The Flatiron Building

Combining elements of French and Italian Renaissance architecture, the Flatiron Building (built in 1902 by Chicago architect Daniel Burnham) is one of New York's oldest skyscrapers. The 22-story, 285-foot building's triangular contour at the intersection of Fifth Avenue and Broadway at 23rd Street is one of the enduring symbols of the city. With its dynamic shape, the building resembles a tall, classic column with a capital or the prow of a ship at its six-foot-wide apex, while from broadside, the 190-foot-wide facade, richly patterned and deeply incised, creates a play of light and shadow.

Shakespeare Garden

Central Park's Shakespeare Garden occupies four acres on the hill adjacent to Belvedere Castle, north of the 79th Street transverse. Named for the English poet and playwright, the naturalistic cottage garden created in the '80s by designers Bruce Kelly and David Varnell is based on The Plant-Lore and Garden-Craft of Shakespeare (1884) by Henry Ellacombe. Plants and flowers in the garden are mentioned in his poems and plays.

Union Square Greenmarket

The Union Square Greenmarket is the oldest and most diverse of New York City's greenmarkets, and one of the largest outdoor farmer's markets in the northeastern United States.

The market sells a wide range of products--artisan breads, fresh fruits and vegetables, cut flowers, farmstead cheeses, pickles, jams, wine, maple syrup, honey, and cider, among others--from regional bakers, fishermen, beekeepers, and farmers.

Open Monday, Wednesday, Friday, and Saturday, 8am-6pm, along the north and west sides of Union Square Park, Broadway at East 17th St.

Alih Jey

Dominican singer-songwriter Alih Jey previously made two albums with Universal Music Latino before releasing her independent album Necia, which was nominated for Best Rock Solo Vocal Album for the 2008 Latin Grammys. Her newest album, Tarte, was released last May. Alih presently collaborates on many projects as a songwriter, placing songs on other singers' albums, while working on new music.

An interview with Alih:

Your music?

My music has been described by others as bright pop-rock with snarky lyrics. I just go through stages when I write, the stuff I'm working on right now is kind of mean and sarcastic, lyrically! Musically, I'm still deciding what direction to go in. It might have a retro/bluesy feel.

My first favorite rock song was "Mouth" by Bush and then Nirvana took over from there! Then PJ Harvey, The Beatles and The Smiths were amazing inspirations to me.

Growing up in a musical family was great training! I learned how to harmonize when I was three years old with my two older sisters. Also, it's easier to ask for advice and understanding regarding your career, when everyone in your family is a musician! One of my first memories of music was when I was three or four and was rehearsing a song while my dad played the piano.

Instruments?

There was always either a piano or a keyboard lying around the house while I was growing up. I learned to play piano a little when I was five, but I picked it up again at fourteen to accompany myself when I started writing songs. My dad gave me a guitar when I was sixteen. I had visited my cousin, who had a guitar, and tried to play a few chords. I loved it! I also loved that I could carry a guitar with me anywhere.

My musical education has been mostly informal. I learned how to play these instruments by ear. I did take music theory and vocal performance classes in college, but honestly, I'm not sure how much I use that training!

Songs?

I'm not sure why I wrote my first song at fourteen, I think I dreamt of it first and then put it down on paper. After that, music just flowed out of me. I've been changing and evolving since then. I guess there's always been an ingredient of angst to my lyrics! Lately though, my songs have a tinge of humor. My voice has matured with time too, playing live tends to do that to you.

Influences?

I love The Smiths' lyrics, PJ Harvey's aggressive, awesome style, The Beatles' everything! Rufus Wainwright has touched my heart so deeply. Lately I've been really inspired by the Yeah Yeah Yeahs and Tegan and Sara because it just sounds so refreshing to me. I also love Bjork, Lily Allen and Regina Spektor.

Places?

My favorite concerts have been in Chicago and San Francisco. The people there have so much energy and love live music so much! I can't wait to go back to both places.

Albums?

My albums have been Tarte (2011), Necia (2007), Gotas de Piel (2004), and Alih Jey (2001). The first two I recorded with Universal and Necia I released independently. Both experiences, being signed with a major label and being an independent artist, have been worth having.

I got to travel a lot and had some financial backup while with Universal, but I got total creative freedom and decision-making powers as an independent artist. It just depends on what you're willing to compromise on. I don't regret anything I've experienced or done in the past, because I wouldn't be who I am without it!

From my second to third album you can definitely hear a difference. My second album was extremely more poppy and commercial, while Necia had an "I don't care" factor, although I still consider the songs catchy, despite some people that didn't!

My English language debut album, Tarte, features songs that range from power pop to indie rock and Latin tinged alternative.

Miami?

Miami is full of talented singers and songwriters. There is no lack of that at all. We could probably improve our live music scene. There are lots of clubs and bars with cover bands, which are cool and very talented as well. But I think original music could use a little push in Miami, so that more people come out and check it out. I'd love to see Miami keep flourishing and evolving culturally and artistically.

Projects?

Recently I collaborated on Universal artist Janina's self-titled album. I'm very honored to have been part of the project. She is an excellent singer and a great person. I also recently co-wrote with Alex Cuba. We wrote an awesome song! I'm currently writing for other artists and writing for my next album too! I would love to one day meet The Tings Tings and collaborate with them. They rock! Also, I really admire Lily Allen and would love to one day work with her.

Alih Jey; www.myspace.com/alihjey.

Nicole Henry

Jazz vocalist and singer Nicole Henry personalizes the Great American Songbook as well as love, inspirational and original songs. Appearing at local Miami venues, she has also been featured at The Rainbow Room and Lincoln Center in NYC and tours internationally at clubs and festivals. Nicole has released five acclaimed CDs in the last six years; her most recent, Embraceable, features a wide range of both familiar songs and newer pieces.

An interview with Nicole:

Beginnings?

My sister and I loved to sing and dance along to movies and TV shows. In particular, we loved the Broadway musical-turned-movie "The Wiz" and the Fame TV show. My mother always inspired my sister and I to play an instrument, so I chose cello and studied for six years. I also sang in school choirs since the third grade and in church choirs since sixth grade or so. And while she was never a stage mom pushing me to compete for solos or to get involved in competitions, she always supported the performances, including the drives to choir rehearsals.

But at that time in my life, I wasn't inspired to sing, sing, sing! It never was my big dream to be a famous singer--actually I quietly dreamt of being an actress. The desire to sing professionally would come later.

As far as the kind of music I listened to while growing up, I always understood and deeply appreciated classical music, particularly since my mother played piano and great classical albums throughout my childhood. We also grew up listening to The Commodores, The Spinners, LaBelle, Sylvester, and many more great soul music groups.

At the same time, we listened to my parents' music from the '50s and '60s on the oldies station, so that included both black and white music. Then by middle school, it was all about "I want my MTV," so we heard everything, just everything! Then, of course, we had gospel music every Sunday morning.

Your music?

When I sing music, I am very passionate about the words and how I want people to feel. I want to create a sensual impression of each song. Each song should have some sort of impact and feeling for the listener.

Right now I sing a lot of jazz standards, adult contemporary, some soul, and love songs. I fell in love with jazz because the lyrics and the melodies are classy and beautiful, and the genre also leaves a lot of room for interpretation. How many other genres have you heard re-recorded in such individual ways?

Singing is an opportunity to share an emotion and bring optimism, understanding, explanation, and love into people's lives. An entertainer can be like a best friend, a therapist, an instigator, or someone else's voice in their head. Or we can just entertain and let people escape for a little while.

Songs?

I enjoy singing ballads and sad songs a lot, but I try not to do so much of those since most people don't like to be depressed. Usually the downtempo songs allow you to be the most dramatic and expressive in the storytelling, so that's why I favor them. A good 12/8 blues ballad is moving too.

Career?

After singing dance music from 1997 to 2000 and having a #8 song on Billboard's dance charts in 1998, I knew I had found my passion--to perform. I purchased a guitar in 1998 and started writing songs and would play them around town at the open mic venues that would schedule original music artists. That was so fun and organic. I look forward to writing more again, playing guitar more too.

Then, by fate, I was called to go on the road with a blues-rock band out of Detroit, Robert Bradley's Blackwater Surprise. This was when I still had an office job, as the events coordinator for the Florida office of The Recording Academy. So I took a leave of absence, knowing deep in my heart that I was aching to be a full-time artist, and hopefully I would return as just that. And that's exactly what happened.

Since then, I have been singing and acting, singing locally at clubs and private events. It started first with original music, a band called Fortified. Then I realized it was very difficult to make a living singing only original music, so gradually we added more cover songs to our repertoire.

My guitarist Lou Duvin and I performed as a duo for about two years, while I also joined two or three other cover bands around Miami. By 2002, I was exposed to jazz and simply fell in love with the music. I've been singing mostly jazz and have recorded five albums. I plan to start including more and more original songs as well as branch out into an adult contemporary/R&B style--although I'll never leave jazz behind completely.

Community?

Naturally, as a singer and musician, I believe in the power of the arts and in arts education. I believe it helps children develop as individuals, and of course, it's been proven to help children in the learning process when it comes to math and sciences.

The U.S. overlooks the extreme importance of the arts in our society. If our children don't become artists or learn to appreciate the arts, then art will die. So, I've worked in the past with Miami-Dade County and its school system to raise money for music classroom instruments. I've performed with some high school big bands and quartets and I've been a local artist representative at school board events.

I've also worked with the National Foundation for the Advancement of the Arts. In today's world, U.S. school districts really need the funding to ensure that children are exposed to a range of art, including dance, theater, visual art, and music. As the funding isn't coming through the government as needed, it is great to see corporations and individuals supporting the cause.

Performances?

I've performed in all places possible, it seems. And I truly love them all; they all have their special meaning. Even those one or two venues from years ago that allowed the TVs to play as the band plays ... they've meant something along the way.

From NYC's Lincoln Center, to Miami's Van Dyke, to the Land Shark Stadium singing the National Anthem in front of 20 million viewers, to international jazz festivals with audiences of 25,000, to a special house party for 100 people--I just love to perform. I can find intimacy in each of these places and seek to create something meaningful.

Nicole Henry; www.nicolehenry.com. 

Beth Boone

Beth Boone is the Artistic and Executive Director of Miami Light Project, a cultural institution founded in 1989 which presents performances by innovative dance, music and theater artists. MLP supports the development of new work by performing artists, provides workshops for local artists and offers student educational programs.

An interview with Beth:

Background?

I've been involved in the arts my entire life. I grew up in the DC suburbs and with my parents' encouragement I enjoyed all the cultural treasures of that city. Early exposure to the arts instilled a love of the arts in me which has never waned.

Earlier on in my career I was a practicing theater artist, having majored in acting and directing in both undergraduate (College of Charleston) and graduate school (Brandeis University). When I moved to New York I founded a theater company with friends from grad school and have worked in the theater ever since. I became the Director of MLP in 1998 and it is the best job I've ever had.

Miami Light Project?

MLP brings today's leading national and international innovators in dance, music, theater, and multimedia performance to Miami while developing the work of Miami-based artists. Our goal is to contribute to Miami's growing reputation as a leading cultural center of international signficance.

Programs?

We have five primary programs. The Contemporary Performance Series features internationally recognized artists, distinguished by their daring creativity and technical virtuosity. Our Here and Now program commissions, produces and tours the work of emerging Miami-based artists. International Cultural Exchange is a program that fosters collaboration among visiting and local artists. Light Box/Out of the Box, our community outreach initiative, involves local schools and community-based organizations. Miami Project Hip Hop is an initiative dedicated to the development and dissemination of new work by artists from the hip hop generation.

Local artists?

Since 1998, MLP's signature program for community-based professional artists, Here and Now, has commissioned, produced and helped to tour internationally the work of over 40 Miami-based artists. In addition to commissioning their work we provide other professional development opportunities, which include teaching, workshops and classes with visiting artists.

New work?

One of the most exciting aspects of my work is that I am invited to festivals and performances around the world to see new work by emerging and established artists. I also attend convenings, serve on international panels and learn from like-minded colleagues and applicants to various programs about new work being created.

Miami?

To be so young, I think Miami has rather quickly developed an unusually vibrant and nuanced arts community. Our rich cultural heritage and especially our Latino and Caribbean influences have created a unique city, and it takes effort to uncover all the cultural treasures when the sun and sand beckon.

I think visitors and residents alike make assumptions that don't give consideration or full credit to all that is here to experience. Art Basel has, without a doubt, changed the playing field for both makers and consumers of art and arts-related experiences, and most would agree that the visual arts community has hit its stride.

The Miami-based makers of contemporary dance, music, theater, multimedia--the work MLP focuses on--are beginning to emerge nationally and internationally, and with continued support they will soon become recognized as defining forces in Miami's identity.

Miami Light Project; www.miamilightproject.com.

Rosie Herrera

Choreographer and dancer Rosie Herrera has danced with various modern troupes, studied classical singing and worked with the hybrid theatrical ensemble Circ X as an improvisational performance artist. She recently created her debut full-scale, surreal dance theater piece, Various Stages of Drowning: A Cabaret, for the Miami Light Project's Here and Now Festival.

An interview with Rosie:

Background?

My performance debut was to "Sopa de Caracol" in my backyard shed to a very small group of neighborhood kids and my reluctant family when I was five years old. With no extra money for dance classes this remained my performance medium well into my early adolescence.

By the time I was 15 I was dancing hip hop professionally with local dance companies like Live in Color and dancing and acting in Spanish cabaret productions at El Teatro de las Bellas Artes in Little Havana.

I had the good fortune of being cast as a showgirl in several productions with the amazingly talented Nestor Cabell. This was my first foray into the cabaret world and this is where I really learned what the lifestyle of a performer would be like. I was happily committed every weekend to performances despite prom, birthdays or anything else.

At the cabaret I learned how to do makeup, how to improvise, how to be a showgirl, how to be a comedian, and how to work in an ensemble. Most of all, I got to watch and learn from the other performers who came with years and years of experience from Cuba and whose attitudes about life, art and sexuality were drastically different from anything else I had experienced.

In high school I had always done theater, but my incredibly high speaking voice made it hard to land any roles that were not character roles. I went to a vocal coach to address my issues with my speaking voice and he introduced me to the world of opera.

I had always wanted to sing and the new repertoire freed me to sing music that was actually suited to my voice. With the classical training I created a vocal foundation that allowed me an incredible knowledge of my voice and an incredible appreciation and admiration of the human voice in general. My love affair with opera remains my strongest, most romantic affair of my life.

I continue to study with the same teacher from the Performer's Music Institute, Oscar Diaz, Jr., and to perform with the Institute's opera ensemble where I, from time to time, stage or choreograph scenes and recital programs.

Be that as it may, I never matured into the sultry alto I always thought I was inside. Besides, I had always felt that I was more expressive with my body than with my voice. So, when I was accepted to the University of Florida on an academic scholarship I decided miming would be the natural choice.

At UF I took my first modern dance class under the advice of the theater instructors and had a paradigm shift. For the first time in my life I felt I knew exactly what I was meant to do. I threw myself into the dance major and eventually transferred to the New World School of the Arts, where I studied ballet, modern, jazz, Caribbean, and composition, amongst other things. At New World is where I began choreographing. It quickly replaced everything else on my list of things I like to do.

Once I graduated with my BFA I began working with the interdisciplinary performance ensemble Circ X. As a performer, Circ X allowed me the opportunity to explore as an improviser, not only movement-wise but also theatrically within a varied amount of atmospheres. With Circ X, I also assisted in choreographing and directing rehearsals for weekly cabaret productions that included singing, dancing, circus skills, and burlesque.

I also danced professionally with local choreographers such as Bill Doolin, Freddick Bratcher and Octavio Campos, and continued to work in the commercial dance industry doing music videos and live performances for recording artists as well as choreography for drag and burlesque performances.

Influences?

As an artist I have always said that my biggest influences were Michael Jackson and choreographer Pina Bausch. I had always wanted to dance for them. I felt an affinity with their work that I haven't felt with anyone else's work.

In terms of my choreographic inspiration, that comes from the regular experiences of my life. Often they are dreams or daydreams. Once the image or situation comes to me, then my brain kicks in to make sense of it all and organize the images into a cohesive thing that I decide is important or interesting enough to explore.

I try to surround myself with people and situations that invoke a sense of wonder, mystery and love and that keep me sufficiently inspired. I also keep my eyes open when I'm dining alone, or driving or washing dishes.

Miami?

I decided early in my dance career that I wanted to make Miami my artistic base. Choreographic influence comes from everything that surrounds you--architecture, language, fashion, weather, everything. And in a place like Miami where the colors are bright and the light bounces off of Art Deco buildings, the people are speaking Spanish, Creole and Portuguese and the beach is close--I am happy and more than anything I am inspired.

I also am incredibly interested in the dancers and performers in Miami. The cultural variety and history of the largely immigrant population is incredibly interesting and specific to Miami. Most important of all, Miami is warm. And although that may seem trivial, sunlight changes people and it changes their bodies. I am more interested in working with the bodies that are full of sunlight.

On the other hand, Miami is a very challenging place to be an artist. There is very little funding available to even the most successful of local artists, especially in the performing arts. There are so many talented artists that eventually leave Miami because the resources, venues and community support are not there. I can speak from personal experience in saying that it is impossible to make a living in Miami as a professional dancer or performing artist unless you are a ballerina or stripper. Although, the last couple of years have brought a resurgence of local Miami artists, largely due to Art Basel. With the creation of the Adrienne Arsht Center for the Performing Arts I also feel that more opportunities will arise and talented artists will find more and more reasons to stay put.

When a community stands behind its artists it makes an investment in its future. There are several organizations that have been diligent in their support and development of local Miami artists. For example, the Miami Light Project is an organization that has launched the careers of dozens of successful choreographers, playwrights, filmmakers, dancers, and musicians.

With MLP's commission of my previous piece, Various Stages of Drowning: A Cabaret, as part of their Here and Now Festival in association with the Adrienne Arsht Center for the Performing Arts, my career has been catapulted to the national stage. They are the only organization in Miami that commissions new work from local artists. This is no small feat. As an audience member of the Here and Now for close to a decade I can always trust that they will present the most innovative, exciting theater work in Miami.

Future projects?

I hope to continue to make work and ultimately would like to show at the Edinburgh Festival Fringe and tour.

Rosie Herrera Dance Theater; www.rosieherrera.com.