okay, so maybe i'm a day…or two early, but hey.
who else is coming to do the frug with us tomorrow night?
who else is coming to do the frug with us tomorrow night?
Rilo Kiley Roll Call
I will not be doing the Frug, but I will be in attendance. This is a great triple bill for the price, IMO.
and, if one wanted to go about doing the frug, how the fuck could they go about doing so?
i haven't heard brunette yet, but am loving portastatic.
i haven't heard brunette yet, but am loving portastatic.
The Frug was born from a dance called the Chicken which had a lateral body movement and was used as a change of pace during the twist. So as the kids grew lazier they decided to do less work, and started moving only their hips while standing still. As the hips swing from side to side they started making up arm movements for the dance.
From this came the Swim, the Monkey, the Dog, the Watusi, the Waddle or Wabble and the Jerk. Some of these dances are named with localities. What we call the Frug is often called the Surf, Big Bea and Thunderbird, with the Swim being born out of it. What we call the Watusi is also known as Wabble and Waddle. The Monkey, Dog, Bump and Jerk fall roughly into the same category.
http://www.webref.org/dance/f/frug.htm
a clip via the bbc archives
How little has changed…
"So as the kids grew lazier they decided to do less work, and started moving only their hips while standing still."
From this came the Swim, the Monkey, the Dog, the Watusi, the Waddle or Wabble and the Jerk. Some of these dances are named with localities. What we call the Frug is often called the Surf, Big Bea and Thunderbird, with the Swim being born out of it. What we call the Watusi is also known as Wabble and Waddle. The Monkey, Dog, Bump and Jerk fall roughly into the same category.
http://www.webref.org/dance/f/frug.htm
a clip via the bbc archives
How little has changed…
"So as the kids grew lazier they decided to do less work, and started moving only their hips while standing still."
if you wanna know how to do the frug, watch troop beverly hills! or you could watch the video for the frug on www.launch.com (just search for the frug)
i can definitely do the frug :D
i can definitely do the frug :D
Originally posted by lonelilly702:The question is: short of complete inibriation, why would you want to?
i can definitely do the frug :D
well at one point all the cool kids went out to do the latest dances… maybe it's time to revive the fun! i'll be djing ;)
Originally posted by kosmo vinyl:Taking requests?
i'll be djing ;)
cant wait to be there attempting the frug
Sadly I missed the tickets; I was hoping to go, but won't be able to now…
hee. i bought as soon as they went on sale :D
sorry charlie
sorry charlie
I'll be there. I'll be the tall guy standing in front of you. Don't be angry.
shyeah right. i'll be the tall GIRL standing way too close to jenny.
alas, you weren't as close as i.
holy shit. that show kicked so much ass and face it was ridiculous. also the brunettes were really good…i knew it was going to be amazing as soon as that chick pulled out a clarinet.
i will follow up your holy shit with a "hot dayyyum"
my friend and i won the brunettes dance contest!
did you guys like portastatic too?
my friend and i won the brunettes dance contest!
did you guys like portastatic too?
anyone know what the encore songs was i was really smashed by that time if someone could help jog my memory its would be much appericated
Originally posted by oddball420:They played a piano duet version of Spectacular Views and then the big group number with Conor and Mars Black was Pete Townsend's Let My Love Open The Door.
anyone know what the encore songs was i was really smashed by that time if someone could help jog my memory its would be much appericated
yeah.
oh man, was that great…
i think spectacular views has been the encore at almost every show on this tour. awesome.
oh man, was that great…
i think spectacular views has been the encore at almost every show on this tour. awesome.
Monday, May 30, 2005; Page C05
Washington Post
Rilo Kiley at the 9:30 Club
Let's track the soaring career trajectory of indie pop rockers Rilo Kiley: Three years ago, the Los Angeles four-piece band played for a dozen folks at the now-defunct Metro Café. A follow-up gig at the Velvet Lounge drew an additional 20 fans. Two hundred fifty showed up in 2003 at the Black Cat, and Saturday night there was a full house at the 1,200-capacity 9:30 club. And bigger things are coming: In September Rilo Kiley will open for Coldplay at Nissan Pavilion. Who knows, next year Coldplay could be opening for them.
Judging by Saturday's show, the exponentially growing popularity is deserved. Joined by an additional guitarist and a trumpet player, the band creates a shimmering sound that is smart and accessible, exuberant and heartbreaking. Lead singer and multi-instrumentalist Jenny Lewis is the shining star, a mesmerizing vocalist with a range as wide as a desert and a voice that manages to be both intimate and detached. Behind her eyes-hiding bangs, she brings to mind a sneering Chrissie Hynde on edgier songs and Sonny-era Cher on poppier fare.
For 90 minutes Lewis and band mates Blake Sennett, Pierre de Reeder and Jason Boesel took the youngish crowd on a tour of the group's three albums. Sound problems muffled Lewis's voice at first, but were worked out in time for her slow-burning take on the torchy "I Never" and the sweeping singalong grandeur of "With Arms Outstretched." On the latter song, indie darling Conor Oberst and his Bright Eyes pals, still in town after two nights at the club, helped on the chorus.
Other gems included "The Good That Won't Come Out" and the title tracks to the band's last two albums, "More Adventurous" and "The Execution of All Things." Perhaps the only misstep was an ill-advised experimental jam band reworking of the previously perfect "Wires and Waves," from the first album, "Take-Offs & Landings."
For the finale, Oberst and, well, seemingly everyone else who was backstage joined Rilo Kiley for a joyous, nearly a cappella version of Pete Townshend's "Let My Love Open the Door." Indie rock superstars reinterpreting a rock classic as a magical hoedown is just this side of brilliant. Maybe Coldplay should try it when it opens for Rilo Kiley.
– Joe Heim
Washington Post
Rilo Kiley at the 9:30 Club
Let's track the soaring career trajectory of indie pop rockers Rilo Kiley: Three years ago, the Los Angeles four-piece band played for a dozen folks at the now-defunct Metro Café. A follow-up gig at the Velvet Lounge drew an additional 20 fans. Two hundred fifty showed up in 2003 at the Black Cat, and Saturday night there was a full house at the 1,200-capacity 9:30 club. And bigger things are coming: In September Rilo Kiley will open for Coldplay at Nissan Pavilion. Who knows, next year Coldplay could be opening for them.
Judging by Saturday's show, the exponentially growing popularity is deserved. Joined by an additional guitarist and a trumpet player, the band creates a shimmering sound that is smart and accessible, exuberant and heartbreaking. Lead singer and multi-instrumentalist Jenny Lewis is the shining star, a mesmerizing vocalist with a range as wide as a desert and a voice that manages to be both intimate and detached. Behind her eyes-hiding bangs, she brings to mind a sneering Chrissie Hynde on edgier songs and Sonny-era Cher on poppier fare.
For 90 minutes Lewis and band mates Blake Sennett, Pierre de Reeder and Jason Boesel took the youngish crowd on a tour of the group's three albums. Sound problems muffled Lewis's voice at first, but were worked out in time for her slow-burning take on the torchy "I Never" and the sweeping singalong grandeur of "With Arms Outstretched." On the latter song, indie darling Conor Oberst and his Bright Eyes pals, still in town after two nights at the club, helped on the chorus.
Other gems included "The Good That Won't Come Out" and the title tracks to the band's last two albums, "More Adventurous" and "The Execution of All Things." Perhaps the only misstep was an ill-advised experimental jam band reworking of the previously perfect "Wires and Waves," from the first album, "Take-Offs & Landings."
For the finale, Oberst and, well, seemingly everyone else who was backstage joined Rilo Kiley for a joyous, nearly a cappella version of Pete Townshend's "Let My Love Open the Door." Indie rock superstars reinterpreting a rock classic as a magical hoedown is just this side of brilliant. Maybe Coldplay should try it when it opens for Rilo Kiley.
– Joe Heim