His re-appropriations aren’t obscure, and the commonplace nature of many objects in his art provokes and amuses upon first sight. A chance to sample Biggers’ most recent work is happening this month, with a new exhibition already open at Contemporary Arts Forum, part of a series of events stretching into April that intend to introduce the artist to a larger audience.
BASSH, the annual celebration of Santa Barbara’s dance community that spins across the Lobero Theatre stage this weekend can’t shake its acronym even when it tries. In years past, its letters have stood for ballroom, Argentine, salsa, swing and hip-hop. Too specific, the Santa Barbara Dance Alliance thought this year, and opened up the adjudication process to a broader selection. They dropped the Argentine Tango…but then two Aerialists took their place. You know…with a capital A…
So, BASSH remains and still stands for something. Now celebrating its 10th anniversary, why mess with a good thing?
Is EOS as schizophrenic as it appears to be? During its late afternoon hours, it’s all icy blue and purple, chic and modern. Throw in a couple go-go dancers and we’d be at a New York nightclub, trying to get a seat next to James Bond. Wait until about 11 p.m., however, when the place is loud and proud and crowded out, and you’d be lucky to spot the exit sign from across the room. Is there any room in this madhouse for a cocktail?
Well, yes, according to bartender Andy Davis, who says he will gladly be muddling fresh ingredients even when five or 10 guys are waving dollars over the bar and waiting for beers and Red Bulls and whatever else people drink on dancefloor breaks.
All Semyon Semyonovich wants is a late-night snack of liverwurst. Yes, he’s duly upset when he realizes his career as a concert tuba player can’t start because he can’t afford the piano to tune it. And yes, he’s been unemployed for a year. Somehow, though, his thoughts turn to suicide, and that’s where his real troubles begin.
Nikolai Erdman’s dark farce “The Suicide” has a history as troubled as its protagonist. Written in 1928, the Soviet author’s play ran afoul of authorities over its subject matter (and cracks against Marx), leading to its decades-long ban. Toeing party line, Erdman never again took on such weighty issues, opting instead to write children’s comedies.
All Semyon Semyonovich wants is a late-night snack of liverwurst. Yes, he’s duly upset when he realizes his career as a concert tuba player can’t start because he can’t afford the piano to tune it. And yes, he’s been unemployed for a year. Somehow, though, his thoughts turn to suicide, and that’s where his real troubles begin.
Nikolai Erdman’s dark farce “The Suicide” has a history as troubled as its protagonist. Written in 1928, the Soviet author’s play ran afoul of authorities over its subject matter (and cracks against Marx), leading it to be banned for decades. Towing party line, Erdman never took on such weighty issues again, opting instead to write children’s comedies.
Four retellings of an incident resulting in a dead husband and a raped wife … four perceptions of a reality in which each teller confesses to a crime instead of hiding it. All are plausible, and all seem understandable for the characters. What to do?
If you’ve seen “Rashomon” before, it’s worth seeing again (and again). If you’ve never seen it, the time is long overdue to enjoy a classic that still stands up as such. Either way, a brand new 35 mm print of the film comes to UCSB this Tuesday evening.
The 11 tracks on Phantogram’s debut album, “Eyelid Movies,” already show a band — a duo, actually — with a wealth of ideas. From techno-soul to post-punk song structures, from ballads to half-sung rap, Josh Carter and Sarah Barthel, surround their music with a mix of down-tempo beats, thick guitar riffs and sometimes ethereal/sometimes menacing synths. A teeny-weeny little bit of Portishead, yes, but the group is funkier, cooler and, well, more East Coast … Saratoga Springs, N.Y. to be exact. They make it all the way cross-country this weekend to treat Goleta and the Mercury Lounge to their ghostly effects.
Indeed, ghostly effects are why “Phantogram” is such an appropriate name for the group, and much better than their first choice, Charlie Everywhere, which they had until signing with Barsuk Records.
The Marmalade Café took over the former Red Robin in La Cumbre Plaza over two years ago. Two years! Time has flown, as we here in mixology central are only just now getting around to checking out the bar that sits in the middle of the café like a rugby scrum. Let’s get this done, we said, in our own little huddle.
Bartender Kristian Nelson has been here since they opened, but he also slings drinks at the Shoreline Café (a place we shall be shortly looking at, so keep posted). Both places are a switch from the complete hectic schedule of Wildcat, where he really learned his trade.
Viewers have to figure out a lot of these relationships themselves and become like the characters in the film, closely examining body language and eyes. Denis makes us work more than other filmmakers, and a lot of “35 Shots of Rum” is like being at a party for new friends and trying to figure out how everybody is related.
Photo courtesy of Hooliganship
Half animation revue, half performance, all weird, Cartune Xprez (its name a nod to USA Network’s own animation show) grew out of the minds of Burr and his co-conspirator Christopher Doulgeris.