Quick: If I say "Pink Floyd's Dark Side of the Moon," what's the first thing that comes to mind?
Chances are you're picturing a luminous triangle on a black background, with a single ray of light coming from one end and a neat rainbow emerging from the dispersive prism.
The cover of Dark Side of the Moon is one of many striking statements in pop culture made by the designer Storm Thorgerson, who was a key member of the creative team known as Hipgnosis that lasted from 1968 to 1983
Thorgerson and main Hipgnosis partner Aubrey "Po" Powell are part of a rarefied elite responsi
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Wavy Gravy: I remember connecting with him in Sheridan Square [in New York in the early '70s] when I was writing my first book. I ran into him and we were gonna go to this apartment in Sheridan Square where friends of my wife who Bob knew all the way back to the University of Minnesota were. She was going there to tidy up and Bob and I were going to the smoke shop at the corner for matches and various combustibles when this guy screams, "OH MY GOD OH MY GOD OH MY GOD" — then he comes running up. ... "ARE YOU ARE YOU ARE YOU ARE YOU REALLY ... WAVY GRAVY???" He's goin', "My girlfriend is never gonna believe this!" and I said, "I'd like to introduce you to my friend Bob." And he says, "Hi Bob — but seriously ... Wavy Gravy!" [Guffaws] It was wonderful. Bob got such a kick out of that, let me tell ya.
Though Jim Keltner was originally a jazz drummer, his résumé reads like a rock & roll wet dream. He's played with three-quarters of the Beatles and was "Bust
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Bob Dylan Turns 70. An L.A. Weekly birthday tribute
By Michael Simmons Thursday, May 12 2011
I'm 56 years old. Old enough to remember one president's assassination and another's resignation, black people getting beaten for insisting on the right to vote and later a black man being elected president, people walking on the moon, and more wars than I care to think about. A constant throughout my last 46 years has been Bob Dylan.
When I was a kid, my father would drive me and my siblings on Saturdays from Manhattan to Roosevelt Raceway on Long Island. We'd always stop at the same diner for a hamburger and iced tea. Each booth had its own jukebox. I'd flip through the rows of the juke and for a nickel I'd get the Four Seasons, "Little" Stevie Wonder, Sam the Sham and the Pharaohs and, of course, the Beatles.... Читать дальше »
Ballroom isn't for sissies. Hours of training and grueling rehearsals are required for a seamless meshing of minds and bodies when the music kicks in. So when Steve Valentine and Robbie Tristan take to the floor at Balliamos Dance Studio in West Hollywood, there isn't a couple that looks more elegant, more in sync or more natural together.
Beyoncé's "I'm a Boy" swells from the boom box. Confident and reed-slim, Tristan assumes lead position. As his hand encircles the gold-belted waist of his buff partner, a powerful surge drives him as he fluidly guides his crackling blond around the floor. It's high-voltage stuff. The moves are razor-sharp. "You have to show your physicality," Tristan says.
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We Don't Need No Playwright: How Ensemble-Created Work Is Changing L.A. Theater
A A A Comments (2) By Steven Leigh Morris Thursday, Mar 29 2012
A row of actors sitting side by side in chairs, collectively unrolling a ball of string. The character of Death stands with a pair of scissors, leaning over a seated actor on one side, snipping strands of string as it unfurls. The rope of life, some long strands, some short, snipped capriciously, falling to the floor in piles, like tiny corpses tumbling into a graveyard. The scene is from a workshop production of Nancy Keystone's An Alcestis Project, commissioned by and presented at the Getty Villa. Playwright-director Keystone didn't conjure the scene while sitting at a computer in her office. It was created in collaboration with improvisations and exercises by her acting compan
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A cacophony of feedback howls, odd keyboard blasts and tasty-lick guitar noodles of every conceivable rock genre echoes through the halls of NoHo's AMP studios. A burst of melodic brass from behind a door at the end of a corridor pierces the discord. It's the sound of the rehearsal stage where Troubadour Theater Company musical director Eric Heinly has spent three weeks re-creating the mellifluous sound of early-'70s rock balladeers Chicago for the Troubies' newest musical comedy mash-up, The Two Gentlemen of Chicago.
Inside the living room–sized space, a seven-piece band tunes up as the arriving Troubies squeeze into what's left of the studio. Tonight they're working with the band for the first time, trying out the retrofitted lyrics
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