ODDSAC

A visual/abstract film by Animal Collective - premiering at Sundance now. Just bought my ticket to the New York screening on March 2nd, 2010 - sky, whoa I walk.

bacKspace New York Debut

FOR IMMEDIATE RELEASE
January 23, 2010
Contact: Aaron Kint; Ashley Mathus
E-mail: thebackspace@gmail.com; mygreenblanket@gmail.com
“let the BED BUGS BITE” bacKspace performance ensemble’s New York Debut

----------------------------------------------------

Ladies, Gentlemen, Undecided, and Inbetweenies,

The year of bacKspace is upon us! The freaksters present to you the first 2K10 orgasmic experience, the New York City Debut and world premiere of “let the BUGS BUGS BITE.”

From the creators of “Rave,” “Omen,” and “Top That! The Musical,” “let the BED BUGS BITE,” promises to be a night of bloodthirsty dance, over-the-top theatrics, sexy performance art, electronic body-thumping music, bold fashion, thirst-quenching gender F$%&ing, vivid neon and goth stage design, deep, heavy, juicy, sweaty, hilarious, confusing, enlightening, and awe-inspiring awesomeness! bacKspace, a New York based performance ensemble, originated in Columbus, OH where they became a household name for forward-thinking entertainment. After the move to the big city, bacKspace became enthralled and inspired by the creepy crawlers of NYC (both human and insects alike), hence the premiere that you all have been waiting for!

“let the BED BUGS BITE” (LB3, the neat abbrev for “let the BED BUGS BITE”) will be premiering Saturday, February 13, 2010 at Chez Bushwick at 8:00pm. Chez Bushwick is located at 304 Boerum St, Brooklyn, NY (buzz #11 to get in). bacKspace not only takes entertainment value to the extreme but we’re recession friendly! For $5.00 you can witness an uncensored, unadulterated, unforgettable, undeniable extravaganza that will blow your mind (and maybe even that extra skin between your legs)!


If you've never been to a bacKspace show before…

1. We're really sorry for you that must be hard to deal with
2. Expect live entertainment for the ADD generation
3. Try to fathom looks that will blow your mind
4. Expect dancing that will make you moist
5. Expect to WANT MORE!

The bacKspace line-up for LB3 features:

Aaron Kint (Artistic Director)
aka Krystal Something Something

Jessica "Diba" DiBattista
aka Lil' Kimchi

Jeff Marras
aka Charmin Ultra

Ashley Bono
aka Mary Jo CamelToe

Ashley Mathus
aka Duchess Tickles

Amy Campbell
aka Whiskey Dixie

Jenny Campbell
aka Henny Penicillin

and ultra chic, custom couture costumes by Aleksandra Krninova, one of NYC's up-and-coming fashion designers of 2K10.

....WARNING!....
bacKspace DOES NOT condone the use of beige, brown, taupe, camel (unless of course when accompanied by "toe"), forest green, gaucho pants, string quartets, the "Amelie" soundtrack, deep and audible breathing, "modern dance face," soft lighting, or liturgical anything. So if you're expecting to see a "modern dance show," then you'll definitely be in for a surprise.

Not familiar with orgasmic dance experiences in Brooklyn? Well easy access is always preferred! Coming from Manhattan? Take the L train to the Morgan Avenue stop and exit near the intersection of Bogart St. and Harrison Place. Bridge and Tunnel peeps? Hop on the L train anywhere on 14th Street from 8th Ave. - 1st Ave., and get off of the Morgan stop. Morgan, Morgan, Morgan!

For more info on the bacKspace performance ensemble, deets about the show, hot pics, video entertainment and more, visit

WWW.THEBACKSPACE.ORG
WWW.THEBACKSPACE.ORG
WWW.THEBACKSPACE.ORG


OTHER NEWS FROM THE DESK OF BACKSPACE:

Be sure to check out the February 11th issue of TimeOut NY, why? Because bacKspace's very own Aaron Kint will be featured as one of NYC’s 50 Most Stylish People!


Columbus, Ohio misses us (and here’s why): http://www.examiner.com/x-35751-Columbus-Fine-Arts-Examiner~y2010m1d15-Columbus-misses-Backspace


Get out of the house, get over the cold, and make it to the hottest hot spot in Brooklyn, Sugarland! bacKspace will be heating up the night on Friday, January 29 with a new set from DJ Daddy Whorebucks and hosted by Charmin Ultra! Find out more info about this Williamsburg playground at www.myspace.com/sugarlandbklyn or http://www.facebook.com/pages/Brooklyn-NY/Sugarland-Brooklyn/72807509856


Be on the look out for some fresh tunes from bacKspace, as they bring you the “let the BED BUGS BITE” EP featuring seven new tracks.

Enjoy the sights and sounds of bacKspace TV at www.youtube.com/user/thebackspace

Love,
bacKspace

###

Reality Pride: the turning age featuring Glee

I'm a gleek and I'll tell you why.

For the last ten years or so American audiences have been subjected to and taken part in (guilty as charged) the chaotic mindless-ness, over-the-top [questionably 'Americana'] dare devils acts, dubious characters from the depths of nowhere land, grandiose schemes and impending persons, intrigue in fake body parts defining beauty, arranged marriages (the list could go on) of reality TV. Our country's networks and media subjects have gone from an unpredictable creative haven to a dumbed down, chair-ridden group of people who watch other people lead boring lives, aka Pixar's impressions of us in Wall-E. What happened to sitcoms that would positively engage family activity and bring a group of smiles around the television set? The lesson-learning plots of "Family Matters," "Full House," "Saved By the Bell," "The Cosby Show," "Blossom" - and every other show 90s kids can think of - swiftly disappeared to be replaced by ambiguous producers where the dollar sign took place over dignity, pride and privacy. Values were suddenly determined the price of a purse, the size of a house, or how long one was able to sustain a clock around their neck. Self-impressions became a concern to many a people, and families (like Balloon Boy's) have instilled upon their children an unstable definition of entertainment.

Enter Glee: On the border of a new decade, Fox decided to hone in on various aspects of reality TV programs (American Idol, X Factor, Beauty and the Geek, Chuck) and produce a level-headed show that, apparently, brought Americans back to the good ole' days of a bona fide sitcom. The phenom known as Glee - a kick ass show where dweebs have amazing voices and minorities are the new celebrities - brings audiences what they have been missing for ten years: Fictional characters, real acting, vocals that we cannot even fathom to impersonate in our living rooms, drama, comedy, honesty, suspense, love, goals, lessons, heart-felt apologies, a set design that doesn't only feature a bed and alcohol, this list could go on forever. I say "miss" because the numbers have to mean something, right? The Associated Content reports that Glee ratings, "within the demographic of 18 to 49 year olds" have had close to 3.5 million viewers throughout most of their season. The AC says, "Overall the last two episodes of Glee passed 8 million in total viewers, putting it at some nice total numbers for the network." Though American Idol is still breaking records on TV in its 9th season, I feel a change coming and I refuse to look back.

Although, maybe it's all high school related. The days where Will Smith schemed in the hallways and Zack Morris weighed the pros and cons of playing hooky are way behind us, but maybe that nostalgia has become evident in Fox's writing den and made itself heard all the way to the Board room. It seems everyone is yearning for a little teenage drama sans vampires these days, myself included. Glee takes our former peers from our glory days and transports them into the world of now. We all knew people like Kurt Hummel, Rachel Berry or Puck, and maybe that's why we want to watch - to reminisce and nod in agreement while still maintaining the presence of booming technology, fashion statements bordering obsession and the gay uprising in political media. Also, we should consider the possibilities of how the parodies of popular culture on YouTube throughout the 00s ignited this change in programming. Maybe society's sitcom u-turn couldn't have happened without major Internet interventions and shows like "Big Brother" or "Fear Factor." The self-marketable engine took us on a roller coaster making the world much smaller. Yet smaller made us less original and motivated. Laziness had not only a physical affect of sitting in chairs staring at a computer all day, but society became complacent in imagination.

Though a sitcom, Fox hasn't become lackluster and forgotten about Glee's entertainment value. What with our pop culture line-up these days, they have to impress in the glitz and glamour, or at the very least have a little fake blood in the costume shop. Fox has combined Broadway sass with Hollywood professionalism (I'm talking about A-listers here) and created a cast that continues to impress episode after episode. The quality of the casts' singing is beyond inspiring. They give American audiences what we have been voting for via mobile phone and screaming at our TV sets since the inception of American idol. Also, the casts' genuine amazement that Glee has become so popular is heart warming and humbling. They dance on mattresses, have excellent comedic timing, are continuing to get a stellar line up of actors and singers to guest star, and, more importantly, evoke emotions in me that I haven't felt whilst watching TV in a very, very long time.

Whatever the case, I'm thankful major networks are initiating substantial changes to their evening line-up, where sitcom's can start re-inspiring kids in a healthy and educational way; like the influence Glee has had on show choirs internationally, or the positive encouragement all the minorities on the show bring into real-life homes and high schools. Maybe now we can forget about red flags and blue flags, and instead sit around the TV and laugh at the industry's creation instead of our own neuroses.

That big grin matches your significant O

"The problem with being attached to an anchor is it's damned hard to fly." _Half Broke Horses (p 258)

Suffocation key was unlocked last night.
Jostling, it finally broke the bolt, and I could see through this tiny door possibilities that just weren't for me.
The key led to a presentation of dinner tables, clinking glasses and chinky grins,
Wide-eyed do-gooders and hearty lips brewing futures,
Laced eyes coaxed with salty mascara and yearning for a different key.
No buffer and food, lots of gumption,
Reasons for feeling padded and thick - sounds like "poo poo poof!"
Chocolate layers sticky with ties of friendships.

The door was better shut when it came to kisses and arm reaches,
I don't want your secret garden relationship.
Stomach flips of disgust over hand engagement,
Teeth chomping on skin,
Limbs swinging in "hey ya's,"
Groovy in side glances filled with bubbly, licorice grins.
Two missing.
How come I have the key but can't move past the doorway?

Instead intimidation matters, filled with self-professed prophecies and illusions,
Stuff our mouths and pretend to come out as words.
Light this face up with a glow stick maybe you'll see what's inside now,
No reflection, you're in the moat past the doorway,
enthusiastically on your way to a caucus of monotony.

Ways of misunderstanding and understood by people in two's,
standing strong and walking briskly in sync,
henceforth, leaning over the top of a cliff ready to jump off into oblivion together.