From the category archives:

New York City

courtesy: Mercedes-Benz

The first brand the fashion industry types came across was not Halston, Rodarte or Marc Jacobs. That distinction belonged to the event’s title sponsor whose logo was plastered on closeups cutaway shots at Bryant Park. It was Fall 2010 Mercedes-Benz Fashion Week, the last season for the Bryant Park Tents. At the overcrowded tents, the traffic-stopping Mercedes-Benz SLS AMG and Mercedes-Benz E-Cabriolet managed to cut a sharp figure.  For those who wandered close enough to take a peek, product specialists were on hand to provide details about both cars’ nifty features, which go on sale later this year, as they waited to be harangued into the show of the hour at the 2010 Mercedes-Benz Fall Fashion Week.

The view from Mercedes-Benz seats at Tadashi Shoji, Feb. 15, 2010

While some would argue that fashionable women and men could care less about cars, it’s undeniable that the title sponsor adds to the ambiance — hinting at a world where the finer things in life are indeed still a possibility. As the dirge of shows commenced,  details were being finalized for the automaker to expand their roll even further when the New York Fashion Week moves permanently to Lincoln Center in September for Spring Fashion Week 2011. “The important piece is to relate the brand to the style, the quality and the craftsmanship of Fashion Week,” said Lisa Holladay, Manager, Brand Experience Marketing at Mercedes-Benz USA, who has overseen the German automaker’s relationship since signing on for sponsorship in 2008. “We’re in discussion over a multiple year contract. It’s a very important platform for us and we planning to grow that on a more meaningful level. Lincoln Center will be great because of the fact that we have big sexy cars to move, and it makes it easier for us to actually drive the cars.”

Eric Villency, Manager of Brand Experience Marketing Lisa Holladay, and Adam Paige of Mercedes-Benz attend Fashion Week Spring 2010 presented by Mercedes-Benz at Bryant Park on September 12, 2009 in New York City. (Photo by Michael Buckner/Getty Images for Mercedes-Benz)

The fashion industry, faced with cost-cutting measures, is particularly reliant on sponsor dollars and the Mercedes-Benz Presents Designer program (featuring past pairings with Yigal Azrouël, Chado Ralph Rucci, Badgley Mischka, Diane Von Furstenberg, 3.1 phillip lim, Michael Kors, Tommy Hilfiger and  Narciso Rodriguez) carries a certain amount of cache. This season, the program centered on the pairing of Rodarte and Alexander Wang’s collections with photographer Nick Knight’s SHOWStudio — a well-placed tie-in for an automaker that strives to highlight its technical prowess.


During Fashion Week, Mercedes found clever ways to connect with prospective customers through invite-only online groups such as  Generation Benz. Selected members were invited to Bryant Park to witness the action up close from the vantage point of the Mercedes-Benz backstage lounge. “Mercedes-Benz owners put an importance on fashion. Fashion indexes high with current consumers and prospects,” Holladay said. Wedged between the IMG and W Hotel lounges,  celebrities, newscasters, fashion editors and a designer or two wandered in and out  of the lounge for a cocktail and to plop down on the fluffy white sofas. There was  a bit of tittering when someone new strode through the door as the guests nonchalantly whispered among themselves, “What show is he on? Oh, I don’t watch Gossip Girl.”

More Fashion on Gotryke:

Karl Lagerfeld x Les Ateliers Ruby helmet

More Mercedes-Benz Fashion Week:

Mercedes-Benz Fashion Week Spring 2010

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The Complete Wallpaper 10 City Guide iPhone App Collection

The Complete Wallpaper 10 City Guide iPhone App Collection

Forget about Radio Free Europe, take an iPhone to Berlin and make use of the new Wallpaper* City Guide iPhone App. Berlin is part of the free promo, but cities including including New York and Los Angeles, are available at the iPhone App Store. Each app is available for $3.99.

New York, New York

New York, New York

Wallpaper* City Guides was launched by Phaidon Books in 2006, with print guidebooks available for over 80 cities that fit in the back pocket.

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michigan

No I cannot forget where it is that I come from
I cannot forget the people who love me
Yeah, I can be myself here in this small town
And people let me be just what I want to be
– John Mellencamp

Everyone comes from somewhere — a big town, a little town, a hodgepodge of villages strung together in moves dictated by imposed change. Somewhere along the journey to adulthood, those places take root in character shaping, with experiences and inflections molding the individual. Must an individual stay in one place to claim it as home?

I spent my first 27 years in Michigan. I grew up in a house on a dirt road in a small town — Novi. It was so small in the late ’70s and early ’80s that I rode the school bus for over one hour to get to the elementary school located in another town, West Bloomfield, in the Walled Lake School district. We had a Northville phone exchange that changed from 313 to 810 to 248 as the rural small town grew to be a suburb throughout the 80s with the sprawl of development. I went to university in a medium-sized town, East Lansing in the middle of the state, an intellectual Big Ten haven in the midst of rural farm country. I moved to the big town in 1998, Detroit, Michigan, which is now, by all accounts, a shrinking town.

Scene on Detroit River, Belle Isle, by Frederick M. Delano, undated 1860s courtesy: Bentley Historical Library, U of M

Scene on Detroit River, Belle Isle, by Frederick M. Delano, undated 1860s courtesy: Bentley Historical Library, U of M

I officially left Detroit on New Year’s Eve 2003. Things were looking up for Detroit demographics in those days — pre-2005 Super Bowl fever was sinking in with entrepreneurial upstarts and Kwame Kilpatrick seemed on target to incorporate decent politics with his youthful swagger.

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But hindsight is what it is. Six years later I’m a long way from returning to Detroit, and as times have taken a turn for the worse, I’m starting to feel like a phony Detroiter. I gave birth in New York to a Brooklyn baby, for goodness sake.

I started 2004 in New York, wide-eyed and scared of the unknown, in the dust of 9/11 detritus, unscathed by the difficult decade on the New York nerves. Originally, my big city sabbatical was going to last a few weeks; I wanted and needed to escape Detroit for a moment after a bad row. New York was decadent and seductive and thankfully anonymous, but more than I could handle — too many people, too much concrete, too damn fast. It didn’t take long to grow accustomed to the intoxication of power and possibility that has wooed millions.

On a whim and a dare, I extended my stay for one year in New York City, declaring my intent to move back to Detroit when I achieved success with writing pursuits, hoping buy a big house in Indian Village after I made good on dreams come true. I wrote a long sappy email to close friends about my intentions and sense of purpose. I even kept up an apartment for a time in Michigan.

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Indeed, things change when people make changes. My hypocrisy: I like to go home, but the truth is, I don’t want to stay there. At least not all the time. At least not right now. At least not for more than a couple weeks at a time. What kind of Detroiter does that make me? The fractured city of Detroit makes me feel a host of emotions — loyalty, relief, pride, fascination, boredom, amusement, sentiment, nostalgia — and recently — guilt.

I should get over it and move on.

Yet, I won’t, I can’t, seem to let go. I’ve still got my identifiable flat Midwestern drawl and countless miles logged on the route from I-80 to I-75. I know the familiar turns taken high in the sky LGA to DTW. Michigan is where my mother immigrated to with our family in 1954, escaping persecution. It’s where my father found home after a fractured upbringing. It’s where my 99-year old grandfather lives his twilight years. But, it’s more than my family that pulls me to Detroit. There’s something there that reminds me of who I am, as I relax on the big-wide open highway surrounded by GM, Chrysler and Ford makes, moving forward with speed and confidence, and when I linger in small quiet nooks built for natives, reminded of all the good that sails beneath the radar.

I prescribe to the notion of place. I like reading books about the landscape of places, I pay attention to setting in film and I attempt to generalize qualities of those who come from certain regions. Michigan people are: hard-working, down-to-earth, humble, provincial, dreamy, the sleepers who will rise to the top in any challenge. Add Detroit to the mix — and staunch joins the list.

Playwright Ron Milner

Playwright Ron Milner

Detroit has a grip on me, to point of obsession. I’ve rationalized leaving with my efforts to help those who are there, to tell people about all the great things Detroiters are doing, to try to woo them away like me to be aspiring Detroiters from afar. There’s safety in numbers. And now as many Detroit natives have returned to survey the barren landscape, looking for connector points to fill in the dot, the exodus continues for those who’ve given up on the town.

Here lies a personal point of contention: the struggle of those with Michigan roots who jump ship. I suspect I’m not alone; for several years the majority (80 percent, I’ve read) of young people churned out of the state have opted to relocate, to spread their lives, talents and loves in other places. Some leave for the big city with wanderlust infused with only a gutsy single suitcase, some leave because it’s the safe bet. What these people share is that they come from somewhere else — a place they chose to leave behind.

Doug Coombe's photographs from 2004 show D-Troit in NYC

Doug Coombe's photographs from 2004 show D-Troit in NYC

I see them here, in big New York on small skinny streets — the aspiring DJ at the post office hustling his way into three jobs around town, awkwardly trying to keep up with the wear of long subway commutes, the long-gone successful writer and filmmaker who reminds people of her Detroit pedigree, the shoe designer who shyly mentions Detroit at the end of his bio, the graphic designer who expresses his loyalty with his dedicated Detroit/U of M/ Michigan State sporting schedule, or the musician that everyone thinks lives in Detroit but ends up more often crashing at a New York pad to export the energy, contact and creative motivation. Sometimes, I feel like I know more Detroiters here, than there — an inflating sad sentiment.
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Photographer Priscilla Mercedes Vázquez captures Via Tania.

Via Tania_2000

Under the cover of midnight, and a little rain I made my way to Joe’s Pub in Manhattan to catch Via Tania. The setting was intimate, and very well suited for her music.

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A handful of people cozied up to her slow and haunting harmonies. Her songs are sometimes playful, sometimes a little sinister, and have stayed with me even after the rain clouds have faded.

Ed. note: We caught up with Via Tania after the show. Here’s what she has to say:

GT: How have your experiences in the US shaped the way you write and hear music? Did Texan producer Craig Ross influence you to work in a different manner?

VT: I have only really lived in Chicago, but spent time in a few places here and there. There are so many Australian musicians and bands always wanting to come to the US, because it’s a good place to grow musically. And it’s a good place to be for a while to learn new things and get out of a very small industry. Things are changing there and there are moments of real musical brilliance and I think that comes from it becoming a more diverse place culturally. I think being here helped me just raise the bar, and I don’t think you need to get out to move on and evolve, that had more to do with my personal life.

Craig influenced my music in the way producers like to, haha. It was all good though. It was a similar manner to how I like to work, more of a cozy situation, small studio, nothing black in there, all color and light. The atmosphere in a record gets soaked in to so much of the sound. and maybe the second most important factor to making a record ( the music being the first).
from Via Tania interview

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MenahanStBandftLeeFields_1879

Sharp shooter Priscilla Vazquez was on the scene for Daptone Records CMJ showing in part III of her 2009 CMJ coverage for Gotryke.

TheBudosBand_1752
Daptone Records presented their CMJ showcase last Friday at The Knitting Factory in Brooklyn. They handed out copies of their latest compilation Daptone Gold, featuring 23 tracks by great talents such as Naomi Shelton, Lee Fields and The Dap-Kings. Soul and R&B tunes played as the first band set up.

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The Budos Band walked on stage, each member wearing a skeletal Halloween mask to celebrate the upcoming festivities. Sax, keyboard, congas and an electric guitar were all used to get the crowd dancing.

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Their funk sounds later gave way to the smoother, more soulful sounds of The Menahan Street Band. Charles Bradley and Lee Fields shared the stage with the them. Both men gave impressive performances, letting me know they felt every word they sang.
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I had listened to the next act, Naomi Shelton and the Gospel Queens, before but nothing compared to seeing them live. Naomi Shelton’s energy was contagious.
NaomiShelton_1968
The lineup:
The Budos Band

The Menahan Street Band


Lee Fields

More Gotryke CMJ coverage:
CMJ Stop#1: Cakeshop

CMJ Stop #2: BMI Showcase

Naomi Shelton and the Gospel Queens

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Designers, artists and creative types live for references.

Nothing beats the inspiration of the printed page. Tactile interaction with thoughtful design, copy and color is irreplaceable. Rizzoli, Taschen, Assouline and Powerhouse make some of our favorite books.

Our resident art expert Lee Quinones hips us to his favorite book shops — The New Museum and MOMA among them. While we also love McNally Robinson on Prince St, we’re alway up for something new.

We’re excited to see how Gagosian brings it with the opening of a new book store on the upper east side at Madison Ave. and 77th St. While we tend to be more of a downtown crowd, Andrew Goldstein’s review has us inclined to make the trek on the green line to check out the offerings.

VIA ART WE LOVE:

Tuesday night was a big night at Gagosian Gallery–after debuting two extraordinary shows by Cy Twombly and Sally Mann at its Madison Avenue headquarters, the blue-chip showroom held a discreet, unofficial preview of its new “bookstore” on the corner of Madison and 77th. The term “bookstore” deserves quotations because the pristine, impeccably laid-out space clearly has higher aspirations than your average museum shop (or, say, Taschen). Upon entry, one is greeted by a line of Jeff Koons puppy vases standing sentry atop a white marble divider. Beyond this is the store, designed in minimal vanilla-ice-cream tones and displaying limited artist editions in the tens of thousands of dollars on the walls alongside gallery catalogues and the odd magazine, from Dasha Zhukova’s Pop to Interview, Frieze, and Art Forum.

The items on the store’s bookshelf range from the catalogue for the “Picasso: Mosqueteros” show to Dasha Zhukova’s “Pop” magazine. ; By Laurence Lafforgue

The editions, of course, are the main event. Rather than being a clearinghouse for existing pieces, the gallery is positioning itself as a place to unveil serious new limited lines by its top artists. Among the new works that will be introduced when the store opens officially on Friday is an inspired artist’s book by Richard Prince titled “Bettie Kline.” Taking as its jumping-off point an invented history of a relationship between legendary pin-up Bettie Page and Abstract Expressionist painter Franz Kline, the book naughtily juxtaposes black-and-white photographs of Page trussed in bondage gear with paintings by Kline that uncannily mirror the raunchy shots in both color and composition. The rhymes between Page’s black leather and Kline’s strappy brushstrokes renders the pair’s imaginary history momentarily, and hilariously, plausible. In a quick survey of the room, other works that could be spotted included a striking red canvas-based wall piece by Anselm Reyle, a set of $50,000 prints by Koons, and several alluring entomologically-designed plates by Damien Hirst.

The display for Richard Prince’s brand-new “Bettie Kline” book. ; By Laurence Lafforgue

Below are a selection of iPhone pictures snapped during a brief foray into the store, giving a taste of what will be on offer when the two-story space opens to the public. Oh, and ArtWeLove can claim a special place in the outpost’s infant history–with the purchase of two $10 copies of Pop, we became the store’s first official paying customers.

Five prints from Richard Prince’s limited edition “Bettie Kline” set. ; By Laurence Lafforgue
A framed page from Prince’s “Bettie Kline” book. ; By Andrew Goldstein

Madeline Vionnet

Images from the Rust Belt

20th Century Cars: Poetry in Motion

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