred-year-old trees. There was the cave where Mountain Man lives. Many centuries ago, people used to live there. To say it simply, we found the locations with the longest history that feels like it’s removed from civilization.

The Knockturnal: Okay. How did your team select the cast members for their roles?

Takeshi Fukunaga: I had many discussions with producers. We started by casting the main characters and lead actors. The film is a period piece. We wanted the correct faces and people that feel the most authentic. We wanted not only great performers but people who could exist in that world. Anna Yamada has a very authentic presence, which fits the character. She brought so much to the character. For many other roles, we went one by one. I was happy to listen to auditions again.

One of my favorite casting choices was Ryûtarô Ninomiya, who played Taizo. I thought he had a kind of physicality and clumsiness, which fit the character. Also, it felt very real.

The Knockturnal: Okay. So, I noticed shadows reoccurred as a motif in the film. For instance, when the authorities accuse Inhae of stealing, his child, Rin, says that she did it. Right before her confession, she emerges from the shadows of the shed. I’m wondering why you chose to have the shadow motif running through the film.

Takeshi Fukunaga: I discussed it with a talented cinematographer named Daniel Satinoff. We tried to make viewers not fear the darkness. Back in the day, everything used to be so much darker even during the day. Inside a house, it would have been so much darker than how it is now. We wanted to embrace and emphasize the darkness. It helped us give the viewer the feeling of being there. We felt that it was a true representation of what life used to be.

In contrast, we wanted to embrace the natural light of the mountain. We emphasized the sunlight when Rin goes to the mountain. It was really our effort to express the authenticity of living in that time.

The Knockturnal: Right after Rin confesses, Inhe slaps her in front of the authorities. How did you film this scene?

Takeshi Fukunaga: Of course, he wasn’t actually slapping her. It was staged. As far as the “how,” the process consists of blocking the fight scene and discussing the movements with the actors. We were very specific about how to shoot those scenes. We had very experienced actors in the cast who were instrumental in terms of ideas.

The Knockturnal: How did the scene change the characters’ relationships?

Takeshi Fukunaga: It changed a lot. At the same time, Anna Yamada performed very beautifully and understood why he did it. For the family, losing the younger brother, who was the man of the house, would have been bigger than losing her. This is because it was a male-dominated society. If the family lost the father, they would not be able to survive. Inhe and Rin understood what was best for the family, even though he never really shows compassion to her until the scene at the stables later in the film. He didn’t really show it, but he did appreciate the decisions that she made.

The Knockturnal: Parts of this film tell a story without many lines of dialogue. Rin makes many observations on the mountain, which we see with her without any dialogue. We hear nature’s noises. We hear the squishing sounds of the elderly woman eating from a bucket. We hear Rin’s footsteps on the ground. Why did you choose to convey her observations in this way, without any dialogue?

Takeshi Fukunaga: I tried to convey Rin’s sense of awe towards nature. Back in the day, people used to have this. It’s still present in Japan, but not as strong as it used to be. That’s something that words could never express or explain to you. Using sound and visuals, giving this kind of spacial presence to nature was very important for the story. It recreated how people used to treat and relate to nature. Of course, she talks about guarding the mountain. Describing nature itself could never be enough.

The Knockturnal: After the scene on the mountain, the film cuts to a conversation between Taizo and Inhe. The characters talk about Rin’s whereabouts. This scene comes after a scene with no silence, which made it striking. Did you choose to do this with that effect in mind?

Takeshi Fukunaga: It just so happened in the editing, I think. I don’t think that was the order in the screenplay. Why? It’s a combination of things. It just felt natural.

The Knockturnal: Rin bows and prays to the mountain twice. What does the mountain symbolize to her?

Takeshi Fukunaga: It symbolizes many things. One of her favorite legends that she told Mountain Man is about the three sisters. That’s coming from the book The Legend of Toto. There’s a goddess of the mountain. She’s very compassionate to the weak. Rin relates to the goddess. On top of that, the spirits are supposed to ascend the mountain.

The Knockturnal: How does the Mountain Man change Rin’s perspective?

Takeshi Fukunaga: When she first passed the border, she wasn’t confident if she could survive. Once Mountain Man accepted her, she felt more embraced by nature. As far as her perspective, I think Mountain Man helps her embrace who she really is. Mountain Man embracing her personality gave her confidence. Towards the end, when Taizo brings her back to the village, she said she felt more human than she did in the village.

August 3, 2023 0 comments
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EntertainmentFilm

Director Anshul Chauhan and Actor Shogen Talk About the Film “December”

by Britt Trachtenberg August 3, 2023
written by Britt Trachtenberg

New York Asian Film Foundation and Festival at Lincoln Center revealed their lineup for the 22nd New York Asian Film Festival (NYAFF). They selected the drama film December (2022), which discussed a complicated legal issue.

In the movie, Sumiko and Katsu divorced after their daughter’s murder. Despite this, they must reunite to fight against the murderer’s release. The film had themes of crime and justice. The film had a talented production team.

Anshul Chauhan directed the motion picture. Chauhan co-wrote the screenplay with Rand Colter and Mina Moteki. Executive producers included Simon Crowe and Fumie Suzuki Lancaster. Ke Maeda, Shinichi Okada, and Shigemi Sawa served as associate producers. Yuma Koda selected the music, while Petter Moen Jensen designed the cinematography. The movie had a skilled cast.

Shogen starred as Katsu, while Ryô Matsuura excelled in the role of Kana Fukanda. Miki Maya, Megumi, and Takashi shined in their roles as well. To learn more about the film, read the interview transcript with Anshul Chauhan and Shogen below.

The Knockturnal: So, how did the production team choose who to cast in this film?

Anshul Chauhan: For the role of Katsu, which Shogen played, I’ve known him for a long time. After I released my first film, I met him around that time. Since then, we are friends. I had this script for a long time. I planned to make the film in 2021. I sent Shogen the script’s first draft. I knew that I wanted to cast him for that role.

For the role of Kana Fakunda, the girl in the prison, I met the actress during one of my second film screenings. She came to watch the film. When I greeted people outside, I met her. I remember she had a very strong face. When I was casting the character, I remembered her even though I auditioned, like, ten girls. She was mainly a model. I auditioned her two, three times to make sure she was right for the part.

For the role of the ex-wife, we approached the actress and I auditioned her. I sat and talked with her. I recorded my conversations with her. That’s how we got that actress on board. She suggested her real-life husband, Singo Fujimori, who is a famous Japanese comedian. I wanted to somehow cast a comedian in a serious role. I went to meet him, but I didn’t know that he had already read the script. After five minutes, he said ‘Yes.’

The roles of the lawyer and prosecutor are past collaborators from my previous film. Also, I cast them because they already had done television shows about courtrooms. They had done a lot of episodes, so I thought it would be helpful to get them on board. We involved them in delegating the film’s court sessions. That’s how we got the cast together.

The Knockturnal: Okay, that’s great. At the movie’s beginning, we see a postal worker on a motorcycle. How did you film that scene?

Anshul Chauhan: The guy on the motorcycle was our casting director. First of all, we had issues finding the kind of motorcycle that we wanted to use. It took us some time to finally get the motorcycle from Tokyo. A guy delivered a motorcycle on a tow truck, which we call a “rekkāsha” in Japan. He got the motorcycle to the location. At first, it did not work, but, somehow, we made it work. I bought this postal worker costume online and had the casting director put it on.

It was very difficult to shoot. People were joking and laughing. The producer, cameraman, and I went into a car. We followed the postal worker and I drove the car. It took all day to get the scene out.

The Knockturnal: My next question involves the scene at the diner. Sumiko and Katsu couldn’t speak at her house. Instead, they spoke at the diner. In the scene, neither character was in the frame’s center. Instead, they sat in a booth on the right-hand side. Why did you make that choice?

Anshul Chauhan: I made this decision because I wanted to show them in the same frame. I wanted that because they have been separated for a long time. I wanted to audience to get this in their head. If I were to show them together, it would have shown that they were close. I wanted to show the distance between the characters, which took place over so many years. That’s why I never showed them together.

As the frames progressed, the audience saw the characters coming together. In the last scene, the viewers saw both of them together.

The Knockturnal: How did the production team select Kana Fukanda’s costume?

Anshul Chauhan: Picking her costume was not hard. In Japan, prisoners wear second-hand clothing. The people donate it to the prison. They are not allowed to wear any fancy stuff. The prisoners wear blue uniforms. I watched documentaries and took pictures of the outfits. From there, I found a company in Okinawa that makes those outfits. I ordered their product.

For the lawyers, they just wear normal suits.

The Knockturnal: There seems to be a reoccurring theme of blue throughout the film, especially in the scenery and the characters’ outfits. This seems to relate to the legal system as well, with the prisoners wearing blue. Was this done on purpose?

Anshul Chauhan: The color grading was done with a bluish tint. It makes the mood a bit colder. We picked blue for Satou San’s suit as well.

The Knockturnal: When Satou San takes the stand in court, he says ‘Is it right to ruin two lives to satisfy this misplaced sense of justice?’ It really struck me. Do you think that the film revolves around this statement and, if so, how?

Anshul Chauhan: For any kind of court case, there are two sides to it. If Kana doesn’t get out of prison, her life will be destroyed. She lost her family and everything. According to Japan’s legal system, she was not supposed to be in prison after turning eighteen years old. She’s supposed to be out. However, the characters have a big bias against her. In reality, in Japan, it’s only happened twice that a minor has gotten, like, twenty years in prison. The film is inspired by those events. We wanted to explore the themes of crime, punishment, and revenge. I hope that people get that, by the end of the film, Kana feels guilty and ready to confess what happened.

The Knockturnal: My next question is for you, Shogen. How did you prepare for the role of Katsu?

Shogen: There are tons of stuff that I have to prepare for this part. First of all, I need to make a relationship with the actresses playing my ex-wife and daughter. Before the movie production began, we hung out at a park together. We took a family picture and had conversations together. After that, especially with the actress playing my ex-wife, we contacted each other to talk about memorable events, like how our characters would have met. We talked about our characters’ histories and the details. That’s very important to the film because we didn’t have much time.

Anshul Chauhan: We started in September 2021. For three months, we scouted and cast people. Then, in January, everyone got COVID. We pushed back the shoots and then we started production. So, yeah, short time.

Shogen: We didn’t have much time at all, which didn’t help. The production team helped me make a music playlist to express my character’s emotions, like depression. That helped a lot. I had Katsu’s clothes and wore them to the shoot. I carried a flask of whiskey in my pocket. I just lived as Katsu.

The Knockturnal: What growth did you see in Katsu’s character?

Shogen: For example, when he’s drinking, he’s making some decisions in your head. He’s thinking ‘Okay, maybe I’ll confess tomorrow,” and he has a lot of anger. First of all, I created the character because I didn’t know about that mental state. Some people in Japan open their beers on the train. They can’t wait until they get back home to drink. They just want to drink right then. I didn’t understand why they can’t wait or what they are feeling. I haven’t felt that way. When I built the character, I started to understand.

Anshul Chauhan: From the writing perspective, alcohol supported his decision-making. He’s a lonely, depressed alcoholic person who drinks a lot. He found comfort in drinking. When he got really drunk and slept, maybe he found some kind of peace. When Sumiko got put back in his life, he hoped to get back together with her. He made the decision to put everything down and maybe change his life because of this. In the end, he stopped drinking and cleaned up his house. For a while, the alcohol supported him.

Shogen: I think it’s not only the alcohol. Throughout the film’s production, I was thinking, ‘If my daughter was here, what would she think about me?’ That’s why he tried to change his life. He wanted to quit alcohol. Maybe my character would start drinking.

Anshul Chauhan: Yeah. Your character said, ‘I want to become a man that my daughter would want to see.’

The Knockturnal: Okay. Your character wears many neutral colors and long-sleeved clothes. What does this communicate about your character to the viewers?

Anshul Chauhan: The film was shot during the winter season. Everyone was wearing neutral colors anyway. In flashbacks, Katsu wore summer tones just to show the separation. We were supposed to shoot in the snow, but it didn’t happen. Anyways, the colors were supposed to show his depression. His daughter got killed and then he’s living in the depression. In the whole film, we wore beige and green colors to show his character. In the last scene, spring comes after some time. Katsu is wearing a light blue color because of this. His hair is well-combed and all that. It’s really just to show what’s going on in Katsu’s head.

The Knockturnal: Could you talk about the scene where Sumiko testified in court?

Anshul Chauhan: We shot the scene as a single take. We zoomed in on Sumiko, which showed that Satou is finally in her head. He was trying to break her down. He put a lot of pressure on her. Also, he came out of his booth and started walking around, which put even more pressure on her. That’s what Satou was doing because he was a smart lawyer. He was successful. Mentally, Sumiko supported Katsu just because she likes him. Her thinking was not the same as his. He had a lot of anger, which she didn’t have. She realized that maybe she did a bit too much to support him. They had a fight after this scene.

The Knockturnal: Katsu calls Satou San on the phone. The pair meet at the bar and have a conversation. After Satou San leaves the bar, Katsu drinks a lot. Intense music swells in the background. He goes back to his dim apartment and hears his daughter saying “Papa” over and over. Can you talk about this scene?

Anshul Chauhan: That was actually added towards the end. Katsu was drunk, so maybe he was hallucinating, which caused him to see his daughter. We had two versions of it: not to shoot with her or to shoot with her. We ended up shooting with her.

Shogen: It happens in real life too. My grandma came to me in a dream. After you see someone in a dream, you feel empty.

Anshul Chauhan: You were in the character at that time.

Anshul Chauhan: But yeah, I had an incident similar to that. My grandfather passed away before I was born. I never met him. One day, it almost felt like he was sitting with me. Even though I was a grown man, I ran to my mother because I was so scared. It wasn’t hard for me to put that in the film.

The Knockturnal: I don’t have any other questions. Thank you so much!

August 3, 2023 0 comments
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MusicThe Latest

Nisha Asnani Dishes on Her New Album “The Pursuit of Happiness”

by Britt Trachtenberg July 28, 2023
written by Britt Trachtenberg

On July 7, Nisha Asnani released her new album, The Pursuit of Happiness. The rap and electronic album discussed immigration, feminity, joy, and hard work. Her previous tracks have similar styles.

In 2019, she put out “Figures” and “Parade” as singles. In 2020, she published tracks such as “My Bad” and “Heaven.” She appeared on Michael Calfan and Harber’s single “Feelings After Dark.” The new record showcases Asnani’s progression as a musician.

To learn more about the album, please read the interview transcript with Asnani and the production team below.

The Knockturnal: Please describe this album’s production process.

Nisha Asnani: They made the album over the course of 5 years with Alex Tirheimer (Bumbasee,) and Yash Vaid. I started it in 2018, chasing a specific feeling I had found in songs like Midas, Bad Sandy, and Figures. I wanted to understand my drive; my fight, and where that came from.

When I started making this album, I was fresh off a publishing deal and a hit record with money in the bank and so many opportunities. Over the next few years, as I faced the inevitable dip and the challenges of being an independent artist, the album became a lesson in survival. The records were made with my friends Alex and Yash. I slept on floors and air mattresses and recorded in closets. I spent my rent on mixes and flights to LA.

The album is about the pursuit of happiness, my immigrant journey, being a woman and a hustler, realizing the purpose of my masculinity was to empower and protect my femininity and that freedom is an uncontrollable force that moves us whether we are ready or not.

Alex Tirheimer: There’s nothing better than developing a musical shorthand with an artist. Together, we managed to create a space where every idea was worth chasing and creative risks were encouraged. This body of work spans multiple chapters of our lives, but we stayed on the same page the whole process. Nisha is extremely talented and such an inspiration to work with. I am so proud of us!

The Knockturnal: What does the album cover represent?

Nisha Asnani: In 2019 I was on a writing trip to Mumbai which happened to fall during the festival of Holi. This joyous celebration of colors and chaos was one of my favorite memories as a kid: everyone getting together and letting loose on a totally different level than any other time in the year. And you get to throw paint on your aunties! It’s a playfully rebellious holiday, and this is a playfully rebellious album. As always I want my art to be a safe place to let loose. I wanted to recreate that feeling of freedom on the album cover, to connect my immigrant journey and the pursuit of life, liberty, and happiness to my roots. I brought back bottles of Holi powder and kept them safe for 3 years until we shot the album cover in 2022. 

The Knockturnal: Why did you choose “Keep Running” as the first track?

Nisha Asnani: Honestly, I have a great deal of respect for people’s time, and I asked myself if they heard one song on this album, one message – which would be the most important. The answer was Keep Running, because I wanted to prepare people for the infinite nature of desire and pursuit. There is no end to life, to consciousness. It’s constantly evolving, and so are we. Everything is evolving, so if you’re in life, you have to find the ability, the will, and the source in yourself to stay connected and stay evolving. It’s on one hand an encouragement and another a direction – it’s not safe to get stuck. It was like my higher self whispering to me as I came into the physical realm – don’t stop. 

The Knockturnal: The backing track for “To The Top Freestyle” features many noises and chimes. How did you create it?

Nisha Asnani: I’m going to pass this question along to producer Dave Berg because this track was his fully formed genius. 

Dave Berg: The beat for “The Top” was made in the depths of the pandemic. I was flipping lots of samples because I was isolated from sessions and working with my regular collaborators.

The Knockturnal: What does the beginning of “DAAL” represent?

Nisha Asnani: I’ve definitely come up with 100 possible meanings for this fun song but the truth is its just a vignette that played out in my house so many times growing up: the kids coming home hungry and my mom (who happened to be an amazing cook who made us the best Indian food all the time,) trying to get us to eat leftovers instead of bully her into cooking. I also wanted to honor the home kitchens that have made us so resilient. Beyond food being a pillar of pride in our own culture, Indian food has become a representation of comfort, flavor, and care throughout the world.

The Knockturnal: The vocals on “DAAL” involve some pitch-shifting. Could you let me know why you chose that effect?

Nisha Asnani: That was all Yash – I sent him a voice memo of my mom and brother jamming out and DAAL is the genius he sent back. 

Yash: DAAL was not a project – it was me having fun with voice memos of NISHA’s family talking about Indian dishes, haha. Having Indian origin has been something both of us have bonded over since the beginning. I’m glad I was able to be a part of a tune that brings family and culture together!

The Knockturnal: In the first verse of “Freedom,” you mention a “spyglass.” How did you come up with this image?

Nisha Asnani: Honestly, when I am flowing, images like that come to me. This one is about the haters who I felt so far enough from me that they had to pull out telescopes and spy instruments to see what I was up to. 

The Knockturnal: Please talk about your collaborations with Kumar, Sunita, and PAV4N.

Nisha Asnani: My brother has always wanted to make music, and I was over at his house one day and he started spitting this really funny boppy melody, and my mom jumped in. I think music is all around us, and the best music comes from that stuff you just sing to yourself in the car or the kitchen – the things that make you happy. 

PAV4N and I met in 2019 in Mumbai and I ended up performing with him during the Bud X Festival. We remained friends, and he has been a mentor to me while working on this album. This voicemail is one of many notes of encouragement, and I just love him and his voice and wanted to use something personal and unscripted in this song. 

The Knockturnal: Why did you choose “Found You” as the last track?

Nisha Asnani: I wrote Found You during my first official queership, a few years after I came out. It was the first time I had experienced acceptance and emotional support as non-binary in a romantic partnership. I think it’s important for us to define an endpoint for ourselves (because wanting things is infinite) and for me, that love was it. Unfortunately, although the relationship did not last or even end particularly well, it showed me what was possible, and I never forgot or let go of that feeling. Found You ultimately is not saying you’ll get what you want and stop wanting anything. It just means when you find the things you really want, you’ll circle them, protect them, and surrender to them. 

July 28, 2023 0 comments
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Fashion & BeautyLifestyleThe Latest

Celebrity Hairstylist Ruslan Nureev and Friends Celebrate the Launch of “Lev”

by Britt Trachtenberg July 28, 2023
written by Britt Trachtenberg

On July 15, Celebrity Hairstylist Ruslan Nureev celebrated the launch of his new hair extension line, “Lev.” This poolside event occurred in the glamorous Hollywood Hills. Celebrities attended the event and supported Nureev’s line.

Livia Pillmann, Lily Benardout, Chanel Stewart, Madison Brodsky, and Caitlin Lawson posed for pictures by the pool. Bailey Clark, Hoda Elkoussa, Yi Zhou, Caitlin Lawson, and Ella Udu danced to high-energy music. Guests also enjoyed the event’s cocktails and food.

Hailey Barnett, Megan Moilanen, and Zey Besaran drank Hollywood Vodka cocktails. Hannah Linderman, Oliver Trevana, and Ann-Katherine Rudel enjoyed El Cristiano ultra-premium tequila. Sergio Farias, Kailyn Shepherd, Rose Rosenfeld, Zoe Sellars, Laken Romine, and Georgia Ball ate delicious food, provided by Pizza Girl. 

Guest chef and Pizza Girl founder Caroline D’Amore made a stunning appearance. The event featured cold Essentia water and Caliwater cactus water. The party celebrated Nureev’s accomplishments as a hairstylist as well.

He learned from top artists like Jennifer Yepez, Harry Josh, and Chris Appleton. For the last sixteen years, Nureev has styled hair. He created gorgeous red-carpet looks for celebrities such as Eiza Gonzalez, Hailee Steinfeld, and Dixie D’Amelio. He has worked with many models, including Josephine Skriver, Romee Strijd, and Jasmine Tookes.

Other big-name clients include Kim Kardashian, Bella Hadid, Jessica Alba, Priyanka Chopra, Shanina Shaik, Elsa Hosk, and Alessandra Ambrosio. Nureev expands his brand with the launch of “Lev.” The line comes in a variety of hair colors.

 

 

 

 

 

The extension set consists of nine clip-in pieces. With help from partner Merria Dearman, Nureev designed the hair in eight beautiful colors. Consists of ethically sourced and produced hair extensions.

Nureev treated this aspect with utmost importance. He properly compensated the woman who gave him the hair. He said, “This line differs completely from any other hair collection in the market, as all the hair is ethically sourced and produced in Bali, Indonesia.” He spoke about his goals as well.

Nureev said, “This has been a passion project of mine for the last three years, and I really hope to change the industry standards for the better.”

He connected his line to his Russian heritage. “Lev” means “lion and heart” in Ukraine. Also, it means “lion” in Russian. 

Caroline D'Amore
Alexis Beckman
Dylan The Celebrity
Madelyn Garza, Isabela Diakominlos
Rubina Ahmed
Sergio Faria
Ella Udu
Hannah Linderman
Sammi Sanchez
Rubina Ahmed
Sammi Sanchez
Sergio Farias, Livia Pillmann
July 28, 2023 0 comments
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EventsFashion & BeautyLifestyle

Museum of Arts and Design Hosts Private Tours of “Taylor Swift: Storyteller”

by Britt Trachtenberg July 27, 2023
written by Britt Trachtenberg

On July 18 and 20, the Museum of Arts and Design (MAD) gave private tours of Taylor Swift: Storyteller. The exhibition displayed artifacts from Swift’s career. Barbara Tober, Chair Emerita hosted the event. Tim Rodgers and director Nanette L. Laitman assisted with the event. The museum’s Resident Swiftie, Kat Sloan Garcia, led the tour through the gallery.

Garcia started with a humorous introduction. She asked how many attendees knew about Swift. Many group members raised their hands. A few visitors considered themselves Swifties and even superfans. Comedically, one patron said that they had never heard of Swift. Garcia gave a brief introduction to the musician.

For two decades, Swift has written music. She released ten original albums and three re-recorded albums. Fans of her work referred to each album as a different “era.” The exhibit showed Swift’s progression throughout these eras, which included sonic and aesthetic shifts.

“You can almost consider each era as a ‘character,’” said Garcia. She started with the exhibit’s center display case.

It contained artifacts from her ten original albums. First, the museum displayed a blue dress from her self-titled record. BCBG Max Azria designed the custom garment, while Liberty designed the matching custom boots. Swift wore the outfit on her Soul2Soul tour performance on November 7, 2007. Garcia provided more insight into this album.

Swift was sixteen when the country album was released. Garcia described interesting facts about this release. She said, “When it was released, no young women were releasing country music.” This solidified Swift as a trailblazer from her career’s start. Garcia detailed Swift’s songwriting process.

Swift wrote much of her own music. Early in her career, she received help from co-writers, such as Liz Rose. Then, Garcia spoke about the next item in the display case.

On the cover of “Fearless (Taylor’s Version),” Swift wore a beige Fernanda Blouse. Brooklyn-based designer Ulla Johnson created the shirt. Originally, Swift released the album in 2008. Hits included “Love Story” and “You Belong With Me.” In 2021, she re-released “Fearless.” Garcia explained the bold move.

As a teenager, Swift signed a record deal for six albums. She released her sixth record and attempted to renegotiate with the label. The parties could not agree and Swift left the label. Unfortunately, this label still owned the album’s master recordings. “She decided to re-record the records so that she could own them,” said Garcia. Then, she spoke about an artifact from the Speak Now era.

Roberto Cavalli designed the golden beaded fringe dress. On the “Speak Now” World Tour 2011-2012, Swift wore the item while singing “Sparks Fly,” “Mine,” and “The Story of Us.” She paired it with a red electric Gibson guitar. While touring in Asia and Europe, she performed in the garment while singing “Back to December” and “Better Than Revenge.” In the “Red” era, Swift wore an iconic outfit as well.

Ashish designed the top, which read “Not A Lot Going On At The Moment.” Bloch provided the dance shoes. Swift paired the items with shorts and a hat for the “22” music video (2013). Garcia made a connection to one of Swift’s recent outfits.

“It’s been recreated for her current tour— the Eras tour— to say “A Lot Going On At The Moment,” said Garcia.

In the “1989” era, Swift wore a dazzling teal jumpsuit. Jessica Jones designed the custom costume, while Stuart Weitzman designed the boots. Swift wore the ensemble for “Shake It Off” performances during the “1989” World Tour (2015). Garcia noted the album’s significance in popular culture.

Swift released the album in 2014. “It marks her transition into pop music. It won album of the year at the Grammys,” explained Garcia. She cited the hit single “Never, Ever Getting Back Together.” The next artifact came from the “Reputation” era.

Jessica Jones designed the glittery, black jumpsuit with a hood. Christian Louboutin created the matching boots. Swift wore the outfit for the “Ready for It?, I Did Something Bad,” “Gorgeous,” and “Style / Love Story / You Belong With Me” medley performances in the “Reputation” World Tour (2018). Garcia commented on this era as well.

Prior, Swift released an album every two years in October. During the “1989” era, she became a global pop star. The public scrutinized her professional and personal lives. “She actually disappeared for a full year,” said Garcia. Swift reentered society with the “Reputation” album. The reinvention developed into a smash hit. Then, Garcia discussed an artifact from the “Lover” era.

Versace designed the pastel jacket, top, and shorts. Christian Louboutin created the boots. Swift wore the ensemble for the “Lover” and “You Need To Calm Down” performances at the MTV Music Awards. The show occurred in Newark, New Jersey on August 26, 2019. The display case contained artifacts from the “Evermore” era as well.

On the “Evermore” cover, Swift wore a brown-and-orange plaid wool coat. Stella McCartney designed the jacket. Garcia mentioned this fact’s significance. For the first time, Swift wore a non-custom-made outfit. Fans found the garment and similar styles on store shelves. Garcia described the characteristics of this era.

The songs sound more quiet with a more indie style. It coincides with the sister era, “Folklore.” Initially, Swift did not tour for these albums. However, she incorporated some songs into her ongoing “Eras” tour. The right-hand case had outfits from re-recorded album eras.

In the “I Bet You Think About Me (Taylor’s Version)” music video (2021), Swift wore extravagant red costumes. Coofandy designed the crimson band jacket, while Christian Louboutin created the shoes. Swift wore custom-made pants and a hat. The video featured another gorgeous outfit as well.

In the same video, Swift wore a stunning red ball gown with a hoop skirt. Nicole + Felicia Couture designed the gown. Swift paired the piece with a crimson microphone. To its left, the museum displayed an outfit from the initial “Red” era.

Marina Toybina created the custom black lace dress. Also, they provided the grand piano. Swift utilized the materials for “All Too Well” performances in the “Red” tour (2013-2014). The same case showed an outfit from her latest era too.

Michael Schmidt Studios designed the custom outfit. Swift wore the unique costume for the “Bejeweled” music video (2022). Courtesy of the aforementioned studios, the gallery displayed a behind-the-scenes video. It revealed how the production team created the official music video.

Next to the museum’s grand staircase, a screen displayed other music videos on a loop. First, it showed “You Need to Calm Down” (2019). Second, it presented “Lover” (2019). Drew Kirsch and Swift directed both music videos. Swift directed the rest of the screened videos.

The museum showed “Cardigan” (2020) and “Willow” (2020). “All Too Well: The Short Film” (2021) appeared stunningly. Sadie Sink, Dylan O’Brien, and Swift starred in the production. Recent music videos played as well.

The exhibition showed “Anti-Hero” (2022) and “Bejeweled” (2022). The “Lavender Haze” (2023) video displayed elegance. The exhibition featured stunning decor.

A neon sign stretched across the grand staircase. In a fuscia script, it read “Taylor Swift.” A guitar separated her first and last name.

Next to the elevator, a wall explained Swift’s connection to feminism. It said that she “discussed the pressures that women musicians feel to constantly transform their public images.” The wall pointed out, “the broad array of characters she plays in her music videos and performances may also be seen as a commentary on female archetypes.” The wall illustrated Swift’s storytelling abilities with similar wanderlust.

It said, “Swift has built distinctive worlds through both her songwriting and her meticulously crafted videos and live performances.” The wall described the stories as “eminently relatable to her legions of fans.” 

Near the center cases, pink lights projected onto the floor. They read “Love, Taylor.” The R stretched into a gorgeous heart. 

The exhibit displayed two lyric walls. A portion of the song “All Too Well” was painted on a wall parallel to the elevator. An excerpt from “Tim Graw” was painted on a wall opposite the right-hand case. It had cross-outs to look more authentic. After the tour, the museum treated guests to lunch on the seventh floor.

The first course consisted of a garden market green salad. It had kiwis, mixed berries, Marcona almonds, watermelon radishes, and champagne vinaigrette. The second course tasted delectable too.

The Scottish salmon came with English peas, red lentils, and peri-peri aioli. The dessert had a decadent flavor.

The peach tart had vanilla Greek yogurt, almond brittle, and a lavender haze. Servers offered wines too.

The list consisted of Domaine des Verchères Chardonnay, Mâcon-Villages Burgundy (2021), and Marques de Riscal Reserva Rioja (2018). Guests can easily access the Taylor Swift: Storyteller exhibition.

Guests can find it on the museum’s second floor. Attendees can access it from the grand staircase or the elevator. MAD will display the artifacts until September 4.

July 27, 2023 0 comments
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EntertainmentEventsTheater

The Metropolitan Museum of Art Presents “Buscando a Juan”

by Britt Trachtenberg July 25, 2023
written by Britt Trachtenberg

From July 13 to 15, the Metropolitan Museum of Art presented Buscando a Juan (“Looking for Juan”). Ballet Hispánico Artistic Director and CEO Eduardo Vilaro’s choreography responded to ideas from the exhibit Juan de Pareja: Afro-Hispanic Painter. The performance featured dancers from Ballet Hispánico and advocated for social changes.

The performance explored diasporas through an emphasis on sensuality and movement. It considered the assumptions made when people of color enter traditionally white spaces. Costumes and dance steps underscored this focus.

First, a man gracefully walked to a long table. He sat on top of it and wore a colorful shirt. His brown pants and shoes created a striking contrast. To his left, six dancers displayed nature-like gestures. 

They rotated their hips, which might remind viewers of plants in the wind. They extended their arms and shifted their feet to demi-pointe. Perhaps that depicted a predatorial animal. Quickly, the dancers arched their backs and then raised their left legs. It could reflect on graceful animals, like cheetahs and swans. Soon after, the dancers kneeled on the ground.

They moved three steps forward. Next, they slapped their knees and arched their backs. They curved and extended their arms to the ground. Perhaps this represents an elephant’s clumsy movements. Each dancer utilized a different movement.

A woman in a teal shirt spun with her left foot in the air. Behind her, a woman in purple leaned her hips to the left. Then she lunged forward with her left knee. Such movements represent other organisms in nature. The dancers walked in a circle and looked at each other.

They bounced into the pavilion’s center. Their bent legs and dangling arms reflected the apes’ physiques. In stunning contrast, the man sat still on the table. Meanwhile, the dancers extended one bent leg into the air. They pressed their palms together to mimic beaks. With arabesques, they spun to their positions around the fountain. 

The dancer in the purple shirt extended her arms to the side. She spread her bent legs as well. She bounced on her feet and put her arms behind her back. Next, she rotated her left leg from a front attitude to a back arabesque. Such quick movements reflected nature’s vibrancy. Soon, many dancers noticed the man on the table.

They gracefully ran to him and stood in a group. Their positions showed that their characters thought alike. The man still did not move. Perhaps this showed ostracization towards him. Two dancers stayed near the fountain. 

They wore purple shirts and bounced on bent legs. Soon, they raised their hands in a triangular shape to look like beaks. They crossed one foot over the other. Maybe they imitated birds with long legs. Suddenly, a man in a maroon shirt ran toward the audience.

He knelt on his left leg and straightened the right one. He jumped up and brushed his right foot against the tiled floor. One hand grazed his chin while his left arm extended into the courtyard. He looked towards a large palm tree in the space’s back. He leaned his head and arms behind him, as though he were lamenting. Next, the dancers recreated their circle at the fountain.

A woman in a purple shirt extended her arms and completed a pirouette. The dancers did not move for a few seconds. This pause made the routine more dramatic. Next, the performers pivoted and extended their arms sideways. They brushed their feet diagonally across the floor and moved toward the audience. Each dancer went to a different side of the court.

At their respective corners, the performers displayed various steps. They did not move synchronously at this time. Their different paces suggested unique imitations of organisms. The individuality made the routines more personal to audience members. Eventually, the dancers returned to the fountain at the court’s center.

They faced the side and crossed their legs. They swung their arms wildly. Then, they completed synchronous pirouettes. Each performer put their arms behind their back and knelt on the floor. 

They sprang up and bent their arms behind their backs. They curved their legs again and acted like they carried heavy loads. Each dancer noticed the man on the table.

The group by the fountain kneeled on the tile. A man in a black shirt walked gracefully to the table. He manually moved the other man’s head and body. Perhaps his character viewed the other man as an inanimate object. The dancers by the fountain elegantly walked to the table. 

They approached the man one after the other. One took away a chair. The others ripped off parts of his shirt. Soon, the man appeared shirtless. Maybe this represented the other characters’ exploitations of him. With these fragments, the dancers exited the stage. 

Finally, the man stood up. He boldly walked to the courtyards’ back. The man in a black shirt brought over a chair. The shirtless man sat down again. The man in the black shirt manipulated his arms. This time, the shirtless man fought back.

Independently, he extended his arms. The man in the shirt pirouetted in attitude across the chair’s back. Again, he moved the shirtless man’s arms. In response, the shirtless man dropped his arms. The man in the shirt moved to the chair’s back and calculated his next move.

He reached for the shirtless man’s arms. The man quickly raised his arms in the air. The man with the shirt attempted to move the other man’s shoulders. The shirtless man displayed opposition by moving first. Soon, he picked up the man with the shirt and slowly rotated him in the air. The shirtless man interacted with a woman as well.

She wore a white top and a blue skirt. She sat on his back as he walked across the court. Subsequently, she extended her right leg over his head and gracefully stood. The shirtless man rose too and picked her up. He slowly twirled her and then put her down. The two performed a routine together.

Gently, she fell into the man’s arms. After lingering for a second, she pirouetted and curtsied to him. She fell back into his arms again. Then, he flipped her in the air. She landed on her feet and extended her right leg into an arabesque. The man studied the curvature of her hip. This represented delicate intimacy. The performance occurred in a gorgeous room.

The Metropolitian Musuem of Art presented the event in the Robert Lehman Wing at the court level. The audience watched the dancers from all sides of the pavilion. Some sat on breathtaking stone benches against the walls. Others gathered behind velvet ropes. The show had a wonderful production team.

Osvaldo Golijov arranged the music from La Pasión segun San Marcos. The event incorporated skilled performers.

The dancers from Ballet Hispánico included Amanda del Valle, Antonio Cangiano, Dylan Dias McIntyre, Fatima Andere, Gabrielle Sprauve, and Omar Rivéra. The American Guild of Musical Artists made the performers’ appearances possible.

The Adrienne Arsht Fund for Resilience through Art and Arnhold Fund for Dance Innovation at The Met supported this event. MetLiveArts commissioned the performance.

July 25, 2023 0 comments
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EntertainmentEventsFilm

Museum of the Moving Image Screens “Fast Times at Ridgemont High”

by Britt Trachtenberg July 25, 2023
written by Britt Trachtenberg

On July 15 and 17, the Museum of the Moving Image (MoMI) screened Fast Times at Ridgemont High (1982) in 35 mm film. The feature starred Jennifer Jason Leigh, Phoebe Cates, Brian Backer, and Robert Romanus. The media gallery presented the movie as part of their See It Big: Summer Movies collection.

The museum’s “See It Big” series screened classic movies. Curator of Film Eric Hynes, Associate Curator of Film Edo Choi, and Reverse Shot editors Michael Koresky and Jeff Reichert chose films spanning the ‘70s and ‘80s. 

Movies included Jaws (1975, 35mm), The Spy Who Loved Me (1977), The Omen (1976), Star Wars (1977), The Rescuers (1977), Blow Out (1981, 35mm), Raiders of the Lost Ark (1981, 35mm), The Green Ray (Le rayon vert) (1986, 35mm), Beat Street (1984, 35mm), E.T. The Extra-Terrestrial (1982), Risky Business (1983, 35mm), and Who Framed Roger Rabbit (1988). Fast Times at Ridgemont High (1982) had a bold storyline.

High schooler Stacy Hamilton wanted to start dating. Her older and more experienced friend, Linda Barrett, gave her advice. At first, Stacy lied about her age and went out with an older man. The two made out at the baseball dugout. After the date, he never called Stacy. Linda suggested that Stacy should date around.

She met two different boys at the mall. Simple man Mark Ratner worked at the movie theatre. His friend, Mike Damone, achieved notoriety as a ticket scalper. Stacy fell in love with Damone, while Ratner battled for her attention. Stacy invited Damone to swim at her house.

The two had sex in the pool house. Quickly, Damone satisfied himself and abandoned Stacy on the couch. The next day, he ignored her at school. Instead, he flirted with other attractive girls. Unfortunately, Stacy had news for him.

Damone laughed with a pretty girl by the bleachers. He held scalped tickets in his hand. To his chagrin, Stacy approached him. He informed her of the tickets’ high price. She demanded to speak to him anyways. By the fence, she told him that she was pregnant. 

The pair reluctantly made a plan: Stacy would get an abortion. Damone agreed to pay the $150 fee at the free clinic. He said, “Well, it’s not really free.” Stacy seemed uncomfortable with his snide remark. The two concurred about a specific date.

Later in the film, the date came around. Medium shots showed Stacy waiting at her house. In a close-up shot, Stacy phoned Damone’s house. She heard that he working with his dad on a car in the garage. It disappointed Stacy. Then, she heard her brother pulling out of the driveway.

Her brother dropped her off at the bowling alley. In close-up shots, he watched Stacy run across the street. He followed her to the clinic. The film did not show the procedure itself. Instead, it showed the aftermath.

In a medium shot, Stacy waited on a bed. She wore a green hospital gown. The nurse refused to let her go without a ride home. Stacy lied that her boyfriend waited downstairs in a car. She saw her brother in the parking lot.

She begged him not to tell their parents, to which he agreed. The plotline represented a delicate issue. It showed people how to support others who have gotten abortions. Additionally, it showed the consequences of teen pregnancies.

Ratner still loved Stacy. He heard about Stacy’s involvement with Damone. In the school locker room, he yelled at Damone. The movie had a hilarious side plot. 

Surfer and stoner Jeff Spicoli slacked off at school. His strict history teacher, Mr. Hand, despised his attitude. The two argued for the entire school year, with one scene becoming iconic.

Spicoli arrived late to class again. Mr. Hand stopped the lesson and inquired about the matter. Spicoli said that he didn’t know why he showed up late. His teacher repeated the phrase, saying “I like that.” He wrote the words on the chalkboard for everyone to see. On July 22, MoMI’s See It Big: Summer Movies collection will end.

On July 21, the museum will screen Pee-Wee’s Big Adventure (1985) and Body Heat (1981). On July 22, they will show La Bamba (1987). The gallery plans to show the Infinite Beauty: Muslim and Menasa Identity On Screen series.

The collection will showcase iconic Muslim people in the cinema. On July 22 and 23, the exhibition will show Joyland (2022). MoMI has the upcoming New Adventures in Nonfiction collection as well.

It will highlight dynamic, unpredictable, and intelligent nonfiction movies. On July 21, the museum will show Users (2021). The museum has its ongoing Las Premieres series too.

It will show previews of upcoming Latin American and U.S. Latinx films. On July 23, the gallery will screen Narcissus Off Duty (2020). On August 20, MoMI will display Jesús López (2021). The museum has its ongoing Real Rap: Hip-Hop Star Power On Screen series as well.

It showcases hip-hop stars in cinema. It shows how musicians have transformed pop culture and music genres. On July 28 and 29, the gallery will screen New Jack City (1991). Also on July 29, the museum will display Belly (1998).

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Some things are just a perfect match—milk & cook Some things are just a perfect match—milk & cookies, Oreos & a cold glass of milk… and @nickbarrotta on the red carpet celebrating 30 years of the iconic milk mustache. 🥛🍪

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On the red carpet, Stranger Things star @priahferg On the red carpet, Stranger Things star @priahferguson spoke with us at the @gotmilk 30th Anniversary Milk Mustache Celebration, where the campaign unveiled its bold new focus on everyday Californians as the real icons. 🥛✨

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First-time nominees dominated the 77th Emmys, turn First-time nominees dominated the 77th Emmys, turning the spotlight on breakout stars and fresh wins. 🎬🥇✨

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We had the honor of celebrating VMAs weekend with We had the honor of celebrating VMAs weekend with @bacardi and @mtv! 💫
History met history last night 🗽🎬✨ The Ha History met history last night 🗽🎬✨

The Hamilton movie premiere transformed the Delacorte Theater into a stage of its own, as the original cast and creative team reunited to celebrate a story that changed Broadway forever. From the first note to the final bow, the revolution continues. 🎭📜

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✨ Disney magic meets coffee culture ☕🐭 @dis ✨ Disney magic meets coffee culture ☕🐭 @disneyfamily x @lalalandkindcafe are serving up the sweetest collab of the season — from Mickey drink sleeves to Munchlings surprises 🎁 Don’t miss it before it’s gone Sept. 16!

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From @iamcardib undeniable reign to @wutangclan ev From @iamcardib undeniable reign to @wutangclan everlasting impact, the 2025 Billboard R&B/Hip-Hop Power Players Awards celebrated the artists and executives shaping the culture today. 🎤🎸💥

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🗞️ Extra, extra! Go inside the newsroom with 🗞️ Extra, extra! Go inside the newsroom with “The Paper” — the sharp new workplace comedy making headlines. 🖋️ We sat down with the cast + creators in an exclusive video interview to talk inspiration, improv, and bringing chaos to the copy desk. 🎬✨

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🎥✨ Austin Butler and the cast of Caught Steal 🎥✨ Austin Butler and the cast of Caught Stealing open up about stepping into this gritty new story, the challenges on set, and why this film is unlike anything they’ve done before.

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Vegas was just crowned the No. 1 nightlife spot in Vegas was just crowned the No. 1 nightlife spot in the world. We put our detective skills to work at @resortsworldlv to see if it lives up to the hype 🎰 🪩🥂💃🕺

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When French comfort food, @marthastewart48 hospita When French comfort food, @marthastewart48 hospitality, and @parisvegas combine you get @thebedfordbymarthastewart 🇫🇷🤤 Our recent trip to the legendary homemaker’s restaurant in Las Vegas had us positively stuffed.

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A @weareone.exo throwback from @zkdlin at his firs A @weareone.exo throwback from @zkdlin at his first ever solo tour, #KaiOn 🐺✨ This is ‘Growl’ 

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🎶 Meet @hitgs_offcl — the K-Pop girl group ma 🎶 Meet @hitgs_offcl — the K-Pop girl group making waves at KCON 2025. In our exclusive, they open up about growth, music, and their U.S. debut story.

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