From Uruguay’s Dylan to R. Kelly’s ‘Sex Planet’
The News Review:
- From Uruguay’s Dylan to R. Kelly’s ‘Sex Planet’
- New York City – utdoor Cafes – Restaurants – Dining – Food – New…
- Dance roundup | Stage | The bserver
- The Trashmen – “Surfin’ Bird”
From Uruguay’s Dylan to R. Kelly’s ‘Sex Planet’
New York Times – Sep 30, 2007
onstage in France last month. Eduardo MateoEduardo Mateo is considered the. “Mateo Solo Bien Se Lame” (Lion Productions) is the most modern-sounding thing on the planet… Each song is a mantra of its own very dirgelike it’s not speed metal. It’s like a meditation a prayer. They do this stuff the best of all the death- heavy- or doom-metal bands. “Death Is This Communion” (Relapse) is super-duper good. When I listen to them I feel like I’m taking part in a forbidden ritual of ecstasy and sweet revenge and other cheeseball clich?that I’m saying. (I’m making fun of myself not the band.
New York City – utdoor Cafes – Restaurants – Dining – Food – New…
New York Times – Sep 30, 2007
And I’m not talking about back gardens. Who doesn’t love a back garden? It’s often quieter than the rest of the restaurant trees and clouds are effective mufflers and sometimes it’s even surrounded by vine-covered brick walls or a painted wood fence. What surrounds many a sidewalk cafe are waist-high metal dividers that recall crowd-control barricades as much as anything else. The tables are a pinkie’s width apart. I look at the diners gorging themselves in these pens and wonder if they’re actors rehearsing to play veal in the movie version of “The mnivore’s Dilemma. “They’re on awkward display not so much people watching as people watched letting all the world see whether they chew with closed mouths and what kind of crumb management they’ve mastered. It has to be nerve-racking… He was a big proponent of the new portable-heater rule. He said he thought it could extend sidewalk season from the first day of April to the last day of ctober. I think it could be the death of sidewalk cafes. If they’re around for only four or five months every year they’re exceptions digressions reminders of warm weather that won’t last. Hanson said when I asked him for his own theories about why New Yorkers embrace these enclosures: “It’s the seasonality of it. It’s something you can’t have all the time.
Dance roundup | Stage | The bserver
The bserver – Sep 30, 2007
It puts him for a short time at least on his feet again. Rafael Bonachela’s And who shall go to the ball? is more opaque. Set to an extraodinary score by Scott Walker for five double basses it shows a bleak space like a hospital waiting room strewn with metal structures which aren’t quite chairs. ‘How much of a body does an intelligence need to be potentially socialised?’ Walker wonders in the programme notes and I’m guessing that it’s this question which principally informs the piece. From the start the music dominates thundering and growling and bursting into acute staccato yelps. Bonachela does his best to keep his dancers afloat in this typhoon but their exchanges are too random-seeming to keep track of and it is hard to follow his line of thought. There’s much ingenious work though particularly in the duets between Crecis and Brew; only Fin Walker in The Journey has got quite so much choreographic mileage out of a wheelchair… Set to an extraodinary score by Scott Walker for five double basses it shows a bleak space like a hospital waiting room strewn with metal structures which aren’t quite chairs. ‘How much of a body does an intelligence need to be potentially socialised?’ Walker wonders in the programme notes and I’m guessing that it’s this question which principally informs the piece. From the start the music dominates thundering and growling and bursting into acute staccato yelps. Bonachela does his best to keep his dancers afloat in this typhoon but their exchanges are too random-seeming to keep track of and it is hard to follow his line of thought. There’s much ingenious work though particularly in the duets between Crecis and Brew; only Fin Walker in The Journey has got quite so much choreographic mileage out of a wheelchair. Last week saw the second programme by Christopher Wheeldon’s new Morphoses company. It opened with Balanchine’s Allegro Brillante featuring Angel Corella and Alexandra Ansanelli.
The Trashmen – “Surfin’ Bird”
Digital Spy – Sep 30, 2007
Unfairly depicted as a novelty act the Trashmen were in actuality a top-notch rock & roll combo enormously popular on the teen-club circuit playing primarily surf music to a landlocked Minnesota audience. Drummer Steve Wahrer combined two songs by the Rivingtons ("The Bird’s the Word" and "Pa Pa oh Mow Mow") added freakish vocal effects and a pounding rhythm to the mix and by early 1964 the group was in the Top Ten nationwide with "Surfin’ Bird. They re-formed in the mid-’80s and continued to play locally until Wahrer’s death. The Trashmen are revered by ’60s collectors as one of the great American teen-band combos of all time their lone hit exemplifying wild unabashed rock & roll at its most demented bare-bones-basic lone-E-chord finest… Drummer Steve Wahrer combined two songs by the Rivingtons ("The Bird’s the Word" and "Pa Pa oh Mow Mow") added freakish vocal effects and a pounding rhythm to the mix and by early 1964 the group was in the Top Ten nationwide with "Surfin’ Bird. They re-formed in the mid-’80s and continued to play locally until Wahrer’s death. The Trashmen are revered by ’60s collectors as one of the great American teen-band combos of all time their lone hit exemplifying wild unabashed rock & roll at its most demented bare-bones-basic lone-E-chord finest. — Cub Koda Take a basically unsound premise – a surf band from Minnesota – add a certifiably demented singer then turn the reverb up to 11. Voila! Los Trashmen! A surf band in Minnesota!.
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