Entries tagged with: Museum of Modern Art
Santigold at MHoW in January (more by Bao Nguyen)
Santigold, who recently played Irving Plaza with guests Andy Samberg and Pharrell Williams (videos below), will be the performer at MoMA's annual Party in the Garden benefit afterparty on Tuesday, May 22. Solange Knowles will DJ as well. Tickets are still available and proceeds benefit "the Museum's general operating fund, supporting our award-winning educational programs and the care, study, and exhibition of the collection." Tickets start at $150 for basic afterparty entry and go up to $100,000 if you want to sponsor a dinner table for ten.
Last year, Kanye West was the afterparty performer, and M.I.A., James Murphy, Estelle, and Karen O & Nick Zinner have all performed in the past. The flyer for the Party in the Garden and videos from Irving Plaza below...
Ralf, who also showed up as the surprise special guest on Sunday at PS1, hasn't tweeted yet today, but if and when he does, it will probably say "Tonight, Tour de France." And when that's over, so is the entire 8-night MoMA run, but then there's an afterparty. Flyer below...
photos by Greg Cristman
"Just saw Francois K DJ all Kraftwerk set in the MoMAPS1 dome for 90 minutes with 360 degree visuals. Sound by Jim Toth. I love NY." - DFA Records
"Only non-Kraftwerk song that both Juan Atkins and Francois K. played: Yaz's "Situation."" - Sasha Frere-Jones
Ralf Hutter of Kraftwerk & Francois K @ PS1
Being that Kraftwerk began their 8-night, 8-album run of performances at MoMA back on April 10, and today is only the 16th, as of this writing there are still two chances to see them perform a full album in 3-D at the modern art museum. However, your chance to participate in "Kraftwerk Fest" at MoMA's PS1 has come and gone and featured two special Kraftwerk sets by DJs Juan Atkins (Saturday) and Francois K (Sunday).
Sunday, which we have pictures from in this post, was made even more special with a guest appearance by uncle Ralf Hutter who stopped by before performing Techno Pop" with his band at MoMA later in the night. Tonight he and his band will do "The Mix", and they finish it off Tuesday with "Tour de France."
The "fest", part of a month-long installation at PS1 (that runs until May 12), was was three hours long each day, with the DJs playing Kraftwerk remixes to a packed crowd. Francois K performs again TONIGHT (4/16) at Cielo with Four Tet (who is also DJing). Check out more pictures from Sunday at PS1, shots of 5Ptz across the street included, below...
Museum of Modern Art - 4/11/2012
There is absolutely no way any photo or video could ever come close to capturing the full effect of the modern day Kraftwerk live spectacle. The extremely intimate venue conspired with the crystal clear surround sound and breathtakingly stunning 3D effects to make this an absolute must see experience (unfortunately tickets happen to be hard to come by). This is live music/visuals taken to an unprecedented new level. The visual effects were so convincing and stunning they actually made you flinch as arms reached out, numbers pulsed, autobahn pavement unfolded, and ohm signs enveloped the line of musicians as it passed around them.
Those words come courtesy of photographer Greg Cristman who witnessed Kraftwerk play close to a two hour set at MoMA last night (4/12). As advertised, the setlist included all of the band's 1975 LP Radio-Activity, but also much more. The show was part of the ongoing Volkswagen-sponsored eight night celebration of the band's catalog which continues tonight with 1977's Trans Europe Express.
Pictures and the setlist from the first night are HERE, More from night two, setlist included, below...
by Ryan Muir
"Sell-out rock shows usually mean a lot of shouting, some sweating, maybe a few drunken pass-outs. Kraftwerk inspired none of that on Tuesday night. The first of its eight consecutive sold-out performances at the Museum of Modern Art had reverence and stylistic weight; even for a New York museum crowd, there was a lot of black. Artfully swept hair, uncomfortable-looking shoes, architectural glasses: check, check and check. The high-design audience was rewarded with an equally aesthetically tuned concert, with the band, a foursome in graphic black-and-white unitards, playing neon-lighted synths. Behind them, a video screen offered a parade of simple 3-D images, like stick figure robots and spinning numbers, a retro-future in an MS-DOS font." [NY Times]Kraftwerk began their eight-night Kraftwerk-Retrospective 1 2 3 4 5 6 7 8 at the Museum of Modern Art in NYC last night (4/10). Each night they'll play a different album, and last night was Autobahn, their first.
Kraftwerk are groundbreaking in their music and legendary in their influence, but can arguably be a difficult band to enjoy in a live setting. With historically minimal stage-activity from each of the four members of the band, it was unclear what to expect from these exclusive museum installation-performances.
True to reputation, apart from the occasional foot pumping and minute hip thrusts, there wasn't much thrilling about the physical performance of the four modern-day members of Kraftwerk and the nature of their instruments is somewhat obscured - possibly even more than usual, due to the setup designed for these shows.
But this wasn't just a concert. It was a simple yet engrossing multimedia experience in the clean and otherwise austere setting of MoMA's Marron Atrium, a space that was both ideal and impractical. The stage was trimmed with blacklight, and a 4-projector, 3-D lighting rig projected images on a movie theater sized screen behind the group. Among swirls of floating musical notes, matrix-green digital sin waves, and radioactive hazard warnings, the audience enjoyed the show in 3-D glasses which were provided by the venue. The retrospective is further flattered by the custom white stage construction, and the unusually airy and artwork-free environment.
After playing Autobahn in full, the remainder of the set included familiar songs from various stages of the band's discography. Many songs received a polish beyond that of the recent "Minimum-Maximum" live release, and possibly a hint at what the new "Catalogue" re-releases has in-store.
It seems these shows in particular have been designed to be scrutinized and documented-- from a personal perspective it seemed essential to experience the show from several perspectives, however, the 3-D effect is certainly designed to be experienced head on.
Tickets to the shows were not easy to come by and in huge demand for the group who doesn't play that often let alone a full album in a museum, though show sponsor Volkswagen made some more available to contest winners recently. Regardless, it goes without saying that there were less tickets than people wanting to get in, and that will hold true for the next seven nights as well. If you still can't find one, a consolation prize is that PS1 is hosting a related installation and party which has tickets still available.
More pictures from 'Autobahn' night, and the setlist, below...
Kraftwerk begin their eight-show run at MoMA tonight (4/10), and MoMA is now selling a limited edition Kraftwerk boxset, but, as you know, there's more! MoMA PS1 in Long Island City is also doing this thing...
Kraftwerk - Retrospective 1 2 3 4 5 6 7 8AND, that's not all! This weekend at PS1, to go along with all this stuff, will be a Kraftwerk Music Festival! More details below...
On view April 12, 2012--May 14, 2012
In conjunction with Kraftwerk - Retrospective 1 2 3 4 5 6 7 8 at The Museum of Modern Art, an eight-channel video and sound installation especially developed for the exhibition is now on display in the MoMA PS1 Performance Dome.
Ralf Hütter and Florian Schneider founded Kraftwerk In Düsseldorf in 1970 and set up the pioneering Kling Klang studio, where all Kraftwerk's albums have been conceived and composed. By the mid-1970s, Kraftwerk had achieved international recognition for its revolutionary experimentation with sound and imagery. Its compositions, which feature distant melodies, multilingual vocals, robotic Beats, custom-made vocoders, and computer speech, anticipated the impact technology would have on art and everyday life, capturing the human condition in an age of mobility and telecommunication. Kraftwerk's innovative looping techniques and mechanized rhythms, which had a major influence on the early development of hip-hop and electronic dance music, remain among the most commonly sampled sounds across a wide range of musical genres. Kraftwerk uses robotics and other technical innovations in its live performances, illustrating the belief that humans and machines make equal contributions in the creation of art.
Neon Indian @ Fun Fun Fun Fest (more by Tim Griffin)
Neon Indian, who has a label and is throwing a showcase at SXSW this year, announced a tour a while back with a mysterious Museum of Modern Art show on the schedule. That museum show is TONIGHT (3/7), and here's the latest info:
THE ARMORY PARTYTickets are also still on sale for Neon Indian's upcoming show at Terminal 5. All dates HERE.
MARCH 7, 2012
Performance by NEON INDIAN
Thank you for your interest in purchasing tickets to the MoMA Armory Party. Tickets are no longer being sold online. You may purchase tickets on March 7th in person at The Armory Show (Pier 94 or Pier 92) or at the door of the event at MoMA starting at 8:00PM. Tickets may sell out and are first come first serve.
Neon Indian's Alan Palomo recently hooked up with Rostam Batmanglij (Vampire Weekend), Vijay Iyer (Vijay Iyer Trio), Ashok Kondabolu (Das Racist), Alan Palomo (Neon Indian), Amrit Singh (Stereogum), Himanshu Suri (Das Racist), and Anand Wilder (Yeasayer) to go on a hunt for good South Indian food in NYC. Their "Dosa Hunt" has been made into a film produced by Amrit. You can watch the trailer below....
Dear Kraftwerk fans,PREVIOUSLY: Kraftwerk Tickets Blues (the video)
Sorry it took me a day to write this, but it was important for me to first understand all of the facts so they could be properly communicated. First and foremost, we are deeply sorry for the frustration and massive inconvenience that yesterday's on-sale for Kraftwerk caused for many of their great fans around the world. I recognize that so many of you spent hours in front of your computer watching a spinning wheel--or watching the page go blank. Please allow me to explain what happened and what we'll do to correct this for the future:
MoMA has been a really great partner of ShowClix for over a year now, and we've worked with them to move tens of thousands of tickets successfully. They leaned on us to help them with this on-sale, which was a special event for them, and we let them (and you) down. ShowClix has successfully executed many very large, high-demand on-sales over the past five years that we've been in business. Most of these on-sales have a high demand, with a great deal of inventory to sell. Kraftwerk's eight-night performance on-sale was a very unique situation. While we're not able to disclose the number of tickets that were available for these performances, what I will say is that of the tens and tens of thousands of die-hard Kraftwerk fans from around the world that logged on at exactly noon EST yesterday to get these tickets, the venue capacity restrictions would only ever allow approximately 1.20% of them to actually be reserved. As you might imagine, this is an extremely large technical hurdle, particularly because of the tiny fraction of supply versus the demand.
Still, this is no excuse. We should have never advised MoMA to allow the tickets to be sold in the fashion in which they were, because in the end--even if everything were to go smoothly--many people would have been very disappointed. ShowClix didn't set the proper expectations from the beginning, nor did we properly prepare our load balancing servers in order to prevent the queue from timing out. Ultimately, we failed many of you.
Since yesterday, we have discovered that a single setting within one of the lower levels of our queuing system's middleware bubbled-up under the heavy load and caused frequent timeouts. There were also some issues with the broadcast system which allows us to communicate with ticket buyers while they're waiting in the queue. We should have both of these problems resolved by the end of this week. However, even with these problems resolved, it is my belief moving forward that we should not perform an on-sale all at once for an event or venue that has such small capacity restrictions versus potential demand. Instead, we will advise our clients on various alternative methods to fairly sell tickets to an event that has such a small fraction of inventory available versus the potential demand.
There were certainly technical problems around this event. Contrary to some reports, however, our servers never crashed or went offline, and none of our other clients or their events experienced a problem during the Kraftwerk on-sale. We always keep high-demand on-sales separate from all of the other activity happening on our server. It's also important to note that there were online sales successfully processing the entire time, and all eight of the events sold-out in approximately 60 minutes.
In closing, regardless of what the technical problem was--or how we plan to solve it in the future--we haven't overlooked the incredible amount of frustration many people felt from the on-sale. We take full responsibility. This company was founded and continues to be run by a big team of live entertainment and technology addicts. We feel for you, the fans, and our partner, MoMA, and vow to work hard to prevent such a debacle from happening again in the future.
Thank you for taking the time to read this.
Kraftwerk will kick off a "Kraftwerk-Restrospective 1 2 3 4 5 6 7" residency at The Museum of Modern Art from April 10-17, playing an album in full each night. They'll play 1974's Autobahn on 4/10, 1975's Radio-Activity on 4/11, 1977's Trans Europe Express on 4/12, 1978's The Man-Machine on 4/13, 1981's Computer World on 4/14, 1986's Techno Pop (aka Electric Cafe) on 4/15, 1991's The Mix on 4/16, and 2003's Tour de France Soundtracks on 4/17. According to a press release:
Each evening will consist of a live performance, in the Museum's Donald B. and Catherine C. Marron Atrium, of works from one of the group's eight albums, created over four decades, followed by a selection of original compositions from their catalogue adapted specifically for this exhibition's format, to showcase both Kraftwerk's historical contributions and contemporary influences on sound and image culture.Tickets for all 8 shows go on sale Wednesday, February 22 at noon.
The press release also notes that "presentation of Kraftwerk's historical audio and visual material" will be on view at The Performance Dome at MoMA PS1 from April 10 - May - 14 in Long Island City, Queens.
Kraftwerk are also playing Ultra Music Festival in Miami this March. All dates and some videos below...
Blondes at Monster Island in 2010 (more by Erez Avissar)
PopRally is presenting an evening of music, light, and sound, which features a live performance by Brooklyn electronic duo Blondes (aka Zach Steinman and Sam Haar) and a DJ set by Juan MacLean at MoMA on January 21. According to a press release, visitors will also have the exclusive opportunity to view the exhibitions Contemporary Art from the Collection, 1980-Now; Thing/Thought: Fluxus Editions, 1962-1978; Sanja Ivekovic: Sweet Violence; and Projects 96: Haris Epaminonda. Tickets are on sale now. More details below.
Details for the MoMA show below...
photos by Bao Nguyen
Jay-Z & Kanye West on display @ the Museum of Modern Art
At the tail end of his set at MoMA's Party In The Garden benefit afterparty last night (5/10), Kanye West was joined by none-other than Jay-Z to work out "H.A.M." before West stepped away from center stage (shocking, I know) to make way for HOV and his rendition of "Empire State of Mind". It was a riotous closing to a set that allowed plenty of time for Mr. West to shine too. Kanye played 45 minutes of hits from across his output. The setlist included "Power," "Run This Town", "Hell of a Life", "Can't Tell Me Nothin'", "Runaway", "Flashing Lights" and "The Good Life". Pictures and video from the museum show are in this post.
MoMA Nights with DJ Adam Horovitz and a Special Poster SigningListen to Hot Sauce Committee Part Two at hotsaucecommittee.com.
Thursday, May 5, 2011, 5:30-8:45 p.m.
MoMA is open late the first Thursday of the month, September-June, with a DJ, a cash bar, a prix-fixe menu in Cafe 2, and special Gallery Talks. In July and August, MoMA is open late every Thursday, with live music presented in two sets, at 5:30 and 7:00 p.m., in the Sculpture Garden.
Regular Museum admission applies.
On Thursday, May 5, MoMA Nights features activities and music in conjunction with the exhibition Looking at Music 3.0, including a DJ set by Adam Horovitz (of the Beastie Boys) from 5:30 to 8:30 p.m. and a poster signing from 6:30 to 7:30 p.m. with artists featured in the exhibition, such as Kathleen Hanna (of Bikini Kill and Le Tigre) and Def Jam Recordings creative director Cey Adams. (Posters are $20 each.)
Kanye West at Coachella (more by David Andrako)
Kanye West will play the annual Party in the Garden benefit after-party at MoMA on May 10th. Tickets are on sale with all proceeds going toward "the Museum's general operating fund, supporting our award-winning educational programs and the care, study, and exhibition of the collection." The cheapest ticket is $150. That gets you into the after-party with Kanye, but not entrance to the VIP lounge or to the dinner or cocktail party earlier in the night. Those tickets will cost you anywhere from $500 to $100,000 (for a table).
photos by Bao Nguyen
By the look of the pictures, you might think Metric performed an elaborate show at Lincoln Center complete with string quartet and white piano, but actually it was just a four-song set at MoMA last night (11/10). The occasion was the third annual Film Benefit in honor of Kathryn Bigelow, and the rest of the music was supplied by the DJs: Nick Zinner (Yeah Yeah Yeahs) and artist Nate Lowman (ex-Mary Kate Olson). Attendees included members of Arcade Fire (who are in town to play SNL this weekend), a BrooklynVegan contest winner, and Bao whose pictures continue below...
Metric at Prospect Park (more by Kyle Dean Reinford)
"Don't ask Emily Haines about "indie."Director Katheryn Bigelow is responsible for films like Point Break, Near Dark and the 2009 Oscar-winner The Hurt Locker. She'll be the subject of a MoMA tribute on November 10th at 6:30 which will include an after-party with a live acoustic set by Metric and a DJ set from Nick Zinner (the Yeah Yeah Yeahs). Tickets for the benefit dinner will set you back a bit, but cheaper tickets for the after-party are also on sale. Pick up tickets now OR you can try your hand at winning a pair to the after-party. Details how are on the bottom of this post.
"I don't know what it means anymore," says the Metric frontwoman. "I think it might be a font at this point. Which is fine, actually. Everything changes."
Haines is still a young woman, but at 36 she's old enough to remember what the much-abused word used to signify.
When the Toronto-raised singer-songwriter-keyboardist started her band in Brooklyn in the late '90s, "indie" didn't refer to a style of music. It was short for "independent." An indie record didn't conform to any particular style: It was an album that the musicians released themselves, without the assistance of a record company.
An album like Metric's "Fantasies."
"It's something I'll always be proud of: that we were able to reach the Billboard Top 20 (Rock Albums) without a label," says Haines, who [took] the stage with Metric at the Prudential Center in Newark, opening for Muse. "I believe we're the first band to do that."" [NJ.COM]
Muse and Metric concluded their trek together over the weekend in New Orleans at the Voodoo Festival (10/30). Pictures from that show (and the entire festival) are on the way but for now, head below for details on how to win those tickets...
photos by Chris La Putt
"MoMA garden party. Hugh Jackman introducing a fully acoustic set by Karen O." - Jared
"Karen O and Nick Zinner" performed at last night's MoMA Party in the Garden, an annual fundraiser that Estelle, M.I.A. and James Murphy have all played in recent years past. They were rounded out by a full band that included Imaad Wasif on acoustic guitar, Russell Simins filling in on drums, and a string section. They played Yeah Yeah Yeahs songs and "All is Love" by Karen O & The Kids (from Where the Wild Things Are). The full setlist, video of "Maps" and more pictures below...
MoMA's Party in the Garden (more by Ryan Muir)
The Party in the GardenTickets to this year's MoMA Garden Party will set you back anywhere from $100 to $100,000. Last year's musical guest was Estelle. M.I.A. played it the year before that.
Honoring Jo Carole and Ronald S. Lauder
Tuesday, May 25, 2010, 7:00 p.m.
Cocktails at seven o'clock
Supper at eight o'clock
After-Party from nine to midnight
Featuring a performance by Karen O and Nick Zinner
of Yeah Yeah Yeahs, with special guests
Music by Mister Saturday Night-Eamon Harkin and Justin Carter
The Museum of Modern Art
11 West Fifty-third Street, New York
Set in the beloved Abby Aldrich Rockefeller Sculpture Garden, this special evening benefits the Museum's general operating fund, supporting our award-winning educational programs and the care, study, and exhibition of the collection.
The Walkmen @ Bell House Haiti benefit in January (more by Jonny Leather)
Greetings everyone. We are finishing up recording our record in New York. We've been working our little asses off for the last year on it and we're actually really psyched now. We think it's almost done. We produced the whole thing ourselves and we even recorded a bunch of tracks all on our own like the old days. When we brought the tracks to our favorite engineer Chris Zane for mixing, he gave our engineering skills a B-. We've recorded something like 28 songs but we don't know how many will be on the record. We did a lot of it here in Manhattan, and some of it down in the greater Philadelphia area. We're thrilled to report that it will be coming out on Oxford, Mississippi's legendary Fat Possum Records.Well, that about sums it up. Songs from the Walkmen's set at the Bell House Haiti benefit are postd below. They played a new song at Pitchfork Fest last summer - that's below too...
We're also thinking it's time to go out and start playing some shows, so we have a bunch coming up. First we're playing at the Museum of Modern Art in midtown Manhattan on March 3rd to celebrate the opening of the Armory show. Tickets are available here. Then we're heading down to Austin TX and playing NPR's showcase on March 17th at Stubbs with Spoon. NPR will present, broadcast, and "webcast" the show live on March 17th. Also, we're going to play a show at Brooklyn's The Bell House on April 1st....that isn't some stupid April Fool's prank though, we'll be there. Now that I think about it, maybe the prank is on us. Well, there's going to be this pre-jack presale that we're doing for the first time so the tickets will be available here first starting at NOON EST on Thursday, February 11th. The "secret" password is "eatinpuppies2". DON'T TELL ANYONE! Tickets will officially go on sale to the public Friday, Feb 12th. Ok have a good one, and we hope to see you around. -The Walkmen
words & photos by Ryan Muir
"In conjunction with the New York performance biennial Performa 09, MoMA's Performance Exhibition Series presents Between Worlds (2009), an evening-length work by New York artists Fischerspooner. Between Worlds, a pop spectacle developed in support of Fischerspooner's 2009 album Entertainment, runs continuously over the course of three hours, with no clear beginning or end, on a large central stage that allows the audience to view the piece from all sides. With source material provided by The Wooster Group and with inspirations ranging from Japanese theater to the early years of the U.S. space program, this new performance continues Fischerspooner's interest in exploring the spaces between art and entertainment, reality and fiction, intentions and mistakes." [MoMA]Toward the beginning of the evening (11/1), Casey Spooner announced that the name of the performance was "Between Worlds", a place creatively that is "hard to reach, and harder still to stay in" - a state of being that Fischerspooer performance art, one of stylistic contrasts and aesthetic extremes, strattles. It was between flamboyant and frivolous, and sophisticated and metatextual.
Amidst the sea of dancers and endless costume changes, the purpose of the show (clearer on repeated consecutive viewings) reveals itself as a performative expression that forces you to confront stylistic clashes and the artifice of the entire production (and what a production it was) while at the same time bouncing your head to the infectious electro groove.
On arriving to the show, the audience actually approaches the stage from behind where all the makeup mirrors, costume racks and stylists are visible. During the show the dancers execute ballerina precise movements and then seemingly intentional haphazard ones (rehearsal videos playing on LCD indicate they are anything but haphazard). Even the most graceful dancers occassionally collapsed to the ground in clumsy, deliberate spasms. In other cases the dancers break character (mid song) and initiate eye contact and start conversations with people standing in the front row. The process, and deconstruction of that process, is very much on display.
Several times Casey referred to the "taping" of the performance as being the ultimate. He literally said "if there is no photograph it didn't happen". Several camera men were auspiciously recording throughout the evening, and there was one number that directly involved the tour photographer on stage, all futher completing the illusion.
Numbers would be stopped mid chorus, to "get it right for the camera" - impromtu audience asides seemed to be a part of the choreography itself. In one case there appeared to be a live backstage mic as Casey asks for a "non hydrating" drink and chastises crew members. It quickly becomes clear that this is a pre-recorded put-on. We can see him again on stage talking to the audience loud enough to be heard OVER the "live mic" effectively breaking the 4th wall (5th wall) again.
Casey referred to a concert in Spain with 50,000 audience members freaking out, though as the night went on, and his detachment from truth advanced-- I realized the Spanish gig was probably fabricated as well.
The night was full of little mental puzzles like that. It was the intellectual pay off that elevated the modestly budgeted Fisherspooner show to an extravagantly budgeted Madge or Britney spectacle, thouch as the pictures attest, there was plenty to look at and listen to on stage if you wanted to turn your brain off too.
The Moma installation left me scandalized, and stimulated, in more ways than one. More pictures below...
Hercules and Love Affair perform great live disco, in a way very few bands are doing nowadays. Aeroplane continue to look promising (though I have still yet to see them this week!). James Zabiela has been getting tons of positive feedback lately. I fell in love with his Utilities double mix album several years ago and am excited to get to see him again in a setting that is not Pacha. Shinichi Osawa's opening set for Fatboy Slim in June was great - very hard, but not too in your face. The Fantastic Nobodies' performance art, aka crowd-feathering, during Modeselektor's set at Bowery Ballroom back in January was quite an experience. All in all, it should be a great night. Tickets are available here
Hercules & Love Affair's Andy Butler DJ'd MoMA MiXX on September 26th. Pictures from that event, along with the Insiders flyer and set times, below...
photos by Chris La Putt
Spike Jonze @ MoMA
Just got back from NYC. I made a special trip up to the Big Apple to check out "An Evening of Skate Videos" - an event held by Poprally in support of the Moma's exhibit honoring the work of Spike Jonze, co-owner of Girl Skateboards and director of "Video Days" (the epic Blind Skateboards video), and director of "Where the Wild Things Are." The panel included a who's who of the skateboarding world, they included Spike Jonze, Patrick O'Dell (MC for the evening), Mark Gonzales, Lance Mountain, Jake Phelps, Tobin Yelland, Ty Evans, Greg Hunt, and Ed Templeton. Some other notable's that showed up included Giovanni Reda, Steve Rodriguez, Steve Olson, Jason Dill, Mike O'Meally, and Pitcrew Local Tyler Tufty. It was a great night of some classic skate videos and a great chance to get some great comments by those that were involved with them. Following the event, the band No Age put on a kick-ass show while the Colt 45 flowed.After playing LPR on Wednesday, Oct. 14th, No Age's next stop on their four-show NYC run last week was at MoMA, where the band appeared with Spike Jonze and friends. After the skate-video clips and well-attended panel, No Age played in the lobby. It was No Age's first of two consecutive museum shows, though the second, the band's performance at the New Museum on Friday, October 16th, wasn't a regular set, but a live score to the 1989 Jean-Jacques Annaud film The Bear.
Good Times! [Eastern Imagery]
No Age @ MoMA
Village Voice: Does it seem uncanny for you guys, within a week's span, to be playing at the MoMA and then at Todd P.'s venue, then at the New Museum?More pictures from MoMA are below...
Randy Randall from No Age: No, it's not strange at all. For us, it's something we've always wanted to do. We come from a world of Todd P. auto-part store shows, yet we've always been fans of going to museums and galleries as patrons. We've always played places like Death By Audio, a venue with totally fun energy in the room. But sometimes, the rooms are too small and not everyone can get in. So we have to play (le) Poisson Rouge, a place with a bar, where your feet won't get stepped on, and money is paid to security guards and whatnot. That's more strange to us. The museum events we're playing are going to be fun and we've been fortunate now to get booked in places like that. It's hard to book those yourselves.
by Andrew Frisicano
Hercules & Love Affair @ MHOW in August (more by Sara Skolnick)
Hercules & Love Affair's Andy Butler was one of the many DJs at the Electric Zoo Festival that happened over Labor Day weekend. At the fest he was billed as himself, but on September 26th he'll be DJing as H&LA at MoMA MiXX, a new series of dance parties at the museum.
MoMA MiXX uniquely pairs together major artists with world-renowned musicians or DJs, with each featured performer spinning a set of music that night. The Agnes Gund Garden Lobby will be transformed into a dance floor, and MoMA's Donald B. and Catherine C. Marron Atrium will serve as a lounge area complete with bars. The money raised benefits the exhibition programming for The Museum of Modern Art and P.S.1 Contemporary Art Center.Opening up the first night will be DJ sets by Justin Carter and Eamon Harkin (of the Mister Saturday Night series among other things). The paired artists are Mickalene Thomas and Derrick Adams. Tickets are on sale, though they're not cheap...
Tickets for each event are $75 per person (or $200 for the first three events), and include an open bar.The next two events in the series are planned for January and April 2010.
Also on the way, the museum is hosting Between Worlds, an evening-length "pop spectacle" performance by Fischerspooner on November 1st. Tickets TBA. (MoMA is also still running Looking at Music: Side 2, and will be showing a Spike Jonze retrospective with No Age in October.)
Hercules & Love Affair played two live shows in NYC in August. At them, they debuted their new current (but probably not permanent) lineup of Shaun Wright, Aerea Negrot, Kim Ann Foxman, Mark Pistel and Andy Butler.
In the past, Hercules & Love Affair's lineup prominently featured singer Nomi Ruiz. More recently, she's been playing with Jessica 6. They opened for CocoRosie's return-to-NYC show at the beginning of September. Coming up, they're opening for Japanese psych rock band Yura Yura Teikoku at the Music Hall of Williamsburg on September 18th. Then the next night (Sept. 19th), they play as part of the New Languages Festival, which runs for six nights (starting Thursday, Sept. 17th) on two weekends at McCarren Hall in Brooklyn (on 98 Bayard St, an address that might sound familiar). Tickets are available at the door only.
For Japan's Yura Yura Teikoku, the MHOW is one of three upcoming US dates they have scheduled. The other two are opening for Yo La Tengo on Tuesday (9/15) and Wednesday in Vermont and Boston. Their new album "Hollow Me", which includes their recent EP "Beautiful", is out September 14, 2009 on DFA's Death From Abroad label (which helps explain the Jessica 6 connection). Album tracklist and NYC show flyer below.
The whole lineup for the jazz-based New Languages Festival, which "attempts to provide a panoramic view of 21st century jazz in New York City," is pretty diverse and spectacular. It includes Akoya Afrobeat, which matches the sound of Fela Kuti almost note for note (and integrates some of his songs into their rep), drummer Mike Pride's From Bacteria to Boys combo (who recorded a live session for WFMU in April), a set led by noted improviser and avant-jazz composer Tim Berne, and an opening night performance by Darcy James Argue's Secret Society, whose debut, Infernal Machines, came out in May on New Amsterdam Records.
The full schedule of shows and all tour dates are below...
No Age and Spike Jonze are both involved in an upcoming PopRally event at MoMA happening October 15th. For the night, "An Evening of Skate Videos," the museum "invited Patrick O'Dell (Epicly Later'd) to assemble an evening of influential skateboarding videos from the 1980s to today -- including Jonze's own legendary contributions to the genre -- and to bring together a panel of significant skateboarders and filmmakers, including Jonze himself, to discuss their work. An after party with a live performance by No Age follows the film program."
The event is in conjunction with the museum's mid-career retrospective of Jonze's work (titled "Spike Jonze: The First 80 Years") taking place from October 8th-18th. A schedule of the screenings at MoMA (which include his music videos, feature films like Being John Malkovich, etc., and his work as a producer) is below. The opening event on October 8th pairs Jonze with Maurice Sendak, the author of Where the Wild Things Are. Jonze's film adaptation of the book is coming out October 16th and features a soundtrack by Karen O "and the Kids".
""Where the Wild Things Are" seems sure to appeal to the sensibilities of a certain cohort of urban young adults -- the type who read comic-book novels and wear skateboard sneakers; who might concur with a note I saw one day scrawled on a legal pad in Jonze's office: "There is no difference between childhood and adulthood." Finding an audience beyond that demographic, though, may well pose a challenge to Warner's marketing department, which is trying to position the movie as a family-friendly film for kids of all ages. They have adopted a broad-based strategy to lure children into the theater, buying advertising on Nickelodeon and the Cartoon Network. They'll also be making a special effort to reach what one executive described to me as "hip, tastemaker" kids: Ugg will be selling a special "Where the Wild Things Are" kids' boot, and Urban Outfitters has a collection of "Where the Wild Things Are" T-shirts and shadow puppets." [NY Times Magazine]
The No Age performance at MoMA is in addition to the band's four other upcoming shows in the NYC area. One of those will be the band performing a live score to the Jean-Jacques Annaud film The Bear at the New Museum on October 16th (no tickets yet). They played with the movie at L.A.'s Cinefamily on August 30th and you can find a video of that show (with the full Jonze/MoMA schedule) below...
Forro in the Dark...
Brazilian group Forró In The Dark kicks off MoMA Music: BRAZIL, a month of musical performances in MoMA's Sculpture Garden, on July 2.Forro in the Dark just played a few tour dates opening for Apostle of Hustle. Those included a June 10th show at the Bowery Ballroom and a June 13th show at Maxwell's. In addition to the MoMa show, the band is scheduled to play a free show at the Stuy Town Oval on July 8th and a day show at the Brooklyn (BKLYN) Yard on July 11th with Nation Beat. Tickets to the July 11th show are on sale. Check out a poster for it below.
MoMA Music: Brazil is part of the MoMA Thursday Nights program, in which the Museum stays open until 8:45 p.m. every Thursday in July and August. Visitors can view MoMA's collection and special exhibitions, and enjoy live music and tapas in the Sculpture Garden. July's musical program features Brazilian rhythms ranging from samba to bossa nova and forró. The series is presented in conjunction with the film exhibition Premiere Brazil 2009 (July 16-August 3), which introduces New York audiences to original and accomplished films by Brazilian filmmakers. Music sets will be performed at 5:30 and 7:00 p.m.
As usual, the band is at East Village spot Nublu every Wednesday (though you might want to call ahead to make sure).
Full lineup for the MoMa Thursday nights and all Forro tour dates, below...