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Deep Dish member Ali Shirazinia aka Dubfire and the Parisian Popof are the ones to prove impressively that you virtually can't go wrong with stringent Hypno Techno and a diaphragm-shaking bass drum. In any case, the history of electronic dance music has not been outtold so far. The Chicago sound has not lost its fascination in the year 2010, that's obvious in the remixes of modern Techhouse heroes Reboot and Michel Cleis, who have previously released on Cadenza, Below, Buzzin' Fly and Cocoon. As a digital bonus, the record contains the original version, which has been out of stock for years. With releases for the Technasia label Sino, for his own platform Green or remixes for illustrious heavyweights such as Robert Babicz, Alexander Kowalski and Slam, Voorn belongs to those ambassadors of deep, uplifting, perfectly produced but still constantly energetic Tech House, that have set standards. No surprise that regularly, Voorn and his releases have been and still are permanent guests in the record cases of DJ icons like Laurent Garnier, Carl Craig or Sven Vath. His music is located at the junction between Turkish roots and western post-modernism, but still always succeeds in orchestrating the dark energy of the night, too. The two protagonists of the flip side, however, don't need any introduction: for more than 15 years now, Johannes Heil is an essential part of the German Techno community. No wonder that the Berlin resident was able to reach the top positions in the categories Best Producer and Best Track in both the Groove Mag as well as in the Raveline Magazine. Nobody else has catapulted Baby Ford's ifach sound into the year 2010 as consequently as Sis did. Compressed percussions, densified to the essence, and deep bass lines fill the room with a self-vibrating movement. I also assmbled different styles, so it is like a three-hour-set condensed to one hour. The idea is to show as much freedom in dance music as possible, the mix is not solely intended for the club or a big room but is focused on the most intimate club, afterhour and warm up moments with a strong emphasis on atmosphere. Emotion, feminity and depth are very important for me as an artist. I also try to keep the mix very modern, almost avant garde and visual, with new sounds and cutting edge tracks but without missing the club groove.

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The middle section of this movie — which is basically a buddy comedy about Tony Stark and a little kid — is as loose and freewheeling as anything Marvel has made. But the actual story is horribly bland, with a third act that struggles to tie everything together. (Come to think of it, lots of Marvel movies are saddled with undistinguished endings. . It doesn't hurt that funnyman Paul Rudd plays the lead, or that the film ends with its best sequence, a big superhero battle that takes place entirely inside a little girl's bedroom. But at its best, Ant-Man is a rollicking good time. But Swinton didn’t cast herself, nor did she make any executive decisions about how writers reworked the original comic book character for the film. What she was responsible for — the joy and wonderment that pulsates through her portrayal — she overdelivered on, again and again. The Wasp finally gets to be the superhero fans know she is. And Paul Rudd and Evangeline Lilly might be Marvel’s most charming and (only? believable romantic pairing. And by the end, and there’s no real villain to be found, making it feel as if Antman and the Wasp’s plot is stuck in a holding pattern. It’s a good superhero movie that suffers from being part of the bigger Marvel universe. The actual story of Captain America lurches a bit from set piece to set piece, and its third act — like so many of Marvel's third acts — is a mess. You watch it because the movie so perfectly captures its World War II milieu, because it's so different from any other superhero movie out there.

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In a season like fall, I sense a similar connection of her art to Japanese expression. This type of expression are delicate things present in the strong and forceful portrayal of characters like the Shogun or the Samurai Warrior. Yet meditative, a vulnerability in the warrior in that life on earth is not permanent; the spirit of these character-personalities lives in the art. It is clear to me, regardless of her uniqueness, that a Japanese influence has made an impression upon Higby. I understand that Higby’s art-pieces are but vehicles for her performances. Autumn and springtime, caterpillar and butterfly are the essence of what she expresses. In some of her pieces and dances the mask-faces are porcelain-like and in others more earthen. Yet whether rustic-made with wood and twine, or refined as fashioned with porcelain, Higby’s work is etherial-spiritual and earthy - all at the same time. Very strong traces of the Japanese culture are woven within her creations. Seeing Higby’s intricately crafted sculptures pointed me to these ancient and yet eternal elements evident in Japanese and other forms of Asian art. Higby’s experience and training as an artist as taken her from our local precincts in Marin County where she lives and has her studio, to Far East Asia, India and back. “I studied puppetry and masks along with dance for five years in Indonesia,” she told me. No doubt all this training and exposure to various types of artistic expression from around the world has helped make Higby the artist she is today. Part of the Paper Wing series of sculpture-costumes. Higby utilizes a Japanese technique of lacquer-mask making called 'urushi.

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