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Cecilia Gentili, a trans activist and former sex worker, has been referred to by some as the Marsha P. Johnson of our time. That’s why, when she passed away unexpectedly in February at the age of 52, her massive funeral at St. Patrick’s Cathedral drew hundreds of mourners on a Thursday afternoon. 

I wasn’t there, but I have many friends who were, and they told me it was one of the most momentous events they had ever witnessed: To see a cathedral full of queer and trans people crying, hollering and laughing before declaring Gentili “the mother of all whores.” The cherry on top was that the outcome of the funeral was straight out of a punchline from one of Gentili’s jokes: After the service, the Archdiocese of New York condemned the mourners and called the event an “insult” to the Catholic faith, claiming that the church was unaware of Gentili’s trans identity before her funeral was held. 

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Although I didn’t know Gentili well myself, many of my friends did: They spoke of her almost like a Saint, about how hilarious she was and how she commanded every room she ever walked in. Before her death, she was becoming better known for her Off-Broadway play Red Ink, which was a one-person, autobiographical show where she told the story of how she stumbled upon sex work and, eventually, America. 

If you missed Red Ink‘s run during Gentili’s lifetime, this weekend is your last chance to see it. After her death, Nic Cory, who helped Gentili write and direct the play, decided to memorialize his friend by hosting one last run of the show—This time, Gentili is played by some of the most iconic trans actors around. The first week of the show starred transmasc comedian Jes Tom; the second week featured Pose and American Horror Story actress Angelica Ross; and the final week is being performed by RuPaul’s Drag Race alumn Peppermint. 

Everything about this iteration of the play is intentional, beginning with the space itself. The small theater, located at 224 Waverly Place in the West Village, feels homey. When you walk in, there’s an altar that commemorates Gentili, with portraits and candles that make her look like the Holy figure many proclaimed her to be. 

The play begins with Gentili’s childhood in Argentina and spans her battle with the leaders of the religious school she attended. When she’s finally old enough to leave home, she moves to a bigger city, where she meets other trans and queer people for the first time. Gentili’s story is told in a way that feels like a perfect balance between stand up and the type of storytelling that happens on the couch of your best friend’s living room.

The night I went to see Red Ink, Angelica Ross was playing Gentili. Although Ross grew up in Milwaukee, she tells me that there was a lot about Gentili’s life story that felt similar to her own journey as a trans person. “In the play, the most amazing part of me is the scene where (Gentili) meets a trans woman for the first time,” Ross tells Time Out. “And the trans woman tells her ‘you’re gonna have to accept three things: That you’re gonna be a whore, you’re gonna get high, and that you’re gonna die young.’” 

Like Gentili, Ross grew up being told by other trans women that her fate was pretty much sealed, and that the possibilities for people like them were abysmal. Clearly, Ross has defied the expectations that her own community had for her: She’s played a main character on some of the most prestigious shows on TV and has lived a life no one could have imagined for her but herself. By being in a play that is for and by trans people, Ross considers that her work as an artist is to show other young trans people alternative realities: Realities where they are loved, safe, and don’t have to compromise any parts of themselves.

Ross also imagines building a queer community where people check on each other more, a thought she recently came to while playing Gentili. Although Ross knew Gentili, she didn’t realize the extent of Gentili’s personal struggles. “It just makes me more hyper aware of my sisters who are still here and understanding that even if they are seemingly the life of the party, they might still be struggling,” says Ross. “Maybe there’s a way to build community differently that makes space for each other’s autonomy while still having these checkpoints with each other.”

Maybe there’s a way to build community differently that makes space for each other’s autonomy while still having these checkpoints with each other.

The central theme of Red Ink is Gentili’s atheism—each scene of the play begins with her reaffirming her commitment to not believing in God—but even then, you get the sense that she does believe in something larger than herself, or maybe she’s holding out hope that she might be wrong about the afterlife. 

Nic Cory, the director of the play, tells me that on the first week of the show, someone he knows who is a devout Christian attended the play. Cory asked her if she was offended—the play covers some pretty crass territory and is not shy about poking fun at religion. To Cory’s surprise, the friend wasn’t offended at all. “The message she took away from the play is that God is everywhere,” Cory says. “And that people are able to find God in their own ways.’”

Catch Red Ink at the Breaking the Binary Theater in Greenwich Village, which will be performed on Friday, Saturday and Sunday at 7pm. You can get your tickets here.

* This article was originally published here

Eighties punk rock fans, strap your life vests on and get ready to go on a wild ferry ride: this weekend, you can hop on a Ramones-themed boat to celebrate the iconic Queens band.

Today and tomorrow, NYC Ferry is offering three ferries leaving from Wall Street/Pier 11, Sunset Park and Rockaway at noon that are going to play the band’s top bops, host raffles with prices from Rhino Records, give samples of Rockaway soda and more. 

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The reason for the celebratory ferry rides? If you didn’t know, the Ramones are actually from Forrest Hills, Queens, and it’s the 50th year anniversary of their first show at CBGB—the concert that eventually launched them into superstardom and led to hits like “Blitzkreig Bop” and, yes, “Rockaway Beach.” 

The ride is the product of a partnership between New York Punk, Rhino Entertainment and Warner Music Group, who are partnering with NYC Ferry to promote Spotify’s Ramones playlist.

In addition to all the mingling and dancing you’ll get to do with other fans, you’ll also get a chance to get an exclusive ’50 Years of Ramones’ stickers.

The fun won’t stop when you hop off the ferry: while you’re at Rockaway, you’ll be able to stop by the Rockaway Beach Bakery for limited edition ‘Ra-Scones’ and ‘Now I Wanna Sip Some (Cold) Brew’ (see what they did there?). Even though it’s all a little on the nose, you have admit it’s pretty cute.

Here is the full schedule of when the Ramones themed ferries will depart:

Friday, August 16

Wall Street/Pier 11

• 11:21am
• 1:24pm

Sunset Park/Brooklyn Army Terminal

• 11:37am
• 1:40pm

Rockaway

• 12:14pm
• 2:17pm

Saturday, August 17

Wall Street/Pier 11

• 11:42am

Sunset Park/Brooklyn Army Terminal

• 12:01pm

Rockaway

• 12:38pm

* This article was originally published here

Nothing is more annoying than trying to have dinner while influencers snap photos at the next table, but that’s just part of living in New York where there are so many damn good restaurants. They deserve all the attention they can get on social media and beyond.

It turns out that three NYC restaurants are actually some of the most photographed in the nation, according to a new data study by Yelp. 

The reviews and ratings website identified restaurant and food businesses and analyzed how frequently users submitted photos associated with the venues between January 1 and June 18 of this year.

Three local eateries made the list: Juqi (133-36 37th Avenue in Flushing, Queens) at no. two, Konban (311 West 17th Street in Manhattan) at no. 9 and Coqodaq (12 East 22nd Street in Manhattan) at no. 21.

All the mentioned venues have something in common: the food served on premise is just as deserving of a photo as the setting it is in.

Take the carved Peking duck served tableside at Juqi, for example, which Yelp refers to as the “ideal ‘camera eats first’ moment.”

“The imperial mashed potatoes, an edible tu’er ye made of cold mashed potatoes filled with bacon and sweet peas, and the lychee shrimp ball, rolled in puffed grains red yeast rice, are among the most photographed dishes,” reads the website.

At Konban, where the staff serves a blend of Korean and Japanese dishes, it’s the corn ice cream that begs to be photographed. Shaped like a corn on the cob and made with oven-roasted corn and white chocolate, it looks like a magic trick.

And then there’s the golden nugget at Coqodaq, basically a breaded and battered chicken nugget with a scoop of caviar on top of it.

“Feast your eyes on their signature chicken set that stars a bucket of Korean fried chicken coated with a choice of soy sauce, garlic or gochujang (red chili paste) glaze,” writes Yelp. We’ll be following orders.

The 15 most photographed restaurants in the U.S. according to Yelp

1. Nep Cafe by Kei Concepts in Irvine, California

2. Juqi in New York

3. Gordon Ramsay Hell’s Kitchen in Las Vegas, Nevada

4. X-FISH Izakaya in Buena Park, California

5. Bacchanal Buffet in Las Vegas, Nevada

6. La Grande Boucherie in Chicago, Illinois

7. Chubby Cattle BBQ in Rowland Heights, California

8. Mama’s Fish House in Paia, Hawaii

9. Konban in New York

10.  Mikiya Wagyu Shabu House in Santa Clara, California

11. Zippy’s in Las Vegas, Nevada

12. Marugame Udon in Honolulu, Hawaii

13. Mijo Modern Mexican Restaurant in Las Vegas, Nevada

14. Prince Dumpling in Rosemead, California

15. Olio e Piú in Chicago, Illinois

* This article was originally published here

If you’ve ever used the expression “once in a blue moon,” then you might already have some idea of how rare blue moons are. Now take that rarity and triple it to get a sense of how truly infrequent the celestial events are. 

Luckily for New Yorkers, we’re about to experience a super blue moon on Monday, August 19, so be ready to keep your eye on the sky at night.

Here is everything you need to know in order to get the best out of the upcoming super blue moon event in the NYC area. 

What is a blue moon?

A blue moon doesn’t actually refer to the color of the moon. It has more to do with the frequency of a full moon, specifically referring to being able to see it more than once a month, according to NASA.

Because the cycle of the full moon is 29.5 days, it’s rare for a full moon to happen more than once a month, which is why blue moons only happen every two or three years. 

When and how to see the super blue moon in NYC

The super blue moon will peak at 2:26pm on Monday but we won’t be able to see it since it’ll still be daytime.

Don’t despair, though: even though we’ll miss its peak, the super full moon will still be visible for three days. That means that for the first half of next week, the moon will appear larger and brighter than usual. 

How rare is a super blue moon?

A super blue moon is the combination of a blue moon and a super moon. Super moons happen when a moon’s orbit is within 90% of its closest approach to earth, per ABC News. At this stage, the moon appears larger and up to one-third brighter than the moon on a regular night. 

Blue moons and super moons don’t coincide often. In fact, super blue moons only happen about once every 10 years, or sometimes as infrequently as once every 20 years. 

The super blue moon’s spiritual meaning

The super blue moon’s spiritual meaning varies from culture to culture, but is often seen as an omen of growth, wisdom and new opportunities. 

According to astrology, this super blue moon will be in Aquarius and is expected to bring a surge of electric and revolutionary energy. Also according to astrology, this super blue moon will most affect those who have Taurus, Leo, Scorpio and Aquarius placements. 

When will the next super blue moon be?

The next super blue moon won’t be until 2037, so you better catch this one. 

* This article was originally published here

Canadian entertainment company Cirque du Soleil has taken over the contemporary circus world, having mounted over 50 different shows across the globe throughout its 40-year lifespan.

This weekend, the troupe is taking over UBS Arena, bringing its touring tent show Ovo to the New York masses.

The production, which first debuted in Montreal in 2009, takes an in-depth look at the world of insects, with each one of the 52 performers on stage bringing a specific creature to life through outstanding movements and acrobatics. Just in case you missed it: “ovo” means “egg” in Portuguese, a name that echoes the very concept behind the whole program. 

Time Out New York got a behind the scenes look at the show during a recent rehearsal—here are some interesting secrets we’re able to share from the experience:

1. Rehearsals are very quiet

Given the acrobatics and dangers involved in performing the sort of circus acts that Cirque du Soleil is now famous for, we expected rehearsals to be high-anxiety and loud affairs. That was far from reality.

Corentin Lemaître Auger and Maxime Charron, relative new additions to the Ovo family, were practicing their pretty astonishing trapeze act to utter silence. In the show, they are fleas and perform a dual spectacular that has been historically been performed by men-and-women duos and not two men.

More specifically, the pros were in the middle of a validation, as the team refers to these sorts of rehearsals. To put it simply, they are ways to get the performers acquainted with different stages given the touring nature of the show. Sound technicians, engineers and other staff members also use the time to “validate” their various skills across differing arenas.

2. Cirque du Soleil started as a group of street performers

Although the production company has now elevated the form, Cirque du Soleil was actually founded back in 1984 by former street performers Guy Laliberté and Gilles Ste-Croix in Baie-Saint-Paul, a city in the province of Quebec. The troupe, originally called Les Échassiers, toured Quebec for years before the Canada Council for the Arts gave it a grant to perform as part of official celebrations. Today, the organization is a proper circus.

3. The Ovo team is like a giant village that travels together

Although not mounted in a tent but in actual arenas, Ovo is a traveling show that moves around the world as a massive production that includes hundreds of employees and twenty giant trucks filled with anything that the staff might need: from costumes to catering objects, lighting, makeshift dressing rooms, to-be-built gyms and even six washing machines. 

What’s more, in each city, the production hires about a hundred local staff members to help set up each arena properly. In case you were wondering, it took twelve hours to built the stage at UBS Arena earlier this week.

4. The act of touring is more challenging than performing the actual acts 

When asked about the difficulties involved in keeping their bodies in tip-top shape, Auger mentioned that, although the performers’ general rehearsal schedule is pretty strenuous, it’s their “home” that’s more of an issue.

“The hardest part is getting acquainted to the bed in the various hotel rooms,” he said. “The show stays pretty much the same but the bed you sleep on and where you live outside of work is always shifting. The pillow, for example, might be too fluffy and the bed too hard.”

5. There is an entire world behind the scenes of the show—including a gym 

It should come as no surprise that, given the very essence of any Cirque du Soleil act, the performers should have easy access to a gym and exercise mats.

But it’s even cooler than that: right behind the stage at UBS Arena, the company set up a mat outfitted with a trapeze and other gadgets that allow each and every act to warm up before show time but also work through validations and rehearsals in case the main stage is being used.

Fun fact: everything that’s done both behind the scenes and on the main stage is being recorded so that the pros can look through the clips while honing their crafts.

6. There are no understudies in Ovo

If a troupe member happens to be sick or can’t perform his or her act, the portion of the show that features them is actually removed from that day’s rundown. 

There are no different versions of solo acts and there are no understudies because everyone is always on the show so, clearly, even a minor injury could make a big difference.

Massive group acts are a bit different as people are trained to take on different roles depending on the amount of folks available to perform on that day.  

7. The performers get to explore the cities they are in and indulge in touristy stuff 

While in New York this weekend, Auger and Charron went to the Metropolitan Museum of Art and saw Hadestown on Broadway. How fun? 

8. Makeup routines can take up to 90 minutes per performer

Although there are a number of makeup artists on staff, each performer actually gets to do his or her own makeup after being trained by the pros.

In Ovo, the ants seem to have the most straightforward look, one that requires a minimum amount of time—especially when compared to the fleas that need one-and-a-half-hour sessions in the chair.

9. Each costume is unique to the performer 

A behind-the-scenes look at a Cirque du Soleil production make sone thing clear: the team pays a lot of attention to detail, especially when it comes to costumes. Most outfits are actually created at the Cirque du Soleil headquarters in Montreal, where the company employs about 300 staff members.

Each costume is built from scratch for each act specifically according to measurements and needs. On

On the Ovo tour, there are four wardrobe technicians on hand full time, able to fix any issues, help the performers get ready and actually construct some portions of the outfits when need be. They even wash the costumes after each performance. 

Fun fact: a staff member is specifically in charge of hats and accessories only!

10. There is a live band in the back! 

Here is something a lot of people might not know: there is an actual band of musicians playing behind the scenes during each show. 

Snag tickets to Ovo right here.

* This article was originally published here

Back in April the U.S. Department of Transportation announced a new rule that would require airlines to “promptly provide passengers with automatic cash refunds” when their flights are delayed or canceled, and that rule is set to go into effect this fall. 

Here’s everything you need to know:

What is the new federal rule for airline refunds?

The new regulations will entitle passengers to automatic refunds if their flights are significantly delayed or canceled or if airlines significantly change their flights, delay their checked bags, or fail to provide extra purchased services.

Prior to this rule, airlines were allowed to set their own standards for what kind of flight changes warranted a refund. This made it extremely difficult for passengers to understand and assert their refund rights as policies differed between airlines.

When will I be entitled to an automatic flight refund?

Under the new regulations travelers can receive refunds in the following situations:

Canceled or significantly changed flights:

• Departure or arrival times that are more than 3 hours domestically and 6 hours internationally
• Departures or arrivals from a different airport
• Increases in the number of connections
• Instances where passengers are downgraded to a lower class of service
• Connections at different airports or flights on different planes that are less accessible or accommodating to a person with a disability

Significantly delayed baggage return:

• Checked bag fee is not delivered within 12 hours of a traveler’s domestic flight arriving at the gate, or 15-30 hours of their international flight arriving at the gate, depending on the length of the flight

Extra services not provided:

• Travelers paid for an extra service–such as Wi-Fi, seat selection, or inflight entertainment–and the airline fails to provide this service

Note: travelers are only entitled to refunds if they don’t accept alternative transportation or travel credits offered.

How & when will I receive my automatic flight refund?

The new regulations make it simple and straightforward for passengers to receive the money they are owed. The rules require refunds to be:

• Automatic: airlines must automatically issue refunds without passengers having to explicitly request them
• Prompt: refunds must be issued within seven business days of them becoming due for credit card purchases and within 20 calendar days for other payment methods
• Cash or original form of payment: refunds must be provided in whatever original payment method the individual used to make the purchase, such as cash, credit card, or airline miles

Will I receive a flight refund of the full amount paid?

Yes, airlines and ticket agents must provide full refunds of the ticket purchase price minus the value of any portion of transportation already used.

The refunds must include all government-imposed taxes and fees and airline-imposed fees.

When do these new regulations go into effect?

The new rule is expected to go into place sometime this fall–perfect timing for holiday travel season!

What else should I know?

Beyond what’s listed above, the rule also requires airlines to provide prompt notifications to affected travelers of their right to a refund of the ticket and extra service fees.

In addition, in instances where travelers are restricted by a government or advised by a medical professional not to travel due to a serious communicable disease, the final rule requires that airlines must provide travel credits or vouchers.

U.S. Transportation Secretary Pete Buttigieg stated:

Passengers deserve to get their money back when an airline owes them – without headaches or haggling. Our new rule sets a new standard to require airlines to promptly provide cash refunds to their passengers.

More information can be found here.

The post Travelers Will Soon Receive Automatic Refunds For Canceled Or Significantly Delayed Flights appeared first on Secret NYC.

* This article was originally published here