Today’s “Fab 5″/ Selected NYCity Events – MONDAY, JAN. 19, 2015.
“We search the internet everyday looking for the very best of What’s Happening on Manhattan’s WestSide, so that you don’t have to. We make it as easy as 1-2-3.”
J.P. Morgan Tournament of Champions
Harlem Gospel Choir
Steve Earle — Pop/Rock (8pm)
Mac Conner: A New York Life
Vince Giordano and the Nighthawks — Jazz (8pm)
For other useful and curated NYCity event info for Manhattan’s WestSide:
♦ “9 Notable Events-Jan.”, and “Top10 Free” in the header above.
♦ For NYCity trip planning see links in “Resources” and “Smart Stuff” in the header above.
♦ For NYCity Sights, Sounds and Stories visit out our sister site: nyc123blog.wordpress.com
J.P. Morgan Tournament of Champions (through Friday)
This annual contest returns to Grand Central Terminal’s Vanderbilt Hall, where the world’s top-ranked professional squash players will compete in this weeklong contest.
Ticket information and a full schedule of matches are at tocsquash.com.
Today’s matches: 11:30W; 3:00M&W; 6:30M&W
Grand Central Terminal’s Vanderbilt Hall
Harlem Gospel Choir (also ongoing Sundays)
“Here’s a real Sister Act for you. When does a blues club in the middle of Times Square become a church? The answer: every Sunday for over 10 years, when the Harlem Gospel Choir takes over at BB King ’s. Hosted by founder Allen Bailey, this highly inspirational six-member mixed choir offers spiritual salvation (in the words and music of such classics as “Oh Happy Day” and “Amazing Grace”) alongside heaps of biscuits, scrambled eggs and fried fish.
The jubilant mood is much more like a church service than a traditional nightclub set—they leave the house lights on for one thing, and there’s a lot more audience participation than you’re likely to see at, say, the Blue Note. After a while, I found myself standing up, clapping and singing along, even during those rare moments when no one was asking me to.” (WSJ)
Special matinee today in honor of Martin Luther King Jr. at 12:30PM
B.B. King Blues Club & Grill, 237 W. 42nd St.
Steve Earle (Mondays, through Jan. 26)
“This Texas singer has received a second career wind thanks to TV showrunners who aspire to his grittiness. He’s appeared either in person or through song on “The Wire,” “Longmire,” “Treme,” and most recently, “True Detective.” And like that newest series, Mr. Earle’s music is entrenched in the backwater past: bluesy slide guitars, lo-fi vocals, plenty of heart and fury. He continues his monthlong winter residency at City Winery.” (Andrew R. Chow-NYT)
City Winery, 155 Varick Street, near Spring Street, South Village,
8pm / 212-608-0555 /citywinery.com.
Mac Conner: A New York Life (through Feb. 01, 2015)
Mac McCauley (“Mac”) Conner is considered by many to be one of New York’s original “MAD Men”. Born in 1913, Conner grew up admiring Norman Rockwell magazine covers in his father’s general store. He arrived in New York as a young man to work on wartime Navy publications and stayed on to make a career in the city’s vibrant publishing industry. The exhibition presents Conner’s hand-painted illustrations for advertising campaigns and women’s magazines like Redbook and McCall’s, made during the years after World War II when commercial artists helped to redefine American style and culture.
Museum of City of New York, 1220 Fifth Avenue, at 103rd St.
From 10 a.m. until 6 p.m.,/ $10.
(212) 534-1672 /
Vince Giordano and the Nighthawks
“If you haven’t yet checked out the Nighthawks’ new digs, what are you waiting for. “The band (which has just released their second volume of music from HBO’s “Boardwalk Empire”) now actually sounds better, audio-wise, and the menu is a vast improvement over the band’s previous venue—overall, it is a step up, to the second floor, rather than a flight down, to the basement.
Although longtime fans are currently referring to the Nighthawks as “The Iguana Troubadours,” they continue to play with the same amazing combination of skin-tight historical authenticity and sheer, relentless energy, plus a tempo that has always characterized Mr. Giordano’s bands.” (WSJ-Will Friedwald)
Iguana, 240 W. 54th St., (Btw 8th/B’way)
8pm-11pm (3 sets) / $15 cover, $20 food/drink minimum
(212) 765-5454 / iguananyc.com
♦ Before making final plans, we suggest you call the venue to confirm ticket availability, dates and times, as schedules are subject to change.
♦ NYCity (pop. 8.4 million) had 54 million visitors last year and quality shows draw crowds. Try to reserve seats in advance, even if just on day of performance.
Museum of Modern Art:
‘The Paris of Toulouse-Lautrec: Prints and Posters’ (through March 22) In his printed works, Henri de Toulouse-Lautrec chronicled and publicized the music halls, theaters, circuses, operas and cafes of Paris with terrific verve, sly wit and surprising subtlety. This enthralling show presents approximately 100 examples drawn from the museum’s permanent collection. 212-708-9400, moma.org. (Johnson)
‘Henri Matisse: The Cut-Outs’ (through Feb. 10) A popular image of the elderly Matisse is of a serene, bespectacled pasha propped up in bed and surrounded by doves and flowers. But in the years around 1940, he must have felt he was living a nightmare. He and his wife of more than four decades separated. He underwent debilitating surgery for cancer. During World War II, he fled south to Nice, only to have that city threatened with bombardment. Through everything, he worked on. It is this Matisse — the invalid, insomniac, night-worker and waking dreamer — we meet in the marvelous, victory-lap show that has arrived in New York from London, trailing light, praise and lines around the block. 212-708-9400, moma.org; admission is by timed tickets. (Cotter)
‘Sturtevant: Double Trouble’ (through Feb. 22) Among the first things you see in MoMA’s taut, feisty retrospective of the American artist Elaine Sturtevant is work by far better known figures: Joseph Beuys, Jasper Johns, Marcel Duchamp. In each case, however, the pieces are by Ms. Sturtevant herself, who spent much of a long career adopting and adapting the art and styles of others to create a body of work entirely her own, one which raises questions about the value of art, about the hows and whys of producing it, and about the degrees to which quasi-replication can be an exercise in flattery, parody, objectivity, originality and love. 212-708-9400, moma.org. (Cotter)
‘The Forever Now: Contemporary Painting in an Atemporal World’(through April 5) Despite being predictable and market-oriented in its choice of 17 artists, this museum’s first painting survey in decades is well worth seeing. About half the artists are exceptional and the rest are represented by their best work. Based on the premise that all historical painting styles are equally available today, the exhibition has been smartly installed to juxtapose different approaches: figurative and abstract, digital and handmade, spare and opulent. 212-708-9400, moma.org. (Smith)
New-York Historical Society:
Annie Leibovitz: ‘Pilgrimage’ (through Feb. 22) No living celebrities are portrayed in “Pilgrimage,” but lots of celebrated figures from the past are indirectly represented, from Thomas Jefferson and Emily Dickinson to Eleanor Roosevelt and Robert Smithson. In the spring of 2009, Ms. Leibovitz set out on a two-year journey that took her to about two dozen historic sites in the United States and Britain. Most of these were house museums dedicated to famous individuals, where she photographed the rooms they inhabited and objects they owned and used. Though often poetically atmospheric, these pictures are disappointingly less lively than her portraits of famous entertainers. 170 Central Park West, at 77th Street, 212-873-3400, nyhistory.org. (Johnson)
‘Times Square, 1984: The Postmodern Moment’ (last day)
In this smart, pithy show, 20 architectural panels capture the essence of another show, the “Times Tower Site Competition” held by New York’s Municipal Art Society 30 years ago, when over 500 architects made proposals for the famous triangular site in Times Square. Philip Johnson and John Burgee were proposing a suave 4.2 million-square-foot ensemble of four skyscrapers that would help “clean up” the surrounding urban squalor, and they favored an open square at the center of their project. The Municipal Art Society protested the proposal by asking for alternatives to replace the Times Tower. The dispute proved a turning point in New York’s urban history and, more broadly, in American architectural history, as the postmodernism of the Johnson towers gave way to a highly eclectic, free-for-all postmodernism devoid of his mansards or triumphal arches. 39 Battery Place, Lower Manhattan, 212-968-1961, skyscraper.org. (Joseph Giovannini)