Word: jazzed
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Dates: during 2000-2009
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...Arcadia is the location of Black Cat, a dinner jazz club, and vodka bar Red Square. From there, revelers stagger to X2, a mammoth new club in Plaza Senayan. Senayan City has Premiere, a live-music bar attached to the Senayan Studio XXI cinema. Next-day hangover cures can be easily found. The malls abound with popular chain restaurants like Waroeng Kita, or you could try Senayan City's Crystal Lagoon, a koi pond surrounded by international eateries. Staying in the Senayan bubble may not be the conventional tourist choice, but at least the only thing keeping you out late...
...France showed a daring contempt for fascist authority, expressing it to the beat of American pop culture. The self-styled Swing Kids of Hamburg and the Zazous of Paris paid a heavy price in beatings and scalpings for growing their hair, wearing Zoot suits, and dirty dancing to banned jazz. "Instead of uniformity, they proclaimed difference; instead of aggression, overt sexuality," writes Savage, with as good a recipe as any for the teenage era that was about to dawn...
Meanwhile, in New Orleans, another hurricane season is approaching, and the Army Corps of Engineers has announced that flood-control measures are still far from complete. Residents tried to enjoy the annual Jazz and Heritage Festival, symbol of the city's spirit, an event rescued from near death by a grant from Shell Oil. Too few tickets have been selling because broad stretches of the city remain desolate and depopulated...
...Easter Sunday, when he was 3, Alvin Batiste slipped away from his family to follow a group of musicians on a parade route--a fitting start for a founder of New Orleans' modern-jazz scene. A versatile clarinetist-composer for greats from Ray Charles to Cannonball Adderley, Batiste drew national attention in the '80s as a member of the innovative band Clarinet Summit. The bebop master died of an apparent heart attack hours before he was to perform alongside Wynton Marsalis and Harry Connick...
...appeared, they were considered triumphs over the ugliness and banality of the houses themselves. Gilded Age piles with mansard roofs or carpentered scrollwork were deeply out of fashion in the 1920s, when Hopper started seeking them out. In the same way, when he painted Manhattan, it wasn't the jazz-age skyscrapers he was drawn to. It was nondescript brownstones and offices, places like the one in Room in New York, where you could peek through the windows and glimpse anonymous people flourishing their enigmas...