Podcast appearances and mentions of crystal pite

fWotD Episode 2872: Flight Pattern Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Sunday, 16 March 2025 is Flight Pattern.Flight Pattern is a contemporary ballet choreographed by Crystal Pite, set to the first movement of Henryk Górecki's Symphony No.3. It premiered at the Royal Opera House, London, on 16 March 2017, making Pite the first woman to choreograph for the Royal Ballet's main stage in 18 years. The ballet won the Laurence Olivier Award for Best New Dance Production in 2018.Flight Pattern examines the plight of refugees, drawing inspiration from 20th and 21st-century events, particularly the refugee crisis caused by the Syrian civil war. The ballet starts with 36 dancers performing on stage and transitions to a series of duets and solos originated by the dancers Marcelino Sambé and Kristen McNally. The piece was mostly positively reviewed by critics, with many praising the performance of the two soloists and the choreography of the ensemble. In 2022, Pite expanded the ballet into Light of Passage, with Flight Pattern becoming the first part of the ballet. The narrative is non-linear and the movement uses lines created by the dancers' bodies and formations of queues to create tension on stage.This recording reflects the Wikipedia text as of 00:53 UTC on Sunday, 16 March 2025.For the full current version of the article, see Flight Pattern on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Danielle.

This week on the pod, the gang settles in to the project and describes their experience with Gord's 3rd solo release, The Grand Bounce.Transcript:Track 1:[0:01] Hey, it's Justin. You know and love us on the Discovering Downey podcast, right? So come hang out with us in person for the finale. Join us for Long Slice Brewing Presents, a celebration of Gord Downey at The Rec Room in downtown Toronto on Friday, July 19th. Craig is coming from Vancouver. Kirk is coming from LA. I'm driving from Vermont. And JD is like walking down the street or wherever he lives in Toronto. Tickets are available now on our website at discovererndowney.com. And when you get your tickets, that means you can come hang out with us and our very special guest, Patrick Downey. And you can bid on some incredibly cool silent auction items, all while jamming along with tragically hip cover band The Almost Hip. And most importantly, helping us raise money for the Gord Downey Fund for Brain Cancer Research. Crack open a long slice, put on some Gord tunes, take a journey with us on Discovering Downey, and then crack open another long slice on July 19th and hang out with us in the 6th. I always wanted to sound cool and say that. For more information, follow us on all the socials and visit DiscoveringDowny.com. Cheers.Track 2:[1:23] Thanksgiving. Victims and their victim-ears sit down to Turkey hungry for punishment full of mercury fullimate, serene after the screaming. Grace makes the mouth make shapes it's never made before. We give thanks for the poetry we read and write all day. For freeing us to drink with impunity a toast to no punishment replaces Amen. The prayer is swallowed away for the silence and the quiet carving serene after the was screaming, a little violent, but turkey nevertheless.Track 1:[2:08] Welcome, music lovers. Long Slice Brewery presents Discovering Downey.Track 2:[2:16] Hey, it's J.D. here and welcome back to Discovering Downey. This is an 11-part opus with a focus on Mr. Gord Downey, the late frontman of the Tragically Hip, but somebody who also gave to the world an extensive solo discography. Eight records in total. But have you heard them? That was what I sought out when I enlisted my friends Craig, Justin, and Kirk to discover Downey. These three are giant Tragically Hip fans, but they had little to no exposure with Gord's solo oeuvre. So every week, we get together and listen to one of the records in chronological order and see what we think. Did we miss out? Or did we make the right choice? We're going to find out on Discovering Downey. This week, we're going to dive into Gord's third solo release. This, with The Country of Miracles, it is the grand bounce. Now let's go to the team.Track 1:[3:27] Justin St. Louis, how are you doing this week? Week i'm worn out man and uh i'm ready for this thing to to take over my life tonight and just be back in the normal and enjoy the music and enjoy talking about it with you guys love it yeah kirk where are you headed off to next yeah actually heading off to the big apple nyc i'm uh going to be chaperoning my uh my youngest and they're going to be performing at carnegie so very proud pops Pops. And, uh, we just got back from a really cool trip in Memphis and Nashville and they did really, you know, they did fantastic there. So I've been surrounded by music and, um, that's inspired me, but I'm gonna, you know, concur with Justin and say, I'm definitely looking forward to a discussion about this album. I mean, uh, it's been a pretty cool journey so far, but this, I think this is gonna, this album is going to spark a pretty good conversation in my opinion. So, but doing well and looking forward to traveling again. It'll be interesting for sure. Craig, how are things on the left coast, motherfucker?Track 1:[4:36] Not too bad. Just got back from a family trip to Disneyland that was six years in the making. We tried it, you know, in 2020 and it didn't work out. And so we finally made it down with the kids and spent a few days in LA at the end of the trip and was lucky enough to have Kirk from Chino drive all the way out to LAX and we hooked up for.Track 1:[4:59] Little conversation and yeah, it was cool. It was a good time. Yeah. So first time meeting in person, which was a great night. It was really cool. Yep. No, it worked out actually great. I just got back from that trip with a choir that I'd mentioned and then, uh, hadn't seen my mom in a bit and she was actually staying, um, uh, doing some pet sitting at a house in garden Grove that had some good memories. So it kind of was a half, half the distance to LAX. So it worked out perfect to go and meet you and and i appreciated uh appreciated you giving up some time from your family for a little bit to have a good conversation so and i know it'll carry over tonight well this week on discovering downey we're here to discuss and dissect the june 2010 released from gord and his band the country of miracles consisting of the usual suspects canadian musicians oh.Track 2:[5:48] Man i'm gonna butcher this julie duaron right is that right yeah so she's on vocals guitar and bass then there is gourd's frequent collaborator josh finlayson.Track 1:[6:02] Dale morningstar on lead guitar dave clark on drums and dr p on keyboards chris walla a former member of death cab for cutie turned the knobs on this release but where do you start with the grand bounce it's been seven years and three albums since Gord's last outing, and The Country of Miracles sounds as though they've been chomping at the bit to jam with Gord yet again. This album, to me, is a band album as much as it is a Gord solo affair. As a result, it sounds more cohesive than the previous two releases. While it rarely reaches the heights of Battle of the Nudes, it is a remarkably consistent effort. It's worth noting that the songs on The Grand Bounce seem more structured and maybe even more thought out as three to four minute rock songs that are reminiscent of Gord's day job, The Tragically Hip. There's an energy on this record that's palpable. Perhaps it's the shorthand of working with the same band for three consecutive records?Track 2:[6:58] I'm not sure, but it's there. Now, once we get into the songs on this 50 minute, 13 song opus.Track 1:[7:06] It's tough not to get caught up in the sonic presence that Walla brings to the table. There's a depth to the maturity, And I'll use the term again, a cohesiveness that wasn't as pronounced on the prior two efforts. While the grand bounce is a perfectly fine listen, it's only after letting it grow on you. For me, it sat growing on me since I did the fully and completely podcast. And that to me is when it shows its real prowess, creating earworms and hooks that reel you in and invite you over for dinner just to hang out with the music.Track 1:[7:40] But what do our friends Craig, Justin, and Kirk have to say about the Grand Bounce? Let's not waste any more time and get right to them. Kirk from Chino, talk to me about your first experience with the Grand Bounce. Yeah, well, after we had finished up talking about Battle of the Nudes, I had had some travel for work, and then I was getting some other stuff ready for a very busy week. So I didn't get to jump on to a listen right away. I mean, it was a number of days. But I was doing a walk at night and, you know, cool walk with the dog and had it in my AirPods. And just right away, I was really taken by it. I really felt the maturity of it, you know, very reminiscent of what you had mentioned, JD, in your lead up to, you know, the discussion about the album is it just had a maturity to it. The band, it felt like a band album, exactly what you said. and I, as much as I loved the first two albums, I just felt a comfort. Like the whole time I've listened to this album, which is, I don't know, maybe 15, 20 times at this point, it just, it's a warm blanket to me. It's like, it now is okay.Track 1:[8:57] It's okay, I can like Gord Downie as a solo artist. You know, I just had a great experience with it. I really, really loved it. I could spend a lot of time talking, but I want to hear what the other guys have to say about it. Well, Craig, what do you think? Yeah, this was really a grower for me. I wasn't sure when I first put this on. I didn't think I would like it as much as I do. And overall, I really love this album. I have maybe a couple of critiques, which we'll get to later. Later but my my journey with this album actually goes back to 2015 when you may remember jd that we had a bunch of target stores open in canada in whenever 2010 maybe and they only lasted about four or five years and they went went under and when they were closing down they had cds on sale for five dollars you can get any it could get any cd and i happened upon the grand balance and And actually the next album we'll be doing next week and pick those both up for five bucks. And they sat on open for many years and I just opened them for this podcast. So I I'm lucky enough to have an actual podcast.Track 1:[10:05] Physical copy and the liner notes that came in them so i may be able to offer a few little nuggets um one i would just want to mention off the top chris walla is actually mentioned as a member when it says the country of miracles are and it lists all the members plus him so i believe he was playing guitar on wow much of the album wow very cool some of those videos he was playing so that i'm not surprised by that and i love that thank you for sharing because this is actually the only album that I couldn't get. I tried to get vinyl of everything, but I don't have a CD. So everything has been streaming or online.Track 1:[10:41] And I watched several videos with interviews and he talked specifically about the inlet, the vocal or the lyrics. And you just showed a picture of it, Craig, and it's not the standard sizing that you normally get. So I appreciate you sharing that. That was pretty cool. And I think also what I learned with this album is again, just to trust Trust, you know, Gord, you know, you may not like it right away, but give this album a good listen if you haven't before. It took longer to grow on me than the other two, but highly recommended. Yeah i think a good strategy with this record is to listen the fuck out of it for like two or three days and then put it on the shelf for a week and then pick it up and there's something like kirk was saying that's comforting about it you come back to it and you're like whoa this is really fucking way more hooky than i imagined when i first listened to it but let's uh talk to our friend mr st louis what do you say on the matter of discovering downey v the grand bounce So I also had the word warmth written down, and I did take your strategy, JD, of I listened to it probably 10 times. I started immediately after recording our last episode, which is how I had done the previous. I was like, okay, this is not Battle of the Nudes.Track 1:[12:04] And I immediately heard what I thought was Bob rock sound. But then I realized this isn't Bob rock sound and neither were those other two albums. This is the era that Gord was in with the hip and all of the Bob rock haters probably owe him an apology because this is the type of stuff that Gord was writing at that time. And so it did feel familiar and it did feel comforting and it did feel warm and I liked it. I also, you know, during this time, um, when the album came out i was listening to kings of leon and mumford and sons and stuff like that and there's a lot of that in this in this sound and i you know i was a uh death cab for cutie fan at the time and you know postal service and all that stuff i mean so it was very contemporary for for when it came out and it felt like it belonged in that 2010 range but.Track 1:[12:58] For me, it was a big letdown after Battle of the Nudes, because that album was so damn good. And because we didn't have seven years between recording these episodes for our musical tastes to change, it was like, whoa, this is a massive shift from what we had just digested into this new album. I don't hate it, but I don't think I love it.Track 1:[13:20] Wow. Yeah. I don't see it as such a massive shift. It's going to be interesting as we get into the track by track. Should we do that now, gentlemen? Let's go for it. Let's do it. Okay, the first track on the record is a great one for me in the sense that winter has ended. But when I think about winter, I think about that. I think about Gord standing on the edge of Riverdale Park and having somebody discuss this east wind with him, this strong east wind that blows in and is very cold. And we're going to hear from Craig first on this one. So, Craig, what do you think of the east wind? This is the one song off the album I was familiar with. I had seen maybe a video, I'd heard it quite a few times, and I love it. I think it's a great opener. I want to point something out really quickly that you guys wouldn't necessarily know without the liner notes, but there are Roman numerals, one through four, throughout the album. And at first I thought maybe it was to do with the record I thought maybe the four-sided record which it is, I looked it up but the.Track 1:[14:29] There's three songs per side on the records, and it doesn't quite jive with the numbers in the booklet. So what I think is, I've come up with a little story around, this isn't a concept album by any means, but it's definitely got a story to it. And so I've actually listed what I think the story is about, and I think section one is about a move. And so you've probably done the research too and and gourd at the time was moving up to glenora on the um on the great one of the great lakes so this this first section i think all the songs kind of relate to moving uh the east wind maybe not as much but also interestingly enough the east wind is the only song that doesn't have lyrics printed out in the booklet and i'm not really sure why that would be what yeah so there's a quote at the top it does say the the quote about the east wind is the laziest wind, but right under that is track two. And if you saw some of the video research or YouTube, he talked about it was a neighbor who was a farmer who was describing the east wind, the laziest wind.Track 1:[15:40] So I found that very interesting, Craig, when you proposed the theory of the story. Because I could think to several of the different interviews and different discussions about different songs and how he's definitely pinpointing some real life things that are happening. Like you mentioned the move and, and, uh, obviously some discussions about relationships and, and then he's got his kids involved in some of these songs too. So you may be onto something, my friend. Another theory theory I have is that maybe this song is meant to be like a little bit of an introduction sort of before the story starts. And maybe that's why it didn't have the lyrics in here or maybe it's a misprint who knows, but the song itself musically is, is great. Uh, very much a band jamming again, like we're used to from the previous two albums, but just more layering, more production.Track 1:[16:30] I really love how the guitars are layered. From my count, there's five guitar players on this track, including one who I couldn't find any mention of anywhere on the internet. Someone named Edgar Lewis played guitar, and I believe he plays the guitar at the end, the little guitar melody, the sort of New Order style melody at the end. I couldn't find anything about who he might be. The name Edgar, of course, made me think of Gord's middle name. So not sure if there's a connection there. But yeah, I could not track this person down online. Anybody out there knows who Edgar, what his name is? I apologize. What's his name again? Edgar Lewis or Louie.Track 1:[17:10] Edgar Louie. If you know who Edgar Louie is, shoot us an email at discoveringdowneyatgmail.com. I wonder if he's an acquaintance of Chris Swala. Possibly. Although they did record in Kingston, so it would have been quite the trip for one little guitar melody. But yeah, maybe he was someone working in the studio. Maybe he's a friend of the band or who knows. But yeah, the Chris Walla production is very noticeable on this song. The way things are, you know, I think Gord even mentions in an interview, he just keeps layering things every few bars and very evident. The drums are a good example of this in the song. They come in kind of lightly, but they're still pretty intense. And then the toms come in, and you've got that really almost tribal beat for the first few bars once the whole band kicks in. And then you get just sort of a regular beat. But it's always driving forward. There's always momentum with the drums. It's always picking up momentum right through the end of the song and really strong playing all together. Such a solid song. I think the second part of that build, when I first heard it, was like, oh, this is sort of like maybe some of the tone that was on Battle of the Newts, where it was kind of subdued and subdued.Track 1:[18:31] Just there. And then there's this massive sound, which really works. I do love the song a lot. And I believe you that there's five guitars in it. Um, cause if you have earbuds in and turn it up, you, you feel it. Yeah. And while the chords are quite simple, when you really listen, there's actually a lot going on, even with Gord's guitar. And I feel like on this album, he has matured as a player. You can tell, you know, he's got another seven years of experience and we never did really talk about on the previous episodes his guitar playing but when he first started playing guitar in the hip it was a bizarre thing to watch his strumming patterns it was so awkward to watch him as a guitar player and i'm not even sure he was really too much in the mix back in the early days but he has grown so much as a guitar player he's playing a lot in open tunings i believe i've read that open c was his favorite so i think a lot of the songs on this album or an open C. I noticed in the videos he was playing a Tele for much of this session rather than acoustic.Track 1:[19:33] And yeah, there is a lot of subtleties to the guitar playing, even though it's basically two chords through the whole song. I was going to mention, Craig, and we've all obviously did our research and saw the YouTube, but the bathhouse sessions when they were recording. And, and I'm honestly, it's like, it's a question to this group. They, they were all isolated, but they were all playing live. And you had mentioned how much he was playing guitar. And in the, that little six part series, I loved how Gord was so committed to playing guitar, as you had mentioned. Like there was typically when you're recording an album like you want to do the the vocal and the guitar separately and he was nope i'm going to do it together because the guitar strumming was creating some of the cadence of the vocals and and i loved how or i felt like that was demonstrated there so i think that's a great point that you brought up craig that he was really focused on that playing yeah that makes this album easier to sing to we had mentioned whether i don't remember if it was on air or off air, but we had all had trouble singing along with the first two albums. And this one is much more poppy and rhythm driven. And I think you're absolutely right, Kirk, that him playing the guitar as he sings and it's in every take really kind of made that happen. I also did notice if you, it's really low in the mix, but when this track first starts, somebody says, no more takes.Track 1:[21:01] Like, we have to do it this time, you know? I really, I picked up on that and I enjoyed it, especially after watching that six part series. I'm gonna jump on your story theme, Craig, and Moon Over Glenora.Track 1:[21:14] The next song on the album.Track 1:[24:18] I absolutely love this song right and he talks about the ferry ride and that really goes along when you think of the east wind and being off the lake and then now talking about the ferry, uh justin what'd you think about this song oh man this song solidified my crush on julie this is, such a great track and the duet through every word and then the live performances of this song that i I was able to find on the, on the hips now for plan a record, there's one lyric that's, we don't want to do it. We want to be it talking about the music and they are absolutely the music while they're playing the song. And it's just a lot of fun. And it's like a, it's like going to a club show, which it probably was. I really did love the song. And for me, the ferry ride across Lake Champlain is just a part of life here when you're going over to New York and it just, just talking about the spotlight, finding the ice in the water. I've been on that ferry and the song is really, I think, about two people falling in love, not knowing that they're falling in love. And they're kind of bickering and arguing about it. And they get outside in the ferry and it's cold and it's terrible and you got to stay warm, so let's complain about something.Track 1:[25:29] And they talk about the wolf and they've killed the wolf by the end of the ferry ride. You know um it's the the imagery is really cool and the dead lake right isn't that the last the ocean is dead the ocean is dead yeah yeah it's a great little song i really do love it but i think the star is julie and this really she's fantastic yeah i uh story-wise i actually had almost the opposite thought to me it was maybe um a couple falling out of love and maybe this is the the cracks are starting to show. Like maybe it's not totally fractured yet. And again, I'm not saying that this is about Gord or, you know, I don't know too much about his personal life, but I do know parts of this are inspired obviously by true events, you know, the move to Glenora. Did anyone watch the interview with Gord with Kim Mitchell? If you guys even know who that is? Yeah, I did. Do you know who he is?Track 1:[26:26] Well i had to look it up i didn't know who he was immediately and i got confused because it was that little two-part interview and he had mentioned something about being and i think like saint paul minnesota and it threw me off because it said toronto but then in the second part they they confirmed they were talking in toronto um the one thing sorry and i hopefully i don't derail your thought but the one thing that i loved on that particular interview is the reverence that gordon had for that particular guy so i definitely had to look him up you know to see the songs that he was involved with and and he was uh you know as he mentioned in that he's a hero so sorry go ahead i just wanted to bring him up because he's a you know a classic canadian artist i'm wearing my my cancon shirt here and uh he was definitely a a big part of you know the music scene here in in the 80s and 90s i guess i brought it up because um this was a song that he mentioned really loving that you know kim really loved it also i found it really interesting I'd never heard this before, but Gord references a song that the two of them wrote together.Track 1:[27:29] And by the sounds of it, it's a song that was never released. So it sounds like Kim Mitchell had a song he wrote and then Gord wrote the words too. And so there may be an unreleased song out there, or maybe if a listener's heard this or has any idea how to track this down, I'd love to hear it. So that was my only thing I wanted to add. Oh, and also Dale does some really really cool guitar, little shots on, on this sort of beat two and four. And then he does these little muted scrub scrubs. I'm not even sure how to.Track 1:[27:58] How to put in words what that sound is i'm you know what i mean kind of like a pick almost like a pick slide into the the bends i mean i don't know it it's almost it's a it's a technique it's not it's a rhythmic pattern that he's doing yeah and with with some notes in there but they're sort of muted but anyways i thought that added some nice accent but i agree with with you justin that julie really steals the show on this one it's such a good song on many of the songs on this album that combination of voice, to me, that was what I had mentioned earlier about how much I enjoyed this album, is when you feel that the band is now a band and you feel that connection. But we are so used to hearing Gord as part of the hip and that amazing combination of vocals that he has, you know, with Paul and then obviously with the guitar phrasing and how the hip is the hip and you can hear that. And I think with the vocals that he has with her on many of these albums, but especially on this particular album and several of these songs, to me, that really solidified like, okay, this is a great combination of musicians that are doing fantastic things. So I so appreciated this song.Track 1:[29:19] Another, Gord has that ability to do like an upbeat rhythm and kind of like Pascal's Submarine that we talked about in the last album, where it's kind of a dark subject, but it's a very upbeat song. So I really felt that with this particular song. I couldn't help but think, as he said, the ocean is, as they were repeating, the ocean is dead at the end. I was just thinking about all the water songs that Gord has and how water must be his Roman empire. There are a couple things that come up on this album over and over. Water is one, color is another.Track 1:[29:57] Um, and day and night is a third thing. There was a fourth, I can't remember right now, but there was some definite themes through the entire album. Kirk, what did you think when you first heard as a mover? What I loved specifically about as a mover is the buildup. I think Justin may have referenced in, in some of the, those interviews where, um, how the production was every four bars, you got to get something new. So this really was uh okay you know you get the train feeling that's going on it's that moving it's the transformation it's the sorry not transformation but him him relocating to glenora as we'd mentioned now we're going into this as a mover and you know this these lyrics not just specifically for this song but for for this all album and i think in one of our messages together.Track 1:[30:53] It was hard to pin down some connections on some of these there there are some that are that are there but I agree with that that that guidance on that so as a mover to me loved it you know the sarcasm hey baby want to kiss closes it out with that that that particular theme and it's It's a driving, great rhythmic song. Another thing that was clear in my memory in some of the interviews that we got to see was he was so excited about this album in that it was genre-less, right? You can't just say it's a country album. You can't just say it's a pop album. You can't just say it's a jazz album. It has a little bit of everything. And he even talked about touring for this particular album, that they were doing a bunch of festivals and that they were jazz festival, a pop festival, a rock festival. It was different. So he was pretty proud of that fact. And I got that feeling with that as a mover. Justin, what was your take on the song? So I found a note somewhere that when Gord was writing this album, he was reading a book about Custer. And the title of the album, The Grand Bounce refers to a phrase that was coined during the Custer's involvement, whatever, in the 1860s. Whenever they deserted the cavalry, they called it the Grand Bounce. And desertion and moving and all this stuff really tie in together and –.Track 1:[32:22] This song is kind of what really sparked my thinking about that. Like, you know, this is, there's something happening here and yes, the, the train, you feel like you're on a train as soon as the song starts. And, um, it's definitely a different sound. This song is way different than anything that Gord had put out previously. And I know, again, I, it, it kind of rubbed me the wrong way a little bit. I mean, I've, I've come into all this with an open mind, but it was like, what is he trying to do here? It didn't, the production of this album, And the sound of the songs just did not match up with the first two albums. And this doesn't even match up with anything else that's on this album. And my first reaction was, is he trying too hard with this song to sound different? But it certainly has grown on me. But the theme of moving and desertion and the grand bounce itself, this song tied the album title together for me. Craig, what do you think? In the lyrics, you've got the wife, you know, not wanting to move and you've got the kids wanting to move all that, you know, wanting to go everywhere. And he says he's in the middle, he's got no opinion. So I kind of like that tension in here. I also love the line where he rhymes pressure and less sure. Oh, and he does it in this low register the second time through?Track 1:[33:44] I'm even less sure. And when he says it, he's almost talking it. It's so great. Yeah. And I know I mentioned to you guys in text that when I first heard this song, I was not a fan.Track 1:[33:58] And JD, you were a bit surprised by that. And then it just grew and grew and grew on me. Like more than any other song on the album. I love the song now. I really was not a fan at first. Just love the whole feel of it. And the little drum shuffle with the brushes. And i think what i didn't like at first was just the chorus there was something weird about just those words as a mover it's just not very smooth sounding it doesn't roll off yeah and so that that kind of bothered me at first but really it's whatever feelings i had about it have totally changed now i think it's totally yeah it's a really cool song i was with you that you know At first, I just didn't like it. But then I remembered the song is now 14 years old. And when it came out, I was listening to Mumford & Sons and I was into that sound. And this could be on one of their albums.Track 1:[34:50] And I had to force myself to transport back to that time period. And I would have loved the song back then. And also the, you know, the title as a, as a mover, it made me think like a double meaning could be like a mover is also a dancer. And the next song we have is the dance and its disappearance. And this was another song that I didn't love at first. It's still not one of my favorites on the album, but once I read the lyrics, once I got into the CD booklet and started trying to figure out what it was about, I started to appreciate it a lot more. And so I just want to read you this quick quote in the booklet. There's a quote from Crystal Pite, who I believe is a dancer. And she writes.Track 1:[35:38] It is an extreme expression of the present, a perfect metaphor for life. And it goes on. Once I kind of got what that phrase meant, it just started making sense. And when you watch the live videos of this song, every single performance of this, Gord has something to say about people in the audience with their cell phones. And he's very appreciative when there's not too many people with their cell phones. And he talks about, if you're filming this on a cell phone, you're getting 10% of the experience. Put it away.Track 1:[36:08] And there was one show in Victoria and I wrote down what he said. He says, you like that things disappear as they're happening. I don't see any phones in the air trying to capture 10%. Your brain can handle it. Let it resonate. Let it sink in. Wait till tomorrow, the day after, it'll be all right. Yeah. And I love that message. Yeah, me too.Track 1:[36:26] Fuck. Kirk? This song, when I first heard it, and we've had this discussion on some of the other albums, You know, can this be a hip song? And that opening little riff on this particular song was very hip-like. And there was another interview that I had looked up, I think Alan Cross was his name. And he had even had mentioned that on this particular, he wrote simply a hip-like song. So I think that was one thing that I appreciated is there was not any fear anymore. Like, it's okay because I am the guy who writes the stuff for the hip. So there's going to be songs that sound hip like, and I think he embraced it. But I think that I, the thing that I loved about this, and as I mentioned on the other songs and you guys as well is the, the harmonies with, with, with Julie on this, like that's okay. This is Gord Downie. This is that sound where with the hip it's, this is what I sound like when I sing with Paul or whoever's doing the backup. And I believe that he really captured that in this album, but that song as well. So that was one thing that I noted in my research on this particular song. I think this is my favorite tune on the record.Track 1:[37:41] Gord had that theme, let it disappear into the night and let it happen, use it up. That is a decades-long theme in whatever he's done, and I love the message. I also love the word a squirrel. Holy crap. What a great way to convey that you can't settle down. My mind a squirrel. Holy crap. Did anyone else look up Sudbury yellow? Speaking of colors, I mentioned earlier that color is a huge theme throughout the whole thing. Also tying into the cover art, which was actually a painting by Gord Downie himself. So I think art was much on his mind during the recording of this album. And there is different mentions of colours in so many different songs. So Sudbury Yellow references the colour of the staircase at Sudbury Hall in England. And when you look up a picture of it, it's a very striking yellow. It's actually pretty neat to look up. And also another great So he rhymes the word orange with door hinge. Yeah. Blood orange with door hinge. Yeah. That's great. And I did notice the color theme throughout this and, and art is again, a decades long theme with, with Gordon. And there are many more examples through and we'll get to that.Track 1:[38:57] Well, let's stick with you, Justin, and move forward to The Hard Canadian. When I think of this song, I always, I can close my eyes and I picture, this is going to be lost on the two Americans, I apologize, but I picture Relic from The Beachcombers as The Hard Canadian.Track 1:[39:16] Beachcombers was a CBC show based in the West Coast, and there were some hard-living fishermen type, and there was one character who was sort of a scoundrel, and his name was Relic, And he just looked like a hard Canadian. He looks like the lyrics to this song. But Justin, what do you think of the hard Canadian?Track 1:[39:34] So I had two trains of thought on this. And one was that I thought Gord might have been singing about himself and just the fuck you today kind of thing. But I also thought it was about the weather, maybe in the winter. And go out to the plains and it's brutal out there. And the hard Canadian weather doesn't care about you. You know, and yeah, so the hard Canadian in my weather theory is the hard Canadian don't give a damn about you. What's a windswept face to the elusive presence of the sun to the hard Canadian? Like, you know, it's winter all the time in some places. It's dark all the time in some places, you know, north of 60, right? And it's the line, whether he's just mean or willfully dense, like the weather is controlling itself. self. It was like Mother Nature or whatever is doing this on purpose to test you. Let's see if you come out the other side. Again, the art theme, there's the quote, and it's in quotations from life nothing to death nothing, refers to a piece of art by Frank Stella, which is, forgive my Spanish here, but de la nada vida a la nada muerte. Is that how you'd say it? But that's what it translates to, from life nothing to death nothing. And it's this massive piece of art that's It's very 1965 looking and it's just another theme in there. And I don't know how it ties in other than it's a.Track 1:[40:59] You know, foreboding dark quote. That's just my, I don't know. That's my interpretation of it. But you know, Gord obviously was going through some stuff too. And, and it, it felt like this was almost a third person narrative of a first person point of view. There was two songs on the album that I'm familiar with. The hard Canadian is the first time I heard it. I had definitely had heard it before, but had not, you know, process that it was not a hip song. I think I thought it was like a deep cut hip song or something when I heard it years ago. But the other one is, and I know we'll talk about it, The Night Is Forgetting.Track 1:[41:36] He would sing it when he would do hip songs. He would sing some of his gourd songs. So when I read that story or heard about that story, I'm like, I know I've heard that song before when they played out here in LA or whatever. So, but anyway, the hard Canadian, what he had mentioned was it was Mike, Mike Clattenberg trailer park boys. That's that, that's it's one of the series that I haven't watched. I've watched letter Kenny and I've watched, you know, several other Canadian, but I have not watched the trailer park boys. And he had mentioned that it was one of the guys I guess is one of the creators and he's like yeah I got this new thing and it's hard Canadian it's dope and and so when I'd heard that description I immediately thought of like if you guys are familiar with letter Kenny like Wayne is he's hard Canadian it's just gonna smoke a you know go out and smoke and have a puppers have a dart yeah having a dart exactly so that that was the imagery that I got from it I want to point out that this is the first song in section number two lyrically in the lyric booklet.Track 1:[42:39] And I just noticed that there's a quote here from Walter von Tilburg Clark, night is like a room. It makes the little things in your head too important. And I just realized that's the second verse of the East wind. And then I glanced forward section three has the lyric from the third verse. So the lyrics from the East wind are in here, but they're, they're heading each sections. And so in my mind, and they're quotes from other authors. Is that what it is? Yeah. It was, um, he said that song was made up of the East wind I'm talking about was made up of quote, like three quotes that he, that he loved. And I had seen that somewhere. Yes. And so the hard Canadian to me is like what JD said, like I'm picturing like a relic type. I had a baseball coach when I was a kid who he's this older guy and he always had like this about one inch left of a, of a homemade smoke. And, uh, and that, that line where he says, takes a puff of puff of nothing and pick something from his tongue. Like I just picture Mr. Heller, my baseball coach who, you know, for four years, you know, first 10 minutes of practice, you don't wear a glove. You're, you're passing the baseball just with bare hands and, and just thinking back to those, those times, there was another line that I want to bring up the silences.Track 1:[43:55] He don't listen to them. Do you think that's a reference to Pascal? Maybe that's interesting. Uh, I hadn't thought that, But because I'm thinking now my mind is a squirrel and I, I'm almost thinking this is about, you know, that, that, you know, rural Canadian, um, you know, like a relic type. And in my mind, Gord is trying to say maybe that, that there's more, more to that person than, than maybe meets the eye. I don't be so quick to judge when he says he, he blurs the image, drags his brush through the wet pigment. To me that line saying you know don't be so quick to judge the hard canadian well right at the end he mentions remembering someone too and that's absolutely you know makes sense and i know a lot of hard frenchmen that are from quebec that have been through hell and you get down to it and they're just you know beautiful soft men inside but you got to get through seven layers of onion to get there.Track 1:[44:56] And that really ties perfectly into the next song, which is Gone.Track 1:[48:41] Because it has a very similar story behind it, which I'll get into it a little bit. But Kirk, what were your thoughts on Gone? Yeah, no, I love that you actually had mentioned that you're going to get into more of the meaning of it. Because I have some thoughts and ideas, but what I really wanted to talk about on this particular one, from the musician side, that I absolutely loved about it is – I'll give the note that I wrote. And I can't remember exactly who it was that mentioned it to Gord, but he said it sounded like a moose in the distance.Track 1:[49:16] And when you listen to this tune, which is a beautiful tune, another great example of the harmonies, it's another one where you just hear the range of Gord's vocals that are just phenomenal and how he can cover the spectrum with that. But the fact that Dale Morningstar was using a theremin and had several different layers of the theremin recorded on that and you hear it. And then when you get confirmation of it, you go back and listen to it and you go, oh, wow. Right. Because there's only a few songs out there that we all know and love that have the theremin. Right. There's only what the Beach Boys and Led Zeppelin or the, you know, have have really pulled it off. So it's cool to see them jump out from a musician standpoint, musicianship standpoint.Track 1:[50:05] The other thing that I wanted to mention before, and I definitely want to hear Craig's thoughts on the meaning of it, was that Gord had mentioned in one of his interviews that this and I think The Night Is Forgetting, he called it the grandma and the grandpa. So he'd had these songs for a long time and he'd matured with them. And so I think that that anticipation of so much time between the two albums, but then having songs that came, you know, at different points along the way. And I just felt like this one had, it had marinated and it was, what was presented was what had, he had settled on, because I think that happens anyone who's done music creation. You're, you write it with a thought, a producer takes a look at it, an engineer takes a look at it, the rest of the band, and it becomes something different.Track 1:[50:55] Anyway, Craig, your thoughts on some of the meaning behind it. In the booklet, there's a quote from a Polish writer named Bruno Schultz. And it says, He had not been rooted in any woman's heart. He could not merge with any reality and was therefore condemned to float eternally on the periphery of life in half real regions on the margins of existence. And apparently this was in reference to his own father. So again, coming out of the last song, it seems to kind of tie into that idea of, at the end of The Hard Canadian, where there's someone he was remembering. So this idea of, there's actually the lyric in the song, gone and feeling half real on the edge of your life. And that ties directly to that quote. quote musically the bridge that there's a building bridge with uh julie singing backup and.Track 1:[51:48] Really really great songwriting and this was another song that really grew on me it's just such a catchy kind of fun fun song uh justin what did you think no i loved it right from the beginning it yeah it builds and it starts really slow and then it gets really slow again in the middle and it's quiet. I didn't dive too deeply into the lyrics, but there's definitely, you know, this is a life story kind of thing. And maybe at the end of it. Yeah. I just, I really love the way the song made me feel and that's only surface deep, but sometimes that's all you need in a song. And I don't know, I could listen to this one over and over. And I have. Okay. Kirk, how about the drowning machine? What are your thoughts there? I think we have another nautical disaster, could we call it, on this next song? Yeah, yeah. Through Drowning Machine. Drowning Machine. Until I actually looked it up, I didn't really know what it was talking about. But apparently, the Drowning Machine is like a common name for a weir, which is a low head dam, which if you've seen pictures of them, basically what happens is the water just cycles. And just if you get if you end up going over one of these dams you're.Track 1:[53:02] Pretty much not getting out and so gourd had apparently read a story about um about some girls being saved from the the bow river in alberta and um there was actually i i kind of looked up this this bow river and there's this this notorious um spot on the river where where i believe it said had 14 deaths in 30 years and they actually had a there one story there was there was actually a boom across so if you if you're totally out of you know if you miss all the signs and you you keep going down you can grab on to this boom at one point a storm had washed it washed it away and so a couple of men died in in i believe 2007 because the the boom had been washed out and so finally they did some construction and they and they have now made it into uh an area called the Harvey, this is called the Harvey passage. And apparently people go there to do white water rafting. And there's actually two kind of, um, passages that go through now two channels, uh, at different levels of, you know, for, for different levels of experience, um, for, for rafters. I had, I had done some research on the, um, Glenora song and there's a very treacherous river that it's like, Hey, don't go there, fly over it.Track 1:[54:20] And this reminded me of, reading about that, it reminded me of Niagara Falls, just the immense force of the water at the bottom. And you're not going to get out of there if you go over the falls.Track 1:[54:37] We had a deer camp when I was a kid on the Huntington Gorge here in Vermont. And there's a plaque with a list of 30 or so names of all the people that have died in the gorge. And our deer camp was the spot where the state police would fish the bodies out of the river every time there was one that ended up there you know we we couldn't get to the to the camp because they would use the front porch to be their their base of operations oh yeah wild and i i have to say at the end um there is some lead guitar at the end by dale that really at this point in the album when I was, especially on first listen, when I wasn't totally jiving with some of the earlier tracks, this song was the one that immediately I loved, like right off the bat. And hearing that guitar when Dale finally cuts loose and really leans into that dissonance, I felt like, okay, I'm starting to get this. And Kirk, what did you think of this? Yeah, I am fascinated, obviously, with Gord's fascination with water and the nautical side of things. But again, I think this song was just another great example of their time together and how they really... And I don't know if you guys noticed this.Track 1:[55:58] I don't think they played this on that six-part one, but I really enjoyed that it wasn't like a monarchy. You know, it wasn't Gord was given direction. It was everyone was involved. And I really loved the different parts that you would see with Chris Swala and his just subtle, nice guy production tips. So, um, I really love that interaction of, of how now that they've been done.Track 1:[56:25] A couple albums together and now it had been a little bit. And I also read something about how, yeah, they wanted to definitely get that indie vibe and they definitely wanted to have a variety of different styles of music, but how they also, you know, they're also very accomplished musicians and they've spent some time with some big bands and have played in some pretty, pretty big arena. So they could bring that to the songwriting and, and, and, and the music within this. So, and I really felt that too, moving into Yellow Days, which was the next one.Track 1:[1:00:51] I love this tune. This tune to me, and maybe I'm hearing something wrong, but there was almost kind of like a jazz bossa nova, just a real kind of amazing groove to it. And I also loved hearing about the story about Josie Dye, I think was her name. And they had had a passing at a festival way back when, when I think she was a hip fan and he was just walking around and that that that's That's actually part of the lyrics in this particular tune. But I love this song. He talks about it in some of the interviews and the descriptions about just the Canadian summers and how much the Canadians love that summer, but it goes by so quick.Track 1:[1:01:36] And so they're really just trying to make the most of every time they have good weather and they have a good moment and also keeping with Craig's color theme, which I love that you brought that up and along with the storytelling that's going on uh you know this is the here we are and and enjoying that summertime and almost reminiscent of them recording this album right for the two weeks i think in august and in 09 so justin did you dig this song yeah because we have the same summer and winter pattern that that you guys would up north today you know inside baseball we're not recording this in the summer when this is coming out we're recording it well before and it was the first warm day this year and I wore shorts and it was only 61 degrees outside. It was very windy. I shouldn't have had shorts on. But you take those moments and you wrap your life around them when you can get them. And 61 felt like 81 today. And I know the Canada gray because we have that here. It's Canada gray. Even as it's warm today, it's Canada gray outside. And just the imagery of it is wonderful. wonderful yeah and i mentioned the earlier the you know the theme of of days and nights so you know that's very obvious here uh and going into the next song and um.Track 1:[1:02:53] A couple of things, Kirk, when you were saying, you know, that beat at the start, I had the same thing. I was actually trying last night to figure out what type of beat this really was. The word that came to my mind was Calypso, but then I looked it up and it was not correct. But like this South American, like it's something I've heard. Bossa Nova was what came to my mind. So, you know, Calypso Bossa Nova, it's definitely a Caribbean feel. And, you know, the fact that it's on a Gord album, you know, again, just really talks to, you know, we had your hardcore on the last one and now we're doing Calypso Bossa Nova, you know, jazz type stuff. It's brilliant in my opinion. It reminded me of my grandmother's organ, you know, had those big tab buttons that there's a there's a pre-programmed beat and it's really bad not that the song's bad but on the organ it is yeah kirk your story about the you know everyone you know in this you know having so few.Track 1:[1:03:54] Summer days in certain parts of canada it reminds me of back in 96 my band was was in winnipeg we were playing you know this show at a you know the club that all the you know the all the decent bands played at and so we were really excited about playing this this club and uh it was on a weekend we thought like this is great and it turns out it was the the long weekend in august and everyone in town leaves for the for the lakes and there was nobody in town like not just for our show but anywhere it was just bizarre so those are the the yellow days of winnipeg well let's Let's continue on with you, Craig. Keep this wagon wheel going and talk about Night is Forgetting, which is a great title. Yeah. So, so again, the day, day and night theme and we go from yellow days and tonight is forgetting.Track 1:[1:04:46] And it was really bugging me this song because I'm like, I know that I know this song and I couldn't figure it out. And then I felt so stupid a week ago when I actually looked in my, on my phone and I had the hip version of this, which is from about, I think 2005, it was just a single. As far as I know, it was just released out of nowhere. It was, uh, I think it was left over from in between evolution. Okay. So, so I did have it. So I definitely been listening to it, you know, in the past, but it never was a song that, that interested me very much. So this one again, grew on me. I think I prefer this version now. It's, it's a little more upbeat. I love the piano. So, so shout out to Dr. P, John Press, who I don't think we mentioned last, last episode, but he is such a great player. I actually looked him up last night. I couldn't find too much about him online.Track 1:[1:05:38] And he is so tasteful. He never overplays until this is like, it was almost like someone said to me, you know, just, just let loose. And you can actually see, I'm sure you guys saw on the, on the bathhouse videos, you can see him rehearsing this on his own, kind of coming up with a part and man, he nails those, those runs. It's very impressive. It's so good. So I wrote, or I heard, and I could have definitely stole it, but I heard piano flurries. And that's exactly what it sounds like as a piano flurry when it starts driving. That's exactly what my note says. Yeah, piano flurries. And the one line that stuck out with me or to me was the dew drops on the luminous veil. And I know he mentioned this in the Alan Cross interview and the luminous veil being the suicide barriers they put up on the Bloor Street street viaduct in Toronto. I guess it was a place where there was just mass amounts of suicides, just 500 suicides and they finally put up this barrier.Track 1:[1:06:41] It's a 10 minute walk from my house, the Luminous Vale. When you guys come here, I'll show you the Luminous Vale. At night, it's very pretty, but in sort of a, I don't even know, like an eerie way because Because the sections that hold the guy wires up all look like crosses. Yeah, it's heavy, man. And so my last thing about this song, in one of the interviews, Gord, he mentions that he read a quote from, I believe, Thomas Jefferson saying something about war is forgetting another country's resources.Track 1:[1:07:19] And he said, I just replaced war with night. On the hip version of this, he actually does sing war is forgetting in the last chorus. us. So he changes that for this version. But I was actually looking up quotes from Jefferson last night. I didn't find anything that resembled such an idea. So if any listeners know what he was referencing here, I'd love to hear from you. So when Gord passed, there was an interview on some news, whatever, with Ron McLean from the CBC, or I don't know if he's the CBC anymore, more, but I knew him from Hockey Night in Canada growing up. And what I think was a quote that Gord said, but I've never been able to find it attributed to Gord, was, night takes the chances, day the reward. I love that quote. And he wrote an op-ed about Gord's passing that included that line as well. And it's just a beautiful line. And I sort of.Track 1:[1:08:19] Think of myself with my work that way. I sleep three hours a night just because that's how my body works. And I'm up till one in the morning and then I get up at 5.30. But I also love that forgetting and forgetting are really just a great sound in the song that can be interpreted in any possible way. Yes, I love that part of it. And as I mentioned earlier, this was one of the songs that I know I had heard before. And honestly, until I just recently had either read or heard that it was a hip song or that it was used on a couple of hip shows, I feel 100% positive that one of the shows that I saw, they played this. I haven't gone back and look at all the set list yet, but I feel pretty confident of that. So yeah. But just love the musicality of the song. I mean, that's the only thing I would add is just the musicality is insane. I have created this little thing that I've called Gord's Annunciation Era, where he's got a section of his career with a hip where he absolutely nails every letter in every word. And think of the lonely end of the rink, and it's a very hard – and this song is a great example of that. You know he says every letter in every word in every phrase and it's just a it's very distinct this this section of maybe eight or ten years of his career whether it's with the hip or solo.Track 1:[1:09:46] And I just love how he really makes his body be an instrument with words. And also the line, he says, weird undercurrent, we're undercurrent. And again, another reference to water in a way, but just thought that was a neat little turn of phrase there. Yeah, he's so good at that. And he changes just little tiny tweaks throughout this album in many different songs with words and lyrics and how he, it sounds the same on first two or three listens. And then you realize, oh no, this is a completely different set of words. Christmastime in Toronto, he did that too on the last album. And at the very end of this song, I love how he's singing over and over. Night is forgetting and then forgetting. And then there's one time when they totally phrase it differently. There's pauses.Track 1:[1:10:37] Do you know what I mean? I mean, the very last line, I think it is just a neat little, I love songs that have just one little quirk like that. Yes, yes, absolutely. You know what? It really goes back to, I'll be leaving you or I'll be leaving you tonight. I mean, right from the beginning, right? It's just a really cool trick that he's always done. Well, another, one of the other tricks that he's famous for is invoking his children and lullabying them. The next song, Moon Show Your Lashes, to me is just the process of writing some of these lullabies and things about his children. That's what it means to me. Mr. St. Louis, how about you? I took it as his battle with insomnia, you know, which is also a common theme throughout his career.Track 1:[1:11:25] And yes, I definitely picked up on the thing. Like, you know, there's a, there's a book that my wife and I love called go the fuck to sleep, you know, talking about your kids, like just give us a break, man. And tonight, in fact, before we recorded, my daughter was taking a bath and she's trying to speak Spanish and she's yelling it and asking my wife questions in the other room in Spanish. And I walked in and Linda looks up at me and whispers, she needs to shut the fuck up. You know, just those moments of give it a rest, kid. But I think that it could be interpreted either way that like, yeah, he's talking about his kids. Like just, okay, relax. We get it. moon slow your lashes.Track 1:[1:12:09] But, you know, I think, The way that I took it was more of Gord by the lamp with a notepad trying to come up with the next song and wondering, you know, there's the line, what must he think? And no more, I think he thinks. And kind of judging himself or his work before it's even completed and just not being able to reconcile that. For what it's worth, I love the lyrics in this song. I friggin' hate the tune. I hate this song.Track 1:[1:12:39] It's so annoying. And I don't know what it is about it. And it's such an earworm. And it's the one I can't get out of my head. I can't stand the song. Get out of here. Wow. Actually just blown away by what Justin said, because I absolutely love the tune. Me too. And I think it's that 2010s, as you mentioned, you know, like there's such a massive influence from all of them individually as artists, but obviously Death Cab and that influence, but I think what they were listening to at the time. And so I mentioned that I really liked this album. So, you know, there's, there's no real duds on it for me. So, I mean, there's little things of course that I could critique, but to me, this particular album and, and, and even this song like this, this one's really up there. For me you know i'm still trying to decide what's going to be my favorite song from this and it's the first time that i didn't know instantaneously i particularly i enjoyed you know again just how it made me feel it gave me that that just that cool this is where we're at in this this time in music like it was it was it had it has some heavy lyrics but it it's i mean not crazy heavy but it was an upbeat song, I think, overall. So I appreciated it. So there was a story, Gord, in one of the interviews online I found.Track 1:[1:14:01] Talks about a radio essay he was listening to by, by someone named Neil McDonald. And he was talking about a woman who would go up to a place called high level Alberta. So when they, when he says high level in the, in the book, in, in, in the song, I had noticed in the booklet, it was capitalized. So it actually is a place up in Northern Alberta. And this woman would go up to um, Northern Alberta and, um, make, make some money. You can probably imagine how she's making her money and, and she would do this in order to support her kids. And, uh, and then when she got back to her kids, I just want to want to hold and smell. And another crazy example of how Gord writes these like incredibly upbeat, like you hear it and you fall in love with it because it makes you feel good, but it's dark AF.Track 1:[1:14:52] It's just got some real, real, real just black undertones in some of it, but the music just keeps you going. And that line that says, when, not if, after, when I get out of high level, when, not if. Yeah. And forget the, in the bridge, I think it is the forget the hawks, jaguars, the knife lickers and creeps. And yeah, it just really changed my perspective of the song and and yeah that that juxtaposition between the the sort of cute music and the dark lyrics some some more themes of um you know burgundy the color burgundy dance dance so again dance is the the one earlier that i was forgetting when i was talking about themes so themes on this album water you've got day and night you've got color and you've got dance and this song has a couple of those things in it and and to me it was like you know the things we do for our family oh like i like i said i i really love the story in the song and the lyrics and trying to figure out what i think i thought but just the tune i can't do it i don't know why man i'm sorry i'm i'm i'm not totally crazy about this song uh it's not my lead i'm actually we passed by my my least favorite without me saying but but to me um The Hard Canadian is the weak link on this album. To me, it's just a... Oh, wow. Yeah, it's just... I think it's the chord progression has just so been done before. Yeah, I'm not in love with it either. And that's the one song that I was familiar with on this album. This song, I wasn't too much of a fan of at first, but I do really like it now. It has grown on me, especially I think hearing that story. Well, are we ready to jump into Retrace?Track 1:[1:20:11] This song, my note, it just says vocally amazing. That's the note I have.Track 1:[1:20:18] I'm sure there's an amazing meaning behind the whole song. I really don't care. I just want to hear Gord sing the main line. I retrace my steps. And it just puts me in this amazing, wonderful, just warm place like we talked about in the beginning. And even Gord in some of his interviews talked about how the process and these songs were company to him. And that's what I felt with this retrace, this tune. And again, another great pairing from harmonies and also great build. And also, as we'd mentioned before, where that whole theory of every four bars coming up with something new, the retrace song, it definitely had additions and installations to create this. I just, yeah, maybe I'm dating myself, but I don't know if you guys are familiar with the band, the Smithereens.Track 1:[1:21:17] Kind of had a Smithereens vibe to it. Had a Lou Reed vibe to it. I know that there'

Join dance historian Doug Fullington as he takes us through the three works of Pacific Northwest Ballet's THE SEASONS' CANON. On stage this rep are Twyla Tharp's Sweet Fields™, Jessica Lang's stunning solo The Calling, and Crystal Pite's mesmerizing work for 54 dancers, The Seasons' Canon. Doug Fullington is the founder and director of The Tudor Choir who sing the Shaker hymns featured in Sweet Fields, as well as the music for The Calling.  Recorded in the Nesholm Family Lecture Hall at Seattle Center's McCaw Hall in Seattle, Washington in April 2024.    

Intro (00:00) Nike's AirMax DN (1:15) Breakin' Convention & How To Make Work (11:08) Crystal Pite's Assembly Hall Review (37:20) Groovanometry 2024 (56:27) Capturing Memories (1:14:40) Nike Own The Floor March Session (1:20:25) Red Bull Dance Your Style News (1:34:05) Omni vs Soyuz Reaction (1:43:57) Outro for the Loyal Listeners (1:56:30) --- Send in a voice message: https://podcasters.spotify.com/pod/show/thecapsuleldn/message

This week on Finding Your Bliss, we have our annual holiday special! Life Coach and Bliss Expert Judy Librach is joined by Prima Ballerina Heather Ogden (The National Ballet of Canada) and our very own film critic, Thom Ernst!

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2023 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links:   BC Movement Arts Society: https://www.bcmovementarts.com/   Chutzpah! Festival: https://chutzpahfestival.com/   "Body Parts" at The Cultch - Historic Theatre - May 3rd - 6th 2023: https://thecultch.com/event/body-parts/   About Mary-Louise Albert:   Mary Louise Albert is based full time in Sointula, British Columbia and is actively growing the BC Movement Arts Society (that she co-founded in 2015 and is the Artistic & Executive Director/Producer of) producing and facilitating a professional contemporary dance series, artist creation residencies, community outreach and digital dance projects in rural and remote coastal communities of British Columbia. Albert previously held a 15-year position as the Artistic Managing Director of the Norman Rothstein Theatre (NRT) and the multidisciplinary international Chutzpah! Festival. A former professional dancer, choreographer and teacher, she worked for 20 years nationally and internationally as a solo dance artist and as a company member with the Judith Marcuse Dance Company, Anna Wyman Dance Theatre, Karen Jamieson Dance Company as well as apprenticing with Les Grands Ballet Canadiens. Albert has performed work by choreographers such as Mark Morris, Crystal Pite, Lar Lubabvitch, Robert North, Serge Bennathan, Allen Kaeja, Judith Marcuse, Grant Strate, Peter Bingham, Tedd Robbinson, Judith Garay and Christopher House, to name a few. She has an extensive teaching background that includes ArtsUmbrella, Sessional Positions at Simon Fraser University School for the Contemporary Arts, Harbour Dance Centre, Goh Ballet and the Portside Academy in Port McNeill, as well as adjudicating for dance festivals throughout Western Canada.  Transitioning from professional dance at the age of 45, Albert won the nationally awarded Eric Bruhn Memorial Award from the Dancer Transition Resource Centre to attend Capilano University and the British Columbia Institute of Technology (BCIT), School of Business, graduating with a Post Diploma of Technology in Business Administration and an Advanced Arts and Entertainment Management Certificate, respectively. Albert is the recipient of the 2011 Canada Council for the Arts' John Hobday Award for Excellence in Arts Management, one of two awarded nationally annually. She was an appointed member of the City of Vancouver's first Arts and Culture Policy Council, was an Executive Board member of Temple Sholom, and was a five-year member of a Program Advisory Committee for the BCIT School of Business. She is a member of the Board of the Gate House Theatre in Port McNeill and a member of the Board of the Sointula Museum Historical Society. About Tara: Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.  

Hør Lene Jacobsen fortelle om balletten Light of Passage av Crystal Pite.

Duncan C. Schultz, born and raised just outside the Twin Cities in Minnesota, received his early dance training at Metro Dance Center. After completing his B.A. in Dance at the University of Minnesota, Twin Cities he worked with Mathew Janczewski's ARENA Dances, Olive Bieringa and Otto Ramstad's BodyCartography Project and Toni Pierce-Sands and Uri Sands' TU Dance.While in the United States, he has had the privilege of working with choreographers Dwight Rhoden, Alonzo King, Gioconda Barbuto, Camille A. Brown and Gregory Dolbashian. Following his time working in the Twin Cities, he moved to Kaiserslautern, Germany to work at the Pfalztheater Kaiserslautern under the direction of James Sutherland. Currently he is a member at the GöteborgsOperan Danskompani in Sweden with Artistic Director Katrín Hall. While in Europe, he has created and performed works by Sharon Eyal, Damien Janet, Crystal Pite, Sidi Larbi Cherkaoui, Maxine Doyle, Alexander Ekman, Ohad Naharin, Roy Assaf, and Marina Mascarell to name a few. He received the Sage Award for Dance in 2014 as an Outstanding Performer and in 2016 as the Hoffnungsträger (Bearer of Hope) by TANZ Jahrbuch in Germany.

World-renowned choreographer Crystal Pite discusses her career path, how she developed her community of collaborators, and how she interprets movement when she's out in the world. Crystal's company, Kidd Pivot, performs "Revisor" in partnership with On the Boards at Seattle's Paramount Theatre on March 1st.

In 2015 an estimated 1.3 million refugees poured into Europe, many of them from war-torn Syria. It inspired Crystal Pite to tell their story in her own way - by creating a contemporary ballet for them called Flight Pattern. The Canadian choreographer has since expanded it, making it into a full length work called Light of Passage which had its premiere late last year with The Royal Ballet. Crystal's repetoire is expansive - she's created more than 50 works for some of the biggest dance companies in the world. She formed her own company - Kidd Pivot - in 2002 and is bringing one of its most popular shows - Revisor - to the Auckland Arts Festival next month. And Kidd Pivot is one of the first dance companies in the world to make itself carbon neutral while on tour.

Happy Birthday to Rudolf von Laban, Mary Skeaping, and Crystal Pite! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Join Doug Fullington introducing our second program of the 2022-2023 Season. Recorded live in the Nesholm Family Lecture Hall in McCaw Hall in Seattle, Doug takes us through the three works that will be on this program. Works include Catching Feelings, a world premiere from Dwight Rhoden, George Balanchine's Duo Concerto and closing with the North American premiere of Crystal Pite's The Seasons' Canon.

This episode of PNB's Conversation Series features choreographer Crystal Pite. She and PNB Artistic Director Peter Boal talk about community and mentorship of young dancers and choreographers, insight into Pite's creation process and collaborators on her work The Seasons' Canon, and her creation timeline for new works on her own company Kidd Pivot.    This episode was recorded live in the Nesholm Family Lecture Hall inside McCaw Hall in Seattle, Washington on November 3, 2022.

In this episode of the HET Podcast, our co-host, Dr. Mahlon Stewart interviews Dr. Iris Platt. Dr. Platt helped coordinate and instruct an elective course on health equity and social justice. Join us for a discussion on how graduate students can be involved in their own education and how it influences their early careers as physical therapists. Biography: Dr. Iris Platt is a physical therapist based in New York City. She completed her doctorate at Columbia University, where she also earned her Master's Degree. Her research background includes the neuroscience of movement in cognitive disorders as well as the significance of pelvic floor health. Before pursuing her research and clinical practice, Iris trained in Ballet, Modern, Tap, and Jazz at Boston Youth Moves under the direction of Jim Viera and Jeannette Neil. An avid dancer, she competed in Latin and Ballroom DanceSport before moving to New York City to further pursue dance at Marymount Manhattan College. She has performed works by renowned artists including Barak Marshall, Ohad Naharin, and Crystal Pite.

Zij: een van de grote sterren van de hedendaagse dans Hij: geliefd acteur en theatermaker Samen: een verbluffende demonstratie van wat er kan gebeuren als het leven kunst wordt Hun vorige samenwerking Betroffenheit blies iedereen omver en won de hoogste onderscheiding in het Britse theater. Hun nieuwste voorstelling Revisor belooft weer theatraal vuurwerk. In deze aflevering zoomt Maarten Bos in op deze bijzondere samenwerking.

Instagram: @maddieelise99 • Madison Pineda began dancing in Sacramento, CA, and later in Keller, TX. After completing two years at the Joffrey Ballet School Jazz and Contemporary Program under artistic director Michael Blake, Madison studied and recently graduated from The Juilliard School in June 2021. She trained at summer intensives including Jacob's Pillow Contemporary Dance Festival, the Nederlands Dance Summer Intensive, and the Arts Umbrella Summer Dance Intensive, and has performed works by Bryan Arias, Marne Van Opstal, Crystal Pite, Desmond Richardson, Rena Butler, Nijawwon Matthews, and Darrell Moultrie. With multiple achievements, Madison was recognized as one of the four recipients of The Fields Ballet Scholarship Award in 2017, awarded Julilliard's Martha Hill Award, received the Juilliard Career Advancement Fellowship Grant, and was chosen to present work in Juilliard's Choreographers Composition program. Her performing highlights include dancing on the Jacob's Pillow InsideOut stage, performing Martha Graham's Rite of Spring, and dancing for the new Warner Brothers film, “In the Heights.” Madison is very excited to perform with Barkin/Selissen Project.

Model and actor Emily Ratajkowski discusses her first book of essays, My Body, which examines feminism, artistry and her complex relationship with her own image. Director and producer Tom Vitale takes us through his new memoir, In the Weeds, about his years working behind the scenes with the late Anthony Bourdain. Choreographer Crystal Pite talks about debuting her dance piece Angels' Atlas with the National Ballet of Canada.

Born in Providence, Rhode Island and trained at Festival Ballet of Rhode Island and Canada's National Ballet School, Greta Hodgkinson joined The National Ballet of Canada in 1990, where she has been a Principal Dancer since 1996. Greta retired as a Principal Dancer at the end of the 2019/20 season and assumed the position of Artist-in-Residence for the 2020/21 season, teaching and coaching the National Ballet's next generation of dancers.An artist acclaimed for her dazzling technical virtuosity, dramatic intensity and articulate characterization, she is the complete ballerina, par excellence. Greta has performed every leading role in the classical repertoire and her talents extend to the contemporary repertoire as well. She has had numerous roles created for her by world renowned choreographers and has worked closely with such icons as William Forsythe, Jiří Kylián, Glen Tetley, John Neumeier, Alexei Ratmansky, Christopher Wheeldon, Wayne McGregor, James Kudelka and Crystal Pite.  As a guest artist, Greta has appeared with The Mariinsky Ballet, Teatro alla Scala, The Royal Ballet, The Australian Ballet, Stuttgart Ballet, Munich Ballet, Teatro Comunale di Firenze, Gala des Étoiles, Stars of the 21st Century and International Ballet Galas in the US, Russia, Japan, Europe and Canada. Greta was invited to tour Japan dancing Swan Lake with K-Ballet, partnered by Tetsuya Kumakawa. She also performed at The World Ballet Festival in Tokyo, with frequent partner Roberto Bolle.Greta has graced the covers of Dance Magazine and Dance International Magazine and has been featured in various fashion publications including Vanity Fair, Lucky, W, GQ Italia, ELLE, NUVO, Flare and FASHION among others.Greta's film credits include a collaboration with director Moze Mossanen in the title role in the film Roxana, based on the novel by Daniel Defoe, the role of Margot Fonteyn in the Bravo! TV docudrama, Nureyev, CBC's Romeos and Juliets and The Rings of Saturn. She also appeared in the title role in The Firebird, The Four Seasons (starring in Summer), A Dancer's Story-50 Years of The National Ballet of Canada (dancing The Sleeping Beauty pas de deux) and as a guest star on the premiere of the Canadian comedy television series Baxter. In 2013, Gretaperformed Giselle in Emerging Pictures' film, Ballet's Greatest Hits, a ballet gala filmed and presented in over 200 cinemas throughout North America.Greta has received two Citations from the State of Rhode Island. One of the highest honours given by the state, the Citations are in recognition of her extraordinary talents, accomplishments and outstanding contribution to arts and culture in the US. Greta was also appointed to the Order of Ontario in 2017.

We speak to Marcelino about how he used the pandemic to reconnect with what is important to him, his early years in Portugal, how it feels to dance alongside Natalia Osipova after so many years learning from and idolizing Russian Ballerinas and the track that he thinks is 'a banger'.....it's from an Ashton ballet!Portuguese dancer Marcelino Sambé is a Principal of The Royal Ballet. He trained at The Royal Ballet Upper School and graduated into the Company during the 2012/13 Season, promoted to First Artist in 2014, Soloist in 2015, First Soloist in 2017 and Principal in 2019.Sambé was born in Lisbon and studied at the National Conservatory of Lisbon before joining The Royal Ballet Upper School. Performances at the School included in John Neumeier's Yonderingand Alastair Marriott's Simple Symphonyat the School's annual matinee, and a summer gala in Venice in 2012. His repertory with the Company includes Franz (Coppélia), Colas (La Fille mal gardée), Oberon (The Dream), Hans-Peter/Nutcracker (The Nutcracker), Mercutio and Romeo (Romeo and Juliet), Brother Clown (The Winter's Tale), Beggar Chief and Lescaut (Manon), Lead Hungarian Officer and Bratfisch (Mayerling), Bronze Idol (La Bayadère), Basilio (Don Quixote), Officer (Anastasia), Bluebird and Florestan (The Sleeping Beauty), pas de trois (Swan Lake), lead couple pas de six (Giselle), Footman/Frog (Alice's Adventures in Wonderland), Gypsy Boy (The Two Pigeons), Blue Boy (Les Patineurs) and in The Vertiginous Thrill of Exactitude, Tarantella, Jewels, The Human Seasons, Obsidian Tear, Aeternum, Requiem, La Valse, Aeternum, Within the Golden Hour, Multiverse, Elite Syncopations, Tchaikovsky pas de deux, Tarantella, Symphony in C, The Human Seasons, Infra, Concerto and Medusa. He has created roles in Crystal Pite's Flight Pattern, Kim Brandstrup's Ceremony of Innocence, Marriott's Connectome, Hofesh Shechter's Untouchable and Wayne McGregor's Woolf Works.Sambé is a keen choreographer and was selected as one of the UK's emerging choreographers by Youth Dance England in 2012. His M' cã cré sabi won second prize at the 2011 Ursula Morton Choreographic Awards and was performed in the School's annual matinee that year. Works include Preparations for the Last TV Fake and The Chosen Victim for The Royal Ballet's Draft Works. Sambé's dance awards include a silver medal at the Moscow International Ballet Competition in 2008, first prize at the Youth American Grand Prix in 2009, a gold medal and special award at the USA International Ballet Competition in 2010 and the Critics' Cirle National Dance Awards for Outstanding Male Classical Performance (2017) and Best Male Dancer (2019).

Arika Yamada is a coach and a professional dancer. In 2020 Arika founded the AHA room, a coaching practice that works with High Performers, Artistic Leaders, and Creative Minds. Identifying, cultivating and nurturing one's unique identity in order to perform at their best. Arika Yamada was born in Detroit, Michigan, USA in 1987 to her parents who moved to Detroit from Japan in the mid 80's. She received her early training from The Joffrey Ballet School, Nutmeg Conservatory and EDGE Performing Arts Center in Los Angeles. In her teens she's was represented by Bloc Agency and appeared in a European Coca-Cola Commercial. Her mentor and coach Elena Tchernichova privately trained her in NY and brought her to St. Petersburg Russia at the age of 15 where she was invited to train at The Vaganova School. In 2009 Arika received her BFA from The Juilliard School under the directorship of Lawrence Rhodes. Upon graduation she joined Gallim Dance in NY and originated roles in multiple works with Andrea Miller such as ‘Wonderland' which she has received recognitions for in The New York Times. In 2012 she also performed with Company XIV, a 28 show run at The Edinburgh Fringe Festival. In 2013 Arika crossed the pond to Holland to join Spenser Theberge at Korzo Theater (Den Haag) where he created ‘I Saw, She Saw' which they performed as a part the production ' Here We Live and Now.' Arika was invited to audition for GöteborgsOperan Danskompani which she joined during season 2013/2014 under Adolphe Binder, and in the present with director, Katrin Hall. In Göteborg Arika originated roles in creation with choreographers such as Sidi Larbi Cherkaoui, Damien Jalet, Alan Lucien Oyen, Marina Mascarell, Marcos Morau, Michael Keegan Dolan, Wang/Ramirez, and Alexander Ekman. She has also reinterpreted repertoires of Ohad Naharin, Sharon Eyal, and Crystal Pite. She has performed Sidi Larbi Cherkaoui's ‘Noetic' 100+ through Europe. As a creator Arika has been commissioned by GöteborgsOperan to co-create ‘Many Much More' with Spenser Theberge, and ‘Try not to spill' with Dorotea Saykaly. in 2015 Open Look Festival in St. Petersburg, Russia commissioned Arika and her partner Jim De Block to make ‘Digressing from the 4 Tons of Grey.' In 2016 Arika, Jim, and co-creator Oleg Stepanov were invited to create a full length, site specific work by Chalmers University of Technology at their 3 day festival hosted by the Department of Architecture and the Department of Physics. Since 2016 Arika and Jim has been curating a creative platform called If We, Then which gathers artists with varied mediums to share space and process together.

Lou Fancher is a freelance choreographer, ballet master and teacher working in the Bay area since 2005. Most recently the Rehearsal Director for Dancing People Company in Ashland, Oregon, Lou for nearly three decades has been the Ballet Master/Rehearsal Director for contemporary dance companies and independent choreographers in the U.S. and Canada. Among the companies are Company C Contemporary Ballet, James Sewell Ballet, and the Alberta Ballet. She has staged and/or rehearsed the works of dozens of choreographers including Twyla Tharp, Anthony Tudor, Paul Taylor, Lynne Taylor Corbett, Crystal Pite, Mark Godden, George Balanchine, Peter Pucci, David Parsons, John Butler, Igal Perry, Daniel Ezralow, Ralph Lemon, Doug Elkins, Viola Farber, Merce Cunningham, David Dorfman, Donna Uchizono, Dan Wagoner, Bill T. Jones, Wil Swanson, Margie Jenkins, Brian MacDonald, Jose Limon and others.Lou holds a BFA in dance from the University of Cincinnati and as a choreographer has created ballets for James Sewell Ballet, Alberta Ballet Apprentice Ensemble, Theatre Ballet of Spokane, Ballet Pacifica, and New York Theatre Ballet. During the 18 years Lou was a resident of Minneapolis, her work was presented by the Minnesota Dance Alliance, Ballet Arts Minnesota, and others. She  twice participated in The Carlisle Project, a no-longer operating national program designed to assist the artistic growth of choreographers. A published author and journalist, Lou writes locally for East Bay Times, Oakland Tribune, San Jose Mercury News, East Bay Express, San Francisco Classical Voice, 48 Hills, wired.com, and other Bay Area publications. She is the author of two original children's books and has designed and illustrated over 60 picture books. You may visit her website online at www.johnsonandfancher.com

Danielle Rowe is the guest for episode four of  'A Body's Language'.Dani Rowe was born in Shepparton, Australia and trained at The Australian Ballet School. From 2001-2015 Dani was a Principal Dancer with the Australian Ballet and Houston Ballet, and also danced with the prestigious Nederlands Dans Theater. She now lives in San Francisco and works as a choreographer, film director and creator and writer. She is the former Associate Artistic Director of SFDanceworks.We speak about how during  the COVID-19 pandemic, Dani pivoted to film making. Her creations included Shelter, created, directed and choreographed with Garen Scribner and Alexander Reneff-Olson, Wilis in Corps-en-tine for The Australian Ballet, written, directed and choreographed with Garen Scribner, I Am Spartacus for The Australian Ballet, written, directed and choreographed with Garen Scribner and The Animals for Ballet Idaho. The films garnered positive attention from Vogue, The New Yorker, The Guardian and Dance Magazine.We also speak with Dani about her career as a choreographer and how she never imagined herself 'making dances'.  Dani has created works for San Francisco Ballet, most recently creating 'Wooden Dimes' for their digital season, Nederlands Dans Theater's SWITCH program, Royal New Zealand Ballet, Co.Lab Dance (featuring dancers from American Ballet Theater), Ballet Idaho, Grand Rapids Ballet, SFDanceworks, Diablo Ballet, Oakland Ballet and Berkeley Ballet Theater. She also choreographed for the award-winning dance film Sirens Tango (featuring principal dancers, Sasha de Sola and Luke Ingham of San Francisco Ballet), and we speak about her cross-disciplinary immersive theater production of FURY (a collaboration between San Francisco Ballet, Alonzo King LINES Ballet and indie-pop band YASSOU).Dani also reflects on her incredible dancing career.  She originated roles in creations by Paul Lightfoot/Sol Leon, Christopher Wheeldon, Wayne McGregor, Alexander Ekman, Crystal Pite, Marco Goecke and Medhi Walerski and worked with choreographers Mats Ek, Jiri Kylián, Hans van Manen, Alexei Ratmansky and Christopher Bruce. Rowe has also performed in works by Kenneth McMillan, Jerome Robbins, George Balanchine, Mark Morris and Nacho Duato as well as the title roles in Giselle, Cinderella, Sleeping Beauty, Kitri in Don Quixote and Sugar Plum Fairy in The Nutcracker. https://www.youtube.com/watch?v=K8PMw7NuaPM Link for Danielle Rowe as 'The Baroness' in Graeme Murphy's Swan Lake.The Australian BalletChoreography - Graeme MurphyThe Australian Opera and Ballet OrchestraConductor - Nicolette FraillonThe Sydney Opera House - 2008https://www.youtube.com/watch?v=CISGInB-bagLink for 'Shoot the Moon' trailer. Music: Philip Glass: Movement II from Tirol Concerto for piano and orchestra © Dunvagen, New York / Albersen Verhuur B.V., 's-Gravenhage | Light: Tom Bevoort | Choreography, decor and costumes: Sol León and Paul Lightfoot.

As the dance community begins to lean on cross-training techniques and develop individualized training programs for dancers, the search for unique methods and tools becomes activated. Dancers continue to strive for excellence by trying and employing the latest techniques to enhance their performance. But what if instead of looking for the most current trend and most contemporary technique, we took a look at an ancient art form and used its methodologies and philosophies to inform our practice, what would then transpire? Well, we will find out today with the help of a principal dancer from the National Ballet of Canada, Mr Skylar Campbell. GUEST: Recognized by Dance Magazine as one of the “top 25 Dancers To Watch” in 2015, Skylar Campbell is a revered dancer, artist, curator and founder of the Skylar Campbell Dance Collective. Skylar was born in Laguna Beach, California and trained with Victor and Tatiana Kasatsky in Orange County. Mr. Campbell joined The National Ballet of Canada as an RBC Apprentice in 2009 and was promoted to Principal Dancer in 2018. Skylar has danced principal roles in, Etudes, Paquita and, George Balanchine’s Tarantella and among many others and has most recently performed in Crystal Pite’s world premiere of ​Angels’ Atlas with the National Ballet of Canada. In addition to his dance credits Skylar has worked closely with influential dance makers around the world some of which include James Kudelka, William Forsythe, Crystal Pite, and Wayne McGregor . Mr. Campbell is the recipient of many prestigious awards notably a Bronze Medal at the Youth American Grand Prix, a finalist in the Prix de Lausanne in addition to winning the William Marrie Award for artistic achievement for his role in ​La Fille Mal Garde​.

Check out DanceConnectSeries.com for more information on each guest! Instagram: @danceconnectseries -------- Jermaine Maurice Spivey was born in Baltimore, Maryland USA and is a graduate of Baltimore School for the Arts and The Juilliard School. From 2002-present, Jermaine lived and worked predominately in Europe but recently returned to make his home base in Los Angeles, California. He has been a company member of Ballet Gulbenkian and Cullberg Ballet, worked as a freelance/guest artist for Hofesh Shechter Company, Robyn Live 2016, The LID, Arias Company and The Forsythe Company from 2013-2015 as well as a cast member of American Repertory Theater's original production The Shape She Makes conceived by Susan Misner and Jonathan Bernstein. Most consistently since 2008, Jermaine has been a member of Crystal Pite's project based company Kidd Pivot. He has also worked as rehearsal assistant and/or staged Crystal Pite's work for companies such as Cedar Lake Ballet, Carte Blanche, Hessisches StaatsBallett Wiesbaden, Netherlands Dance Theater and Paris Opera Ballet. Jermaine has instructed dance all across North America and Europe for professional companies, universities, studios and training programs including USC Kaufman School of Dance, The Juilliard School, UCLA, NYU Tisch, Baltimore School for the Arts, LA Dance Project, The Performing Arts Project, MOVE NYC, No)one. Art House, Nuova Officina Della Danza, Dance OUT, Salt Contemporary Dance and GöteborgsOperans Danskompani. He is a 2001 Princess Grace Awardee and a 1998 National Foundation for the Advancement of the Arts 1st Level Awardee. At this moment in his career, Jermaine is very grateful for the opportunity to choreograph, having most recently created for Rambert 2, Salt Contemporary Dance as well as two full evening works with partner and co-creator Spenser Theberge titled Rather This Then and Position 3. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Aujourd’hui, je reçois Tommy Pascal, danseur et réalisateur. Tommy a été danseur au Ballet Preljocaj et au Béjart Ballet. Sa vie de danseur. Il filme désormais la danse depuis plus de 10 ans. Il capte les œuvres chorégraphiques d’Olivier Dubois, d’Ohad Naharin, de Crystal Pite et de bien d’autres encore. Tommy travaille pour la mémoire de la danse en enregistrant pour toujours les mouvements des chorégraphes. On l’écoute avec joie.

Nicole Bacharan est historienne et politologue spécialiste des Etats-Unis. Elle nous livre son sentiment sur cette nouvelle séquence dans l'histoire des luttes raciales américaines avec la mort de George Floyd. Son dernier livre « Le monde selon Trump » (Tallandier) paru en 2019 nous donne des clés pour comprendre la stratégie de l'actuel président des Etats-Unis à quelques mois d'une élection à nouveau cruciale pour l'histoire du pays et du reste du monde. « Le rêve de Harry » (Genèse Édition) est le dernier roman de l'avocat et romancier belge Alain Berenboom. Une fiction qui plonge le lecteur dans le sort réservé au Crystal Palace, un cinéma bruxellois inventé par l'auteur. Un livre où il question de cinéma et inévitablement d'un certain rêve américain. Dans « En toutes lettres ! », Laurent de Sutter écrit à George Floyd. Choix culturels : - « Les patriotes » de Sana Krasikov (Albin Michel). - L’album « Tranceportation Volume 2 » du groupe de jazz suisse Sonar. - Le ballet « Body and Soul » de la chorégraphe canadienne Crystal Pite. - Le documentaire « I Am Not Your Negro » de Raoul Peck.

In this episode of the Soulfull Sound podcast, I'm joined by the very talented Solomon Golding. London born; Solomon is quickly becoming one of the brightest talents in the dance world and has made history by becoming the first black British born dancer in The Royal Ballet's 85-year history. He has worked with some of the world's leading choreographers including Wayne McGregor, Crystal Pite and Hofesh Shechter to name a few, casting him in leading roles and world premieres. He has also begun generating interest in the fashion world having been photographed by some of the world's top photographers including Harley Weir and David LaChappelle and been featured in fashion films for I-D Magazine and Selfridges. He also had a ten-page spread in BoysbyGirls magazine and was featured in the 2018 September issue of Tatler magazine. In this episode Solomon talks about his experiences in the dance world so far, from being a black man in ballet to the resilience and stamina needed to become successful in this arena. We talk about not being a victim of your circumstance and the importance of taking responsibility for your own outcomes – both the good and the not so good. Join us for this real conversation. Points of Discussion: His story and how he fell in love with ballet (02:28) How he deals with the demands of the dance world (12:57) Overcoming adversity as a black ballet dancer (18:00) His thoughts on changes in the industry (27:00) Advice for aspiring creatives (34:30) Some of the biggest lessons he learned in his career so far (43:40) What's next in his career? (52:00) Resources/Links: Learn more about Solomon. Connect with Solomon Instagram. About Solomon Golding Solomon Golding trained at The Royal Ballet School for 8 years , graduating and joining The Hong Kong Ballet in 2012. Six months into his contract, Solomon was offered jobs at The Boston Ballet in the United States and The Royal ballet in London. Upon finishing the remainder of his contract with The Hong Kong Ballet, Solomo n returned to London to join The Royal Ballet in 2013 becoming the first Black-British born dancer to do so. Solomon was offered a contract to dance with The San Francisco Ballet and has been dancing with them since June 2017. Solomon's interest in the creative arts doesn't stop at ballet – Solomon collaborated with his brother, Amartey Golding, on an art film exploring black male sexuality and masculinity and its representation within modern day narratives. The film was shown at The London Art Fair 2017 garnering rave reviews and being hailed as “The London Art Fair showstopper…” by The Art Newspaper. Solomon also has a keen interest in fashion. In 2015 Solomon had a two week internship with Anna Valentine, designer of The Duchess of Cornwalls wedding gown, which included helping create garments and set-up the seasonal fashion show at the brands atelier in Baker Street, London.If you enjoyed this episode, check out the show notes and more at https://www.simoneniles.com/blog/the-inner-and-outer-world-of-dance and follow at https://www.instagram.com/simone_niles/

In this episode of the Soulfull Sound podcast, I’m joined by the very talented Solomon Golding. London born; Solomon is quickly becoming one of the brightest talents in the dance world and has made history by becoming the first black British born dancer in The Royal Ballet's 85-year history. He has worked with some of the world’s leading choreographers including Wayne McGregor, Crystal Pite and Hofesh Shechter to name a few, casting him in leading roles and world premieres.He has also begun generating interest in the fashion world having been photographed by some of the world’s top photographers including Harley Weir and David LaChappelle and been featured in fashion films for I-D Magazine and Selfridges. He also had a ten-page spread in BoysbyGirls magazine and was featured in the 2018 September issue of Tatler magazine.In this episode Solomon talks about his experiences in the dance world so far, from being a black man in ballet to the resilience and stamina needed to become successful in this arena. We talk about not being a victim of your circumstance and the importance of taking responsibility for your own outcomes – both the good and the not so good.Join us for this real conversation.Points of Discussion:His story and how he fell in love with ballet (02:28)How he deals with the demands of the dance world (12:57)Overcoming adversity as a black ballet dancer (18:00)His thoughts on changes in the industry (27:00)Advice for aspiring creatives (34:30)Some of the biggest lessons he learned in his career so far (43:40)What's next in his career? (52:00) Resources/Links:Learn more about Solomon.Connect with Solomon Instagram. About Solomon GoldingSolomon Golding trained at The Royal Ballet School for 8 years , graduating and joining The Hong Kong Ballet in 2012. Six months into his contract, Solomon was offered jobs at The Boston Ballet in the United States and The Royal ballet in London. Upon finishing the remainder of his contract with The Hong Kong Ballet, Solomo n returned to London to join The Royal Ballet in 2013 becoming the first Black-British born dancer to do so. Solomon was offered a contract to dance with The San Francisco Ballet and has been dancing with them since June 2017.Solomon’s interest in the creative arts doesn’t stop at ballet – Solomon collaborated with his brother, Amartey Golding, on an art film exploring black male sexuality and masculinity and its representation within modern day narratives. The film was shown at The London Art Fair 2017 garnering rave reviews and being hailed as “The London Art Fair showstopper…” by The Art Newspaper. Solomon also has a keen interest in fashion. In 2015 Solomon had a two week internship with Anna Valentine, designer of The Duchess of Cornwalls wedding gown, which included helping create garments and set-up the seasonal fashion show at the brands atelier in Baker Street, London.If you enjoyed this episode, check out the show notes and more at https://www.simoneniles.com/blog/the-inner-and-outer-world-of-dance and follow at https://www.instagram.com/simone_niles/

Zij: een van de grote sterren van de hedendaagse dans Hij: geliefd acteur en theatermakerSamen: een verbluffende demonstratie van wat er kan gebeuren als het leven kunst wordtHun vorige samenwerking Betroffenheit blies iedereen omver en won de hoogste onderscheiding in het Britse theater. Hun nieuwste voorstelling Revisor belooft weer theatraal vuurwerk. In deze aflevering zoomt Maarten Bos in op deze bijzondere samenwerking.

In this podcast interview, the incomparable Louise Lecavalier chats with Cathy about her initial encounter with dance, the guidance she received as a novice, and how Edouard Lock came to invite her to join La La La Human Steps where she performed for 18 years, revolutionizing dance and doing guest appearances with superstars David Bowie and Frank Zappa in the process. In 1999, she parts with the company to seek pleasure in new beginnings and embarks on a career interpreting works by Tedd Robinson, Benoît Lachambre, Crystal Pite and Nigel Charnock, amongst others. In conclusion, Louise tells us about creating her own choreographic works starting with So Blue in 2012 followed by Mille batailles/Battleground and Stations.

Cathy converses with internationally acclaimed, award-winning Vancouver dance artist Crystal Pite following the NAC opening night performance of Revisor, her most recent choreographic work co-created with Canadian actor/writer Jonathon Young. They touch on Crystal's childhood aspiration to be a complete dance artist, her early choreographic career, the founding of her company Kidd Pivot in 2002 that united the dancer and choreographer in herself, and life-work balance. Crystal has created over 50 works for her company and others such as Ballet British Columbia, Les Ballets Jazz de Montréal, Cedar Lake Contemporary Ballet, Nederlands Dans Theater and The Royal Ballet. In great demand internationally, her immediate future includes a tour of Revisor and commissions by The Paris Opera Ballet, The National Ballet of Canada and Nederlands Dans Theater.

  It’s an extra special throwback to when Meg Roe and Alessandro Juliani were in town starring in Onegin. They’re also part of the sound design team for Betroffenheit, and before they moved on to the next tour stop, we snagged them to chat about working with Crystal Pite, their own creative partnership, and what to anticipate in one […]

  It's an extra special throwback to when Meg Roe and Alessandro Juliani were in town starring in Onegin. They're also part of the sound design team for Betroffenheit, and before they moved on to the next tour stop, we snagged them to chat about working with Crystal Pite, their own creative partnership, and what to anticipate in one of the most widely acclaimed dance shows of the decade. Beasts, beats, Battlestar Galactica. Get it? I Don't Get It is a proud member of the Alberta Podcast Network, powered by ATB. https://idontgetityeg.com/wp-content/uploads/2018/03/IDGI-S4E17-Final.mp3 Become a Patron!★ Support this podcast on Patreon ★

Doug Fullington shines the light on the unique-to-PNB works in Her Story. While Peter Boal did not intend to create a repertory including exclusively female choreographers, that's what happened with works by Twyla Tharp, Crystal Pite and Jessica Lang.

We were fortunate to have choreographer Crystal Pite in our studios for 4 weeks as she choreographed and reworked Plot Point. Originally choreographed for Nederlands Dans Theater in 2010, we are proud to present the American premiere here in Seattle. The evening before opening night, PNB Artistic Director Peter Boal had a few questions for Crystal. Hear her discuss her beginnings in ballet, her own Company, Kidd Pivot and of course, Plot Point.  

Dans ce balado de Danse CNA, l'animatrice invitée Isabelle Brisebois donne suite à un premier entretien avec Anne Plamondon, enregistré en 2014 alors que l'artiste entamait sa carrière de chorégraphe avec le solo Les mêmes yeux que toi. Anne était de retour au CNA en mars 2017 pour interpréter, avec Peter Chu, A Picture of You Falling, un duo créé par Crystal Pite et présenté dans le cadre du spectacle Les Associés. Ce programme mixte mettait en vedette les œuvres de trois chorégraphes canadiens, tous Artistes associés de la Danse au CNA, soit Marie Chouinard, Christopher House et Crystal Pite. Anne parle de sa collaboration avec Crystal Pite, de ce que l'interprétation représente pour elle, de l'importance de développer sa propre signature chorégraphique, et de sa toute nouvelle collaboration avec Marie Brassard.

It’s a stacked episode, folks. Fawnda recounts her hike to the Banff Centre for Ballet BC‘s stunning 30th Anniversary showcase featuring works by Cayetano Soto, Stijn Celis, and Crystal Pite. Then, she and Paul unpack their thoughts on Convergence, the opening show of Good Women Dance Collective‘s season. Let’s just say there are no apologies […]

It's a stacked episode, folks. Fawnda recounts her hike to the Banff Centre for Ballet BC‘s stunning 30th Anniversary showcase featuring works by Cayetano Soto, Stijn Celis, and Crystal Pite. Then, she and Paul unpack their thoughts on Convergence, the opening show of Good Women Dance Collective‘s season. Let's just say there are no apologies made. By anyone. Ever. https://idontgetityeg.com/wp-content/uploads/2015/11/idgi-s3e4.mp3★ Support this podcast on Patreon ★

Dans ce deuxième épisode, Anne Michaud poursuit son entretien avec Louis Robitaille qui nous explique l'état dans lequel Les Ballets Jazz de Montréal se trouvent à son arrivée en 1998. Sa décision d'en faire le miroir de ce qui se passe en création de danse au Québec, au Canada et à l'international le pousse à faire appel, entre autres, aux chorégraphes Mia Michaels, Crystal Pite, Aszure Barton, Trey McIntryre, Rodrigo Pederneiras et Barak Marshall, question de faire évoluer la compagnie et de la démarquer tout en la gardant attrayante tant pour les néophytes que pour les connaisseurs de danse.

During the first half of the show we spoke with Andrew Tay, who has been very busy this past summer. Andrew spent time in Europe with DanceWeb as a part of the Impulstanz Festival in Vienna. Next he was off to Berlin for the Tanz im festival. After giving us the inside scoop on these experiences, he tells us about another project he managed to fit in this summer. He co-choreographed chapter 4 of Les Chemins Invisibles, the Cirque du Soleil event presented in Quebec City. For the event he worked alongside his long-time collaborator Sasha Kleinplatz.Gabrielle Coulter chimes in after the break to introduce herself as an artist to the listening audience (the last time we had her in studio was during our Queer Artists Episode back in August).  Then she tells us about a few events coming up that she is involved in.  We are grateful for her coming in an expanding our horizons.  She promises to post all that info on our facebook page, so check it out.Quiet - photo by: Gadi DaganNext J.D reviews Quiet (2009), choreographed by Arkadi Zaides.  The show was presented at the MAI last weekend.To finish up, J.D. & Allison talk about The Tempest Replica in a little more detail.  This was the show that Crystal Pite choreographed, and her company, Kidd Pivot present at Agora last weekend to a sold out audience.Our show from OCTOBER 18th, 2012Listen:(Download) Take care, J.D. Papillon and Allison Burns

Dear Montréal,This week we had a happy accident in programing and had two different guests from Israel in for interviews.  The first was Arkadi Zaides, the choreographer of Quiet (2009).  The show, which is on a world tour, is touching down in Montréal at the MAI for two nights only.  You can catch the show this weekend on October 12th and 13th at 8pm.  We host a sweet interview with a generous guest.Jenn Doan & Arkadi ZaidesNext we just had to plug two great shows happening in the city this weekend.  First Jenn and Allison gush about Crystal Pite’s company Kidd Pivot presenting The Tempest Replica.  The show is playing at Agora, but we will spare you the details since the show is already sold out for the weekend.  So you lucky ducks who already have tickets, enjoy!  You can read Allison’s review of the show at Bloody Underrated.The Tempest Replica - Photo: Jorg BaumannJ.D. then urges us to see Benoît Lachambre’s faux-solo, Snakeskins.  You can catch the show at Usine C at 8pm on the evenings of the 11th and the 12th.  He’ll be giving us a more in-depth review next week.Zohar Melinek, Mary St-Amand Williamson & J.D. PapillonThe second interview during today’s episode was with a duo of multi-talented, interdisciplinary artists, Zohar Melinek and Mary St-Amand Williamson.  They are funny, heavy, political and intelligent.  It is a very full twenty-minute discussion.  You can learn more about their projects at www.zoharmelinek.com.Our show from OCTOBER 11th, 2012Listen:(Download) Take care, J.D. Papillon, Jenn Doan and Allison Burns

  Danscussions, Nos invités de la semaine seront : -  Benoît Lachambre, pour sa création Snakeskins, Usine C, du 10 au 12 octobre.-  Eric Beauschesne, interprète dans The Tempest Replica de Crystal Pite, Agora de la danse, du 10 au 13 octobre.- Maude Lapointe, Marie-Eve Tremblay, jeunes chorégraphes des prochaines soirées Passerelle 840, Piscine Théâtre, du 12 au 14 octobre.

  Danscussions, Nos invités de la semaine seront : -  Benoît Lachambre, pour sa création Snakeskins, Usine C, du 10 au 12 octobre.-  Eric Beauschesne, interprète dans The Tempest Replica de Crystal Pite, Agora de la danse, du 10 au 13 octobre.- Maude Lapointe, Marie-Eve Tremblay, jeunes chorégraphes des prochaines soirées Passerelle 840, Piscine Théâtre, du 12 au 14 octobre.

In this final episode, Crystal Pite talks about the dual role of choreographer-performer, the creation process, her attachment to Canada's National Arts Centre, and her enduring passion for the art of choreography. In closing, she touches on her upcoming commissions for Cullberg Ballet, the 2010 Cultural Olympiad in Vancouver, Nederlands Dans Theater and Cedar Lake Contemporary Ballet, and the presentations of Kidd Pivot at Sadler's Wells (UK) and Jacob's Pillow (USA).

In this third episode, Crystal Pite speaks of her collaborations with The National Ballet of Canada, Sweden's Cullberg Ballet, BJM – Les Ballets Jazz de Montréal, and Vancouver-based composer Owen Belton. She explains the origin of the name Kidd Pivot and comments on the company's work, opportunities and challenges.

In this second episode, Crystal Pite recalls her move to Germany in 1996 to join William Forsythe's Frankfurt Ballet and the ensuing five years of growth as a performer and choreographer. This is also a time of exposure to the work of Pina Bausch, Wim Vandekeybus, Jan Fabre, Anne Teresa De Keersmaeker, Meg Stuart and Rui Horta. She leaves Germany in 2001 and realizes her dream of forming her own company, Kidd Pivot, where she is free to create and perform her own work.