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Phish is taking summer time touring seriously, starting its latest concert series on Memorial Day and ending it on Labor Day. That means they can wear white every single day.
The outing closes with three nights at Dick’s Sporting Goods Park in Commerce City, Colo., Sept. 2-4. Tickets go on sales to the general public on June 4 through various outlets.
Fans are encouraged to make use of nearby campgrounds with three-day camping/parking tickets available through Phish’s website.
The tour starts Memorial Day weekend in Bethel, N.Y. Other highlights include Super Ball IX, Phish’s ninth festival , which takes place in Watkins Glen, N.Y. Ticket prices include a free MP3 download from that show.
Phish Summer Tour Dates
5/27 Bethel, NY Bethel Woods Center for the Arts
5/28 Bethel, NY Bethel Woods Center for the Arts
5/29 Bethel, NY Bethel Woods Center for the Arts
5/31 Holmdel, NJ PNC Bank Arts Center
6/1 Holmdel, NJ PNC Bank Arts Center
6/3 Clarkston, MI DTE Energy Center
6/4 Cleveland, OH Blossom Music Center
6/5 Cincinnati, OH Riverbend Music Center
6/7 Mansfield, MA Comcast Center
6/8 Darien Center, NY Darien Lake Performing Arts Center - ticket includes free admission to Darien Lake Theme Park on day of show
6/10 Camden, NJ Susquehanna Bank Center
6/11 Columbia, MD Merriweather Post Pavilion
6/12 Columbia, MD Merriweather Post Pavilion
6/14 Alpharetta, GA Verizon Wireless @ Encore Park
6/15 Alpharetta, GA Verizon Wireless @ Encore Park
6/17 Charlotte, NC Verizon Wireless Amphitheatre
6/18 Raleigh, NC Time Warner Cable Music Pavilion
6/19 Portsmouth, VA Ntelos Pavilion at Harbor Center
7/1-3 Watkins Glen, NY Super Ball IX - Watkins Glen International
8/5-6 George, WA The Gorge
8/8 Hollywood, CA Hollywood Bowl
8/9-10 Stateline, NV Lake Tahoe Outdoor Arena at Harveys
8/12 San Francisco, CA Outside Lands Music Festival
8/15-17 Chicago, IL UIC Pavilion
9/2-4 Commerce City, CO Dick's Sporting Goods Park
When I first saw FM Belfast almost four years ago, it was on their home turf in Iceland, during the annual Airwaves music festival. Two members took their pants off and audience's front row was covered in what looked like fruit juice and confetti. A few months later, they rocked the walls of a small LES club in Manhattan. Many people were shirtless. Somebody, I believe, was dressed as a palm tree. This person may or may not have been in the actual band.
FM Belfast are most interested in fun, not in the cheeky, LOL-culture version of fun. Sometimes 25 people or more join the band on stage, in colorful costume, without a slow jam to dull the crew. It's dorky as hell, without an ounce of mean-spirit. It's like a lot of Dan Deacons, with less arm-crossing from the back of the room.
Below we present an exclusive video of the band's track "I Don't Want to Go to Sleep Either," from the band's forthcoming "Don't Want to Sleep," due June 21 via Morr Music. The clip may or may not have been created in MS Paint and iMovie.
Plus, here is a short Q&A with FM Belfast co-founder Árni Rúnar Hlöðversson:
[Video and interview after the jump...]
Antonio Banderas and Salma Hayek, the two stars of Dreamworks "Puss in Boots" made an appearance at the Carlton Pier at the Cannes Film Festival today after screening some footage from the film. The two stars braved the typically aggressive European press and and waved for throngs of fans as they made their way down the pier giving interviews then finally climbing up a giant pair of boots bearing the name of the film and waving for cameras.
The animated film is a spinoff of the popular "Shrek" series starring Mike Myers. 'Puss' is a prequel, however, taking place before the character even meets Shrek, and when his lifestyle is may not be as above the board. In the film the feline swashbuckler is teaming with Humpty Dumpty (Zach Galifianakis) and Kitty Softpaws (Hayek) to steal the Goose that lays the golden egg.
Given the glimpses of the movie in this footage, the professional Spanish dancers at the event, and the casting choice of Mexican actress Hayek, we predict a 'Spanish' flavor to the film. However, considering the 'Fairy tales in a blender' thematic mashup that is the 'Shrek' universe, anything is possible.
Woody Harrelson has just been announced as Haymitch for "The Hunger Games," and I have to say… didn't see that coming, but I like it.
I haven't gone out of my way to cover every single casting hiccup on "The Hunger Games" precisely because I knew they risked burning audiences out on this before they've ever seen a frame of film. There are a ton of speaking roles in the first film, and as a result, Lionsgate has been careful to announce each new tribute, no matter how unknown the actor, and I've been waiting for a few key roles to write about instead.
Haymitch might be my favorite character in the books. He was the one tribute from District 12 to ever with the Hunger Games, and he's spent every year since then trying to burn the memory out of his head with booze. He's a ruined man in many ways, propped up by the Capitol as a symbol despite his best efforts. When Katniss Everdeen (Jennifer Lawrence) and Peeta (Josh Hutcherson) are picked as the tributes for this year, Haymitch is told to mentor them, and once he realizes they stand an actual chance of winning, he snaps himself out of his funk to try and teach them whatever they'll need to survive.
It's a great part, and I think Harrelson could turn out to be inspired casting. Just look at his work in "Zombieland," which seems almost like a variation on Haymitch. He's also one of those actors who younger actors seem to really enjoy working with, and that's important here.
I got the news from Shawn Ryan about FOX canceling "The Chicago Code" pretty late in the evening East Coast time, so I didn't have much time to process the larger massacre that was going on at the network last night, in which every bubble show FOX had left - not only "The Chicago Code," but "Human Target," "Lie to Me," "Breaking In" and "Traffic Light" - were all told their services wouldn't be required for next season.
On one level, the Tuesday night bubble bloodbath was surprising. FOX doesn't announce its fall schedule until Monday, and while some cancellations and pick-ups will leak in the days leading up to a network's upfront presentation, you don't usually hear about all of them (including a few other new series pick-ups) this far in advance. And while it's not uncommon to see a network pop most of its bubble shows, to get rid of all of them? Very strange.
A review of last night's "The Good Wife" coming up just as soon as I ask if it's okay for me to visit the kids...
Woody Allen was one of the first people who taught me about screenwriting.
Not directly, of course. These days, young writers are positively spoiled with the number of scripts they can read, and not just ones that have been officially published. Almost anything you're curious about is floating around out there online, easy to get hold of, often before the film is even released. As a result, the basic language of screenplay is far more accessible to young writers now than it ever has been before.
When I was first interested in film, though, it was not a commonplace thing to publish every screenplay, and if you were interested in learning about the craft, you either had to go to a film school's library or, every now and then, you'd be lucky enough to see a script in book form. One of the guys who made the effort to collect his scripts and publish them was Woody Allen, and reading his scripts led me to read his prose and his plays, and taken as a whole, his printed body of work informed the way I felt about him as a filmmaker, and some of my ideas about film in general.
In Allen's world, the word is primary. His films are these rich cascades of language, and sometimes it all adds up and sometimes it doesn't. Sometimes, it all snaps into focus and you get a genuine emotional and intellectual rush from what he does, and sometimes, it just lays there, intelligent but without a pulse. And it's often a matter of degrees between the two. Some of what he did in his short fiction wouldn't really work on film, and sometimes, his films feel like rough drafts, the result of his unrelenting schedule of a film a year.
Most of his fans wouldn't realize it, but Will Ferrell is an actor who takes chances. The "SNL" vet has cultivated a strong career in solid studio comedies such as "The Other Guys," "Step Brothers," "Blades of Glory" and "Old School," but he hasn't been afraid to put himself on the line in unconventional roles. Ferrell has appeared in dramatic films such as the underrated "Stranger Than Fiction," Woody Allen's "Melinda and Melinda," the indie "Winter's Passing" and he's even sung and dance in the movie musical version of "The Producers." The 44-year-old even won over theater critics who questioned the timing of "You're Welcome America" on Broadway and put his face on a fledgling web investment you may have heard of called Funny or Die. This week, Ferrell's latest dramatic departure opens in limited release with Dan Rush's "Everything Must Go."
NBC has put out clips explaining what the heck Tuesday (May 10) night's "The Voice" is going to be like, how these alleged Battles are going to work. I've skipped those clips, because I want to experience the bloody, musical gladiatorial combat with fresh eyes. Also, I enjoy being confused.Â
Click through and we'll experience The Battles, Part 1 together...
There’s a moment early in tonight’s episode of “Glee” in which Will wrote “Prom” on the board, prompting Sam to say, “Please don’t tell me we’re doing songs about prom.” From your mouth to God’s ears, Trouty Mouth. There’s a tendency in many episodes of the show to shoehorn in songs that don’t really make a lick of dramatic sense, but have a tenuous (at best) connection with the Will’s Word of the Week. Luckily, “Prom Queen” took the time to examine the seminal high school rite through character interactions, not iTunes selections. The results were still a mixed bag, though overall produced one of the second season’s strongest episodes.
[Full recap of Tuesday’s (May 10) “Glee” after the break…]