Lucky Pineapple has a new album, The Bubble Has Burst in Sky City, and it will be available at their free in store show at ear X-tacy on September 26, 2008 at 8pm sharp.  After ear X-tacy, the party will continue at Glassworks.  Push-Pull goes on at 10pm and there will be DJs paying between sets.  If that isn't enough, in perfect Lucky Pineapple fashion, there will also be some firespinning.  A.D.D.'ers unite.  Tix are only $3, or FREE with receipt from album purchase.  If you are not familiar with Lucky Pineapple, check out the video below...

FRIDAY

Dave Matthews Band & Willie Nelson, Slugger Field:

Then hit the afterparty at DCE with Lotus Blake and The Dealbreakers (free with DMB stub)...

or

If you need an electronic fix with some 8-bit/chipbreak fun, don't miss Ultra Pulverize, William Sides Atari Party, Kentucky Prophet and more at The Rud.

or

If you want something more laid back, go to Lisa's and see Edgehill Ave., Grooveshire and Hambone...

or

Check out the view from the top of Glassworks and enjoy music from Black Diamond Heavies and Broken Spurs...

or

For a different scene, check out Grinstead, Consume Comsumer & more at PHT (but you have to go to PHT).

or

If you need an all ages show, hit up Skull Alley to see Fellow Project, Racebannon and Millions...

or

For some DJ's, Hip-Hop and art, go to the Clay Buffet on Clay Street, where you'll find Azns n Bnzs and Skyscraper Stereo...

or

Head on down to the Belvedere (where Forecastle was) for some Bluegrass.  This is a two day fest.

SATURDAY

If you are looking for a similar 'Funtown' environmen, We Drink Old Gold is hosting the Fleur de lis Field Day out on a farm.  It looks to be a great way to spend the day outdoors and enjoy the music of Scott Carney (Wax Fang), Whistle Peak and more...

and/or

There really is only one place to be on Saturday night and that is at The 930 listening to Grizzly Bear!  The next day they will be playing at the Verizon Music Center with Radiohead, so it will be nice to see them at such a small venue.  Also, they just played Letterman on the 23rd, so they must be good, right?

or

If the 930 isn't your vibe, or if you can't get over that Friend isn't as good as Yellow House, then go to the Pour Haus, where you are rarely disappointed, to see The Genius File, Suspected Terrorists and The Kickback from South Dakota.

SUNDAY

If you can make the drive to Indy's Verizon Music Center and can find tickets, this is your chance to catch Radiohead on their US tour (playing with Grizzly Bear)...

or

If you are staying put in Louisville, you can catch Sugar Spell it Out and Ellison at The Brickhouse...

Lucky Pineapple

The Protomen

The Fervor

DJs Matt Anthony & Woodrow on the Radio

+

FIRE SPINNING !?!?!?!

@

On the Rooftop of Glassworks!

Doors at 7pm

$6 bucks (Cash Bar)

]]> http://dancingperfectlyfree.wordpress.com/?p=413 Wed, 18 Jun 2008 15:27:54 +0000 Evan http://dancingperfectlyfree.ro.wordpress.com/2008/06/18/new-york-city-ballet-bach-to-glass-a-musical-odyssey-ii/

NYCB dancers in the final pose from Robbins' Glass Pieces, photo by Paul Kolnik

Tuesday evening's program at New York City Ballet took the audience on a musical journey from Bach's solo piano and solo cello pieces, to an early twentieth century violin concerto by Alban Berg, to Philip Glass's minimalist music of the 1980s.  The performance was as choreographically diverse as it was musically, which speaks to the talent of choreographer Jerome Robbins.

2 & 3 Part Inventions, set to Bach's Inventions and Sinfonias for piano, was performed by eight advanced students from the School of American Ballet, as it was during its 1994 premiere.  The formal yet light-hearted mood of the piece was nicely conveyed by the dancers, and the clear formations and disciplined movement reflected the uncomplicated music.  I don't think this piece would look nearly as good if it were performed by older, more experienced dancers, because the choreography and simple piano music offer a youthful innocence that can best be captured by students. 

Nicolas Le Riche in A Suite of Dances, photo by Jacques Moatti

The formality of 2 & 3 Part Inventions gave way to a more casual atmosphere in A Suite of Dances, a solo that Mikhail Baryshnikov premiered with his White Oak Dance Project in 1994 (and which I was fortunate enough to see).  The piece has a fun, playful feel as the dancer interacts with the on-stage cellist, reflects on the music, and then seems to improvise a string of movement to complement it.  Nicolas Le Riche, appearing as a guest artist from Paris Opera Ballet, started sitting on the floor at the feet of cellist Ann Kim.  He rose to standing as she began to play selections from Bach's Suites for Solo Cello.  Le Riche was rather heavy on his feet and needed to be lighter and sprightlier in his jumps.  The piece is an opportunity for the male dancer to infuse the work with his own sense of playfulness, and I can recall how successful Baryshnikov was in this respect.  Le Riche, however, looked tired and lethargic, and lacked the finesse that is essential for this role.

The evening took a darker turn in In Memory of..., which is one of several Robbins pieces that addresses death and loss.  Alban Berg composed a violin concerto in 1935 that was dedicated to his friend's eighteen-year-old daughter, who had died of infantile paralysis.  In three distinct sections, Robbins' choreography illustrates the young girl when she was strong and healthy; then shows her illness and death; and finally, portrays her journey to heaven.  Wendy Whelan, in a pale pink dress, was delicate and vulnerable in the principal role.  She danced with youthfulness and joy in the opening duet with Jared Angle, who was an elegant and attentive partner.  Whelan wove through a corps of dancers who appeared on stage, suggesting that she was fully immersed in a community.  In the second section, Charles Askegard was a menacing, powerful death figure that seemed to envelop and nearly suffocate Whelan.  He manipulated her body and pushed and pulled her into different lifts and turns.  She grew more and more lifeless as their duet continued, and at one point, curled her body around his thigh and covered her face with her hands, nearly giving up and allowing death to take over.  The pace and violence with which death consumed her was alarming, but the final section, in which Whelan and the corps were dressed in white, illustrated her arrival in heaven and Robbins' acceptance of mortality as a part of life. 

NYCB dancers in the third section of Glass Pieces, photo by Paul Kolnik

Glass Pieces is one of my favorite Robbins ballets, which has a lot to do with my appreciation of Glass's music for this piece: Rubric and Facades from Glassworks, and excerpts from the opera Akhnaten.  The pedestrian movement in the first section reflected the repetitive structures and momentum of Rubric.  The large corps - with the women dressed in colorful leotards and skirts and the men in satiny tights and shirts - rushed about the stage in a repetitive pattern.  There is a distinct urban feel to the piece as the dancers walked quickly, avoiding one another and focusing on their destination.  Three couples in neon unitards appeared amidst the chaos, soaring with leaps and jumps and carefully maneuvering their way through the crowds.  Rebecca Krohn and Tyler Angle stood out for their precision and clarity.  Every so often, Angle made eye contact with his partner and the other dancers (while the others seemed to avoid any eye contact with their peers), adding a refreshingly human dimension to his performance. 

In the piece's second section, a line of women in silhouette traverse along the back of the stage, their simple pattern of movement reflecting the hypnotic, repetitive rhythm of Facades.  Maria Kowroski was mesmerizing and other-worldly in her pas de deux with Philip Neal.  She floated onto the stage in a lift and seemed to dance a few inches above everyone else.  The two dancers disappeared as seamlessly as they had emerged.  Percussive rhythms of Akhnaten were the focal point of the third section.  My eyes were continually drawn to Adrian Danchig-Waring, the clear leader of the cluster of men who moved as a pack, stomping and making distinct changes in direction.  The stage became more crowded and chaotic as the women entered, and the piece ended memorably with the dancers in silhouette, their arms thrown upward and backs arched.  As thrilling as this section of Glass Pieces is, it would be even more powerful if it included the female opera singing that one hears on recordings of this music.  The high-pitched voice adds an ecstatic energy that I think would only intensify the ballet's finale. 

Opening Glassworks:

Antes de iniciar a produção do último comercial da Pepsi, foi feita uma pesquisa contendo a seguinte pergunta:  “O que aconteceria no seu comercial ideal da Pepsi?”. Esta bela proposta de colocar a idéia dos consumidores dentro do comercial foi da agência Glassworks.

Com esse brainstorm público em mãos, o que mais pesou foram as idéias envolvendo o jogo de futebol e como patrocinadora a marca Pepsi entre outras coisas bem humoradas. A filmagem dos jogadores foi feita em um fundo verde, o que mostra uma qualidade muita boa do pessoal de 3D, já que o resultado final do filme está bem legal.

Agora você confere o resultado final do comercial e em um pip, na própria tela, a entrevista feita com as pessoas autoras das idéias que deu origem ao comercial.

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Ferdinand Fox returned to Glassworks on Saturday and we couldn't pass up an opportunity to catch the show. These guys are from Chicago, but they have been showing Louisville a lot of love recently, playing on Glassworks' roof last year, playing a house party in Butcher Town and Halfway to Forecastle in January, and they are set to play at Forecastle this summer (with Method Man!). It was chilly outside so this one was inside on the first floor. The glass blowing studio provided the backdrop to the stage which was separated only by a glass wall (go figure). BBC brew was flowing on tap and a pretty good crowd filled the room. My estimations are always way off, so I'm not even going to try to guess.

Everthus the Deadbeats, a self described ‘experimental glam pop’ band out of Indianapolis and David Adamson of Grampall Jookabox, an Indianapolis ‘Jungle Folk group,’ opened the show, but we only got to see the tail end. Sorry, but we were preparing for a long night.

The Fox is comprised of four guys (in official Ferdinand Fox attire) just having a lot of fun entertaining and it shows in their performance. Their sound is a great blend of hip-hop and rock, which is tough to do because those types of bands often sound fake and/or canned. I think it was the funk infusion that provided a link between the two that make it enjoyable. They even brought us back to 1992 with some old school rap covers. Some of the groups/individuals they claim influenced them are Dr. Dre, NOFX, Radiohead, and the Beastie Boys. Of those, I think the Beastie Boys shines the most. They share the same combo of talent, flare, and a contagious energy that excites the crowd. I can only imagine how hyped these guys will be on stage at Forecastle!

Bryan Scary and the Shredding Tears, a psychadelic pop group out of Brooklyn, played next, but took awhile to set up because the monitors were crossed. Once they got everything worked out, the few songs we saw made us torn to leave, but Pere Ubu was going on at midnight at the Pour Haus.

Later that night we ran into Ferdinand Fox again at the Nachbar. They were still in their FF jackets and having a hell of a time. I vaguely remember buying them a shot of bourbon. It was a long night.

For more photos,

Bryan Scary

Watch them and let's talk.

I like everything about them. The idea of using some of Irish fairy tales creatures as potential banking customers is very original. The executions demand your attention and definitely cut through. The attention to details make you want to watch it again. There is something incredibly clever about the way the creatures appear very human and have problems related to their creatures background. The dragon has a big treasure but doesn't know what to do with it, the elve is hardworking, but only at the beginning ofher career and could do with a bit of help...

There's something utterly funny about them as well, making them every more brilliant.

I love it.

Well done to Irish BBDO, Company Films and Glassworks for that breath of fresh air in an industry that much needed it.

Originally spotted on Feedhere.

The Lava House Residents need our help after being displaced by a tragic fire last week.  Mr. Bill Christie lost his life in the fire.  His dog Helvis was also taken by the fire.  Residents Bart, Hannah and Seed lost everything they owned. Thousands of dollars of art and materials just gone. Fortunately, the community is stepping up to do everything in its power to honor Bill and get the others back on their feet.

Glassworks is going to match Dollar for Dollar every donation made ON THEIR WEBSITE.

Also, the Germantown/Paristown neighborhood is collecting donations "on behalf of the LAVA House" for "those involved with the lava house."

Art is at the core of this city, so please do your part to get the Lava House Residents back on their feet.

The LAVA House's web page remembers Mr. Bill Christie with these words:

"Mr. Bill passed over to the other side late Sunday morning on January 27th, 2008. He will live forever in the LAVA House story and will rest closely to our hearts for the rest of our lives. He made us laugh, made us fume, and always kept us on our toes. His feisty personality was a signature at the LAVA House from the time artists arrived until it came to the ground. Bill loved people and loved his life, which he lived to the absolute fullest. We will always be reminded of his regular phrases like "I ain't dead yet", "I ain't wed, I ain't dead, and I ain't gay" (referring to his interest in the ladies), "I been there, seen it, done it", and "Hey... Who loves us?" to which we would reply back to him, "We do". "Mr. Bill" Christy, we love ya forever daddy-o..."

*************************************************
HERE IS MORE INFO ON HOW YOU CAN HELP:
Ways You Can Help

• Decide how you want to contribute (residential relief or studio relief, explained below)
• Purchase items on the "list of needs" (see below)
• Collect or donate money
• Organize a benefit show

List of Needs

How you help, what you give, and who you help is your choice. We realize that some people might like to donate tools and art supplies to the artists, while others might want to donate clothing and food to the residents. It all helps! We are trying to keep this organized and fairly distributed amongst all those who have suffered a loss.

Since the LAVA House served the dual purposes of living space and art studios, we are dealing with a complex web of needs. We are organizing the "needs" into two main categories:

1. Residential Needs - Several Glassworks employees were victim to a house/studio fire on 1/26/08 at the Lava House. They did not make it out with anything - no car keys, no IDs, not even shoes. One particular employee lost his dog in the fire. Donations for the residents are being collected by Glassworks / Architectural Glass Art and they have pladged to match all donations. The money collected by Glassworks will be split three ways between Bart, Hannah, and Seed.
2. Studio Supplies - There were 9 artists who lost their studios. Monetary donations are being collected through a paypal account set up by the German-Paristown Neighborhood Association. Please visit the donation page to contribute.

Residential Needs
Bart Herre, Hannah Cameron, and Seed (Joshua Grubbs) lost everything they owned in the fire, because they were living there.

• Registry - Bart, Hannah, and Seed will be registering at Target (Monday 1/28 & Tuesday 1/29) for things they need replaced. Bart and Hannah are a couple, so they will have a combined registry. Seed will have his own personal registry. More information will be posted after they have registered.
• Gift Cards - Kroger, Valu-Market, Walgreens, Valu-City, Meijer, and especially Visa gift cards because they can use them anyplace
• Furniture - couch(s), beds, night stands, dressers, chests, tables & chairs, desks
• Duffle bags
• Pots and Pans

Monetary Donations

• Mail checks to Hannah and Bart, here:
  Bart Herre & Hannah Cameron
  c/o Noel Hawley
  971 Samuel Street
  Louisville, KY 40204
  *** Architectural Glass Art/Glassworks is collecting donations for the LAVA house residents and matching them through AGA/Glassworks. People can make donations via credit card through their online store
• Mail checks to Seed, here:
  Joshua Grubbs
  c/o Aron Conaway & Hallie Jones
  941 Shelby Parkway #1
  Louisville, KY 40204

DO NOT MAIL CASH! If you have cash to donate, please contact Hallie Jones (502-641-4413) or Aron Conaway (502-758-8338). We will make arrangements with you.

The OVCE event "Flamenco at the Forge" that I'd mentioned earlier is going to be postponed until the Fall, so if you were counting on spending Valentine's weekend this way...it's time to change plans. The event will happen later this year...so keep an eye out for it as its likely to be an great time.

Provided that the general plans stay the same, there's going to be something of a divide...a formal dinner for those that can afford the $50-75 for it, and an open bar/tapas for $30 for those of us who want to contribute, have fun, but can't quite afford the dinner. I can't say enough about the OVCE organization & how they embody and embrace the green movement in the best way possible. Read more about the group here.

Welcome to your new oasis in the heart of San Francisco’s newest, hippest neighborhood. The Glassworks is Mission Bay’s premier luxury condominium address. This one bedroom unit boasts a large interior courtyard patio surrounded by lush bamboo. The kitchen includes stainless steel appliances with a Viking gas range. The unit also has custom track lighting, custom closet organizers, air conditioning, and washer / dryer in unit. Includes 1 car parking (leased) and is wired for High Speed, Fiber Optic Internet. Storage (leased) is available in the building.