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Arts - Entertainment & It

Bonsai; Japanese art in nature

Famed bonsai expert Yoichi Nakanishi will give workshops on the care of bonsai on September 11 and 12, 2013.

A Bonsai exhibition and workshop will be held at Central Plaza Chiang Mai Airport Shopping Center on September 11 and 12, 2013 and lovers of this beautiful art form are invited to attend this free workshop, materials costs will be collected at the exhibit.

This 50 year old kuromatsu or Japanese black pine bonsai will be on display at the exhibit.

Bonsai is an important and authentic part of Japanese culture and an example of fine Japanese craftsmanship. The exhibition, which is being held by the Japan Foundation, Bangkok, in cooperation with Daikokuya, will display the creativity and unique aspects of Japanese aesthetics. In collaboration with Thai bonsai lovers, kuromatsu or Japanese black pine, the king of bonsai, which was born in Japan and then transferred to Thailand, will be on display.
The bonsai workshop will be held for bonsai lovers to gain hands-on experience of caring for bonsai under the expert guidance of Mr. Yoichi Nakanishi, the fifth generation owner of Nakanishi Chinshoen (bonsai garden) in Oninashi, a famous kuromatsu production site in Takamatsu, Kagawa Prefecture, Japan.
The exhibition will be held on the 2nd Floor of Central Plaza Chiang Mai Aiport Shopping Center on September 11 and 12, with workshops being held at 2 p.m. and again at 4 p.m. Material fees of 1,500 baht will be collected at the workshop. Ms. Nojima ([email protected] for reservations.

Sharaku’s art as graphic design.

The World I Dream In

Lisa Moses uniquely beautiful creations will be on display from September 14 at 116 Art Gallery.

Lisa Moses will be exhibiting her latest cast acrylic collage prints at the 116 Art Gallery on Charoen Muang Road from September 15 – October 31, 2013. This Chiang Rai based artist uses a unique technique that was invented by her father, Joseph Zirker, in the United States. For many years her work has engaged in a play of relationships between art, our earthly world, the sky, and the infinite galaxies. Her art stretches our imaginations with her brilliant colors and inventive topics. The cast acrylic print works of Lisa Moses are created by a unique process. Using a polyethylene plate, she layers paint and collage elements to create one-time prints with smooth surfaces that fully integrate the collage elements. The resulting work has distinct vibrant colors and composition. It incorporates the beauty of the galaxies, humanity, and the music and dance of life forms on earth.
The opening reception for the exhibit will be on September 14 at 6 p.m. when Lisa will be on hand to describe this unique style.
All works are for sale and part of the proceeds from sales go to The SOLD Project, whose mission is to prevent child prostitution. Closed on Mondays, the Gallery is open from around 1:00pm until 7:00pm the remainder of the week. 053 302 111 or 089 853 2488 or email: [email protected]

Life at 33 1/3: The forgotten classic

Deep Purple: Fireball (Harvest)

By Carl Meyer

An album that ended up in a squeeze between “Deep Purple In Rock” and “Machine Head”. There were no epic celestial journeys like “Child In Time” on it, neither did any of the tracks deliver monster riffs the like one that turned “Smoke On The Water” into a rock band’s wet dream. Then came the fabulous live album “Made In Japan” and the reputation of “Fireball” faded even more, viewed at best as a work of transition.

Very unfair: It is a much more even album than its predecessor. The band plays tighter, the pieces have fallen into place, and thus they also deliver a more self-assured and bold attack. The interplay between Blackmore and Lord is sometimes exceptionally funky, and behind them the rhythm section pushes on like a diesel locomotive. It’s heavy, it’s powerful, it’s cool, it’s groovy. The band is in complete control.

They hardly yield an inch from the formula, good as it is, except for a tiny pinch of backwards guitars, the frantic pace of the title track and of course the album’s absurdly atypical “Anyone’s Daughter” - a talking blues satire with a cowboy hat, served in a stripped down arrangement of honky tonk-piano, plucking country guitar, tambourine and a remote, dreamlike electric slide. Ian Gillan shows his versatility as he turns into a storyteller, relaxed, almost cheerful, a twinkle in his eye.

But on the rest of the album he is a brutal ox pulling the heavy monster through your speakers, sometimes breaking out in his ear piercing signature howl.

It is a blessing to hear Deep Purple from this period. They were a unique organism, every individual contributed to the whole, and that whole was the mark II lineup, the classic Purple, and no other band on the planet sounded like them.

Blackmore was the flashy eye-and ear-grabbing guitar hero or even semi-god, battling it out with Jon Lord’s huge, dirty waves of Hammond. Blackmore’s guitar and Lord’s organ and the way the two musicians interacted was the trademark of the band, as was Gillan’s use of his vocal cords. But none of them would have achieved this without the band’s stellar rhythm section. Roger Glover’s fluid and tight bass playing was both melodic and funky. Bespectacled Ian Paice, looking so fragile behind his drums, was a powerhouse of a man, one of the best rock drummers ever.

The band never seemed to like “Fireball” much (except maybe Gillan). Blackmore claimed they were under pressure and never had time for quality control. That may be so, but it sure doesn’t sound like it. “Fireball” is a strong piece of work, it captures this incarnation of the band just as they struck gold. They had just entered their classic period. They are inspired. They are in shape. They deliver.

The fabulous “Strange Kind Of Woman”, recorded at the same sessions, was omitted from the album. It was only released as a single in Europe. At the time they must have thought that “Fireball” was strong enough as it was. And they were right.

Original European release July 1971:

(All songs written by Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice)

Side One
1. “Fireball” 3:25
2. “No No No” 6:54
3. “Demon’s Eye” 5:19
4. “Anyone’s Daughter” 4:43

Side Two
5. “The Mule” 5:23
6. “Fools” 8:21
7. “No One Came” 6:28

Ritchie Blackmore - guitar
Ian Gillan - vocals
Roger Glover - bass
Jon Lord - keyboards, Hammond organ
Ian Paice – drums

HEADLINES [click on headline to view story]:

Bonsai; Japanese art in nature

The World I Dream In

Life at 33 1/3: The forgotten classic