Lunchbreak Jazz Ensemble performing live on stage Monday, Oct. 16, at SOhO Restaurant and Music club in Santa Barbara, Calif.
SOhO Restaurant and Music Club overflowed Monday evening at “Jazz Night at SOhO,” which featured City College’s top three jazz ensembles: Good Times, New World and Lunch Break.
Good Times kicked off the evening with a contemporary tune entitled “The Arrival” followed by the sweeping “Ballad For A Lady.”
Throughout Good Times’ set, the trumpet player, Sergio Rodriguez, drove all of his melodies perfectly over the horn section with an approach very reminiscent of Miles Davis. One of the two guitarists, Kellen Romano, showed the most enthusiasm on stage and executed some very notable soloing moments.
Director Eric Heidner interacted with the crowd by dedicating time between each song to provide proper introductions and context.
During New World’s set, directed by Anthony Ybarra, the Afro-Cuban chart entitled “Category 4” was instrumentally engaging and highlighted the individual musicians nicely.
The third and final ensemble, Lunch Break, directed by James Mooy, closed the evening with a strong performance filled with more intense and dynamic songs.
There was even a rap verse performed by trombonist Grey Ingersoll, which caught the audience by surprise.
Pianist David Struven had an outstanding performance as well, filling in the spaces where the keys were needed.
The three ensembles made up of over 20 musicians truly proved just how remarkable the City College Music Department is, and what both their professors and students have to offer to not only the campus but to the community.
The next performance of the SBCC Concert Series will be with the Fall Chamber Concert at 7 p.m. Saturday, Oct. 28, at First United Methodist Church at 7 p.m.
James Espino, 35, Scrap Yard’s new co-owner, said that he intends to keep the store’s worn aesthetic and continue to sell graffiti supplies, but that he also wants to expand his customer base to include other artists.
“There’s a lot of people who come in here to get markers that are not actually tagging or doing graffiti,” Mr. Espino said. “They’re working on canvases, they’re actually doing other projects.”
Indeed, the neon “We Sell Paint” sign in the shop’s window draws all kinds of creatives. Scotty Werner, 29, who had come into the city from Long Island, visited Scrap Yard with Elizabeth Yount, 28, to pick up black spray cans and a wide-tipped marker. Mr. Werner explained that his main focus is on producing dubstep music, but lately he’s begun to dabble with graffiti-style writing and painting.
Scrap Yard also sells apparel. For 25 years, Alfredo Alban, 52, has shopped for wardrobe pieces there. He was recently picking through T-shirts that were hanging on a rack beneath shelves of discontinued coffee-table graffiti books, while his wife, Winifred Tracy, 69, in a burgundy leather tank-top and purple, snakeskin-styled high-tops, advised him. Eventually, he pulled out a black-and-gold shirt by the local designer Almost Made, which featured Marilyn Monroe wearing glasses and a bandanna covering her mouth.
“I’m looking for anything that pops — something that’s avant-garde, something abstract,” Mr. Alban said.
Ligia Dumbrava, 36, had brought her cousin Ravi Nistorescu and his friend Henry Brown-Kempf, both 11 and budding graffiti writers, to the store to buy stickers and paint markers.
Ravi had heard about the store when was on the other side of the Atlantic Ocean. “I’ve been daydreaming about it since I was in England,” he said. “I went to this graffiti place called Chrome & Black, and they said, ‘You’ve got to go to Scrap Yard.’”
“This is not a minimalist apartment,” Sam Jaradeh says of the SoHo loft he decorated himself. He lives there with his partner and their Maltipoo, Rio, which Jaradeh, who’s 37, purchased as a compensatory gift to himself when a trip to Brazil was canceled. The 6,000-square-foot space, purchased in 2014, was once an art gallery, with its occupants living in the area that is now Jaradeh’s bedroom. The current living room was the gallery, and in a way it still is, as he uses it not only to live, dine, and fête, but also as a kind of showroom for his furniture—pieces so uniquely over-the-top they defy categorization (let’s call it Sex Dungeon Baroque)—which he’ll be offering clients, starting this fall, as SJ Studio NYC. He wanted to mix an old-world, “Victorian” sensibility with something industrial and NYC, but made sexy. His inspiration board included images from the hotels in which he and his partner stay all around the world, especially Hotel Costes in Paris, a favorite. When all had been installed, friends began asking where they could buy the pieces for themselves, and a business idea was born. “I wanted every piece to be like a piece of art. If I’m going to make furniture I don’t want it to look like you could get it at any store.” Mission accomplished.
“There’s a lot of exotic skin. The chairs are python. There’s a lot of fur and a lot of skin. A lot of fox. A lot of kangaroo. It’s wild.”
Architectural Digest: Where did you get your ideas from?
Sam Jaradeh: I was very inspired by the Hotel Costes.
AD: Hotel Costes meets The Eagle.
S. J.: Sort of. I wanted to do old French meets industrial and a little underground. This closet is all made out of leather harnesses. It’s not an S&M fetish thing. There’s no kink behind it. I just like that dark, sexy look.
AD: Just because I wear scrubs doesn’t mean I’m a doctor.
S. J.: There’s an old-European vibe, but I wanted to mix it with sexy stuff, mixed with some hard edge.
AD: What’s the largest number of people you’ve had on that couch?
S. J.: I had a private party during fashion week; probably seven or eight people sat there. This is not my piece. It’s a Baxter.
AD: The smaller couch, it’s not yours either?
S. J.: That’s actually a coffin.
S. J.: This artist does them. He makes them in colors too. He’s an undertaker.
AD: Tell me about these python chairs.
S. J.: In order for us to have them cover a panel we had to use all bellies. And then the cushion is the tail. We probably used three or four snakes for each chair. The frame is burned oak wood. This silhouette been around for as long time; it’s an old Victorian Gothic shape. I wanted two symmetrical pieces that would frame this formal area.
AD: Did you say formal?
S. J.: This living room is the formal living room and then it transforms into lounge-dining and bar, and then a comfortable TV room.
AD: Tell me about the bar.
S. J.: Originally it was a kitchen island. I knew I did not want a kitchen island that was going to ruin the look of my formal dining room. I wanted it in stainless steel to match the dining table. It’s all one sculpture. It wouldn’t fit in the elevator. We had to break two windows to get it in here. The whole idea is that when you’re sitting there having dinner you’re looking at a sculpture; you’re not looking at a messy kitchen. This black wall you see behind the bar is functional. It’s all a kitchen, but just for the bar.
AD: Is that where Katy Perry got her “swish bish” thing from?
S. J.: This is an artist who did this as a tribute to the artist David Hammons. I’ve always loved the Hammons piece and there’s no access to it, nor could I afford an eight-million-dollar piece of art. I love how it’s basketball, and then you take away the basketball and it’s just a classical chandelier. And that’s where my taste comes in—that fucked-up element.
AD: What’s the bench made of?
S. J.: Chinchilla. All the brass hardware on it is a reflection of the room itself. The legs are golden columns that run into lion feet, resembling the room’s gold central column. This will be one of my most expensive pieces.
AD: Big bedroom.
S. J.: I wanted a room where I could do anything inside. I have my office here. I have my bed. I have my spa in here. I have my library. And I have my minibar.
AD: Do you box?
S. J.: No. At Art Basel, I saw this artist who makes punching bags, but they’re so colorful. I was like, “Fuck that, I’ll make my own piece of art.” Each piece of metal, stud and chain—I hand-did it. And of course I brought my trademark lion. The dumbbells and kettlebells are functional. I wanted to make a functional gym. I put my yoga mat down and work out here.
AD: The mirror is huge.
S. J.: For every panel you see, they broke four or five of them. The concept is to have dimensions. This is not a straight, mirrored wall.
AD: The tub in your bedroom says “Gold Digger.”
S. J.: It’s just a joke. I wanted a bathroom floating in the middle of the bedroom. But I wasn’t going to have a ceramic tub or a porcelain tub. There’s a British company, Catchpole and Rye, that makes brass tubs. This is brass, but in order for the color to never change it’s gold-plated. Normally, the plaque here is the name of the company. I said, “We have to eliminate that because I don’t want the name of the company exhibited in my house. This is not your showroom. How about you customize something for me?” Their technician said yes but I had to come up with the phrase.
AD: The dining table is downright mythical.
S. J.: The whole idea is that when you’re far away from the table it looks like it’s floating. I thought, Well, if it’s a floating table why don’t we have floating chairs? But how do you do a floating chair? Part of my collection is called the angel chair. The large angels are the head of the table. Each feather is individually sculpted by hand. All the seats of the chairs are made out of kangaroo.
AD: And the crosses and Stars of David?
S. J.: The religious symbols came after I found the cathedral organs of the chandelier above. I love the idea of having a dinner and having a religious experience around the table. I’m Jewish. I can’t own a cross? Why not? I wanted to mix the angel chairs with something more structured and square. I wanted the woods mixed with the brass and stainless steel. Everything was experimental and everything was spontaneous.
AD: What are these leather things hanging on the wall? Do you have a horse somewhere in here?
S. J.: It’s a sculptor in Berlin, an artist I know who does all these leather and rubber sculptures. He did it just for us. I already had the Louis Vuitton hammock and the leather closet—a little sexy, underground vibe.
AD: Is that a python blazer?
S. J.: It is. I wanted to create our closets where it’s like a store, where there are compartments everywhere. There’s an underwear section and a jewelry section. Everything is utilized to the max.
AD: What’s with the giant golden dollar sign above your golden tub?
S. J.: People think, Oh, that’s so funny, you built yourself a golden bathroom so you put a dollar sign in there. No, I already had it.
AD: Gotta ask: Why gold?
S. J.: Conceptually, I wanted it to go from a gym into a spa. I wanted you to walk into a gold tunnel. The only element I mixed in was the mirrored ceilings. Two weeks ago, I’m taking a bath. I look up and think, This is an Instagram opportunity. I’ve had every model from fashion week, every drag queen, get naked and stand in this tub and take pictures of herself. All people want to do is take photos in here. And I never really planned on that. I just wanted a golden bathroom.
AD: Where did you grow up?
S. J.: My parents had a place on the Upper East Side, and then we moved to Brooklyn when I was seven.
AD: Have they seen the place?
S. J.: Of course.
AD: What did they think?
S. J.: My mom immediately started crying. She was just really, really happy for me to have this kind of place. She was like, “Oh, my God, what did you do? I had no idea my son had this in him.”
NEW YORK, Oct. 18, 2017 /PRNewswire/ — Bershka, the Inditex Group’s youth brand, heads to the United States for the very first time, with a pop-up store in the heart of SoHo, one of the world’s most emblematic fashion districts, celebrating the launch of its online platform in America. Located at 580 Broadway, the store officially opened on Tuesday, October 17 until the end of the year, displaying all of Bershka’s FW17 collections – Bershka, Bsk and Man, as well as the sports lines, Start Moving, for young men and women. This new pop-up store will be Bershka’s début brick and mortar establishment in the United States, a market in which the brand has had an online presence (www.bershka.com) since last April. During the next three months, visitors to the store will be able to see, touch and buy the brand’s most iconic pieces in a premise stretching 8,180 square feet over two floors.
Special elements of the store include leading initiatives to be as eco-efficient as possible, guided by the LEED sustainable building criteria. Additionally, within the store, the Bershka STAGE store image has guided all of the furniture and decoration designs. The layout has been similarly adapted for the store space specifically and with the US consumer in mind, offering the trendiest current looks, complete with accessories and footwear.
BERSHKA STAGE STAGE is the store image designed for the stores Bershka has been opening around the world and will also be on display in SoHo. Inspired by the world of music concerts and what goes on behind the scenes, the STAGE aesthetic epitomizes Bershka’s DNA: music, fashion and youth. The result is an interior design that is industrial yet airy with open ceilings that reveal the establishments’ skeletons. The structure is framed by truss scaffolding that runs around its entire perimeter and is used to hang the lighting, speakers and some of the screens that make up the whole look. The STAGE concept facilitates the shopping experience by means of more user-friendly and versatile furniture and fittings, making it easier to get around the store and providing a better way of displaying the brand’s garments and, by extension, each season’s new looks.
ECO-EFFICIENCY In keeping with Inditex’s Environmental Plan, the work performed by Bershka’s teams of architects to set up this pop-up store upholds the Group’s eco-efficiency criteria in terms of energy-efficient lighting, the use of timber sourced from certified forests and the commitment to reusing materials and managing waste responsibly. Bershka continues to strive to make its new stores as eco-efficient as possible, guided by the LEED sustainable building criteria that corroborate the use of the most environmentally-friendly materials and respect for sustainable building standards at every step of the construction process. The Bershka stores in Berlin (Tauentzienstrasse) and Valencia (calle Colón) boast the highest LEED certification and are the brand’s standard bearers in terms of eco-efficiency. They are the benchmark for all the brand’s new store openings. Over half of Inditex’s worldwide store base is now eco-efficient, implying electricity and water savings of 20% and 40% with respect to conventional stores, respectively.
BERSHKA – Inditex Group Bershka came into existence in 1998 as an innovative retail concept targeted at young shoppers. Today it has 1,098 stores in 75 markets across Europe, the Americas and Asia. The brand is forging ahead with an international expansion strategy that has been marked by high-profile openings in recent years in markets such as China, Japan, Taiwan and South Korea, along with flagship store openings on some of the world’s most important shopping streets, including Oxford Street (London, UK), Via Vittorio Emanuele (Milan, Italy), Nanjing East (Shanghai, China), Gran Vía (Madrid, Spain), Rue Rivoli (Paris, France) and Shibuya (Tokyo, Japan).
Launched in 2011, its online platform currently reaches 35 markets. www.bershka.com has recently overhauled its image, adding new features to deliver a faster and more intuitive shopping experience. Bershka currently has a staff of over 15,000 between its worldwide store base and its head offices and logistics facility in Tordera (Barcelona). The chain is part of the Inditex Group, one of the world’s largest fashion retailers with over 7,400 stores in 94 countries across all five continents. In addition to Bershka, Inditex has another seven fashion concepts: Zara, Pull&Bear, Massimo Dutti, Stradivarius, Oysho, Zara Home and Uterqüe.
Retail sits vacant in nearly $1B of newly bought Soho real estate
West Broadway and Grand Street are seeing a glut of empty storefronts: analysis
Investors who shelled out more than $940 million to buy retail-focused buildings and condominium and cooperative units in Soho over the past six years are today sitting with their spaces vacant, according to a recent analysis by The Real Deal.
Real estate players including 60 Guilders and Ponte Gadea paid top dollar for store space and are now working to fill it as the retail market shifts underfoot. In total, investors bought 40 properties in the neighborhood that as of last month had more than 163,000 square feet of retail space sitting vacant, representing nearly one-third of all the vacant space in the district.
As the retail market struggles citywide, landlords are under pressure to occupy the space, regardless if they’re able to achieve the rent they anticipated when they closed the sale.
Soho saw average asking rents double from 2008 to 2014, hitting $890 per square foot that year, figures from the Real Estate Board of New York show. While those numbers have declined, reaching $812 in May, many tenants still aren’t signing up. If they are, it’s for short-term deals as they struggle with an unpredictable economy and the rise of online retail.
To get an up-to-the-minute snapshot, TRD walked all 38 city blocks in Soho recently and checked in on the 750 buildings there, finding approximately 569,000 square feet of retail space vacant, or about 16.3 percent of the total 3.5 million square feet of retail.
To be sure, several of the high-profile acquisitions were entire buildings including office space above, but in most cases, a large portion of the value in a Soho commercial building is the retail.
Kevin Chisholm and Bastien Broda’s 60 Guilders, in different partnerships, have been one of the most active buyers in Soho in recent years. They purchased at least five buildings, and now two of those buildings, totaling just over $125 million in purchases, are vacant in their retail portion. The properties are 106 Spring Street, acquired for $105.4 million with the Carlyle Group; and 119 Spring Street for $20 million, with Meadow Partners.
Ponte Gadea, an investment firm controlled by Spanish billionaire Amancio Ortega, purchased 490 Broadway for $140 million in January 2016, and the landmarked building’s retail has remained vacant since. Just down the street is 375 West Broadway, which Pearlmark Real Estate Partners purchased for just shy of $119 million in June 2014. The storefront has been empty since Anthropologie closed. A block north is 60 Guilders’ 106 Spring Street, acquired in April 2016 and has remained empty ever since. These three properties are all within a few minutes’ walk from one another and represent $364 million of unoccupied retail space.
Carlyle declined to comment; the others could not be reached.
There are other concentrations as well, including some areas such as the intersection of Prince and Wooster streets, where several stores have been left vacant on a single block. From the corner, a passerby could observe three vacancies on the same block, at 113 Prince Street and 138 and 146 Wooster Street. The Wooster Street properties were purchased in the past four years for a total of about $55.7 million. Three more pricey vacancies can be found on Spring Street — at 165, 178 and 182 Spring, all in the two-block stretch between Sullivan Street and West Broadway. Those vacancies total over $41 million of unused retail space.
For some owners, the empty storefront is just a necessary transition to land a tenant. For example, 462 Broadway, owned by Meringoff Properties, hasn’t changed hands recently. However, Meringoff refinanced it in June 2016 for $110 million, putting additional pressure on the owner to find a tenant for the space quickly. Representatives from Meringoff attribute the vacancy of the property to a conscious decision on their own part, keeping the space empty throughout the long process of rezoning it.
Jason Vacker, CEO of Meringoff Properties, said that building was recently rezoned, increasing his flexibility to lease it up.
“Our building, which just received city approvals [last] month, can now be rented to any type of retailer,” Vacker said. “We expect strong demand for one of the few buildings where potential tenants won’t have to worry about whether or not their use conforms to zoning.”
Correction: An earlier version of this story incorrectly identified a store as vacant that was not, in fact, vacant.