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    Gothamist Spring Guide: 20 Bright Things To Do In NYC This March

    by Scott Heins
    Published February 29, 2016
    Modified March 3, 2016
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    21 Photos
    We're hours away from the beginning of March, and with that comes warmer weather, brighter evenings, and the Spring opening of many must-see shows. Art exhibitions in both museums and crowded buses, competitive coffee, and brisket cook-offs, plus a lineup of wild parties that are sure to keep your ears ringing until summer. Let's make plans.

    <br/><br/>We're hours away from the beginning of March, and with that comes warmer weather, brighter evenings, and the Spring opening of many must-see shows. Art exhibitions in both museums and crowded buses, competitive coffee, and brisket cook-offs, plus a lineup of wild parties that are sure to keep your ears ringing until summer. Let's make plans.

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    <br/><br/>We're hours away from the beginning of March, and with that comes warmer weather, brighter evenings, and the Spring opening of many must-see shows. Art exhibitions in both museums and crowded buses, competitive coffee, and brisket cook-offs, plus a lineup of wild parties that are sure to keep your ears ringing until summer. Let's make plans.
    via flickr
    We're hours away from the beginning of March, and with that comes warmer weather, brighter evenings, and the Spring opening of many must-see shows. Art exhibitions in both museums and crowded buses, competitive coffee, and brisket cook-offs, plus a lineup of wild parties that are sure to keep your ears ringing until summer. Let's make plans.
    There's a moment in Goddard's classic Pierrot Le Fou that's always stuck with me. It's a tiny exchange: "Why do you look sad?" To which a reply comes "Because you speak to me in words and I look at you with feelings."It's this type of clever and terribly sad atmosphere that dominated the French New Wave cinema movement, and early this month BAM will show off the Gallic 60s' greatest hits. First up is Claude Lelouch's A Man and A Woman, the story of a widow and a racecar driver locked in a wild love affair that's told through brilliant camera work and lots and lots of rain. The next night, it's all about Pierrot, and there'll be three different screenings of the gorgeous 1965 color film. Bring a date and prepare to feel oh so...A Man and a Woman // Wednesday, March 2nd, 7:30 p.m. // BAM Rose Cinemas, 30 Lafayette Avenue, Brooklyn // Tickets $7-14Pierrot Le Fou // Thursday, March 3rd, multiple showtimes // BAM Rose Cinemas, 30 Lafayette Avenue, Brooklyn // Tickets $7-14
    Everyone's favorite NY1 anchor is taking over the Bell House for a night-long battle of wits and wisdom. Or at least pop culture know-how. Pat Kiernan will host his third annual Red Carpet Trivia Night, which will measure just how up-to-date you are with film, music, television, and theater awards shows. It's a battle royale complete with multiple rounds, incredible prizes, a high-stakes "showdown" finale and the chance to go 1-on-1 with Kiernan himself. If you've got a team of trivia ringers, that's great, but solo competitors will also be able to link up with other pop culture junkies and jockey for supremacy. Here's an advance hint: Mad Max won. A lot.Wednesday, March 2nd, 7 p.m. // The Bell House, 149 7th Street, Brooklyn // Tickets $15
    Christoph von Dohnanyi leads the New York Choral Artists and the New York Philharmonic through one of the most profound choral and orchestral works ever composed, "A German Requiem" by Johannes Brahms. Written in the wake of his mother's death in 1865, the music continuously soars and plummets from portentous darkness to ethereal lightness, wrestling passionately with the elemental problem of mortality. Sung in German, the libretto is drawn from Biblical verses but, unlike Verdi's Requiem, eschews hellfire and brimstone or explicit Catholic dogma. It's poetic, not strictly religious.Conductor James Levine, one of the most adept interpreters of "A German Requiem," has called it "one of the greatest works ever written... As has been pointed out many times, this is hardly a 'requiem' in the strict liturgical sense. Brahms assembled the texts himself, commenting that, despite the language, the piece should be thought of more as a 'human" requiem than a specifically 'German' (vs. 'Latin') one. The text overall is clearly ecumenical, something we can all relate to, in its avoidance of specific doctrine; and the message implicit in Brahms's particular combination of words and music is not one of fear and dread, but one of acceptance, reassurance, and consolation."David Geffen Hall at Lincoln Center // Broadway between West 62nd and West 65th Streets // Performances March 3rd, 4th, 5th, and 8th // Tickets
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