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blackkudos · 5 years ago

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Cecil Taylor

Cecil Percival Taylor (March 25, 1929 – April 5, 2018) was an American pianist and poet.

Taylor was classically trained and was one of the pioneers of free jazz. His music is characterized by an energetic, physical approach, resulting in complex improvisation often involving tone clusters and intricate polyrhythms. His technique has been compared to percussion. Referring to the number of keys on a standard piano, Val Wilmer used the phrase "eighty-eight tuned drums" to describe Taylor's style. He has been referred to as being "like Art Tatum with contemporary-classical leanings".

Early life and education

Taylor was raised in the Corona, Queens neighborhood of New York City. As an only child to a middle-class family, Taylor's mother encouraged him to play music at an early age. He began playing piano at age six and went on to study at the New York College of Music and New England Conservatory in Boston. At the New England Conservatory, Taylor majored in composition and arranging. During his time there, he also became familiar with contemporary European art music. Bela Bartók and Karlheinz Stockhausen notably influenced his music.

In 1955, Taylor moved back to New York City from Boston. He formed a quartet with soprano saxophonist, Steve Lacy, bassist Buell Neidlinger, and drummer Dennis Charles. Taylor's first recording, Jazz Advance, featured Lacy and was released in 1956. The recording is described by Richard Cook and Brian Morton in the Penguin Guide to Jazz: "While there are still many nods to conventional post-bop form in this set, it already points to the freedoms in which the pianist would later immerse himself." Taylor's quartet featuring Lacy also appeared at the 1957 Newport Jazz Festival, which was made into the album At Newport. Taylor collaborated with saxophonist John Coltrane in 1958 on Stereo Drive, now available as Coltrane Time.

1950s and early 1960s

Throughout the 1950s and 1960s, Taylor's music grew more complex and moved away from existing jazz styles. Gigs were often hard to come by, and club owners found that Taylor's approach of playing long pieces tended to impede business. His 1959 LP record Looking Ahead! showcased his innovation as a creator as compared to the jazz mainstream. Unlike others at the time, Taylor utilized virtuosic techniques and made swift stylistic shifts from phrase to phrase. These qualities, among others, still remained notable distinctions of Taylor's music for the rest of his life.

Landmark recordings, like Unit Structures (1966), also appeared. Within the Unit, musicians were able to develop new forms of conversational interplay. In the early 1960s, an uncredited Albert Ayler worked with Taylor, jamming and appearing on at least one recording, Four, which was unreleased until appearing on the 2004 Ayler box set Holy Ghost: Rare & Unissued Recordings (1962–70).

By 1961, Taylor was working regularly with alto saxophonist Jimmy Lyons, who would become one of his most important and consistent collaborators. Taylor, Lyons, and drummer Sunny Murray (and later Andrew Cyrille) formed the core personnel of the Cecil Taylor Unit, Taylor's primary ensemble until Lyons' death in 1986. Lyons' playing, strongly influenced by jazz icon Charlie Parker, retained a strong blues sensibility and helped keep Taylor's increasingly avant garde music tethered to the jazz tradition.

Late 1960s and 1970s

Taylor began to perform solo concerts in the latter half of the 1960s. The first known recorded solo performance was "Carmen With Rings" (59 minutes) in De Doelen concert hall in Rotterdam on July 1, 1967. Two days earlier, Taylor had played the same composition in the Amsterdam Concertgebouw. Many of his later concerts were released on album and include Indent (1973), side one of Spring of Two Blue-J's (1973), Silent Tongues (1974), Garden (1982), For Olim (1987), Erzulie Maketh Scent (1989), and The Tree of Life (1998). He began to garner critical and popular acclaim, playing for Jimmy Carter on the White House Lawn, lecturing as an artist-in-residence at universities, and eventually being awarded a Guggenheim Fellowship in 1973 and a MacArthur Fellowship in 1991.

In 1976, Taylor directed a production of Adrienne Kennedy's A Rat's Mass at La MaMa Experimental Theatre Club in the East Village of Manhattan. His production combined the original script with a chorus of orchestrated voices used as instruments. Jimmy Lyons, Rashid Bakr, Andy Bey, Karen Borca, David S. Ware, and Raphe Malik performed in the production as the Cecil Taylor Unit, among other musicians and actors.

1990s and the Feel Trio

Following Lyons' death in 1986, Taylor formed the Feel Trio in the early 1990s with William Parker on bass and Tony Oxley on drums. The group can be heard on Celebrated Blazons, Looking (Berlin Version) The Feel Trio and the 10-disc set 2 T's for a Lovely T. Compared to his prior groups with Lyons, the Feel Trio had a more abstract approach, tethered less to jazz tradition and more aligned with the ethos of European free improvisation. He also performed with larger ensembles and big band projects.

Taylor's extended residence in Berlin in 1988 was documented by the German label FMP, resulting in a box set of performances in duet and trio with a large number of European free improvisors, including Oxley, Derek Bailey, Evan Parker, Han Bennink, Tristan Honsinger, Louis Moholo, and Paul Lovens. Most of his later recordings have been released on European labels, with the exception of Momentum Space (a meeting with Dewey Redman and Elvin Jones) on Verve/Gitanes. The classical label Bridge released his 1998 Library of Congress performance Algonquin, a duet with violinist Mat Maneri.

Taylor continued to perform for capacity audiences around the world with live concerts, usually playing his favored instrument, a Bösendorfer piano featuring nine extra lower-register keys. A documentary on Taylor, entitled All the Notes, was released on DVD in 2006 by director Chris Felver. Taylor was also featured in a 1981 documentary film entitled Imagine the Sound, in which he discusses and performs his music, poetry, and dance.

2000s

Taylor recorded sparingly in the 2000s, but continued to perform with his own ensembles (the Cecil Taylor Ensemble and the Cecil Taylor Big Band) and with other musicians such as Joe Locke, Max Roach, and Amiri Baraka. In 2004, the Cecil Taylor Big Band at the Iridium Jazz Club was nominated a best performance of 2004 by All About Jazz. The Cecil Taylor Trio was nominated for the same at the Highline Ballroom in 2009. The trio consisted of Taylor, Albey Balgochian, and Jackson Krall. In 2010, Triple Point Records released a deluxe limited-edition double LP titled Ailanthus/Altissima: Bilateral Dimensions of Two Root Songs, a set of duos with Taylor's longtime collaborator Tony Oxley that was recorded live at the Village Vanguard.

In 2013, he was awarded the Kyoto Prize for Music. He was described as "An Innovative Jazz Musician Who Has Fully Explored the Possibilities of Piano Improvisation". In 2014, his career and 85th birthday were honored at the Painted Bride Art Center in Philadelphia with the tribute concert event "Celebrating Cecil". In 2016, Taylor received a retrospective at the Whitney Museum of American Art entitled "Open Plan: Cecil Taylor".

Taylor, along with dancer Min Tanaka, was the subject of Amiel Courtin-Wilson's 2016 documentary film The Silent Eye.

Ballet and dance

In addition to piano, Taylor was always interested in ballet and dance. Taylor's mother, who died while he was young, was a dancer and played the piano and violin. Taylor once said: "I try to imitate on the piano the leaps in space a dancer makes." He collaborated with dancer Dianne McIntyre in the late 1970s and early 1980s. In 1979, Taylor composed and played the music for a twelve-minute ballet "Tetra Stomp: Eatin' Rain in Space", featuring Mikhail Baryshnikov and Heather Watts.

Poetry

Taylor was a poet, and cited Robert Duncan, Charles Olson, and Amiri Baraka as major influences. He often integrated his poems into his musical performances, and they frequently appear in the liner notes of his albums. The album Chinampas, released by Leo Records in 1987, is a recording of Taylor reciting several of his poems while accompanying himself on percussion.

Musical style and legacy

According to Steven Block, free jazz originated with Taylor's performances at the Five Spot Cafe in 1957 and with Ornette Coleman in 1959. In 1964, Taylor co-founded the Jazz Composers Guild to enhance opportunities for avant-garde jazz musicians.

Taylor's style and methods have been described as "constructivist". Despite Scott Yanow's warning regarding Taylor's "forbidding music" ("Suffice it to say that Cecil Taylor's music is not for everyone"), he praises Taylor's "remarkable technique and endurance", and his "advanced", "radical", "original", and uncompromising "musical vision".

This musical vision is a large part of Taylor's legacy:

Playing with Taylor I began to be liberated from thinking about chords. I'd been imitating John Coltrane unsuccessfully and because of that I was really chord conscious.

Personal life and death

In 1982, jazz critic Stanley Crouch wrote that Taylor was gay, prompting an angry response. In 1991, Taylor told a New York Times reporter "[s]omeone once asked me if I was gay. I said, 'Do you think a three-letter word defines the complexity of my humanity?' I avoid the trap of easy definition."

Taylor moved to Fort Greene, Brooklyn in 1983. He died at his Brooklyn residence on April 5, 2018, at the age of 89. At the time of Taylor's death, he was working on an autobiography and future concerts, among other projects.

#03/25 #04/05

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aapproach · 5 years ago

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Breathing Bootcamp in LA

Everybody says, "Sing from your

diaphragm, not your throat". It’s common knowledge. But how do you do it? No, really... HOW???

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Squeezing the throat to sing is obviously wrong. You don’t have to be a voice expert to know how bad that feels.

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Trina M. Bordere is a certified, licensed Master Trainer of GYROKINESIS®, a specialized movement technique founded by Julio Horvath. She has been teaching the GYROKINESIS® movement system since 2005. Trina provides training ranging from therapeutic to advanced fitness levels using the Gyrotonic Expansion System and GYROKINESIS®. She also offers courses and workshops for pre-professional & professional dancers, dance companies, and athletes, as well as those interested in becoming Gyrotonic or GYROKINESIS® instructors.

Trina began her formal education and journey into the arts with Classical training through the elite dance program at the New Orleans Center for Creative Arts (NOCCA) in high school. This was the foundation for what would become her life's work.

A wide variety of styles such as Classical Ballet, Modern, (Horton, Limon, Graham) Jazz (Cole, Fosse, Luigi) Tap, African, Ballroom, Latin, and Contemporary, are included in her movement repertoire. Through her training and education at NOCCA, The Broadway Theatre Project, and the Ailey School, she developed dance technique, performance quality, and choreography skills that prepared her for a career as a performer, movement creator, and teacher. Over the span of her career she has performed with Atlanta based companies Gary Harrison, Zoetic Dance Ensemble, Terry Slade, and from 2011 - 2013, T. Lang Dance. Trina Bordere has shared the stage with, and opened for, recording artists Ruben Blades, Gilberto Santa Rosa, the Latin Legends of Fania, and Grammy award winner, Earl Klugh.

In addition, Ms. Bordere has taught Ballroom dance, various Latin dances, Ballet, Jazz, and Contemporary dance styles at schools and festivals around the U.S. and in Europe. In 2010 - 2011, Trina was co-artistic director of Revolu, a Latin contemporary company, and in 2014 she was Rehearsal Director for T. Lang Dance's premiere performance of 'POST-UP' at the Goat Farm venue in Atlanta. Her skills, professional work ethic, and passion for art and movement are evident by her commitment to dance and fitness.

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johneward35 · 4 years ago

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10 Cool Things About Seattles Green Lake Neighborhood

Seattle is known for its greenery, which makes sense, it is the Evergreen state afterall. It’s no wonder one of our favorite spots is Green Lake, accurately named after the freshwater lake at the heart of Seattle. A little bit of history: the Green Lake neighborhood was settled in the late 1800s and has always been residential and the scenic backdrop to many people’s lives. Perhaps that’s why it’s still such a popular spot for locals and tourists alike along with the occasional celebrity! We’ve compiled a list of some of our favorite Green Lake legends, stories and highlights that show what a quirky, beautiful spot Green Lake is and we hope will continue to be!

Duck Island: Duck Island was originally created as a safe habitat for swans which obviously didn’t pan out. This small island is located in the middle of Green Lake and is off limits to visitors. In fact, it’s even against the law to trespass on this island as it was deemed a wildlife refuge back in the 50’s (this changed in the 80’s). If caught, you could get a misdemeanor for trespassing. But rules were meant to be broken, right? In 2017, a group of skaters handbuilt their own skatepark in the middle of Duck Island. Some videos can still be found online. Did they get caught, yes. Did they get in trouble? You know it. Let this be a lesson, Duck Island is for the birds.

Twin Teepees: There’s a local legend that Colonel Harland Sanders (yes! The KFC guy) was a short order cook at the former Twin Teepees, a local establishment that was destroyed by fire and then later torn down in 2001. John Owen, who wrote Walking Seattle said that the owner of the Twin Teepees, Walter Clear “met another energetic restaurateur who had fallen upon hard times. He offered his new friend Harold Sanders a temporary job as a short order cook at one of his Seattle restaurants. Clark moved his friend to the Twin Teepees, where the man’s fascination with herbs and spices continued.” After almost a year in Seattle, Harold decided to head home to Kentucky and later began to refer to himself as “Colonel Sanders.” We may never know if he developed his famous recipes here in our very own Green Lake neighborhood but it’s still a pretty tasty story.

The Green Lake Arch: Originally located as a prominent fixture in the Martha Washington School for Girls, a historic school building on Lake Washington. This looming piece of history now resides in Green Lake, but how? You may have heard stories about the Martha Washington School for Girls. Ghost stories to be specific. The school, which has since been demolished, was built in 1921. The school offered support for neglected and unfortunate young girls until the school closed their doors in 1952. It sat empty and neglected for decades, some say satanic cults took place in the structure which led to the 1972 decision to demolish it. The City of Seattle purchased and tore down the building and built a park (which you can visit today). Sightings only intensified of young girls haunting the shores of Lake Washington. So how did the huge arc get to Green Lake and not in a landfill? For some reason, it was put in storage in 2009 and brought to Green Lake as part of Seattle’s Shade Park and Plaza. For many decades this eerie arch greeted young girls as they entered their school each day and now you too can visit it in Green Lake, just watch out for the paranormal, it’s probably still haunted.

Magnet Fishing: It’s how it sounds and it works with varying success. Local man, Sam Miller was out magnet fishing on the lake and uncovered an unlabeled can with an expiration date of 2020. Sam, who is also a local comedian in Seattle, opened the mystery can at Emmett Montgomery & Brett Hamill’s Joketeller’s Union show in the summer of 2019 and proceeded to taste this mystery meat. Spoiler alert, it wasn’t spoiled! The cool lake temperatures keep things like beer cans and food cans nice and chilled! You can watch the “uncanning” here.

Spuds Fish N Chips: Founded in 1935, this place has history! Two brothers, Jack and Frank Alger, are credited with bringing the phenomenon that is “fish & chips” to Seattle. The brothers, originally from England (where the whole fish and chips fad started) decided to open a restaurant in Alki and later Green Lake. It’s rumored the brothers even helped out Ivar’s with his famous fish and chips recipe. Taste test anyone?

Milk Carton Races: This quirky event has been taking place every year since its opening event in 1972 (sorry 2020, the next race has been rescheduled for 2021). It’s officially called the Lucerne Seafair Milk Carton Derby and features the weirdest, most colorful milk carton boats you have ever seen. You never know what kind of boat or floatation creation will float by as they vary in size and designs. May the best milk carton boat win!

Water Lantern Festival: This is another annual event that has been rescheduled due to COVID-19 but their website says to check back in 2021. Watch as a spectator or take part by purchasing a lantern that you’ll personalize with a message or drawing. Watch as it drifts in tandem with hundreds of other lanterns across Green Lake. It’s a sight to see! Food trucks and live music make for a fun filled evening.

First Date: Green Lake can seem like the perfect romantic spot, a stroll around the scenic lake, canadian geese honking in harmony as you pass by with your new love…except when you realize you have absolutely nothing in common with your date and you’re only a quarter way around Green Lake. A stroll with your date can turn awkward really fast and can feel like a ride you can’t get off of. So romantics beware, Green Lake may be the best or worst place to go on a first date. It can be a long 2.8 miles around the lake.

The Aqua Theater: Originally built in 1950 for Seattle’s Seafair as a way to showcase “swimusicals”, which is just how it sounds. Singing, dancing and synchronized ballet swimming a la water musical! Besides swimusicals, many plays have taken place at the Aqua Theater along with jazz festivals, wrestling matches, comedy shows, and live music concerts. After the summer productions, the activity at the Aqua Theater waned (most probably due to the near constant wet weather) and was for the most part abandoned. After Led Zeppelin and Grateful Dead played at the Theater in 1960, the City of Seattle deemed it unsafe. In 1970 it was torn down and repurposed. Some sections of the grandstand remain today and offer a great way to exercise those glutes.

Gaines Point: The murder of Sylvia Gaines was huge news in Seattle when it happened in June of 1926. A man was walking around the north end of Green Lake on his way to work when he discovered a pair of women’s shoes. He investigated further and found Sylvia, dead near the shore. Sylvia Gaines was only 22 and had just moved to Seattle to reconnect with her estranged father whom she hadn’t seen since she was 5. It didn’t take long for investigators to charge her father, Bob Gaines with her murder. It only took 3 hours for the jury to find Bob Gaines guilty. The grove of Alder trees where Sylvia was found was replaced by Cottonwood trees (many of which were planted as a memorial to Sylvia). The trees grew to be 70 years old and offered a habitat to bald eagles but unfortunately their limbs began to fall. Deemed too dangerous, the cottonwoods were then removed. They have since been replaced with Populus Robusta trees. There are many who say the ghost of Sylvia has been seen peeking through the branches of these trees at night!

Photo Sources:

1. https://www.seattletimes.com/seattle-news/city-sues-capitol-hill-skate-shop-over-illicit-skateboarding-bowl-built-on-green-lakes-duck-island/ 2. https://www.pinterest.com/pin/266134659217502616/ 3. https://seattlemortgageplanners.com/seattle-neighborhood-guide/green-lake/ 5. https://www.seattlegreenlaker.com/2018/01/spud-fish-and-chips-building-nominated-for-seattle-landmark-status/ 6. https://parkways.seattle.gov/2018/07/11/july-14-seafair-milk-carton-derby/ 7. https://www.shorelineareanews.com/2019/10/green-lake-water-lantern-festival.html 9. https://blog.seattlepi.com/thebigblog/2010/10/04/p-i-archives-the-aqua-theater-at-green-lake/ 10. https://blogs.columbian.com/corks-and-forks/2013/12/24/a-walk-around-green-lake/

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gretagerwigarchive · 7 years ago

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Greta Gerwig Q&A

By Mark Halverson

source: http://www.sactownmag.com/April-May-2010/Greta-Gerwig-Q-A/

We talk to Hollywood star and Sacramento native Greta Gerwig as she dishes about dancing with the Sacramento Ballet, her first walk down the red carpet and how it feels to be called the Meryl Streep of “mumblecore”

Known for her charming, offbeat performances in micro-budget indie films, Sacramento native Greta Gerwig breaks out this spring starring with Ben Stiller in Greenberg. The 26-year-old actress and writer, who now lives in Manhattan, talks about dancing with the Sacramento Ballet, her first walk down the red carpet and how it feels to be called the Meryl Streep of “mumblecore”

Let’s jump right into Greenberg [which opened March 26]. Ben Stiller plays the title character, a sort of lost soul who strikes up a relationship with your character [aspiring singer Florence Marr] while house-sitting for his brother in L.A. First of all, this isn’t your typical Ben Stiller outing. No. It isn’t. When I said to my friends and family that I had gotten a Ben Stiller movie, it was prefaced by saying, “But don’t bring the kids.” It’s not Night at the Museum. It’s very different.

What would you say the film is about? I think the film is a love story. But a real love story, meaning that it’s about real people, not a fake love story where everybody looks perfect and does 180 degrees of transformation. Greenberg is a little too delicate for the world he finds himself in and a little bewildered as to how he became who he is, and he has built up a lot of defenses so he doesn’t hurt himself—even though he is getting hurt anyway. Florence is someone who chronically puts other people before herself to the point where it’s not only destructive to her but maybe a little destructive to the other person. But she leads heart before head, and gives other people as many chances as they need.

The movie was written and directed by Noah Baumbach, who made The Squid and the Whale. It’s the most high-profile film you’ve done. What were your feelings during production? I wanted the part so badly when I auditioned for it, but just didn’t think there was any way that I could ever get it. My first audition was actually with Noah and [his wife] Jennifer [Jason Leigh] in their apartment in New York. When I got the part, I kept expecting somebody to call me and tell me “Never mind. We went with Natalie Portman. You can go home.” Working on the film was everything that I hoped. Even though the anticipation was almost more than I could bear, the actual making of the film with the most talented people you’ve ever been around made me want to be a better actress every day. It was exciting to feel like I had to raise myself to the level of those around me. And not just Noah and Ben, but costume designer Mark Bridges designed the costumes for There Will Be Blood. [Cinematographer] Harris Savides shot Milk. These people are the best of the best and you just pray every day that you are delivering half of what they can.

You studied English at Barnard College, have had several of your plays produced and co-wrote the films Hannah Takes the Stairs and Nights and Weekends. As a writer, how was it to work with Baumbach, an Oscar-nominated screenwriter? It was a huge thrill. The script [for Greenberg] was one of the best things I’ve ever read, period. He chooses very beautiful, specific words that evoke worlds in a very short space and the dialogue is letter-perfect. As a writer, I’m jealous; as an actress, I’m thankful.

When you were cast for the film, The New York Observer referred to you as the Meryl Streep of “mumblecore.” Can you explain the term a little? Sure. I think “mumblecore” is a press term. It’s not like anybody in the mumblecore world thinks of themselves as mumblecore or ever did. The unifying thread seems to be that it’s done very low budget. [The movies also often feature semi-improvised, naturalistic performances and twentysomethings in tangled romantic relationships.] Another thing I’ll say is that the movies I’ve done that are considered mumblecore, like Hannah Takes the Stairs, Baghead and Nights and Weekends, those were all shot within a six-month period in 2006, so it’s like talking about something that happened very quickly if it happened at all. It’s a little embarrassing to be called the Meryl Streep of anything.

Embarrassing in what way? Meryl Streep is her own sentence as a woman. She doesn’t need another person’s name in that sentence. Meryl Streep always stands alone.

Greenberg premiered at the Berlin Film Festival in February. What was it like to walk the red carpet for the first time? It was the thrill of my life. I think you are supposed to sort of think that it’s a drag, and isn’t it weird, but I just had the best time. I just kept thinking to myself that I’d wanted to be an actress for so long, and that my 12-year-old self would be so psyched to be here right now. I tried to just be in it with all the excitement and not freak myself out or feel like I didn’t deserve to be there. It was also the first time I had seen the movie with an audience. As an actress you become your character but then you also protect your character, and it was really gratifying to talk to some people afterwards and they said they also wanted to protect Florence. That was so nice that the movie made people empathetic.

You’ve done quite a few odd things in your films: played trumpet duets naked in a bathtub, had your head blown off, had rock icon Iggy Pop cast as your father. What kind of feedback do you get from family and friends about your films? I think there is a lot of confusion. They are all very proud, but I don’t make films that are necessarily crowd pleasers so I think there’s some desire from family and friends that I do something that is a little bit more accessible.

Speaking of your family, do your parents still live in Sacramento? They do. My mom’s a nurse and my dad does small business loans for First U.S. [Community] Credit Union. They live in River Park. I think they moved [there] in 1980 and I was born in ’83. I grew up in the same house my whole life. I went to Phoebe Hearst, Sutter Middle School and St. Francis.

Were you interested in theater and film growing up? [I was] involved in dance and theater. I took ballet from Pamela Hayes, who a lot of girls still take ballet from. I took tap and jazz from Ron Cisneros, and I did his summer theater [camp] for kids. I was in the Sacramento Ballet’s Nutcracker for three years. I played Clara one year, in fifth grade. I thought that was the pinnacle of my life. In high school, I got more involved in theater with [drama teachers] Cheryl Sigl at St. Francis High School and also Ed Trafton at Jesuit High School because St. Francis and Jesuit did a lot of theater together. I also did a lot of shows out at the Woodland Opera House. I did A Chorus Line when I was 15 or 16. But nobody knew I was that young because I always kind of looked old. It was all adults, and they were like, “But you’re how old?”

What do you like to do for fun when you’re back in Sacramento? It’s always nice to be home. I spend a lot of time with my best friend Connor Mickiewicz, who went to Jesuit. He started a theater company in Sacramento called the New Helvetia Theatre. So I hang with him and look at theater spaces and watch plays he wants to do. I’m really proud of him. And we spend a lot of time eating Burr’s ice cream in East Sacramento.

Sounds like you keep busy on both coasts. What’s next for you? Well, I’m figuring out what’s next right now. A lot of doors have been opened for me because of [Greenberg], which is really exciting. I just hope to make something that I’m at least half as passionate about.

#2010 #Interview #Greta Gerwig #Greenberg

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themelbournetone · 5 years ago

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Top 10 Albums of the 2010s [Countdown]

Written by: Ziggy Cross

The world has changed a lot in the last ten years, but luckily for us, music still exists. Without further ado, here’s the 10 best albums that were the soundtrack to our decade:

2010 - THIS IS HAPPENING, LCD SOUNDSYSTEM

This Is Happening is the third and “final” album by New York dance band LCD Soundsystem, released before their 2011 split (ending with the legendary 4-hour Madison Square Garden farewell show).

Following up their sophomore LP, Sound Of Silver, was always going to be a huge task, and This Is Happening holds up well, while also having an insanely ink-able title. It isn’t the group’s best album, it’s sure as hell a good way to start off the decade.

Highlights include the albums opener Dance Yrself Clean, I Can Change, and All I Want (which might sound strangely familiar to fans of David Bowie, who was a friend of LCD’s frontman James Murphy).

Notable mentions: Tourist History - Two Door Cinema Club, The Suburbs - Arcade Fire

2011 - THE ENGLISH RIVIERA, METRONOMY

The English Riviera is the third album from English indie pop band Metronomy. This is their most commercially successful album to date, including notable singles The Bay, and The Look. Most of this album was made solo by founder and producer Joseph Mount, with occasional assistance from the band members who have joined him along the way.

The album strongly rewards repeat listens, with tracks that might seem bizarre at first becoming certified bops after enough plays. The whole album is filled with some outrageous sounds from an extensive library of hardware synths. On the track Some Written, Mount brings out profound kazoo talent, as well as some impressive clarinet use in the following track, Love Underlined.

2011 was a huge year of development for the indie pop genre, with more bands embracing an electronic sound. It would seem that all the stars aligned for this release, and put them on the map. Metronomy is a band who have built a reputation for pushing limits, while managing to stay approachable enough for a wide appeal. They’ve got some pretty weird tracks if you’re willing to test the waters, but The English Riviera is without a doubt the best place to start.

Notable mentions: Torches - Foster The People, This Modern Glitch - The Wombats

2012 - BLOOM, BEACH HOUSE

Bloom is the fourth album from Baltimore dream pop band Beach House, and is their highest charting album to date. The album is packed with luscious synth and melancholy soaked guitar, reverberating in every direction far and wide.

The track list is impressively solid, and while a lot of tracks may appear quite “same-y” at first listen, they are nuanced enough to allow for some great repeat listening. You always know what to expect when you’re listening to Beach House, and they never fail to please.

Bloom is filled with some incredibly memorable tracks, and some highlights include: lead single Myth, with its incredibly powerful guitar build and grounding synth line, Lazuli, with its catchy vocal stacking and driving synth arpeggio, and New Years, with it’s ear worm of vocal melody that will stay in your mind for all of eternity.

Beach House have established their own brand of melancholy, and Bloom is probably their best showcase of that. Along with many of the other great releases from 2012, this one is for those whose hearts play in a minor key.

Notable mentions: Dark Eyes - Half Moon Run, Bored Nothing - Bored Nothing

2013 - TROUBLE WILL FIND ME, THE NATIONAL

After the wild success of The National’s 2010 album High Violet, I’m sure many fans wondered what the band would do next. Trouble Will Find Me features wall-to-wall lyrical and instrumentational masterpieces. This is a *seriously* solid album.

The album has a great mix of ‘great-the-first-time’rs, and plenty of ‘this-will-hit-hard-on-listen-twenty’s too. Believe me when I say, every listen of this album will leave you with a different ‘favourite song’.

Standout tracks include: I Need My Girl, a love song written by Berninger about missing his wife and daughter who stayed at home while he was on the road, and Don’t Swallow The Cap, a medium tempo alt-rock doomer anthem with the same understated power of LCD’s All My Friends.

Trouble Will Find Me also serves as a perfect warm up for the bands latest (2019) release I Am Easy To Find, if you’re that kind of fan. But I mean come on... even the titles match!

Notable mentions: The Bones Of What You Believe - CHVRCHES, Overgrown - James Blake

2014 - ABOUT FACE, #1 DADS

About Face is a special kind of album. Melbournite and all round musical genius Tom Iansek (also of Big Scary and No Mono) never fails to release pure magic into this world. His work truly is the hidden gem of Melbourne’s music scene - and those who have found it could not cherish it more.

Behind it’s quiet front, About Face holds the emotional force of a B-52 fighter jet. The production and gentle instrumentation will move you with force, there isn’t a single unremarkable track.

It should also be noted how impressive the lineup of collaborators on this album is; Tom Snowden, Ainslie Wills, Airling, AND that incredible saxophonist on Camberwell (you know what I’m talking about 😉).

It’s should come as no surprise that this album was nominated for an Australian Music Prize. While it did lose to REMI’s Raw X Infinity, at least we can have some comfort in knowing that Tom did win the prize the year before, for the wonderful Big Scary album, Not Art.

Notable mentions: There There - Washington, The Dew Lasts An Hour - Ballet School

2015 - CARRIE & LOWELL, SUFJAN STEVENS

“I don’t know where to begin...” where do you even start with an album like Carrie & Lowell!? How do you follow up an album that ended with one of the most powerful 25+ minute epics ever made? (I’m talking about Impossible Soul, if you haven’t heard it in full, drop everything and listen now - and if you have heard it, enjoy this shorter Car Seat Headrest cover)

Upon it’s release, Carrie & Lowell was hugely successful with critics, and was often cited as Sufjan’s best work yet. This album is quiet, I can’t count the number of times I've fallen asleep to this album on the train home from the city.

Despite it’s soft production, this album hits hard with it’s lyrics, something Sufjan now has now had over 20 years experience perfecting. Standouts include Should Have Known Better, Blue Bucket of Gold, and Fourth of July (see Sufjan leading a festival chant of ‘we’re all gonna die’ with the power of 10,000 suns here).

This album holds a warm place in many listeners hearts, and is well deserving of 2015′s top spot.

Notable mentions: Pretend You’re Mine - Pearls, The Things We Do To Find People Who Feel Like Us - Beach Slang

2016 - 22, A MILLION, BON IVER

Notable mentions: Not To Disappear - Daughter, Light Upon The Lake - Whitney

2017 - GO FARTHER IN LIGTHNESS, GANG OF YOUTHS

Standouts include slow burner Do Not Let Your Spirit Wane, anthemic Atlas Drowned, past punching What Can I Do If the Fire Goes Out?, and once in a lifetime worship anthem to Nietzschean affirmation Say Yes to Life.

Read our review of the album here.

Notable mentions: Zone - Cloud Control, Visions Of A Life - Wolf Alice

2018 - FUTURE ME HATES ME, THE BETHS

Notable mentions: Lush - Snail Mail, Evening Machines - Gregory Alan Isakov

2019 - LOW GRADE BUZZ, HUNTLY

Notable mentions: You Deserve Love - White Reaper, First Body - Two People

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officialrichlandcollege · 6 years ago

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Richland College Dance Program Presents ‘Illumination’ Spring Dance Concert

What makes you shine? Together with guest choreographers and dancers, the Richland College dance program is asking that question and will be celebrating the collective, vibrant glow of our unique inner lights during its spring concert, “Illumination,” with performances at 12:30 and 7:30 p.m. April 5.

“Illumination” will feature student dancers and professional guest performances and choreography in the dance genres of contemporary modern, jazz, tap and hip-hop, and it is directed by Richland College dance director Gina Sawyer. When work began on this performance, Sawyer invited the dancers and choreographers to imagine and create pieces that reflected his or her own individual take on the subject, and the theme began to evolve and take shape into the idea of hope and light in a world of individuality.

“Our theme of ‘illumination’ is about the individual light that each one of us carries and contributes to the world,” said Cheryl Callon, dance faculty member at Richland College. “That light is important, even among the billions of other lights on our planet.”

Dance choreography and film work will include original pieces by Callon, Cooper Delgado, Lauren Schieffer-Holley and guest choreographer Laura Pearson. Featured guest performers include Dark Circles Dance Company, directed by Joshua L. Peugh, and Choreo Records Tap Company, directed by Keira Leverton.

A dancer, teacher and choreographer, Pearson trained at the Texas Ballet Theater School, attending numerous summer intensives with companies such as Hubbard Street Dance Chicago, Texas Ballet Theater and Dallas Black Dance Theater. Her professional dance credits include Ballet Dallas, Dallas Neo-Classical Ballet, Bruce Wood Dance Project, a tour of China with Art.if.Act Dance Project, 6 O’clock Dance Theatre, Zion Dance Project and Wanderlust Dance Project.

Dark Circles Contemporary Dance was founded in 2010 in Seoul, South Korea. The company’s Dallas branch is led by Peugh, an international award-winning choreographer and one of Dance Magazine’s “25 to Watch.” Dark Circles has been hailed by the Ft. Worth Star-Telegram as “the area’s most exciting dance company” and awarded “Best Dance Company” by D Magazine and the Dallas Observer. Since its inception, the company has performed both nationally and internationally.

Leverton comes from a dance background—her grandfather was Buster Cooper, an influential tap dancer who founded the dance program at the Hockaday School. Much of her exposure to the tap community was through tap festivals such as the Chicago Human Rhythm Project and the Third Coast Rhythm Project, and she trained with a variety of professionals, including Gregory Hines and Yuji Uragami. Leverton has performed worldwide at venues such as Radio City Music Hall and Wembley Stadium in London.

The Richland College dance program provides a challenging teaching and learning environment for students who value diversity. The program develops artistic excellence, fosters creative and collaborative practices and encourages personal agency and social responsibility in appreciating dance.“Illumination” is free and open to the public in the Fannin Performance Hall on the east side of the Richland College campus. Richland College is located at 12800 Abrams Road. Additional information is available at www.richlandcollege.edu/dance.

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balletthebestphotographs · 4 days ago

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Carla Körbes and Stephen Hanna

Carla Körbes and Stephen Hanna, “Who Cares?” choreo by George Balanchine, music by George Gershwin arranged by Hershy Kay, costumes by Barbara Karinska (Varvara Jmoudsky), 2010 Dance Open Ballet Festival, Mikhailovsky Theatre Михайловский театр, Saint Petersburg, Russia (March 29, 2010).

Source and more info at: Photographer Gene Schiavone Shop Photographer Gene Schiavone Website Photographer Gene Schiavone on Twitter Photographer Gene Schiavone on Tumblr Photographer Gene Schiavone on Amazon Photographer Gene Schiavone on Pinterest Photographer Gene Schiavone on You Tube Photographer Gene Schiavone on Facebook Photographer Gene Schiavone on Instagram

The Artistry of Grief by Gene Schiavone The Pink Olga Nightgown by Gene Schiavone BALLET ♡ Hopes, Tears, and Cheers by Gene Schiavone (Facebook Public Group)

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

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jamessiimon · 8 years ago

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NICA.

My experience in circus school started in 2008, with a two-week “work experience” period, as when I was sixteen I attended Cirque Du Soleil's show 'Quidam' and immediately realised that I could apply my gymnastic skills towards a plausible career. I researched how to make this a reality and after successfully completing VCE was accepted into NICA in 2010.

Our first day we were lined up in the order highest entry score to the lowest. This was a little confronting, as my name was the first to be called meaning I had past the exam on top. We then were sectioned off into four different teams depending on your score or “level” of the basics. NICA has a funny way of always putting the best coaches with the best students making them improve and leaving the less gifted students with the less qualified teachers allowing for a very small improvement. I am not complaining, I was not spending almost $10,000 a year to improve others; I was there to learn from the best, to become the best I could. It just shocked me when it came to examinations that they were surprised that the good got better, but the not so good got worse.

First year was easy, to say the least. The first three months in the circus training we did “conditioning training”, which included strength, handstand basics, tumbling basics and flexibility in the morning and in the afternoon (depending on the day) two dance classes (contemporary or ballet) and three theory classes (anatomy, physiology or psychology) per week. As I had trained over 35 hours in gymnastics from the age of 5, this level of training and intensity was: medium. Now, I get that as an institute you take in a wide range of students with many different backgrounds and NICA did many efforts to help with the differences; split basic groups, separate dance groups and open training with the other years (for advance students) but with a class of 28 or so, it still isn’t the intense, small class training I was expecting.

After the first three months, we then had the opportunity for three months to “shop” around and decide what specialties suited our body types, what specialties we liked and what specialties the coaches thought was appropriate for each student. This was a fabulous time, trying different and unusual apparatuses, pushing your body and your capacities and most of all feeling that you are moving closer to the goal of becoming a professional circus performer.

At NICA, you can have two main specialties and one group specialty, but the group specialties were limited to only three choices chosen by the staff, our choices; Icarian Games, Skipping or Teeterboard. A small group of us during the “shopping” period were very keen on pursuing flying trapeze and put a formal appeal to the staff to allow us to do this as a group specialty. We had the coach, we were committed to even out of normal hours training and to signing a contract within the team that we would finish the year together no matter what. It was denied and so my specialties included; handstands, tumbling tight wire and teeterboard.

The last six months of first year training were actually some of the best; new skills, exploration, improvement, I really felt as though I was blossoming and I was receiving the right sort of attention. I was able to hold multiple one-arms in handstands, due to my gymnastics background I excelled in basics and teeterboard but my biggest and most impressive apparatus was the tight wire. By the end of first year I was able to walk, run, perform multiple jumps and execute a front sault and backflip unassisted.

At the end of my first year I was presented the NICA Achievement Award. This is normally given to the most outstanding second year student who displayed great potential, it is a scholarship to subsidise third year tuition fees, and I was further honoured by winning it again my second year.

Second year was by far one of the hardest years, as it sort of went nowhere. We had our first full scale show which was a great experience into the different elements that go into creating a performance and of cause if you pushed yourself and trained hard you saw improvement, we had harder dance classes and different theory classes but you were sort of the forgotten year. By the end of the year, teeterboard was no more and I was ready to move to Canada to attend the Montreal circus school and then walked in our director of the third year group ensemble. She auditioned us all before second year ended to define parts and assigned different specialties to some of us, something challenging and motivation to stay.

My best friend and I were in the small group of selected students to perform a different specialty, she then went further to tell us that we could design, create and execute the act we wanted. This was an experience that (I believe) is only possible for students of an institute and I am so grateful for this. I was also told 8 weeks from premiere night that I would need to learn and have an act with an aerial net. The stress of two new apparatuses and my own specialties was exactly what I needed to keep me busy and working hard.

Training was not without its fight. My coach and I didn’t quite see eye to eye and so would have training sessions in silence. He wanted me to do a more traditional act and I wanted to explore the tumbling on and off a lower wire. He would only talk with me if I had achieved something incredible, which happened a few times, when I did a back sault unassisted, when I completed an aerial walkover (walkover without hands) on the wire and when I completed a back flip-back sault combination (in lines) on the wire.

My favourite moment was when I ask a friend “what is the most craziest tumble you would not think to see on a wire” and he responded with “an Arabian (back half twist front sault)”. This was on a Friday afternoon and I said, “I’ll train the preparations today and Monday ill do it”. Monday training had arrived and within the first 5 minutes my coach had left the training so I called over my friend and three attempts in completed the Arabian. My coach who was watching from above in his office ran down, hugged me and begged me to send him the video, as he thinks I could have been the first to perform this.

My end of year showcase piece was a tribute to my past, my family and a message to myself to “never give up”. I performed it on the tight wire as I thought that in the future I would not have the chance to perform it as easily as in the institute.

In my final year I participated in The Heath Ledger Young Artist Oral History Project for the National Film and Sound Archives. This entailed interviewing the most outstanding male and female students of the graduating year from each major art institute in Australia in 2012.

After graduating, I was invited to participate in the NICA cast for their first representation at the largest international circus festival, Cirque de Demain in Paris, France. I remained in Paris for three months networking within my industry, attending numerous circus performances and visiting art institutions. This resulted in obtaining a position as an acrobat for the crossover Belgian circus company. Performing for two seasons with the company, I have now left that company becoming associate within On Stage Events, performing my own acts internationally and created with my team our own circus cross live music performance “Fillage” by Sur Mesure.

#blog #nica #circus #perfomer #experience

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watchilove · 5 years ago

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May 26th, 2020 – Vacheron Constantin is delighted to unveil its latest talent to join the “One of not many” communication campaign. Yiqinq Yin, a youthful prodigy in the world of Haute Couture, is joining the roster of talents who have chosen to collaborate with the Maison. She will epitomise the Égérie collection, dedicated to women and launched by the Manufacture in February 2020.

Born in Beijing in 1985, Yiqinq Yin has been travelling the world since her childhood. At the age of four, she left China for Australia and France. A graduate of the École Nationale Supérieure des Arts Décoratifs in Paris, and armed with her innovative vision of Couture, Yiqinq Yin sees garments as both a second skin and a supple, floaty envelope. Exploring the dynamic potential of pleats, she imagines vibrant structures that are never static but instead all about volumes in motion, and experiments with the way garments fall in a quest for smoothly flowing lines. She thus designs loose shapes with staggering structures. She admits her attraction to “an intuitive method of creation, a sensory wandering and a search for voluntary accidents”.Acknowledged and respected within the select circle of Haute Couture connoisseurs, her universe naturally chimed with that of Vacheron Constantin. Yiqinq Yin shares with the watchmakers and artisans of the Maison a concern for detail and a desire for discovery. Ties were thus woven between Haute Couture and Haute Horlogerie, two worlds where craftsmanship, expertise and rarity would be nothing without passion and creativity, a vocation that is constantly being challenged and reinvented in step with successive creations. The Égérie collection symbolises this encounter through the pleated dial and the off-centre aesthetic of its design.

The “One of not many” campaign presented in 2018 showcases talents whose personality and work express the constant quest for excellence, openness to the world and the spirit of innovation and creation characterising Vacheron Constantin. Singular, visionary and passionate, they are recognised experts in their own field, thereby also reflecting the concept of connoisseurs.

About Yiqinq Yin

A graduate of ENSAD (École Nationale Supérieure des Arts Décoratifs de Paris), Yiqinq Yin was awarded the Grand Prix de la Création de la Ville de Paris in 2009. Following the Hyères International Fashion Festival in 2010, her dreamy creations were staged in the windows of the Ministry of Culture, at the Chaillot National Theatre and then at the prestigious Joyce Gallery. In June 2011, she won the ANDAM (Association Nationale pour le Développement des Arts de la Mode/ANDAM Fashion Award Paris) and held her first runway showing during the Haute Couture Paris Fashion Week. That same year, Yiqing Yin was one of eight young “designers to watch” selected by the French edition of Vogue. In 2013, Maison Léonard appointed the young designer to head its ready-to-wear collections. Yiqing Yin also works with prestigious brands such as Cartier, Guerlain, Hermès, Swarovski and Lancôme.

Since 2012, Maison Yiqinq Yin has been officially included in the Fédération Française de la Couture official calendar as a guest member. In December 2015, the Fédération Française de la Mode rewarded her work through the attribution of the Haute Couture appellation.

As a complete artist, Yiqinq Yin also explores other artistic worlds. In 2013, at the invitation of the Venice Biennale, she created the artwork In-Between. For her Blooming Ashes collection, she combined fabric with light in the Stellar dress, in collaboration with sculptor Bastien Carré. She has also worked in the world of dance by designing the stage costumes of the étoile ballet dancers Dorothée Gilbert and Mathieu Ganio for Tristan and Iseult, directed by Giorgio Mancini.

Yiqinq Yin has been regularly invited to participate in art exhibitions around the world for several years. The exhibition titled “A world of Feathers” staged at the Museum of Ethnography in Stockholm; the “Haute Dentelle” exhibition at the Cité de la Dentelle in Calais; as well as the “Animalia Fashion” exhibition at Palazzo Pitti in Florence, are just some of the many events where she presents the major pieces of her Haute Couture collections. She was also a guest of honour, exhibitor, lecturer and member of the jury at the Arts of Fashion Foundation Symposium held in the Asian Art Museum in San Francisco in December 2019. Finally, she is delighted to be working on a film project that will be released in the course of 2020.

Yiqinq Yin, A new talent joins the “One of not many” communication campaign May 26th, 2020 - Vacheron Constantin is delighted to unveil its latest talent to join the “One of not many” communication campaign.

#Brand Ambassador #Haute Couture #One of not many #Vacheron Constantin #Yiqing Yin

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colourupuniforms · 5 years ago

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Top 3 famous dancers in Australia

Adam Gabriel Garcia

Adam Gabriel Garcia (born 1 June 1973) is an Australian stage, television and film actor who is best known for lead roles in musicals such as Saturday Night Fever and Kiss Me, Kate. He is also a trained tap dancer and singer. Garcia has been nominated twice at the Laurence Olivier Awards in 1999 and 2013 respectively.

Garcia was born in 1973 to Jean Balharry and Fabio Garcia in Wahroonga, New South Wales. His mother Jean is Australian and his father Fabio is of Colombian descent. Garcia's mother is a retired physiotherapist. Garcia attended Knox Grammar School where he completed his high school education. He also received formal training in tap dancing at Capital Dance Studio in Sydney, Australia. Garcia attended Sydney University but did not complete his education as he left the university to take the role of Slide in the production of the musical Hot Shoe Shuffle, which toured Australia for two years before transferring to London, England. On 26 March 2015, Garcia married his long time girlfriend Nathalia Chubin in London. Chubin worked as a senior marketing executive for PlayStation previously.

Garcia began his film career in 1997, playing the role of Jones in Brian Gilbert's Wilde. Garcia played Tony Manero in the stage version of Saturday Night Fever, which premiered on 5 May 1998 at the London Palladium, and closed on 26 February 2000. He was nominated for his work in the play at the Laurence Olivier Award for Best Actor in a Musical category in 1999 but lost to the cast of Kat and the Kings. Garcia also reached number 15 in the UK Singles Chart in 1998, with his cover version of the Bee Gees song "Night Fever", taken from the film version of Saturday Night Fever (1977). In 2000, he played a major role in his second feature-film, Coyote Ugly. Later that year, Garcia also appeared in Dein Perry's Bootmen, playing the lead role. In 2003, he voiced the title character in the film Kangaroo Jack, but was not credited for that role. In 2004, he also played alongside Lindsay Lohan and Megan Fox in Confessions of a Teenage Drama Queen, as the character Stu Wolff, a drunk rock star, who is part of the band Sidarthur and is, in Lola's words, "a greater poet than Shakespeare". Between 2006 and 2007, Garcia played the character of Fiyero in the original West End production of Wicked alongside Idina Menzel, Kerry Ellis and Helen Dallimore. He previously played the same role during the show's early Broadway theatre workshops in 2000. Garcia appeared in two ITV dramas, Britannia High and Mr Eleven, in 2008. In January 2010, Garcia appeared with Ashley Banjo and Kimberly Wyatt as a judge on the British reality show, Got To Dance. He was a judge in the four seasons of the competition from 2010 to 2012 and then in 2014. In 2011, Garcia co-starred with Mischa Barton in The Hen Do, but the film never left the cutting room floor. In 2012, he appeared in Cole Porter's musical Kiss Me, Kate at the Chichester Festival Theatre, directed by Trevor Nunn and choreographed by Stephen Meare. Garcia was nominated for his role at the 2013 Laurence Olivier Awards in the category Best Performance in a Supporting Role in a Musical.

Garcia appeared in Threesome, a 2011 British television sitcom which began airing on 17 October 2011 on Comedy Central. Garcia became the fourth judge during the thirteenth season of the Australian version of Dancing with the Stars. In 2018 Garcia was cast in Dance Boss, an Australian reality television dance competition on the Seven Network presented by Dannii Minogue. He judged the competition alongside singer and dancer Timomatic and actress and performer Sharni Vinson. In 2019, he starred in a pantomime in Ipswich, England as Prince Charming.

Caroline Ann O'Connor

Caroline Ann O'Connor AM (born 2 September 1962) is a Helpmann Award-winning, Olivier Award-nominated Anglo-Australian singer, dancer and actress (theatre, film, TV). For her theatre work she has won three Helpmann Awards: Best Female Actor in a Play for Edith Piaf in Piaf in 2001 and the same category for Judy Garland in End of the Rainbow in 2006, and Best Female Actor in a Musical for Reno Sweeney in Anything Goes in 2015.

O'Connor was born in Oldham, Lancashire, England, to Irish parents. After her family migrated to Australia she was brought up and educated in Sydney. She took Irish dance lessons, with Joy Ransley and Valerie McGrath. She joined a touring dance troupe by August 1974, which travelled to Ireland, Paris, London and the United States west coast. The troupe's members, including O'Connor, competed in the Irish Dancing World Championships held in Dublin. At the age of 15 she returned to Dublin to appear in a dance competition and finished third.

O'Connor later recalled, "When I was growing up in Rockdale as a little girl of Irish parents singing show tunes I didn't really fit in. Everyone was in their denim shorts and thongs and wanting to go down to Cronulla and I wanted to stay home and listen to Doris Day." At 17, she returned to London and trained as a dancer at the Royal Ballet School. She worked for one year at the Australian Opera Ballet. She became an Australian citizen in 2007.

O'Connor made her musical theatre debut in an Australian tour of Oklahoma! in 1982, she later reminisced, "I was about 20 and I got into the show [and] I thought, 'This is where I'm meant to be.' I feel so fortunate." In the following May she took the role of Consuelo in West Side Story at Sydney's Her Majesty's Theatre. Subsequently O'Connor worked both in Australia and the United Kingdom.

Upon return to London she was a member of the ensemble cast of Me and My Girl at the Leicester Haymarket Theatre in 1984 and then at the Adelphi Theatre Other British theatre credits include, A Chorus Line, Cabaret, Hot Stuff, Chicago, Damn Yankees, West Side Story and as Ellie May in Showboat for the Royal Shakespeare Company and Opera North in 1989. She understudied, and went on to perform, the role of Angel in the 1988 London production of The Rink by Kander and Ebb. She appeared in the UK premiere of the musical, Baby. Several of her successful early lead roles in the UK were in the town of Oldham, where she was born.

The entertainer returned to Australia by February 1994, where she took the role of Anita in a national tour of West Side Story, performing in Melbourne, Adelaide and Sydney and then Auckland in New Zealand. She won a Green Room Award. Back in London, her West End theatre performances included Mabel in Mack and Mabel for which she received an Olivier nomination for Best Actress in a Musical in 1996.

In 1998 O'Connor was back in Australia as Velma Kelly in Chicago for which she won a Green Room Award and the Mo Award for Female Musical Theatre Performer of the Year. She followed with roles in Man of La Mancha, Oklahoma! and concert productions of Funny Girl and Mack & Mabel. Her portrayal of Édith Piaf in Pam Gems's play Piaf in 2000 gained her three Australian theatre awards.

O'Connor's musical film work includes the role of Nini Legs in the Air in Baz Luhrmann's Moulin Rouge! (2001), and Ethel Merman in the Cole Porter biopic De-Lovely (2004). She featured on the De-Lovely soundtrack, singing "Anything Goes". In 2003 she made her Broadway debut as Velma Kelly in Chicago. Thereafter she performed in Australia, UK and United States.

The one-woman play, Bombshells (2004), was written especially for O'Connor by playwright, Joanna Murray-Smith. The original production was filmed for a broadcast by ABC Television. Bombshells toured to the Edinburgh Festival (where she won the Fringe First Award), London's West End at the Arts Theatre (for which she received a second Laurence Olivier Award nomination), and at the World Stage Festival in Toronto, Ontario.

O'Connor starred as Judy Garland in the 2005 world premiere of Peter Quilter's play, End of the Rainbow, at the Sydney Opera House. Following its Sydney and Melbourne seasons, she recorded a tribute album, A Tribute to Judy Garland, and reprised her Helpmann Award winning role in Sydney at the Theatre Royal in 2006.

She starred in the premiere production of the musical The Hatpin, which opened in Sydney on 27 February 2008. In June of that year she played the title role, specifically written for her, in the premiere of David Williamson's play, Scarlett O'Hara at the Crimson Parrot, at the Melbourne Theatre Company.

In March 2009 O'Connor reprised her role as Kelly in the 2009 Australian production of Chicago where she starred alongside Craig McLachlan and Gina Riley. In May 2010 she appeared as Mrs Cooper in the TV series, Lowdown. Also in that year she performed at the BBC Proms celebration of Stephen Sondheim's 80th birthday at the Royal Albert Hall. In May 2011 she starred as Mrs Lovett in the Théâtre du Châtelet production of Sondheim's Sweeney Todd: The Demon Barber of Fleet Street in Paris, with David Charles Abell as musical director. Sondheim has said that O'Connor was "the best Mrs Lovett I have ever heard."

In 2012 O'Connor originated the role of Miss Shields in a limited run of A Christmas Story: The Musical. It ran for 51 performances in late 2012, and received a nomination for the 2013 Best Musical Tony Award, for its track "You'll Shoot Your Eye Out", featuring O'Connor, which was broadcast live on CBS during the 67th Tony Awards show on 9 June 2013.

As a recording artist O'Connor has released four solo CDs, What I Did for Love 1998), A Tribute to Piaf (2001), From Stage to Screen (2001) and A Tribute to Garland (2005). She has contributed to numerous cast recordings and compilations.

From April 2017 through to March 2018 O'Connor played Countess Lily in the musical, Anastasia, at the Broadhurst Theatre on Broadway, New York. From May to June 2018 she starred in a London production of The Rink and in mid-August she portrayed Garland in The Production Company's The Boy from Oz in Melbourne.

O’Connor began 2019 by starting in the critically acclaimed and sold out Darlinghurst theatre Co. production of ‘The Rise and Fall of Little Voice’ (directed by Shaun Rennie). She followed this with a staged concert of the rarely performed musical Applause, playing the leading role of Margo Channing.

Sharlene Marie Zeta Robinson

Sharlene Marie Zeta Robinson, known professionally as Charli Robinson and previously as Charli Delaney (born 8 March 1980) in Newcastle, New South Wales, Australia), is an Australian television and radio presenter, most famously known as an original member of children's musical group Hi-5 and the television series of the same name. She left Hi-5 in February 2008 after ten years with the group. She is known now as a presenter on Nine Network travel program Getaway.

Robinson was born in Newcastle, New South Wales and she has an older sister named Cassandra. She attended Hunter School of the Performing Arts at Broadmeadow, Newcastle, before featuring in various TV shows and soap operas.

Robinson was the youngest original member of group Hi-5.

Robinson chose to leave Hi-5 in February 2008, officially announcing on 22 February 2008 that she would be leaving the group. She indicated that she would continue with the show until a suitable replacement was found. Robinson noted her plans for the future include other presenting work, and acting in television and films, to challenge herself. She served as a judge on Battle of the Choirs in 2008, and also appeared on the eighth season of Dancing with the Stars.

In 2009, Robinson co-hosted the celebrity singing show It Takes Two with Home and Away actor Paul O'Brien and signed a three-year contract with the show. She also appeared in the short film Tegan the Vegan

Robinson had a show on the Today Network's 2DayFM and Fox FM on late nights initially [Monday to Wednesday] with Chris Page and had co-hosted the Top 6 @ 6 with Danno on the Today Network for one hour. 21 August 25 July

In May 2011, Robinson filled in as the host on The Kyle & Jackie O Show while Kyle Sandilands and Jackie Henderson were off on sick leave.

Costumes various over time but dance are common between people. Step up to aboriginal culture with Colourup Uniforms.

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Reference:

https://en.wikipedia.org/wiki/Adam_Garcia

https://en.wikipedia.org/wiki/Caroline_O%27Connor_(actress)

https://en.wikipedia.org/wiki/Charli_Robinson

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simrankaurblr · 5 years ago

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Best Places to Catch Live Performances in Mumbai

Mumbai, the city of the Hindi film industry and the quintessential cosmopolitan city of India, is a treasure chest for admirers of art and music. From Sufi to trap music, plays, stand-up performance, visual art galleries and more, there is an abundance of fun and soul-stirring live performances on offer. It takes some skilful navigation to find the ones most in sync with your taste. This rundown on some of the best places to catch live bands in Mumbai will set you off to a good start:

Prithvi Theatre

This iconic landmark in Mumbai that was revived by veteran actor Shashi Kapoor as a tribute to his father, the legendary Prithviraj Kapoor, is nothing short of a melting pot of talents. The theatre showcases theatrical performances and plays from Tuesday to Sunday, every week, mostly in the 6-9 p.m. time slot. The annual Prithvi Theatre Festival held in November witnesses participation from Mumbai-based troupes as well as Indian and international theatre groups. The festival often has a theme to it, such as the Mumbai Musicals or Kala ki Desh ki Seva Mein, to name a few popular ones from the past.

Location: Juhu Church Road

The Finch

The Finch is a fine-dining multi-cuisine restaurant that blends a titillating gastronomic experience with an exciting line-up of freshly brewed beers and live music. It is set in an old factory in Powai that has been landscaped tastefully to give the place a funky ambience. The Finch organizes live band in Mumbai through the week, with a special focus on promoting young and upcoming artists. The music played here ranges from blues to funky jazz, soulful, folk, melodic soft rock, and even regional. It also organizes performance by some of the best known home-grown and international bands, every now and then. If you are an ardent music lover, The Finch surely is a place worth checking out. Given the wide spectrum of musical genres played here, there is something for everyone. The finger-licking good food is definitely an added bonus.

Location: Andheri East

National Centre for the Performing Arts (NCPA)

Popularly referred to as the NCPA, the National Centre for the Performing Arts holds the distinction of being ‘the first multi-venue, a multi-genre cultural centre in South Asia’. The NCPA is THE destination to get a glimpse of India’s vast and artistic heritage. The centre holds over 700 events in a year, ranging from drama, opera, contemporary dance, jazz, orchestral concerts, and chamber music. The premises house five theatres and several galleries that are ideal for large productions like ballets and fully-staged operas. The venue hosts performances by some of the leading artists from different fields, besides staging shows by world-renowned orchestras such as BBC Scottish Symphony Orchestra, the Vienna Philharmonic, Bavarian State Orchestra, Israel Philharmonic, Orchestre de la Suisse Romande and London Symphony Orchestra.

Location: Nariman Point

Read more: Street Shopping in Mumbai

The Cuckoo Club

The Cuckoo Club is an offshoot of the Hive at Khar, set up because the founders thought they need a bigger space than the auditorium available at the Hive. The Cuckoo Club is an endearing mini-theatre with a seating capacity of 120. Housed in an erstwhile banquet hall behind the Candies building, the place has a palpable indie vibe that just blends seamlessly with the kind of art it promotes. The auditorium itself is divided into two levels to recreate that stall-and-balcony effect, and it all comes together very well to offer an intimate theatre experience. It is a contemporary art performance venue, rehearsal space, black box theatre, and a co-working space rolled into one. The performances here range from plays to stand-up comedy, open mic and more.

Location: Bandra

Cat Cafe Studio

This place is truly a one-of-its-kind ode to cats and cat lovers. The cafe that started out in 2010 to allow cat lovers to lounge in the company of the cafe’s feline residents while sipping on freshly-brewed coffee or reading a book, added an art studio to its premises in 2015. Amid heart-warming purrs of 30 to 40 cats hosted by the cafe, you can also indulge in artistic endeavours exhibited here weekly. The idea of this art studio is to give budding creative professionals a platform to exhibit their talent to the city of dreams and beyond. The weekly events held here include photography and painting exhibitions, fashion exhibitions, reading sessions by poets, and performances by musicians, writers, stand-up comedians, motivational speakers, and dancers. The eclectic mix of skills on display at the Cat Cafe Studio makes it perfect for just about every art lover.

Location: Versova

Originally published: Best Places to Catch Live Performances in Mumbai

#live music #music #mumbai #places #best places #live performance

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wikitopx · 5 years ago

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High among those reasons, if not at the top, is the city’s abundant list of nighttime activities.

Whether you are aiming to dance until you drop or take in some local theatre, Amsterdam has plenty to offer you when it comes to having a serious amount of fun as night falls.

1. Hang out at the De Nieuwe Anita

This nightspot is located in the trendy Oud-West neighborhood, and may give you a flashback to a certain time in your life. Why? Well, first you have to ring a bell in order to enter. As you walk in, the front room resembles a fully fledged living room, with a stocked bar off to the side and even some lamps that seem to have been lifted from a 70’s sitcom set. The back room is where patrons go to hear a variety of live music, from folk to experimental electronica.

2. Catch a show at the Het Muziektheater

Het Muziektheater, or the Dutch National Opera and Ballet, is a cherished activity to engage in on a visit to Amsterdam. Situated in a striking building overlooking the Amstel River and not too far from the Museum Het Rembrandhuis, the Het Muziektheater has up to three productions held there yearly. In addition, there are other avant-garde productions that are held in the theater. Visitors will marvel at the sweeping balconies, and the eclectic pieces of art positioned throughout the complex.

3. Enjoy a Jazz show at the Bimhuis

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The Netherlands has always been a haven for jazz music and all of its fans for decades. In Bimhuis, that haven is akin to a shrine. Perched on the waterfront, the Bimhuis was first conceptualized and built in 1974 as a place where Dutch and international musicians could convene and put on shows to enliven and enlighten audiences. The present day structure was completed in 2005 on the same grounds, to allow for more seating space and added technological improvements. The result is a building that takes on the form of a sleek black box, where concertgoers can take in shows with great acoustics and possibly hear broadcasts of the Europe Jazz Network being held on-site (Bimhuis is a founding member of the network).

4. Sip a cocktail at the Vesper (and check out the James Bond memorabilia)

If you’re someone who likes a smooth retro environment to be in as they sip on a cocktail, Vesper just might be the choice for you. Located in the Jordaan neighborhood, Vesper has gained a following since arriving on the scene in 2010. The bar space is intimate, with mahogany and copper elements as part of a speakeasy vibe. The drinks come with clever names and potent mixes, such as the Leap Of Faith. There’s even a taste scale that is provided by bartenders to find a beverage to suit your palate. Another attractive factor is the James Bond memorabilia dotting the walls. Bear in mind that if you’re part of a large group, the place may be too cozy for the party - unless you sign up for one of their cocktail making workshops.

5. Head out for the Ultimate Amsterdam Pub Crawl

There are those that say that one keen way to dive into the energy of a city is to spend time in its pubs. Those that follow that logic will want to check out the Ultimate Amsterdam Pub Crawl. The pub crawl has about 5 different versions to choose from, and gets you into six of Amsterdam’s most electric club venues. There are options on two of the crawls to grab a meal to fuel your mission, and all are led by a tour guide who’ll be a veritable gatekeeper to the city as they point out different points of interest along the way.

6. Be captivated by the Melkweg (Milky Way)

Melkweg (Milky Way) has been a cornerstone of the entertainment world in Amsterdam for over four decades. Situated on the Lijnbaansgracht near one of the prime centers of nightlife in the city, Melkweg is a massive venue that was once a milk factory back in the 19th Century. After being established as a concert hall in 1973, Melkweg has now grown to have four separate music halls inside as well as a restaurant, a private cinema, and a gallery exhibition space. Depending on the performers, you can see quite a line heading into the venue over the diminutive canal that sits in front.

7. Pop by the Red Light District

No list is complete without a mention of the Red Light District. Known as Rosse Buurt, it’s composed of three areas: De Wallen, Ruysdaelkade, and Singelgebied. The Red Light District is essentially a cornucopia of vice, which dates back to the 1300s when women of the evening would carry red lanterns to attract customers. The streets here are dotted with windows of brothels where sex workers are on display for customers in addition to adult shops and a slew of coffeehouses. Mixed in among these lurid sights are some interesting points of interest like the Oude Kerk, a church that dates back to the 1400s making it the city’s oldest building. Going through the district takes you right into Zeedjik, which is Amsterdam’s Chinatown.

8. Grab a drink at the Cafe de Dokter

Café de Dokter to many, represents a key part of Amsterdam’s history. No small wonder since it first opened its doors in 1798, after being founded by a surgeon who was working at the former Binnengasthuis hospital nearby. From that point, this quaint bar located at the end of Rozenboomsteeg alley has greeted anyone who enjoys quality spirits. Every inch of Café de Dokter carries history in it – the owners have kept a lot of the vintage décor intact, and it is enhanced by a soundtrack of classic jazz played during the day. It’s also in close proximity to a couple of Amsterdam’s most popular sights such as the Amsterdam Museum and the Amsterdam Dungeon.

9. Sit back and listen at the Cafe Sound Garden

Cafe Sound Garden gives visitors a very mellow and sometimes raucous vibe and has positioned itself as an oasis for all, united by good beer and good music. Located on the edge of the Jordaan neighborhood, Cafe Sound Garden is buoyed by a constant flow of music be it through live DJ sets or acoustic bands taking center stage. Many come to grab a drink and a seat on the garden terrace, which overlooks one of the many grand canals that make Amsterdam positively wonderful.

10. Chill at the Hannekes Boom

Hannekes Boom is a cafe for those who know their way around a funky music festival or two. Minutes away from Centraal Station, the cafe which is styled like a beach shack sits right on the waterfront. It takes inspiration from the old system of guard posts that were first on the same grounds back in the mid 1600s. The outdoor space is lined with gaily colored benches and is essentially atop a pontoon deck, and you might even see people pull up and stop in for a beverage or two before sailing off again. Hannekes Boom was constructed with salvaged materials, giving the place a hip, rustic look. The place is a good spot to get away from the massive crowds one will often find in the Amsterdam streets.

Read also: Top 10 things to do in Netherlands

From : https://wikitopx.com/travel/top-10-things-to-do-in-amsterdam-705091.html

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lavotha · 5 years ago

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Honoring the Russian Ballets

It was in 2009, that the Ballets de Monte-Carlo celebrated the centenary of the Russian Ballets in the Principality, with the objective of honoring them in grand style. Over a whole year, the Monte-Carlo Ballets captivated the audience with unrivaled unique events. This time around, the Company is renewing this festive and exciting spirit by playing four ballets that echo Nijinsky’s legendary persona, with music by the Philharmonic Orchestra of Monte-Carlo under the direction of Kazuki Yamada.

1) On April 19, 1911, Nijinsky performed his famous leap in The Spirit of the Rose; 2) June 13, 1911, he played Petrouchka, which will remain his favorite role; 3) On May 29, 1912, he caused outrage with his first choreography, The Afternoon of a Faun; 4) Fifteen days later, he played the lead role in Daphnis and Chloé.

Daphnis & Chloe – The art of the loving Pas de Deux

This ballet in one act with three scenes, describe by Maurice Ravel himself as a choreographic symphony, is the story of the love affair between the goatherd Daphnis and the shepherdess Chloe.

Daphnis and Chloe choreographed by Jean-Christophe Maillot, Opera de Monte-Carlo, October 2019 (2)@Alice Blangero

Daphnis and Chloe choreographed by Jean-Christophe Maillot, Opera de Monte-Carlo, October 2019 (3) @Alice Blangero

Daphnis and Chloe choreographed by Jean-Christophe Maillot, Opera de Monte-Carlo, October 2019@Alice Blangero

“I’ve always had a predilection for the footsteps of two, these unreal sequences where nothing matters to the dancers outside what they live at this moment. These are moments of naked truth. “(J-CH Maillot). From Romeo and Juliet through Cinderella, LAC or more recently Taming the Shrew, the pas de deux is intimately linked to the repertoire of Jean-Christophe Maillot. Daphnis and Chloe give us one of the most beautiful examples.

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Choreography: Jean-Christophe Maillot

Music: Maurice Ravel

Scenography and drawings: Ernest Pignon-Ernest

Costumes: Jérôme Kaplan

Lights: Dominique Drillot

Video: Ernest Pignon-Ernest and Matthieu Stefani

Ballet traced back by Bernice Coppieters

Duration: 31 min

First on April 1, 2010, Grimaldi Forum Monaco

The Spirit of the Rose

The Spirit of the Rose is a short ballet about a young girl who dreams of dancing with the spirit of a souvenir rose from her first ball.

The Spirit of the Rose by Marco Goecke, Opera de Monte-Carlo, October 2019 (2) @Alice Blangero.

The Spirit of the Rose by Marco Goecke, Opera de Monte-Carlo, October 2019 @Alice Blangero

If in the version of Fokine, the female role of The Spirit of the Rose was summed up to that of a sleeping beauty, that of Marco Goecke makes it a central element. Just like her male partner, and the six friendly specters, the dancer embodies with the same energy, the powerful and instantly recognizable style of the German choreographer.

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Choreography: Marco Goecke

Music: Karl Maria von Weber

Scenography: Marco Goecke

Dramatic Advisor: Nadja Kadel

Costumes: Michaela Springer

Lights: Udo Haberland

Duration: 24 min

Ballet traced back by Giovanni Di Palma

Premiere on July 14, 2009, Terraces of the Casino de Monte-Carlo

Am I in love with a dream?

The curtains open and on the stage there is a mysterious mist, where a sleepwalker meets a metaphysical hybrid creature. An unreal encounter where provocative eroticism and interrogations about sexual identity blend forcefully and beautifully. This is a truly exhilarating piece that moves you and seduces you from beginning to end.

Am in Love with a dream? choreographed by Jeroen Verbruggen, Opera de Monte-Carlo, October 2019 @Alice Blangero

Am in Love with a dream? choreographed by Jeroen Verbruggen, Opera de Monte-Carlo, October 2019 (2) @Alice Blangero

Jeroen Verbruggen purposefully gave his piece a different title from the countless other tributes to Afternoon of a Faun, by choosing one of the first lines from Mallarme’s famous poem, Aimai-je un reve? (Am I in love with a dream?) Verbruggen created roles that could be played by women and men interchangeably, an original take on the concept of a single gender. The nymphs have disappeared and the piece offers a vague universe that contrasts with the sharpness of the bas-reliefs that inspired Nijinsky’s legendary ballet.

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Choreography: Jeroen Verbruggen

Music: Claude Debussy

Costumes: Charlie Le Mindu

Lights: Fabiana Piccioli

Duration: 12 min

Premiere December 8, 2018, Salle Garnier Opera Monte-Carlo

Lagerford, Winterthur and other eccentric tailors

Petrushka

The ballet tells the story of the loves and jealousies of three puppets that Inger turned into mannequins. While Fokine chose the setting for a village feast to situate Petrouchka’s action, Johan Inger turned to the world of haute couture in order to give his ballet an exuberant yet squeaky dimension.

Petrouchka, Ingen, Opera de Monte-Carlo, October 2019 @ Alice Blangero

Petrouchka, Ingen, Opera de Monte-Carlo, October 2019 (2) @ Alice Blangero

In the end, the destinies of the the manipulated puppets and the unfortunate mannequins seem to interlace.

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Choreography: Johan Inger

According to Michel Fokine, Alexandre Benois

Music: Igor Stravinsky

Dramaturgy: Gregor Acuña Pohl

Sets: Curt Allen Wilmer with estudiodeDos

Costumes: Salvador Mateu Andujar

Lights: Fabiana Piccioli

Duration: 36 min

Premiere December 8, 2018, Salle Garnier Opera Monte-Carlo

Today’s Quotes

“People like eccentrics. Therefore they will leave me alone, saying that I am a mad clown.” Vaslav Nijinsky, The Diary of Vaslav Nijinsky

“Now I will dance you the war… The war which you did not prevent.” Vaslav Nijinsky

The Ballets of Monte-Carlo celebrated Nijinsky’s mythical persona in four pieces Honoring the Russian Ballets It was in 2009, that the Ballets de Monte-Carlo celebrated the centenary of the Russian Ballets in the Principality, with the objective of honoring them in grand style.

#Jean-Christophe Maillot #Salle Garnier Opera of Monte-Carlo #The Ballets of Monte-Carlo #Vaslav Nijinsky

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biofunmy · 5 years ago

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What’s on TV Wednesday: ‘In the Shadow of the Moon’ and ‘Donnie Brasco’

What’s Streaming

IN THE SHADOW OF THE MOON (2019) Stream on Netflix. Mysterious, bloody, possibly paranormal murders come with an order of cheese steak in this hard-to-categorize movie. Set in Philadelphia, the film opens in 1988 with the grisly deaths of a steak-slinging diner cook, a concert pianist and a bus driver. Each person collapses on the job, blood streaming from their ears, eyes and mouths. Neck wounds point to a serial killer’s involvement. Seeing a chance to prove himself, a young police officer (played by Boyd Holbrook) throws himself into solving the bewildering case at the same time that his detective brother-in-law (Michael C. Hall, an expert in fictional serial killer stories onscreen) is doing the same thing. Where the story goes next, though, is more unusual than that premise might suggest — the relationship between investigators and killer (Cleopatra Coleman) becomes a decades-long affair that eventually involves time travel.

THIS CLOSE Stream on AMC Premiere. The actors Josh Feldman and Shoshannah Stern created and star in this dramedy, which recently released its second season. Feldman and Stern play Kate and Michael, best friends who live in Los Angeles. She’s an entertainment publicist; he’s a graphic novelist. The plot revolves around the pair’s struggle to balance their close friendship with their mutual need for self-discovery, plus the discrimination they encounter because they are deaf (as are the actors who play them).

DONNIE BRASCO (1997) 7:45 p.m. on Showtime. Audiences other than those at the New York Film Festival will have to wait until November to see Al Pacino return to the mobster movie genre in Martin Scorsese’s “The Irishman.” In the meantime, there’s always “Donnie Brasco,” Mike Newell’s tale of friendship and deception in the world of organized crime. Pacino plays Lefty Ruggiero, an aging mafia hit man who develops a friendship with an undercover F.B.I. agent, played by Johnny Depp. The movie is based on the autobiographical book by Joseph D. Pistone, who infiltrated the Bonanno crime family in New York in the 1970s. For an undercover crime story on the opposite coast, see POINT BREAK (1991), airing at 10 p.m. on Showtime. This movie, directed by Kathryn Bigelow, stars Keanu Reeves as an F.B.I. agent who infiltrates a gang of surfers who are also bank robbers; their leader is played by Patrick Swayze. It is safe to assume that it is the only crime thriller to contain the line “Caught my first tube this morning, sir.”

BLACK SWAN (2010) 6:10 p.m. on HBO. Natalie Portman plays a New York City ballerina under pressure in this thriller from Darren Aronofsky. The movie, which gives a highly dramatized peek at the world of ballet, won Portman an Academy Award. “Aronofsky makes this world (or his version of it) exciting partly by pulling back the velvet curtains and showing you the sacrifices and crushingly hard work that goes into creating beautiful dances,” Manohla Dargis wrote in her review for The New York Times.

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