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    Philip J. Smith, a Power on Broadway, Is Dead at 89

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyThose we’ve lostPhilip J. Smith, a Power on Broadway, Is Dead at 89As head of the Shubert Organization, he was one of New York City’s most influential real estate and cultural entrepreneurs.Philip J. Smith in 2008. He was the hidden hand on Broadway, negotiating booking contracts with producers and labor contracts with theatrical unions in a multibillion-dollar industry.Credit…Sara Krulwich/The New York TimesPublished More

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    Cuomo Outlines Plans to Revive Arts and Culture Industries

    #masthead-section-label, #masthead-bar-one { display: none }Covid-19 VaccinesVaccine QuestionsRollout by StateBiden’s PlansHow 9 Vaccines WorkAdvertisementContinue reading the main storySupported byContinue reading the main storyCuomo Outlines Plans to ‘Bring Arts and Culture Back to Life’Gov. Andrew M. Cuomo said that New York urgently needs to bring the arts back — not only to help jobless artists, but to make sure that New York City survives.“New York City is not New York without Broadway,” Gov. Andrew M. Cuomo said on Tuesday in unveiling plans for the arts. Theaters have been closed since March because of the pandemic.Credit…Daniel Arnold for The New York TimesJan. 12, 2021Updated 4:46 p.m. ETDeclaring that New York urgently needs to revive its arts and entertainment industry if it is to recover from the coronavirus pandemic, Gov. Andrew M. Cuomo said Tuesday that the state would begin taking a series of interim steps to help to bring back some cultural events in the short term and put more unemployed artists back to work.“We must bring arts and culture back to life,” Mr. Cuomo said as he continued a weeklong series of policy addresses outlining his agenda for the state.The governor said that bringing back art and culture was crucial — not just to help artists, who have suffered some of the worst unemployment in the nation, but to keep New York City a vital, exciting center where people will want to live and work.“Cities are, by definition, centers of energy, entertainment, theater and cuisine,” Mr. Cuomo said, noting the threats the city is facing from the rise in remote work, crime and homelessness. “Without that activity and attraction, cities lose much of their appeal. What is a city without social, cultural and creative synergies? New York City is not New York without Broadway.”Mr. Cuomo said that the state would begin a public-private partnership to offer a series of statewide pop-up concerts featuring artists such as Amy Schumer, Chris Rock, Renée Fleming and Hugh Jackman; begin a pilot program exploring how socially distant performances might be held safely in flexible venues whose seating is not fixed; and work in partnership with the Mellon Foundation to distribute grants to put more than 1,000 artists back to work and provide money to community arts groups.The governor said that the state could not wait until summer, when more people are vaccinated, to bring back performances.The public-private partnership, New York Arts Revival, which will offer pop-up performances featuring more than 150 artists beginning Feb. 4, will be spearheaded by the producers Scott Rudin and Jane Rosenthal, along with the New York State Council on the Arts. The plan will culminate with the opening of Little Island, the parklike pier being built downtown in the Hudson River by Barry Diller, and with the Tribeca Film Festival, which will celebrate its 20th anniversary in June..css-c7gg1r{font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:0.875rem;line-height:0.875rem;margin-bottom:15px;color:#121212 !important;}@media (min-width:740px){.css-c7gg1r{font-size:0.9375rem;line-height:0.9375rem;}}.css-1sjr751{-webkit-text-decoration:none;text-decoration:none;}.css-1sjr751 a:hover{border-bottom:1px solid #dcdcdc;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}.css-k59gj9{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;width:100%;}.css-1e2usoh{font-family:inherit;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;border-top:1px solid #ccc;padding:10px 0px 10px 0px;background-color:#fff;}.css-1jz6h6z{font-family:inherit;font-weight:bold;font-size:1rem;line-height:1.5rem;text-align:left;}.css-1t412wb{box-sizing:border-box;margin:8px 15px 0px 15px;cursor:pointer;}.css-hhzar2{-webkit-transition:-webkit-transform ease 0.5s;-webkit-transition:transform ease 0.5s;transition:transform ease 0.5s;}.css-t54hv4{-webkit-transform:rotate(180deg);-ms-transform:rotate(180deg);transform:rotate(180deg);}.css-1r2j9qz{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-e1ipqs{font-size:1rem;line-height:1.5rem;padding:0px 30px 0px 0px;}.css-e1ipqs a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;}.css-e1ipqs a:hover{-webkit-text-decoration:none;text-decoration:none;}.css-1o76pdf{visibility:show;height:100%;padding-bottom:20px;}.css-1sw9s96{visibility:hidden;height:0px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1prex18{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;font-family:’nyt-franklin’,arial,helvetica,sans-serif;text-align:left;}@media (min-width:740px){.css-1prex18{padding:20px;}}.css-1prex18:focus{outline:1px solid #e2e2e2;}Covid-19 Vaccines ›Answers to Your Vaccine QuestionsWhile the exact order of vaccine recipients may vary by state, most will likely put medical workers and residents of long-term care facilities first. If you want to understand how this decision is getting made, this article will help.Life will return to normal only when society as a whole gains enough protection against the coronavirus. Once countries authorize a vaccine, they’ll only be able to vaccinate a few percent of their citizens at most in the first couple months. The unvaccinated majority will still remain vulnerable to getting infected. A growing number of coronavirus vaccines are showing robust protection against becoming sick. But it’s also possible for people to spread the virus without even knowing they’re infected because they experience only mild symptoms or none at all. Scientists don’t yet know if the vaccines also block the transmission of the coronavirus. So for the time being, even vaccinated people will need to wear masks, avoid indoor crowds, and so on. Once enough people get vaccinated, it will become very difficult for the coronavirus to find vulnerable people to infect. Depending on how quickly we as a society achieve that goal, life might start approaching something like normal by the fall 2021.Yes, but not forever. The two vaccines that will potentially get authorized this month clearly protect people from getting sick with Covid-19. But the clinical trials that delivered these results were not designed to determine whether vaccinated people could still spread the coronavirus without developing symptoms. That remains a possibility. We know that people who are naturally infected by the coronavirus can spread it while they’re not experiencing any cough or other symptoms. Researchers will be intensely studying this question as the vaccines roll out. In the meantime, even vaccinated people will need to think of themselves as possible spreaders.The Pfizer and BioNTech vaccine is delivered as a shot in the arm, like other typical vaccines. The injection won’t be any different from ones you’ve gotten before. Tens of thousands of people have already received the vaccines, and none of them have reported any serious health problems. But some of them have felt short-lived discomfort, including aches and flu-like symptoms that typically last a day. It’s possible that people may need to plan to take a day off work or school after the second shot. While these experiences aren’t pleasant, they are a good sign: they are the result of your own immune system encountering the vaccine and mounting a potent response that will provide long-lasting immunity.No. The vaccines from Moderna and Pfizer use a genetic molecule to prime the immune system. That molecule, known as mRNA, is eventually destroyed by the body. The mRNA is packaged in an oily bubble that can fuse to a cell, allowing the molecule to slip in. The cell uses the mRNA to make proteins from the coronavirus, which can stimulate the immune system. At any moment, each of our cells may contain hundreds of thousands of mRNA molecules, which they produce in order to make proteins of their own. Once those proteins are made, our cells then shred the mRNA with special enzymes. The mRNA molecules our cells make can only survive a matter of minutes. The mRNA in vaccines is engineered to withstand the cell’s enzymes a bit longer, so that the cells can make extra virus proteins and prompt a stronger immune response. But the mRNA can only last for a few days at most before they are destroyed.Mr. Cuomo said that he hoped to expand rapid testing, including at pop-up sites, to make it easier for people to be tested before visiting restaurants or theaters in areas with low-enough rates of the virus. He pointed to the state’s experiment last Saturday at the Buffalo Bills game, when the state tested nearly 7,000 fans.There have been problems with rapid testing. While rapid testing machines are portable, and can swiftly provide results, many are not considered as reliable as other tests in people without symptoms. The White House had relied on rapid testing to keep President Trump and his inner circle safe by requiring all White House visitors to take the test, even though that was not the way the test was intended to be used.New York reported at least 196 new coronavirus deaths and 14,179 new cases on Monday, and the rate of positive tests continues to increase.Dr. Anthony Fauci, the top infectious disease expert in the United States, told performing arts professionals at a virtual conference on Saturday that he believed theaters could reopen sometime this fall with relatively few restrictions if the vaccination program was a success, though he suggested audiences might still be required to wear masks for some time.“By the time we get to the early to mid-fall, you can have people feeling safe performing onstage as well as people in the audience,” Dr. Fauci said.But vaccine distribution in the United States is behind schedule, and public health officials have struggled to administer the vaccine to hospital workers and at-risk older Americans.Mr. Cuomo said that New York could not wait for enough people to be vaccinated to achieve herd immunity before taking steps to revive its performing arts scene.“We’re looking at months of shutdowns,” he said. “We need to begin to act now. We can’t float along letting pain, hardship and inequality grow around us.”AdvertisementContinue reading the main story More

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    Fran Lebowitz and Martin Scorsese Seek a Missing New York in ‘Pretend It’s a City’

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyFran Lebowitz and Martin Scorsese Seek a Missing New York in ‘Pretend It’s a City’The Netflix series, featuring Lebowitz and directed by Scorsese, offers acerbic commentary and a sense of yearning for a pre-pandemic metropolis.Martin Scorsese and Fran Lebowitz, as seen in the new Netflix documentary series, “Pretend It’s a City,” are longtime friends. “It’s about being around Fran,” said Scorsese, who directed the series.Credit…NetflixJan. 7, 2021Updated 2:24 p.m. ETHad this past New Year’s Eve been a normal one, Fran Lebowitz and Martin Scorsese would have spent it as they usually do: with each other and a few close friends, in the screening room in Scorsese’s office, watching a classic movie like “Vertigo” or “A Matter of Life and Death.”The year they got together to see “Barry Lyndon,” they watched a rare, high-quality print made from the director Stanley Kubrick’s original camera negative.“And I said, ‘What’s a camera negative?’” Lebowitz recalled in a group video call with Scorsese on Tuesday. “And then all of the movie lunatics glared at me, like I admitted to being illiterate.”In previous years, when they were feeling especially energetic, Scorsese said with some audible melancholy, “We used to have one screening before midnight and then have another screening after.”But this time, their annual custom had to be put on hold. Instead, Lebowitz explained: “I talked to Marty on the phone. We commiserated about how horrible we felt, how awful it was not to be doing that.”Lebowitz, the author, humorist and raconteur, and Scorsese, the Academy Award-winning filmmaker, were speaking from their individual New York homes to discuss their latest collaboration, the documentary series “Pretend It’s a City.” They are longtime friends who, as they continue to wait out the coronavirus pandemic, have lately been unable to see much of each other or the city with which they are irrevocably associated.A similar, bittersweet air hangs over the seven-part series, which Netflix will release on Friday. A follow-up to Scorsese’s 2010 nonfiction film “Public Speaking,” “Pretend It’s a City” (which Scorsese also directed) chronicles the acerbic Lebowitz in interviews, live appearances and strolls through New York as she shares stories about her life and insights about the city’s constant evolution in recent decades.Of course, the Netflix series was initiated before the pandemic, and Lebowitz and Scorsese are supremely aware that it depicts a bustling, energized New York that now feels just out of reach — and which they both hope will return soon.In the meantime, “Pretend It’s a City” offers a tantalizing snapshot of New York in full bloom, along with Lebowitz’s lively and unapologetic commentary on what it means to live there.As she explained: “I don’t care whether people agree with me or not. My feeling if someone doesn’t agree with me is, OK, you’re wrong. That is one thing that I’ve never worried about.”Scorsese gently replied, “I had that impression.”Lebowitz and Scorsese spoke further about the making of “Pretend It’s a City” and the impact that the pandemic has had on them. These are edited excerpts from that conversation.”I have lived in New York long enough to know that it will not stay the way it is now,” said Lebowitz, who moved to the city in 1970.Credit…NetflixI was surprised to learn from “Pretend It’s a City” that neither of you recall when you first met.FRAN LEBOWITZ That’s because we’re old and we have many friendships. I don’t mean old in the sense that we don’t remember things, because I believe we both have perfect memories. But because there’s so many years and so many people. I guess we met at a party, because where else would I have met him? Obviously, I go to a lot more parties than Marty. That’s why Marty made so many movies and Fran wrote so few books.MARTIN SCORSESE I really recall us talking the most at John Waters’s 50th birthday party. It was after “Casino” came out.LEBOWITZ Of course, you were not averse to hearing how much I loved it.SCORSESE No, I was not at all.LEBOWITZ Even though I’m not as Italian as you might imagine [laughs], Marty’s parents and a lot of my father’s relatives — all of whom were working-class Jews — have a lot of parallels that are very well-known. The big difference is, the food is better in Italians’ houses.SCORSESE We liked the Jewish food better.LEBOWITZ No, no, no, there’s no comparison.After working together on “Public Speaking,” what made you want to collaborate on another documentary project?SCORSESE I enjoyed making “Public Speaking.” I found it freeing, in terms of narrative. But primarily, it’s about being around Fran. I really would like to know what she thinks, pretty much every day, as it’s happening. I’d like a running commentary — not all the time, but one that I can dip in and out of during the day.Do either of you worry that Fran is a finite resource and you will eventually exhaust her supply of wit?LEBOWITZ You mean, am I worried about running out of things to say? No. I am worried about running out of money. But it never even occurred to me that I would not have something to say. It’s just there. It’s like having a trick thumb.The series is divided into fanciful chapters like “Cultural Affairs” and “Department of Sports & Health.” How did you settle on these subjects?SCORSESE We always felt we should have topics. She’ll start on a topic, and then it’ll go off like a jazz riff into a thousand other places. Eventually, we might be able to pull it back. In a lot of the films I make, the types of actors I work with, the dialogue is like music — it’s the timing and the emphasis. She has that.LEBOWITZ Of course I am the world’s most digressive speaker, but what you’re really seeing at work is editing. I don’t remember how many days we shot this but I’m confident that it was an infinitesimal amount compared to how much time it took him to edit.SCORSESE I try to get that kind of freedom in my narrative films, but I very often am stuck to a plot.LEBOWITZ I am plot-free, so no problem. [Laughter.]Among the locations where you filmed Fran is at the Queens Museum, where we see her standing amid the Panorama of the City of New York, a highly detailed scale model that Robert Moses had built for the 1964 World’s Fair. What was it like to shoot there?LEBOWITZ I did knock over the Queensboro Bridge. The guy who’s in charge of that, the day we shot there, was in a panic the entire time. And I proved him right.SCORSESE That was the only time that I ever yelled “Action!” I don’t know what possessed me. It must have thrown you off or something.LEBOWITZ I did not destroy it, I just knocked it over.SCORSESE By the way, it is magnificent, that model.LEBOWITZ I’m not sure it makes up for Robert Moses. [Laughter.] It made you realize that if only Robert Moses had done everything in miniature, we wouldn’t hate Robert Moses.How did the pandemic affect the making of this series?LEBOWITZ We shot it way before there was a virus. When the virus happened, Marty said, “What should we do? What can we do?” At the height of the shutdown, I went out walking around the city, and Marty sent Ellen Kuras [the director of photography on “Pretend It’s a City”], and what she filmed was incredibly beautiful. But I said to Marty, “I think we should ignore it.”SCORSESE We tried it. We edited sequences. It was OK, and then a week later, the city changed again. All these stores were closed and they had boards up. A week later, something else changed. So I said, “Let’s just stop it.”LEBOWITZ We’re not journalists. We don’t have to be on top of the news.The series was filmed before the pandemic shut down much of New York. Looking back, what Lebowitz and Scorsese seem to miss most, aside from maybe hanging in person, is dining out. Credit…NetflixDoes the series feel different to you because of the pandemic?LEBOWITZ There’s a difference for sure. I thought of the title, “Pretend It’s a City,” when New York was packed with morons who would stand in the middle of the sidewalk. And I would yell at them: “Move! Pretend it’s a city!” The people who have seen it since then — an agent of mine said, “Oh, it’s a love letter to New York.” Before the virus, it was me complaining about New York. Now people think it has some more lyrical, metaphorical meaning.Do you worry that New York won’t fully return to what it was before the pandemic?LEBOWITZ I have lived in New York long enough to know that it will not stay the way it is now. There is not a square foot of New York City, a square foot, that’s the same as it was when I came here in 1970. That’s what a city is, even without a plague. But I’d like to point out, there were many things wrong with it before. After the big protests in SoHo, I saw a reporter interviewing a woman who was a manager of one of the fancy stores there. The reporter said to her, “What are you going to do?” And she said, “There’s nothing we can do until the tourists come back.” I yelled at the TV and I said, “Really? You can’t think what to do with SoHo without tourists? I can! Let me give you some ideas.” Because I remember it without tourists. How about, artists could live there? How about, let’s not have rent that’s $190,000 a month? How about that? Let’s try that.Has the pandemic ever made you feel more vulnerable or aware of your own fragility?LEBOWITZ It makes me feel angrier. Luckily, I have managed to distill all human emotion into anger. It doesn’t matter what the initial emotion is: It could be despair, sadness, fear — basically I experience it as anger. It makes me feel angry because this didn’t have to happen at all.SCORSESE I actually don’t know where I belong on the island. I grew up downtown when it was pretty tough in that area. Now it’s very chic. It’s no longer home for me, certainly. I’ve grown old, and out, in a way. I have been locked in and working on FaceTime. I have been trying to make this movie [“Killers of the Flower Moon”] since March. Every two days, they say we’re going. And then they say, no we’re not. It’s a state of anxiety and tension. But in any event, I really haven’t gone out that much. I can’t take a chance, either.The day the pandemic is over — there’s no longer any risk of the coronavirus and we can all return to our usual lives — what’s the first thing you do?SCORSESE First thing I would say is, please, to go to a restaurant. There’s a few that I’m missing a great deal. I’ll never eat outside. I don’t understand how you can sit there and the fumes from the buses come in. I don’t get it. It’s not Paris.LEBOWITZ I’ve been eating outside. There is no greater testament to how much I hate to cook than the fact I will sit outside in 28-degree weather, trying to eat with gloves on. I would like to eat at a restaurant. Also, I would like to crawl around underneath the tables in the rare book room at the Strand and when I bring the things to the register and the guy goes, “Where did you find this?” It was under the table. “We haven’t priced it yet! You’re not supposed to take it out from under there.” Well, I did, so how much is it?AdvertisementContinue reading the main story More

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    How the Networks Will Fill Airtime on a Quiet New Year’s Eve

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyHow the Networks Will Fill Airtime on a Quiet New Year’s EveIn a typical year, shots of raucous parties from around the world dominate news programming. This year, the networks had to get more creative.Times Square will be emptier than usual for New Year’s Eve this year, but TV networks are doing their best to fill the gaps with extra live performances and creative thinking.Credit…Michael M. Santiago/Getty ImagesDec. 30, 2020[Follow our New Year’s Eve live coverageWhat becomes of Times Square when you take away hundreds of thousands of cheering, shivering New Year’s Eve revelers?It may no longer be the “biggest, most exciting New Year’s Eve party on Earth.” But it may still be the night’s biggest TV production set.For this year’s pandemic New Year’s Eve, many television traditions will be scrapped, including the scenes of raucous celebrations across the world and impromptu interviews with exuberant party goers at bars and clubs, eager to say hello to their mothers and grandmothers back home.Instead, networks are doubling down on the segments that they can safely pull off. They’ve increased the number of performers and interview guests, decreased the number of crew members and brainstormed creative — and socially distant — locations to send their reporters to. (Instead of reporting from a crowd of partyers, for example, one CNN correspondent will report from a crowd of puppies, which are not known to spread the coronavirus.)So while the type of people who enjoy cramming themselves into crowds of strangers to watch the ball drop may be disappointed this year, the type that prefers to curl up and celebrate from their sofas will find their tradition largely intact.“In some respects it’s going to feel very similar to previous years,” said Meredith McGinn, an executive producer of NBC’s New Year’s Eve program, which is hosted by Carson Daly. “You will see the same confetti fly at midnight; you will see the ball drop.”But, like most things in 2020, there were some necessary adjustments.“Dick Clark’s New Year’s Rockin’ Eve” on ABC will send Ryan Seacrest roaming around a much emptier Times Square with a camera crew in tow — wearing a mask except when standing in designated areas. And CNN’s hosts, Anderson Cooper and Andy Cohen, will reunite in Times Square for an evening of interviews and cheeky ad-libbing. (The hosts are close friends who have been in each other’s social “bubbles” during the pandemic.)This year, the Times Square camera crews and riggings are confined to a space between 45th and 47th Streets. It usually stretches from 41st to 59th.Credit…Carlo Allegri/ReutersIn a typical year, Cooper and Cohen invite interview guests up to their riser overlooking the crowds; this year, the network will superimpose images of the guests’ full bodies beside the hosts in a technique that they will jokingly call “teleportation.” On NBC, rather than cutting to raging parties, the network will broadcast small family gatherings from inside their homes. Even the Times Square production set is smaller: While it typically stretches from 41st Street to 59th Street; this year it is limited to a space between 45th Street and 47th Street.“We had to reinvent Times Square,” said Jeff Straus, the president of Countdown Entertainment, which co-produces the event with Times Square Alliance. He described the set up as a theater in the round, with two stages at the center. Three huge screens will provide close-ups of what’s happening onstage for the small number of guests.Emergency medical workers, frontline workers and essential workers were invited to bring their families to sit in specially designated areas in Times Square and watch the array of performances. In total, somewhere between 100 and 160 guests are expected to be present for the 11 scheduled musical acts, including a seven-minute show by Jennifer Lopez leading up to the final countdown. Those guests will be the subjects of the on-camera interviews, rather than the partyers among dense crowds of people, some of whom wait in Times Square for a dozen or more hours to ensure good spots.To pull off the broadcast, networks must follow state guidelines on pandemic television production, as well as protocols set by the various unions representing the crews and performers. They’ve devised plans for testing production staffers for Covid-19 before New Year’s Eve and for feeding production staffers without letting them get too close to one another. (NBC rented additional space in Times Square to make sure crew members could eat and maintain proper distance.)On Thursday, network employees will work from separate locations when possible. The director of “Dick Clark’s New Year’s Rockin’ Eve,” Glenn Weiss, is overseeing the broadcast from his office on 46th Street instead of in the “Good Morning America” studio at Broadway and 44th Street. And NBC cameras are stationed on the third floor of the Renaissance New York Times Square Hotel, where the network had to remove some of the hotel’s windows so that bird’s-eye-views of the event would not be hindered by glare.All of the acts at Times Square will be live, including performances by Lopez, Gloria Gaynor, Billy Porter, Cyndi Lauper and Pitbull. Many other performances will occur on stages outside of New York — including those by Brandy, Megan Thee Stallion and Miley Cyrus, all from Los Angeles, for ABC.The networks have lined up more pretaped material than usual, however. (Most have not said which of the performances were filmed in advance.)Highlights of PBS’s prerecorded New Year’s Eve programming include an opening performance of “Lady Marmalade” by Patti LaBelle.Credit…Dan Chung/Mount Vernon Ladies’ AssociationOn PBS, a New Year’s Eve program, called “United in Song,” was filmed in November at the John F. Kennedy Center for the Performing Arts and in September at George Washington’s Virginia estate in Mount Vernon, where about 120 audience members watched from a distance and masked violinists were separated from unmasked brass players with plexiglass. NBC is showing a new Blake Shelton music video. Spectrum News NY1 will roll a highlight reel of its reporter Dean Meminger’s flashy New Year’s Eve suits over the years.And networks are getting creative in other ways to fill the holes formerly filled by crowd shots and partyers. CNN will have one correspondent getting a tattoo, another skiing down an Oregon slope wearing a GoPro and an appearance from Carole Baskin of “Tiger King” fame.With the pandemic driving people away from bars and restaurants and toward their living rooms, executives say it’s possible that there will be more viewers than ever before. ABC, which tends to have the highest viewership on the holiday, peaked last year at about 21 million viewers, according to news reports.“I can never predict what the Nielsen gods will bring,” said Mark Bracco, an executive producer on ABC’s program, “but we’re hopeful that most Americans will be home on their couches.”In a year in which more than 338,000 Americans have died from the coronavirus, viewers may notice a tonal shift compared with the goofy — and sometimes tipsy — coverage of years past. The Champagne popping and 2021 eyeglasses will be interspersed with appreciations of health care workers and emergency medical workers, as well as reflections on the lives lost and the economic hardship.On ABC, Seacrest will interview President-elect Joseph R. Biden Jr. and his wife, Jill Biden, a rare political interview of someone other than the New York City mayor.And on PBS, an opening performance of “Lady Marmalade” by Patti LaBelle in a gleaming white suit opens the hour-and-a-half program that includes more serious notes, including a monologue from the actress Audra McDonald about trailblazing women throughout history and from the playwright and actress Anna Deavere Smith about the history of the slave cemetery at Mount Vernon as she walks through those grounds. On CNN, John Mayer is slated to perform a tribute to lives lost this year out of Los Angeles.“We’re all going to be celebrating the end of this horrific year,” said Eric Hall, the executive producer of CNN’s program, “and we’re also going to be celebrating the beginning of what looks to be a hopeful year.”AdvertisementContinue reading the main story More

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    Miss the N.Y.C. Subway? These Radio Plays Bring It Back to Life

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyMiss the N.Y.C. Subway? These Radio Plays Bring It Back to LifeA new audio series from Rattlestick Playwrights Theater imagines the bustle of the trains before the pandemic — one story and one station at a time.From left: Alexander Lambie, Ren Dara Santiago and Julissa Contreras, contributors to an audioplay series with episodes set inside the No. 2 train, at the Wakefield 241 Street station in the Bronx.Credit…Simbarashe Cha for The New York TimesDec. 24, 2020Jasmine, a student at Brooklyn College, sprints across the platform to catch an idling train. She had lingered on the No. 2 a second too long, distracted by a performer-cum-mystic doling out free advice that felt eerily relevant. Now she was moments away from missing her transfer.“Don’t close the door, don’t close the door, don’t close the —” she prays under her breath, just as the subway car’s metal doors snap shut in front of her.So ends the first episode of “The M.T.A. Radio Plays,” a new series of audio dramas created by the playwright Ren Dara Santiago and directed by Natyna Bean, among others. The series, presented in collaboration with the Rattlestick Playwrights Theater, brings listeners inside a No. 2 train as it snakes from the Bronx to Brooklyn.Conceived as a love letter to city life in pre-pandemic times, each 10-to-15-minute episode is set at a stop on the No. 2 and tells the story of various New Yorkers as they navigate chance encounters with strangers, arguments with lovers or conversations with friends aboard the train.There are the subway buskers who storm train cars like tornadoes. There are eavesdropping riders who offer unsolicited advice and, often, welcomed camaraderie. There are the strangers who will not stand clear of the closing doors, the spirited child staring through a train window with glittering eyes and the omniscient voice of a conductor who keeps the train, and the city, moving through it all.Taken together, the plays elevate those once ubiquitous moments from the mundane trials of a daily commute that bind the city’s collective DNA.“When you claim New York, then naturally everyone who exists here is community,” Santiago said in a phone interview one recent morning. “You can exist in a neighborhood that is very specific, ethnically or otherwise, and feel like that is all of New York. But it’s on the subway where we get to encounter all these other identities.”Contreras wrote about a woman mulling a breakup who receives advice from a stranger.Credit…Simbarashe Cha for The New York TimesLambie’s episode follows a single mother diverted from visiting a romantic partner.Credit…Simbarashe Cha for The New York TimesFor New Yorkers, the series may feel like a nostalgic embrace. In the scrum of a rush-hour train, everyone from executives to office cleaners were pushed and shoved in a daily reminder that the New York hustle leaves few unscathed. Here too were the round-the-clock performances of Manhattan’s least expensive show, in which New Yorkers were at once audience members and leading actors performing scenes from their private lives on a public stage.That choreography is one Santiago knows well. The 28-year-old Harlem native spent her middle school days squeezing into packed No. 1 trains each morning and her early 20s slipping into No. 2 cars for her daily three-hour round-trip commute to work. (Like many of the playwrights involved in the series, she still relies on the No. 2 today).The first three episodes, which are available online at the Rattlestick website, begin at the northern tip of the line at the Wakefield-241 Street station in the Bronx. There, in a play by the 29-year-old Julissa Contreras, listeners meet the character named Jasmine as she is consumed by thoughts of a recent breakup and a subway performer offers her seemingly prophetic advice.The next episode, written by Alexander Lambie, 29, picks up 15 stops later at the Intervale Avenue station, where a single mother bumps into a friend and abandons a plan to visit a questionably committed lover. And at the Prospect Avenue station, the writer Dominic Colón, 44, introduces a young man whose angry call with his boyfriend prompts another rider to offer some sage advice.In a nod to the New Yorkers who make up the bulk of subway ridership today, every play also features at least one essential worker.Implicit in each vignette are the lofty life questions the playwrights wrestled with as the shrinking of urban life turned their gaze inward: What does a healthy relationship look like? How can you tell when to let go of love? How do we survive a love lost?“A lot of the inspiration are the unspoken love stories that we pass by as commuters each day,” Contreras said. “We wanted to focus on millennial lovers who are in this complicated space of finding themselves.”Of course this spring, those connections felt even more distant. With a suddenness as stunning as its deadly wake, the pandemic brought the city to a standstill.“You can walk around, close your eyes and feel like you’re inside the story,” Santiago says in praise of audio plays.Credit…Simbarashe Cha for The New York TimesAs theaters went dark in March, Santiago’s own Rattlestick debut production, “The Siblings Play,” was shut down days before its world premiere. By April, the subway had emptied of riders. Lives that were lived in multiple boroughs were suddenly confined to single neighborhoods.“We’ve lost perspective,” said Bean, 28, one of the series’ directors. “Being in our homes every day, we are left to our own assumptions and prejudices. We aren’t forced to engage with people we might not have otherwise if we hadn’t gotten on the train.”That is exactly the void that she and Santiago, approached by Rattlestick, set out to fill. In May they enlisted 17 playwrights to craft stories that reflected the people living in the communities served by the stations.By then, many theaters had moved online, with prerecorded performances and virtual play readings, many of which translated awkwardly onscreen.“There was no creation of community,” Santiago said. “It felt like we were pretending it wasn’t through a screen, instead of embracing that the person watching online also exists and we can write new plays for a new medium.”But if intimacy is where those onscreen productions fall short, it is where radio thrives.The ambient sounds alone can transport a New Yorker into the sprawling underground: The familiar clink-clink-clink of a turnstile grinding forward. The earsplitting screech of a train as it winds across metal tracks. The crackle of a conductor’s voice broadcast inside a subway car.“The voices are in your ears, you can walk around, close your eyes and feel like you’re inside the story. You can see these characters or you put their voice on people walking by you,” Santiago said. “That feels more like true theater to me because it allows the person to be immersed.”The next set of episodes in the series will be available online in February, with the remaining plays released every few weeks through May.As this season nears its end, listeners arrive at the Church Avenue station in Brooklyn, where two friends debate whether or not to help a sick fellow passenger. And just before the train ends its run, Jasmine’s ex-boyfriend enters the car and encounters the same mystical performer whose spiritual counsel opened the series.Santiago plans to continue the series in subsequent seasons devoted to every train line that winds across the city.“I hope the stories will resonate with people,” she said. “They’ll think ‘Oh, I had a moment like that on the train!’ Those small interactions make people feel recognized and now, listening to them, maybe less alone.”AdvertisementContinue reading the main story More

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    Stanley Crouch Was a Critic Who Didn’t Hold Back Punches

    I.

    He is 73, with a long, woolly beard, like someone’s version of Father Time. He lives in a hand-built shack with no electricity or running water, nearly eight miles up a forgotten dirt road in the Santa Cruz Mountains of California, a mile from a creek named for a long-ago settler — Waddell — who was killed by a grizzly bear. They call him a hermit, a holy man, the Unabomber. He could care less. On the night of Sunday, Aug. 16, 2020, a heat wave with temperatures well above 100 degrees brings a rolling cloud from the ocean as the old man sleeps under a canopy of redwood trees. When the lightning comes, it sizzles and snakes, consummates with dry earth.

    II.

    We all start somewhere — and end somewhere too. But how did he come to be here, feeding the jays and squirrels each day, under the redwoods? His vow of silence, one he takes in his early 30s, makes him an enigma to others, for silence is one of our great American fears. But still, he hasn’t annulled himself. He has a history too, born a middle child, to a mother of blighted artistic ambitions and a father who was a traveling salesman, with two sisters, living in a comfortable Sears Roebuck house in Columbus, Ohio. He loved camping and fishing with his father. He loved animals, rabbits first. Patiently played with his younger sister, Jill. Was gravely ill at one point and probably concussed himself after hitting a tree with his sled. He went to college and rambunctiously flunked out. He went into the military, in 1967, and was sent to Germany instead of Vietnam, growing to hate authority figures and command chains. His inheritance was an anger that kept growing; almost a substance: even now it smolders and ignites.

    III.

    By the next day — Monday, Aug. 17 — the lightning has set the grasses and underbrush on fire in the mountains around Big Basin Redwoods State Park. Within miles of these growing fires lives the old man in the remote enclave of Last Chance, in a gully beneath the ridge. He has no plumbing and stores his supplies in plastic barrels. Once a month, he rents a car in town, in Santa Cruz, to procure his supplies, including 800 pounds of seed to feed the animals, and to visit Windy, a friend’s 43-year-old daughter whom he helped raise. Until recently, she had never heard his voice as he took the vow of silence back when Jimmy Carter was president, communicating by chalkboard and jottings on paper. She has only ever known him as that wise, constant presence in her life. “The Bay Area is made up of many microclimates, and the one I am living in is particularly nice,” he tells Windy in one of his letters. “I don’t have the heat of inland or the fog of the coast. So I’ll stay here as long as possible.” The spot fires, left unfettered, now grow and begin to converge. In some places there is 50, 100 years’ worth of fuel on the ground. Though there has been no call for evacuation yet, you can smell the smoke. The forecast projects more heat and wind.

    IV.

    Booze, weed, the Sixties. Tad Jones, for that’s his name when people use it, lives in a school bus, on Sanibel Island in Florida, with a girlfriend. After they split, he lives for a time with his other sister, in her barn. His skin turns a green pallor perhaps because of “alcohol mixed with pharmacology,” as Jill puts it today. But at some point, he lifts himself up and turns himself into a seeker. He finds yoga, which helps with his scoliosis, and a guru: Baba Hari Dass, an Indian yoga master he follows to California. Like his guru, he renounces all but essential material possessions — and seemingly sex too — and takes a vow of silence. Baba Hari Dass wrote: “One who doesn’t want to possess any thing possesses every thing.”

    V.

    At first it’s hard for the Jones family to understand this retreat, his wanton rejection of American society, but he keeps repeating his mantra: He doesn’t want to inflict his anger on the world. Or his growing paranoia. “How uncalm he was,” Jill recalls. “If he was outside his realm, he was overwhelmed.” He carries a knife for protection; he’s careful to wear neutral clothing so as not to be confused for a gang member. He lets his beard grow out, until eventually it reaches his knees. He braids it and often rolls it up, then unfurls it to the surprise of new acquaintances. He lives inside the trunk of a redwood tree, in time with it, in opposition to industrial time, replicating those happy camping trips with his father. In the 1980s he moves out to Last Chance, a back-to-the-land community fed by cold springs and an August barn dance. His work here is to become part of the fauna, to enter the understory, to encode himself in nature. He writes in a letter that the skunks brush up against his legs, not once thinking to spray.

    VI.

    We could use more contemplation, more self-reflection. America — us — we could use more silence. As radical as it seems to subtract yourself from society, to cancel your own voice, and add yourself to the forest floor, the old man, it turns out, is not really radical. He likes the band Rush and the movie “The Big Lebowski.” He reads National Geographic, articles about faraway places and these extreme changes to our environment. The wind direction shifts now from the northwest to the northeast, and the fire leaps into alignment with the topography, lighting duff and branches: More than 43,000 acres are about to burn in a matter of hours.

    VII.

    Windy, who adores him, saves all his letters, which are full of advice written in his big loopy handwriting: here’s how to interact with your grandparents, here are the pros and cons of having children. (“[T]he earth doesn’t need any more people, so if you do give birth you want to give the child a reasonable chance to succeed.”) He tells her about the Mexican radio station he listens to, with the woman’s voice singing so lovely. He cracks slightly profane jokes about Donald Trump. He says he has set redwood trunks in ascending order to a little pet entrance to the shack so the cat can keep safe from predators. When he’s overrun by arthritis — his knees and shoulders and hips, walking with two metal canes — he goes to town to see the doctor, to stay with Windy. “Word is the crabs are meaty and good,” he writes her. “I am including a hunny B” — a hundred-dollar bill — “to buy the dinner.” Guinness beer too. He writes, “Remember I am speaking/talking now so don’t be shocked.”

    VIII.

    After nearly 40 years of silence, the old man starts talking again, at first to communicate with the doctors. It’s 2017, and he still swears like a sailor. Jill, his sister, speaks to him over Windy’s cellphone, and the first words out of his mouth are “How do you make this goddamn thing work?” It’s as if they’ve never missed a beat: he still has that mellifluous, bemused voice, that Midwestern accent. And that hair-trigger temper. As the fire encroaches, on that Tuesday, he buys feed for the animals in town — then returns to Last Chance. The wind is blowing, harder now, created by the fire itself, it seems. A community is its own ecosystem — like a forest — connected through pulses, half aerial, half subterranean. Every person, every cell, communicates in a chain. Still, almost no one here knows the old man’s last name. The fire conjoins and rages, from oak to oak, redwood to redwood. In the mesmerizing face of it, your own anger isn’t much. Even by 8 p.m. no evacuation order has been issued by the state. The residents of Last Chance, over 100 in all, think they’re safe. Only when the smoke blows clear does the fire marshal see wild flames from the ridge, the fine, dry leaf matter catching hot. By the time the conflagration jumps Waddell Creek, she take matters into her own hands, no longer waiting for state officials to raise the alarm, and the evacuation plan goes into effect.

    IX.

    By about 9:30 p.m., all but three people are accounted for at the gate that leads out of Last Chance. The old man — the hermit, the holy man, Unabomber — tries to drive the road out in his rented minivan, but fire suddenly blocks his way. He turns, and drives back, but now more fire blocks the back way. It’s as if napalm has been dropped on the forest, everything lit and storming. Fire personnel are nowhere to be seen. One resident spends the night in a field, fighting off rivers of sparks; another takes to a pond in his backyard, breathing out of a hose to escape the inferno. By 10:30 p.m. Last Chance has mostly burned to the ground. In the days after, only one person remains unaccounted for.

    X.

    Later comes the recovery mission. People with chain saws, an incursion to reclaim what’s left of home. Many of the redwoods are still burning inside and will die later. The old man is found — his bones, his ashes — near his two metal canes and the minivan not far from his shack, next to a scorched ravine, the fire so hot the van’s windows have been vaporized. Jill says there’s a way of seeing her brother’s demise as “terrifying” but “glorious.” “A slow, rusty death — that wouldn’t have been good for him,” she says. “It would have been awful.” After 70,000 people evacuate and nearly 1,500 structures are lost, Tad Jones ends up the only casualty of what comes to be called the CZU Lightning Complex in the most rampant fire year California has ever seen. “He burned on the ground of the place he lived,” Windy says, “the land he loved, the forest he walked through thousands and thousands of times, and he became part of it.”

    [Read an article about Tad Jones’s death.]

    Michael Paterniti is a contributing writer for the magazine and is working on a book about the discovery of the North Pole. More

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    Will a Famous Critic’s Desk Cure My Writer’s Block?

    AdvertisementContinue reading the main storySupported byContinue reading the main storyWill a Famous Critic’s Desk Cure My Writer’s Block?Seeking inspiration from Vincent Canby’s Gothic trestle table.Vincent Canby, a film critic who later also reviewed theater, at The New York Times in 1969. Not shown: Mr. Canby’s personal desk, which the author would acquire in 2020.Credit…The New York TimesDec. 17, 2020, 11:34 a.m. ETBecause of the pandemic, I have Vincent Canby’s desk. Millions of witty words must have drummed from his fingertips where I now slouch, stalled and mostly unproductive, without deadlines to drive me.During a 35-year career at The New York Times that ended in 2000, Mr. Canby wrote thousands of reviews and profiles, plus novels and plays in his spare time. Just look at the adjective in the headline of his Times obituary, published 20 years ago: “Vincent Canby, Prolific Film and Theater Critic for The Times, Is Dead at 76.” His byline even appeared nearly three years after his death, an advance 3,212-word obituary of Bob Hope, painting him as “a fast-talking wiseguy, a quaking braggart, an appealing heel with a harmless leer and a ready one-liner.”It’s a lot to live up to. Could his desk help straighten my spine, get me back in the game?My friend Ridgely Trufant, whose mother was Mr. Canby’s first cousin, inherited his estate, including his personal desk: six feet long, chocolate-hued with gargoyle legs and brawny, clawed feet. A rail of timber embellished with chiseled rosettes supports the structure, so it’s actually called a trestle table, Google tells me.The author’s temporary desk, courtesy of a friend who was related to Mr. Canby.Credit…James KnappI have scrutinized its undersides, crannies and shallow drawer with a flashlight and found no identifying markers other than a strip of masking tape on the left side labeled “6755.” The lot number or price Mr. Canby paid for it? Ridgely doesn’t know, but suspects her cousin bought it in the 1960s or ’70s when he lived in Brooklyn Heights, and Atlantic Avenue was lined with antique shops.I found a photo online of Mr. Canby posed at the desk in 1980, an ashtray to the right of his typewriter. I’ve framed it, so he’s here to challenge me, his eyes contemplating something in the distance, his smile a little skeptical. By this time he had settled into a roomy apartment on the Upper West Side, where he put up Ridgely when she came to the city to be a dancer.In the mid-1980s, Ridgely and I met at Perretti Italian Café on Columbus Avenue, where we were both waitresses. Mr. Canby, at the height of his career as a film critic, would sometimes visit the restaurant. As a cinephile and aspiring writer, I revered his opinion, and he was curious about mine, never treating me like a peon because my job involved an apron. His erudite, lucid film reviews drove me to haunt now-bygone theaters like the Thalia, the Beekman, the Plaza, the 57th Street Playhouse, the 68th Street Playhouse, and Lincoln Plaza Cinemas.In 1967, Mr. Canby, right, visited Frank Sinatra on set during the filming of “The Detective.” The next year, he panned it.Credit…Neal Boenzi/The New York TimesSince all movie houses went dark in March, the Criterion Channel has served as my personal theater, its vintage offerings leading me to reread scores of Mr. Canby’s reviews before I ever dreamed of possessing his desk. We don’t always agree, but they hold up, lively and illuminating as ever.In 1993, he switched to the theater beat. He often took Ridgely as his guest when reviewing shows, and Perretti’s was a convenient stop on his way home. His longtime girlfriend, Penelope Gilliatt, had died that year, at 61. Another prolific writer, her short stories, profiles and film criticism had appeared in The New Yorker, her screenplay for “Sunday, Bloody Sunday” was nominated for an Oscar, and she wrote five novels.Ridgely said Mr. Canby deeply loved Penelope, but at Perretti’s he was adroit at masking his grief, charming and quick to laugh. He sat in the smoking section and started with a vodka on the rocks. He had a trim physique and dressed like a dapper newspaperman in a tweed jacket with elbow patches, Oxford shirt buttoned just so, his short gray hair neatly parted.One night in particular endeared him to me. I can see him at Table 3, looking up and asking me how I was.Terrible, I told him. I had moved to New York from Arkansas to be a writer and didn’t have to be at work until 4 o’clock and yet had written nothing that day.“You are a real writer!” he declared, jutting his brown cigarette at me. “That’s exactly how I feel if a day goes by and I haven’t written anything. Just lousy.”I was a waitress at Perretti’s for 13 years. The restaurant’s health care plan was invaluable as I advanced my freelance writing career, covering the entertainment world, restaurants and travel. When the restaurant closed in 1998, I hung up my apron, and doggedly got enough assignments to write full time.Those gigs were consistent until this March, when restaurants and travel shut down. I used to wonder what I might accomplish — a novel, a biography, a play, a sellable screenplay — if I didn’t have constant deadlines. It turns out I’m teeming with ideas, but without an editor checking in on me, I lack focus.Other productive writer friends have expressed similar chagrin. A tweet from David Wondrich struck a chord, likening these unnatural days to “writing with a head full of molasses and fireflies.”In the first few months of the shutdown, I, like many other New Yorkers, found purpose in decluttering the apartment, culling books and getting rid of obsolete bank statements, press materials and embarrassing screenplays. Some of my aborted creative writing projects made me cringe, while others made me tilt my head, thinking, Not so bad. Why hadn’t I tackled another draft?Maybe it was the lack of a real, official desk that left me uninspired. In 22 years of being a professional writer, I had never put much thought into my work space. Until this year, I wrote on a slab of wood propped up by two black file cabinets.The coronavirus changed that. In August, I found myself on a Zoom chat that included Ridgely. She lives in a one-bedroom apartment in the West Village, where she had recently committed herself to multiple virtual movement classes taught by yogis, choreographers and tango taskmasters around the world. Her living room had become a dance studio, with one big problem.“I’ve got to get rid of Vin’s desk,” she said.My hand shot up.Credit…James KnappThe Canby desk is a gem. I spent most of an afternoon rubbing its broad tabletop with beeswax polish and plugged away with a toothbrush to gouge the lint from legs bulging with cartoonish round eyes, libertine tongues and feathery toes. Curious about its provenance, I emailed photographs of it to antique shops and auction houses, but got no definitive answer other than that it was probably made in Europe in the mid- to late-19th century.I do know one thing: The desk should stay in the Canby family. I have retooled my will to leave it to Ridgely or her survivors. In the meantime, here I sit, rebuilding my writing life sentence by sentence. I just got an unexpected assignment for 3,000 words. The deadline is calling me back to work, and the desk feels like an old friend here to help.AdvertisementContinue reading the main story More

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    Piano Bars and Jazz Clubs Reopen, Calling Live Music ‘Incidental’

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyPiano Bars and Jazz Clubs Reopen, Calling Live Music ‘Incidental’As the coronavirus continues to spread, Marie’s Crisis Cafe became the latest Manhattan music venue to reopen, claiming that it is not a performance venue.Despite the worsening pandemic, Marie’s Crisis Cafe, a West Village piano bar, reopened with a singalong this week. Like other venues, it says its music is “incidental,” and therefore allowed.Credit…Nina Westervelt for The New York TimesSarah Bahr and Dec. 11, 2020, 5:00 a.m. ETAlthough most indoor live performances have been banned in New York since the coronavirus began its deadly spread in March, about a dozen people turned up Wednesday night at Birdland, the jazz club near Times Square, for a 7 p.m. performance that was billed as dinner with live jazz. They had reservations.Among them was Tricia Tait, 63, of Manhattan, who came for the band, led by the tuba player David Ostwald, which plays the music of Louis Armstrong. Until the pandemic hit, it had performed on most Wednesdays at Birdland. She admitted to health worries “in the back of my mind,” but said, “Sometimes you just have to take a chance and enjoy things.”While the number of daily new coronavirus cases in New York City has been climbing to levels not seen since April, in-person learning has been suspended at public middle schools and high schools, and Gov. Andrew M. Cuomo warned this week that indoor dining in the city could soon be banned, Birdland and a number of other noted jazz clubs and piano bars across the city have been quietly offering live performances again, arguing that the music they are presenting is “incidental,” and therefore permitted by the pandemic-era guidelines set by the State Liquor Authority.Those guidelines state that “only incidental music is permissible at this time” and that “advertised and/or ticketed shows are not permissible.” They continue: “Music should be incidental to the dining experience and not the draw itself.”That has not prevented a number of New York venues that are better known for their performances than their cuisine — including Birdland, the Blue Note and Marie’s Crisis Cafe, a West Village piano bar that reopened Monday with a show tune singalong after declaring itself a dining establishment — from offering live music again.“We think it’s incidental,” Ryan Paternite, the director of programming and media at Birdland, said of its calendar of performances that include a brass band and a jazz quartet. “It’s background music. That’s the rule.”The rules have been challenged in court. After Michael Hund, a Buffalo guitarist, filed a lawsuit in August challenging them, a judge in the U.S. District Court in the Western District of New York issued a preliminary injunction last month preventing the state from enforcing its ban on advertised and ticketed shows. “The incidental-music rule prohibits one kind of live music and permits another,” the judge, John L. Sinatra Jr., wrote in his Nov. 13 decision. “This distinction is arbitrary.”The state is appealing the ruling.“The science is clear that mass gatherings can easily turn into superspreader events, and it is unconscionable that businesses would attempt to undermine proven public health rules like this as infections, hospitalizations and deaths continue to rise,” William Crowley, a spokesman for the liquor authority, said Thursday. He noted that a federal judge in New York City had ruled in another case that the restrictions were constitutional. He said that the state would “continue to vigorously defend our ability to fight this pandemic whenever it is challenged.”But it is unclear what, exactly, “incidental” music means. Does that mean a guitar player in the corner? A six-person jazz band like the one that played at Birdland on Wednesday night? The Harlem Gospel Choir, which is set to perform at the Blue Note on Christmas Day? Mr. Crowley did not respond to questions seeking further clarity on Thursday, or about what enforcement actions the state has taken.Customers at Marie’s Crisis Cafe.Credit…Nina Westervelt for The New York TimesRobert Bookman, a lawyer who represents a number of New York’s live music venues, said venues interpreted the ruling as allowing them to advertise and sell tickets for incidental music performances during dinner.So venues have chosen their words carefully. They are taking dinner reservations, and are announcing calendars of lineups for what Mr. Paternite, of Birdland, characterizes as “background music during dinner.” Unlike Mac’s Public House, the Staten Island bar that declared itself an autonomous zone and was recently lampooned on “Saturday Night Live,” they have no interest in openly flouting regulations.Mr. Paternite said that Birdland, after laying off nearly all of its 60 employees in March, is now back to what he calls a “skeleton staff” of about 10 people.“It’s a huge risk for us to be open,” he said. “And it only brings in a pittance. But it helps us out in our agreement with our landlord, because to pay our rent over time and stay current on our utilities and taxes, we need to stay open. But we’re losing massive amounts every day.”If venues don’t reopen now, he fears, they may never do so. The Jazz Standard, a beloved 130-seat club on East 27th Street in Manhattan, announced last week that it would close permanently because of the pandemic. Arlene’s Grocery, a Lower East Side club that hosted the Strokes before they became well known, said it was “on life support” and, without aid, would have to close on Feb. 1.Randy Taylor, the bartender and manager at Marie’s Crisis Cafe, said the last time the piano bar had served food was probably back in the 1970s — or perhaps earlier. “There’s a very old kitchen that’s totally disconnected upstairs,” he said. Its dining options are extremely limited: It currently offers $4 bowls of chips and salsa. “We are required to sell them,” he said. “We can’t just give them away.”Steven Bensusan, the president of Blue Note Entertainment Group, said that he hopes the state does not move to shut down indoor dining.“I know cases are spiking,” he said. “But we’re doing our best to keep people safe, and I hope we can continue to stay open. We’re not going to be profitable, but we have the ability to give some people work who’ve been with us for a long time.”The clubs said that they were taking precautions. At the Blue Note, which reopened Nov. 27, the formerly shared tables are now six feet apart and separated by plexiglass barriers, and its two nightly dinner seatings are each capped at 25 percent capacity, or about 50 people. At Marie’s Crisis Cafe, where the masked pianist Alexander Barylski was ensconced behind clear shielding on Wednesday night as he led a jubilant group chorus of “Frosty the Snowman,” Mr. Taylor said that tables were separated by plastic barriers, and that the venue conducted temperature checks and collected contact tracing information at the door.Daniel Wiseman, left, and Rindi Klarberg are greeted by Moni Penda, right, at Birdland, a noted jazz club that now calls its live music “incidental.” Credit…Nina Westervelt for The New York TimesMarie’s Crisis Cafe had been livestreaming shows on Instagram and its Facebook group page, but Mr. Taylor said it wasn’t the same. On Wednesday night, 10 customers belted out holiday tunes through masks, some sipping their first drinks at a venue since March.“There have been some tears,” Mr. Taylor said. “People really, really missed us. We can’t see their smiles through their masks, but their eyes say it all.”AdvertisementContinue reading the main story More