Tag: Julie Brannan

The Academy Museum in Los Angeles

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For as long as I can remember, I have enjoyed watching the Academy Awards on television every year – filling out a ballot (sometimes with a little wager involved), having a party, and dishing with friends and family starting with the red carpet arrivals through the bitter end of a ceremony that usually ended late enough to make getting up the next morning on Eastern time challenging. So when I heard that the new Academy Museum was opening just before a planned trip to Los Angeles, I purchased required timed tickets. And when I saw there was a virtual experience where you get to receive an Oscar, well, there was no way I would pass that up! I usually blog about NYC, since it’s where I live and work, but who doesn’t love the movies? Since it’s a new museum, it might help others to see my experience of visiting the Academy Museum in October of 2021.

We are still dealing with Covid, the first step was to show proof of vaccination and get a wristband showing you had been checked. Masks are required at all times as well. Then another check in to prove the timed tickets and get a second wristband to allow access to the areas of the museum beyond the ground floor, which is free to enter. The outside of the museum is gorgeous, the site of an old department store in a classic mid-century LA style. Behind it, a fabulous new annex holds theatres as well as an outdoor domed space with panoramic views of the Hollywood Hills – including the sign. To avoid having others in my photos, I went straight up to this level at museum opening.

This area is breathtaking, and I have no doubt that this part of the museum is going to become an iconic part of LA. To get from the main building to this area, you cross over the Barbra Streisand bridge, just past a display honoring women in the film industry from the early days to the present.

Hanging from above, a model of “Bruce,” the shark from Jaws . . .

There will be some permanent exhibitions, and other temporary ones. There is a temporary exhibition now that allows you to enter the world of Hayao Miyazaki. No photography was allowed in the exhibit, requested by Miyazaki, but it was delightful. In addition to storyboards, videos, and details about how films were made, there was a place to recline and look up to a beautiful animated sky, and another to rest under the lighted tree spirits of Totoro.

On the same floor, you could see a zoetrope with a scene from Toy Story. A zoetrope illustrates how individual photos (or in this case, actual figures) can give the illusion of continuous motion (see the entire sequence here.)

Another exhibition highlights the importance of backdrops, using the famed fake Mount Rushmore backdrop for the end of Hitchcock’s North by Northwest. The exhibit also uses this as an opportunity to explore the issues involved with the monument itself and how it has been viewed by Native Americans for whom this area was of significant religious importance.

Another exhibition explores the development of moving pictures, from early attempts of entertainment using shadow play, through magic lanterns and peepshows through the Cinematographie Lumiere, the first successful film projector.

The foundational exhibit at the Academy Museum is Stories of Cinema, and it spans three floors of the main building. Items on display here will likely change over time, but are guaranteed to deliver an almost-overwhelming “wow” factor!

These artifacts generally need no description whatsoever, but there is always interesting background information included.

There were several “Rosebud” sleds used for the making of Citizen Kane, but several had to be burned for the final scene, so this remaining one is certainly one of the most famous artifacts at the museum.

There is a room with famous Oscars, and, poignantly, an empty space for Hattie McDaniel’s Best Supporting Actress award from 1939. She had to sit separately from the rest of the cast of Gone With the Wind because of segregation, and her Oscar has been lost.

There is also a room featuring Oscar acceptances, with a rotating series of videos of famous acceptance speeches.

Perhaps THE most famous display shows the ruby red slippers worn by Judy Garland in The Wizard of Oz. This display is surrounded with a wealth of other items from the movie.

The two gingham dresses, one in sepia tone and one in color, were used for the scene where Dorothy transitions from the real world, in sepia, to Oz, in color. Shot in one continuous scene, a stand in for Garland wore the sepia dress, was shown from behind, and opened the door. At that point Garland, wearing the blue dress, stepped into colorful Oz.

Spike Lee has loaned the museum his extensive collection of memorabilia.

Hitchcock’s Psycho is one of my favorite films, so I particularly enjoyed this shower scene storyboard and other materials, including Hitchcock’s own first edition of Robert Bloch’s book.

There is an elaborate display of movie costumes in one room (here, from Gentlemen Prefer Blondes, Jordan Peele’s Us, and Rocketman).

The gift shop has an abundance of unique items. I like the logo on their tote bags, hats and shirts, featuring the look of the outside of the museum. There were paper clips shaped like Oscars, and even candles that supposedly evoke the scent of different movies scenes and types (POV: You’re the Villain was my favorite trope if not my favorite scent!).

And what of the OSCAR EXPERIENCE???? Well, I loved it. The staff helping explain the procedure remained in character, congratulating me for my win. You basically get to come out, look out to a full audience and pick up a real Oscar, and get a video of the experience afterwards (see mine here). I really found myself surprisingly thrilled by the experience (the tech person watching me from outside the filming area told the person I was with that I was channeling Sally Field, lol). Well worth the extra $15 to me – and when I win a real Oscar one day, maybe I will have learned to play it a little cooler . . .

If you want to visit the Academy Museum, get timed tickets and more information here.

Broadway Reopening

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I’ll never forget hearing on March 12, 2020, that Broadway was going to be shut down until the week of April 13th. It seemed inconceivable to me that it could be true – after 9/11 it was shut for two days, and here and there a blizzard would shut down shows for a day. The idea that there would be no Broadway theatre for over a month was stunning. If someone had told me at that point, as I struggled to process this unprecedented shut down, that in reality Broadway theatres would be closed for at least 18 months, I would not have been able to believe it (or, perhaps, take it). Even when I was taking photos in an entirely empty Times Square that spring (the experience of which I wrote about in this blog post), it still seemed impossible to believe that Broadway, the heart of NYC’s pulsing vitality, would be shuttered for so long. But now the sleeping beauty is waking up, and it’s exhilarating. This is my perspective on Broadway’s reopening, as of the end of September, 2021.

The first time I walked into a Broadway theatre was to see a Disney on Broadway concert (Live at the New Am) at the New Amsterdam theatre. Vaccination checks were in place before the normal security screen. To hear the sound of a ticket being scanned was a delight. When the usher (above) declared “Welcome back to Broadway!” it was almost too emotional. The concert was fantastic, and so many lyrics of Disney on Broadway songs took on new meaning and the performers and audience reacted (for instance, “In the First Time in Forever,” the following: There’ll be actual real live people/It’ll be totally strange/But wow, am I so ready for this change!/’Cause for the first time in forever/There’ll be music, there’ll be light.

The first Broadway play to open after pandemic shutdown was the new play Pass Over, by Antoinette Nwandu. The opening night of previews, August 4, the crowd stood and applauded with stage manager Cody Renard Richards made the preshow announcements (you can see his experience here). After the first preview, the block of West 52nd between Broadway and Eighth was closed off and there was a jubilant block party with DJ.

The next time I was in a Broadway theatre was the Majestic, to see the premiere of a documentary about the Broadway shutdown and a few touring companies that managed to stay open in South Korea. The entire experience was terrific, from being welcomed with Josh Groban singing “Can’t we start again please” (from Jesus Christ Superstar), though the film. But when the end credits were over, the screen rose to reveal the iconic Phantom’s lair, and a bevy of Broadway divas (including Adrienne Warren, Ariana Dubose, and Sierra Boggess) singing “As If We Never Said Goodbye” from Sunset Boulevard.

On September 2, the first Broadway musicals reopened: Waitress, with composer Sara Barielles stepping back into the lead for six weeks, and reigning Tony Best Musical Hadestown. I was at the first night for Waitress, and enjoyed the sticker on the front of the playbill saying “The Diner is Re-Open” along with the date. The audience gave a standing ovation (the first of perhaps 10 or 12 that evening) for the “turn off your cell phones” announcement – which at Waitress is a song. After initial bows, Amanda Kloots, the widow of original cast member Nick Cordero (who lost his battle with Covid-19 last year) came on the stage and everyone sang Nick’s song “Live Your Life.” His song is now also permanently included as one of the pies on the menu board on stage.

I was at the third reopening performance of Hadestown, and loved that their Playbill lists reopening night as well as opening night. The outside of the theatre is enrobed in the red flowers that feature so prominently in the production. Here they represent that “spring will come again” to Broadway as it returns and flourishes.

On September 14, Hamilton, The Lion King, Wicked, and Chicago all reopened. At 5PM that day, casts met in front of the Richard Rodgers Theatre and, led by Lin-Manuel Miranda, delivered a rousing version of “New York, New York.”

Two days before that, however, I had been very fortunate to be allowed to attend the final dress rehearsal of Wicked before reopening. These invited dress performances are not for purchase, and allow the show to run through with costumes, lighting, etc., with a crowd of friends and family. These are always special (I have been to a few) in part because what elicits applause is often very different for these crowds of insiders. I was able to compare that directly when I also attended the first reopening performance of Wicked on September 14. The audience for this was electric, from Kristin Chenowith’s welcome (including a witty “There’s no place like home!”) through bows. After the curtain came down and the lights went up, the audience refused to leave, however, applauding and standing for minutes until the curtain rose again. This time the cast was joined by composer Stephen Schwartz, who seemed unsure whether to say anything before finally stepping forward – almost to be hit by the curtain coming down!

I was at Hamilton at the second reopening performance on September 15. The cast is tight, and the energy level high. I could tell that the conductor was trying to prevent protracted applause from drawing out the show, however, as we can’t keep having shows that go three hours or more when they should clock in at 2 hours, 40 minutes!

Then I was at the third reopening performance of The Lion King. The energy level was still very high, and I liked the Welcome Back insert with an invitation to give feedback.

That weekend, September 17-19, Times Square hosted a huge outdoor welcome back to Broadway, with some performances at the large mainstage, and others at a more intimate outdoor cabaret space. The final two hour concert on September 19 featured most of the shows open or that will open this fall. A highlight was a performance of “Music of the Night” with the current Phantom as well as three previous ones.

That same weekend I went to see David Byrne’s American Utopia, which I had seen four times pre-pandemic at the Hudson Theatre. Now at the St. James, some of the narration has changed to reflect our changed times (his words “Thank you for leaving your homes” has an entirely new significance now!) but the joy and uplifting message remain the same.

On September 21, I was back to see Six, which I had seen twice in previews – and which was hours from opening night when Broadway was shuttered. Now back in previews as of September 17, all six original Broadway queens are back, and the energy level is always high at this show! I loved that they had a “virtual stage door” QR code, since normal stage door interactions and signing of Playbills is not prudent in terms of Covid protocol.

So, speaking of Covid, how is Broadway different due to the need to keep us as safe as possible? First of all, to attend a Broadway show you must show proof of full vaccination and a photo ID to match. Because of this, arrival times need to be earlier than usual. Doors always opened on Broadway about 30 minutes before showtime, but now are opening from 45 minutes to an hour early to allow for vaccine checks as well as the normal security screening. Then, you must wear a mask at all times while inside. Theatres I have been to so far all have “Covid safety teams” and I have seen them roaming the aisles to monitor and ask people to raise their mask when necessary. Meanwhile, every person on Broadway has to be vaccinated, wear masks when possible (obviously it’s not possible for performers on stage) and get tested regularly.

But isn’t any inconvenience worth it??? The exhilaration of being in an audience with other people, experiencing the live performance of these talented people, experiencing emotions together – this is unique and its absence left a huge void during those 18 months away. Even walking home after a show, I have had that thrill of having had somewhere to go, something to do, with other people, after so many nights watching “Bridgerton” or “Tiger King” and trying to set up zoom cocktail parties with friends. Please go and support live Broadway performances! We need it, as a city and as individuals – and they need us.

Showstoppers! Broadway Costumes Exhibit

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As Broadway reopens after 18 months of pandemic shutdown, there is an exhibit on West 42nd Street that highlights the incredible costumes that light up the stage (and screen). Open through September 26, tickets are required (go here for more information and to purchase) but proceeds go to help the talented people in the costume industry whose financial stability has been devastatingly impacted by the shuttering of the entertainment business. Here are my impressions from going a few weeks ago.

For a time-limited exhibition like this, I thought the layout and design was excellent. The exhibit aims to teach the observer about the work and design elements going behind these elaborate costumes, while giving the opportunity to see the details of the costumes up close.

Here you see costumes from the Broadway productions of The Cher Show (Bob Mackie), Side Show (a particularly challenging costume) and Six (which was going to have opening night on the very evening that Broadway was shuttered).

Disney productions are represented here: Aladdin, The Lion King, and Frozen.

Wicked – it’s interesting to see Elphaba’s costume up close and see that it is not a matte black. Adding texture and some subtle color gives the dress depth on the stage.

Costumes from Moulin Rouge, Chicago, and Cursed Child (Draco Malfoy).

Hamilton! I was fortunate to be able to go backstage before pandemic and see some of these costumes up close then. Apparently Lin-Manuel Miranda asked for Alexander Hamilton’s costume to be “the color of money” and after several tries this iconic green silk was confirmed. Being able to make the ensemble’s costumes able to dance in – without looking like stretchy dance clothes -is a particular challenge for most Broadway costumers.

I have also been backstage at Phantom and seen the costumes at close range. For solid black or white costumes like these for the Phantom and Christine, texture and small variations in color are used to keep them from appearing flat from the audience.

Costumes from non-Broadway productions were also highlighted. Here you see costumes from a cruise ship, from the circus, for a Broadway Cares production, from dance, and the iconic costume the Radio City Rockettes wear in the March of the Wooden Soldiers.

The exhibit also highlights the importance of cleaning and caring for costumes, with many from films being preserved since, unlike on Broadway where costumes wear through and are replaced constantly, a film is limited in time and requires fewer repairs or replacement of the costumes.

The exhibit ends on a positive note, with Broadway reopening happening on a rolling basis throughout the fall.If you are able to see the costume exhibit, it may improve your enjoyment of the costumes you see from your seat as you return to a Broadway theatre!

Immersing Yourself in Van Gogh

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Imagine living inside the bold colors, textures, and images of a Van Gogh painting – music swelling as the lush visuals move around you. It can be experienced rather than imagined, by going to the Immersive Van Gogh Experience in NYC through September 6 (tickets are limited and it seems to be sold out the last weekend, so act quickly), and in cities all over the United States and Canada over the next year. I went to the exhibit on the East River here in Manhattan recently, and some of my tips about visiting will be specific to the NYC exhibit while others are more general and should apply to other locations.

The NYC experience is at Pier 36 on the East River, closest to Montgomery Street and South Street on the Lower East Side, between the Manhattan and Williamsburg Bridges. The 75,000 square foot interior space was designed by Broadway set designer David Korins (Hamilton, Dear Evan Hansen), a collaboration unique to New York.

Tickets can be – and should be – purchased in advance, and prices range from $39.99-$69.99 depending on the day of the week and the time of day. Masks are required, and the numbers are limited to keep the experience uncrowded as well as covid-safe.

Before entering the immersive area, there is a reminder of the basic facts of Vincent Van Gogh’s life – his production, lack of success during his lifetime, and posthumous spectacular fame. When MoMA first reopened last year, it was eerily uncrowded, and I posted a selfie of myself in front of his “Starry Night” in part because you normally can’t get ever close enough to see it properly.

The first two rooms in the New York exhibit are smaller, and feature mirrored pieces designed by Korins to refract the larger projections on the walls and let you catch glimpses of yourself caught in the visuals. I noticed that many people got to the first room or two and stopped, and those rooms were more crowded as a result. My first tip would be that when you first enter, walk through the entire exhibit and see everything briefly before settling down to one spot. Also, visuals and music are on an about a 30 minute loop, so try to figure out where you are in the loop (if you see images from the asylum at Arles, with those crows of foreboding, you are near the end). Ideally you would see the entire “show” in one space, and in NYC the best space is the third gallery, which is enormous and has seating.

The third gallery in NYC also has an elevated platform, but my own personal experience was that being there felt less immersive that being on the floor. And what is the experience like? To me, I kept being reminded of an experience at the Rose Planetarium at the American Museum of Natural History (no longer offered, sadly) called “Sonic Vision.” That show featured music from Radiohead, Moby, and others, and the music at Immersive Van Gogh is mainly original music by creator Luca Longobardi, but ranges from Thom Yorke and Edith Piaf to Handel and Mussorgsky (see the Spotify playlist here).The somewhat overwhelming experience of being immersed in visuals with music is trippy – I used to say that going to Sonic Vision allowed me to go on a psychedelic trip safely without having to take drugs. There is an element of that here – but with somewhat of a storyline to the experience, and the knowledge of what Van Gogh’s life was like, there was an emotional depth to it as well. You can stay as long as you would like, but I would suggest you need at least an hour – the time you figure out the space before another loop of the experience begins, the entire (about 30 minute) presentation, and time to go back and take photos or see things you might have missed in the first walk through. You can go back and forth between the galleries.

There is an extensive gift shop as you exit, and not just Van Gogh related (not sure why “I’m glad you are as weird as me” candles were included), before you exit and find yourself right on the East River on Pier 36, walking along the back of the building to get back to reality. The real world is discernibly less vivid – but Van Gogh lived in the real world and was able to create gorgeous hyper-reality with his imagination, so the exhibit serves as a reminder to dream in color. I have no idea what Vincent himself would think of this exhibit, and I did wonder that a few times while there, but what would life be indeed, if we had the courage – as he did – to attempt anything?

Little Island Park

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During New York City’s lockdown due to the Covid-19 pandemic in 2020, I took up bike riding, primarily along the Hudson River Greenway (see more detail about my perspective on biking in NYC here). Although I had previously noticed the odd constellation of what looked like concrete mushrooms blooming in the Hudson River just south of Chelsea Piers at Pier 55, on my nearly-daily rides past the construction area I watched with interest the development of the city’s newest park. I was thrilled to visit Little Island Park on its first day open to the public, May 21, have been back recently, and have another visit booked (more on the need to book timed tickets later).

Enter where 13th Street meets the Hudson River, walking over a bridge to get to this park built over the water. One of the first things you see is a series of food trucks with an area to eat in the shade. There are a variety of wines, beers, and cocktails available in addition to food, coffee, pastries, and non-alcoholic beverages.

Flowers and other lush landscaping bloom atop the concrete petals. Once in the park, you barely notice the structure that is so striking from a distance – unless you happen to be walking under a few of them, as the park has many different elevations.

There are numerous whimsical touches – music you can create by jumping on tiles or pulling levers, and a few spinning devices for fun (or perhaps to hypnotize yourself or others).

The views are spectacular as you wind your way around the park, and there are multiple places to sit – some intimate, and others grand (like the amphitheatre that will soon begin hosting performances).

On opening day, they were giving out packets of seeds and colored pencils. Little Island also has large and very clean bathrooms, which is greatly appreciated.

When I went on opening day, I was there in the morning. At that point, they had a policy of requiring free timed tickets from 12-8 (reserve them here), but since then the park has been so popular that they require the tickets from noon until closing. Little Island is open every day from 6AM to 1AM, and if you can’t get a timed reservation, you could try going in the morning. I was just there on a timed ticket on a weekend afternoon, and the need for a reservation kept the park from feeling crowded. The next time I have planned, it will be to meet someone for lunch there (and we have reservations already). I think the park is still working out when they release reservations and for how long in advance, so keep checking if you are looking for a reservation and at first they are all sold out.

I will never forget my first time on the High Line Park (see an old blog post here and another when they expanded the park here). I was charmed, and also exhilarated with the feeling of experiencing something completely new. In our concrete jungle here in NYC, it is all the more important that we find these places to experience nature and feel a sense of integration between artificial and natural worlds that we strive to bridge. Going to Little Island Park has given me that same sense of wonder and appreciation. New York City is constantly evolving, and after a year or more of pandemic hardship and isolation, gathering together in this innovative new space feels like a wonderful way in which change can also heal.

NYC/Julie Brannan videos 2021

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I was fortunate enough in February to work with videographer Mikey Pozarik and with Compass to create two videos that express my ethos as a real estate agent. The first one (see it here) features a quote by E.B. White, and reflects my love for New York City as someone who was born elsewhere but has chosen to live and work in the city. I hope every day that I am able to bring my passion to this city I love. The second one (see it here) is more of a manifesto. The quote is attributed to Steve Jobs, and I am drawn to the work ethic it expresses. I truly enjoyed making these videos – the locations were all areas of the city I have a particular relationship with, and selecting and recording the quotes was also a process I found artistically and creatively challenging in a very positive way. Even the process of deciding how to go about making these videos helped me think about and crystallize who I am in my role as a real estate agent. My thanks to Mikey and to Compass for helping these projects come to life.

The Edge Outdoor Observatory at Hudson Yards

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Always looking for another way to look at the New York City that I love so dearly, I was eagerly anticipating the opening of The Edge observatory in Hudson Yards last year. It opened on March 12, 2020 – and was shut down almost immediately by the pandemic. The Edge reopened in the fall with capacity restrictions, a mask requirement, and physical distancing, and I was able to experience it early in 2021. I had decided that it would be optimal to go for sunset, and those tickets sell out quickest (and have a surcharge). Given that going in inclement weather would reduce the view, I was looking for a time to buy tickets a day or so in advance when the weather was more predictable, and was able to once the holiday season increase in interest had passed.

The entrance is just to the left of the shops at Hudson Yards, if you are standing with the Vessel behind you. Everything is clearly marked, and you will be unable to enter and have your ticket scanned until about ten minutes before the entry time listed on your ticket. After being scanned in, you walk through a high-tech display about the development of Hudson Yards (which is still only partially complete at this point), before entering an elevator to go up. A virtual display of the history of the area and the views plays as you ascend.

The time I had been able to get was 4:10, on a day when sunset would be just after 4:41. With the various procedures required to get up there, it was getting pretty close to sunset. We discovered that you needed to wait on line up in the inside area to get to the outside observatory, due to covid capacity limitations. Would we get out there in time?

Luckily, things were run very smoothly, including limitations on time people could spend in the various corners outside, so we were able to get out before the sun had fully set. The Edge is the highest outdoor observatory in the Western Hemisphere, and with its unique design, you feel it. You are on a huge triangle protruding 80 feet out from the side of 20 Hudson Yards, 100 floors (or 1,131 feet) up. There are only glass walls surrounding you, and open air above.

And the views! Just lovely, and a different perspective from midtown observatories like Top of the Rock or the Empire State building, or One World Trade downtown.

One of the most exciting things to do – if you can take it – is to go on top of the clear glass floor area that they have near the point of the triangle jutting off into space. It’s a long way down, and that distance is quite tangible! This is one of the places where they have staff monitoring your time, and you have one minute alone on the glass floor before you need to give someone else a turn. I found that the staff at The Edge were great at maintaining physical distance between visitors and monitoring time limits.

There are stairs with seating that are reserved for those who have ordered champagne or snacks from the bar. As sunset passed and the lights of the city began to sparkle, the experience transformed again from end of day to NYC night magic. Having been to several observatories in the city, I find this newcomer to the scene to be the “cool kid” of the bunch, and well worth your time. It’s not cheap, but there is a (small) discount if you are a NYC resident. If doing the sunset experience, try to get the earliest time you can within the sunset window, as it turns out they don’t limit your time while up there (just at a few of the photo opportunities) and I felt a little rushed getting out there for sunset with the timed ticket I had. While outside, we heard a cheer and caught the end of a successful marriage proposal . . . New York City, a little thrill, and romance – what more can you ask of an adventure these days?

NYC Holiday Decorations 2020

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The year 2020 in New York City has certainly not turned out as we all would have hoped when they were clearing confetti from Times Square on January 1. This holiday season is unlike any other one – no Radio City Christmas Spectacular, or NYCB Nutcracker at Lincoln Center, or Santaland at Macy’s, just to name a few- but despite the pandemic, the city came through again with plenty of gorgeous lights and decorations.

I was so relieved when I heard Rockefeller Center would have a tree again this year. They limited access so that crowds didn’t gather unsafely taking photos under the tree, but it was easy to see it from Fifth Avenue (actually easier than usual, with so few tourists here).

Similarly, it was great to see Saks continuing their tradition of decorating the facade of their building on Fifth Avenue (just across from the Rock Center tree) with a light/sound show every 15 minutes after dark. To see a video sample, check out my Instagram post here.

This display on Sixth Avenue is a favorite of mine. Again, if anything it is easier to appreciate this year with the crowds so light.

Many holiday displays this year managed to work proper modeling of mask wearing into their offerings, including the New York Public Library lions and this nutcracker on Sixth Avenue.

Walking along Fifth, you could mail a letter to Santa, or listen to holiday music played from the Cartier display.

The Winter Village at Bryant Park and holiday market was back this year, just with more space between vendors and lighter crowds. Skating is going on as well, you can see a video of that here. To see this and many other holiday markets a few years ago, click here.

There was no Macy’s Thanksgiving Day parade winding through the streets of Manhattan this year, but the Macy’s windows remind us of the importance of gratitude this year – for our health care and essential workers (and for our health if we have been lucky enough to maintain it).

There’s nothing quite as magical as New York City at Christmas, and we needed that delight and joy more than ever this year.

St. Patrick’s Cathedral was as majestic as ever this Christmas season.

Once again, New Yorkers decorated their homes to celebrate this dark time of year – in a very dark year – with light, humor, and bright color. To see a previous blog post about residential holiday decorations, click here.

So the dropping of the Times Square ball will be televised this December 31, but will occur in an empty area gated to prevent people from gathering. Regardless, the rejoicing that will ensue as we welcome in 2021 will not be lessened in any way by celebrating at home. As I wrote on the piece of confetti that will fall as 2021 arrives in NYC, I have tremendous hope for health, love and prosperity in this new year ahead.

2019 Dyker Heights Holiday Lights

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As we head into the shortest days of the year, we fight off the dark with celebrations of light. In previous years, I have written about how New York City celebrates publicly (see here for 2015 and here for 2016 posts, and here for last year’s post on holiday markets). Several years ago, I had access to a car regularly, and drove to Dyker Heights with my family to see the famed holiday lights (see that post here). This year, one of my daughters and I decided to take the subway (D train from midtown) and walk (about 20 minutes from the 18th Avenue stop in Brooklyn), and on a cold evening with some snow flurries, the lights once again did not disappoint – and I believe they have become more elaborate since the last time I was here in 2014. This tradition in Dyker Heights began in the 1980’s and since has increased every year, with many residents paying professionals $20K or more to deck out their homes. On weekends, traffic is bumper-to-bumper, and the sidewalks can be packed – so go on a weeknight if you can. The best viewing is roughly 11th Avenue to 13th Avenue, 83rd to 86th Streets. Here are some photos of what I saw this year:

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As we head into our own Roaring Twenties, I wish light and joy in the hearts of all!

Green-Wood Cemetery

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Green-Wood Cemetery in Brooklyn was founded in 1838, and by 1860 was the second most popular tourist attraction in New York State, with over half a million visitors per year (Niagara Falls was #1). Its popularity as a public park spurred on the creation of Prospect Park in Brooklyn as well as Manhattan’s Central Park. It was designated as a New York Landmark in 1966 and became a National Historic Landmark in 2006. Now with over 600,000 “permanent residents,” Green-Wood is still a wonderful place to visit, as I did recently near sunset.

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It is easy to get to Green-Wood via subway (get off the R at 25th Street in Brooklyn, or get off the N at 36th Street and walk for about 15 minutes). Entering the main gate on 25th Street, it is impossible not to be impressed by the enormous brownstone gates. An escaped colony of monk parrots has lived in and around the gates since the 1970’s, but unfortunately I was not able to spot (or hear) any.

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The cemetery is huge, at 478 acres. It is also really gorgeous and peaceful. Like Prospect Park and Central Park, which it influenced, it is a beautiful place to explore on foot and experience nature while being surrounded by the city.

The monuments reflect a variety of styles. Many are very grand, suggesting that even if you can’t “take it with you,” you can still show “it” off after you are gone.

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On the site of the Battle of Brooklyn, from the Revolutionary War, there is a memorial to the soldiers of the Civil War.

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Near the Civil War memorial is a statue of Minerva, dedicated to the soldiers of the American Revolution. She waves out to the Statue of Liberty, which can be glimpsed off in the distance when you look from underneath her arm.

There are many famous residents of Green-Wood, including the artist Jean-Michel Basquiat; Samuel Morse, creator of the Morse Code; and Leonard Bernstein.

There is a public artwork by Sophie Calle in Green-Wood. Visitors to the cemetery are invited to write one of their secrets on a slip of paper and insert into a monument that is inscribed “Here lie the secrets of Green-Wood Cemetery.” As the grave becomes filled with the secrets, the artist returns to cremate them in a ceremonial bonfire. Yes, I put a secret in – and it is a surprisingly satisfying thing to do.

The sunset the evening I was there happened to be spectacular. And from higher vantage points, the skyscrapers of lower Manhattan shimmered in the last rays of the sun off in the distance.

The New York Times in 1866 remarked that “It is the ambition of the New Yorker to live on Fifth Avenue, to take his airings in [Central] Park, and to sleep with his fathers in Green-Wood.” This is certainly a statement of its time (even ignoring the gender specificity), in that many a New Yorker today would rather live in TriBeCa, take airings on the High Line, and be cremated and have their ashes scattered just off Montauk. That being said, Green-Wood still does have plots available if you are interested in becoming a “permanent resident” one day. And for now, it provides a beautiful place to appreciate the life we are currently fortunate enough to be enjoying in this splendid city.