Top NYC July 4 Fireworks Viewing Spots—With Great Food To Match

Macy's 4th of July fireworks over the Brooklyn Bridge.. (Photo by) Getty Images
Macy's famous 4th of July fireworks display in New York routinely switches back and forth between the rivers that border Manhattan; last year it was on the Hudson, this year it returns to the stretch of the East River surrounding the Brooklyn Bridge and the Seaport District. That means that several restaurants in that area will have unobstructed views and apart from the viewing opportunity, they're also featuring culinary offerings at the same level of the show.
The House of the Red Pearl, one of the restaurant stops in the "Taste of Tin" on July 4th in the Tin Building by Jean-Georges. Tin Building by Jean-Georges
Before the sky lights up, the Tin Building by Jean-Georges, star chef Jean-Georges Vongerichten's curated assortment of restaurants and food markets on the site of the former Fulton Fish Market, is offering a run through the various restaurants' specialties. The 'Taste of Tin' from 6:30 to 10 PM spotlights some of the chef's favorites: a selection of dim sum from The House of the Red Pearl; Steak Frites and Gruyère Cheeseburgers from T. Brasserie; specialty pizzas from The Frenchman's Dough; seafood creations including classic lobster rolls; cookies from the bakery and other treats. A premium open bar (including non-alcoholic offerings) is included in the ticket price (early bird tickets start at $353.86.) Afterward, although the bridge itself won't be visible, prime reserved seats on the South Plaza will have clear views of the fireworks launching from barges.
A Chophouse Spread at the restaurant Carne Mare. Carne Mare
Elsewhere on Pier 17 (but not the Rooftop—Macy's has full possession of that-or Chef Vongerichten's The Fulton unless you're invited to the private party there), another star chef, Andrew Carmellini, is presenting a chophouse celebration for the first year at his restaurant Carne Mare starting at 6:30 PM. (Early bird tickets: $325 plus tax.) Among the offerings: passed canapés such as Mozzarella Sticks & Caviar, Spicy Crab Lettuce Cups, Corn Agnolotti with black truffle and Scallops with saffron and trout roe alongside a raw bar of oysters, shrimp cocktail and snow crab claws. There will also be a carving station with Porchetta-Spiced Prime Rib, rustic potatoes, broccolini, and creamed spinach in addition to Wagyu Dogs and Grilled Clams from the grill. For dessert: Red, White & Blue Sorbet Cones, Lemon Meringue Tarts, Bomboloni and assorted festive biscotti. And after all of that: a reserved viewing space on Pier 17.
The view from Harriet's Rooftop at 1 Hotel Brooklyn Bridge. 1 Hotel Brooklyn Bridge
Over in Brooklyn, guests at Harriet's Rooftop at 1 Hotel Brooklyn Bridge will have a clear view of all from both the outdoor space and the floor to ceiling glass walled interior from 5 to 9 PM. There are several tiers of price and access: starting at $495.99 for general admission both to the rooftop and interior lounge plus an open bar and buffet; a starting price of $6,000 for a table indoors that includes bottle service, the buffet and an elevated menu including sushi, chilled seafood platters and caviar; a starting price of $10,000 for a table on the rooftop including bottle service and the same elevated food offerings and $15,000 for the same bottle service and food offerings with a table on the pool deck plus pool access for those who want to swim while watching the light show.
The view from the rooftop of Time Out Market New York. Ali Garber
Around the corner, on the other side of the Brooklyn Bridge, Time Out Market New York will offer clear views and a party atmosphere with live music on the fifth floor rooftop from 7 to 11 PM. There are ticket options for viewing only without the food ($160.10) but those opting for the buffet ($318.80) will get an unlimited spread from several of the market's vendors. Among them: Bark Barbecue known for their ribs, brisket and pulled pork; pizza specialist Fornino; plant-based Chinese specialties from The Rogue Panda and selections from the Levant region from Tanoreen. Providing the music: DJ Price Is Right; Natasha Diggs; L3NI of Soul in the Horn and DJ Scratch. MORE FROM FORBES Forbes New York's Joomak And Hear & There: 2 New Asian Tasting Menu Displays By Laurie Werner Forbes These 4 New York Hotels Get You Into The Hottest Broadway Shows By Laurie Werner Forbes Gjelina And Opto Are Serving Some Of The Liveliest Food In New York By Laurie Werner Forbes 3 New Choices For A Different, Delicious New York Brunch By Laurie Werner

Try Our AI Features

Explore what Daily8 AI can do for you:

Learn with AIFact CheckingText to SpeechAI Summary

Related Articles

Forbes

8 minutes ago

• Forbes

What Blues Bands Know About Leadership (That Most Executives Don't)

Buddy Guy at Buddy Guy's Legends in Chicago Illinois, January 9, 2022. (Photo by Paul Natkin/Getty ... More Images) Earlier this week, I saw the great Buddy Guy live in concert. At 88, the blues legend still prowls the stage like a man with something to prove—but there's also a real sensitivity to his swagger. Living and performing for eight decades will endow you with a lot of wisdom and humility if you're paying any attention. Between songs, Buddy told stories: As I watched and listened, something struck me: a blues band can offer surprisingly good insights and lessons for leadership—including for leadership succession. Think about how a band mirrors a business. In a good band, it's crucial for the bass and drums to 'lock in' together: the rhythm section keeps everyone grounded, moving forward and in the same direction. They're your management and control functions. The bass? Steady, dependable, on point. The drums? Driving the beat, making things happen. The rhythm guitar is your product development, telling you where it's all going; it's what you tend to hum along to. The lead guitar steps out front once in a while and enable the audience feel something special—usually something electrifying. That's your vision and mission. The lead singer may tell the story, but the lead guitar makes it unforgettable. (Led Zeppelin were a great example of this metaphor, where at their best each of the four players was perfectly collaborative and essential to the total experience.) From left, bassist John Paul Jones, drummer John Bonham, singer Robert Plant and guitarist Jimmy ... More Page perform live on stage during a concert by English rock band Led Zeppelin on the third of three nights at Madison Square Garden, New York City on 29th July 1973. The concert movie 'The Song Remains the Same' was filmed over the three nights from 27th to 29th July at the venue. (Photo by David Redfern/Redferns/Getty Images) In a happy serendipity, I spent a couple of hours the morning after the show talking with the two most senior partners at a private equity firm I've been working with for the last two decades. They're working through a leadership transition, so they're at a critical juncture. As in most founder-led companies, effective private equity successions are rare. Too often, the firm simply cannot survive after the departure of its visionary founder, who usually has deep expertise in both investing and fundraising. The blues band metaphor came to mind. To play it out, leadership transitions often go sideways because organizations forget that changing the lead guitarist changes the whole sound of the band. The rhythm guitarist who steps up to take the lead will inevitably play in a different style, with their own strut. That doesn't mean they're better or worse—they're just different, and the band has to adapt. And someone new has to step in and hold the rhythm, or the music won't rock. Buddy Guy always talks about the blues tradition as something he inherited and now passes on. This, too, is a leadership lesson: great leaders honor the past, but they don't get stuck in it. They evolve the music. At one point Guy took off his guitar, laid it on top of one of the massive speakers to generate a sonic wall of feedback, and then played the chords of Cream's 'Sunshine of Your Love' by striking the guitar strings with a drumstick. The crowd roared. American Blues musician Buddy Guy performs onstage at his nightclub, Buddy Guy's Legends, Chicago, ... More Illinois, January 4, 2020. (Photo by) The best performers bring the crowd with them. And that crowd matters. A band isn't just playing to the audience—they're playing with them. They watch for reactions. They change tempo. They tell stories between songs to make the room feel small and intimate, even when it's not. In business, the best leaders do the same thing: they tune into their teams, their markets, and the cultural and emotional Zeitgeist. Of course, not all band stories are smooth. Think of the latter-day lineup of The Yardbirds: Jimmy Page and Jeff Beck, two of the greatest guitarists alive, simply couldn't play together. Too much ego? Perhaps. Or maybe just incompatible styles. Technical excellence isn't enough. Bands—and leadership teams—work best when there's chemistry, not just talent. And sometimes, the frontman disappears. Literally. AC/DC lost their iconic lead singer, Bon Scott, in 1979. For most bands, that would've been the end. But they found an unexpected replacement in Brian Johnson who was, remarkably, a singer that Bon Scott had once mentioned admiring. AC/DC's next album? Back in Black ,the top-selling rock album of all time, and one that shares a great deal in style and spirit with the show Buddy put on the other night. So what can a blues band teach us about leadership? Plenty. Know your role but never forget you're part of a legacy. Honor those who came before you. Respect the groove and tune into the crowd. Your followers working with you is what creates the transcendent experience. Don't confuse style with substance … and remember that both matter. And when you're ready to take your guitar solo, play the hell out of the song, but never lose the pulse of the rhythm section behind you. Buddy Guy never has. Buddy Guy performs during day two of the Austin City Limits Music Festival at Zilker Park on ... More September 24, 2005 in Austin, Texas. (Photo by) Special thanks to John Boochever, Elizabeth Jensen Maurer, Adam Mirabella, and John Morgan for their excellent input. Rock on!

Yahoo

10 minutes ago

• Yahoo

'Étoile' has been cancelled, but no one blends dance and humour as brilliantly as Marguerite Derricks

One of the most devastating entertainment losses of the year is certainly the cancellation of the show Étoile after just one season, from Gilmore Girls, Bunheads and The Marvelous Mrs. Maisel creator, Amy Sherman-Palladino, and her husband Dan Palladino. But with that puzzling move from Prime Video, there's no better time to celebrate all the talent in the short lived series. That includes Marguerite Derricks, an incredibly beloved and impressive choreographer who's worked on Palladino's previous projects. Additionally, she's contributed her talents to the series Behind The Candelabra and movies including Showgirls, 13 Going On 30 and the Austin Powers franchise. But in terms of what makes the Palladinos such effective collaborators, Derricks stressed that they way they shoot dance in their shows is done in a way where there's a real "marriage of the camera with movement." "For a choreographer, there's nothing greater than that," Derricks told Yahoo. "On Bunheads I started to play with them that way, and it's carried on through four different TV series." "It's just made me such a better choreographer. ... I wish every choreographer would find collaborators like Amy and Dan, because there's nothing like it." One example of how Étoile really makes the dance in the show an integrated part of the story is the Swan Lake moment with Tiler Peck in Episode. It's a dance moment, but written in a way that's injected with humour. "That was written by Dan Palladino and ... when they sent me the outline for the script I literally was laughing out loud," Derricks shared. "I couldn't wait to attack that and to have Tiler Peck be the one that got run over by the swans, it was just such a gas." "Their comedy genius is always on the page and then I just put it into motion. I've worked with comedians my whole life, so it's something that I really, really enjoy, but it's always there on the page. There's never, a question mark for me with Amy and Dan, they're so clear." Another highlight is a piece choreographed by Gideon Glick's character Tobias Bell in Étoile. A character that's hysterical with his quirkiness, brought out in the character's choreography as well. "That was my big voice in the show," Derricks said. "I love Gideon Glick. He is the coolest, craziest human being. He would come and watch me and he thought I was funny because I kind of stalked the dancers like a lion. And so he wanted to pick up on that." "And I studied him and I like his quirks, and I wanted to make sure that that's what was driving me a lot with the choreography. So I the two of us, we kind of became one, we became Tobias together." While Étoile certainly isn't a show that requires the audience to have a dance background to enjoy, there was still such a commitment on the show to make its dance spaces and dancers feel real. What the dancers are doing before classes, what they're doing in the hallways, every detail was thought of to make these moments look authentic. "That was the first thing [Amy] talked about with every department head, we all knew that was our marching orders," Derricks explained. "I kind of had a little bit of a sense of that from working on Bunheads with her, but now we were going from a young kids school to the professional world, and so ... we did our research to make sure that everything was really up to par." "Tiler Peck was a student of mine. I would call Tiler and ask her questions, and it was very important to us that, when this show came out, that the ballet world would give us a thumbs up on it. ... There's been so many shows out there that have been done in a way where it's not authentic. So for me right now, the feedback I'm getting from the ballet world is the greatest thing that I could have ever hoped for." Much of what happens in the "Hollywoodization" of dance, specifically ballet in film and TV, largely sees talented dancers be nameless and on the periphery of the project. But in Étoile, Sherman-Palladino made wanted to use there dancers to their full potential, and crediting them for their work. "That was the most exciting thing for me," Derricks said. "Every single dancer that came into our show, [Amy] read them for parts. She wanted to cast the dancers. She wanted to hear their voices. I want to scream from the rafters, because that's happening more and more, but it really happened on [this] show. ... Dancers are so great at telling stories without speaking, so just get comfortable with talking as well. I'm very proud of that. ... The dancers were getting lines, they were so excited." A core element of Étoile is that dancer was very much used to tell the story, it's an integral part of the narrative. But it also immerses the audience in a dance world many haven't had any exposure to, portraying ballet dancers in a different light and as more fully formed characters, held up by brilliant and unique choreography from Derricks. "Ballet is sexy, ballet is strong. Ballet dancers are like football players, the athleticism that they have," Derricks stressed. "I want people to see ballet in a whole different way." "There's a lot of wonderful choreographers out there now doing out the about box, beautiful work, but for somebody that doesn't know ballet, I hope that we can reach a greater audience and turn them on to all sides of ballet."

Associated Press

18 minutes ago

• Associated Press

New Hampshire city in ‘Jumanji' marks 30th anniversary with animal costume race

KEENE, N.H. (AP) — Madeline Murphy remembers the instructions she was given on the set of 'Jumanji' when she was an extra some 30 years ago: 'Pretend you're frightened and you're screaming because an elephant's coming after you.' So, that's what she did in the Central Square of Keene, New Hampshire, running back and forth, over and over, on a long day in November 1994. 'I was pretty tired by the end of the day, and it was cold,' said Murphy, 61. She got a check for $60.47 — and several seconds of screen time. Murphy was one of about 125 extras cast in the classic Robin Williams film, which is marking its 30th anniversary. It has spawned several sequels, including one planned for next year. The city of about 23,000 people in the southwestern corner of the state is celebrating its ties to 'Jumanji' this weekend. The festivities include a parade, scavenger hunt and a 'Rhino Rumble Road Race' saluting the film's stampede scenes of elephants, rhinos and zebras. Runners in inflatable animal costumes sprinted about a quarter mile (less than half a kilometer) around the square Saturday. Juniper Thurston and her daughters Elska and Madison Christgau wore rhino costumes, which they said were difficult to run in but better ventilated than expected. Thurston, who lives in nearby Hancock, was 13 when 'Jumanji' was filmed, and she remembers visiting Keene to watch her friends perform as extras. 'It was literally right here -- it was amazing,' Thurston said. 'It was just wild, and to be here today and be able to have a small part our own stampede is kind of awesome.' Elska Christgau, 9, said everyone in her family loves the film, and that her favorite part is 'the mystery and the Jumanji game' itself. Keene gets picked thanks to coffee craving Based on the 1981 children's book by Chris Van Allsburg about a mysterious jungle adventure board game, the movie version of 'Jumanji' is set in the fictional small town of Brantford, New Hampshire. Veteran location manager Dow Griffith was crisscrossing New England in search of the right spot. A coffee lover who grew up in Seattle, he recalled feeling desperate one day for a good brew. He was a bit east of Keene at the time, and someone suggested a shop that was near the square. 'I took my cherished cup of double dry cappuccino out to the front porch, took a sip, looked to my left — and by God — there was the place I had been looking for!' he told The Associated Press. 'So really, we have coffee to thank for the whole thing.' Scenes were filmed at the square that fall and the following spring. The fall scenes show a present-day town that had declined. Extras played homeless people and looters, in addition to panicked runners fleeing from the jungle animals. Joanne Hof, now 78, had needed her son's help to spot herself behind the elephants, running with her hands up. Hof, a reading specialist, bought a videotape of 'Jumanji' and showed it to the kids she worked with. 'They were very impressed that I was in the movie,' she said. The spring scenes, appearing early in the film, depict the town in 1969. Extras drove classic cars around the pristine-looking square and others walked around, dressed for that time period. 'I told the makeup person, 'Do you know how to do a French twist?'' recalled Kate Beetle, 74, of Alstead, who said she can be seen for 'a microsecond' crossing a street. 'They just found me the right lady's suit and right flat shoes, and then the hair is kind of what I suspect did it.' The city helped transform itself The 'Jumanji' crews worked well with the city in getting the permits to transform Central Square into a dilapidated, neglected piece of public property, recalled Patty Little, who recently retired as Keene's clerk. 'They brought in old, dead shrubbery and threw it around and made the paint peel on the gazebo,' she said. Items such as parking meters and lilac bushes were removed and a large Civil War-era statue was brought in to cover a fountain. Graffiti was on the walls, and crumpled vehicles in the stampede scene were anchored in place. Everything was restored, and fresh flowers were brought in the following spring, she said. Crews spent a total of about a week in the city for both settings. Little, whose classic 1961 Ambassador is caught on camera, could see everything happening from her office window. 'Did I get a lot of work done? I don't know during those days,' she said. Locals watch and meet Robin Williams A crowd turned out to watch a long-haired, bearded Williams run down the street in a leaf-adorned tunic. In the movie, he had just been freed from the game that had trapped him as a boy for years. 'He's shorter than I thought he was!' one viewer said, according to local chronicler Susan MacNeil's book, 'When Jumanji Came to Keene.' Others said, 'He has great legs — muscular, isn't he? But so hairy!' and 'Isn't he freezing dressed like that?' The mayor honored him with a key to the city. Williams, noticing the mayor was a bit shorter, suddenly announced at the presentation, ''I am the mayor of Munchkinland,' ' with a voice to match, City Councilor Randy Filiault recalled. He stayed in character for 15 to 20 minutes, 'just bouncing off the walls,' approaching people in the audience and pulling their hats over their eyes. Eventually, he stopped, ending with a solemn 'Thank you,' Filiault said. 'I am really seeing something cool here,' Filiault remembered thinking. 'How fortunate we were.' When Williams died by suicide in 2014, people left flowers and photos beneath a painted 'Parrish Shoes' wall sign advertising a fictional business left over from 'Jumanji.' Former Keene police officer Joe Collins, who was assigned to watch over then-child actors Kirsten Dunst and Bradley Pierce, also died by suicide, last year. Festival organizers planned a discussion about mental health and suicide prevention to pay tribute to Williams and Collins. 'I think Robin would have been impressed with that,' said Murphy, who met Williams and shook his hand. ___