Phish - Wikipedia. This article is about the band. For deceptive internet practices, see Phishing. Phish is an American rock band that was founded at the University of Vermont in Burlington, Vermont in 1.

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The band is known for musical improvisation, extended jams, blending of genres, and a dedicated fan base. The current line- up—guitarist and lead vocalist Trey Anastasio, bassist and vocalist Mike Gordon, drummer and vocalist Jon Fishman, and keyboardist and vocalist Page Mc. Connell—performed together for 1. October 7, 2. 00. December 3. 0, 2. They resumed touring from December 3. August 1. 5, 2. 00.

Daredevil is killed going over Niagara Falls in an inflatable ball - 14 years after he became the first to survive the same plunge without any protection.

Coventry Festival would be their last show. They reunited in March 2. Hampton Coliseum in Hampton, Virginia, and have since resumed performing regularly.

Phish's music blends elements of a wide variety of genres,[2] including funk, progressive rock, psychedelic rock, folk, country, jazz, blues, bluegrass, and pop.[1][3] Although the band has received little radio play or mainstream exposure, Phish has developed a large and dedicated following by word of mouth, the exchange of live recordings, and selling over 8 million albums and DVDs in the United States.[4]Rolling Stone stated that the band helped to ".. History[edit]Formation and The White Tape: 1.

Phish was formed at the University of Vermont in 1. Trey Anastasio and Jeff Holdsworth, bassist Mike Gordon, and drummer Jon Fishman. For their first gig, at Harris- Millis Cafeteria at the University of Vermont on December 2, 1. Blackwood Convention".[6] ("Blackwood convention" is a term from the card gamecontract bridge.) The band was joined by percussionist.

Marc Daubert in the fall of 1. Grateful Dead songs.[7] Daubert left the band early in 1. Page Mc. Connell then joined the group on keyboards and made his debut on May 3, 1. Wilks/Davis/Wing Dormitory on Redstone Campus at the University of Vermont, Burlington, Vermont.[9] Holdsworth left the group after graduating in 1. Trey, Page, Mike, and Fish"—the lineup to this day.[8]Following a prank at UVM with his friend and former bandmate Steve Pollak—also known as "The Dude of Life"—Anastasio decided to leave the college. With the encouragement of Mc. Connell (who received $5.

Anastasio and Fishman relocated in mid- 1. Goddard College, a small school in the hills of Plainfield, Vermont.[8] Phish distributed at least six different experimental self- titled cassettes during this era, including The White Tape.[1. This first studio recording was circulated in two variations: the first, mixed in a dorm room as late as 1. The older version was officially released under the title Phish in August 1. Jesse Jarnow's book Heads: A Biography of Psychedelic America details much of the band's early years at Goddard College, including their early relationship with fellow Goddard students Richard "Nancy" Wright and Jim Pollock. Pollock and Wright were musical collaborators, experimenting with multi- track cassette records to be broadcast on local radio. Phish adopted a number of Nancy's songs into their own set, including "Halley's Comet", "I Didn't Know", and "Dear Mrs.

Reagan", the latter song being written by Nancy and Pollock. Jarnow argues that despite an eventual falling out between the members of Phish and Nancy, Nancy and his music were highly influential to Phish's early style and experimental sound. Pollock continued to collaborate with Phish over the years, designing some of their most iconic concert posters.[1.

The band's actions demonstrate an identity with their "hometown" of Burlington, Vermont. By 1. 98. 5, the group had encountered Burlington luthier. Paul Languedoc, who would eventually design four guitars for Anastasio and two basses for Gordon. In October 1. 98. Since then, Languedoc has built exclusively for the two, and his designs and traditional wood choices have given Phish a unique instrumental identity.[1. Also during the late 1. Phish played regularly at Nectar's restaurant and bar in Burlington.

In 1. 99. 2 the album A Picture of Nectar, named as a tribute to the owner, featured a large orange with Nectar's photo superimposed subtly within the orange.[1. The Man Who Stepped into Yesterday and Junta: 1. As his senior project, Anastasio penned The Man Who Stepped into Yesterday, a nine- song concept album that would become Phish's second studio experiment. Recorded between 1.

July of that year, accompanied by a written thesis. Elements of the story—known as Gamehendge—grew to include an additional eight songs.

The band performed the suite in concert on five different occasions: in 1. Beginning in the spring of 1. One such jam took place at Anastasio's apartment, with a second at Paul Languedoc's house in August 1. They called these jam sessions "Oh Kee Pa Ceremonies", saying the name was chosen by Anastasio after seeing the films A Man Called Horse and Modern Primitives,[1. Mandan. Indian ceremony. The product of one of these jam sessions was included in the band's first mass- released recording, a double album called Junta, later that year.

On January 2. 6, 1. Phish played the Paradise Rock Club in Boston. The owners of the club had never heard of Phish and refused to book them, so the band rented the club for the night. The show sold out due to the caravan of fans that had traveled to see the band.[1. Lawn Boy and A Picture of Nectar: 1.

By late 1. 99. 0, Phish's concerts were becoming more and more intricate, often making a consistent effort to involve the audience in the performance. In a special "secret language",[1. For instance, if Anastasio "teased" a motif from The Simpsons theme song, the audience would yell, "D'oh!" in imitation of  Homer Simpson (help·info).

In 1. 99. 2, Phish introduced a collaboration between audience and band called the "Big Ball Jam" in which each band member would throw a large beach ball into the audience and play a note each time his ball was hit. In so doing, the audience was helping to create an original composition. In an experiment known as "The Rotation Jam", each member would switch instruments with the musician on his left.

On occasion, a performance of "You Enjoy Myself" involved Gordon and Anastasio performing synchronized maneuvers, jumping on mini- trampolines while simultaneously playing their instruments.[2. Phish, along with Bob Dylan, the Grateful Dead, and the Beatles, was one of the first bands to have a Usenet newsgroup, rec. Aware of the band's growing popularity, Elektra Records signed them that year. The following year A Picture of Nectar was complete: their first major studio release, enjoying far more extensive production than either 1.

Junta or 1. 99. 0's Lawn Boy. These albums were eventually re- released on Elektra, as well. The first annual H. O. R. D. E. festival in 1. Phish with their first national tour of major amphitheaters.

The lineup, among others, included Phish, Blues Traveler, The Spin Doctors, and Widespread Panic. That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U. S. with Carlos Santana. Rift,Hoist and Billy Breathes: 1.

Phish began headlining major amphitheaters in the summer of 1. That year, the group released Rift packaged as a concept album and with heavy promotion from Elektra including artwork by David Welker. In 1. 99. 4, the band released Hoist. To promote the album, the band made their only video for MTV, "Down With Disease", airing in June of that year.

Foreshadowing their future tradition of festivals, Phish coupled camping with their Summer tour finale at Sugarbush North in Warren, Vermont in July 1. Live Phish Volume 2.[2. On Halloween of that year, the group promised to don a fan- selected "musical costume" by playing an entire album from another band.

After an extensive mail- based poll, Phish performed the Beatles' White Album—as the second of their three sets at the Glens Falls Civic Center in upstate New York.

The Films Of Billy Wilder: A Retrospective“I want to thank three persons,” said Michel Hazanavicius, accepting the 2. Best Picture Oscar for “The Artist.” “I want to thank Billy Wilder, I want to thank Billy Wilder and I want to thank Billy Wilder.” He wasn’t the first director to namecheck Wilder in an acceptance speech. In 1. 99. 4, Fernando Trueba, accepting the Foreign Language Film Oscar for “Belle Epoque” quipped, “I would like to believe in God in order to thank him.

But I just believe in Billy Wilder… so, thank you Mr. Wilder.” Wilder reportedly called the next day “Fernando? It’s God.”So just what exactly was it that inspired these men to expend some of the most valuable seconds of speechifying airtime they’ll ever know, to tip their hats to Wilder? And can we bottle it?Born in a region of Austria/Hungary that is now part of Poland, Wilder’s story feels like an archetype of the émigré- to- Hollywood experience that shaped so much of the early studio system, and by extension, narrative cinema as we know it. First a reporter, he cut his teeth as a screenwriter in Berlin, notably collaborating on the screenplay for famous neo- realist precursor “People on Sunday.” Moving to Paris, his first directorial credit came for the 1. French- language picture “Mauvaise Graine” (“Bad Seed“).

However, even prior to its release Wilder, fearing the looming European Nazi threat that would eventually claim the lives of his mother, stepfather and grandmother, had left for Hollywood, and a shared room with Peter Lorre.While we list only his directorial work below, Wilder considered himself a writer first and foremost and attained quite some pre- directorial success with screenplays co- written with Charles Brackett, especially those directed by fellow immigrant and mentor Ernst Lubitsch (to his dying day, Wilder’s office was graced by a plaque reading “How would Lubitsch do it?”). And several pictures after his eventual split with Brackett came the second important, multi- picture writing partnership of Wilder’s career, with I. A. L. Diamond.But while Wilder always wrote in collaboration, the throughline is definitely his own. Perhaps to compensate for his initially faltering English, he developed an ear for the American vernacular that was simply unparalleled, and, boy, did he have a way with a joke. His detractors (we guess they exist, though we try to avoid them at parties) have accused his dialogue style of being too constructed, too unnaturalistic. They say, perhaps imitating Jack Lemmon imitating Tony Curtis imitating Cary Grant “Nobody talks like that” and perhaps they’re right — really, nobody did.

Except maybe, judging from the plethora of witty, insightful, delightful late- career interviews he gave, Wilder himself.Naturalism be damned. When you’re as funny, scathing, richly textured and whipsmart as Wilder could be at his best, who needs it? In almost every genre he put his hand to, he turned in a stone- cold classic. Or two. Need stats? He directed 4 of the AFI’s 1. Watch Speed 2: Cruise Control Download. He directed 1. 4 different actors to Oscar nominations.

He was nominated for 1. Oscars, winning 3, and 8 directing Oscars, winning 2.Enough with the math.

Wilder gave us Marilyn Monroe‘s (and arguably classic Hollywood’s) most iconic image. He gave us ‘Nobody’s perfect’ in a film as close to perfection as a Hollywood comedy can get. He gave us “Mr. de Mille, I’m ready for my close up,” Barbara Stanwyck‘s anklet, and Jack Lemmon straining spaghetti through a tennis racket. He made Garbo laugh, let dead men narrate and tempered all his jokes with cynicism, and all his cynicism with infectious, irreverent, mischievous wit.So today, on the occasion of the tenth anniversary of his death, we take a long look back at the career of this remarkable, beloved, inspirational director. Because we may not be standing on a podium, but we, too, would like to thank Billy Wilder. There are three notable omissions from this list – films none of us has seen and which we couldn’t track down in time.

The French- language “Mauvaise Graine” (1. Paris. “Five Graves to Cairo” (1. Wilder’s second US directorial effort, and starred Franchot Tone, Anne Baxter and Erich von Stroheim as Rommel. Watch Do Anjaane Online (2017) here.

It’s a desert- set WW2 spy story and apparently pretty good. And finally, we missed out on “Death Mills,” Wilder’s 2. Bergen- Belsen extermination camp in 1. The Major and the Minor” (1. Reportedly fed up with how his scripts were being bastardized by lesser directors, Wilder was eventually handed the reins on “The Major and the Minor,” for his U. S. feature directorial debut.

It’s a shame he wasn’t allowed to cut his teeth on his far superior script for “Ball of Fire,” which Howard Hawks was shooting simultaneously, (though Hawks did a great job with the Barbara Stanwyck/Gary Cooper starrer). Because with the best will in the world, these days it’s hard to get beyond the icky premise of the film. The story revolves around a grown woman (Ginger Rogers) falling in love with an engaged U.

S. army major (Ray Milland) while passing herself off as a 1. Problematic to the modern eye, to say the least. At the time, however — back in the days when apparently the discovery that the female with whom a grown man has been sharing a private train berth is a pre- teen, was an occasion for relief rather than the set up for an episode of “To Catch A Predator” — this was a hit and established Wilder’s mettle as a director. Certainly, leaving the inherent skeeziness of the plot to one side, you can see it’s a remarkably assured debut. Not showy, not especially visually innovative, but certainly competent, and already here Wilder demonstrates his deft hand at coaxing game performances of impeccable comic timing. Rogers is really pretty terrific, despite the awkwardness of what she’s working with, and the simple fact that she just looks far too old to play the part of a 1. Clark Kent’s glasses.

Milland, too, nearly manages to charm us through some pretty murky waters, until the very end where even he seems a little embarrassed at the hasty denouement. Ultimately, while it may have launched one of the most important directorial careers that Hollywood will ever know, be warned that the film’s plot has dated beyond (suspension of dis)belief, and as such “The Major and the Minor” is a lot more minor than major.

C+]“Double Indemnity” (1. Hugely influential and highly involving, the director’s 1. American movies ever made. The story is this: insurance salesmen Walter Neff (Fred Mac. Murray) is seduced by the sizzling Phyllis Dietrichson (Barbara Stanwyck), who convinces him to secretly compose a life insurance policy for her husband and aid in his murder. Of course she’s not all that she seems to be, being the femme fatale and all, and Walter ends up at the desk of his boss (a crackling, powerful Edward G. Robinson), confiding the entire murder story into his Dictaphone (giving the movie its voiceover perspective).

It’s difficult not to admire every element of “Double Indemnity” — from the suspenseful, tight plot to the harsh lighting and shadows borrowed from the best in German Expressionism — simply because it has everything you could possibly want in a single film. But props go to the subtler, slower- paced moments that you don’t always find in the genre, a cinematic victim of endless dialogue and knotty plots. When Walter sets out to meet with Phyllis on the eve of the murder, he recounts all of the smart precautions he took before leaving, such as sticking matchbooks under his door knocker to see if anyone had stopped by while he was gone. He covers his tracks carefully and we stay with him every step of the way, Wilder stretching the suspense so thin that we’re ready to snap once the bloodshed finally occurs. The slaying itself is also artfully done, taking place entirely off- camera with the frame glued right on Stanwyck’s face — for the first millisecond she sports a frightened mug, but it soon fades to a more truthful, relieved stare, cold as ice. An absolute classic. A+]“The Lost Weekend” (1.