Taiko class anouncement

Next taiko class will be the 4th of January, 2009.  Starting then, I will begin a new payment plan of: 

every WEDNESDAY: Come anytime from 4 to 8 pm and stay as long as you want for the cost of one class.

every SUNDAY: the regular 4 to 6 and 6 to 8 classes- two separate 2 hour classes.   

**Also, I am now offering a first- time trial class for $20**  

Kaoru fue and taiko lecture/performance(Jan.15)

Jan. 15th (thur)Kaoru fue and taiko lecture/performance- closing event of George Hirose's photography exhibit.

@Kinokuniya Books 1073 Avenue of the AmericasNew York, NY 10018 admission: FREE

5 pm reception 6 to 7pm fue and taiko performance

Urban Tap Jam with Tamango and Friends(Jan.8)

Urban Tap Jam with Tamango and Friends Jan. 8th, 2009 (thur)  starts at 8 pm @DROM

85 Ave A btwn 5th and 6th New York, NY 10009 http://dromnyc.com/ admission: $10

Tamango presents a very special evening: Urban Tap Jam with Tamango, Kaoru Watanabe, Daniel Moreno, Fabio Morgera, DJ Belinda Becker plus the tap crew Max Pollack, Roxane Butterfly, Rod Ferrone and very special tap guest Tina Pratt.

for more information: http://dromnyc.com/home/index.php?page=shop.product_details&category_id=2&flypage=shop.flypage&product_id=283&option=com_virtuemart&Itemid=44&vmcchk=1&Itemid=44

On Ensemble with Kaoru Watanabe(Jan.16)

On Ensemble with Kaoru Watanabe Fri, January 16th 2009, 8PM @drom - 85 Avenue A (b/w 5th & 6th), New York, NY tel:(212) 777-1157 admission: $15 for more information & tickets: http://dromnyc.com/home/index.php?option=com_gigcal&task=details&gigcal_gigs_id=541&Itemid=37

============ Infusing traditional influences with elements of hip-hop, rock and electronica, On Ensemble (pronounced "Ohn") and Kaoru Watanabe take ancient Japanese instruments into new realms. Los Angeles based contemporary taiko quartet On Ensemble and New York based fue specialist Kaoru Watanabe join creative forces for a one night performance at New York club Drom.

On Ensemble (pronounced “Ohn”) takes the ancient instruments of taiko into new realms. Infusing the powerful rhythms of ensemble Japanese drumming with elements of hip-hop, rock and electronica, On Ensemble’s unique sound has been praised as “completely original and brilliantly conceived.” Modern Drummer magazine calls On Ensemble “an exciting taiko ensemble looking at new ways to apply traditional Japanese drums.”

On Ensemble’s four members, Masato Baba, Kristofer Bergstrom, Shoji Kameda and Kelvin Underwood, are individually recognized as leading artists in their field and sought after as teachers, workshop leaders, composers and performers. As On Ensemble they combine their study and deep appreciation of tradition with equally formative experiences as DJs, electronic music producers, Jazz drummers, and rock bassists to create a repertoire of ground-breaking music.

Joining On Ensemble will be New York based, Western and Japanese flute specialist Kaoru Watanabe. Kaoru was a member of the word renowned taiko ensemble, Kodo where besides performing Japanese traditional drumming, flute, song and dance, he also served as one of their artistic directors, focussing on Kodo's world music festival Earth Celebration, curating and directing collaborations with such artists as Zakir Hussein, Carlos Nunez, Giovanni Hildago and Yamashita Yosuke. Kaoru has also performed and recorded with such artists as Jason Moran, Stefon Harris and with the legendary Kabuki actor Bando Tamasaburo.

"an exciting taiko ensemble looking at new ways to apply traditional Japanese drums" - Martin Patmos, Modern Drummer Magazine

"one of the most innovative and musically fresh groups ever to take the stage" - Glen Creason, CerritosInk

 - Brian Moore, TransformOnline

On Ensemble Website On Ensemble MySpace

Live with Tatsuya Nakatani(Dec.27&28)

Dec 27th

With Tatsuya Nakatani

8PM - two sets

 

@ Connexions gallery 

213 Northampton St., Easton, PA 18042  

http://www.connexionsgallery.net/

610.250.7627 

===============

Dec 28th 

With Tatsuya Nakatani and others

9 pm

@ Public Assembly (formerly Galapagos) in Williamsburg

70 North 6th St.  Brooklyn

718.3844586

http://www.publicassemblynyc.com/

Kaoru Watanabe Taiko Center Fundraising Event(Dec.21)

Student Recital/Winter Solstice ConcertKaoru Watanabe Taiko Center Fundraising Event

Dec 21st starting at 4 pm Suggested admission fee: $10 for adults, $4 children 5 and up

Renate Albertsen- Marton Space  Village`Gureje 886 Pacific str (the corner of Pacific and Washington in Prospect Heights, Brooklyn)

schedule: 4 pm Taiko and fue (Japanese drum and flute) demonstration/ student recital 5 pm Kaoru performance with friends- Tamango (tap dance), WIll Calhoun (of Living Colour), and others **followed by taiko hands-on/ jam session, food and merriment! Children welcome!

================== I started the taiko center a few months ago to provide a place where people are encouraged to immerse themselves in studying fundamental playing technique and developing a stronger understanding of the cultural and historical background of taiko.  The taiko center is still at the most humblest of beginnings, but with your continued support, encouragement and friendship, I believe it can develop beyond just the study of taiko to other Japanese traditional and modern art forms as well, with the ultimate goal of fostering a deeper understanding of our cultures, community and ourselves.   Please let me know if you are interested in attending/ performing/ helping out/ cooking/ otherwise contributing! Thank you and hope to see you all there!

admission: $10 adult $4 children 5 and up

Kaoru Watanabe Taiko Center Fundraising/ Recital/ Solstice concert(Dec.21)

Dec. 21st

Kaoru Watanabe Taiko Center Fundraising/ Recital/ Solstice concert

4 pm

Suggested admission fee: $10 for adults

Renate Albertsen- Marton Space  Village`Gureje

886 Pacific str (the corner of Pacific and Washington in Prospect Heights, Brooklyn)

RUCMA series @ the Yippie Cafe(Dec.10) & more

Dec. 5Faculty Enrichment Benefit for International Preschools- private event duo with Tomas Fujiwara

Dec. 10 RUCMA series @ the Yippie Cafe (9 Bleecker near Bowery). www.rucma.org

Diane Wayburn - flute/dun dun/composition/little piano (fake one) Dawoud Kringle - sitar Francois Grillot - doublebass Kaoru Watanabe - Japanese/Western Flute

photo report: Jamaica/Nicaragua

I had a great trip in Jamaica and Nicaragua. For those who want to see some pictures from the trip, I will be posting a tour photo album. Please see "Photos" page to see photo album.

Tour Report: Jamaica/Nicaragua

Tour Report: Jamaica/Nicaragua

First of all, I would like to thank Mr. Matsumoto, Ms. Yanagi, Ms. Yamazaki at the Japan Foundation and everyone at the Japanese Embassies of Jamaica and Nicaragua and Ms. Matsui of American Airlines.

Sunday the 9th  

After a short layover in Miami, I arrive in Jamaica.  Before going through customs I am greeted by representatives of the Japanese Embassy who whisk me through the process.  Immediately, I am aware of a certain jovial lightness of being in the people - even while waiting for luggage.  The humidity and warmth on my face reminds me of summer in Japan even though we are already a week into November.  I meet Kenny at the hotel and have my first taste of the national dish ackee and saltfish, albeit in the post-modern manifestation of ackee and saltfish lasagna.

Monday 10th

In the morning, Kenny and I practice in the hotel room, revisiting older pieces and developing a new piece of mine entitled "A More Perfect Union".  The name, as most of you know, comes from a phrase in the US constitution which Barack Obama consequently used in a speech he gave a few months ago that addressed the complexities of race relations in America.  The contents of the speech reflected Obama's profound understanding of the issues at hand that grew from both studied knowledge and personal experience and the speech was delivered with grace and humility.  The song doesn't have much to do with the speech other than it was written around the same time but it does serve as a reminder to me of these historic times.  I find wherever I go, people seem as pleased and excited about America's choice for president elect as I am and I allow myself to actually feel a sense of pride for being an American.  

In the afternoon, Kenny and I take some time to visit the concert hall and school where we will be performing and giving workshops.  I notice a sign at the school that says "BEWARE SLEEPING POLICEMAN".  I thought this sign was hilarious and imagined all sorts of explanations for what the sign could mean until someone told me that a "sleeping policeman" is a speed bump.  

In the evening, Kenny and I are invited to dine at the Japanese embassy with Ambassador Obata.  We are treated to an exquisite seven course meal prepared by a private chef and learned much of the relationship between Jamaica and Japan.  The menu contains elements of the local cuisine, such as jerk sauce and ackee.  My deep-felt thanks to Ambassador Obata, Mr Ishihama and Ms. Shimote for the gracious hospitality.

Tuesday 11th

We have a performance and lecture demonstration at Mico College.  The students are very receptive to our music, much of which I can imagine contained many new sounds for many of them.  We are greeted with very warm applause and insightful questions at the end.  Many teachers approach us and very insistently ask us to come back and teach their students more about Japanese culture and music.  

We visit the Bob Marley museum in the afternoon and learn of this local hero's short but rich life and buy some cheap souvenirs.  I don't know many people who aren't huge fans of Bob Marley's music, but learning more of what he believed in and fought for, I gain even more respect for him as a person.  One of his sons, Damian, whose dreadlocks went down to his calves, also happens to be there with his entourage.  We pass wordlessly in the parking lot.  

We have dinner with friends - more Jamaican food: conch in curry sauce, fried foods called "festival" and "bammy".  This of course is all washed down with a bottle or two of Red Stripe beer.    

Wednesday 12th

We perform at the Courtleigh Auditorium, the largest concert hall in Kingston.  After our performance there are short presentations by local groups- a trio of young children drummers and a choir called Nexus.  We finish the concert with all the performers doing Bob Marley's seminal "One Love" which was appropriate for the general feeling of well being in the room that night.  After the show, we are swamped with people young and old with questions and requests for autographs.  Again, many students and teachers are adamant that we come to their school to teach more.  Among the audience members was a woman from Sado, Japan and a music teacher from Austria who had been in Jamaica for decades.  Kenny and I are in great appreciation of the Embassy of Japan in Jamaica for presenting us and especially to Ms. Shimote for all her hard work in making sure everything is taken care of.  

By the end of our three days in Kingston, I have integrated some of the local dialect, patois, into my regular speech: "Wha ah gwan?"  "mi gaan" "criss" etc  as well as learned a few of the handshakes (locking the fingers and rubbing the thumbs, etc).  As people of most cultures do, Jamaicans find it endearing to be greeted in the local manner by someone who doesn't seem like they should know how to.  

After getting back to the hotel, I get a call from two teachers- a mother and her daughter- whom I'd been talking to about traditional Jamaican drum and flute music.  They were at the hotel and brought with them a CD of the music and two pages handwritten descriptions of the music.  I was very moved by what they had done for me.  As they were about to drive away, an interesting thing happened.  The mother said to me almost as if berating me, "I can see you're on the heart path...  Always keep on that path."  I acknowledged that perhaps I tried.  She continued,  "Because..." she paused a long time to consider her words.  Her voice became softer and she seemed to almost tear up a little.  "Because ...  it is important."   With that, they drove off.  

Thursday 13th

We travel to Nicaragua via Miami.  We are informed of the flagrant voter fraud that was exposed recently (destroyed and discarded ballots) and how as a result there are massive demonstrations and confrontations between supporters of opposing parties.  Until very recently America has also had election day treachery, having this problem in common with the second poorest country in Central America after Haiti.  Another result is our performance at Managua's main concert hall has been cancelled and that we are asked not to leave the hotel unless accompanied by someone from the Japanese Embassy.  We are taken to a nearby mall to look for souvenirs where we find that someone offers Chinese calligraphy workshops once a week.  

Friday 14th

We have an appearance on a nationally broadcast morning television show.  Usually, television shows are very particular about time and about timing in order to coordinate all the commercials and various segments.  We quickly learned that this was not necessarily the case with Canel 11 in Managua.  We arrive early to prepare for our alloted time slot but the producers decide to put us on right away- about half an hour early.  The interviews are haphazardly thrown together, the order of things turned upside down and we are never told how long to play.  I end the piece at my own discretion and people seem fine with it- so fine in fact that they ask us to perform again in twenty minutes.  We quickly decide what piece to do and unpack another drum and stand.  Again, we answer a few more random questions and perform a piece of undetermined length.  As soon as we finish, the crew moves in to reset the stage for the next show.  We are told the next day by a waiter in our hotel that he saw the show and really enjoyed our performance.  Due to the cancelled concert, Kenny points out the television appearance was probably the performance that the most people watched during our time in Nicaragua.  

In the afternoon, we give a lecture demonstration at a music school.  Again, a very responsive audience with good questions.  Many violin players there.  Students are shocked to hear how expensive some of my flutes are.  I am told later that an average salary for someone with a "decent" job in the city often can't cover even the electric bill.  I would imagine the thought of saving thousands of dollars for a bamboo flute is incomprehensible to most of the people in attendance.  The workshop takes place in a four story high building, one of the few in Managua due to a devastating earthquake in the 70's from which the city still hasn't recovered.  The tallest buildings still standing from that time are for the most part condemned and there are no funds to neither repair nor tear them down.  A beautiful old cathedral, badly cracked and slightly lopsided stands next to the music school, abandoned for decades.  I reflect on how much I have in terms of material goods, instruments, an education, and opportunities.  On the other hand, as a whole, I find Nicaraguans seem no more or no less miserable nor happy than people in New York or Tokyo.  Misery and poverty, joy and spiritual wealth can be found anywhere.

Saturday 15th

Because the evening performance has been cancelled, we quickly put together a small concert in the Japanese Embassy for staff members and their family.  It turns out there is a small taiko at the Embassy thats been sitting in a storage room unused for many years.  We borrow the drum for our performance.  We strongly encourage people at the embassy to use the drum to start a taiko group here in Nicaragua.  We promise to return for workshops and to check on their progress.  

Again, we are very grateful to the Embassy of Japan in Nicaragua and especially Mr Fuchigami and Mr. Nakayama for his tireless effort in accommodating our many requests.

In the afternoon, we are shown around the town of Masaya and other areas outside of Managua and are treated to breathtaking vistas of Lake Managua and Lake Nicaragua, of valleys lush with green and others black with igneous rock formed when one of the many volcanos in the area erupted some centuries ago.  We are also treated to some wonderful Nicaraguan Marimba playing by an elderly man in a market.  

In the evening, we go see some live music at a club near the hotel.  The music features two guitars, bass, keyboard, accordion and the Nicaraguan marimba with everybody singing.  The leader speaks as much as he sings, going on at length in Spanish about things that are far beyond my comprehension.  However, his charming voice, coupled with the festive music and Flor De Cana rum make for a relaxing final last evening of our short tour.  We hear news that people are planning a march for the afternoon of the next day which can very possibly lead to more violence.  We leave Nicaragua early in the morning- it is a warm sunny day, very peaceful despite the ominous news of what the day may bring.  I am home in Brooklyn by nightfall.  

Urban Tap Open Jam (Dec.1)

Dec 1 Urban Tap Open Jam hosted by Tamango

The Kitchen 512 W. 19th str NY, NY100111

Tamango's Urban Tap http://www.urbantap.net/

Go: Organic Orchestra(Oct. 20, 27, Nov.10)

Oct 20, 27,  Nov 17 Adam Rudolph Go: Organic Orchestra http://metarecords.com/go.html

Roulette http://www.roulette.org/ 20 Greene Str. (btwn Canal and Grand) in Soho

Jamaica/ Nicaragua Goodwill Tour with Kenny Endo(Nov.10-16)

Nov. 10 through 16th Jamaica/ Nicaragua Goodwill Tour with Kenny Endo presented by the Japan Foundation and the Embassy of Japan

Performances, workshops and lectures in Kingston and Managua

Kenny Endo and Kaoru Watanabe Nov 11-13 at Kingston, Jamaica Nov 14, 15 at Managua, Nicaragua

for more info, please visit http://www.taikoarts.com/calendar/calendar.html.

White Wave's 2008 Wave Rising Series(Oct.29-Nov.2)

Kaoru will perform with Lee & Wang Dance (CA)  at the  White Wave's 2008 Wave Rising Series. Oct. 29 Gala 3 - Performance,   7:30 pm  $50 Oct. 30 and Nov 1,   7:30 pm (Program E)  $20 Nov 2,   4:00 pm(Program E)  $20

ticket: http://www.smarttix.com/show.aspx?showCode=20049

White Wave's 2008 Wave Rising Series http://www.whitewavedance.com/ John Ryan Theater 25 Jay Str, Brooklyn, NY 11201

Duo with jazz pianist Eri Yamamoto (Oct.19)

Oct 19th 3pm Duo with jazz pianist Eri Yamamoto   http://www.eriyamamoto.com/

Eri Yamamoto and I will be performing piano and western/Japanese flute duets in an intimate salon style concert.  Eri has had a weekly trio gig at Arthur's Tavern in the Village for the past nine years and is a member of legendary downtown bass player William Parker's trio.  She is to say the least a wonderfully versatile and inventive pianist.  We will be playing primarily original music in the "jazz" vein with elements of Japanese music and free improvisation.  http://www.eriyamamoto.com/e-index.htm    

She and noted jazz pianist Bruce Barth present these "Circle 57" concerts,  which feature musicians and an artist, this time, painter/illustrator Russian native Inga Poslitur.    http://www.ingaposlitur.com

Seating is very limited so please e-mail me to RSVP.

admission : $10-

place : 408 West 57th street #7N             New York, NY 10019 (bet. 9th & 10th Ave/South side of 57th Street/2nd building from 9th Ave.) * Please be ready to take off your shoes !  Thank you.

subway : 1, A, C, B, D at 59th Columbus Circle (5min. walk)                  N, R, W, Q at 57th (10min. walk).  There are cross town buses on 57th street, too.

Live at Zebulon Cafe (Oct.4)

Oct 4th, 9 pm FREE Zebulon Cafe 258 Wythe Ave Brooklyn, NY 11211 718-218-6934

Kaoru duo with Takumi Kato (taiko) with guests (TBA)

Takumi Kato, a taiko musician from Gifu prefecture of Japan, recently achieved great notoriety for winning 1st place in solo Odaiko at the International Taiko Contest in Tokyo.  Takumi spent two years training at the Kodo apprentice center, learning traditional dance, drumming and singing.

Gale Winds & Turiya by Lee & Wang Dance

LEE & WANG DANCE 2008 Fall Season San Francisco Los Angeles New York

Artist Directors: Lenora Lee & Elaine Wang Music Composition: Kaoru Watanabe With dancers Mina Nishimura (in SF/LA), Denesa Chan(in LA/NY), musicians Melody Tanaka(in SF) and Kenny Endo(in LA)

Gale Winds & Turiya by Lee & Wang Dance

<San Francisco> September 6th, 8pm September 7th, 1pm CounterPulse Theater 1310 Mission Street San Francisco, CA 94103 Admission: $15 general, $10 CounterPulse menbers, children 12 & under For tickets, visit www.brownpapertickets.com or call (800)838-3006

<Los Angeles> September 13th, 8pm September 14th, 7pm Rosalie and Alva's Performance Gallery 1417 W. Eighth Street San Pedro, CA 90732 Admission: $15 at the door for reservations, email YearofQi@yahoo.com or call (310)408-2020

<New York> October 29 Gala Performce, 7:30pm October 30 & November 1, 7:30pm November 2, 4pm John Ryan Theater as part of White Wave’s 2008 Wave Rising Series 25 Jay Street Brooklyn, NY 11201 Admission: $50 for Gala, $20 all others for information, visit www.whitewavedance.com

=======================

Lee & Wang Dance http://www.leewangdance.org/

San Francisco Journal

San Francisco Sept 8th

I have spent the last week in SF with dancers Lenora Lee, Elaine Wang and Mina Nishimura, performing at a small dance studio called CounterPulse, sharing the bill the Melody Takada, Francis Wong, Genny Lim, Tatsu Aoki and Nishijima Sensei.  For me, this series of performances marks my debut as a "modern" dancer although I strongly hesitate in using the word in parenthesis.  I have trained and performed traditional Japanese folk dance extensively during my time with Kodo and have studied lots of movement and balance techniques though dealing with the very physical art of playing taiko, and studying and performing with great Kyogen, Ryukyu Buyo, Kabuki, Noh, and Butoh dancers.  With this performance however, I am doing what I suppose would be considered "modern dance" for the simple if not quite accurate argument that it is not any sort of Japanese dance, other folk dance, nor is it ballet nor jazz nor hip hop nor swing nor break etc.  In a very free form way, I am twisting, turning, bending, crouching and swaying and even lifting and catching my partner of one piece, the beautiful Elaine Wang - all while playing the flute.  It is all very new to me although Elaine and I have been working on it off and on for some time now.  Elaine taught me very basic ballet technique every time we got together to work on the piece and shared with me her knowledge and insight into dance.  People seem to enjoy the performances the last couple of days  and I have been able to abandon any self-consciousness that I may have had and am able to really put myself out there.  We take this show to LA this week and then will perform it in New York in October.  

This morning I woke up around 6:30 and went up into Buena Vista park and played fue in the hills for about an hour.  Walking up that hill with the sounds of birds accompanying the crunch of my footsteps and my breathing loud in my ears, I was reminded of what it was like during my apprenticeship with Kodo, living on Sado Island, waking before sunrise everyday to run six miles up and down along the coast.  It was very hard training but made easier by the routine of it and the fact that all your fellow apprentices are going through just as much as  I was.  When starting out, I felt my body gradually warm up and often very quickly find myself quite alone on the long stretch of road in the semi darkness.  Some days it rained, some it snowed but the guys, in our youthful exuberance, ran shirtless all year round.  As the sun rose and the trees, the sign posts, the guard rail, the small fishing villages, and - over the waves Japan Sea, far on the horizon - Niigata city slowly came clearer into view, my body fell into rhythm with my breathing.  It was peaceful and beautiful but the truth of the matter is, I don't think a day went by that I didn't think about turning back a little before the halfway mark and start heading home early- what's skipping a mile or two once in a while if you're running six miles everyday, six days a week for two years?  But I don't think a day went by when I actually did.    

Since the apprentice center was deep in the mountains, the final mile or so of the run was a steep climb up from sea level road.  I would do a hard sprint for the final fifty yards up hill and finally stop running when I crested the hill that lead to a short gentle downhill slope to the grounds of the center.  I would practice some shouts and songs during that final short walk, shouting "HA" repeatedly from the diaphragm and singing various folk songs at the top of my lungs.  Not only was it good singing and shouting practice- your vocal chords are all warmed up and your lungs feel very strong and loose after such a long and intense run- but I realize in retrospect that it was also a sort of declaration of triumph- not to sound overly dramatic, but like the roar of an animal after catching their prey.  It was the satisfying completion of the morning ritual that started another day of even more strenuous drumming and dancing.  I not only conquered the 6 mile road and the long final uphill, but, even if only for one more day, by sheer will I was able to push through the fatigue to make it back home.  Then it was time for breakfast.  

  

Mare Serenitatis (Sea of Serenity) (Sep.19)

On Sept 19th, I will be a part of a piece called Mare Serenitatis (Sea of Serenity) at the JACCC(Japanese American Cultural & Community Center) in Los Angeles as part of the Sacred Music Festival. Information at JACCC's website: www.jaccc.org/08summerfall.htm

Synopsis:

A program of the UCLA World Festival of Sacred Music, Mare Serenitatis (Sea of Serenity) is a performance in 3 movements, blending traditional rites from Japan with classical and contemporary Western influences. The evening ends outside with a large 12-million candlelight searchlight beaming across the night sky, illuminating a path to the moon. Conceived and performed by JACCC's Artistic Director Hirokazu Kosaka, Mare Serenitatis also features choreographer and Japanese Butoh dancer Oguri, IKKYU Zen Archers, flute player Kaoru Watanabe (Kodo 1998-2006), harmonica player Tetsuya Nakamura (80's rock band, War) the dance troupe BodyTraffic, court musicians Kinnara Gagaku and Okinawan dance troupe Majikina Honryu.

==========================

Mare Serenitatis (Sea of Serenity) A Contemporary performance inspired by the moon

Friday, September 19, 8pm @Aratani/Japan America theatre $25 General Admission, $20 JACCC Members, Seniors & Students Buy ticket online at http://www.theatermania.com/content/show.cfm/show/145660

Performance at the Stone (Aug.27)

This August 27th (wed) at 8pm, I will be performing at the Stone with wonderful bassoonist Sara Shoenbeck and Rueben Radding. Sara Shoenbeck http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=115237321

Reuben Radding http://www.reubenradding.com/

The Stone is on the corner of 2nd street and Ave C.