New York City

We've seen teaser trailers for the highly anticipated sequel to the 2004 comedy insta-classic Anchorman: The Legend of Ron Burgundy, and now the first full trailer for Anchorman 2: The Legend Continues has just hit the web. Ron Burgundy (Will Ferrell) and friends dominated the '70s San Diego news scene before disappearing into obscurity. But now, firmly embraced by the '80s and all its glory, they're heading to New York City and ready to make the comeback everyone has been waiting for. Continue below now to check out the trailer for Anchorman 2: The Legend Continues! [...]

This is one of those moments. A line in the sand type of moment. When you proudly wear your heart on your sleeve, knowing that you're the rival of any. It's not ego-driven. It simply comes from a desire to be the best at what you do. Welcome to the new Holden Commodore. Shot in Australia and New York City, the spot was directed by Finch's Derin Seale. VIEW THE SPOT

In April 2012, the DUMBO Improvement District and Brooklyn Tech Triangle partners commissioned an economic impact study of the “Brooklyn Tech Triangle”. Today, the Brooklyn Tech Triangle, a partnership of the Downtown Brooklyn Partnership, the Dumbo Business Improvement District and the Brooklyn Navy Yard unveiled a master strategic plan that detailed proposals on workforce development, real estate incentives and zoning, transportation linkages, and public space creation with the goal of nurturing innovation for NYC. New York City is a leading tech innovation hub (after Silicon Valley), and the Brooklyn Tech Triangle is taking charge to include a broad public, private, and academic backing to provide an environment, infrastructure, transportation, and workforce development to ensure that the area can accommodate the needs of the new economy. There are five key challenges to which the Brooklyn Tech Triangle Strategic Plan counters with five plan components. The five key challenges are: Space: We are running out of appropriate commercial space for tech. Workforce: The Tech Triangle could be—but isn’t yet—a new model integrating talent from local communities and universities with high-growth industries. Transportation: It needs to be easier to get around the Tech Triangle. Dynamic Places: Some parts of the Tech Triangle need an upgraded energy and vibe. Tech Infrastructure: The “tech” in Tech Triangle should be apparent to all. The 94 page plan include challenges and proposals that address them. We’re only touching on a small slice, so you may want to read the full strategic plan. More renderings after the jump… Space: In terms of space, there are a number of key sites, including existing warehouse or storage buildings, government-owned sites, and sites of parking lots, which could provide new commercial space (inititative 1F). By creating a Special Innovation District with tools to incentivize conversion of existing spaces and new development, these sites present significant opportunity to open up new desirable office space and grow the cluster. Potential properties for re-use of space include the Watchtower Properties on Prospect Street in Dumbo, the City Tech/Concord Village site is currently a parking lot directly adjacent to the C train High Street entrance/exit as well as other sites in Dumbo, including 53 Bridge Street, 29 Jay Street, and 195 Water Street. Brooklyn Landing, triangular lot at the corner of Prospect Street and Washington Street is currently owned by the Department of Parks and Recreation and is used by the NYC DOT is also mentioned as a proposed space for a public plaza with a balloon landing location in the center. Transportation: Transportation proposals include bus, ferry, bike lanes, subway exits, and street modifications. Bus (Initiative 3A): A B67 bus extension would connect Kensington/Park Slope/Downtown Brooklyn/York Street station terminus to Wythe Avenue, linking to the J/M/Z trains. This proposal requires the two-way conversion of York Street between Bridge and Jay Streets. The Plan also proposes extending the B24 routes from southern terminus at Williamsburg Bridge Plaza to enter the Navy Yard at Clymer Gate and then follow the same routing as the B67 through the Navy Yard to York Street station. The extension of the B24 route would create a new single route connection from Greenpoint and Williamsburg, linking L train stops to the Navy Yard and to Dumbo. The B67 extension in combination with the B24 extension would mean eight buses per hour between York Street and the Navy Yard. Jay Street: Jay Street needs to be an active, walkable corridor all the way from Downtown to the East River (Dumbo). The Plan proposes a new ferry landing at the end of Jay Street that would connect to the larger ferry network on the East River, from the Upper East Side to South Brooklyn (Initiative 3C). Connect two-way bike lanes on Jay Street between York and Sands Streets to link up with the Jay Street

Satoko Fujii New Trio – Spring Storm (Libra, 2013) ****Satoko Fujii Ma-Do – Time Stands Still (Not Two, 2013) **** By Dan Sorrells I was fortunate enough to see Satoko Fujii Ma-Do in June of 2011 (it’s uncommon for prominent jazz musicians to make their way up to Maine, let alone prominent international musicians). Just two days before, the quartet had recorded Time Stands Still in New York City, and a mere three months later bassist Norikatsu Koreyasu passed away, prompting the dissolution of the group. The New Trio soon formed as a vehicle for Fujii’s small ensemble compositions, a “standard” piano trio featuring young drummer Takashi Itani and bassist Todd Nicholson, who had previously relocated to Tokyo. Spring Storm is their first album, released at nearly the same time as Ma-Do’s swan song. Fujii’s small groups have always placed rhythm in the foreground: her pieces oscillate between sturdy, regimented grooves and spiraling, unmoored freedom. In this respect, the differences between Time Stands Still and Spring Storm are slight; Horikoshi tends towards short bursts of emphasis, while Itani’s drumming is more of a mass accumulation of sound. Both approach Fujii’s music from a similar, energetic angle. Likewise for Nicholson and Koreyasu, two workhorse bassists who bring a swing feel to even the wildest climes. When they pull out their bows, Nicholson is weak in the knees, woozy and sad. Late in Spring Storm, his long arco song on “Maebure” is an arresting change in pace. Koreyasu’s bow is what allowed him to be most free; “Fortitude” captures well his soaring, idiosyncratic bow work, like the very soul of the bass itself trying to leave its constrictive wooden body, a wild twisting spirit that builds a parallel tension to the staccato vamp the rest of the band hammers out. And Fujii—well, Fujii has her usual moments of unbearably catchy syncopation, the dense clots of sound, the brilliant lyrical turns in the midst of what seems to be barely-controlled chaos. You always know what to expect with her. This isn't a slight against an improviser—the unpredictable nature of improvised music is a standard that holds up best when improvisation is compared with other forms of music. Considered within improvisation, a certain notion of "what to expect" (even if we can't always put it into words) is exactly what allows us to pinpoint our favorite musicians, or feel excited when we see a collaboration of artists we’ve never heard play together. Consistency is her hallmark. One listen to “Broken Time” from Time Stands Still, as perfect an encapsulation of Fujii as one could hope to find, makes a strong argument. Even if you're inclined to say she's treading the same ground with Time Stands Still and Spring Storm, that'd be unfair: what she's really done over the years is refined an approach, mastered a methodology that continually delivers the goods. And these albums are great, both of them. It’s tempting to dismiss the New Trio as Ma-Do without Natsuki Tamura’s mighty trumpet, but that would be missing the whole picture. Blustery tracks like “Fuki” remind us that we’re working in different spaces, with different musicians: when the rhythm section comes back in after a solo piano spot halfway though, it sounds like someone trying to tear down a building with hand tools. It’s a level of intensity that’s not so much beyond Ma-Do as of an entirely different cast. I always come back to the idea of ma when faced with Fujii’s music. It’s a concept she likes to invoke. It’s slippery though, more robust than simple translations often suggest: something like the natural space we perceive between things, or the interval that exists between two phenomena. Perhaps what we should listen for when we listen to these albums is this idea of ma: with Spring Storm, what the interval between groups means, and the manifestation of space between musicians newly working together. With Time Stands Still, the natural pauses in

dailydot: Chris Bosh block to seal win for Miami Heat versus the San Antonio Spurs. Game 7 Thursday.

Hunter Hayes may have made it rain down tears, sweat, heartbreak and crazy on a crowd of thousands of devout Hayniacs at his "MTV Artist to Watch Live" show in Webster Hall in New York City (not to mention the thousands of rapt Hayniacs streaming the show live from home. You're WELCOME, by the by). In fact, the MTV Artist To Watch may have actually made it rain -- songs like "Storm Warning" and "Rainy Season" showered the country crowd with an entire relationship narrative and emotional arc as another June storm continued its relentless pursuit of Manhattan. And, on the eve of his Encore album release, Hunter Hayes may have made me ugly cry my mascara all the way down my face and partially into my neck (yo, don't worry, I totally got this) with tearjerkers like "Find Yourself In A Song" and "Faith To Fall Back On" and then had me bump Adam Levine way way down to the bottom of my list of Favorite Living Men when he covered Maroon 5's "This Love" during his encore. (Adam... who? Doesn't ring a bell. Sorry! It's Hunter's song now.) And His Royal Hayness may have packed Webster Hall with more cowboy hats than a rodeo... And he may have filled out a raglan tee like his last name's Hemsworth... And yes, he did that adorable little signature Hunter Hayes hop (siiiiigh... PLEASE READ THIS AND BE MY BOYFRIEND)... But the highlight of the entire Hunter Hayes live experience was, for me at least, finding a group of his coolest, funniest, most committed Hayniacs singing "Wanted" at the top of their lungs in the lobby before the show started and then insisting that I take a photo of them twerking. Sorry, all other Hayniacs. Y'all are definitely cool, but I wanted crazy, and these awesome fans -- who met online and became friends going to Hunter shows -- definitely brought the best possible form of crazy. I'm pretty side-eye skeptical of any Hayniac who had something better to do that night (okay, unless you were watching "The Voice" finale), but on the off chance you missed the show because you had to go to the emergency room or something, here are two set lists I stole for you: + Stay tuned for full-length Hunter Hayes "Artist To Watch Live" performances, photos and more, coming soon!

Too much basketball; too little time for a full post. So instead, I’ll bring a summer tradition back to Second Ave. Sagas. I run this piece each year as the temperatures soar, and although spring has been relatively cool, it’s getting hotter and stickier out. The heat is at its worst in the subways as we wait on sweltering platforms for trains to arrive. By and large, though, subway cars offer a cool reprieve the sweat-inducing stations. While newer rolling stock models have some AC quirks — it’s generally much cooler in the middle of the cars than it is at the ends underneath the air conditioner units — outside of the rare AC malfunction, the trains are kept temperate. It wasn’t always like this. In the early days of the subways, ceiling fans shuffling around stifling air were the norms. While platforms weren’t as heated by AC exhaust as they are today, traveling underground in the summer was never a pleasant experience. Today, as the temperatures climb toward July and August, the air conditioned train car is something we shouldn’t take for granted. The R-17, shown here in operation as the Shuttle in 1982, was the first subway car outfitted with air condition. (Photo via Steve Zabel at NYCSubway.org) I’m a summer guy through and through though with sun light lasting well into the evening and the green grass of a baseball field always a welcome sight. Yet, the subways during the summer are utterly unbearable. When a train pulls up to an underground station in the summer, passengers rush in as much to board their train as to find some solace amidst the cool air of a subway car. With new rolling stock spread throughout the city, temperatures inside are far more tolerable than those outside. The worst part of riding around New York City in the summer are the underground waits. With train cars spewing heat from industrial-strength air conditioners, the stations themselves see temperatures soar beyond tolerable levels. The stagnant air induces sweat at hours of the morning far too early for that kind of heat, and only the blessed air conditioning of the train cars makes a commute tolerable. These days, we take our air conditioned subway cars for granted, but it wasn’t always like that. The MTA undertook its current air conditioning efforts in 1967, and the thought of a summer ride without AC lives on only in the memories of long-time New Yorkers. So as we sit on the cusp of summer and Transit turns on the AC, let’s hop in the Wayback Machine to a time when the New York City Transit Authority just couldn’t quite get air conditioning right. Our journey begins in September of 1955, an odd time to test air conditioning as the heat is already dissipating by then. On a day that saw the outside temperature hit just 62 degrees, NYCTA ran a successful test of its first air conditioned subway car, an retrofitted R-15 car. As station temperatures hit 81 degrees and the mercury outside climbed to 87.5 in un-air conditioned cars, the test car saw temperatures fluctuate between 68 and 73 degrees. The authority proclaimed this one-day test a success, and plans to outfit the entire subway fleet at a cost of $700 per car were drawn up. This optimism was short-lived. A year later, the NYCTA unveiled another test run of the air conditioned cars. Six R-17 cars equipped with loud speakers, air conditioned and in-route music provided, of course, by Muzak, made headlines as Transit officials again extolled the virtues of air conditioning. At the time, Transit planned to test these cars along various IRT routes but ran into early troubles. The authority tried to test it on the Shuttle route, but the short trip did not provide for ample testing time. “The run between Times Square and Grand Central takes one minute,” wrote The Times, “apparently too brief a time to cool the hot subway air taken in during the stops of one and one-half to two minutes at the shuttle te

I Believe!

Quiet and pensive, Johnny Rzeznik of the Goo Goo Dolls is sitting in New York City watching it rain.More news: Goo Goo DollsAll the latest music and artist coverage from SoundSpike