Posts Tagged ‘Chelsea’
January 14, 2016 | by Brian Cullman
Remembering Giorgio Gomelsky, 1934–2016.
I met Giorgio through Robert Fripp in 1980. He thought Giorgio should work with me on the single my band was getting set to record. At the time, Giorgio was living in the loft that housed Squat Theatre, an Eastern European guerilla theater collective on West Twenty-Fourth Street. They put on strange events and pornographic puppet shows at their loft, ten dollars at the door, stay all night. And they sponsored Polish punk bands, held rallies protesting rent and sodomy laws, dealt dope, and more or less lived a wild East Village life, despite being in Chelsea.
Giorgio was a big, beefy character with a mane of thick greasy black hair, a goatee, and a thick Russian accent that grew more and more pronounced as he drank or expounded on his various theories on life and music and the evils of the bourgeoisie. Fripp had told me stories of how Giorgio had shown up at the Marché International du Disque et de l’Edition Musicale, the music business trade show, one year with a parrot on his shoulder, and how, anytime he was approached by a label about licensing material, he’d confer with the parrot in Russian before shaking his head and turning down the offer with a show of disdain. In this way, he was able to generate more attention, double his offers, and confound various labels into thinking he was a genius. Fripp also implied that, at the close of MIDEM, Giorgio had eaten the parrot. Read More »
December 18, 2015 | by Sadie Stein
The Paris Review’s offices are close to a small square of green space called Clement Clarke Moore Park, at West Twenty-Second and Tenth Avenue. Moore, a scholar and theologian, owned the piece of land—he donated a large part to the General Theological Seminary, which still stands there—and indeed, his forebears had owned the estate simply known as Chelsea. And of course, Moore’s poem “A Visit from St. Nicholas” is essentially responsible for our contemporary notion of Santa Claus: “a right jolly old elf,” drawn by reindeer, who arrives on Christmas Eve to swoop down your chimney. Moore is said to have been inspired by a local Dutch handyman—this 1926 New York Times piece explores the creation legend. Read More »
December 7, 2015 | by The Paris Review
A concentrated treatment to reinvigorate intellect and imagination.
How to Use
Read attentively from cover to cover at least once; repeat as desired. For best results, pair with a responsible intake of red wine.
Erudition, insouciance, concision, onomatopoeia, allegory, exposition, allusion, anastrophe, synecdoche, metaphor, ekphrasis, irony, verisimilitude, euphony, assonance, litotes, caesurae, alliteration, metonymy.
What to Expect
Aroma: ink, paper
Product texture: smooth, substantial
Feel: stimulated, transported
We recommend pairing this stimulating read with application of a facial cleansing masque.
October 27, 2014 | by Sadie Stein
One imagines that lots of Dylan Thomas devotees are marking his centenary by making a pilgrimage to the White Horse Tavern, where the dissolute poet famously downed those last fatal eighteen whiskeys. For their sake, we hope the White Horse is not thronged with frat boys, although I guess they have as much right to pay their respects as anyone. More, maybe.
Naturally, any Thomas-themed New York walking tour—and there are several, guided and otherwise—includes the White Horse, the sites of his other watering holes, and perhaps St. Vincent’s hospital, where he died. Personally, I prefer to focus on a happier landmark from Thomas’s New York days: the Little Shrimp. This restaurant—a favorite of the poet’s when he was in residence at the Hotel Chelsea—is where, in 1952, the young, audacious Barbara Cohen and Marianne Rooney approached Thomas about making recordings for their new line of spoken-word records. The result was Caedmon Records—the source of many of Thomas’s iconic recordings—and the classic record A Child’s Christmas in Wales. Read More »
July 29, 2014 | by Dan Piepenbring
My commute takes me past Paul Kasmin Gallery, at the corner of Twenty-seventh and Tenth, less than a block from The Paris Review’s offices. Every morning for the past month, I’ve paused there to stare at an installation through the window, a pair of illuminated silhouettes. I watch as one red neon man thwacks another with a red neon two-by-four. Every time, the second red neon man falls to the ground; every time, he rises again, on hands and feet, retracing the ungainly arc of his fall; and every time, the first red neon man thwacks him again.
Thwack, fall, rise, repeat. Like many forms of suffering, this one goes on ad nauseam—and like many forms of suffering, it burns itself into your retinas. I watch the cycle four or five times and then walk the two-thirds of a block to the office carrying an afterimage of neon trauma. I find this strangely buoyant.
Only today, after more than a month of doing this, did I decide to find out what exactly I’d been seeing. It’s Roxy Paine’s Incident / Resurrection (2013), which the artist’s Web site characterizes as “a visual loop of pure narrative movement”: Read More »
April 29, 2013 | by Lorin Stein
It’s the end of an era here at The Paris Review: after eight years in TriBeCa, today we’re packing up and heading north to our new Twenty-Seventh Street digs. While it’s bittersweet, we look forward to making new memories in Chelsea. And, yes, the birds are migrating with us.
As of this afternoon, you can find us at 544 West 27th Street, New York, New York 10001. That’s past the High Line, across the street from the strip club, and next door to the Cuban restaurant. If you fall into the river, you’ve gone too far.