The Controversy of Banksy’s Work: Is Graffiti an Art?

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At the crack of dawn on Halloween, balloons spelling “Banksy!” could be witnessed on the gray wall of an abandoned factory, rising above the relics left by other graffiti artists. The balloons represented the legacy of his work and influence on New Yorkers, and it was a silent farewell party for Banksy as he was to leave for the U.K. The large, bubble font letters could be spotted by drivers as they passed by on the Long Island Expressway. And of course, there were the fans that rushed to the scene as soon as the anonymous artist posted his work-of-the-day online.

The triumph was short-lived, however. Along with the fans was a less enthusiastic crowd.  The New York Police Department followed Banksy’s updates on a marathon to capture the ghost-like artist and contain the influence of his work. The work he presented each day was always destroyed by the police or by other graffiti artists within hours of its release. As for the “Banksy!” balloons, the police confiscated them. Many other artists argued that the balloons could be valuable as an artwork: “They should give it to me and we’d sell it”, said Mr. Stephan Keszler, a New York gallery owner. However, the NYPD did not see Banksy’s work the same way. “I don’t have it as art on the invoice. We have it as a balloon”, said Deputy Chief Jack J. Trabitz. The city government described a similar take on Banksy’s work. Mayor Bloomberg stated that Banksy “is not my definition of art. I just think there are some places for art and there are some places [not for] art”.

A faceless British artist, Banksy settled in New York City for the month of October 2013. His objectives: to complete an “art residency”. At first glance this term could be mistaken as a strictly educational and peaceful study of art principles. On the contrary, Banksy turned the city upside down with his satirical illustrations of American society and politics. The NYPD went on a wild goose chase in order to arrest the rebellious artist. What did Banksy do wrong? Based on interviews with police, it was revealed that the city government did not perceive Banksy’s work as art. Rather, it believed that his work was a violation of other people’s property with no reasonable objectives.

The mixed responses to Banksy’s “products” led to several questions: Is graffiti considered art? Is Banksy’s work art? What were his intentions in conducting this project? Why did his work produce such a wide range of responses? According to an artist with the online name Wh Willy, not only is Banksy’s work an art, but his project brought the true meaning of art back to New York City: “Banksy is bringing art back to where it should be…the streets. Where people can interact with it in their daily life”. Wh Willy adds that, “the issue artists have with museums is it makes art very sterile – art has become so safe and boring that it’s having very little impact on society…We can’t stare at Picasso’s works forever…art needs to break out and become an important piece of our culture…” The title of Banksy’s residency, “Better Out Than In”, reinforces the comment made by Wh Willy. Art must break out of the social orders that are containing its true potentials

Similar to Wh Willy, many other artists expressed appreciation for Banksy’s project. Once an architecture and graphics design major in college, Ray Liao believes that Banksy’s work is beneficial to the community in several ways: “I think the owners of the properties where Banksy left his work were happy because they could make money from it being there”. Wh Willy added that instead of “being a bad influence” as the NYPD put it, Banksy had attracted children of all ages. Wh Willy believes that Banksy’s input on city walls could actually increase New York tourism and popularity. In addition, the “rebel” artist may just be the inspiration for young artists to explore the real world.

Mr. Liao and Wh Willy provided their insights to Banksy’s intentions, and they seem pretty fair. Now, the question to be answered is: did Banksy’s art violate New York City? “The idea of graffiti is to mark your territory and that’s where it separates from art”, states Mr. Liao, “but Banksy is not that type of graffiti artist. He did not just choose a random place and deface it. He actually selected where he thought his art would be interesting”. Mr. Liao described Banksy’s October 17 entry as an example. The artwork was produced on a wall in Williamsburg, Brooklyn. Banksy took advantage of a preexisting arch built into the wall by painting the silhouettes of two women in Japanese attire standing on the arch. Banksy creatively portrayed the arch as a bridge on which the two women were walking on. Unlike other graffiti, Banksy’s art was not an aggressive mark of territory. Instead, it was an artistic use of the characteristics of particular walls.

Banksy fans have supported his work by justifying his intentions, but he is still classified as a graffiti artist. Can graffiti be justified as an art then? Should it be legalized? These questions brought mixed replies. “Graffiti should be illegal in certain areas, but artists should have a place to represent themselves. They should not violate private property or public buildings, but I think all artists should have a canvas to express themselves,” said Mr. Liao. Many believe that graffiti is like the distant relative of mural painting. The problem with graffiti, however, is that it has strayed from its ultimate goals as an expressive art. Many graffiti artists of today use the art for gang representation and for visual violence. This interpretation of graffiti should be discouraged.

According to many artists including Banksy, the modern concept of art must be reformed in several ways. Territorial graffiti should be eliminated, while art should embody more than just museums – the indoors. Art is about diversity and innovation, but it involves nothing of violence. Even though most of Banksy’s art is considered graffiti, it was not produced for the purpose of debasing or dictating others. Banksy shedded a new light in which we should see art. We should not be confined to institutional art. Rather, we could explore new horizons to learn about it.

For the most part, Banksy’s art produced controversial reactions among New Yorkers because people were baffled by the nature of graffiti and how Banksy applied the art. He received opposition for the political and social criticism involved in his work. Many artists like Wh Willy and Mr. Liao encourage Banksy’s expressive methods, and they hope that artists to come will follow in his footsteps.

Works Cited

Banksy. Better Out Than In. Banksy, 1 Oct. 2013. Web. 5 Nov. 2013.

Buckley, Cara, and David J. Goodman. “Police Confiscate Banksy Balloons and Say

They’re Not Art.” The New York Times. The New York Times, 5 Nov. 2013.

Web. 7 Nov. 2013.

Cush, Andy. “Mayor Bloomberg Disapproves of Banksy.” Animal. Animal, 16 Oct. 2013.

Web. 7 Nov. 2013.

Liao, Ray. “Banksy & Graffiti.” Personal interview. 17 Nov. 2013.

Smith, Roberta. “Mystery Man, Painting the Town: Banksy Makes New York His

Gallery for a Month.” The New York Times. The New York Times, 30 Oct. 2013.

Web. 5 Nov. 2013.

Wh Willy. “Re: Banksy Made News, but Not a Lot of Great Art.” Web log comment.

New York Post. New York Post, 15 Nov. 2013. Web. 19 Nov. 2013.

Zeaman, John. “Banksy Made News, but Not a Lot of Great Art.” New York Post. New

York Post, 2 Nov. 2013. Web. 7 Nov. 2013.

The Difference in Representation between Video Games and Video Games

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Advertisements for video games are fairly common around New York City.  Walking around Manhattan during the past two months has invariably lead to sightings of Grand Theft Auto V advertisements involving a bikini-clad woman taking a “selfie” at the beach on the tops of taxis or as posters.  Similarly, recent Call of Duty: Ghosts advertisements can be seen on the sides of buses and buildings, with a mysterious looking man in a camouflaged hat looking towards a dark background.

As some advertisements aim to do, these ads draw attention to the name of their respective games.  Both “Grand Theft Auto V” and “Call of Duty: Ghosts” are painted in bold, white letters on the ads.  But there is no communication in these ads of the content of the games – they’re so popular that the name association is what advertisers believe will sell.

Granted, these are large franchise games with huge budgets (known as AAA titles), and the ads aren’t meant to be informative.  But in the streets, this is all that New Yorkers see of video games.  AAA titles like these dominate the streets, not only because of their popularity, but also because of their ability to advertise, whereas smaller titles get cast aside and only a small portion of the gaming world as a whole gets represented to the public.

Walking inside the Applied Design exhibit at the Museum of Modern Art, however, feels like a breath of fresh air compared to the streets in terms of how video games as a medium of entertainment and as art are represented.

The mere fact that video games are being exhibited at all inside of a reputable art museum such as the MoMA is a step in the right direction of portraying games as something more than simply entertainment.  MoMA’s exhibit has aims of showing games that are examples of superb interaction design, and funny enough, mostly lacks AAA titles such as those from the Call of Duty or Grand Theft Auto franchises.  There is a clear distinction between the sort of game that MoMA will exhibit and the sort of game that gets seen in advertisements across Manhattan.  Even so, there is a greater variety to the genres represented at the MoMA than there is on the streets of Manhattan.

AAA titles of the streets of Manhattan happen to be violence-heavy games, whereas games represented at the MoMA largely differ in their type: some are puzzle games (Tetris), others involve violence (Another World), and others are strategy based (SimCity 2000), etc.  Said AAA titles happen to be more graphics intensive than other more modern games at the MoMA exhibit.  Canabalt, for example, has black-and white visuals and utilizes a low-end pixel visual design for a simple looking and feeling game.  But there were no in-street advertisements of Canabalt when it was first released.

This points to a split in the gaming industry between AAA games and smaller indie games.  Not only that, but the first-glance perception of the gaming world as a whole is overshadowed with games that can afford to advertise heavily.  Such is the way of many of the varying entertainment industries, with Broadway musicals taking the spotlight away from smaller shows in New York City, and Hollywood films seemingly the only movies to be advertised on television or on billboards.

Games that profit the most get seen the most – consumers spent over $1 billion on Grand Theft Auto V within three days after its release, and retailers spent over $1 billion to secure copies of Call of Duty: Ghosts for launch day.  It cost $60 for a copy on launch day for both of them, as all AAA titles have taken to as the standard cost for a game.

Canabalt, however, costs $3 per copy.  “It was a five day game – it was made in a weekend,” says Canabalt’s creator, Adam Saltsman.  “Usually, I’m more interested in accessible gameplay, so making something that I enjoy and that I think is fun but that my mom can play or even my grandma might be able to pick up and at least interact with and understand what’s going on.”  Despite its low cost and low budget (“I did all the sound effects myself,” says Saltsman), Canabalt is the type of game to get displayed at the MoMA rather than a game in a franchise that has yearly releases (Call of Duty) or a franchise game that takes years to create (Grand Theft Auto).

What the Applied Design exhibit at the MoMA is effectively doing is portraying a different vision of what video games really are to the public.  While MoMA’s exhibit isn’t as widely viewed as advertisements in the street are, those who see the exhibit are sure to get their eye caught on the wall covered in SimCity screenshots and take a closer look, whereas one might simply pass by the advertisement and not give it a second glance.  That isn’t to say that the advertisement doesn’t work – it reminds the consumer that X game exists, and either conjures images of countless hours of fun or brings back memories of controversy, if only for a brief moment.

The representation of video games and of what video games are differs based on the profit aspirations of the game producer, be they high or none at all.  However, between games that are heavily advertised and games seen in a museum, there lays a middle ground, untouched, which is difficult to conceive of.  In the end, the only way to get a proper view of what video games truly are is to pick up a controller, pop in the disk, and play.

Works Cited

Antonello, Paula.  “Video Games: 14 in the Collection, for Starters.”  Inside/Out.  Museum of Modern Art, 29 Nov 2012.  Web.  20 Nov 2013. <http://www.moma.org/explore/inside_out/2012/11/29/video-games-14-in-the-collection-for-starters/>.

 

Ivan, Tom.  “Retailers spend $1 billion on Call of Duty Ghosts for launch.”  ComputerAndVideoGames  06 Nov 2013, n. pag.  Web.  20 Nov. 2013. <http://www.computerandvideogames.com/436950/retailers-spend-1-billion-on-call-of-duty-ghosts-for-launch/>.

 

Stevens, Tim.  “Canabalt creator Adam Atomic talks indie gaming, documentary on the way (video).”  Engadget  2010, n. pag.  Web.  20 Nov. 2013. <http://www.engadget.com/2010/08/17/canabalt-creator-adam-atomic-talks-indie-gaming-documentary-on/>.

Turning up the Heat: Victoria’s Secret Fashion Show, and How the Company May Continue Causing Controversy

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It was a frigid day this past Wednesday in New York City, with a high of 39 degrees. Yet, this was not an issue for the models – or Angels, as they are referred to – of the Victoria’s Secret Fashion Show, who were scantily clad for the famous event known for its provocativeness.

The annual event, with highlights including a $10 million bra and performances by Taylor Swift and Fall Out Boy, occurred at the Lexington Armory, a few feet away from Baruch’s campus. For this reason, it was understandable why the Baruch Bookstore’s café was filled to the brim with photographers, journalists, and others with official “Victoria’s Secret Fashion Show 2013” paraphernalia.

Out of curiosity – and free time – I began asking those around me questions about the event. Interestingly, everyone I spoke to was eager to talk, but reluctant to identify himself or herself, as if the whole event was classified. I decided to explore the event more by waiting outside, watching people arrive, and interviewing whomever I could. Prior to hearing about the event, I had read a CNN article about a petition for a transsexual model, Carmen Carrera, to become the first Victoria’s Secret ‘Angel’ of her kind. How would those nearest to the topic feel about this? I set out to find out.

With a large white tent set up and barricades galore, the Lexington Armory was ready for the big night from the early afternoon, and I watched people begin to stand in line around 3:15 pm. According to some officials that I spoke with, the models had been in hair and makeup from early in the morning. Surprisingly, there are two shows they must perform in, each with different audiences, at 4 pm and 8 pm.

By 3:30, the line of people dressed to the nines – ironically, to see women dressed in almost nothing – had grown around the corner of 25th and Lexington. Like those at the Baruch Bookstore café, many of the people I spoke to would not give me their names, while some even refused to answer my questions. When asked about what they were most excited for, the majority of people stated South African model Candice Swanepoel wearing the $10 million bra. Others were eager to see the themes of the night, as the event is celebrated for it’s over-the-top themes.

Then, it came down to a more serious topic – how would you feel about seeing a transgender model in this show? Quite a few people gave me looks, and replied with a tentative “no comment.” Humorously, one man joked, declaring, “it’s more absurd for a woman to be wearing a $10 million bra than a transsexual to walk this runway.”  One woman exclaimed it “would be great. If someone feels that they were meant to be something else [other than his or her original sex], then that’s where they were meant to be.” Another woman simply stated, “I don’t judge.” Her friend, a photographer, laughed and truthfully claimed, “most people probably wouldn’t even know. It definitely wouldn’t matter to me.”

If only it were that simple – many in the online community are strongly against having Carmen Carrera as a Victoria’s Secret model, although the petition for this idea has over 40,000 signatures. The petition was created on Change.org, claiming that Carrera is a “force to be reckoned with and deserves to walk the same runway as legends like Gisele [Bündchen].” The creator of the petition, Marco Regalado, believes “as a brand, Victoria’s Secret should feel comfortable marketing towards all types of women.”

The idea of transgender women participating in an event like this is not too uncommon; earlier this year, Kylan Arianna Wenzel became the first transgender woman allowed to compete in the Miss Universe Organization pageant. In 2012, however, transgender pageant contestant Jenna Talackova was disqualified from Miss Universe Canada because she wasn’t a “naturally born female.” Coincidentally, this rule was changed after a successful petition was created on Change.org, the same website where the Carrera petition is featured.

Carrera is an inspiration in the LGBT community. Before undergoing her surgery, she appeared on “RuPaul’s Drag Race,” accumulating a large fan base. Today, she is signed with Elite Model Management, a major achievement for any type of model. She has not heard anything from the famous lingerie retail store yet, but Carrera says, “it would be pretty amazing for Victoria’s Secret to be that huge of a corporation that embraces trans women. We shop there as well. I can only hope and dream, but I think it’s time.” However, she believes the company should not feel pressured into hiring her.

It’s easy to agree that Victoria’s Secret and its fashion show are known to push boundaries, thus stepping into the transgender community may be a good step for the company. The Change.org petition is making headlines, from CNN to Hollywood Life. Perhaps we will see Carrera donned with her own set of signature wings as an Angel in 2014. Meanwhile, this year’s show went without a hitch. Audience members were dazzled by the six different themes of the night: “British Invasion,” “Birds of Paradise,” “Parisian Nights,” “Shipwrecked,” “Snow Angels,” and “PINK Network.”  Performers Taylor Swift and Fall Out Boy were not the only stars in attendance; Ciara and LaLa Anthony were there, and Adam Levine was spotted cheering on his fiancé Behati Prinsloo. Veteran Angels, such as Karlie Kloss, Adriana Lima, and Alessandra Ambrosio walked the runway, as well as fresh-faces like British model Cara Delevinge. The star-studded event continued with an extravagant after party at TAO Downtown.

The anticipated show will appear on December 10th on CBS, as it does every holiday season.

 

Works Cited

Adams, Rebecca. “Victoria’s Secret Fashion Show 2013 Stars Taylor Swift Giving The Angels Competition (PHOTOS).” The Huffington Post. TheHuffingtonPost.com, 14 Nov. 2013. Web. 18 Nov. 2013.

Bennett-Smith, Meredith. “Kylan Arianna Wenzel Is First Transgender Woman Allowed To Compete In Miss California Pageant.” The Huffington Post. TheHuffingtonPost.com, 11 Jan. 2013. Web. 18 Nov. 2013.

Niemietz, Brian, and Molly Friedman. “Victoria’s Secret Fashion Show 2013: Supermodels, Taylor Swift Rock Glittered Runway.” NY Daily News. NY Daily News, 14 Nov. 2013. Web. 18 Nov. 2013.

Regalado, Marco. “Petition to Make Carmen Carrera the First Trans Victoria’s Secret Model.” Change.org. 4 Nov. 2013.

Rodriguez, Cindy Y. “Victoria’s Secret Petitioned to Hire First Transgender Model.” CNN. Cable News Network, 15 Nov. 2013. Web. 17 Nov. 2013.

Feature Article

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A Night of Fantasy

From an outsider’s perspective, the 40th annual Village Halloween Parade that starts on 6th Avenue from Spring Street to 16th Street seems like a chaotic gathering of vampires, cats, pirates, and ghosts with creepy floats overlooking the hundreds of people craning their necks to get a glimpse of the madness.

The parade began at seven in the evening and lasted until 10:30 as the number of people huddled together along the streets, waiting for the enormous floats to make their special appearances, gradually increased. You can sense individuality around you as you see people taking the roles of their costumes and entering a dream world for the night. The parade included hundreds of puppets, artists, dancers, and 53 bands. Everyone was pointing fingers at the cage-like float with a group of men covered in paint wearing barely any clothes. It’s the way they carried themselves with their swift motions and growls that attracted the crowd.

Even though there was a light drizzle, the warmer than usual weather on Halloween night encouraged people to attend the over three-hour parade that was abruptly interrupted last year because of Hurricane Sandy. The theme of the parade, “Revival” touched the hearts of many New Yorkers that experienced trauma from last year’s Hurricane Sandy, which ruined Halloween and the weeks to come. People expressed their excitement for the theme by bringing back their old costumes. One striking individual that had on the most realistic face paint of a bloody zombie wore the same costume from last year in memory of Sandy ruining the parade. Sandy took a toll on his home in Rockaway, so he was ecstatic to just be able to be apart of this year’s Halloween parade.

Most people are unaware of the closure that Halloween parades provide. This year’s parade was special because it served a greater purpose than just celebrating Halloween; it honored all the people who helped fix the damage done by Sandy. The parade was especially directed for the New York Presbyterian Hospital/Weill Cornell Medical Center Transplant Team and Jeff Bratcher who donated a kidney to the Parade Director’s son. The parade in 2001 was the first major jovial event after the World Trade Center attacks. Also, the Halloween parades after Hurricane Katrina and the Haitian earthquake in 2005 and 2010 helped remind people of happiness and hope.

This Halloween parade brought back some old memories with the return of the Giant Spider created by Basil Twist and the Clock Tower. The eight-legged white spider slowly glides down the Clock Tower to spook anyone lingering around. The Clock Tower is beautifully lit all around to brighten up the night. Collections of other old puppets were reintroduced to the Halloween festivities. Puppets became a form of entertainment in 1973 when Ralph Lee started a puppet parade in New York. His tradition was eventually incorporated in the Halloween parade. The purpose of bringing back decorations from the past was to celebrate the parade’s 40th birthday by incorporating history from all Halloween parades since the past 40 years. A decoration from each of the 40 years reappeared to stir up some old memories from annual attendants.

Off course without the appealing decorations, the Village Halloween Parade wouldn’t be as famous as it is today, but the work and dedication that went behind organizing the parade is truly something to brag about. Before even preparing for this year’s parade, organizers raised more than $50,000 through a Kickstarter campaign to pay for the financial losses of cancelling last year’s parade due to Sandy. The parade was almost going to be cancelled for a second time until Kickstarter met their fundraising goal a littler over a week before Halloween. There was definitely more pressure put on this year’s organizers of the parade because people were not only celebrating Halloween, but also overcoming the excruciating damage caused by Sandy.

Undoubtedly, in order to make sure such a large parade flows smoothly, more than a few organizations were needed. Everyday people participated by animating a puppet or helping with production, crowd control, and vehicle control by being a parade Marshall. People also helped build the Giant Puppets that lead the procession.

The Giant Puppets and other performances are key features of the Halloween parade as they lead crowds of people down the packed streets of New York City. Over 50,000 participants work throughout the summer and fall in New York City, Upstate New York, New Jersey, Boston Cleveland, and the North East to help engineer the vast puppets. The puppets not only have to be creative and attention grabbing, but also sturdy enough to be able to maneuver down the streets. Building and operating the puppets is done by hundreds of volunteers registered in Puppet Building workshops from local communities and New York City. The workshops were held every weekend in October to prepare for the parade.

Without hard work and dedication, the Greenwich Village Halloween Parade wouldn’t have been named “The Greatest Event on Earth” by Festivals International and listed as one of the “100 Things to do Before You Die.” With no surprise, this year’s parade was the nation’s largest public Halloween celebration with more than 2 million attendees. The secret of the parade is to make people happy with no strings attached; it’s one of the only free events offered in New York City where people don’t have to worry about a price ticket to attend. A combination of it reaching its 40th birthday, raising enough money to thrive enough after the effects of Hurricane Sandy, and being simply thrilling with a variety of decorations and performers, the parade is an unforgettable event.

Works Cited

“2013 NYC Village Halloween Parade in Photos (part 2) — Marshmallow Man, Heisenberg, Body Paint, Zombies & More.” 2013 NYC Village Halloween Parade in Photos (part 2) – Marshmallow Man, Heisenberg, Body Paint, Zombies & More. N.p., n.d. Web. 20 Nov. 2013 <http://www.brooklynvegan.com/archives/2013/11/2013_nyc_villag.html>.

“NYC Halloween Parade 2013: Route Map, Viewing Spots And Live Stream Info For New York’s Village Parade.” International Business Times. N.p., n.d. Web. 20 Nov. 2013 <http://www.ibtimes.com/nyc-halloween-parade-2013-route-map-viewing-spots-live stream-info-new-yorks-village-parade-1447484>.

Oh, Inae. “The Very Best From The 2013 Halloween Parade In NYC (PHOTOS).” The    Huffington Post. TheHuffingtonPost.com, 01 Nov. 2013. Web. 20 Nov. 2013.      <http://www.huffingtonpost.com/2013/11/01/halloween-parade-2013_n_4190061.html>.

“Village Halloween Parade.” — Jeanne Fleming, Artistic and Producing Director. N.p.,      n.d. Web. 20 Nov. 2013. <http://www.halloween-nyc.com/index.php>.

 

Welcome to Night Vale: A Return to Radio Drama

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Welcome to Night Vale: A Return to Radio Drama

“A friendly desert community where the sun is hot, the moon is beautiful, and mysterious lights pass overhead while we all pretend to sleep. Welcome to Night Vale.” So begins the pilot episode of Welcome to Night Vale, a bimonthly podcast that has recently taken the Internet by storm.

Conceived of by New York City-based writers Joseph Fink and Jeffrey Cranor, Welcome to Night Vale has a seemingly simple premise—in short, it’s a broadcast of the news, weather, and traffic from a small, vaguely Southwestern town named Night Vale. But Night Vale is no ordinary town; it’s a town where “every conspiracy theory you’ve heard of is true.” When asked to describe what it’s like to listen to Night Vale, some of the popular descriptions are “NPR meets The Twilight Zone” and “Lake Wobegone by David Lynch.”

What makes Night Vale special, though, and what makes it stand out from shows like The Twilight Zone and David Lynch’s Twin Peaks, is how utterly normal and completely expected supernatural occurrences are. Night Vale is a town where time travel is real, but the existence of time itself is dubious; a town where the City Council governs with an intrusive, iron fist, and the existence of the Secret Police is common knowledge; a town where a literal five-headed dragon and a faceless-old-woman-who-secretly-lives-in-your-home are viable mayoral candidates; a town that has a dog park, which humans and dogs are both forbidden from entering.

The details of all these events and aspects of everyday Night Vale life are delivered in the rich baritones of radio host Cecil Gershwin Palmer, voiced by New York City-based actor Cecil Baldwin. For most of the podcast’s year-and-a-half long run, Cecil the character didn’t have an official last name, and the fact that he shares a name with his actor led to a blurring of the lines between fiction and reality—between Cecil, and “Realcil,” as one fan dubbed him. This proved amusing for both creators and actor, as Cecil Baldwin is almost nothing like Cecil Palmer, who is prone to fits of ill-temper, expressions of profound thought, and moments of existential, ominous prose. Likewise, Cecil’s broadcasts are full of unusual and often horrifying stories, but his calm, collected voice and the nonchalant, “business-as-usual” way he discusses events like the disappearance of all the town’s children or the constant deaths of Night Vale Community Radio’s interns serve to transform a potentially terrifying experience into a humorous one.

But what makes Welcome to Night Vale—a purely auditory program that requires listeners to actually make use of their imaginations to form images—so appealing, especially in a day and age where television and movies are popular because they are easy to comprehend, and provide a visual image? Humor, especially the clever humor of the show, is a natural lure, and its spooky, supernatural themes are among the most popular in literature and art; one only needs to look at the work of Mary Shelley or H.P. Lovecraft, and at the success of shows like Supernatural, Twin Peaks, and The Twilight Zone to see that. Co-writer Jeffrey Cranor theorizes that fans of NBC’s show Hannibal, a new serial killer show based on the Hannibal Lecter stories, might be responsible for the podcast’s surge in popularity, especially through platforms like Tumblr, a blogging website with a very strong and varied fandom presence. At the time of its one-year anniversary on June 15, 2013, the podcast had only 150,000 downloads on iTunes—the following week, it received another 150,000. Soon after, it shot to the top of the charts, beating out even prominent programs like TED Talks, This American Life, and Prairie Home Companion.

Apart from the more apparent elements, perhaps Night Vale’s success can be attributed to its use of satire as a tool for social criticism, as well as its overall impressive handling of various delicate social issues. A setting like Night Vale wouldn’t seem like the sort of backdrop against which social commentary could be made, given how far removed from reality the story and the town itself are, but the absurdity of the podcast is the very element that makes it ideal for this purpose. On the surface, it seems like a simple news broadcast from a town drenched in strangeness, but in a similar style as Franz Kafka’s The Metamorphosis and Nikolai Gogol’s The Nose, Welcome to Night Vale playfully conveys its messages in ways that are not immediately apparent. In one episode, entitled “The Candidate,” Cecil informs listeners that the City Council is voting on a measure that would prohibit involuntary breathing; detractors argue that choosing how to breathe is a constitutional right and that it’s not the government’s job to legislate breathing, to which the City Council replies, “We learned to beat our own hearts! We taught ourselves to wet our own corneas! We have pulled ourselves up from nothing! It is the American dream.” This is not the most subtle of criticisms, but however one chooses to interpret it, it certainly does use an absurd situation to make a valid point about the role of government in citizens’ everyday lives. Often, the social commentary is even more overt than that. One minor character that is mentioned often throughout the podcast is called the Apache Tracker, whom Cecil makes a point of describing as “that white guy wearing the cartoonishly inaccurate and racially insensitive Native American headdress,” and whose claim of using so-called “Indian magicks” brands him a racist in the eyes of the community.  That Night Vale, as a program, chose to overtly call out how problematic this character’s actions were is significant, particularly for American Indian fans who are tired of seeing their heritages reduced to offensive caricatures and insulting costumes. Welcome to Night Vale is riddled with countless more examples of such social commentary, most delivered with a thin layer of absurdity and a good helping of comedy.

Finally, a notable aspect of the story that unfolds in Welcome to Night Vale is the romantic relationship between Cecil and Carlos, a scientist who comes to study Night Vale in the pilot episode. Certainly, gay relationships are not a new concept, nor is Night Vale the first story to include a gay character or portray such a relationship positively. However, a key difference between the podcast and other programs is the completely uneventful way the romance is introduced. Whereas other shows often delve into dramatic, clichéd coming-out plots, or even worse, decide to include a gay character whose only real purpose is to be “the gay character,” Cecil and Carlos’ relationship is the most normal thing in Night Vale. Although Carlos is only heard once during the podcast (and even then, he’s talking about his scientific research), Cecil frequently refers to him as “perfect and beautiful” and gushes over him on live air the same way a teenage girl might squeal over her crush. The complete normalcy with which this is presented, and the fact that the romance does not overwhelm or become the main plot, is a breath of fresh air for LGBT+ fans who’ve longed for realistic, light-hearted media representation. For many, it’s the first time they’ve seen a canon gay couple that doesn’t leave them feeling frustrated, unsatisfied, or even vaguely offended.

In an era of largely visual entertainment, when even reading is too often regarded with disdain, it’s refreshing to see a radio drama gain such widespread popularity, especially among the younger generation.  It has yet to be seen what the future holds for radio dramas as a whole, but if Welcome to Night Vale is any indicator, the future looks promising.

 

Works Cited

Rachel Edidin. “Welcome to Night Vale, the #1 Podcast on iTunes You Didn’t Know Existed.” http://www.wired.com/underwire/2013/08/night-vale-podcast-itunes/ Wired, 21 August 2013. Web. 13 November 2013.

Adam Carlson. “America’s Most Popular Podcast: What the Internet Did to Welcome to Night Vale.” http://www.theawl.com/2013/07/americas-most-popular-podcast-what-the-internet-did-to-welcome-to-night-vale 24 July 2013. Web. 13 November 2013

Alice Vincent. “Welcome to Night Vale: What You Need to Know.” http://www.telegraph.co.uk/culture/tvandradio/10415154/Welcome-To-Night-Vale-What-you-need-to-know.html 31 October 2013. Web. 13 November 2013.

Feature Article: Mystery Solved Doesn’t Mean the End

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Everyone was sitting on the edge of their living room couch in suspense last spring, when the last episode of season 8 of  “How I Met Your Mother” aired on CBS. This episode introduced “the mother” to an audience that has awaited 8 seasons in anticipation. But the best is yet to come. A story that lasted almost a decade (9 seasons will have gone by), the show will end with Ted Mosby finally meeting the mother.

As a devoted viewer I’m doing my best to put off the thought that this season is the last time I will have something to look forward to every Monday night at 8pm. Every episode brings something new, another piece to the puzzle that the viewer puts together to essentially understand how each member of the gang meets the mother, and finally, how Ted meets his wife, the mother. The sitcom just shot its 200th episode, which is exciting for both the actors and the producers, and is a reminder of how far the show has come. Its high ratings and reviews of appraisal prove that the sitcom is a huge hit, and the creators of the show, Craig Thomas and Carter Bays, know the numbers all too well. So it may not come as a huge surprise that there will not be a complete end to the show after this season.

According to the New York Times article, “’How I Met Your Mother’ To Get a CBS Spinoff”, a pilot that is being considered for this spring is a sequel to the show with different characters but in the same setting called, “How I Met Your Dad”.

Because HIMYM is so witty and well done, the bar is set high. Will the expectations be met? Many are skeptical and believe that something as good as HIMYM should be left alone. On the other hand, it gives many people hope that because the pilot is written by the same creators as HIMYM, the humor that the show is praised for will remain in tact and keep a large audience laughing across the nation.

Twitter is the medium the creators of HIMYM and now, HIMYD, are using to update fans about the development of the show. Twitter has always been the go to for promotions for the show. Spoilers are revealed through the social network and updates on the show’s actors are always being posted, so it is clear that producers are thinking ahead when anticipating the best way to reach fans.

HIMYD was originally titled “How I Met Your Father”, so the new title suggests the creators are trying to differentiate the two shows and give it an entirely new spin. There is even a new creator coming on board for this new project, Emily Spivey, who has a promising background and will add a unique input to the series.

Not much is known about the spinoff yet, but we can expect a female’s perspective this time around. It’ll be interesting to see how the creators play around with this idea and completely flip the narration to be one of a woman, something viewers are going to have to get used to. They will have to learn to detach themselves from Ted Mosby and the voice inside his head that we are all too familiar with and has become an icon associated with the show. Perhaps this is where the female creator comes in. Spivey is known for producing “Up All Night”, but she has been on the staff of SNL for a little less than a decade as well. She has certainly made a name for herself and adding onto her professional experience she recently took on the job for ABC’s “Modern Family” as a writer for the show, proving that she has had sufficient experience with writing for a humor sitcom. Spivey has a large enough credibility to give the audience some hope for a successful spinoff for the new show.

In trying to imagine what this new show will be like, one must take several factors into account. This includes the protagonist, the rest of the characters, the setting.  Ted Mosby is a distinct narrator and it is clear that he is intent on finding “The One” and believes she is out there. What if the female character doesn’t search for her soul mate the same way Ted does? What would be even more interesting is if they made her an “anti love” figure. That way, maybe it’s the father that changes her mentality and makes her fall in love with him. That’s a plot twist I think the writers could do a lot with.

HIMYM has a perfect gang of five and getting used to a new group of people may be rough, and they would have to be really likeable to break through to die hard fans. Neil Patrick Harris makes the show for many, and his promiscuous personality and distinct “legen-wait for it-dary” vocabulary will be hard to replace. Hopefully, there will be a different dynamic that may stray away from the couple that has always been there (Lily and Marshall), the unexpected couple (Robin and Barney), and of course Ted, the protagonist. There may not be a couple within the new gang at all, or maybe there will be 3 girls and 2 guys, instead of 3 guys and 2 girls. These are just some of the details that can make or break the new series.

And to go on to the most important anticipated changes: the plot. There are many ways for the writers to approach this. They may show the “kids” in the beginning so as to introduce the story of how the mother met their dad, which was the approach HIMYM took. Or maybe we won’t even meet the children until much later. Both can be effective as long as the execution is clever. HIMYM is also a big user of flashbacks, and it will be interesting to see if HIMYD will use this strategy as well in unveiling the journey of the mother. Follow Craig Thomas and Carter Bays on Twitter for future leaks on the new sitcom, How I Met Your Dad!

Works Cited:

Kepler, Adam W. “‘How I Met Your Mother’ to Get a CBS Spinoff.” New York Times. The                    New York Times Company, 17 Nov. 2013. Web. 17 Nov. 2013.

“That HIMYM Spin-off How I Met Your Dad Is Actually happening.” Metro News. Associated Newspapers Limited, 18 Nov. 2013. Web. 18 Nov. 2013.

Remling, Amanda. “‘How I Met Your Dad’ Rumors: ‘How I Met Your Mother’ Spinoff Pilot Ordered; Creators Tweet Clues About New ‘Father’ Show.” International Business Times. IBT Media Inc., 18 Nov. 2013. Web. 18 Nov. 2013.

Who is “the Giant” and why must we “obey”?

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From a young age, we are programmed to “obey” society, to follow the current norm. But more often than not, we forget to question what it is that we are actually “obey”-ing? In response to this universal ignorance, in 1989, Shepard Fairey, who then was a college student, decided to conduct an experiment in Phenomenology, a philosophy that urges people to be more mindful of their environment. He intended for his viewers to question the word “Obey” coupled with the face of the infamous wrestler Andre the Giant. Unfortunately, only a mere decade and a half later, Fairey’s work has become a fashion statement rather than a social revolution. People of various demographics stroll around the nation wearing the “Obey Propaganda” trademark without knowing its story, and most importantly, without questioning its purpose.

When Fairey first began his campaign, it was making people question what they were seeing and what it meant, and becoming a successful, interesting example of this unusual concept of Phenomenology. In Banksy’s self directed film “Exit Through the Gift Shop,” Shepard says, “The Andre the Giant thing was an inside joke. But I like the idea that the more stickers there are out there, the more important it seems. The more important it is, the more people wanna know what it is, they more they ask each other and it gains real power from perceived.” Cody Goodfella expands on this statement in a blog post on obeygiant.com when he says,“[Andre] watches from STOP signs and lamp posts, the backs of bus benches, the ceilings of public restrooms. The monolithic gargoyle-image of obey giant is an omnipresent feature on the underbelly of San Diego, an almost microscopic message from an imaginary underground.”

The sticker and logo had no meaning, other than causing people to react and explore their surroundings. And if the Giant is really about anything, it’s about cognizance of the world we live in and the life we lead, and about not letting anyone else control our choices. The Obey Propaganda project illuminates a basic freedom that has silently and latently slipped away. People who post missing dog posters and bills for garage sales are ticketed for vandalizing while ads are encouraged to slither into places where the public eye cannot miss them.

Some people cannot grasp the substantially philosophical meaning under the black and white face on the stickers. They brush Fairey off as a vandalizing graffiti artist. (and sometimes even a cult) And to this he responds, “They don’t even think about the fact that every side of a bus has a poster on it. That’s public property, and they can shove their thing in your face, but you as a taxpayer can’t put up your thing on an electrical box, which is also public property? You wait at the bus stop, and there’s a big mounted poster in there that someone’s paying for, and that money’s going to the city, and do I have any say in where that money’s going? It’s probably going for more parking meters, so I’ll have to pay more to park somewhere.” “It’s gotta be all or nothing,” Fairey declares. “Either I can put my stuff up, and they can put their stuff up, or neither of us can. Billboards are debatable, the stilts are on private property, but it rises up above the horizon, and it’s not behind a curtain, with a sign saying, ‘line up here to see a great ad.’ You can’t avoid it. The whole idea of people not questioning that, and vigilantes with cellphones calling the cops on me, and driving by a billboard and not thinking about it. It’s this programming, this life on autopilot, that I’m trying to get people away from.” (Just some food for thought: What is the line between street art and vandalism? Why is public street art illegal, but public advertising encouraged?)

We have turned Obey into a grueling atrocity of mindless imagery, labeling, and branding that instead of being plastered over roofs and walls to provoke the public eye, is being photo shopped over the eyes of fifteen year olds on social media websites. The symbol, instead of having no apparent explanation and causing question, is now culturally stripped and has just become an indication of “swagger” to this generation.

The Obey Manifesto swears that its purpose is  “to catalyze a thoughtful dialogue deconstructing the process of image absorption is the ultimate goal. All in the name of fun and observation. The medium is the message.” But the Obey Propaganda, becoming a clothing label, has completely overshadowed and dismissed the phenomenological aspect of the project. Instead of standing as the icon of curiosity and interest, it’s become completely unquestioned and virtually uniform: a fashion statement rather than that of anything remotely philosophical. The subtly and context is long gone. So while gaining a market value, the Obey Propaganda seems to have lost its purposefulness in our society.

 

 

Feature Article: “What is Beauty?”

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“What is Beauty?”

            For me, visiting the Museum of Modern Art is always daunting. With an extremely limited knowledge of art, I am too insecure to ask questions or to have opinions of the museum’s content. I consider self-made thoughts as luxuries reserved for the learned. Those who have spent years studying art have the ability to question and judge it. Not me. I walk into dark rooms with looping projections and look at a series of nude manikins, with a fear to voice what I think. We, as Macaulay Honors students, are taught to question art, but for me it is difficult. How can I ask questions if the answers do not make sense?

Each passing visit to the MOMA does not change my insecurities, but it has forced me to look and question what I already know. While climbing an isolated set of stairs, I notice that the museum is as beautiful as the art inside of it is. The building on 11 West 53rd Street pleases the eye while accommodating thousands of daily visitors. This balance of functionality and beauty is an amazing feat that I can better comprehend. Unlike strokes of a brush, the design of a building has uniformity and clear purpose. I can question the architecture of the MOMA, and that is exactly what I did.

“How did the MOMA progress?” I feel this is an appropriate first question. Broad enough so more questions will arise, but will ultimately lead me to what I want to know more about; which is the current architectural layout of the MOMA.

I was surprised to learn that the MOMA was not always the well-known art museum it is today. Its doors first opened in the Heckscher Building on the corner of 5th Avenue and 57th Street. At the time, 1929, only six rooms housed a small collection of contemporary art. It is not until ten years later, in 1939, when the MOMA finds its first permanent home at 11 West 53rd Street. After fifty-seven years of gaining recognition and acquiring surrounding properties, the Modern allows renovation submissions from a select group of architects. Surprisingly, Yoshio Taniguchi’s architectural plan is chosen. Unlike many of his well-known competitors, Taniguchi only had several moderate successes, all of which in Japan. Two years of construction and $425 million later, Taniguchi’s vision is materialized and the MOMA is where it is today. Debatably the world’s most well-known art museum.

Ten minutes of research answers my first question, but also leads to more. “Who is Yoshio Taniguchi?” He only gains fame after he is selected by the MOMA, but what else did he accomplish?

Yoshio Taniguchi is a mysterious man. His association with the Museum of Modern Art has raised his popularity, but that is his career defining moment. Few articles discuss his other contributions and I learned that it is because Taniguchi is possibly the world’s most reserved, well-known architect. Instead of constantly working on multiple projects at one time, Taniguchi believes time and focus crucial to successful architectural plans. Usually working on one project at a time, Taniguchi has fewer works than his peers, but all of which portraying the main principle of architecture. To create beautiful structures that satisfies not only those who use it, but also those who do not. It is this principal that Taniguchi lives by that facilitated MOMA’s need for renovation. With many different sections of the museum, the architects involved in the renovation faced a difficult task in recognizing each parts identity and purpose within the museum. Taniguchi spent time reviewing the relationship among the sections he planned to add or merge. Ultimately, his plan successfully preserved each sections identity and purpose, putting his renovation ahead of all others.

The MOMAs prominence will make Yoshio Taniguchi forever remembered as a great designer, but Taniguchi continues to grow as an architect.  In 2004, Taniguchi once again won a competition for a novel building design. The Asia Society Texas Center, a 40,000 square foot building, is home for the non-profit organization, Asia Society Texas. Without space limitations, Taniguchi was able to create a building to its full potential. “Taniguchi combined graceful design with stunningly beautiful stone, wood and glass to give Asia Society Texas Center its distinctive character.” A beautiful mixture of eastern and western building styles is the final product.

Very few people will argue Yoshio Taniguchi’s design for the Asia Society Texas Center as more impressive than his redesign of the Museum of Modern Art, but I will. The Modern is a beautiful building, but is restricted by the city surrounding it. The natural landscape cannot be used to enhance the MOMA’s features, making it out of place. I must walk past dull corporate buildings and glassy department stores to reach the Museum of Modern Art, making it beautiful relative to the ugliness of the buildings around it. The size restrictions have forced the interior beauty of the building to some areas while other areas are left strange and awkward. Although I have never been to the Asia Society Texas Center, the way space is utilized is clear in pictures. With an openness that is absent in the MOMA, the Asia Society Texas Center accurately depicts Taniguchi’s Japanese influence.

Far from my original question of, “How did the MOMA progress?” I find myself asking, “What dictates beauty?”

 

 

Works Cited

Moma.org Museum of Modern Art n,d Web. 17 Nov 2013

McClellan, Faith. SCHICKEDANTZ, ROGER. “MOMA New York Architect, Yoshio Taniguchi Reopened 20 November 2004.” British Journal of General Pracitce (2005): 66-67. Web. 17 Nov 2013

“Yoshio Taniguchi.” Encyclopaedia Britannica. Encyclopaedia Britannica Online. Encyclopædia Britannica Inc., 2013. Web. 19 Nov. 2013.

Taniguchi, Yoshio. “The Architecture of Yoshio Tnaiguchi.” The New York Times . Harry N. Abrams, Inc. (1999): n.pag Web. 17 Nov 2013

Lange, Alexandra. “This New House.” New York Magazine. (2004): 17 Nov 2013

Feature Article : The Magnet Theatre

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Judy, age 14 is in her room messaging on Facebook. Her younger brother Jake is planted in front of the television watching Super Why. Their mother Kelly is texting her clients with her iPhone and their father Jim is watching Curb Your Enthusiasm on Netflix. The dinner table is empty.

Have you ever thought about how attached people are to their electronics? Just to give you a taste of the path this society is headed, if someone were to ask a teenager to generally list out some things that make them laugh, the list would probably include something along these lines: Family Guy, Vines, SNL, Reddit, Arrested Development, Parks and Recreations, How I Met Your Mother and so on. The list could go on forever, but needless to say, many of these are merely forms of entertainment available through modern-day technology.

Improvisation is a form of live theatre in which the plot, characters and dialogue of a game, scene or story are made up in the moment. It is the purest form of entertainment you can find, no television, no iPhones, none of that. All it requires is people, maybe some props, but that’s about it.

Now, let’s take a trip back to the 16th century Italy, the home of Improv. Of course during this time, spontaneous street performing wasn’t called Improv; it was known as “Commedia dell’arte,” a form of improv theatre characterized by masked types. This term is actually shortened from “Commedia dell’arte all’improvvisso,” which means comedy of the very creative ability of improvisation. This form of entertainment then spread to Europe in the 18th century as Theatre Sports. America was first exposed to Improv in the 1930’s because of a social worker named Viola Spolin. She invented many games and workshops to help immigrants become more impulsive and spontaneous, and thus established the first instance of theatrical improvisation in America.

Flash back to the present. You now realize there are other forms of entertainment other than sitting on your couch watching television, but where can you go?

One popular spot for improvisational comedy is The Magnet Theatre. Located conveniently in Chelsea, 254 West 29th Street, the Magnet Theatre serves the community in hopes of spreading Improv in our current technologically based lifestyle.

According to Megan Gray, the Artistic Director of the Magnet Theatre, the true goal is to bring a sense of community to everyone again. She says, “There’s a reason why improv is becoming so popular. In the face of technology, so much of our interactions are online, whether it’s through texting or just Facebook, that we don’t interact with real people anymore, which can be alienating. I believe people still need to hang out with people. Improv is a great way to make each other laugh and feel creative in a way that is sort of lost now. Face to face interactions are just seen less and less these days. It’s great for the community, workplace, and everybody really. Because there is no editing in improv, it lets our imagination run wild, which is hard to do in this day and age.”

Even as the Artistic Director, Megan says “The pay isn’t great.” Rick Andrews, the Magnet Theatre’s instructor, says the goal of improvisation is to “make things seem scripted.” He aspires to spread Improv as valuable and good theatre for everyone to enjoy. People working in this field desire much more than an economical payment.

In fact, at the Magnet, the performers aren’t even paid. Hence, the only reason they would be on stage is to show their love for Improv and performing. The incentive behind this is bring the people who are passionate about Improv on stage. But along with that, not paying performers also allows the ticket prices to stay low. In our society, where Broadway tickets can go above one hundred dollars, it’s great to have an option that doesn’t hurt our wallets.

In addition, The Magnet Theatre even offers free Intro to both Improv and Musical Improv classes for first-timers. The Magnet hosts many corporate training events for companies as well. Like Megan said, interacting is very hard in this day and age, which is why they created the Magnet Genius Machine Team. Essentially, this team consists of facilitators who can bring the communication aspects of Improv and apply them to non-theatrical settings. They are able to create a safe environment for people to participate and get to know each other through their Improv exercises. Companies who want their workers to communicate and work together would find this team incredibly useful. Examples of past clients are: Google, NASDAQ, PepsiCo., Estee Lauder, and Columbia Business School. So not only does the Magnet Theatre provide some good laughs during their shows, but they also help people interact and connect. They are reaching out with their arms open wide, trying to save people from the dangers of this technology infested society America has built.

Even though the Magnet Theatre is the one of smallest Improv Theatres, it is making an extremely great effort to spread this form of pure entertainment to the people in New York City with their free classes and incredibly low prices. Those at the Magnet have full confidence that people will love Improv once they’ve given it a try, and hope to bring the spirit of trying new experiences and experimenting to New York City.

Works Cited

“Best-Kept Secret to Creating Social Change: Improv.” GOOD. N.p., n.d. Web. 18 Nov. 2013.

“Magnet Theater attracts improv actors, students.” NYU News Magnet Theater attracts improv actors students Comments. N.p., n.d. Web. 18 Nov. 2013.

“Magnet Theater.” – Improv Comedy Shows and Classes in New York City. N.p., n.d. Web. 18 Nov. 2013.

“New York Magazine.” NYMag.com. N.p., n.d. Web. 18 Nov. 2013.

“The Hideout Theater.” Austin Improv Comedy Shows Classes The Hideout Theatre RSS. N.p., n.d. Web. 18 Nov. 2013.

Feature Article: More Than Just a Fast Food Resturant

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The harmonious clatter of pans and the joyous laughter hit your eardrums as you open the door into Chipotle. As you look around, you see framed pictures and industrious artworks hanging on the walls. Before you know it, you’re up next to order. “White rice, black beans, and chicken. Mild salsa, sour cream, cheese, and lettuce.” As the worker goes to roll the burrito, she handles it with delicacy and creates a perfect burrito: an artwork in itself.

Food is art. Each morning, the Chipotle workers come in and create the salsas and guacamole, cook the meats, chop the lettuce, onions, peppers, and jalapeños with care and precision. When combined together in the way the customer wants the ingredients to be, the individual components blend together to create an unique burrito.

Recently, my Restaurateur manager opened his second store in Upper West Side, Manhattan. The newly hires went through orientation, and they found out about the background of Chipotle and how it came to be. This made me think back to the beginnings of my intimate relationship with Chipotle.

How exactly did Chipotle come to be one of the well-known fast food joints? Did it just drop out of Mexican food heaven?

            Chipotle was created by a genius culinary expert: Steve Ells. Steve Ells had thoughts of opening his own restaurant after attending the Culinary Institute of America and working at a restaurant. As he was eating his food one day while sitting inside Taquerias, a small restaurant that he frequently ate at, the idea for Chipotle occurred to him. He was intrigued by the concept of a burrito, how all the ingredients were inside a large tortilla then wrapped in foil. Steve decided to take this concept and experiment with it through using authentic ingredients. Steve also found interesting how there were only a few people behind the counter assembling the burrito. Steve saw this as an economic model, which he found very odd because he never took any business courses; however, Steve did take a plethora of art related classes, such as art history. This was the first time that Steve saw a restaurant as more than the food and the experience; Steve saw the economic values that were not present to him before. With the help of his parents, Steve opened the first Chipotle in 1993 in Denver, Colorado. While his friends had doubted his idea, Steve was determined to expose an elevated fast food restaurant to the public. Twenty years later, Chipotle is an extremely successful business. There are thousands of Chipotle restaurants across the United States, and the company has started to expand into Canada and other nations, such as Europe.

Chipotle is different from other fast food businesses because each Chipotle restaurant receives its food from local farmers, following the concept of Food With Integrity. Food With Integrity is Chipotle’s “commitment to finding the very best ingredients raised with respect for the animals, the environment, and the farmers”. Not only is Chipotle concerned with properly raised and maintained animals and vegetables, Chipotle is also looking to design its stores to be environmentally sustainable and eco-friendly. By looking for ways to make each ingredient available to the consumers in its purest form, Chipotle is changing how fast food is perceived.

When my boss and I walked into a nearby Duane Reade to buy some supplies for the training staff, the owner of the convenience store was enthusiastically excited about Chipotle’s grand opening.

“When do you open? My daughter loves your food, and I can’t wait to try it for myself!”

Patrick, the general manager, told me of an instance when he was on his way to the store from the subway station. “This whole neighborhood is eager for Chipotle to open! The other day, some people came up to me to ask me when Chipotle was opening. When I told them Monday, they ran off to tell their friends”.

            Chipotle is ahead of the fast food pack. Not only is Chipotle promoting Food With Integrity, the company is also trying to make all of the other ingredients better for human health without losing the taste. After experimenting with the bacon seasoned pinto beans, the pinto beans are now part of the same vegetarian family as the black beans. The chips and crispy taco shells started to be fried in zero trans fat oil since 2004, two years before New York banned the use of trans fat. In 2007, Chipotle had stopped using cheese and sour cream that had rBGH incorporated. As a consumer of fast food, it is comforting to know that Chipotle truly cares for the health of the public over the cost, approximately one-third of the profits earned at each store, of receiving these fresh ingredients and the time it takes to prepare the food. It is reassuring to know how the meats and vegetables are being handled rather than not know whether or not the Chicken McNuggets at McDonalds is made from chicken.

            Steve Ells and Chipotle are changing the way people perceive fast food. Chipotle is a fast food joint; however, that doesn’t mean that the restaurant has to sacrifice the health of animals, the proper treatment of vegetables, and ultimately, the well being of humans, for the taste of the food and the efficiency in which the food in created. Steve Ells is changing the culture of fast food. Steve Ells is changing the art of fast food. By following the concept of Food With Integrity, Chipotle has brightened the mysterious world of fast food.