Yearly Archives: 2011

TWI-NY TENTH ANNIVERSARY TALK: ANDREW GIANGOLA

Mario Batali, Andrew Giangola, and Rachael Ray party it up at Texas Motor Speedway

Mario Batali, Andrew Giangola, and Rachael Ray party it up at Texas Motor Speedway

Fontana’s
105 Eldridge St. between Grand & Broome Sts.
Wednesday, May 18, free, 7:00 – 9:30
212-334-6740
www.fontanasnyc.com
www.theweekendstartsonwednesday.blogspot.com

We’ve known Andrew Giangola since we were kids, playing baseball in the street, sledding down what we thought were enormous hills in the local park, and going to semipro football games. Although New York is far from the center of the auto racing world, we did go to the track once, when a cigar-chomping family friend took us behind the scenes and into the pit. That apparently rubbed off on Giangola, who was the director of communications for NASCAR for nine years, traveling around the country chaperoning star drivers and meeting the fans. Last February he turned his adventures into an entertaining book, The Weekend Starts on Wednesday: True Stories of Remarkable NASCAR Fans, which looks at dozens of NASCAR’s most dedicated fanatics, from movie icons and beauty queens to military heroes and astronauts, from news anchors and celebrity chefs to an acrophobic mountain climber and a dude who wears nothing but a tire.

“After sleeping in their buses, watching races in their homes, spending countless hours on the phone, sitting in the grandstands, and walking campgrounds on the circuit,” Giangola writes in the introduction, “I’m convinced NASCAR’s ‘core’ fans are a special, different breed…. I want to perpetuate a new stereotype of NASCAR fans. They are, at their core, very good people.” Giangola, who lives in New York City with his wife, daughter, and dog — and whose last driving ticket was for going zero miles per hour, blocking the box at the Holland Tunnel — will read from The Weekend Starts on Wednesday as part of twi-ny’s free tenth anniversary celebration May 18 at Fontana’s, which will also feature readings from Dean Haspiel, Nova Ren Suma, and Kyle Thomas Smith and live performances from James Mastro and Megan Reilly, Paula Carino and the Sliding Scale, and Evan Shinners.

twi-ny: You grew up on the South Shore of Long Island, not exactly a hotbed of auto racing. You’ve always been a huge sports fan, but tell the truth — what did you think of NASCAR when you first applied for the position, and how do you feel about it now?

Andrew Giangola: Your father took us to a stock car race at the old short track in Freeport, LI, when I was eleven and I loved it. (That track is now a strip mall.) I also watched [Richard] Petty and [David] Pearson and [Cale] Yarborough on Wide World of Sports when NASCAR snippets were shown between Ping-Pong and cliff diving. When I was exposed to the sport, I always liked it. But growing up on Long Island in the ’70s, you didn’t see a lot of NASCAR; the sport might as well have been racing on Mars. There was no ESPN or 24/7 sports coverage. I was by no means a fan.

When I got the job offer, after a quick web search it was pretty clear pretty fast that this was a big, powerful brand with a lot of company involvement. My real shock was at the first race; it happened to be Talladega, NASCAR’s biggest and rowdiest track, in the heart of Alabama. I was wearing black slacks and a black shirt. A fan gripping a large beer yells down from the top of his converted school bus, “When are the aliens coming?” It was immediately clear NASCAR fans were familiar with the film Men in Black and that I’d need to learn the rules of the road, so to speak. Seven years later, I was sleeping with those fans — not in the biblical sense; it was research — and published The Weekend Starts on Wednesday about the most amazing fan stories.

weekend starts 2

twi-ny: You’ve worked in communications for Pepsi and Simon & Schuster, spent nine race seasons at NASCAR, and now are brand new at IMG. What was the hardest part of the NASCAR job? You’re also a wise-ass who was once championed as the savior of the PR business. How do you get away with your sarcastic sense of humor at such giant, serious companies?

Andrew Giangola: I’m not sure anyone ever championed me as a savior but that’s awfully nice of you to say, and please let me introduce you to my new boss. At NASCAR, I really had a blast. Workplace humor is a dicey proposition. You have to pick and choose your spots and make sure you’re overdelivering, because a comedian who puts up weak numbers is nothing but a liability. Of course, we dealt with some serious issues at NASCAR. It’s such a decentralized, multifaceted industry. You have NASCAR the sanctioning body, teams, tracks, drivers, sponsors, licensees, media partners. In a sense, in my job in PR out of NASCAR’s New York office, I had to serve them all. It kept a man busy. I literally wore out about five BlackBerries. (When I left, I offered to donate one to the NASCAR Hall of Fame; no one got back to me.) My daughter, Gaby, once said, “If work were crack, you’d sell me for a bag of it.” The toughest challenge was keeping some semblance of family balance while attempting to make every man, woman, child, and dog in the US of A a stock car racing fan.

twi-ny: You’re a die-hard Rangers fan, but you’ve claimed on your blog and in the book that NASCAR fans are the greatest in the world. Is that a diss to the Garden Faithful?

Andrew Giangola: When the Rangers play on Saturday night, do the fans start sleeping in front of the Garden on a Wednesday? That’s what it’s like in NASCAR. But I think Ranger fans and NASCAR fans have a lot in common in their tremendous passion for their sports. (Go to a NASCAR track like Pocono Raceway or Dover and you’ll see a lot of cops and firemen in the infield who are big Ranger fans.) Remember, on any given Sunday in NASCAR there’s one winner and forty-two losers. Ranger fans can relate to that continual, gut-wrenching, seemingly endless heartbreak. All that said, I still tell my wife, Viviane, that the day we were married was almost as good as that warm night in June of 1994 when the Rangers finally won the Stanley Cup.

HIKASHU & TOMOE SHINOHARA LIVE IN CONCERT

Makigami Koichi will lead Hikashu in one-night-only special event at Japan Society on May 13

ROCKIN’ EVENING OF J-TECHNO POP
Japan Society
333 East 47th St. at First Ave.
Friday, May 13, $25, 7:30
212-715-1258
www.japansociety.org

Japan Society will transform its auditorium, usually home to film screenings, theatrical productions, lectures, and experimental dance presentations, into a nonseated club on Friday night for the full-band North American debut of Hikashu, the Japanese avant-garde collective led by vocalist Makigami Koichi (who also plays the bass, cornet, and Theremin). For more than thirty years, Hikashu has been dazzling audiences with its unique melding of musical styles on such records as Natsu (1980), Watashi No Tanoshimi (1984), Humming Soon (1991), and Ikirutoto (2008) and in wild live appearances. For this one-night-only special event, Hikashu, featuring Mita Freeman on guitar and samples, Sakaide Masami on bass and electronics, Shimizu Kazuto on piano, synthesizer, and bass-clarinet, and Sato Masaharu on drums and voice, will be joined by J-pop-culture icon Tomoe (Shinorer) Shinohara and percussionist Steve Eto. Tickets are $25, with half of the sales going to Japan Society’s Earthquake Relief Fund, which to date has taken in more than $6 million.

FRAN REISNER: THE DOGS OF CENTRAL PARK

Saturday, May 14, under the loggia at the Dairy Visitor Center, Central Park, East Drive and 65th St., free, 12 noon – 2:00
Saturday, May 14, Fetch Bar & Grill, 1649 Third Ave at 93rd St., free, 4:00 – 6:00
www.thedogsofcentralpark.com

“Let Maine have its moose and Florida its manatees!” writes Parks commissioner Adrian Benepe in the preface to Fran Reisner’s The Dogs of Central Park (Rizzoli Universe, May 2011, $19.95). “In the heart of Manhattan, it takes a dog to understand the beauty of autumn leaves, the thrill of new-fallen snow, and the promise of flowers on a rainy spring day.” The Dogs of Central Park features nearly 150 photographs of all kinds of breeds playing, posing, and relaxing in such park locations as the Mall, Belvedere Castle, the Boat House, the Great Lawn, Bethesda Fountain, Conservatory Gardens, the lake, and Cedar Hill. Reisner had been in New York City only twice before an assignment brought her here and she went to Central Park, where, she writes, “What I saw as I crested the first hill on my path was unforgettable: dogs, everywhere! Big dogs, little dogs, and many breeds I’d never seen before.” In the occasional text, Reisner relates brief stories of various canines, including the rescued Obie and Toby, the world-traveling Lenny, the three-legged Scheki, Best in Show couple Mikimoto and Gem, and the hat-munching Brinkley. There will be two special events on Saturday, May 14, celebrating the release of the book. Reisner will be signing copies under the loggia at the Dairy from 12 noon to 2:00, with all dogs welcome, but they have to be left at home for the 4:00 book party at Fetch Bar & Grill. Each gathering will include a raffle for a Central Park photo shoot with Reisner; part of the proceeds from the Dairy event will benefit the North Shore Animal League, with Animal Haven benefiting from the Fetch party. (Winners must be present to claim their prize.)

DESTRY

Destry will highlight tunes from its enchanting new album this weekend at Bar Matchless and Maxwell’s

Saturday, May 14, Bar Matchless, 557 Manhattan Ave. at Driggs Ave., Williamsburg, $8, 718-383-5333, 8:00
Sunday, May 15, Maxwell’s, 1039 Washington St., Hoboken, $8-$10, 201-653-1703, 6:00
www.myspace.com/destrymusic

Born and raised in Nassau County, Michelle DaRosa of Straylight Run teamed up with Tyler Odom of the Alabama band Cassino to form Destry, releasing its debut, It Goes On, in 2009. The duo is now back with its enchanting follow-up, Waiting on an Island, an album filled with dreamy retro pop. “Oh, I can tell that it’s gonna be sunny from now sunny from now on / and don’t you forget it / If it tries to rain on me / just don’t let it,” DaRosa sings on “Gone.” Recorded at Tyler’s home studio in Dallas, the album also includes such delightfully ’50s- and ’60s-tinged tracks as “This Island,” “Don’t Break My Heart,” and “Leave the Light On” (but skip over the back-to-back acoustic folk pablum of “Into the Rain” and “Alabama”). DaRosa’s voice seems to be floating on a cloud on the beautiful ballad “It All Got Worse.” And you will indeed smile all the way through “Smile,” with its bright, airy chorus, “They say to smile though your heart aches / They say to smile though your heart breaks.” The former Michelle Nolan, who is married to Dropkick Murphys multi-instrumentalist Jeff DaRosa and is based in Boston, and Odom, who is based in Nashville, will be at Bar Matchless on May 14 with These Animals, Communipaw, and Foreverinmotion and at Maxwell’s on May 15 with Communipaw, Kaia, and Jennifer O’Connor.

LATE-NIGHT FAVORITES: HOUSE (HAUSU)

Japanese cult horror comedy finally gets a theatrical release

Japanese cult horror comedy is back for a pair of midnight screenings

HOUSE (HAUSU) (Nobuhiko Obayashi, 1977)
IFC Center
323 Sixth Ave. at West Third St.
Friday, May 13, and Saturday, May 14, $13, 12:10 am
212-924-7771
www.ifccenter.com
www.janusfilms.com/house

One of the craziest movies ever made, Nobuhiko Obayashi’s 1977 cult classic, House (Hausu), is finally getting its first-ever U.S. theatrical release, in a new 35mm print at the IFC Center. Truly one of those things that has to be seen to be believed, House is a psychedelic black horror comedy musical about Gorgeous (Kimiko Ikegami) and six of her high school friends who choose to spend part of their summer vacation at Gorgeous’s aunt’s (Yoko Minamida) very strange house. Gorgeous, whose mother died when she was little and whose father (Saho Sasazawa) is about to get married to Ryoko (Haruko Wanibuchi), brings along her playful friends Melody (Eriko Ikegami), Fantasy (Kumiko Oba), Prof (Ai Matsubara), Sweet (Masayo Miyako), Kung Fu (Miki Jinbo), and Mac (Mieko Sato), who quickly start disappearing like ten little Indians. House is a ceaselessly entertaining head trip of a movie, a tongue-in-chic celebration of genre with spectacular set designs by Kazuo Satsuya, beautiful cinematography by Yoshitaka Sakamoto, and a fab score by Asei Kobayashi and Mickie Yoshino. The original story actually came from the mind of Obayashi’s eleven-year-old daughter, Chigumi, who clearly has one heck of an imagination. Oh, and we can’t forget about the evil cat, a demonic feline to end all demonic felines. The film was released last year prior to its appearance on DVD from Janus, the same company that puts out such classic fare as Federico Fellini’s Amarcord, Akira Kurosawa’s Rashomon, Jacques Tati’s M. Hulot’s Holiday, François Truffaut’s Shoot the Piano Player, Jean Renoir’s The Rules of the Game, and Jean-Luc Godard’s Vivre sa Vie, so House has joined some very prestigious company. And who are we to say it doesn’t deserve it?

TERRENCE MALICK: THE NEW WORLD

Colin Farrell and Q’orianka Kilcher nearly ignite the screen in THE NEW WORLD

THE NEW WORLD (Terrence Malick, 2005)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Sunday, May 15, free with museum admission of $10, 5:00
Series runs May 13-15
718-777-6800
www.movingimage.us

Iconoclastic American auteur Terrence Malick has directed a mere four films in his forty-year career, each a gem in its own way — 1973’s Badlands, 1978’s Days of Heaven, 1998’s The Thin Red Line, and 2005’s The New World. With the imminent release of his latest, The Tree of Life, expected later this year — as with The New World, it’s gone through a number of casting, editing, and distribution dilemmas — the Museum of the Moving Image is showing all four of Malick’s feature-length works May 13-15, with many of the screenings introduced by film critic Matt Zoller Seitz. The necessarily brief series, simply titled “Terrence Malick,” is anchored by The New World, scheduled for Sunday at five o’clock. Spectacularly photographed by cinematographer Emanuel Luzbeki, The New World reimagines the story of Captain John Smith (Colin Farrell) and Pocahontas (Q’orianka Kilcher) as an epic tale of unrequited desire, a fiercely passionate, if not completely accurate, love story for the ages. In 1607 , a crew led by Captain Christopher Newport (Christopher Plummer) has landed in what will come to be known as Jamestown. The disgraced Smith, who was nearly hanged for mutiny, is ordered to meet with “the naturals” in order to develop a favorable relationship. But Smith falls deeply for Chief Powhatan’s (August Schellenberg) beautiful young daughter (Q’orianka Kilcher), who shares his feelings, leading to a dangerous love that threatens to leave death and destruction in its wake. Large stretches of the film feature no dialogue, instead consisting of gorgeously framed shots with gentle, poetic narration from Smith, Pocahontas, and, later, John Rolfe (Christian Bale). The scenes between Farrell and Kilcher nearly ignite the screen, their eyes burning into each other. Malick and Luzbeki focus on lush, rolling fields and rushing rivers that are more than just beautiful scenery; the gorgeous landscape of this new world is filled with promise, with hope, even though we know what eventually, tragically happens. The film bogs down considerably when Smith’s place in the newly named Rebecca’s life is taken over by Rolfe, but it all builds to a heart-wrenching conclusion.

KING LEAR

Derek Jacobi is finally ready to play the lead role in KING LEAR, now at BAM (photo by Johan Persson)

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St.
Through June 5, $25-$95 (limited availability)
718-636-4100
www.bam.org

Some of the best theater to be found in New York City in 2011 has been happening in Brooklyn, where BAM’s spring season has included the Abbey Theatre’s production of Henrik Ibsen’s John Gabriel Borkman and Geoffrey Rush in the Belvoir St Theatre presentation of Nikolai Gogol’s Diary of a Madman. The magic continues with the Donmar Warehouse’s take on one of William Shakespeare’s greatest tragedies, King Lear, which runs through June 5 at the Harvey Theater. In September 2007, BAM presented the Royal Shakespeare Company’s production of Lear, starring Ian McKellen and directed by Trevor Nunn; this time around, Sir Derek Jacobi plays the aging, enfeebled king, directed by Michael Grandage. This more stripped-down interpretation focuses on the powerful emotions experienced by the two fathers, Lear and the Earl of Gloucester (Paul Jesson). After being lavished with empty praise from daughters Goneril (Gina McKee) and Regan (Justine Mitchell), Lear is furious that his youngest and favorite child, Cordelia (Pippa Bennett-Warner), does not similarly overstate her affections. Jacobi’s whole head flushes red as if on fire as Lear disowns Cordelia, then banishes the loyal Earl of Kent (Michael Hadley) for defending her. Meanwhile, Gloucester is being deceived by one son, Edmund (Alec Newman), into thinking that the other, Edgar (Gwilym Lee), is plotting against them. Thus, brother conspires against brother, sister conspires against sister, and children conspire against parents as two once-noble families disintegrate into treachery that leads to acts of severe violence. Jacobi — who has been waiting ten years to appear in the part and finally felt he was of the proper age (seventy-two) and experience to portray Lear — is a controlled ball of rage as the deeply flawed king, explosive in one scene, tortured and meek the next. The rest of the cast is solid, particularly Jesson as the doomed Gloucester and Lee as his wrongly accused eldest son, who disguises himself later as the forest madman Poor Tom. (Newman, however, chews too much scenery as Edmund.) Christopher Oram’s costume and set design nearly steal the show; virtually all of the characters are dressed in black, presenting a stark contrast to the stage, composed of long, fading whitewashed boards that emphasize the physical and psychological destruction to come and is especially effective in a smoke-laden lightning storm (courtesy of Neil Austin and Adam Cork) that sends shock waves through the Harvey. Grandage does threaten to go a bit avant-garde and over the top after intermission, but he brings it back around to a more traditional narrative for the heartbreaking finale to yet another memorable Lear, with another memorable lead performance. (There will be an Artist Talk with members of the cast following the May 12 show, and Shakespearean scholar and author Stephen Greenblatt will give a talk on Lear on May 15 at BAmcafé. Interestingly, Jacobi — who chooses to leave his clothes on in one critical scene, as opposed to McKellen, who bared all back in 2007 — has been outspoken in his belief that the Bard did not actually write any of the plays he is credited with.)