28 Feb

CityParks Indoor Junior Tennis Championship

Posted by cityparksfoundation in CityParks Sports. Tagged: , , , , , .

By Billy Lam

City Parks Foundation held a youth intermediate tennis tournament last week, from February 20th to February 24th. A United States Tennis Association sanctioned event, the matches were split by gender and divided into three age groups: 12 and under, 14 and under, and 16 and under. With ranking points at stake, the players face others of similar level in a test of skill, determination, and a little luck.

Jennifer Yu vs. Sydney Katz in the Girls' 14 Singles Final

CityParks Indoor Junior Tennis Championship is a staple of New York City, drawing kids from all over the metropolitan area for the past twenty years. Ninety entries were registered this year originating from all five boroughs, in which six participants emerged victorious in their representative age groups.

In Boys’ 16 Singles, Joshua Freud and Kevin Valdez faced off for two sets, with Freud ultimately claiming victory (6-2, 6-1). Adam Borak and Dan Negru showed a strong match, extending into a seventh game in the second set, but Borak got the upper hand winning Boys’ 14 Singles (6-4, 7-5). Boys’ 12 Singles finals were played by Derrick Mu and Neeraj Sakhrani, with Mu as the winner of our youngest male age group (6-4, 6-1).

Top: Neeraj Sakhrani, Derrick Mu (W) / Middle: Dan Negru, Adam Borak (W) / Bottom: Kevin Valdez, Joshua Freud (W)

Alexus Gill emerged the winner of the Girls’ 16 Singles when she defeated Vania Savic in a 6-3, 6-2 match. In the Girls’ 14 Singles finals, Jennifer Yu of Forest Hills and Sydney Katz of Manhattan took to the courts, where Yu was ultimately the victor in a 6-2, 6-1 match. Finally, Jean Soo and Dakota Fordham showed an impressive bout in the Girls’ 12 Singles finals, but Soo pulled through and claimed the two sets necessary to win (7-5, 6-3).

Top: Jean Soo (W), Dakota Fordham / Middle: Jennifer Yu (W) / Bottom: Alexus Gill (W), Vania Savic

“[The tournament] is a great way to test your tennis skills in a competitive arena,” said Josette Apostolo, the tournament director. “You can learn a lot of life’s lessons on the court.” For more information about tennis tournaments organized by City Parks Foundation, please visit our website at http://www.cityparksfoundation.org/sports/tennis.html

A full overview of the scores is shown below:

21 Feb

SummerStage Alumni- Ani DiFranco

Posted by cityparksfoundation in Concerts, NYC, SummerStage. Tagged: , , , , .

By Alexandra Light

Since its inception in 1986, SummerStage has had ample time to host insanely talented performers of all genres. One artist that has grown up with SummerStage is folk singer/songwriter Ani DiFranco.

Photography by David Atlas

DiFranco first appeared on the Rumsey Playfield stage for a free show on July 1, 1995 with Joan Osborne. She must have enjoyed it, because she has since returned to SummerStage four times! Ani DiFranco played ticketed shows in the park in 1997, 2001, 2003, and 2006, all with large audiences and great vibes.

With a musical career spanning over twenty years, DiFranco is known for her success despite her complete rejection of record label offers. Ani DiFranco has independently recorded and produced 21 studio albums, receiving Grammy nominations for four of them: Educated Guess, Reprieve, Knuckle Down, and Evolve. The latter album, Evolve, won the Grammy for Best Recording Package in 2004. Besides her studio albums, DiFranco has 3 EPs, 12 official bootlegs, and 3 videos in store, and is also featured on 11 “Various Artists” albums.

Click here to read an interview with Ani

about the making of Evolve.

Ani’s success lies not only throughout the United States, but all over the world. Her tours have flown her to (take a deep breath in): Australia, Belgium, Canada, France, Germany, Ireland, Italy, Japan, the Netherlands, Spain, Switzerland, and the UK. Many artists with the help of a record label can’t say they’ve traveled that much! She has also appeared at various well-known music festivals, some of which include Bonnaroo, Newport Folk Festival, the New Orleans Jazz & Heritage Festival, and Glastonbury.

Photography by: David Atlas

Ani DiFranco is an artist one can see play anywhere, from small venues like the State Theatre of Ithaca, NY to Madison Square Garden in New York City and Red Rocks Amphitheatre in Colorado. She has crossed paths and played performances with icons in the musical sphere like Bob Dylan, Pete Seeger, Gillian Welch, Bruce Springsteen, and many more.

With an influence on other musicians, activists, and the music business as a whole, Ani DiFranco’s work and music has changed the way the music industry works. Her passion drives her career and her popularity proves that music can make a difference in the world.

SummerStage is proud to boast that this incredible musician has played at our venue, Rumsey Playfield, five times. With the help from artists like Ani DiFranco playing ticketed shows, SummerStage is able to provide New York City with free programming throughout the summer. So, thanks Ani!

Video from Billboard Magazine:

To see a complete list of her upcoming shows, visit:

http://www.righteousbabe.com/tour/index.asp#ani

13 Feb

And the Grammy goes to…

Posted by cityparksfoundation in Concerts, SummerStage. Tagged: , , , .

By Alexandra Light

Congratulations to all SummerStage alums for their nominations in the 2012 Grammy awards, but a special mention to all those who won! SummerStage is proud to boast a long list of past performers who, last night, were named this year’s Grammy award winners. Your hard work has paid off, well done! Congrats to:

 

Booker T. Jones: The Road From Memphis

Levon Helm

Best Pop Instrumental Album

SummerStage 1994 (with Booker T. & the MG’s)

 

Levon Helm: Ramble At The Ryman

Best Americana Album

SummerStage 2007 & 2011

 

Melanie Fiona (w/Cee Lo Green): Fool For You

Best Traditional R&B Performance

SummerStage 2011

 

Rebirth Brass Band: Rebirth Of New Orleans

Best Regional Roots Music Album

SummerStage 1987, 1990, 2000, & 2005

Cachao (2000)

 

Cachao: The Las Mambo

Best Tropical Latin Album

SummerStage 2000

 

Tinariwen: Tassili

Best World Music Album

SummerStage 2010

 

Béla Fleck (w/ Howard Levy) composers (Béla Fleck & The Flecktones): Life In Eleven

Best Instrumental Composition

SummerStage 2001 (& The Flecktones) & 2009 (solo)

Bela Fleck with Oumou Sangare

7 Feb

Your backstage pass to Little Miss Muffet’s Monster-Sitting Service

Posted by cityparksfoundation in CityParks Kids, Marionette Theatre, Puppets, Uncategorized.

By Alexandra Light

Meet Molly Muffet

The current production at the Swedish Cottage Marionette Theatre is a charming puppet show featuring Molly Muffet (the great–great–great–great granddaughter of the original, “Little Miss Muffet”). Written and directed by Doug Strich, Little Miss Muffet’s Monster-Sitting Service tells the story of what happens when the little girl sets up a monster-sitting program while her parents are away for a high school reunion.

Molly and Al

But have you ever wondered what it is like behind the scenes of a marionette puppet show? Or possibly how long it takes to produce one? The idea for Little Miss Muffet’s Monster-Sitting Service began to formulate in 2008. That was when Strich began to think of characters and a story line to fit them all together.

It was not until two years later (2010) that Strich began to write the script for the production. Once finished, it was time to build the puppets. The crew began building the puppets in June of 2011, and has continued to improve and touch up the characters since then.

Building one of the puppets

Auditions were held in mid-October to cast puppeteers and voiceovers, and the cast began rehearsals in December of 2011.The puppeteers stand on a bridge 14 ft. above the stage as they maneuver the puppets’ many strings. There are strings to move parts of the characters that one would not even think of, like the blinking of an eye. To find out more about the act of puppetry, simply attend a show! Before the show starts, a puppeteer comes out into the audience to show the children and their parents exactly how they are able to control the many movements of the characters.

Doug Strich demonstrates marionette puppetry

Little Miss Muffet’s Monster-Sitting Service opened on January 17 and will run through September, 2012. The Swedish Cottage Marionette Theatre currently shows the production every Tuesday-Friday at 10:30am and noon, as well as every Saturday and Sunday at 1:00pm.

30 Jan

Staff Profile: Doug Strich

Posted by cityparksfoundation in CityParks Kids, Marionette Theatre, Puppets.

By Alexandra Light

Doug Strich is the writer and director of Little Miss Muffet’s Monster-Sitting Service, currently playing at the Swedish Cottage Marionette Theatre. To most, his career path would probably not be considered mainstream, but rather an interesting occupational choice. What sparks one’s interest in this type of puppetry? And, if you are interested in this type of theatre, how does one become employed in it?

Exposed to marionette puppetry at a young age, Doug Strich was always interested in the performing arts. “I was always an artsy kid,” Strich says, having been involved in drama and theatre throughout his childhood years. He went on to say that he always had marionettes growing up, “but never thought of them as anything more than a toy.”

That all changed after working with, and learning from, James Racioppi, the artistic-stage director at the Paper Moon Puppet Theatre in New Jersey. By working with Racioppi, Strich learned the ropes (or, strings) to the construction and production of marionette puppet shows. While working at the Paper Moon Puppet Theatre, he also worked on puppets for Nicolas Coppola of Puppetworks, inc. in Brooklyn, NY.

After 13 years in the business, marionette theatre is obviously Doug’s favorite form of puppetry (which, you may not know, is only one of the many different styles). Marionette puppetry involves the entire figure, as opposed to other styles where the audience only sees the top half of the character. “It’s more of a challenge,” says Strich, because it requires more skill and detailed movement. Not to mention that the “bridge” (where the puppeteers stand, maneuvering the puppets on stage) is 14ft above the stage. This is a remarkable eight feet higher than bridges in typical marionette theatres. Therefore, it is even more difficult to control the puppets on stage, but with proper foresight of movement both on stage and above, everything runs smoothly. “We have different, weird concerns than most theatres,” Doug stated when discussing the need for detailed puppeteer choreography, which is a major portion of the writing process.

Demonstrating the skills of a puppeteer

Doug Strich’s career at the Swedish Cottage Marionette Theatre began in 2007, when a friend of his father’s mentioned hearing a news report about the theatre. Doug first worked as an assistant for Addis Williams during the production of Pippi, which, besides Little Miss Muffet’s Monster-Sitting Service, Doug said was his favorite production to work on. “It was a lot of fun, and it’s a Swedish play in a Swedish theatre so, ya know.” It simply worked.

Dilligently taking notes on the progress

Strich did a great deal of writing puppet shows while in college. Some of the productions he wrote include A Midsummer Night’s Dream, A Christmas Carol, and Rumpelstiltskin (his favorite childhood story). In addition to writing Little Miss Muffet’s Monster-Sitting Service for the Swedish Cottage Marionette Theatre, Doug Strich wrote Bessie’s Big Shot for the CityParks PuppetMobile this past summer. He helped build the four puppets as well, and assisted in directing the program. Working at the Swedish Cottage enables him to explore his own talents, (like producing, writing, and directing) as well as gives him opportunities to improve, which is why he loves it. He is currently in the process of writing a marionette version of Puss in Boots, and as he says, he has “always got lots of ideas.”

Doug has been working on the current production since 2008, shortly after his arrival at the Swedish Cottage. The show took him four years to write and develop, but in the eyes of the artist, it is never completely finished. Strich said he could have worked on it for five more years, making minor changes and alterations. Since the beginning of the writing process, he has made major cuts to the play, for instance the inclusion of main character Molly’s parents and grandparents as puppets in the show. “It was an intense build from start to finish,” said Doug as he discussed the building of the puppets. The building process began towards the end of June and the crew is continually improving them.

Working on the mechanics of the giant spider, Al

The initial idea for Little Miss Muffet’s Monster-Sitting Service came to him through his path towards self discovery. He began to do a lot of drawing, specifically of different animals similar to the characters in this production. He had a lot of ideas, but couldn’t quite figure out where to fit a giant spider into a storyboard. An artist’s brain moves in mysterious ways, and so Doug’s thought process went from spiders to nursery rhymes to Little Miss Muffet to… monsters. “Kids like monsters,” Doug said, justifying the monster-sitting service.

He further explained that if he were to be any one of the characters, it would be Molly. “She’s basically my inner child,” he said, “she loves monsters and isn’t afraid of anything.” As a kid, Strich loved monsters, dinosaurs, and even mad scientists, further exemplifying that this play is written from the perspective of a “little boy’s brain.” Which character would Doug want to be? Al, or otherwise known as Aloisius Albrecht Alviss Spider, the giant spider who years ago sat on the tuffet with Little Miss Muffet. Doug said, “he’s pretty cool.” Judging by that description, who wouldn’t want to be Al?

Doug and Molly: two characters of the same spirit

Now that the production is in full swing, Doug spends his days watching the show and taking notes. The company did not get as much rehearsal time as usual, so by taking notes and observing he is able to tweak and improve the performance. There are days where he is still finishing painting puppets and adding finishing touches to the characters. There’s definitely a lot more work put into these productions than one might think, and Doug Strich has proven to be the perfect man for the job.

23 Jan

SummerStage Alumni- Amos Lee

Posted by cityparksfoundation in CityParks Concerts, Concerts, NYC, SummerStage.

By Alexandra Light

Every year, SummerStage hosts over 100 performers in parks citywide. Many of these shows are free to the public, and feature unknown, up and coming artists. Did you know that the wonderfully talented Amos Lee performed at Rumsey Playfield? Probably not. And if you were at that show, you probably didn’t know how successful he would end up becoming. (Or maybe you can see the future… in which case you’re probably focusing on more important issues like whether the world is going to end this year, rather than fussing about which SummerStage performers will make it big in the music business.)

Amos Lee, a now established and accomplished singer/songwriter from Philadelphia, played at Central Park SummerStage almost eight years ago. Lee had just begun his musical career, with just his first EP with Blue Note Records released that year. He performed at SummerStage with Charlie Musselwhite and the North Mississippi All Stars on July 17, 2004.

Photo from: photos.lucywho.com

Since Amos Lee’s SummerStage appearance, he has played with a number of incredible artists, including, but not at all limited to, Norah Jones, Bob Dylan, Elvis Costello, Paul Simon, the Dave Matthews Band, Lucinda Williams, Merle Haggard, and John Prine. To top that lovely list off, Amos Lee toured with chart-topper Adele through the UK and Scotland this past fall.

In the last eight years, Amos Lee has produced four albums: Amos Lee (2005), Supply and Demand (2006), Last Days at the Lodge (2008), and Mission Bell (2011). Most recently, prior to his European tour with Adele, Amos Lee released iTunes Live From Soho EP (2011), an eight-piece live recording of a show at NYC’s Apple Store SoHo.

Photo from: www.americansongwriter.com

On his latest album, Amos Lee teamed up with Calexico to produce Mission Bell, which featured collaborations with Willie Nelson, Lucinda Williams, and many more. The album sold 40,000 copies and was #1 on the Billboard Top 200 chart the week it was released.

Amos Lee’s musical career has certainly skyrocketed since his performance on the Rumsey Playfield stage. His success is exemplified by his frequent sets at well known music festivals (Bonnaroo, Coachella, Newport Folk Festival, etc.) and appearances at various famous venues. Lee’s musical career has taken him around the world to countries throughout Europe, North America, and Australia. This past year, while promoting the release of his latest album, he was featured on several television shows such as The Tonight Show with Jay Leno, The Ellen DeGeneres Show, and The Late Show with David Letterman.

Video from: The Ellen DeGeneres Show

Many who went to see the July 17, 2004 show at SummerStage had probably never heard of Amos Lee before. Maybe they loved the performance so much that they became die-hard fans and haven’t missed one of his gigs since. Maybe they completely forgot about him until hearing Windows Are Rolled Down one morning on WFUV. No matter what, SummerStage will always take pride in his show here, before his name meant much in the music world.

So there you have it; you never know who you might see at SummerStage shows. Or better yet, you never know who they might become in the future. All the more reason to check out the free shows around the city this summer… keyword: FREE!

9 Dec

Life After SummerStage

Posted by cityparksfoundation in CityParks Concerts, Concerts, East River Park, NYC, Queens, SummerStage.

By Clare Lanning

“Welcome home Clare,” was the thought running through my head like a flashing sign as my Dad and I made the long, four-hour drive in his station wagon back to school at Ohio University in Athens, Ohio, for my senior year. What used to look so familiar and ordinary to me each time I made the ride down to school, now looked odd. Hills surrounded me as I glared out each sunny window as we made our way through and around the Appalachian Mountains. As beautiful as they are, I found myself missing a different type of scenery when Lykke Li, “Little Bit,” began blaring on my NYC play list taking me back to the life I had just left. I took out my new Iphone, key survivor tool while living in any city despite my mother’s belief, and took a picture to send to my city girl and fellow intern, Hana. “Different view,” I titled the picture message as she replied, “Oh, very different!” I began to miss my fresh Empire State of Mind, which was just in my grasp a few short days ago. My internship at City Parks Foundation and SummerStage was more than ever on my mind as I couldn’t help but switch into the reality of my country college state of mind.

Ohio view

New York City view

After a few weeks into school, I began settling down and getting into the swing of things back in my Ohio life. I received an email from the director of the Scripps School of Journalism at Ohio University, Dr. Stewart, inviting me to be a part of a discussion panel during one of his classes answering questions and talking about my internship. I jumped on the opportunity to share my amazing experience as a Marketing and Public Relations Intern with City Parks Foundation. Once arriving at the panel, I sat down beside a few other students who also had experienced awesome internships out of state. I looked up at at the lecture hall full of younger classmates with their hands up. All it took was one student to ask where I did my internship, and what the experience was like, to have all my amazing memories and experiences in the Big Apple rush back into my head. Having the opportunity to be an intern with City Parks Foundation is more than just being a part of the only independent, non-profit organization to offer programs in all the five boroughs which also publicizes the city’s largest performing arts festival, SummerStage, it provided me with an experience of a lifetime. You must be asking yourself, “How much better can it get?”           Let me tell you -  a lot.

Each time I got off my subway stop at Fifth Avenue and walked through Central Park to City Park Foundation’s office, I had to pinch myself that it  wasn’t a dream to intern with this organization and work in an office where I am close enough to hear the seals bark in Central Park Zoo. I miss the office life where I received real public relation experience by pitching to major publications throughout Downtown Manhattan, informing them of how, “Your publication is the perfect fit for what dance, music, and theater performances are coming their way.”  I had to remind myself to calm down, and that everything was cool, I am only about to pitch a show to the editor at New York Daily News!  Waiting anxiously by the phone to have Huffington Post call me back, I’d forgotten to eat lunch when one of my bosses told me, “You just entered the public relations world, it never stops for lunch!” And  when I left the office and went to work on site, I would see the benefits of my work as an integral part of City Parks Foundation and SummerStage.

When I think of my favorite memories as an intern, I think of traveling to sites in all five, unique boroughs to work at the citywide shows. It was always an adventure to get to the designated park that day. Whether it was traveling in the Park’s car an hour- and-a- half away to Springfield Park in Queens, and on the way singing oldies or Blind Melon on the radio with my boss Georgia and our choir of interns squished in the back, we made the most of it. Or, sprinting through East River Park during a thunderstorm, dodging falling trees with my boss Sin to catch an MTA bus, such escapades became commonplace.  Even if I was getting  to a performance on my own, it was always fairly easy to find the park because, once I got off the subway, all I had to do was follow the sounds of an opening DJ, the beats of Step Afrika, the smell of the food vendors, or the sight of the crowds  heading towards the park. Each park had a unique style and demographic of people. However, one thing was always the same: once you put on the staff pass, you felt empowered and that you were a part of something which helped contribute to revitalizing neighborhoods.  People in the neighborhood came up to us smiling, dancing, and singing in gratitude. I miss the different cultures that I learned about in each borough, and how the people came up to our marketing tent eager to share their life stories or find out who would be coming to perform at their park the next day. I miss the smiling kids who would come up to us interns and asking if they could help us pass out the SummerStage books on the streets. I miss seeing girls up in Harlem make signs and go nuts when they saw their Latin superstars, Bachata Heightz. I miss watching older couples dance at Tappen Park in Staten Island as they are serenaded by the Irish wonder Andy Cooney. Towards the end of the SummerStage season, and at my internship, the huge city of New York became less intimidating after I was given the opportunity to explore the boroughs and people within them who had shared their cultures with me and their appreciation for City Parks Foundation’s programs.

East River Park was one of my favorite parks

and Queensbridge Park was the other!

Now, of course, I could not explain this all to the classroom full of students.  Even this blog post does not describe every little detail of my amazing experience.        Even though SummerStage is done for the season, no matter what the season is, SummerStage is always alive in the spirit of the people who contribute to it. People are always anticipating what programs will be around next season, and the empty stage venues are a constant reminder of the performances that took place and that will take place. It is said that you truly never appreciate anything until it is gone, but there is always next summer to look forward to! As for my life after my internship in New York City and with the “big” stages in all the boroughs, I hope to come back and start my career there so I will truly feel welcomed “home.”

Handing our brochures before a show.

2 Dec

Congrats SummerStage Alums Earning 2012 Grammy Nominations

Posted by cityparksfoundation in CityParks Concerts, Concerts, NYC, SummerStage.

SummerStage is thrilled to present the list of past SummerStage artists, from 1986 – 2011, who have been nominated for 2012 Grammy Awards.

A note from SummerStage Artistic Director Erika Elliott on this year’s nominees: “As Artistic Director, my hope is that we are able to present the widest cross-section of contemporary music possible to represent New York City.  It is an enviable albeit challenging task to represent the incredible diversity and vibrancy that is New York City, but I am proud to say with nominees in virtually every genre of the nominations, it seems we do a good job of covering as much music ground as possible …”

Best Pop Duo/Group Performance

  • The Black Keys – SummerStage 2010

    The Black Keys. Photo by David Atlas

Best Pop Instrumental Album

  • Booker T. Jones – SummerStage 1994 (with Booker T. & the MG’s)
  • Brian Setzer – SummerStage 1999 (with The Brian Setzer Orchestra)

Best Rock Performance

  • The Decemberists – SummerStage 2005 & 2007

Best Rock Song

  • The Decemberists – SummerStage 2005 & 2007

Best Rock Album

  • Wilco – SummerStage 2003

Best Alternative Music Album

  • Death Cab for Cutie – SummerStage 2005

Best R&B Performance

  • Ledisi – SummerStage 2009

Best Traditional R&B Performance

  • Melanie Fiona (w/Cee Lo Green) – SummerStage 2011
  • Raphael Saadiq – SummerStage 2002 & 2010

    Raphael Saadiq. Photo by Amanda Cuttler

Best R&B Song

  • Ledisi Young (w/Charles Harmon & Claude Kelly) – SummerStage 2009

Best R&B Album

  • Ledisi – SummerStage 2009

Best Rap Performance

  • Wiz Khalifa – SummerStage 2011

Best Country Duo/Group Performance

  • Kenny Chesney Featuring Grace Potter – SummerStage 2006 (Grace Potter & the Nocturnals)

Best Improvised Jazz Solo

  • Sonny Rollins – SummerStage 2003 & 2008

Best Jazz Instrumental Album

  • Gerald Clayton – Charlie Parker Jazz Festival 2011
  • Sonny Rollins – SummerStage 2003 & 2008

    Sonny Rollins in 2008. Photo by Laura Hanifin.

Best Gospel Song

  • Donald Lawrence – SummerStage 2000

Best Latin Pop, Rock, Or Urban Album

  • Calle 13 – SummerStage 2006 & 2009
  • Los Amigos Invisibles – SummerStage 2000 & 2010

Best Tropical Latin Album

  • Cachao – SummerStage 2000

Best Americana Album

  • Ry Cooder – SummerStage 1994
  • Emmylou Harris – SummerStage 2004, 2005 & 2011
  • Levon Helm – SummerStage 2007 & 2011
  • Lucinda Williams – SummerStage 1989, 1992, 2002 & 2004

    Emmylou Harris in 2011. Photo by Aylin Gucalp.

Best Bluegrass Album

  • The Del McCoury Band – SummerStage 1997

Best Blues Album

  • Warren Haynes – SummerStage 2010 (w/ Government Mule)

Best Folk Album

  • Steve Earle – SummerStage 1998 & 2001
  • Gillian Welch – SummerStage 1997 & 2004

Best Regional Roots Music Album

  • Rebirth Brass Band – SummerStage 1987, 1990, 2000 & 2005
  • Steve Riley & The Mamou Playboys – SummerStage 1995

Best Reggae Album

  • Monty Alexander – SummerStage 1996
  • Ziggy Marley – SummerStagen 1996, 1997, 1999 (w/ The Melody Makers) & 2009 (solo)

Best World Music Album

  • Femi Kuti – SummerStage 1995, 2000, 2005 & 2007
  • Ladysmith Black Mambazo – SummerStage 1997
  • Tinariwen – SummerStage 2010

    Femi Kuti in 2007. Photo by David Atlas.

Best Instrumental Composition

  • Béla Fleck (w/ Howard Levy) – SummerStage 2001 (&The Flecktones), 2009 (solo)

Best Long Form Music Video

  • TV on the Radio – SummerStage 2009

21 Nov

City Parks Foundation/Richard Rodgers Foundation Announce Performing Arts Grant

Posted by cityparksfoundation in NYC.

Grant application period:                        November 14, 2011 – February 17, 2012
Grant letter of intent deadline:              December 16, 2011
Grant Consultation & Facility Tour:    January 18, 2012, 6:00-8:00 PM
Grant application deadline:     February 17, 2012, postmarked no later 5:00 PM
Grant award notification:                         Within four to eight (4-8) weeks


Grant Announcement
City Parks Foundation is pleased to announce the establishment of a $25,000 Richard Rodgers Amphitheater Performing Arts Grant, a one-time grant award program intended to attract premier arts presenters and groups to produce works at the newly constructed Richard Rodgers Amphitheater in Marcus Garvey Park, New York City.

City Parks Foundation (CPF) is a not-for-profit organization which works in over 750 parks citywide and presents a broad range of free arts, sports, environmental education, and community building activities that reach more than 600,000 each year and contribute to the revitalization of neighborhoods throughout New York City.

In keeping with its mission to connect people with their neighborhood parks, CPF was proud to play a lead role in the project development of the new Richard Rodgers Amphitheater at Marcus Garvey Park in Historic Harlem, New York City.   In early 2009, CPF secured a generous $1 million gift from the Rodgers Family Foundation to hire an architectural firm, Cooper Robertson, to design a new amphitheater and band shell to replace the previous facility.  Over the course of the following year, and in conjunction with the New York City Dept. of Parks & Recreation, CPF met with park groups and Harlem residents to solicit suggestions for the final design, which was submitted to the capital projects division of the Parks Dept.

The Parks Dept. broke ground for the new facility in the autumn of 2010 and over the following year, CPF continued to play an active role in overseeing the construction of technical components of the amphitheater.  CPF was thrilled to see the Richard Rodgers Amphitheater officially open to the public on schedule at a ceremony held on June 2, 2011.

CPF is pleased to announce that the project came in under budget, empowering us to grant arts presenters and/or groups to apply for funding based upon the requirements outlined in this document.

Overview
The CPF/Richard Rodgers Foundation Performing Arts Grant is a one-time program in support of arts presenters and groups based in Historic Harlem, New York City.  A total of $25,000 in funding will be awarded in three to five grants ranging from $5,000 to $10,000 each to cover eligible expenses as defined in this document.

To apply, the presenter must fall into one of the two following categories:

Category 1, Arts Presenting Organizations

To apply, the arts presenting organization must:

  • be a 501(c)(3) not-for-profit organization
  • present free or low-cost music, dance, theater, or multi-disciplinary performing arts programs as its primary organizational mission
  • have presented a minimum of five (5) free or low-cost public programs within the last year
  • be based in New York City, with priority given to presenters based in Historic Harlem and/or in near proximity to Marcus Garvey Park, located from Mount Morris Park West to Madison Avenue between E. 120th and E. 124th Street

Category 2, Artists
To apply, the artist named in the application must:

  • have performed as a professional individual, group or company for a minimum of three (3) years
  • have presented a minimum of five (5) public programs within the last year; presenter or venue references are required
  • be based in New York City, with priority given to groups based in Historic Harlem and/or in near proximity to Marcus Garvey Park, located from Mount Morris Park West to Madison Avenue between E. 120th and E. 124th Streets

Grant Letter of Intent
Preference will be given to applicants that submit a one-page letter of intent to apply for funding no later than December 16, 2011.  The letter should be attached as a PDF file and e-mailed to ArtsGrants@CityParksFoundation.org with the subject heading “Richard Rodgers Grant Letter of Intent.”

Grant Consultation and Facility Tour
Applicants with questions regarding the grant application process and/or the physical Richard Rodgers Amphitheater facility are encouraged to attend a consultation workshop and tour to be held at the facility on January 18, 2012, from 6:00-8:00 PM.  The amphitheater is located in Marcus Garvey Park adjacent to the Pelham Fritz Recreation Center off of Mount Morris Park West and 123rd W. 23rd Street.


Grant Applications Packages
All applications package materials must be postmarked or hand delivered no later than 5:00 PM, February 17, 2012 to:

City Parks Foundation

CPF/Richard Rodgers Foundation Grant

830 Fifth Avenue

New York, NY 10065
Incomplete packages will not be accepted.  All materials submitted as part of the application process will become the property of CPF and will not be returned.  It will not be necessary to have your letter of intent approved before submitting a full application package, but preference will be given to those packages prefaced by a letter of intent.

The package must include:

  • One (1) stapled completed application form, with an original signature, clipped to a selection of the ensemble’s and/or presenter’s recent publicity and press materials (e.g., brochures, postcards, releases, and reviews from print and digital media). Submit at least three (3) but no more than five (5) examples.
  • Six (6) additional stapled copies of the application form
  • One (1) copy of a CD-R / DVD work sample with no more than 3 work samples with a max length of 15 minutes total
  • One (1) copy of the applicant’s 501(c)(3) IRS tax-exempt determination letter (or equivalent)
  • One (1) copy of the presenter’s audited financial statement, or IRS Form 990, or IRS Form 990EZ from the most recently completed fiscal year
  • One (1) copy of the presenter’s operating budget for the year in which the performance(s) will take place

Application Form
The application form is available to download from the City Parks Foundation website at CityParksFoundation.org

The Project
The application must include a detailed description of the project to be presented.  The award will fund concert, dance, theater or multi-disciplinary projects that feature live performances only.  Projects that evoke the history or ethos of Marcus Garvey Park and/or its surrounding neighborhoods in Historic Harlem will be given special consideration.

Applicants must submit a proposal compatible with the organization or group’s mission and document a history of creative programming, sound administrative practices, professional production capabilities, and a viable strategy for attracting audiences to the proposed program(s).

Applicants may propose one or more programs that will be free to the general public.  The program(s) must be performed at the Richard Rodgers Amphitheater and must be produced between the months from June to September in calendar year 2012 or 2013.  The maximum audience capacity of the Richard Rodgers Amphitheater is approximately 3,000.
Budget and Eligible Expenses
The grant will provide up to 75% of the eligible expenses, which the presenter or group must match with a minimum of 25% contributed income.

Applications may request funds from $5,000–$10,000 for such eligible expenses as talent fees, travel, and accommodations; production personnel and equipment; and marketing and publicity expenses for the proposed programs(s).

In the written application, the presenter or group must itemize a project budget that includes expense and income projections with an explanation of each budget item. Income projections must indicate whether contributed revenues are confirmed, pending, or yet-to-be requested at the time of application.  Presenting organization applicants must also summarize annual operating and program presenting budgets and provide hard copies of an audited financial statement (or IRS Form 990, or IRS Form 990EZ) from the most recently completed fiscal year, including the organization’s operating budget for the year in which the proposed project will take place.

Work Sample
Applicants must submit a CD-R / DVD work sample for consideration by the review panel.  The panel typically reviews a minimum of 3-5 minutes of the work sample.  The work sample should demonstrate the highest caliber of work from the presenter or group.

The work sample:

  • must be in CD-R format or DVD format; no mp3s or CDs
  • must have the applicant’s name on the CD-R face
  • must feature content recorded within the past three (3) years and performed by the personnel named on the application form
  • must include at least fifteen (15) minutes of content
  • may contain content from a live performance, studio/home recording, or a commercial disc

Panel review

A panel of professional arts presenters from a variety of disciplines will review the applications.

The panel evaluates the written application based on:

  • the relevance of the project to the applicant organization or group’s mission
  • the organization or group’s history of presenting
  • the proposed program
  • the project and organizational budgets
  • the marketing plan for reaching audience(s)
  • the applicant’s capacity to successfully accomplish the project
  • the relevance of the project to the community of Historic Harlem

The panel evaluates the work sample based on:

  • overall artistry, fidelity and cohesiveness
  • originality of the work(s)
  • the quality of the production

Support
For questions regarding the application, e-mail:  ArtsGrants@CityParksFoundation.org

 

19 Oct

Throughout the Years

Posted by cityparksfoundation in CityParks Concerts, CityParks Kids, Concerts, Kids, NYC, Puppets, SummerStage.

By Maggie Margolis

As I conclude my third summer working at SummerStage, I can’t help but reflect on each summer and how very different they have all been.

My first summer was in 2009 and I was an Operations Intern and an usher for SummerStage. Through this position, I saw the behind the scenes work that goes into every season. I was able to see the immense amount of work that goes into each season in the office and then watch it come alive for 5,000 New Yorkers at each Mainstage show.

Last summer, I worked as a programs assistant for what was then called CityParks Kids. I was now exposed to yet another aspect of the City Parks Foundation. Unlike our shows in Central Park, the kids program does not have a permanent venue. Our staff was responsible for traveling all over New York City to set up and take down our own performance space. We were accountable for all aspects of the show. Some mornings, we would show up to a park where there would be almost no kids and then by show time, hundreds would arrive.  It was amazing to see parks, playgrounds and basketball courts become a stage where New York City kids could learn about all different art forms and cultures.

This year, I am working with SummerStage Kids again. I can say it has truly been a different experience from my previous year. No show is ever the same. I always had to be prepared for whatever that morning’s performance was going to throw at me. I worked with several artists across different parks throughout the city, and it was always remarkable to see how the different audiences would respond.

I have returned to SummerStage year after year because I am continuously learning about different genres of music, dance, theater, storytelling, puppetry and more through the eyes of thousands of New Yorkers. Whether it’s at Mainstage where patrons wait in line for hours to get into a concert or kids getting up in front of 300 of their peers for a dance contest.

Maggie reading before a SummerStage Kids performance

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