Vitalic!

The first time I listened to Vitalic I was amazed by his music's strenght and beauty. It was the perfect combination of anger, passion and elegance. His song was in Sven Vath's In the Mix- The Sound of the Second Season, and the song was La Rock 01, which I heard live once again on Friday at Webster Hall, and I have to tell you, it gets better with time.


It was Juanes' b-day on Friday and, lucky him, Vitalic played that same night. It was $1 before midnight and we got there early, so we did not have to suffer those long lines. We spent the first part of the night in The Studio where The John's were playing. Then we moved to the 3rd floor where the poor local DJs were trying to "open" for Vitalic. Poor guys! They did not know what they were doing! It was off-tone heavy non-sense techno, perfect for the college crowd present. Sigh! I am getting old!



When Vitalic took control of the knobs, it was a 180˚ change! He made our heads burst into light! His drums and baseline, as always, somber, but vibrant made us dance at the rhythm of his savage programmed beats, and the operatic voices and melodies combined with acid techno and electro were guilty of creating bliss in the dancefloor. The place was falling apart! Juliet India, Repair Machines, My Friend Dario, and finally La Rock 01! Well, just judge by yourselves.




It was a night to remember, he was, as always, magnificent and showed no compassion for the people in the dance-floor, he hit us with all he got, and that's how I like it! I just hope I do not have to wait another 3 years to see him playing again.

The best of 2009-April-The Presets

Even though that month I attended to several events (including Ladytron and The Faint), I decided that The Presets were the best! This Aussie duo rocked the house!!! As usual, the gig took place in Webster Hall. The good news is that it was Spring and it was not freezing outside. The bad news is that when my husband and I arrived it was SOLD OUT!!! Noooooooooooo!!!

I realized of the concert several weeks before, and, as I used to do, I waited until the day of the event to purchase the tickets directly on the venue because they always had tickets left. If they had tickets even for that terrible Justice DJ set! Common!!! After a miraculously short line, we got to the ticket booth and it was then when the fat oxygen-haired girl said with a high-pitched voice, "The tickets are sold out"!!! I was in shock! It never happened before! I was so pissed! Obviously the bouncers threw us out and said that without tickets we could not get in. Duh!

I was determined to get in and I knew that, as in Colombia and every country in economic recession, there must be a reseller near the venue. He was a very tall and fat black man with wide hips and narrow knees. Now, you must understand, in U.S. is illegal to resell anything; therefore, this guy was acting as if he had finally met his friends; that is talking to, and even hugging! the astonished young hipsters that were looking for tickets, hahaha. He was charging three times the original price! Damn! I wanted to get in, but I did not expect to be "rapped" in the process! so we waited, and then she appeared! This beautiful girl approached quietly, and, although se was dressed loudly, she was really shy. She told us that she purchased the tickets for 6 of her "friends" yet none of them came (I would kill the motherf#@®#s); as a result, she needed to recover some of the money invested by selling the tickets at HALF OF THE PRICE!!! :)))

The Presets were magnificent! Julian Hamilton's vocals were incredible! He sang better than in the recorded tracks, he danced, he played the keyboards; in two words: simply perfect! Kimberley Moyes was not the exception, he played the drums live and there is a hugh difference between sequenced drums and the real thing! He also performed "Aeons" with a xylophone, that was too beautiful!

When they played "My People" and "Are you the one?" the venue was trembling, it felt like an earthquake because the crowd was insane, we were dancing our asses off, we were in love with them! Live drums should be mandatory in every electronic concert. Thank God for the snares! I do not want DJ Sets anymore, I want the real thing! Combined with the mesmerizing lights setup, it was the perfect performance, sick!

For those who attended this gig, you know I am telling the truth, this is not an exaggeration, The Presets earned all my respect and admiration, they delighted us with an energetic, up beat, and sensitive show I will never forget; also, it was the first time in 2009 that I danced this hard, I was head-banging! Certainly, this is something I can repeat anytime. Just bring it on Presets!

The best of 2009 - March - Morrissey

OMFG!!! The king of Indie British Pop Rock! The Voice! His non-conventional lyrics, the somewhat mean, sweet and sad guitar sounds so known and loved by all of us filled the space and possessed the 2,500 fans that screamed and jumped all along the concert. My youth years idol was standing there! I could not believe I was listening to him and his band live.

After 14 years being his follower and fan I finally got to go to one of his gigs and it was magical! The performance occurred in Webster Hall (We already told you about this historical nightclub) and it was so crowded it was ready to burst out.

It was very hot inside even though it was Winter. I got in a little late and a have to stand behind a couple of gigantic men (well, maybe I am just so small, hehehe) and, as usual, I could not see very well, only Morrissey's hair and the stage lights and decoration. I was so mad! but then something wonderful happened! The girl that came with the tall guys fainted and they carried her out! Wheeee! The space was suddenly free of tall people and I could see everything! yeeeeeaaahh!

The show was a serious one, just like him, although he loves to joke. In one occasion he said "I hope you were charged $20 for this concert because my dressing room was composed by a tacky chair and a table, this place is a rat hole...", hahaha.

The concert was everything I ever dreamed of Morrissey, he is older, a little fat, but his voice is just the same. His behavior might not be so explosive as it was when he was younger, but you can tell: once rebellious, always a rebel. He changed his shirt several times, because he sweats profusely during his shows. In one occasion he took off his shirt on stage, WOW!!! We were screaming our lungs out!


Without any doubt, Morrissey's stage presence is something you cannot ignore or disrespect. He is the British Indie Pop genius of all times. Certainly, every Morrissey fan should experience one of his concerts and I am thankful because I already did!

TRILOGY: The first strike

Hey! Did you go to Trilogy last night? It was cool! We were among friends and had a blast! Considering it was the first party this new collective ever made it was pretty organized, the place was warm and cozy and the sound was clear and very appropriated for the size of the venue.

In contrast with other most expensive and flamboyant parties this one had a great VJ. I know it might sound silly but it is important to have visuals! Why in the name of God the event organizers do not think about that simple meaningful thing? Do they really think we want to remain in the dark for hours and our minds do not need this kind of stimulus? Well, in the state of mind people usually are in this parties it is a must to have, not just visuals but upbeat, colorful, interactive ones! Just as Trilogy's: futuristic, beautiful and sophisticated as always Eli Q performs. I also loved the setup of 5 television sets!

Among all the different DJ sets, tendencies and rhythms we enjoyed last night I loved Frank Olivo's funky sexy DJ set and finally the killer set performed by Giovanni. I do not know what came into Giovanni's skin but he was on! I have been listening to his DJ sets for the last year but last night was the best ever! God blesses wet hyper techno music! Oh yeeeaaaahhh! Everybody was dancing, even those friends who did not like electronic music that much! We just could not stay still! Sadly it was only 1 hour long :( but it was enough to leave a permanent smile on our faces.

I had a great time, shared with my friends, listened to some great music and I hope we have the chance to enjoy another Trilogy soon.

The best of 2009 - February = Matthew Herbert

The best of 2009 - Matthew Herbert

I had just moved to NY and this was the first of many wonderful gigs I had the chance to attend last year. For me, 2009's calendar started with Matthew Herbert also known as Herbert (and also as Doctor Rockit, Radio Boy, Mr. Vertigo, Transformer, and Wishmountain), the mastermind whose Avant-Garde electronic work,influenced by the techniques of Musique Concrete, helped pioneer the Micro House genre.

The gig began filled with the micro sounds that have been identifying him for years. His avant-garde velvet jazzy house, the shimmering of the sweet voices and the deconstruction of the big band melodies were mind-blowing! It was an spiral crescendo of beautifully intricate minimal swing sounds that became the deepest techno I ever heard, so deep I felt my clothes flying away from my body with every beat, yeah!

So, when this amazing performer ( also a known political activist) asked me (yes, we spoke!!) in that cold February night, why the place was almost empty, I answered that his performance was like a very delicate and elegant dish that only the most trained and sensitive palates were able to taste and enjoy...at this, he laughed a lot and said I was right, then he finished the night with his remix of Louie Austen's "Hoping", I just love this song!

For me, this British producer is the best ever! I hope to see him again and enjoy his wonderfully intricate mind mechanics.

Memory: the Embodiment of Void, or the travel to the Black Heart of the White Chimera / Memory: la Encarnacion del Vacio

During our last visit to the Guggenheim Museum, while looking at the compendium of the wonderful process of Wassily Kandinsky, Veda and I had the chance to be in front of an amazing work of art, a giant sculpture made of steel, called Memory, the last monumental piece by Anish Kapoor, and commissioned by the Guggenheim and the Deutsche Bank, to be a twin sculptural installation, one in Berlin and the other in New York. The gigantic ovoid cocoon, built inside of one of the museum's annexed exhibition rooms, shows itself as an intelligent construction, that makes us instantly pay attention to the space, to the relation between the sculpture and the room, and the relation between ourselves and the object and the space, which lead us finally to a new acknowledgment of our own presence standing in that very same space and moment, the present moment, which I think is also one of the virtues of the building that houses the object, to make the people inside recognize the present moment, a experience that many of us take for granted, without paying too much attention to it...
Memory, barely contained between the white and perfectly edged walls of the room, seems to be forced to fit inside, to have been introduced into the building in an aggressive way, and acts as a massive obstacle to the fluid path proposed by the building, but it's because of this contrast that the pure essence of the space is clearly revealed. But there is something else, a question that comes to mind rigth after : what's inside?; the answer to that question shows the smart complexity of the object, but we need to go back, and walk and look for it, so it also becomes a game. Then we find the other "face" of Memory, the Void, revealed through an optical trick, but always present, always waiting, which made me think of the fake barriers that sometimes we built in our minds and become an obstacle between us and what we're going in life, and what we're looking for. We have to go around, again through the Tannhauser exhibition, to find behind a wall another little white, square, perfectly lit room, and in one of its walls, a perfectly drafted black square, with some shades of ocher at the bottom part. This is the gate to the void, right behind that "painting", the sophisticated illumination of the room used to conceal the opening beyond which the dark void inside Memory waits to eventually come into view. The surprising effect inspires different reactions in different people: some, like me, want to go in (unfortunately, you can't), others feel overwhelmed, others scream into the void and listen to the eco of their voices coming back; this makes me think that Memory is even more large deep inside, than when you size up its exterior. There is an also amazing effect, explained to us by the security guard : if you stand right in front of the opening and start walking backwards slowly, you'll see the square become completely black, the ocher "brush strokes" (which are, of course, the parts of steel close to the opening, that get some light from the ceiling) disappearing in front of your eyes. Memory is a "polymorphous" sculpture, which refers us to Architecture, Painting, and Installation at the same time, as explained by the artist in an interview recorded for the museum audio-guides, and, like his past works, its calculated effect is the result of the conceptual analysis of the relations between object and space and the phenomenology of space, which it's at the end the real work of art, not so much the objects and the rooms, but the revelation of their, until that moment, invisible interaction.


Y siguiendo con el Guggenheim, mi edificio favorito de Nueva York en este momento, Veda y yo tuvimos la oportunidad, mientras visitabamos la espectacular exposicion de Kandinsky, de admirar la ultima obra del escultor indio Anish Kapoor, el resultado de una comision del Museo y el Deutsche Bank, formalizada como una monumental instalacion gemela, una en Berlin y la otra aqui, en Nueva York. Memory, el gigantesco capullo de hierro, que pareciera haber sido metido a las malas entre las inmaculadas y perfectamente delineadas paredes de una sala anexa del museo, crece en uno despues del impacto inicial, y es ahi donde la curiosidad por tratar de saber exactamente como funciona, pone en movimiento la busqueda que lleva al espectador a apreciar la verdadera obra de Kapoor, no tanto el objeto, sino mas bien el objeto dentro del espacio, la revelacion del fenomeno exacto del espacio, resultado de la interaccion entre este y la escultura. Si antes compare al Museo con un gigante monstruo, con una quimera blanca, pues Memory seria su negro corazon; la membrana ferrea contiene un efecto paralelo al de la visualizacion del espacio, la revelacion del Vacio, que se ubica dentro de la gran escultura y a cuya vista se accede luego de rodear el objeto (pero para eso hay que salir de una sala y entrar en otra, lo que convierte la interaccion entre el espectador y la obra en un juego) para encontrarnos con otra distante pared donde un cuadrado perfecto, pintado de negro con algunas pinceladas ocres, se nos muestra en realidad como la boca de entrada al interior del gigantesco capullo; mas alla de una cierta porcion de hierro que logra ser iluminada desde afuera, no hay mas que penumbra perfecta, petrea, en donde no hay realmente nada, pero que te hace dudar. A mi me parecio supremamente invitadora, pero desgraciadamente no hay acceso. Veda realizo la sencilla comprobacion del vasto vacio mas alla de la penumbra, grito hacia adentro y escuchamos el eco, fenomeno tipico del vacio, pero que que se nos antojaba al mismo tiempo como una manera de comunicacion primitiva del objeto con nosotros. La experiencia para mi fue casi impactante, ese objeto nos estaba revelando el momento presente (que casi siempre damos por sentado), ubicandonos primero dentro de la zona creada por las paredes del recinto y la membrana exterior del objeto, zona donde se enfatiza al espacio puro y en donde, por consiguiente, logramos un reconocimiento de nosotros mismos y de nuestra propia presencia en el tiempo. Luego, la revelacion del Vacio, es decir, el vacio es nada!!, pero sin embargo ahi esta, presente de manera indiscutible, convertido en fenomeno discernible a la vez que ausencia. Una obra definitivamente polimorfa, con una cualidad que podria llamar de obra de arte total ya que como instalacion nos referencia a la Arquitectura, a la Pintura y a la Escultura al mismo tiempo, efecto buscado adrede por el mismo Kapoor, quien habla de la inspiracion que el edificio de Lloyd Wright fue para el y la manera como su obra se interrelaciona con el museo. El Guggenheim es un edificio concebido para que se den unos ciertos patrones fluidos de recorrido, que son los que permiten la experimentacion del espacio, pero la obra de Kapoor, nos obliga a explorar nuevos niveles de esa experimentacion, al formalizar su obra como un gigantesco obstaculo que obliga a seguir diferentes patrones, y al abrir un nuevo espacio negro dentro del espacio blanco original generando otros estratos de percepcion del edificio, nuevas maneras de acercarse emocional y conceptualmente a el.

When the Holy Ghost Descended Upon all of Us

Night of January 8th, Holy Ghost at Webster Hall. This awesome place, the first modern nightclub in USA, was built in 1886 by the architect Charles Rentz in the Renassaince Revival style. This venue has been the scenario for perfomances by artists like Emma Goldman, Tito Puente, Tito Rodriguez, Ray Charles, Elvis Presley, Frank Sinatra, Tina Turner, Eric Clapton, Prince, Sting, Aerosmith, KISS, B.B. King, Guns N' Roses, Franz Ferdinand, Morrissey, The Faint, Sonic Youth, The Hives, Alicia Keys, Ladytron, among many others and since 2008 it's considered a New York landmark.

As usual, the long lines before 12 am, because of the $1 entry value, and, of course, the bouncers exhaustively searches in the girls' bags and clothes looking for any smuggled booze. After all the touching and searching was done, I was just ready to have an after sex cigarette!!!

The basement is called "The Studio" and here we found ourselves in the middle of the weekly event "Trash!" Party. Nu Rave, Electro and Rave sounds loudly filled the air, and so we danced, surrounded by drunk post-adolescents, while dancers on stage, wearing only underwear, made the experience more pleasant.

Finally we got to the second floor after rapidly passing through the Hip-Hop hall where Jay-z and Missie Elliot were being played. On the second level, Clasixx were delighting the audience with Retro Electro sounds, the atmosphere was cool and relaxed, and the music was equalized to perfection. We started to shoot video, to share some of the experience with you, but sadly one of the bouncers told us to turn off our camera after only a few minutes...

Then, the moment we were waiting for! The Holy Ghost descended upon all of us and enlightened our brains with Techno Electro Disco House Funk, with spiritual drums and sensitive vocals that melted us on the dance floor while our souls were in communion with the musical universe surrounding us. Now I see why critics say that Holy Ghost, the Brooklyn duo recording for the DFA label, is "redefining" the dance floor. Music of 4 decades mixed together to creat this experience of known but new melodies, elegant and refined, that don't let you stop dancing until the Dj's leave the stage for good, and we're left ready for another after sex cigarette..... (Ver video de Holy Ghost en Webster Hall en YouTube)

The evening, although very cold outside, was fun, filled with light and delightful sounds, and wrapped up with the music of Fever Ray, we said goodbye and headed home with a huge smile on our faces, which for just $1, was completely worthy!!

So remember fellas, listen to the Holy Ghost so you don't go to burn in the techno Hell flames, muaaahahahahaha........

Eclipse total del Corazon o la experiencia sublime de mirar cuadros de Kandinsky dentro de un edificio de Frank Lloyd Wright.

Despues de dejarlo casi para el final, nos decidimos a enfrentar el frio mortal de la tarde del pasado martes, y asistimos a la bellisima muestra que el museo Solomon R. Guggenheim de Nueva York presento hasta el dia de hoy, y desde el pasado Septiembre, de la obra de Wassily Kandinsky(1886-1944), primerisima figura del arte del siglo XX y una de las piedras angulares del movimiento abstracto, campo de experimentacion donde se probaron de manera casi incansable diferentes maneras de expresar, en este caso atraves de la pintura, la nueva manera de ver la realidad, propia de los individuos que vivieron y crearon en la sociedad configurada por la Revolucion Industrial.

Y tambien esta el edificio, por supuesto, uno de los museos mas famosos del planeta, uno de los edificios mas representativos de la ciudad de Nueva York, comisionado para albergar la coleccion del filantropo Salomon R. Guggenheim, a uno de los grandes maestros de la arquitectura Americana y universal, Frank Lloyd Wrigth. El museo, cuya construccion tardo 16 años(de 1943 a 1959) y que representa el resultado de uno de los procesos de evolucion estilistica mas complejos del arquitecto, fue creado para amplificar la experiencia de mirar las obras de arte y la interaccion con las mismas mediante el recorrido ascendente claramente delimitado (pero no exclusivo, en el sentido de que no es el unico a seguir) por su camino en espiral y que culmina con el gran domo, principal fuente de luz para el interior. La muestra esta organizada entonces para seguir esta disposicion, lo que permite apreciar a Kandinsky desde sus primeras obras, imagenes que parecen ilustrar cuentos de hadas, con personajes y paisajes en remembranza de su Rusia natal, y realizados con la tecnica puntillista, en donde ya hay atisbos de su interes obsesivo por el color, y desde donde continua desarrollandose, en un compendio que nos enfrenta al proceso monumental de plasmar una vision: desde las pequeñas telas donde representa en estudios rapidos bien sea una plaza de Munich, o una calle de Amberes, pasando por las secuencias de lienzos donde comienza a constituirse el proceso de estilizar las formas hasta que solo son vagamente reconocibles y utilizar los tratamientos inusuales del color con la intencion de estimular una respuesta emocional distanciada de las referencias puramente visuales (o retinales como las llamaria Duchamp), como por ejemplo en "Composicion VII" de 1919, hasta las obras que definen el culmen de su busqueda formal y coloristica, y que exhiben la exquisita precision en el dibujo y la aplicacion del color, sobre todo en las acuarelas y temperas que sirvieron como estudios previos a los grandes cuadros de este periodo, denominado indistintamente como "Abstraccion Biomorfica" o de la Gran Sintesis, donde la geometria se convierte en un medio de transmitir su idea de lo arcano y del tiempo, y las figuras comienzan a constituir conglomerados que se nos antojan partituras de musica o a bloques de textos en lenguajes antiguos, relatando siempre su intencion de hacer visible la estructura interna de la realidad (uno de los principales fundamentos de la abstraccion) y su deseo constante de incitar a una emocion que nos relacione con lo espiritual.


A medida que vamos ascendiendo conocemos mas de Kandinski, quien probablemente hubiera aprobado esta manera de disponer su obra para ser vista por el publico, en el sentido de la ascencion en espiral hacia la luz (el gran domo). Kandinsky era no solo pintor sino tambien profesor, teorico de arte y filosofo, una persona con un interes muy profundo por lo mistico, al que dara forma expresandolo atraves de la abstraccion (se considera a Kandinsky como el creador de la primera pintura puramente abstracta, tal como lo entiende la historia del arte occidental) y que estaba inspirado por el discurso del Movimiento Teosofico de finales del siglo XIX, que propone la Creacion como una progresion geometrica que se sucede atraves de secuencias de circulos, cuadrados y triangulos que representan su esencia creativa, doctrina que influyo no solo su pintura sino tambien sus escritos y "tratados" sobre arte, como el famoso "Punto y Linea al Plano" de 1926. Como dato curioso, el Movimiento Teosofico fue fundado por la medium Madame Blavatsky, famosa en los circulos de sociedad europeos de fines del XIX por su "capacidad" para conjurar los espiritus de los difuntos y por ende promocionada como vocera del Mas Alla (aunque por supuesto con una que otra ayudita mundana, como bien lo comprobaron en su tiempo algunos detectives asiduos a desenmascarar a dichas "clarividentes"). Esto me hace reflexionar acerca de los contrastes en la propia persona de Kandinsky, que revelan su constante busqueda, y que contribuyen a hacer mas fascinante al individuo; Kandinsky participo de los principales movimientos del arte Moderno, que definieron al mismo en la primera mitad del siglo pasado, el Post-Impresionismo, el Fauvismo, el Expresionismo, al fundar el grupo del Blaue Reiter(Jinete Azul) junto a August Macke y Franz Marc, y posteriormente la Bauhaus, ya que su discurso pictorico e intelectual formaba parte esencial de la cultura de principios de siglo hasta la Segunda Guerra Mundial. Este fue el hombre que en sus treintas abandono su exitosa carrera de Economia y Leyes para dedicarse a pintar y se convirtio en uno de los maestros del Arte universal en la Pre-Guerra, el mismo hombre que, segun relata el reciente libro de Nicholas Fox Weber(y reseñado por John Simon para el New York Times) acerca de la Bauhaus, abandono a la intelectual y talentosa pintora Gabrielle Munter, que era su amante, para "casarse a mediana edad con su bonita pero ignorante sirvienta de 19 años de edad, Nina, que lo adoraba miserablemente...". Pero de todas maneras, como bien nos lo ilustra el caso de Madame Blavatsky, nadie es perfecto....


La muestra del Guggenheim viene completa con una sala lateral en la que se exponen un gran numero de acuarelas y temperas de pequeño formato, coleccion tan extensa en tiempos de ejecucion como la de las pinturas, y que permiten una aproximacion mas intima a la manera de Kandinski de componer formalmente, a su trazo y a la manera casi perfecta de aplicar el color. Tambien hay fotografias, textos murales y cronogramas y como si no fuera suficiente, tenemos la ayuda de dispositivos portatiles de audio atraves de los cuales podemos escuchar lecturas relacionadas con diferentes partes de la exposicion, mientras seguimos el trayecto que parece dictado por la voluntad del propio edificio y que nos lleva a encontrarnos casi sin darnos cuenta con uno de los beneficios agregados, el pasillo curvo donde se exponen obras selectas de la coleccion Tannhauser, y donde tenemos la oportunidad de encontrarnos a otros viejos conocidos, Picasso, Degas, Renoir, Monet, Cezanne, Toulouse-Lautrec, Pisarro, Gaugin, y, en uno de mis momentos favoritos, en la unica pared recta, un pequeño lienzo de Van Gogh, "Le Viaduct", donde una figura solitaria espera en la semipenumbra del tunel de una via superior, sin atreverse a salir a la luz, y que me trajo a la mente la soledad extrema a la que se vio sometido Van Gogh, la misma que nos acecha en ocasiones. O, avanzando siempre, el salon semicircular donde cuelgan obras de los expresionistas, Kandinsky, por supuesto, y junto a el cuadros de Franz Marc, Kirchner y Chagall; Ya me iba dando la impresion de que el Guggenheim era una especie de monstruo mitologico gigante, una quimera blanca, que nos relataba la parabola del inicio del Arte Moderno; y al ver todas las obras, y los nombres, en frente de nosotros, despues de solo verlas en reproducciones de libros desde la niñez, senti lo que me imagino debio sentir Madame Blavatsky al escuchar los susurros de las voces de gente muerta hace mucho tiempo atras. No todos los dias tiene uno la oportunidad de ver la obra de toda una vida, que te cuenta el relato del compromiso incansable, o de ver a un edificio cumplir su cometido de una manera tan perfecta, verlo revelar el espacio y el presente de una manera tan clara. Definitivamente, era como para no perderselo, las experiencias sublimes no son cosa de todos los dias...

Cuando el Espiritu Santo descendio sobre nosotros...

La noche de Enero 8: Holy Ghost en Webster Hall. Este fue el primer nightclub moderno de Estados Unidos, construido en 1886 por el arquitecto Charles Rentz con estilo neo-renacentista y que ha albergado a figuras como Emma Goldman, Marcel Duchamp, Tito Puente, Tito Rodriguez, Ray Charles, Elvis Presley, Frank Sinatra, Tina Turner, Eric Clapton, Prince, Sting, Aerosmith, KISS, B.B. King, Guns N' Roses, Franz Ferdinand, Morrissey, The Faint, Sonic Youth, The Hives, Alicia Keys, Ladytron, entre muchos otros y ha sido reconocido por la tendencia rockera de sus eventos y desde el 2008 es un monumento histórico de la ciudad de New York.

Largas filas, como es ya habitual en Webster Hall, sobretodo antes de las 12 am ya que la entrada vale $1!. Requisa exhaustiva buscando alcohol en las ropas y carteras de las chicas universitarias. Después de semejante raqueteada casi nos provoca salir a fumarnos un cigarrillo post-coito.

En el sótano del lugar, llamado "The Studio" se encontraba la habitual fiesta "Trash!", sonidos Nu Rave, Retro y Electro a un alto volumen rodeado de post-adolescentes ebrios.Para quienes conocieron el Pub en Medellín este ambiente es bien similar en energía y oscuridad a lo que fue en sus inicios este conocido y bien recordado rumbeadero paisa de principios de los 90s pero con un sonido mucho más moderno y con bailarines que, en paños menores, amenizaban a los asistentes.

En el primer piso la fiesta hip hop que nos recibió con Jay-Z y Missie Elliot, lugar de bluyiniada infinita donde hasta las blanquitas desplegaban sus sensuales movimientos de cadera "abajo! abajo! abajo!".

Finalmente llegamos al segundo piso, lugar con una capacidad de 1,400 personas. Gracias a Dios no se encontraba a reventar, el sonido estaba perfectamente ecualizado y las luces creaban una atmósfera agradable y relajada mientras Clasixx nos deleitaban con canciones con un espíritu 80s y retro pero con sonidos electro de esta nueva década que recién comienza.

Luego The Holy Ghost (el espíritu Santo) descendió sobre nosotros y nos iluminó con melodías techno electro disco funk que con timbales, trompetas, violines y suaves vocales nos derritieron sobre la pista de baile en una comunión con el universo sonoro envolvente. Con razón dicen que Holy Ghost, este dúo de Brooklyn que sella con la DFA, está redefiniendo la música de la pista de baile, melodías de 4 décadas unidas creando un sonido conocido y nuevo a la vez, elegante y refinado que no nos dejó parar de movernos hasta el final. (Ver video de Holy Ghost en Webster Hall en YouTube)

La noche estuvo divertida, llena de luces y sonidos bellos y agradables. Nos despidieron con Fever Ray y al salir nos dirigimos a casa con una amplia sonrisa en el rostro que por $1 fue más que regalado!

Recuerden, escuchen al Holy Ghost para que los salve de quemarse en las llamas del infierno del Tecno, muajajajajaja!