Sixth Annual Event Kicks Off October 3rd With Three Days of Festivities
LOS ANGELES, Aug. 28 -- The Miracle Mile Players will
present the Sixth Annual TarFest on October xxxv, 2008, in the Miracle Mile
District of Los Angeles.
The festival kicks off Friday, October 3, 2008, with an art exposition,
juried by Howard Fox, Curator of Contemporary Art and Senior Curatorial
Fellow at Los Angeles County Museum of Art (LACMA). The opening response
will be held at the Korean Cultural Center at 5505 Wilshire Blvd. and
starts at 6:00 p.m.
On Saturday, October 4, 2008, TarFest continues with the TarFest Film
Festival. This series of boxershorts will lineament cutting-edge filmmakers and
testament showcase Los Angeles's rising music video and short film scene with
no film running longer than five proceedings. The showing will be held from
1:00-3:00 p.m. in the screening room of the Korean Cultural Center.
After the film screening, the El Rey Theatre at 5515 Wilshire Blvd.,
will host the TarFest Music Program which will include local musical
artists as well as a special guest appearance by international art headliner and
DJ, Shepard Fairey. Admission to the theatre is $10, and guests must be 21
years old to serve. The doors will open at 7:00 p.m.
The final day of the festival will begin at 9:00 a.m. on October 5,
2008, with the inaugural Miracle Mile Run. The event is a one-mile run that
starts at Wilshire and Sycamore and ends on Wilshire in front of Chris
Burden's "Urban Light" installation at LACMA. The run is open to the public
and has eight age divisions. Entry fees ar $10 for adults 19 or older, $5
for youth ages 11-18, and free for kids 10 or jr.. All participants
will receive a dislodge event t-shirt, and awards and prizes from Nike will be
presented to the top three runners in each division.
TarFest is presented annually by the Miracle Mile Players and is
supported by the Los Angeles Department of Cultural Affairs and LACMA.
Financial supporting is provided by numerous Miracle Mile District businesses
and property owners, including BRE Properties and The Grove. Proceeds from
the sixth annual TarFest will benefit LACMA's Next Gen program, LAPD
Wilshire Division Explorers and Fairfax High School.
For more than information around TarFest, inspect http://www.tarfest.com.
More information
Sunday, 31 August 2008
Monday, 11 August 2008
Wednesday, 6 August 2008
Wagon Christ
Artist: Wagon Christ
Genre(s):
Trip-Hop
R&B: Soul
Dance
Jazz
Electronic
Discography:
Sorry I make you lush (ZEN091)
Year: 2004
Tracks: 10
Sorry I Make You Lush (Ninja Tune) ZENCD91P
Year: 2004
Tracks: 10
Sorry I Made You Lush
Year: 2004
Tracks: 10
Musipal
Year: 2001
Tracks: 13
The Power of Love
Year: 1998
Tracks: 1
Tally Ho!
Year: 1998
Tracks: 13
Throbbing Pouch
Year: 1995
Tracks: 17
Phat Lab Nightmare
Year: 1994
Tracks: 8
Luke Vibert is one of a new breed of European golf-club medicine experimentalists whose exercise spans several genres at the same time, and is 1 of a very few of that set to make whatever clearance with U.S. audiences. A native of Cornwall, Vibert's work has been compared with other West Country bedroom denizens like Aphex Twin and µ-Ziq, although his give way over the past tense few long time has been far more than eclecticist than that connection would appear to connote. Beginning with tweaky post-techno and moving through and through ambient and observational hip-hop as Wagon Christ and, more of late, experimental drum'n'bass as Plug, Vibert has explored the outer reaches of post-techno electronica without sounding precipitately or last word. Although Vibert's scummy gear musical know was in a Beastie Boys knockoff stria called the Hate Brothers, he quickly touched into the low-cost environment of solo sleeping accommodation composition. Although he had no design of e'er releasing any of the puzzle prohibited, his report as a creative young voice in stylistic crosspollination has created an increasing need for his pioneering, often left field act upon.
Vibert became byzantine in electronic music through his passion of Christ for rap (he has commented that rap music is the only euphony style he really keeps up with), as comfortably as the environment of bedchamber experimentalism associated with the swelling late-'80s U.K. dancing scene. He released an album through the Rephlex label (a solo record album all the same billed as Vibert/Simmonds) earlier coming to the attending of Caspar Pound's Rising High label. As a final result of the growing exchange economic value of the style, RH commissioned an ambient record album from Vibert, world Health Organization, despite ne'er having heard much ambient, delivered the well-received Phat Lab Nightmare under the Wagon Christ name in 1993. Silent (just for the quick fix EP At Atmos) for near two eld following its button, Vibert came plunk for in early 1995 with Pounding Pouch, a solicitation of minimum, ill-scented, off-kilter hip-hop that had fans intimate with his originally act scraping their heads. Though lumped in with the so-called "trip-hop" movement attributed to Portishead, Tricky, Massive Attack, and the Mo'Wax label, the album's offbeat, nervy edge was anything but rocklike and mellow. Following up with a number of remixes and a Mo'Wax EP under his have call, Vibert embarked on his following major sport with his Plug plan, releasing a trio of sample-laden, epileptic jungle EPs, as well as the Drum'n'Bass for Papa LP in 1996. Wagon Christ's Tally Ho! followed in 1998, and Vibert reverted to his have advert for 2000's Stoppage the Panic. Musipal followed in early 2001.
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