Former INXS band promoter Wendell Parnell creates first singalong event West End Vs Broadway at The Camfield


Wendell Parnell has been a drummer, an agent and 1980s band promoter to an enviable list of acts from INXS and John Farnham to Tina Turner.

From looking after their riders to ensuring their dressing rooms were in order, he recalls those days as being more fun than hard work and has many stories he could tell, not that he would.

Now East Perth-based Parnell is turning to his first love — musical theatre — with his company Sing Out Loud hosting its inaugural event West End Vs Broadway at The Camfield on October 27.

“I’m a romantic,” 72-year-old Parnell said.

“That’s why I’ve seen The Phantom of the Opera 52 times. Theatre is where you go and lose yourself for two hours and not worry about anybody else.

Wendell Parnell has created singalong event West End Vs Broadway with his Sing Out Loud venture, to be held at The Camfield, Burswood.
Camera IconWendell Parnell has created singalong event West End Vs Broadway with his Sing Out Loud venture, to be held at The Camfield, Burswood. Credit: Justin Benson-Cooper/The West Australian

“It’s a wonderful world. It’s not like being at the football where everybody’s screaming around you and you can actually feel the love on stage. And everything’s live, so there’s no second take.”

West End Vs Broadway is the first cab off the rank for Parnell’s company — others in the pipeline include Madonna Vs Kylie Minogue — inspired by the international popularity of similar all-ages singalong events such as the UK’s Massaoke.

“It’s all about getting people together to have a good time,” Parnell said.

“We’re doing it in the beer garden with a big screen, so we’ll put all the words up if you want to sing along to some of the most popular Broadway and West End musicals from the last 20 years.”

Wendell Parnell has created singalong event West End Vs Broadway with his Sing Out Loud venture, to be held at The Camfield, Burswood.
Camera IconWendell Parnell has created singalong event West End Vs Broadway with his Sing Out Loud venture, to be held at The Camfield, Burswood. Credit: Justin Benson-Cooper/The West Australian

DJ Al Black will spin the set list including music from Les Miserables, The Phantom of the Opera, Wicked, Mamma Mia, The Lion King and more. Former Mod Squad frontman Ian Falk will MC the evening featuring giveaways and a people’s choice award for the best costume.

“I’ll be doing my best singing too and I’m looking forward to seeing people having a good evening,” Parnell said.

“I’m not in the stage of my life where I need a financial reward. This venture is more the heart and not the pocket talking.”

Sing Out Loud presents West End Vs Broadway at The Camfield, Burswood, October 27. Tickets at eventbrite.com.

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Jayson Tatum trolls Kevin Hart by giving him Deuce’s jersey


BOSTON — The Celtics have pretty much owned the 76ers for the last decade. It has given the Celtics bragging rights on the court, and the ability to confidently rag on Philly fans off it.

Case in point: Jayson Tatum absolutely roasted 76ers fan Kevin Hart during his appearance on the comedian’s Cold As Balls show on YouTube. 

The Celtics are among the favorites to win the title in the upcoming season, though Hart being the ardent Philly supporter that he is, told Tatum that the 76ers stand in their way on that quest for a championship.

Tatum, who has won all three of his playoff series against Philly, wasn’t buying it. 

“Do they?” Tatum asked quizzically. “You tell them, ‘Good luck next time.'”

Not bad. It probably didn’t burn as much as Game 7 in last year’s Eastern Conference semis, when Tatum dropped 51 points on Philadelphia to lead the C’s to the East Finals.

But that was not all that Tatum had waiting for Hart. His next burn was in the form of a gift: A Celtics jersey.

It was a Tatum jersey, but not Jayson’s. Tatum broke out a jersey that belongs to his young son, Deuce, for the 5-foot-2 Hart.

“This is my son’s jersey, but they told me it might fit,” Tatum savagely deadpanned to Hart. “And I know how much you love the Celtics.

“This is how I get Deuce dressed in the morning,” Tatum fired off.

Hart, to his credit, was a good sport about it all. He not only put on the jersey, but he thanked Deuce as well.

“It actually doesn’t fit bad. What is that, like a 2T?” Hart asked. “Shoutout to Deuce. Thank you.”

Jayson Tatum gave Kevin Hart his son’s jersey 😭 by
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The Celtics will make two trips to Philadelphia in November. Chances are Hart won’t be wearing his “Deuce” jersey for those, but at least he now has some Celtics green in his wardrobe.

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New York Film Festival 2023


“The unsettled state of the industry is an unavoidable talking point these days, but my hope is that our festival, as it has done through its 61-year history, will serve as a reminder that the art of cinema is in robust health,” said Dennis Lim, the New York Film Festival’s director of programing and chair of the main slate selection committee, in a statement last month accompanying the announcement of the titles that will screen as part of the 61st edition of the esteemed festival. From Hollywood’s double strike chaos, to worries about artificial intelligence, to the ongoing threat that streaming poses to the theatrical model—if there was ever a time when we needed that reminder, it’s now.

While all the features in the main slate this year enjoyed their world premiere earlier in the year at Sundance, Berlinale, Cannes, Toronto, and beyond, many will have their North American premiere at the festival. Among them are the opening night film, May December, Todd Haynes’s melodrama about two women whose personal and professional lines blur as they work on a film based a real-life May-December romance; the centerpiece selection, Priscilla, Sofia Coppola’s film about the relationship between teenage Priscilla Presley and Elvis; Hong Sang-soo’s latest, existentially fraught sketches of life in the realm of the mundane, In Our Day and In Water; and the closing night film, Ferrari, Michael Mann’s biopic of automotive icon Enzo Ferrari.

All but six of the films in the festival’s main slate have distribution, and among the most notable are Nuri Bilge Ceylan’s About Dry Grasses, a gorgeously novelistic look at the life of a teacher in the wake of him being accused of inappropriate behavior toward a student; Justine Triet’s Palme d’Or-winning Anatomy of a Fall, a riveting treatise on a relationship facing public scrutiny after a German writer is accused of her husband’s murder; Catherine Breillat’s Last Summer, an unwaveringly sober look at a middle-aged woman’s tryst with her teenaged stepson; and Jonathan Glazer’s hypnotically austere adaptation of the late Martin Amis’s Zone of Interest, about a Nazi commandant who lives next to Auschwitz with his family.

Among those returning to the festival with new films are Alice Rohrwacher (La Chimera), Aki Kaurismäki (Fallen Leaves), Hamaguchi Ryûsuke (Evil Does Not Exist), Bertrand Bonello (The Beast), and Wim Wenders (Wim Wenders). But perhaps no return is more anticipated than that of Victor Erice, with his first feature in over three decades, Close Your Eyes, an elegy to cinema that revolves around the mysterious disappearance of a famous actor during a film shoot.

The festival’s noteworthy sidebars include Spotlight, a showcase of the season’s most anticipated and significant films (among them Bradley Cooper’s Maestro, Harmony Korine’s Aggro Dr1ft, Miyazaki Hayao’s The Boy and the Heron, Richard Linklater’s Hit Man, Frederick Wiseman’s Menus-Plaisirs Les Troisgros, and Nathan Fielder and Benny Safdie’s The Curse); Currents, which seeks to place an emphasis on “new and innovative forms and voices,” as proven by such works as Eduardo Williams’s The Human Surge 3, Joanna Arnow’s The Feeling That the Time for Doing Something Has Passed, and Pham Tien An’s Inside the Yellow Cocoon Shell, Pierre Creton’s A Prince, and Rosine Mbakam’s Mambar Pierrette; and Revivals, a generous selection of digitally remastered, restored, and preserved films (among them Manoel de Oliveira’s Abraham’s Valley, Tewfik Saleh’s The Dupes, Nancy Savoca’s Household Saints, Abel Gance’s La Roue, and Jean Renoir’s The Woman on the Beach). Ed Gonzalez

For full reviews of the films in this year’s lineup, click on the links in the capsules below. (Titles will be added across the upcoming weeks.) For a complete schedule of films, screening times, and ticket information, visit Film at Lincoln Center.

About Dry Grasses

About Dry Grasses (Nuri Bilge Ceylan)

About Dry Grasses primarily concerns a complaint about transgressive behavior by Samet (Deniz Celiloglu) toward one of his female students, 14-year-old Sevim (Ece Bagci), with whom he’s nurtured a caring bond within an institution where any expression of affection would be fundamentally at odds with its pedagogy and ethos. But Nuri Bilge Ceylan’s novelist’s ability to interweave interlocking narrative layers is such that he keeps the film from ever seeming topical. The institutional drama is only one of Samet’s preoccupations, along with the inability to find an audience for his insightful musings, an outlet for his artistic needs, a remedy for desolation and the suspicion of having botched his existence. Hence the accuracy and pointed irony of the film’s English title. About Dry Grasses is just as much about the harshness of a landscape, which mirrors the spirit of its inhabitants, as it is about a barrage of much more elusive things, rendered tangible by an incredible aesthete’s hands. Diego Semerene

Aggro Dr1ft

Aggro Dr1ft (Harmony Korine)

Harmony Korine’s Aggro Dr1ft cedes control of its images to pure vibes. The film was shot entirely in thermal vision, resulting in a hallucinatory aesthetic of neon colors that simultaneously assaults and seduces the senses. Coupled with an aggressive electronic soundscape, the film is a Miami Vice-on-acid stupor that’s less concerned with antiquated notions of coherent storytelling than in transporting (or perhaps banishing) audiences into another physiological realm altogether. Whether Korine’s vaporwave fever dream actually means anything at all seems beside the point. The totality of Aggro Dr1ft’s audiovisual experience acts like a serotonin shot to the brain the longer one sits with it. It may indeed be the perfect cinematic representation of our current media landscape, adapting to our collective brain rot from being terminally online instead of fighting against it. Mark Hanson

All of Us Strangers

All of Us Strangers (Andrew Haigh)

When focusing on Adam (Andrew Scott) and Harry’s (Paul Mescal) sensual and spiritual connection, Andrew Haigh allows himself to put aside some of the magical realism of All of Us Strangers and rediscover the magic of realism that powered such incisive love stories as Weekend and 45 Years. The seduction leading up to Adam and Harry’s first sexual encounter is as poignant as any scene in Haigh’s filmography. As the two men struggle to find the verbal and physical language to express what they both want but cannot articulate, the scene proceeds with tactile attention to each tentative shift in their demeanor. While no moment that follows is nearly as sensational, Mescal’s extraordinary capacity for empathetic, reactive listening leaves his sections of the film littered with gently accentuating grace notes. Marshall Shaffer

Anatomy of a Fall

Anatomy of a Fall (Justine Triet)

At first, it seems like Justine Triet’s Palme d’Or-winning Anatomy of a Fall may turn into a courtroom spin on Basic Instinct. Like Sharon Stone’s Catherine Tramell, Sandra (Sandra Hüller) is a famous novelist whose books seem to contain troubling portents of the crime she’s accused of. Coupled with her outwardly cold demeanor, the film baits us into thinking she could be a criminal mastermind hiding in plain sight. But as the exhaustive courtroom drama at its center proceeds, it’s clear that Triet’s film has more on its mind than the simple question of Sandra’s innocence or guilt, a position that becomes more or less clear far before the final verdict is handed down. At its best, Anatomy of a Fall is nothing less than a rigorous modern treatise on the knotty interpersonal dynamics of long-term relationships and how conveniently they can be distorted when exposed to public scrutiny. Hanson

The Beast

The Beast (Bertrand Bonello)

We’re all products of our time and circumstance, but how frequently do we push back against the forces—on the beasts both real and imagined—that keep us in anonymizing check? And, having taken such risks, how often do our own stories still end in tragedy? But then again, is the endpoint, our endpoint, the true crux of the matter? A line from Henry James’s 1903 novella The Beast in the Jungle, the loose inspiration for the disquieting The Beast, illuminates what is likely writer-director Bertrand Bonello’s main goal: “It wouldn’t have been failure to be bankrupt, dishonored, pilloried, hanged; it was failure not to be anything.” What the film most acutely captures, as its sprawling canvas expands and contracts before us, is the ceaseless cycle of two people failing to be over several lifetimes, in certain instances because of circumstances beyond their control, and in others because of their own purposeful inertia. Keith Uhlich

La Chimera

La Chimera (Alice Rohrwacher)

In Alice Rohrwacher’s La Chimera, though, the importance of time is seemingly felt by everyone, suggesting a great sinkhole beneath the feet of the film’s characters, who make note of the fact that even as they justify their looting of ancient artifacts as reclamation from an extinct people that one day they, too, may be looted by the civilization that takes their place. That all brings a melancholic tinge to a largely satirical film, which ties back to Arthur’s (Josh O’Connor) discontent. Part of his frostiness can be attributed to his past relationship to Beniamina (Yile Vianello). She’s only glimpsed in a series of wistful flashbacks—and they’re so dreamy that one wonders if the woman was ever real. Gradually, she becomes just another ghost in this land of the dead, a sobering reminder to O’Connor’s treasure hunter that even the living become little more than a faint memory of themselves in the places they once called home. Jake Cole

Close Your Eyes

Close Your Eyes (Victor Erice)

After three decades and a smattering of shorts, Close Your Eyes marks Victor Erice’s return to—and reckoning with—feature filmmaking. Its opening scene, set in an ivy-ensnared chateau in rural 1940s France, seems of a piece with the rest of his work: softly lit, prudently edited, and shot on velvety celluloid. Then, suddenly, it ends. This isn’t Close Your Eyes. Rather, it’s an excerpt from The Farewell Gaze, a film-within-a-film that was left unfinished in the early ’90s following the unexplained disappearance of lead actor Julio Arenas (Jose Coronado). In a stark, digitally shot 2012, the film’s aging director, Miguel Garay (Manolo Solo), agrees to take part in a television special about Julio, thrusting himself back into a mystery he’s spent 20 years trying to forget. On its most basic level, Close Your Eyes functions as a stirring detective story. But its true interests lie not in unspooling Julio’s past so much as in reckoning with the ways those connected to him have also, in their own manner, begun fading away. Cole Kronman

The Delinquents

The Delinquents (Rodrigo Moreno)

The best capers are endowed with a professional gambler’s spirit of self-assured play, and this mischievousness is both taken to logical extremes and given a less flashy treatment in Rodrigo Moreno’s The Delinquents. The film constantly toys with its audience, deploying genre cues only to sidestep their expected payoffs and moral resolutions. Whether one interprets the routes that it takes as relatively frivolous fun or serious arthouse theme-making hardly affects the pleasure of watching it. That distinction is just one of many that are defied in a film that treats the very notion of identity like an easily foiled con man. The Delinquents alternatingly dares the viewer to read it as a caper, a moral parable, a comedy of coincidences, and an existential probe. And the confrontation with the meaninglessness of it all is presented with a spirit of levity, with those doing the confronting coming across more like haps than heroes. Pat Brown

Do Not Expect Too Much from the End of the World

Do Not Expect Too Much from the End of the World (Radu Jude)

Radu Jude’s Do Not Expect Too Much from the End of the World presents a nightmare vision of modern life. At the center of it is Angela (Ilinca Manolache), an overworked Uber driver and production assistant who’s tasked with conducting auditions with working-class employees of an Austrian furniture company who were injured on the job. The film’s plot, inasmuch as it has one, ultimately hinges on a man left partially paralyzed in a car-related accident, so it’s fair to say that Jude has vehicles on his mind. His camera observes them as economic necessities, environmental hazards, physical dangers, and, perhaps above all, unsightly detritus cluttering modern cities, embodiments of our dependence on technology. This is a film that listens avidly to what a cross section of ordinary citizens have to say about the war in Ukraine, Putin, Viktor Orbán, Jewish and Romani people, poverty, exploitation, and any other subject that would come up naturally in the course of visiting people in their homes. Seth Katz

Evil Does Not Exist

Evil Does Not Exist (Hamaguchi Ryûsuke)

The forest is a pivotal part of Evil Does Not Exist’s chief setting, Mizubiki Village, a small and isolated countryside community that’s far enough from Tokyo to offer a relief from the clutter and freneticism of city life but close enough to be easily reachable by city folk. Precisely because it’s so beautiful, the community is destined to be gobbled up by developers as a vacation paradise for the wealthy, and Hamaguchi Ryûsuke’s elliptical narrative charts the beginning of this invasion. Curtailing his narratives, seizing up his action, which he foreshadows with the clipped-off score and strange tracking shots, Hamaguchi forces us to reckon with the industrialization of nature—and stew in it. Evil Does Not Exist is a politically engaged act of coitus interruptus, then, though you may not be convinced that Hamaguchi’s new interest in theme over character is a wonderful development in the long run. Preachers are a dime a dozen, while true humanists are as endangered as the woods of Mizubiki Village. Chuck Bowen

Fallen Leaves

Fallen Leaves (Aki Kaurismäki)

Aki Kaurismäki’s Fallen Leaves is built around crosscutting between two narrative strands. In one, the defeatist Holappa (Jussi Vatanen) tries to hang on to a job sandblasting large metalware while sneaking swigs of vodka. In the other, the headstrong Ansa (Alma Pöysti) contends with bureaucratic nonsense and bad luck at a string of dead-end jobs. The film isn’t particularly complicated, but it’s deeply alert to the sensory pleasures of the world, which is what elevates it above the miserabilism latent in its scenario. And in an amusing tribute from one iconoclastic filmmaker to another, Kaurismäki sets Ansa and Holappa’s first date at a screening of Jim Jarmusch’s The Dead Don’t Die, a film that depicts a zombie invasion that brings a bored, anesthetized populace to the brink of extinction. That the budding lovers still leave the theater in a rare state of euphoria indicates Kaurismäki’s abiding belief that not all is lost if art and beauty can still surround us in unlikely places. Carson Lund

The Feeling That the Time for Doing Something Has Passed

The Feeling That the Time for Doing Something Has Passed (Joanna Arnow)

In The Feeling That the Time for Doing Something Has Passed, writer-director-star Joanna Arnow plays Ann, a thirtysomething woman in a long-term BDSM relationship with the much older Allen (Scott Cohen). “I love how you don’t care if I get off,” Ann coos to him at the start of the film. “It’s like I don’t even exist.” While this moment immediately establishing the playful rules of Ann and Allen’s sexual agreement, Arnow also hits on an apt metaphor for the existential crisis of so many modern millennials: that they’re exposed and ignored in an unforgiving social climate still dominated by older generations. In her first feature, Arnow, who speaks in an unwavering deadpan tone throughout, crafts a style that could be described as equal parts Girls and Napoleon Dynamite. Arnow’s dry sense of humor is particularly apparent in the scenes between Ann and Allen, piercing the provocative mystique of a BDSM relationship by displaying their sexual exploits in an exceedingly monotonous way. Hanson


Here (Bas Devos)

Here is as delicate and unobtrusive a film as Bad Devos’s previous cinematic journey through Brussels, Ghost Tropic. The story gently, elliptically slides from setting to setting as Stefan (Stefan Gota), a Romanian construction worker on the cusp of his summer vacation, delivers containers of soup whipped up from the remaining fresh food in his fridge to his friends around town. His journey overlaps and eventually intersects with that of Shuxiu (Liyo Gong), a Chinese-Belgian botanist whose musings on the pseudo-relationship between words and things begins in voiceover some minutes before she actually appears in the film. Establishing a deeper connection with the world appears to be a potential cure for what ails Stefan. Here presents this theme with a modesty that seems to radiate from Stefan himself, offering his world to us through rich, dreamy imagery and with an endearing simplicity. Brown

The Human Surge 3

The Human Surge 3 (Eduardo Williams)

Exhibiting a deliberately fragmentary aesthetic that sought to emulate the context-free disorientation of life mediated through laptops and phone screens, Eduardo Williams’s The Human Surge earned him the Golden Leopard at 2016’s Locarno Film Festival, as well as no small amount of bemusement and scorn from other quarters. The idea that such an obtuse experimental work could have any franchise potential inspired the jokey title of the Argentine filmmaker’s latest effort, The Human Surge 3. Though mostly unrelated to its predecessor, the film shares its jarring, hyperlinked structure and focus on the leisure time and everyday routines of unmoored, underemployed youths in liminal settings around the world. David Robb

In Our Day

In Our Day (Hong Sang-soo)

Hong Sang-soo’s In Our Day is composed of two alternating strands, both pivoting on conversations between artists and their acolytes. The film has no plot in the conventional sense, even by Hong’s spare standards, and the audacious structural gamesmanship of films like Walk Up has been abandoned. In Our Day is meant to feel tossed-off, though Hong’s braiding of scenes—by echoes, symbols, and subjects—is characteristically deliberate. The uninitiated may find In Our Day baffling or uneventful, as inscrutability is a risk that Hong is willing to run for his art, but for the admirer the familiarity of Hong’s subjects and patterns is pleasing and reflective of a working ethos so obsessive that it’s become a life philosophy. Hong keeps chipping away at the mandates of commercial narrative cinema, fashioning a radical cinema aesthetic that abounds in the fleeting observational textures of poetry or journals. Bowen

Inside the Yellow Cocoon Shell

Inside the Yellow Cocoon Shell (Pham Tien An)

Compared to his numbed reaction to the present, Thien (Le Phong Vu) finds motivation in retracing the past he left behind when he moved to Saigon, and Pham Tien An’s Inside the Yellow Cocoon Shell patiently observes him rekindling prior relationships in his rural hometown, whether checking in with village elders or running into an ex-girlfriend (Nguyen Thi Truc Quynh), who’s since become a nun. One gradually gets the sense that, though the man left his home to get away from a feeling of being suffocated, he feels far more at ease in the realm of nostalgia than he does in the uncertainty of the present moment. Thien may feel cut off from the world, but Inside the Yellow Cocoon Shell is deeply in harmony with it, from its masterful sound design that fills in off-screen space with ambient noises, to its observant long takes, to the deference it shows to the wisdom and experience that elders can impart on the young. Cole

In Water

In Water (Hong Sang-soo)

Early on, In Water offers a window into Hong Sang-soo’s astonishingly free working methods. An actor turned aspiring director, Seoung-mo (Shin Seok-ho), scouts an alleyway with his cameraman, Sang-guk (Ha Seong-guk), and actress, Nam-Hee (Kim Seung-yun). Throughout the sequence, Hong shows the audience how he hides his artfulness in plain sight, working In Water’s formal DNA into its very narrative. Such sequences of transcendent minimalism suggest Picasso knocking off a sketch on a piece of paper in a matter of seconds. At times, it’s as if Hong is daring you to call his bluff, contesting whether or not In Water is even a film. Perhaps he even wants us to call him out. And yet, his compositions are hauntingly beautiful. Hong really seems able to make intensely personal cinema out of anything, and perhaps, rather than Picasso, he’s the filmmaking equivalent of the chef who can turn a piece of stale bread, some rotten fruit, and a few odds and ends in the pantry into a revelatory dessert. Bowen


Kidnapped (Marco Bellocchio)

Marco Bellocchio treats the Edgardo Mortara case as an unabashed melodrama, one kept at a stress-inducing simmer with occasional surges of operatic emotion. The key scene comes early, when the freshly abducted Edgardo—played by Enea Sala as a child and Leonardo Maltese as an adult—is loaded onto a boat by his captors. He’s been a screaming wreck up to this point, but as Francesco DiGiacomo’s camera holds on his face, it stiffens into a chillingly opaque expression. Ripped from his familiar life, the young Mortara has become a suggestible non-person, more readily able to be molded by whoever proves to be the prevailing influence. Kidnapped may sometimes tread a little too close to a palatable prestige drama. Yet as in his late-career masterwork, The Traitor, Bellocchio often uses middlebrow signifiers as aesthetic Trojan Horses, lulling his audience just enough so that the physical and psychological violence, when it comes, hits with a brute force that feels equally rooted in cinema and theater. Uhlich

Last Summer

Last Summer (Catherine Breillat)

In Last Summer, Catherine Breillat brings her icy, unwaveringly sober sensibilities to one of the most common of American pop cultural sex fantasies: a teenager’s tryst with a MILF. At their home in the suburbs of Paris, we see Anne (Léa Drucker) with her older husband, Pierre (Olivier Rabourdin), who’s successful but scans as dull and schlubby when compared to his trim and attractive wife. If we know Last Summer’s narrative ahead of time, we may feel as if an equation is being established that’s typical of older-woman, younger-man sex fantasies: that a boring husband gives a wife license to get her groove back elsewhere. But we’d be wrong. Elsewhere, Breillat doesn’t mar the realtionship between Ann and Théo (Samuel Kircher), Pierre’s 17-year-old son, in the harlequin clichés a daydream. The reality of this situation is always compacted by Breillat’s committed and very pointed objectivity. No one in Last Summer is sentimentalized, and Breillat denies neither the ickiness of this affair nor its potential pull. Bowen


Music (Angela Schanelec)

Crudely summarized, Music is a modern re-telling of Oedipus Rex. Angela Schanelec composes her shots with a beautiful but harsh precision, holding them longer than even the contemporary masters of slow cinema, but the primary action always seems to be just off screen, either spatially or temporally. In fact, the most impressive component of this style is how much she’s able to get the viewer to piece together, and how captivating it can all be. It’s as if she wants us to play the absent film in our head during the long stretches of silence that begin and end virtually every shot. We’re invited not just to draw the connections between the events of the film and the Oedipus myth, but also to read between the lines, to infer story from indirect signifiers. Initially, more than mere fun, this makes for surprisingly affecting storytelling, but once you’ve figured out how to play, the game begins to feel a bit, well, ancient. Brown

Menus-Plaisirs Les Troisgros

Menus-Plaisirs Les Troisgros (Frederick Wiseman)

In Menus-Plaisirs Les Troisgros, Frederick Wiseman settles into a three-star Michelin eatery in Roanne, France, and unearths another of his temples of contemplation. In a kitchen populated by working-class heroes looking to prove themselves, hysterics might seem inevitable, but here the chefs and other artists and technicians seem to take their brilliance as a given, seeking to coax it to its fullest expression. The sophisticated feng shui of La Maison Troisgros meshes intimately with Wiseman’s beautifully lucid long takes, and the filmmaker is alive to the class tensions that separate La Maison Troisgros’s kitchen from that of a less rarefied restaurant. Wiseman has made a career documenting class in various social systems, but he allows such differences to remain implicit. An artist himself, Wiseman is less interested in landing classist broadsides than in honoring the internal biorhythms of the realm surrounding him. Bowen

Perfect Days

Perfect Days (Wim Wenders)

With Perfect Days, Wim Wenders aims for simplicity, following a middle-aged man, Hirayama (Yakusho Kôji), as he goes about his day cleaning Tokyo’s toilets, taking pictures of trees, listening to American rock, reading classic literature, and savoring the humble sources of day-to-day affirmation that we tend to take for granted. The film wants to be an invitingly human movie that homes in intensely on the little moments of a man’s life so as to unearth universal truths. A few scenes late in Perfect Days hint at trauma that Hirayama may be suppressing, but Wenders generally sees him as a man without warts. He does nothing that would disrupt the filmmaker’s fetishizing of his immaculate grace. In other words, Wenders hasn’t quite escaped one of his straitjackets: characters that scan only as symbols. There’s even something cutesy and self-congratulatory about an act as simple as how Hirayama drinks ice water after work at his favorite restaurant—yet another testament to the man’s purity. Bowen

The Shadowless Tower

The Shadowless Tower (Zhang Lu)

Zhang Lu, who was an established novelist before pursuing filmmaking, handles the parallels between his characters’ out-of-time-ness and the cultural confusion of an evolving state with literary finesse. Moments of contemplative silence between Gu Wentong (Xin Balqing), a divorced father whose life has settled into a dispassionate existence, and Ouyang Wenhui (Hung Yao), a young photographer, take the place of what might have been internal monologues or omniscient third-person narration on the page, letting the nonverbal gestures speak to the film’s ideas. These characters are often framed in doorframes and windows, or reflected in mirrors—subtle indications of how they always feel on the precipice of performing an action that never fully takes place. The Shadowless Tower spends much of its 140-minute neck-deep in ennui, but the tentative efforts at rapprochement between Wentong and his father (Tian Zhuangzhuang) belatedly justify the inviting warmth of Piao Songri’s cinematography as an undercurrent of hope that refuses to accept alienation as a permanent condition of contemporary life. Cole

Strange Way of Life

Strange Way of Life (Pedro Almodóvar)

Strange Way of Life feels tame and flat, given that this was Pedro Almodóvar’s chance to turn the western inside out in his unique way. His penchant for eye-catching production design has often helped him play with the tropes of melodrama, noir, and sex comedy—the sets elaborating upon the director’s goals in exploring how genre is shaped by material space. But this short has no such desire to tinker with how color influences our perception of what a western is or looks like. If the history of the queer western is built on innuendo and a certain kind of subversion, and Almodóvar’s specialty is deranging genre itself, it’s frustrating to encounter something like this that doesn’t take advantage of interrogating the literalism of “queering the western” itself and what that ethos means. The western, with its anxieties about masculinity, modernity, and the natural, is as perfect a place to find the danger of desire blister beneath the desert sun. But Strange Way of Life ends up as unremarkable as any clay-colored rock. Kyle Turner

The Sweet East

The Sweet East (Sean Price Williams)

It’s not much of a spoiler to say that the final image of Sean Price Williams’s solo feature directorial debut, The Sweet East, is that of Lillian (Talia Ryder) nonchalantly strolling toward and past the camera, a smirk on her face. That’s effectively the whole vibe of the film, an odyssey that traipses through the world of white supremacist academics, PizzaGate conspiracy theorists, self-satisfied filmmakers, mixed-media artists of questionable talent, and religious zealots. For all the tactility of Price Williams’s cinematography, the film is pretty fuzzy on what it wants its national tour of brainless dogma to mean. Lilian drifts from milieu to milieu, sometimes without a phone, sometimes with an ambition of what kind of person she wants to transform into, sometimes with her eye on whatever platform can surveil her at any given moment. But seldom with enough cohesion to pass the movie off as a character study of someone living in, as playwright Matthew Gasda would call it, “the dumbest of times.” Turner

Youth (Spring)

Youth (Spring) (Wang Bing)

Whereas Wang Bing’s 15 Hours seems very much designed to be absorbed in sections in a gallery setting, and Bitter Money scanned as a bleaker portrait of capitalist exploitation, Youth (Spring)’s immersion in the social culture of textile laborers projects mainly a sense of buoyancy and curiosity. An assortment of Mando-pop songs play over tinny speakers as Wang’s subjects engage in both synchronized and syncopated labor, their choreographed hands dancing around sewing machine needles. During these sequences, and without any overt aestheticization, the film sometimes takes on the feel of a movie musical. There’s a tension at work here between mechanical, collective labor and the expression of individualism, which seems continually catalyzed by the musical accompaniment—not only in that it causes workers to break their stoical facades to sing along, but also because the music’s romantic narratives seem to spur the little flirtations and courtships that unfold in front of us on the factory floor. Sam C. Mac

The Zone of Interest

The Zone of Interest (Jonathan Glazer)

Rather than put gruesome imagery of death and cruelty front and center on screen throughout Zone of Interest, Jonathan Glazer uses the film’s grueling sound design to represent the unfathomable scope of Nazi Germany’s crimes. It’s an aural hell punctuated by rhythmic interludes, courtesy of frequent collaborator Mica Levi, that suggests a dance party in Dante’s Inferno. To heighten the disturbing mood, Lukasz Zal’s camera often places a character in the dead center of the frame, and dollies alongside them as they walk to and fro, channeling the lockstep behind Adolf Hitler. Otherwise, though, it plays the stable voyeur with a lens angle just wide enough to feel unreal. This is no simple political message movie, nor is it even a portrait of one of the most horrific moments in history. Instead, The Zone of Interest is the hellish counterpart to The Man in the Gray Flannel Suit, another film about the soulless march of the careerist’s life. Only in Glazer’s version, the march is a goose step. Zach Lewis

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Sexyy Red Leads Rap Sh!t Season 2’s Soundtrack


Issa Rae‘s new season of Rap Sh!t is coming to MAX at the perfect time. As women continue to make waves and break stereotypes throughout all sectors of the hip-hop industry, the second season of Rae’s female-rapper-centric series will land on the streaming platform in November, complemented by its original soundtrack, Rap Sh!t: The Mixtape (Soundtrack from the Max Original Series, S2), which sees contributions from industry powerhouses Rico Nasty, Kaliii, Maiya The Don and Sexyy Red – who set the vibe with “No Panties”, which she dropped off earlier today.

Produced by “YA” and “Snacks” of The Breed, Sexyy brings her signature braggadocio to the southern rap slapper. Equipped with crisp and elevated production, the emerging rapper effortly cruises over the bouncy beat. “I ain’t got no panties on, gotta let this coochie breathe / Bend sh*t over touch your toes, grab your knees / Let that n*gga know, just to see it, it’s a fee, got him spendin’ all his cheese,” Sexyy spits on the shout-a-long chorus.

“I’m happy that I got to work on ‘No Panties’ for Rap Sh!t,” Sexyy conveyed in a statement. “It’s just me having fun on the beat and talking my sh*t. It’s just like the show: the rap girls running this sh*t.” “No Panties” also boasts writing credits from Guapdad 4000, NCognita, and Suni MF, as well as production credits from Danja, Bankroll Got It, and HitKidd.

The full soundtrack for Rap Sh!t‘s next season also sees main characters Shawna and Mia showing out on the beats as well. Rap Sh!t: The Mixtape (Soundtrack from the Max Original Series, S2) will be released in full the same day the new season lands on Max, on Friday, November 3 via Raedio/Def Jam. Sexxy’s quippy two-minute cut is now streaming on Spotify and Apple Music.

Elsewhere in music news, Sleepy Hallow enlists Doechii on “A N X I E T Y”.

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Classical Music Playlist, September 27, 2023


Cellist Ofra Harnoy

Just after World War I Edward Elgar was ill, his beloved wife Alice was ill and getting mysteriously smaller and more fragile; “She seemed to be fading away before one’s very eyes,” Elgar later recalled. He was also deeply saddened by all the destruction and change that the war had brought to the world he had known. All that anguish, on so many levels, found its way into music that, despite it all, emerged as Elgar’s profoundly beautiful Cello Concerto in E-minor.

Cellist Ofra Harnoy recorded the concerto at Abbey Road Studios in 1996 but the master tapes went missing soon after. Finally found in 2022, the recording has now been released in September 2023. That recording is today’s Midday Masterpiece.

6:00 a.m.

George Friederich Handel

Concerto Grosso No. 2 in F major Opus 6/2 HWV 320

Boston Baroque; Martin Pearlman, conductor

6:12 a.m.

Camille Saint-Saens

Piano Trio No. 2 in E minor Opus 92/2

Munich Piano Trio

6:48 a.m.

Fernando Sor

Etude in G major Opus 29/11

Narciso Yepes, guitar

6:52 a.m.

Henry Purcell

Fantasia on One Note for 5 Viols in F

Orchestra of the 18th Century; Frans Bruggen, conductor

6:55 a.m.

Elliott Carter

A Fantasy about Purcell’s Fantasia upon one note

London Gabrieli Brass Ensemble; Christopher Larkin, conductor

7:00 a.m.

Sergei Rachmaninoff

Piano Concerto No. 3: I. Allegro ma non tanto in D minor Opus 30

Dallas Symphony Orchestra; Andrew Litton, conductor Stephen Hough, piano

7:16 a.m.

Franz Joseph Haydn

Symphony No. 96 “Miracle” in D major

English Chamber Orchestra; Jeffrey Tate, conductor

7:40 a.m.

Emilio Pujol

Tango Espagnol

Julian Bream, guitar

7:45 a.m.

Florence Price

Symphony No. 1: III. Juba Dance in E minor

Chineke! Orchestra; Roderick Cox, conductor

7:49 a.m.

Percy Grainger

The Gum Suckers March

Dallas Wind Symphony; Jerry Junkin, conductor

7:53 a.m.

Antonin Dvorak

RUSALKA: Polonaise in Eb major

Minnesota Orchestra; Eiji Oue, conductor

8:00 a.m.

Johann Sebastian Bach

Keyboard Concerto No. 7 in G minor BWV 1058

A Far Cry; Simone Dinnerstein, conductor Simone Dinnerstein, piano

8:14 a.m.

Leos Janacek

Lachian Dances

Czech Philharmonic Orchestra; Jose Serebrier, conductor

8:36 a.m.

Mario Albanese


Plinio Fernandes, guitar

8:38 a.m.

Paulinho Nogueira; Luiz Gonzaga

Bachianinha No. 2 / Araponga

Plinio Fernandes, guitar

8:42 a.m.

Anton Arensky

Piano Quintet: Scherzo Opus 51

Ying Quartet Adam Neiman, piano

8:52 a.m.

Ethel Smyth

Serenade in D: II. Scherzo. Allegro vivace in D major

BBC Philharmonic Orchestra; Odaline de la Martinez, conductor Tasmin Little, violin; John Lenehan, piano

9:00 a.m.

Ferdinand Ries

Piano Concerto No. 4 in C minor Opus 115

Bournemouth Symphony Orchestra; Uwe Grodd, conductor Christopher Hinterhuber, piano

9:27 a.m.

Grace Williams

Ballads: II. Alla marcia solenne

BBC Welsh Symphony Orchestra; Vernon Handley, conductor

9:32 a.m.

Federico Moreno Torroba


Javier Calderon, guitar

9:44 a.m.

Stanislaw Moniuszko

Bajka (The Fairy Tale): Overture

Warsaw Philharmonic; Antoni Wit, conductor

10:00 a.m.

Antonio Vivaldi

Mandolin Concerto in C major RV 425

I Solisti Veneti; Claudio Scimone, conductor Bonifacio Bianchi, mandolin

10:09 a.m.

Ryuichi Sakamoto


La Pieta Angele Dubeau, violin

10:15 a.m.

Henri Vieuxtemps

Violin Concerto No. 4 in D minor Opus 31

German Chamber Philharmonic; Paavo Jarvi, conductor Hilary Hahn, violin

10:47 a.m.

Felipe Villanueva

Poetic Waltz (Vals Poetico)

State of Mexico Symphony; Enrique Batiz, conductor

10:51 a.m.

Frederic Chopin

Waltz No. 1 “Grande Valse Brillante”

National Philharmonic Orchestra; Richard Bonynge, conductor

10:58 a.m.

William Grant Still

Africa: Symphonic Poem

Fort Smith Symphony; John Jeter, conductor

11:27 a.m.

Francesco Geminiani

Concerto Grosso “La Follia” in D minor

Boston Baroque; Martin Pearlman, conductor

11:38 a.m.

Ethel Smyth

Concerto for Violin, Horn and Orchestra: I. Allegro moderato

BBC Philharmonic Orchestra; Odaline de la Martinez, conductor Sophie Langdon, violin; Richard Watkins, horn

11:49 a.m.

Carl Maria Von Weber

Concertino for Clarinet and Orchestra in Eb major Opus 26

Orchestra of the Age of Enlightenment Antony Pay, clarinet

12:00 p.m.

Arcangelo Corelli

Concerto Grosso No. 6 in F major Opus 6

Musica Amphion; Pieter-Jan Belder, conductor

12:12 p.m.

Ronn McFarlane

Fermi’s Paradox

Carolyn Surrick, viola da gamba; Ronn McFarlane, lute

12:19 p.m.

Wolfgang Amadeus Mozart

Sinfonia Concertante for winds and orchestra in Eb major K 297b

Czech Philharmonic Orchestra; Libor Pesek, conductor Radomir Pivoda, flute; Jiri Mihule, oboe; Zdenek Tylsar, horn; Frantisek Herman, bassoon

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Celtics’ Jayson Tatum tests if his son Deuce’s jersey fits Kevin Hart


Basketball buzz is back in Boston, and at the forefront is none other than Jayson Tatum, gearing up for his seventh season with the Celtics. The young star is ready to anchor the team’s pursuit of glory in the East, yet fans and players alike are acclimating to a fresh lineup. Kristaps Porzingis has joined the ranks, while familiar faces Marcus Smart and Grant Williams have taken their bows, signaling a strategic recalibration after the previous season’s exit in the Eastern Conference Finals.

Amidst the autumn anticipation, Tatum has been navigating the pre-season media rounds. A highlight of this circuit was his appearance on the season premiere of Kevin Hart’s “Cold As Balls” show. Hart, nursing a racing injury, engaged in a hearty and insightful conversation with Tatum about the evolving Celtics roster. Tatum shared his mixed emotions – the excitement of a potentially more dynamic offense with Porzingis and the sentimental void left by Smart and Grant.

Kevin Hart thought he could race an NFL running back but ended up in a wheelchairParker Johnson

However, the conversation wasn’t solely focused on team dynamics and strategies; it had its fair share of light-hearted moments. Tatum surprised Hart with a gift – a jersey belonging to his son Deuce. The subsequent laughter as Hart tried on the jersey, which fit humorously well, brought a viral moment to the conversation.

Hart gave his pick for the Eastern Conference Finals

Hart, a long-time Sixers fan, couldn’t resist hinting that his team could pose a challenge to the Celtics‘ championship ambitions, especially with the unfolding James Harden scenario. Tatum responded with a playful yet direct, “will they?”

As the Celtics prepare to navigate this season of change and potential, Tatum’s media appearances have provided fans with a glimpse into the team’s new dynamics and a dose of comedy as well. The Celtics will begin their journey on October 25th as they open their season at Madison Square Garden against the New York Knicks.

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What’s News, Breaking: Wednesday, September 27, 2023



BUSHWICK — POLICE ARE LOOKING FOR A MAN SUSPECTED IN A STRING OF THEFTS from Amazon delivery vehicles across Bushwick over the summer. On Aug. 8, he allegedly entered an Amazon vehicle in front of 86 George Street and removed multiple packages before fleeing. He struck again in the same manner on Aug. 9 at 18 Jefferson St.; on Aug. 13 at 123 Melrose St.; and on Aug. 19 at 143 Jefferson St. In addition, the same individual is suspected of entering a parking garage at 594 Bushwick Ave. on July 13 and taking a scooter.

Anyone with information regarding these incidents is asked to call the NYPD’s Crime Stoppers Hotline at 1-800-577-TIPS (8477), or for Spanish, 1-888-57-PISTA (74782), or submit tips by logging onto the Crime Stoppers website at www.crimestoppers.com.

Suspect in multiple thefts in Bushwick.
Photo: NYPD
Suspect in multiple thefts in Bushwick.
Photo: NYPD



NEW YORK AND NATIONWIDE — A LAWSUIT AGAINST AMAZON THAT THE FEDERAL TRADE COMMISSION and 17 state attorneys general have initiated alleges not only that the online retail giant is violating federal and state antitrust laws but is also forcing sellers to use its logistics service, Fulfillment by Amazon, in order to make their products eligible for Amazon Prime. Among the complaints stipulated is that a majority of third-party merchants who use the company’s fulfillment service to store inventory and ship orders have seen Amazon raise its fees for those who depend on the program. Last quarter, Amazon reported $32.3 billion in revenue from third-party services.

Amazon maintains several fulfillment and distribution (last mile delivery) locations within Brooklyn, including an Amazon Fresh Warehouse on Bay St. on the Red Hook waterfront, a Warehouse Fulfillment Center on 38th Street in Borough Park; a fulfillment center at 850 Third Avenue (Industry City), one on Flatlands Avenue in East New York and a warehouse on Linden Boulevard in East New York, among others.



DITMAS PARK — A FALSE BOMB THREAT FORCED FAMILIES TO ABANDON a kid-friendly Drag Story Hour NYC event at the Cortelyou Library branch in Ditmas Park this past Saturday, according to reports in Gothamist and the New York Post. NYPD later confirmed that an email threat was sent to the branch by an unknown individual in Buffalo. Local Councilmember Rita Joseph said that city councilmembers planned to discuss potential legislative remedies. According to The Advocate, the Brooklyn bomb threat was just one of several threats to LGBTQ+ community members across the U.S. this past weekend.

“The orchestrated attempts to induce fear and disrupt peaceful groups reflect a grim reality in a political environment that has seen Republican lawmakers and pundits create culture wars against vulnerable groups, including the LGBTQ+ community,” The Advocate said. 



BROOKLYN HEIGHTS — BROOKLYN HEIGHTS RESIDENT AND CAT CAFÉ FOUNDER ANNE LEVIN WAS THE SUBJECT of a New York Times feature last Saturday, Sept. 23, focusing on how the animal rescue hero spends her Sundays. Levin is executive director of the Brooklyn Bridge Animal Welfare Coalition — which provides animal rescuers with veterinary, foster and adoptive support — and a co-founder of its affiliated cat café. In fact, the Brooklyn Cat Café is the only one in NYC that is owned and operated by a local, non-profit, 501c3 animal rescue organization with a focus on supporting animal rescuers and owners. The NY Times feature followed Anne Levin through a sample Sunday, which is anything but typical because she often prioritizes emergencies for the safety and well-being of the cats.

The Brooklyn Cat Café has expanded to include an adoptable menagerie of gerbils and even rats, including an orphaned baby subway rat, whom she raised and named after an American founding father, Alexander Hamilton.



SUNSET PARK — MTA FRONTLINE CREWS TOOK ONLY TWO HOURS TO CLEAR AWAY A TREE AND the debris from its branches that fell onto the southbound N train tracks near 8th Avenue and Fort Hamilton Parkway on Monday, Sept. 25. The tree, which fell around 11:29 a.m. on Monday, was a casualty of strong winds and heavy rains from Tropical Storm Ophelia’s trek through the Northeast and the New York metropolitan area. Crews by 1:30 p.m. had cleared the track of all tree debris, enabling service to be restored before the evening rush hour. (See story, page ____)

D trains were also being diverted. MTA kept riders updated via its website, apps, email and digital signage.



BOROUGH PARK — WHEN A GROUP OF BIKERS TAKE TO THE ROAD THIS SUNDAY, they will ride to raise awareness for the Maimonides Breast Center and research on a deadly form of cancer. Maimonides hosts its 15th Annual Ride 2 Live Motorcycle Tour to support breast cancer care. Leading the ride will be Dr. Patrick Borgen, chair of the Department of Surgery and director of the Maimonides Breast Center. Registration for the October 1 event starts at 10 a.m; at the Maimonides Breast Center (745 64th St.). Kickstands go up at noon sharp.

The Maimonides Breast Center, which has received several prestigious awards, offers comprehensive and holistic treatment plans that include mental health care in response to the psychological and emotional aspects of being a patient.



DOWNTOWN — THE 2023 DOWNTOWN BROOKLYN ARTS FESTIVAL is taking place this Friday and Saturday, Sept. 29-30 on The Plaza at 300 Ashland Pl. The free annual festival, presented by Downtown Brooklyn Partnership and sponsored by Two Trees Management and Orange Barrel Media, is a celebration of Downtown Brooklyn’s cultural community and creative spirit. The event brings performances, interactive experiences and family activities with acclaimed arts organizations including LayeRhythm, Chop and Quench, the Knights Orchestra, BRIC Arts Media, Theatre for a New Audience, UrbanGlass, Mark Morris and more.

The full schedule of festival events can be found at dbartsfestival.org.



STATEWIDE — NYC RESIDENTS USING CITY-FUNDED RENTAL ASSISTANCE VOUCHERS can now choose to live not only in the city, but anywhere in the state, Mayor Eric Adams said Tuesday. The mayor said the decision was made in the face of a serious housing shortage, with a record-high shelter population totaling more than 113,000 individuals. “These reforms will give longtime New Yorkers the ability to move out of our city’s shelter system to other parts of the state with more affordable housing options, while simultaneously opening up space in our city’s shelter system … We hope our partners across the state will greet these longtime New Yorkers with open arms and good job opportunities,” Adams said in a statement.

The CityFHEPS voucher program currently supports 30,000 households, with 10,000 additional voucher-holders still in homeless shelters due to lack of affordable housing, the city said. The Brooklyn Eagle has reached out to City Hall for more information regarding how moving out of the city will affect voucher-users’ residency status.



CITYWIDE — ALL NYC KIDS STARTING IN KINDERGARTEN will learn about HIV with a newly updated curriculum, Schools Chancellor David C. Banks announced on Tuesday. The new curriculum, Growing Up and Staying Safe: New York City K-12 HIV Education Curriculum, is “skills-based, student-centered, and culturally responsive, and reflects advances in HIV prevention and treatment guidelines that have changed substantially in the past decade,” the city said in a release.  The school system hopes to provide “potentially life-saving skills” for kids in NYC, where 37% of people newly diagnosed with HIV in 2021 were 13-29 years old.

Officials said the lessons are “age-appropriate,” and were developed in partnership with HIV and medical experts, educators and community members, and include lesson overviews for parents and caregivers. Teachers will receive a “30-minute self-guided Introduction to HIV Education course.”



CITYWIDE — WORKERS AT PARIS BAGUETTE CAFES ACROSS NYC HAVE WON a settlement with the company over numerous violations of the city’s Fair Workweek Law, which gives fast food and retail workers the right to a predictable schedule, among other rights. The settlement, announced by the city’s Department of Consumer Affairs, covers the period from November 2017 to October 2020, and requires Paris Baguette to pay $2.7 million in restitution to more than 1,500 workers, $270,000 in civil penalties and other costs, and comply with the law.

In Brooklyn, Paris Baguette cafes are located at 97 Court St. in Brooklyn Heights and 5810 Eighth Ave. in Sunset Park.



BEDFORD-STUYVESANT — BEDFORD STUYVESANT RESTORATION CORP. is hosting “BKLYN Rocks,” a celebration of hip-hop’s 50th Anniversary, in the heart of Bed-Stuy, this Friday, Sept. 29, and Saturday, Sept. 30. All festivities will take place on Restoration Plaza, 1368 Fulton St. BKLYN Rocks aims to showcase the borough’s rich artistic tapestry, ethnic diversity and community-driven initiatives.

While Friday’s Hip-Hop Symposium is sold out, Saturday features a free music festival and block party with multiple DJs, roller skating, double dutch, community graffiti mural, Brooklyn Nets dance demo, and hip-hop pioneer April Walker’s fashion showcase, all taking place from noon to 6 p.m.



CITYWIDE — NEW YORK CITY IS GETTING $20 MILLION FOR ENVIRONMENT-FRIENDLY PROJECTS, U.S. Senator Kirsten Gillibrand announced during a press conference on Tuesday, Sept. 26, at the Central Park Arsenal. The funding will underwrite two projects of the NYC Department of Parks and Recreation: the first establishes a green job training and employment program, for forest restoration careers for underserved communities. The second project includes growing the urban forest through planting trees and preserving existing trees, promotes community engagement through outreach, education, and empowerment and offers paid training and employment opportunities for youth and adults, focusing on workforce development and green jobs. Senator Gillibrand helped secure this funding in the Inflation Reduction Act (IRA), which included $1.5 billion over the next decade for the U.S. Forest Service’s Urban and Community Forestry program.

Also receiving a portion of the funds will be a project named The Bronx is Blooming, which engages K-12 students in environmental education and tree stewardship and provides green jobs and forestry training for local youth.



NATIONWIDE — A LAWSUIT AGAINST THE ONLINE RETAIL COMPANY AMAZON HAS BEEN FILED, with NY Attorney General Letitia James leading a bipartisan coalition of her counterparts in 17 states from New England to Oregon, and the Federal Trade Commission as the plaintiffs. The FTC and coalition allege that the online retail and technology company is a monopolist that uses a set of interlocking anticompetitive and unfair strategies to illegally maintain its monopoly power. According to the Office of Attorney General James, the complaint alleges that Amazon violates the law not because it is big, but because it engages in a course of exclusionary conduct that prevents current competitors from growing and new competitors from emerging. By stifling competition on price, product selection, and quality, and by preventing its current or future rivals from attracting a critical mass of shoppers and sellers, Amazon is accused of ensuring that no current or future rival can threaten its dominance.

Amazon is also accused of degrading the customer experience by replacing relevant, organic search results with paid advertisements — and deliberately increasing junk ads.



CITYWIDE — THE NEW YORK LANDMARKS CONSERVANCY IS CELEBRATING ITS 50TH ANNIVERSARY by creating a video series and New Yorkers are encouraged to participate. The video series, titled “I am Preservation,” exhibits the widespread love of landmarks throughout the city and demonstrates the importance of historic preservation to many people. Some of the short video clips already submitted are of people representing the New York Building Congress, Coney Island Museum and Roosevelt Island Tramway. Interested readers can visit www.nylandmarks.org for specific details and tips on how to make one’s own “I am Preservation” video. Participants should briefly comment on what they love about New York City landmarks or a specific historic building, place, or structure. Completed videos or downloadable clips should be emailed to [email protected].

Founded in 1973, the New York Landmarks Conservancy advocates for sensible development, and offers technical expertise and financial support, having loaned and granted more than $60 million in more than 1,300 restoration projects throughout the state.

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Sexyy Red”s ‘No Panties’ To Be On ‘Rap Sh!t’ New Soundtrack


Sexyy Red is everywhere right now. She’s toured with Drake. beside some of rap’s biggest names like Latto and Lil Durk for remixes. She’s been spotted on the sideline for New York Jets and Penn State football games. She’s even stopped by our studio for UPROXX Sessions. At this point, if there’s a place to be, you can expect Sexyy Red to be there. That’s why it’s no surprise that the St. Louis rapper has found her way onto the soundtrack for Rap Sh!t season two. For a match made in heavy, Sexyy checks in with her new single “No Panties” which is the first single from the upcoming soundtrack.

“No Panties” is as raunchy of a track as we’ve ever heard from Sexyy Red and it fits the personality of Rap Sh!t to a tee. The lively track is one that Sexyy Red uses to flex her sexual prowess and show how she prepares for a rowdy night on the town.

The soundtrack for Rap Sh!t season two, which is titled Rap Shit S2: The Mixtape, will arrive on November 3 and include contributions from the show’s lead characters Shawna and Mia as well as Rico Nasty, Kaliii, Maiya The Don, Enchanting, Cam & China, and more.

You can listen to “No Panties” in the video above.

Rap Shit S2: The Mixtape is out 11/3 via Raedio/Def Jam.

‘Rap Sh!t’ season two premieres November 9 on Max. Season one is now available to stream on the platform

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ESPN To Add Songs From Dolly Parton’s New Album ‘Rockstar’ …


ESPN To Add Songs From Dolly Parton's New Album 'Rockstar' To Monday Night Football Soundtrack

New York, NY (Top40 Charts) ESPN’s Monday Night Football will feature music from global superstar and multi-hyphenate Hall of Famer Dolly Parton’s new album Rockstar during select weeks this season, further enhancing the weekly football franchise’s soundtrack.

The multi-week collaboration begins in Week 3 (September 25) with Dolly Parton’s single “Night Moves,” featuring Chris Stapleton, and then continues in Week 6 (October 16) with “Heartbreaker,” featuring Pat Benatar & Neil Giraldo.

Following the album’s Nov. 17 release, Rockstar’s “Magic Man,” featuring Ann Wilson with special guest Howard Leese, and the album’s title track “Rockstar,” with special guest Richie Sambora, will be heard in select Monday Night Football games the remainder of the year.

“I am excited for ESPN to spotlight songs from my new Rockstar album,” says Parton. “When I decided to do a full-blown rock album after they put me in the Rock ‘N Roll Hall of Fame, I thought it would be fun to call the album Rockstar. The athletes who give their all everyday are most definitely rock stars, and I love that these songs will be a small part of celebrating their achievements.”

Each of the songs will take viewers in and out of commercials during Monday Night Football, with “Night Moves” also featured more prominently on Monday Night Countdown as part of the song’s world premiere. After each song is used on ESPN’s NFL property, fans will hear the songs on additional ESPN programming.

Monday Night Football Music

The addition of Parton’s music follows the launch of Monday Night Football’s new anthem featuring Chris Stapleton, Snoop Dogg, and Cindy Blackman Santana reimagining Phil Collins’ “In the Air Tonight.” Additionally, Grammy-winning music producer Timbaland and global superstar Justin Timberlake’s music is running in Monday Night Football promotional spots, live telecasts and pre-game shows for seven weeks this season.

Dolly Parton is the most honored and revered female country singer-songwriter of all time and was recently inducted into the Rock and Roll Hall of Fame. Achieving 27 RIAA-certified gold, platinum, and multi-platinum awards, she has had 26 songs reach #1 on the Billboard country charts, a record for a female artist.

Parton is the first artist to have topped the Billboard’s Adult Contemporary, Christian AC Songs, Hot Country Songs, Christian Airplay, Country Airplay and Dance/Mix Show Airplay radio charts. Parton became the first country artist honored as Grammy MusiCares Person of the Year given out by NARAS. She has 48 career Top 10 country albums, a record for any artist, and 110 career-charted singles over the past 50+ years.

In 2014 the RIAA recognized her impact on recorded music with a plaque commemorating more than 100 million units sold worldwide. She has garnered eleven Grammy Awards and 51 nominations, including the Lifetime Achievement Award, 10 Country Music Association Awards, including Entertainer of the Year; five Academy of Country Music Awards, also including a nod for Entertainer of the Year; four People’s Choice Awards; and three American Music Awards.

In 1999, Parton was inducted as a member of the coveted Country Music Hall of Fame. To date, Parton has donated over 215 million books to children around the world with her Imagination Library. Her children’s book, Coat of Many Colors, was dedicated to the Library of Congress to honor the Imagination Library’s 100 millionth book donation.

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NAU faculty duo perform classical music, earn standing ova…


Throughout the year, the Kitt School of Music hosts a variety of shows that highlight professors and other faculty members as part of their Faculty Artist Series. NAU bands often perform alongside the instrumentalists, allowing them to share their musical backgrounds. 

On Sept. 11, musicians Steven Moeckel and Nathan Arch performed a series of violin sonatas in Kitt Recital Hall that demonstrated influential pieces from the classical violin repertoire. 

Moeckel has acted as professor of violin at NAU for 3 years, although he has played since he was 8 years old. Coming from a family of musicians, he said he always knew he would earn a living by performing classical music. By 19, he had served as concertmaster — or first chair violin — for the Ulm Philharmonic in Germany. He later attended Indiana University and quickly earned the position of concertmaster at the Tucson Symphony Orchestra, where he played for eight years. He briefly joined the Santa Fe Opera and appeared as concertmaster of the Phoenix Symphony from 2007 to 2020.

Arch first picked up the trumpet in elementary school before moving to the French horn. He never intended to play the piano professionally but learned the instrument through lessons offered at his school. When Arch enrolled in college at ASU, he insisted he was only good at music and math and chose music as a major. Now, Arch has a master’s degree and a doctorate in collaborative piano. 

Although he has served as a staff pianist for NAU since 2021, he works primarily as the director of music for a Presbyterian church in Mesa, Arizona, where he plays the organ.  

“Luckily, as a pianist, other musicians always need us for their performances, so I was never afraid of finding work,” Arch said. 

Monday night marked the first time Moeckel and Arch performed together on stage. The two musicians prepared a collection of three sonatas — a musical composition written for the violin and an accompanying keyboard instrument — considered staples of classical violin.

“They’re gorgeous pieces,” Moeckel said. “They’re so different and so unique and yet so important in the repertoire, and I loved playing them. I was really interested in Nathan. This was our first collaboration as dual partners, and I thought, ‘Let’s see what we do with these standard pieces together.’”

Moeckel and Arch began the recital with “Sonata No. 2 in D Major, Op. 94b” by Sergei Prokofiev. This sonata consisted of four movements. 

The piece began somewhat calmly but quickly increased in tempo and energy, building tension as the sonata progressed. However, the tension was intermittently relieved by quieter, slower moments. Moeckel and Arch demonstrated expertise over their instruments as they played, moving seamlessly between the sonata’s loud, fast sections. 

The violin and piano complimented each other well — almost as if they were speaking. 

Upon finishing the first sonata, Moeckel and Arch received an extended round of applause from the audience. Members of the crowd stood to cheer as the two musicians exited and re-entered the stage during the moment of praise. 

At a brief intermission, the audience — consisting of NAU faculty, students and families — took the opportunity to speak with each other about the performance. A few minutes later, Moeckel and Arch returned for the second half of their performance.

The recital continued with one of César Franck’s pieces, “Sonata in A Major for Violin and Piano,” which Moeckel described as an extremely romantic piece. 

Moeckel wrote notes in the recital’s program for the audience, giving insight into each of the songs they would play. He said each of the four movements of this sonata was written with an abundance of “lushness and melodic structure.” He also noted this is the most famous and commonly performed concerto. 

The romantic themes were clear as Moeckel and Arch played, with this sonata much slower than the last, transitioning between movements more gracefully. The two instruments continued to blend seamlessly and at times, seemed to mimic each other as they emphasized the same notes.

For the third and final piece of the evening, the pair performed “Carmen Fantasy, Op. 25” by Pablo de Saraste. 

This concerto is a “dazzling array of pyrotechnics for the violin,” Moeckel said, and it is widely considered one of the most difficult pieces to play on the violin. 

Although he first learned the piece when he was 16 years old, Moeckel said, he still practiced vigorously to ensure his performance was perfect for the recital. 

“Anytime I play something, especially as difficult as Carmen, I spend hours working on it to get it up to that performance level,” Moeckel said. “It’s one thing to be able to play things, but then the next level is playing it in front of people when nerves are involved.”

This 15-minute piece is fast, but the fifth movement was especially demanding as it moved incredibly quickly between notes on the scale. 

Arch said the technicality required to perform de Saraste’s piece was particularly rigorous and required extra practice.

“I’m good at learning music quickly, but when it’s as involved and difficult as the recital last night, it takes extra time for sure,” Arch said. “Steven and I rehearsed a handful of times at his house in Phoenix and then two other times in Flagstaff. To mentally prepare, I’ve found that just playing on stage as often as possible gets you used to the feeling.”

As the final piece came to an end, the two musicians received a standing ovation from the crowd. The applause lasted long enough for Moeckel and Arch to exit and re-enter the stage three times before they took their final bow. 

Ensuring his audience has a good time is Moeckel’s favorite part of performing live, he said. 

“Sometimes in the classical music field, we get a little bit too far away from the entertainment aspect because we have to spend so much time learning these things, and then an audience gets to hear it once,” Moeckel said. “The entertainment aspect is so important and that’s why I really love to play pieces that I know people are going to enjoy.”

As a professor, Moeckel wishes to translate that same entertainment factor to his students. He said he hoped these three sonatas inspired his students to dive further into the world of concertos.

“I’m bringing my 25 years of performing to the school and to the students who haven’t necessarily been exposed to these particular pieces,” Moeckel said. “For me, it was very important for the students to go, ‘Oh my gosh, we need to listen to recordings of Prokofiev,’ or ‘I want to play Cesar Franck.’”

Arch is taking a short break from big performances, but he will continue to perform at student recitals throughout the semester. Moeckel will perform at the Abby Fisher and Friends Faculty Recital alongside Abby Fisher, Emily Hoppe and Eric Lenz on Oct. 2 in Kitt Recital Hall. The Kitt School of Music will also host classical recitals throughout the semester open to NAU students.

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