History, local and global, unfolds in this fine gathering that represents a half-century and more than 2,300 issues. On that note, the menacing photograph of Christopher Walken, who was probably aiming to look pleasant, is alone worth the price of admission, not to mention striking photos of a host of other actors, including John Lithgow, Steve Buscemi, and Edie Falco. More than that, the editors reproduce material that speaks not just to passing moments and fashions, but also to constant editorial emphases, such as high-quality artwork and portraiture, with pages devoted to Ali MacGraw, Pam Grier, Grace Jones, and other zeitgeist-y figures.
LOWBROW VS HIGHBROW MOVIE
There are notes on the business and political ends of the enterprise, as well: Rupert Murdoch once owned the magazine but pretty much left it alone, while Michael Bloomberg was a constant source of fascination and copy-“the Bloombergification of New York,” wrote Justin Davidson in 2013, “isn’t complete yet, and won’t be for a generation.” There are a few greatest-hits bows, including, of course, Nik Cohn’s story “Tribal Rites of the New Saturday Night,” the basis for the epochal movie Saturday Night Fever. Early on, for instance, comes Tom Wolfe’s “eyewitness report” of the birth of the “New Journalism,” for which he was largely responsible but for which New York made a welcoming vehicle. Write the current editors in their foreword, “Felker knew that a magazine grounded in the story of New York could also be a magazine about the whole world, and it is amazing how much history coursed through the city’s streets.” This oversized, overstuffed anthology makes a fine argument for just how true that is. In 1967, Clay Felker assembled a group of journalists and editors in his Manhattan apartment with big plans, and they made good on them from the very start, making of New York magazine not just a chronicle of the city, but also a kind of microcosmic view of everything important and interesting everywhere. You can reserve the whole lot for your event for an additional small fee.A great magazine is commemorated with an equally top-flight anthology. Should you need more room, there's an additional 18-car overflow area too. Our fenced-in parking is fit for 20 vehicles. Ask us for details!ĭo you need a greenroom? We've got your covered! Our 1200 sq ft Studio Suite is your private space, complete with: We also offer our silent disco setup as a rental for offsite use. * Tent measurements are 24'x55'x18', complete with lighting & entrance/exits at both ends!ĥ0 brand new 3 color/channel silent disco headsets provide entertainment during or after hours! These allow up to 3 different DJ's or playlists for you to enjoy during your event.
LOWBROW VS HIGHBROW FULL
Enjoy dining, dancing, art showcases, silent discos, & more! Our tent is part of the full venue buyout option, combination package, or can be reserved as a stand-alone venue rental. Our fire/wind/snow-rated tent provides extra coverage for your needs. Our tent is an additional rentable space at Lowbrow Garden. RGB string lights illuminate the atmosphere & parking lot from above, while firepits below dance to the vibes of our Polk audio system! We have 8 custom-built 12' Bald Cypress live-edge picnic tables, 14 wine barrel high tops, & 9 spool tables spread throughout the open property. Enough space for about 450 people standing & 118 people seated, there's plenty of room to relax, dance, eat, & play bean-bag toss. Lowbrow Garden is shaded by bamboo, pecan, & crepe myrtle trees across 12,000 sq ft. This space has custom built-in seating for 15, with handmade cusions & enough pillows to satisfy a marshmallow. Upstairs is an emaculate Moroccan-themed lounge, furnished with more Persian rugs & antique tea tables.
Our 1400 sq ft open floorplan features 100-year old wood from ceiling to floor, & RGB led lightbulbs in every fixture. Inside Highbrow House, you'll find yourself encompassed by authentic antiques, oil paintings, Persian rugs, & wall-to-wall eye candy.
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