Full Screen View
Vol. 2.1 Winter 09/10
Your Safety? In the Streets:
Be Responsible! A public service message from FSV
Full Screen View Contents
Winter 09/10
Welcome to FSV…page 5
Actor Matthew Montgomery...page 10 In This Issue…page 7
The Art of Philemona Williamson…page 8
♫
Jewelry designer Barry Brinker…page 14 Menswear Designer Kai D. Fan...page 12
Mixing engineer Ray Bardani ….page 16
Media: Fitness 411…page 24
“pink slip”….page 18 White Collar: It Takes A Con… …page 22
Inspect-a-Gadget: Pass the PEAs Please….page
Shoes that Rock...page 26
Fore and Aft Covers-from “Pink Slip” video shoot
27
Full Screen View
This issue of FSV is dedicated to my mother, Estelle, who passed away while it was in production. Mom has been the source of much inspiration during her life time, and all the wonderful memories of her will continue to inspire me. Byron
FSV Volume 2.1 Art and Editorial Direction – Byron K. Atkinson Advertising inquires should be directed to: info@fullscreenview.com Content - related inquiries should be directed to: editor@fullscreenview.com
Copyright 2009-2010 Please note that the contents of this publication as well as the video at www.fullscreenview-n-motion.com are protected under the Digital Millennium Copyright Act of 1998. In viewing this publication, you are accepting the terms and conditions as outlined by Issuu. The names of the various companies whose products are shown, or discussed herein, as well as any logos which appear are the service mark or trademark of the respective entity. All hyperlinks within the text of FSV have been included with the consent of the respective site owner.
Welcome to Full Screen View I’d like to thank each of you who took time to view the inaugural issue of Full Screen View. The response has quite frankly been overwhelming with more than 23,000 viewers from 47 countries, turning our pages. My hope is that you will enjoy this issue as well and spread the word! This issue has undergone a tremendous transformation since its inception. In mid October, with a substantial amount of the issue in process, I made the decision to refocus our “Arts” themed issue from being one that was more like a Fall/Winter Guide and video journal, to an issue which focuses on the central question of “Artistic Inspiration.” In making this decision, I understood that it meant the issue would be late. I hope you will find it worth the wait! Our fashion feature for this issue is a “videotorial” entitled “Pink Slip.” Fitness entrepreneur and trainer, Bryant Perkins is back with us with a great move that will tighten you up. I hope that you will be understanding with respect to the publication delay, and hope you enjoy it! Byron Atkinson
Mother Nature Recycles…
blic service message from FSV
…..
Shouldn’t you?
In This Issue: A Few Comments on Artistic Inspiration
This issue of FSV is designed around the concept of “artistic inspiration.” The individuals that were selected for inclusion are involved in various artistic disciplines. They are as diverse as their disciplines. They are all artists for whom I have a great deal of respect and admiration. While these artists may not be household names or the faces of advertising campaigns, they are working and in spite of challenges, thriving in their chosen fields: That in itself is a source of inspiration. The highlighted artists are: Philemona Williamson, painter Matthew Montgomery , actor Kai D. Fan, menswear designer Barry Brinker, jewelry designer Ray Bardani, recording and mixing engineer We have elected not to include biographical profiles of the artists as that information is readily available on their dedicated Web-pages that can be accessed via the embedded hyperlink at the end of each interview. As different as these artists are, they do have some things in common. It is apparent that they all love their respective crafts. That love fuels them and motivates them to action. They do not live or operate in a vacuum: they are all sensitive to the people around them as well as the things that go on around them, and those things–be they personal experiences or current events which touch them– do impact and often shape their artistic vision and direction. I hope you will find their insights illuminating, thought provoking and useful in your own endeavors. I can tell you that personally, I did! Byron
Philemona Williamson She is a painter, wife, mother, and teacher. She is passionate about everything she does. That passion drives Philemona Williamson, whether she is talking about her family or her art. She is quick to tell aspiring artists that the love of their medium of choice is fundamental to their growth, longevity and success. Her paintings are rich in color and lyrical. The more you look at the youthful figures she uses in her compositions, the more likely you are to discover that her work is far more complex than it might initially seem. Williamson describes her paintings and figures as “poems” and “poets.” One might be tempted to argue that poetry is a written art form rather than a visual one like painting, but the expressiveness and beauty of her figures, coupled with the interpretive nature of the work are the very definition of poetry, and ultimately makes the “poet/poetry” analogy surprisingly accurate. Williamson is very clear about what inspires her. “I am inspired by the exuberance of adolescence; its hopefulness and curiosity and not knowing what the future holds, and yet being excited by it.” Her paintings are often driven by events typically happening as one makes the transition from childhood to adulthood. “The experiences which I choose to paint can sometimes represent a funky and awkward period of development for my figures. I try to capture that along with the unbridled enthusiasm which is often characteristic of youth.” While Williamson’s earlier works were largely shaped by the things experienced by adolescent girls, she began including more male and androgynous figures in her work which signals the recognition of differences in perspective along gender lines, as well as the universality of experience beyond gender in many situations. The Pumpkin Girls (1989) is quintessential Williamson: Vivid color, and bold, sassy figures marching to their own drum
Williamson often uses shades of brown, but her figures are ethnically ambiguous. “The paintings are about the figures, not about the complexions.” She says that, “There is a tendency to want to place artists and our subject matter in boxes or categories, but children often don’t ascribe to those boxes until adulthood forces them to do so. The fact is that there are common experiences in the passage from childhood to adulthood which are universal regardless of ethnicity or country of origin.” If you spend too much time trying to categorize Williamson’s figures, you are likely to miss the all important narrative elements of the composition. Current events, daily and life experiences as well as the experiences she has had traveling, often shape her creative process. “Vestiges of everything we experience stay with each of us and shape our perspective of history and the future, or in my case, my hopefulness for the future.” This means that anything from a new story she reads or hears about to an incident on a train on the way to a meeting might to an offhand comment from a child might spark an idea that leads to a work of art. Boundary Crossing (2008) is a Painting which was inspired by media coverage of racial divisiveness in a Southern town in which a tree and the right to sit under it was an issue.
“ Williamson’s work is in the permanent collections of the Mint Museum of Art, Charlotte, North Carolina, the Hampton University Museum, and in the corporate collections of AT&T and Readers Digest, as well as in numerous private collections. Williamson also teaches at the School of Visual Arts, in New York City. Her works are included in the exhibition “A Complex Weave: Women and Identity in Contemporary Art” which is currently touring the U.S through of 2010. Williamson is also among the artists invited to participate in the exhibition “Shrewd: Smart &Sassy: A Survey of American Women Artists” at the Sheldon Museum of Art, at University of Nebraska, February 10-May 9, 2010. For more information on Philemona Williamson click here.
Matthew Montgomery
“If I’m working, then I’m happy…Just being an actor is difficult.” That’s how Matthew Montgomery began his answer to the question, “How difficult is it being a actor who happens to be gay, in the movie industry. The question was phrased this way, as opposed to placing “gay” in front of “actor,” because it shouldn’t make a difference what the sexual orientation of an actor or actress is, because they are simply playing a role: Whether you call him an actor, a gay actor or and actor who happens to be gay, there is one thing which can be gleaned in watching his performances: Matthew Montgomery is extremely talented. While his films have primarily been targeted towards LGBT audiences, his hopes, aspirations, goals and processes are not different from actors working in other genres of film: He wants to work; he wants to be involved with interesting projects; and he is taking steps to ensure that happens. He is an actor, a producer, and recently has taken on the role of writer and founder of his own production vehicle. He is not content to wait for things to happen; he is committed to making things happen. Matthew credits his family as being a “driving force behind my ambition and in my creating a backbone for myself and learning to love myself.” As an actor, Matthew’s source of inspiration varies by role: “I draw from absolutely anything and everything. I'm like a sponge.” Sometimes the inspiration for his roles comes from doing copious amounts of research in order to understand the character and character’s motivation, as was the case for his role as amnesiac Mark Reeves, in “Gone But Not Forgotten”:
Other times it may come from extensive discussions with the director as was the case for his role in the psychological thriller “Pornography.” In preparing for his role as Michael Castegan, Matthew said, "David (Kittredge), the director and I, did a lot less rehearsing but rather, talked incessantly about the story, the character and why it was so important for him to uncover the truth behind the urban legend that he is investigating and what it says about him and his own existence. When I say we talked a lot - I mean it. Like, to the point that I probably got sick of hearing myself talk about it. (Laughs). But it was effective; when I walked on set, I knew what I was doing. I hoped and trusted that I could let the character have his own journey without necessarily know where it would take me in the end.” “Sticke Figures” which is currently in development for production will be the first time that Matthew will take on the dual role of writer and lead actor. “Sticke Figures” is story about a gay artist who returns to his home town for his former girlfriend’s funeral and discovers that he has a young daughter by her. The theme of this film is reflective of the significant increase in gay films being made for theatrical and DVD release focused on family and familial relationships and is indicative of the market’s continuing expansion and maturation. Coupled with the rise of broadcast vehicles like the Here Network and Logo, this growth is natural. Matthew initially considered writing as another “creative vice.” “Unbeknownst to me at the time I started working on the screen play, I had no idea that it would actually end up greatly affecting my work as an actor as well.” Matthew’s creative approach for writing is different from his approach to acting. This is not surprising given the fact that when you write, you are often starting with the equivalent of a blank canvas: “A number of writers and screenwriters who I looked up to told me that if one is going to write, writing about what you know is the best starting point: So that's what I did. When I wrote “Sticke Figures,” I drew heavily on my own experiences and observations.” While Matthew is proud of the recently released holiday coming out comedy “Make the Yuletide Gay” which he co –produced with Guest House Films, he is most excited about is “Sticke Figures.” “It’s my baby! We’ve put together and incredible team to make it happen including Rob (Williams) and Rodney (Johnson) of Guest House (Films) and April Winney as director.” The most sobering aspect of making a film is of course the financing. “We've had a great start in securing a portion of the funding and are now seeking additional financiers to come on-board - yes, for additional funding, but more importantly, to help make this film a success with us, creatively.” For more on Matthew and his filmography, click here.
Kai D. Fan Kai D. Fan
His clothing line, KaiDUtility, is smart, impeccably tailored, and functional. Now starting his third collection, Kai.D’s designs have been well received by retailers including Neiman Marcus, critics and most importantly the buying public. His line has become so popular in New York that the limited engagement “Pop-up” shop which was suppose to be open from September 29 through midNovember on the lower East Side, has become a permanent retail store. We were pleased when designer Kai D. Fan agreed to answer few questions.
FSV: As a menswear designer, where do you find the inspiration for your work? Kai D.: My inspiration comes from a variety of sources from my own personal archives of images, fabrics, vintage garments, books, magazines, to various online blogs, to the flea markets, walking around New York City, to occasional digging through the dumpsters. My strategy is to start with a completely open mind and gather whatever I am drawn to whether it’s for color, shape, details, or construction. The second stage is to organize and edit the ideas into various groupings and put the best conceptual materials and garments on large foam boards. The exercise of creating a three-dimensional collage serves as a creative reference for the following stages of design. I’d like to point out that a very important aspect is the fabrication and colors. They usually have inherent qualities which dictate the silhouettes and volume of my designs. I get very inspired by visiting the different fabric shops, going through mill cards, and vintage fabrics. I attend fabric trade shows, color seminars, and trend conferences regularly. Lately, I find the inspiration from what issues/ topics I am interested in. For instance, my Fall 2009 collection was inspired by the word ‘build’. My Spring 2010 collection was inspired by the word ‘local’. FSV: How do you translate your inspiration into a garment/collection? Kai D.: They are interpreted in various ways. For the more literal translation, I can take the utility functions of a hunting jacket and translate into a modern sport coat. The ‘authentic’ details are updated for today’s lifestyle. The silhouette and fits are adjusted. For the more conceptual inspirations, I usually convey them via my graphic tee shirts and use them for website, marketing and look book design. Sometimes, an inspiration is simply used as a visual communication tool to convey a sense of ‘style’ or ‘mood’ for my internal design team.
FSV: A designer’s work is never done as you are constantly thinking about your next collection: How important is continuity between collections and how do you achieve it? Kai D: Continuity is very important as both the buyers and customers want your brand to be consistent from season to season. However, without innovation it’s hard to get customer’s attention. I keep the brand aesthetics consistent but innovate via the change of fabrics, trims, details, and color. A very effective way to achieve the continuity is to keep the lifestyle of the same target consumer in mind. Often times I make up a specific ‘muse’ and design my collection around the lifestyle of the ‘muse’. For more information on Kai D Utility click here.
Kai D. says “ I also get inspiration from what people wear on the street, especially in the East Village-Lower East Side area. Sometimes when I get stuck with the development of my collection, all I need to do is to spend a couple of hours sitting at certain coffee shops in the east village or lower east side, I get plenty of ideas just by watching people.”
If you are in New York, drop by the retail store at: 75 Orchard Street (between Broome and Grand Streets) New York, NY 10002 212-334-6241
Barry Brinker
Barry Brinker has something in common with the jewelry he designs: You appreciate the jewelry and the man in person, in ways that you just can’t in print or by picture. His approach to designing jewelry often incorporates architectural and sculptural influences, which sometimes are simple and other times intricate. Barry’s insights on gems, settings, and the genesis of each piece are enlightening to the novice and experienced jewelry collectors. He uses his semi-annual trunk show appearances at Saks Fifth Avenue to get closer to his customers and fans. .
FSV: Where do you find the inspiration for your work? BB: Almost anywhere, but certainly more commonly in artifacts from the past, ancient times, and in wonderful museums like my annual trek to Paris and the Louvre. FSV: What advice would you offer people who are new to collecting jewelry? BB: Forget fashion and go with what you love and what feels good on you. It is important to buy items that make you feel special and you wear them as opposed to something wearing you! Many people feel they are either white metal or yellow gold, so it may be coloring or your sense of casual lifestyle. Again, let your own preferences guide you. FSV: What stones are most collectible? BB: Well, diamonds are still at the top thanks to DeBeers and advertising, but I am not overly fond of them. There are too many dark secrets attached to the trade and if diamonds were really as rare as we have been encouraged to believe, then why does every woman have more than one?? I find unique colored sapphires to be far more interesting and special. FSV: You travel extensively to source unique gems; how do the stones themselves figure in the design process? BB: At the top of my list because first I buy a stone based on its color, matrix or cut...then I design the metal to best frame the stone. This is reverse from most designers that do production and then have stones cut to fit their collections.
FSV: Why have semi-precious stones grown in appeal over the past few years? BB: Due to the vast array of color, and also price point. Not everyone can afford the traditional precious stones in gold. FSV: You are traveling through the U.S. for the next few months:Â What does your schedule look like? BB: Hectic! Between September and January, I am in one or two cities a week for my trunk shows. It is an exhausting schedule, but I try to visit as many Saks stores and see my customers at least twice a year. To visit Barry Brinker on-line click here
Ray Bardani: TheTechnical Side of Music Artistry Unlike many other “artists," Ray Bardani rarely starts his work as a recording and mixing engineer with a clean slate. His creative process actually begins with someone else's artistic expression. Some might question the choice an “engineer” for this issue: While listeners often focus on the performance and the song, there is so much more to making a record. That fact is often overlooked. Prior to mixing, a “recording” is often little more than a collection of instrumental and vocal tracks. You see Ray’s “art” is taking those tracks and creating the record. He is one of the premiere mixing engineers in the music business. Many of you may not be familiar with his name, but if you have listened to contemporary music over the last 30 years, you have heard Ray’s work. From Dr. John to Natalie Cole’s “When I Fall in Love,” to much of the catalogue recorded by Luther Vandross (including “Dance With My Father” for which Bardani won his second Grammy), to David Sandborn, to four cuts on Ledisi’s Grammy nominated “Turn Me Loose,” to the landmark “Elvis: 30 Number 1s”, Bardani’s, hands and ear have touched an impressive number of songs, albums, artists and producers. “I love being a part of making and creating records.” says Bardani.” A record is the sum of its parts. A song can be great, but if the vocal is buried in orchestration, if the phrases that emote aren’t balanced and/or emphasized appropriately, the song and performance will not have the impact that the artist intended or wanted. “I draw my inspiration from the artist and the material. The first step for me is to listen to the material/song. I don’t only listen to it, but I try hear it as well. There is a subtle and yet not so subtle difference between listening to the material and hearing it. “ The listening to the song allows Bardani to get a feel for what the artist is trying to convey; hearing it is how Bardani begins the “translation" process of combining the tracks into a record. “ A record is a vehicle for the artist to speak to an audience, so understanding their ideas and vision is something I keep in mind every step of the way. The artist and/or production team trusts that I will enhance the integrity and intent of the project. Mixing is about realizing potential.”
Bardani underscores that “listening and hearing” results in him approaching each project differently. “I can’t approach each project the same way, because everything is different. I may be working on a project for a singer/song writer, a rock band, or a jazz vocalist for example: The sounds of their voices and the writing are different; the songs and the performances are very different. I have to respect each artist and the material. It’s actually no different when I am working on two vocalists. I approached working on Ledisi’s songs differently from the one I took in working on Lalah’s (Hathaway) project: They are two dynamic but different singers with different material and styles, and my work has to respect and reflect that.” When he is mixing an album, Bardani indicates that the first song he mixes is most significant as “It sets the tone and establishes both the direction and the sound I strive to achieve for the entire project. The operative word for album work is consistency: The sound that I create must be consistent and cohesive.” If there is one thing which generates more enthusiasm and excitement for Bardani than talking about the music, it is the mention of his wife, Lisa and their daughter, and his sons. To contact Ray Bardani click here.
“I never loose sight of the artist’s vision and the fact that the record is the product and should reflect that.” Ray Bardani
Pink Slip: A “Videotorial” The fashion feature for this issue is in the form of a videotorial called “Pink Slip” The piece was shot recently on a cold December night on Madison Avenue (across from Madison Park) in New York.. Originally, the piece was intended to be a light piece with a woman receiving a symbolic “pink slip” from her boss and being photographed running around the city reveling in the happiness of being delivered from her job. The original concept called for a still shoot with some supplemental video footage. The concept however evolved into a more provocative and thoughtful piece both visually and conceptually and the symbolism of the pink slip took on a different meaning. While the choice of lower Madison Avenue as the shoot location was driven by the streetscape, it has a familiar feel, in terms of building scale, materials, street width and proximity to a park, that can be found in many cities across the globe. We used a room at the recently opened MAve Hotel, on the corner of Madison Avenue and 27th Street as our base of operation. The apparel parameters for the shoot were that except for the undergarments and shoes, that all of the major pieces of clothing used had to be secondhand. Check out your local consignment shops because there are some great articles on those racks. While we hope that you enjoy a few still from the shoot on the next few pages, we hope you will click on the video link and watch. Click here to watch the video PINK SLIP.
“Pink Slip” Photographer: Byron Atkinson (www.bkatkinson.com) Production Assistant: Michael Best Models: Ekaterina Pylova for Images, Kaolin Bass, Bryant Perkins Make-up: Daphne Elizabeth Hair Stylist: Owen Sandy About the Clothes: Slip: Victoria’s Secret Long Johns : 2(x)ist
Media
WhiteCollar: It Takes a Con!
^Tim Dekay (as FBI agent Peter Burke,) Matt Bomer (as convict Neal Caffrey,) and Tiffani Thiessen (as Peter’s wife Elizabeth) It’s mid season for the series “White Collar” which debuted on the USA Network in late October. The show which pairs convicted felon Neal Caffrey (Matt Bomer) with FBI agent Peter Burke (Tim DeKay), as a crime solving duo, while not a new concept, is nevertheless arefreshing reminder of how entertaining and engaging a beautifully cast, well-written and superbly-acted television series can be. The six shows which aired after the pilot for the most part deliver on the promise of the pilot. While not billed as an ensemble show, in some respects White Collar is: The characters are at once lens and mirror for each other. The lens gives you insight so you can see and/or understand the character from a different perspective; the mirror shows you who a character is through the eyes of another character. Watching Peter discuss Caffrey with his wife Elizabeth, for example, is like watching a game of “point-counter point” It gives the characters dimension. As a result the characters become complex, in a way that often has viewers questioning their earlier judgments and perceptions. Add the ongoing sub-plot involving Caffrey’s mysterious and missing girlfriend Kate to the mix, and you just can’t be sure what to expect. While series creator Jeff Eastin acknowledges that the relationship between Caffrey and Burke has its roots in the familiar comedic “buddy” movie, he has resisted the temptation of making the “straight guy” Burke a foil. Caffrey and Burke are not “dumb and dumber,” but take turns at being “smart and smarter.” The show straddles the line that separates comedy and drama (a genre which USA Network seems to excel with) and that creates some unique opportunities in the plot and storylines which contribute to the shows appeal and freshness. <
White Collar creator and executive producer, Jeff Eastin
In keeping with the “Inspiration” driven theme of this issue of FSV, I asked Jeff what inspired him to create the series. He described it as “therapy” coming off personal upheaval coupled with the writers’ strike. Interestingly enough, if you distill the show to its barest elements, it is essentially a show built around conflict and upheaval: Right versus wrong; trust versus distrust; leaving versus staying; and honesty versus dishonesty.
Two views of Caffrey at work:
<Neal (Matt Bomer) and Agent Burke (Tim DeKay)
<Neal (Matt Bomer) and Agent Lauren Cruz (Natalie Morales)
While the episodes to date have, for the most part, lived up to the pilot, there have been two disappointments: June, Neal’s landlord, played so wonderfully in the pilot by Dianne Carroll has been missing from most of the episodes that have aired to date; and Diana, the lesbian junior FBI agent, played by Marsha Thomason, who the suave Caffrey is unable to charm, has been missing from the series. According to Eastin, scheduling and commitment conflicts are to blame. The good news is that we will be seeing Dianne Carroll in many of the new episodes which begin airing January 19 on USA Network, and hopefully Thomason again towards the end of the season. For more information on White Collar on-line or to view episodes, click here
Health and Fitness 411 with Bryant Perkins Many trainers and fitness enthusiasts are using a more “grounded” approach to their training and incorporating more body-weight dependent exercises in their routines. I say grounded because for many exercises or their variant, all you need is a floor (preferably with a mat, ) and you are ready to begin. One of my favorite moves which I am incorporating more and more into my clients routine as well as my own, is an exercise called the Push–up to Plank. This exercise combines two of the best body weight, strengthening/conditioning exercises (the push-up and the plank) into one and should help to improve your overall fitness. The benefit of the Push-up to Plank is that the exercise requires the simultaneous use of your primary and secondary muscles during the push-up movement (isotonic exercise,) and while holding the Plank position (isometric exercise.) The exercise sounds complicated, but is actually very simple to perform. This exercise will build, strengthen and condition. Depending on how you pace yourself and the number of reps, the Pushup to Plank may also have aerobic benefits. Add this exercise to your routine and pretty soon, your arms, chest, shoulders, back, and abs will be thanking you. See the step-by-step instructions on the following page. Before you begin this exercise or any physical fitness and/or exercise program, make sure you consult with the requisite healthcare professionals. I can’t begin to underscore how important it is for you to do this.
“Manipulating your own body weight for the purposes of exercise is making a come back in a big way with things like the "Perfect Pull-up" and "Perfect Push-up" devices that people can use in their own homes.” Byrant Perkins
Bryant Perkins is the Co-Owner of New Yorkbased City Fitness Management Inc. Bryant, a former track collegian, is a certified Cross-Fit Personal Trainer and a certified USATF Track and Field Coach. Bryant holds a BA from Ohio’ s Central State University. Bryant can be contacted at: bryant@ mycityfit.com
Push-up to Plank: This is HowWeDo It Step 1: On a flat (preferably soft) surface start in the push-up
position with arms extended straight and hands directly under (the) shoulder(s)
.
Step 2: Slowly lower (your) body to the plank position (palms
down, one side at a time) by first drawing the right elbow toward the body. While bending the elbow slide the down facing palm forward until the forearm comes into contact with the ground. Follow with the left palm and forearm in the same fashion.
TIP: Keep your body rigid throughout the entire exercise.
Step 3: (Once) body is lowered (into a rigid) plank position with
forearms on the ground, begin to raise body back to its point of origin. Slide your right hand back to its original position, under the shoulders while extending your right arm at the same time. Follow with the left palm and arm in the same fashion and return to the starting position..
Primary Muscles Used in Push Up to Plank: Pertoralis Major Anterior Deltoid Triceps Transversus Abdominis Internal Obliques Rectus Abdominis External Obliques Erector Spinae Quadratus Lumborum
Suggested Useof Push up to Plank in a Full Bodyweight Routine: Executeoneset of each exercisein succession consecutively for 4 rounds. Body Weight Jump Squats 12 reps Squat Thrusts 12 reps Push-ups 12 reps Push – Up – To – Planks 12 reps Hold Plank Position 30 seconds Workout routine designed by: Nyree M. Brown, BS Exercise Science Nyree is Co-owner of City Fitness Management Inc. and a Group Fitness Instructor for Equinox NYC. Nyree can be contacted at; info@mycityfit.com
Shoes That Rock and Roll: Eight Weeks With MBT Shoes The promise of better posture, and overall fitness were just too hard to pass up. So when I found myself in need of a new pair of everyday shoes, I succumbed to the urge and bought a pair of MBT shoes. MBT stands for Masai Barefoot Technology. The shoes, which the makers call the “anti-shoe” are constructed with a curved sole that simulates walking in sand, barefoot. The curved soles on a flat surface result in instability, and the wearer has to recruit more muscles to remain balanced, stable and upright. For fitness enthusiast, it’s kind of like wearing a BOSU or a balance board on each foot. When you walk you, you simply roll forward. I went with the Sport 2 model in black (top image) The fit and finish of the shoes is excellent. After eight weeks, I can say these shoes do rock and roll. While I can't tell you that they were Responsible for any weight loss, what I can tell you is that the occasional nagging ache in the right hip area I sometimes experienced while walking has not reared its ugly head since I put the shoes on. I can also tell you that the rocking or to use the manufacturers terms ”rolling” motion has noticeably improved my gait, and that my feet are remaining straight as I walk as opposed to tending to turn outward, as they do when I walk in conventional shoes. Another benefit is that I feel that my posture is more erect, and between that and the sole construction, 6’1” me has picked up some additional height!
^
^ Two MBT stylesfor women
^
MBT shoes are available in various styles -from dressy to casual- for both men and women. For more information on MBT shoes, click here
Inspect-a-Gadget Pass the PEAs! No, this is not a reference to food! PEAs stands for Personal Entertainment Apparatuses (or Portable Essential Appendages, in some cases) and they are more popular than ever. While they got their start as portable music players, they have evolved and continue to evolve into much more. Their capabilities vary by make and model. In addition to music playback and storage, some of the popular features include: Photo storage, internet connectivity, Bluetooth connectivity, video playback, voice memo recording, radio, gaming, and still/video capture. ^ Apple’s iPod Touch, iPod Classic, Nano and Shuffle While tech industry analysts concur that Apple is the dominant player here offering an impressive array of PEAs at varying price points, there are other players in the market including Microsoft (Zune,) and SanDisk (Sansa.) With the addition of larger screens and computing power, PEAs like the iPod Touch and Microsoft’s Zune HD become compelling devices for many people who want pocket computing capabilities and/or do not need the robustness and power of a desktop or a notebook. Add to that the huge number of applications (apps) which are available and under development to run on the iPod Touch/iPhone and the growing “managed portfolio” of apps being developed by Microsoft for Zune HD and you realize that these devices are only going to grow in popularity. Tech Tip: Which ever brand of deviceyou decide to look at, pay attention to the availability of content and any requirements and/or feesto accesscontent. Theseconsiderationsshould be factored into your decision making process.
^ ^ Microsoft’s Zune HD
Creditsand Acknowledgements Photographs: • • • • • •
Philemona Williamson photograph by Nina Subin Art images courtesy of June Kelly Gallery Matthew Montgomery photographs by Adam Bouska Kai D. Fan photographed by Byron Atkinson in his Soho office Clothing images courtesy of Kai D Utility Barry Brinker photographed by Daphne Atkinson Jewelry images courtesy of Barry Brinker Ray Bardani photographed by Byron Atkinson at the Bowman/Bloom Gallery in NYC White Collar images Courtesy of USA Network
All images are copyrighted Click on the red hyperlink to view the previous issue of Full Screen View
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Be Responsible! A public service message from FSV A public service message from FSV
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