a night with the "hi-def yo-yo ma"

note: this was originally published on my museum's blog. i have pulled portions and added a few details.

hold on,
one strong,
and you’ll never be alone,
each day, each night,
we pray our dreams take flight,
cuz i need you, and you need me,
and together we stand for unity.

so goes the hook of “the forum”, a song off of dana leong’s latest album, milk & jade. the artist and his multi-talented collaborators celebrated the CD release at symphony space on friday, march 5 with an audience filled with fans and friends. it was a night that rejoiced in unlikely unions, the chance for long-time listeners and first-time initiates to enjoy leong and his unique blend of hip-hop, jazz, electronic and classical music. dana leong in concert is unlike any other musician i have seen—he is incredibly inventive, weaving his personal history (classically-trained cellist and trombonist, of chinese and japanese descent) with his artistic influences (jazz and pop greats, local NYC MCs, film and fashion), to create a new kind of performance. with a foot propped on his electric cello, he bobbed and moved, occasionally grabbing the mic to emphasize a lyric or reaching to hit his laptop to introduce a new electronic element to the sonic landscape. his biography includes a mention about his work with artists including dafnis prieto, ryuichi sakamoto, DJ spooky, wynton marsalis, yoko ono and kanye west, and i think this best describes him: if all those amazing and disparate artists got together and had a baby (just go with me on this one), it would be dana leong. he is more than one influence, he is more than one style, he is even more than one instrument (and somehow manages to play many at once.) he unites cultures and musical styles in a new way, and makes it wholly his own.

his guests that evening were equally talented. hagar ben ari (who performed live but is not on the album) rocked out on the bass for much of the evening, and added a wistful solo to the opening of “opus one ‘why i cry’”, a hauntingly beautiful song about the tragedies of human life. it is rare that electric bass is played as a melodic (rather than strictly rhythmic) instrument in concert, and it made me wish for more of that. as a former cellist, i recognized some of her technique and was jealous of her skils. core rhythm, the anchoring MC of the evening, is leong’s most frequent collaborator on milk & jade projects, and their chemistry is apparent. it is a pleasure to watch fellow musicians enjoy each other’s work and processes (core rhythm spent much of the night nodding his head and pounding his heart when not rapping), and these two clearly work well together. core rhythm’s lyrics are clever and deep at the same time, and while it can be tough to decipher those lyrics in a live show, the audience got a copy of the words in their programs, which helped quite a bit. the guest rappers were a somewhat weaker bunch in person, though it gets better on CD. as a total "america's best dance crew" nerd, i also thoroughly enjoyed the popping and locking of dancer tommy “hypno” chan, who did a fantastic and fun robot to a song that combined human and technological sounds for a truly modern performance. dana closed the show with a cover of "a change is gonna come" by sam cooke, with his trombone singing the melody. it is a testament to his training and his artistry that i had tears in my eyes; his trombone sounded like a human lament, and it made for a powerful end to the show.

i was lucky to get enough tickets for myself, s, a friend and my mother, who was in town for the weekend. we all loved the show, despite being of different ages (and musical persuasions.) i look forward to hearing him again. symphony space, by the way, is awesome. it looks like it may have been recently renovated, but it is a beautiful space, and a great, intimate place to hear a concert. too bad it's so far up on the west side.

happy new year!

february 14th marked the first day of the lunar new year, a holiday i have been celebrating over the entire month (and will continue to celebrate) with the museum. events and programs at work and in other venues have abounded, and i was lucky to attend the met's recent event in honor of the new year, which included delicious food, strong drinks, and (best of all) a private viewing of mastering the art of chinese painting: xie zhiliu (1910-1997).

the show is truly epic--it spans decades of the artists life and work, including early studies as well as their final finished products. the studies are always my favorite. as a student of art history, i am interested in the pieces themselves, but i am also completely fascinated by the process. what inspired them? how did they learn their skills and artistry? how was that applied to this piece? there was a study of birds' feet that particularly captivated me, as xie zhiliu had spent hours and hours observing and illustrating the incredible detail of the scaly skin and long talons of the toes. to then see those same feet in a painting gives me such joy--it's like i know a secret about the artist and his work.

my other favorite part of the exhibit were the seals. chinese artists sign their pieces using seals (called chops) that are at once both their name and a representation of the self--xie zhiliu used different chops over the course of his life. many of them were truly lovely, and often very clever in translation. again, it's the element of getting a look behind the curtain, a look at the artist as a person and not just a master, that i really enjoyed.

there is a lot to see (and it is somewhat tucked away upstairs) but it is well-worth a trip to see his studies and seals. i was so grateful to be included in the event, and get a rare behind-the-scenes glimpse of the met and a master at work.

*if you are interested in lunar new year events, check out explore chinatown's calendar of events. the main parade is next weekend, so there's still time to celebrate!

gawker stalker

yesterday, at my fancy business lunch in rockefeller center at ruhlmann brasserie (i know, i know, i'm totally awesome), my boss came back to the table from the restroom and was like "oh my gosh! celebrity sighting! eliot spitzer is right by the bathroom!" (of course, we made a few jokes about his proximity to the ladies' room...) later, i had to use said facilities, and as i passed his table, he looked up and kinda checked me out. we even made eye contact. i'm not necessarily proud of that, but i do think it's really funny.

also of note: this was by far the schmanciest lunch i've ever had--everyone was in suits eating steaks drinking wine and making deals. it was not my usual scene, but it was kind of fun to try it on for size.

the view from the top

s and i celebrated our five-year anniversary on thursday with dinner out at mexican radio and a surprise trip to the empire state building. the esb has been on the us map for awhile now, but tickets are a little expensive, and we'd heard horror stories about the lines, so we'd skipped it in favor of other excursions. i am so, so happy we finally went! (although i highly recommend going on a weeknight in the winter--we practically ran through the building. i cannot imagine waiting in room after room of lines.)

it was cold and windy and eerily quiet and totally beautiful. (ok, full disclosure: it was freezing cold. but getting the 86th floor almost completely to ourselves? totally worth it.) the view was incredible. i took great delight in pointing out landmarks we're used to seeing from ground level: theatres we've visited, the washington square park arch, the bridge we've walked across. it was also strangely silent--we were too high up to hear street noise, not even honking horns, which is unheard of (ha!) in new york.

i felt like i got a new perspective on new york from so high up. the city at once feels enormous and tiny. from the sidewalk, 10 blocks can feel far and neighborhoods are defined by individual blocks. from up in the air, the city is distilled into heights and lights. at one point, i turned to s and exclaimed "this is our city!"

as i explained to a friend the other day, i often have moments where i am thrilled that this is my life. i spent much of my youth wanting to live in new york. when it didn't work out the first time, i was disappointed, but i knew that i wanted to try again when i had the time and energy to make this place my own. moving here as an adult, i've been able to really create a space here (between career, friendships, apartment, and fabulous relationship) that has helped me fall in love with this city for real--not a film new york or a fiction new york but a true new york. and seeing it all from the top of the empire state building helped put it all into perspective.

present mirth hath "present laughter"

one of the benefits of dating someone with other interests is getting introduced to new things (and doing some introducing.) s, as an audio engineer, is always bringing new music into my life. as a theatre nerd, i have gotten to bring to him the joys of a live play. for christmas this year, i gave him tickets to see present laughter, the noel coward revival starring victor garber.

we saw the show in previews, which i really enjoyed. they were still working out the kinks, and i liked getting an almost-backstage look at their processes. little, almost indecipherable, trip ups (on lines and telephone cords) help the magic to me--you realize that they're real, that this is happening for you right now. that human effort is such a rewarding element in a live play. (it should never look like work, per se, more like play, but i like knowing it's all unfolding in front of me.)

it's an enjoyable show--noel coward is always funny--and the cast does well, for the most part. victor garber seemed to be holding back at times. his character gary essendine is accused of over-acting so often that i would have liked to see a little more over-the-top from him, but i thought he performed well. i especially liked harriet harris as gary's long-suffering secretary monica, and enjoyed the balance between love and exasperation that lisa banes struck as his ex(ish)-wife liz.

i went crazy for the art deco decadence of the set, although s wasn't too keen on all the marbled wood and golden fixtures. the costumes were similarly lovely and sumptuous, and fit the characters well. gary's dressing gowns did an especially good job at playing their part, and a set of pajamas added a nice visual joke in the second half.

overall, it was a very enjoyable night at the theatre, and i would recommend it. i would also recommend using the roundabout theatre's preview ticket system. the tickets were extremely well-priced, and we had good seats. i look forward to the rest of the season.

you're funny.

i did improv in college. (did you know this? have i mentioned this?) everyone always says to me "oh, i could never do improv! it's so scary! how do you 'be funny' on command?" to which i say: i felt the same way. until i jumped onstage and went for it, and had the time of my life.

i was fortunate enough to get involved with an incredibly talented group of improvisers, who became more than friends, became my family. it is the one thing i miss more than anything else (except for my girlfriends who live in chicago), and the one thing that i could (more easily than say, those far-flung friends) get back if i really tried. i need to stop missing, and start doing.

i took my mother and sister to the UCB theater last night for a show (death by roo roo--they're very funny, i'd seen them before so i knew what to recommend.) every time i go there, i'm reminded that i should be taking classes, should be working my way through their system, should be auditioning and eventually performing. i was good at improv in college. i don't say that to brag; i loved it, and i worked at it, and i was good at it. and i miss it.

i learned last year that no one but me can make me go after the things i want. so i'm keeping myself accountable to my new year's resolution and plan to take a class. i'll let you know how it goes.

2009

it was a good year. it was an incredibly busy year. i lost 35 pounds, we moved into a new apartment and neighborhood, i got a new job, and somehow forgot to write in here. for that, i am sorry (if anyone is still out there.) no resolutions here, but do know that i hope to capture a few more of my outings in the coming year on this blog.

let 2010 begin. i'm ready for you, new decade.