Up lighting (sometimes called ambient or perimeter lighting) highlights the venue as you would the stage in a play. It alters the suroundings by adding color and texture to the walls, ceilings, columns, or (as shown in the video) an outside landscape. This lighting design was created for the Marquez/Shen wedding reception in a sycamore grove at The Malibu Nature Preserve, (a truly magnificent setting) and captured on video by Dmitry Bershadskiy of White Gorilla Media. Be it subtle or dramatic, up lighting can add that extra magic to any event.

Can you have a fantastic bat mitzval party at a pizza parlor? Yes you can if it is Pitfire Pizza on Westwood Blvd. in WLA. Ella Sinfield had her party there on Saturday March 6 with Joshua & me (Mick) from Better Music Services as her DJ’s. Besides the great eats, Ella and her friends sang karaoke, got tattoos, wrapped themselves up like mummies and sang and danced to “under my umbrella, ella ella ella” as the rain came down outside.

I couldn’t have said it better myself….
stacy + jason were married within the very romantic, Il Cielo… the dreamy, italian setting was filled with candles, florals, and decadent meals… together, we celebrated in jewish tradition, danced, laughed, cried and smiled wide… an incredible night with their loved ones…
original post

Hello, this is Mick from Better Music Services. I am a huge fan of modern design. I love my Aeron chair and my Eames chair. So when Shlemmer, Algaze & Associates (architectural firm) informed me of their plan to have their 10th anniversary party at the Herman Miller headquarters in Culver City, I new it would be a cool party in an incredibly hip space. And it was! Absolutely!

Hey, this is J Crawford. I was the DJ for the 2009 Debutante Ball sponsored by the La Canada Thursday Club at the Omni Hotel on December 27. A Debutante Ball is a grand affair and these beautiful young ladies and their elegant escorts fully lived up to the occasion. Denise Greenawalt orchestrated the entire event and made it appear effortless. Congratulations to everyone. I’ll see you next year!

There is no place I would rather DJ a wedding than at Il Cielo Restaurant in Beverly Hills. Pasquale Vericella and the staff do an incredible job of making everyone feel special. The New York Times has called Il Cielo, Los Angeles’s “most romantic restaurant” and it is absolutely true! Last night’s wedding of Karen and Bob Marks lived up to that billing. The ceremony in the patio garden, officiated by Deidra Gray-Breijo, included some witty advice by friends and relatives and a butterfly release. Mazel tov! As the night came to an end, the Bride and Groom were serenaded by accordion maestro Norm Panto as the chariot procession made its way to the Four Seasons Hotel. Volare, indeed!

Photo courtesy of jabezphotography.com

Image: Metacritic

Review: Uncut

Sugar Mountain is a fascinating snapshot of Neil Young at a transitory moment in his long career, for which it also provides an indelible template. This is in many ways how he would sound for the next 40 years. At least, that is, when he wasn’t raging noisily with Crazy Horse, taking various detours into unadulterated country, winsome folk, synthesiser-pop, stylised rockabilly, big band R&B, grunge, electronic experimentalism, otherwise undermining convenient expectation or elsewhere meandering down the musical avenues that have at various times left fans baffled and at least one record company exasperated enough to want to sue him for not sounding enough like himself, when in fact for all this time he has sounded like no one at all but himself.

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Image and text source: NYTimes

THE FIREMAN
Electric Arguments
(MPL/ATO)

How does Paul McCartney, 66, follow up Memory Almost Full, his grand autumnal (but still chipper) statement on life and mortality? By hiding his name and conjuring one kind of heaven: the 1960s as reconstituted with 21st-century multitracking. For Electric Arguments, he regrouped his not-so-anonymous duo the Fireman (Mr. McCartney produced by the bassist Youth), walked into the studio on 13 nonconsecutive days with no material, and finished a track at each session, playing all the instruments. (There is also a fragment hidden at the end of the last song.) Some songs have verses and choruses, while others are just fleshed-out sketches, seeking and often finding what Sing the Changes calls for: a sense of childlike wonder.

The two Fireman albums Mr. McCartney released in 1993 and 1998 were repetition-powered instrumental outings: the first close to dance music, the second more meditative. But Electric Arguments is a song collection, from skewed blues-rock (Nothing Too Much Just Out of Sight, complete with hooting harmonica and a Howlin Wolf impression) to gospelly skiffle (Light From Your Lighthouse) to East-West blends (Lifelong Passion) to blissed-out one-man studio jams (This Love). The link to the 90s Fireman is Universal Here, Everlasting Now, which has a synthesizer pulse amid its sliding, echoing guitars.

Read the entire review at NYTimes

Image and text source: NYTimes

Billy Corgan framed the Smashing Pumpkins’ concert on Thursday night at the United Palace Theater in Washington Heights as mere entertainment. It started with an annunciatory drum solo by Jimmy Chamberlin, the only other remaining member of the original band, followed by the surf-rock-style “Roctopus,” with Mr. Corgan singing, “I don’t care what you do as long as you dance.”

Some band members were costumed: Mr. Corgan in a tiered skirt and one of his Zero Star jerseys; Ginger Reyes, the bassist, in a tutu; and Lisa Harriton, the keyboardist, in a black corset and stockings. And it ended with a goofy, kazoo-hooting version of “Everything Is Beautiful.”

Read the entire review at NYtimes.com

Metabolic Valium

Image and text: NYTimes.com

by ROSLYN SULCAS
Published: November 17, 2008

The first thing to be said about “60×60 Dance” is that it is a masterpiece of organization. The idea — 60 new dance pieces are performed to 60 new pieces of music, each lasting no more than 60 seconds — is quite mad. But it’s this kind of madness that makes the cultural world go round, and so our thanks are due to the composer Robert Voisey, who first came up with the concept in 2003. He has apparently staged more than 100 “60×60” performances since then, and on Friday he and the choreographer Jeramy Zimmerman added two more in the Winter Garden of the World Financial Center.

Read the entire article at NYTimes

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