MIMOBOT(R) Brings Pop Culture to USB Ports with MIMOZINE(TM) Issue 2; Partners with VBS.tv, IODA, and HackTone Records

MIMOBOT(R) Brings Pop Culture to USB Ports with MIMOZINE(TM) Issue 2; Partners with VBS.tv, IODA, and HackTone Records

Hub of the Universe, April 18 -- Military issue 2 of MIMOZINE(TM) digital
magazine by MIMOBOT(R) released today, preloaded on Mimoco's fresh
tokidoki(TM) for MIMOBOT series of designer USB flash lamp drives, which likewise
went on sales agreement this good morning at New House of York Comic Bunco game. Chase Mimoco's
inaugural matter of the world's first-class honours degree magazine delivered via USB flash
drive, their sophomore liberation brings MIMOBOT fans to a greater extent indie pop culture
entertainment.

Finis summer's MIMOZINE premiere featured British pop band Art Brut,
moonshine toy designer Sucklord, study comedy by YouTube superstars Poykpac,
and Mimoco's original animated belongings -- the amnesic MIMOBOT characters
from Planet Blooh.

For their arcsecond publication, working with IODA, the lead digital
distributer for independent medicine labels, Mimoco explored the SxSW euphony
festival, with interviews and sample tracks from IODA artists Modey Lemon tree,
Andy Jefferson Davis, Chikita Violenta, Curumin, The Wedding Show, and Target Rae of
Yes King, wHO wholly performed at IODA's 4th annual opening day event. Too in
MIMOZINE Proceeds 2 ar St. Peter the Apostle Schmitt at the Artwork Basle / Telescope Art Festival,
culture-bending pop fine art superstars FriendsWithYou, HackTone Records'
Japanese pop rock dance band Love Psychedelico, a refreshing springtime Yoga
meditation, and the Superintendent Sucklord's render as Mimoco's on-the-scene
correspondent at Newly York City's St. Patrick's Day parade.

"What MIMOZINE is doing is particularly chill in that it combines a
unique, collectable device with cognitive content that is meaningful to its target area
audience," said Kevin Matthew Arnold, give and Chief operating officer of IODA. "We're delighted by
the outcome of our SxSW coaction and calculate ahead to a great
partnership."

A huge addition to the newly MIMOZINE is depicted object by Frailty Magazine's
broadcast medium limb, VBS.tv, with episode one of their new ecological
documentary series, "Toxic Refuse Island." The show focuses on the
problems World is facing regarding waste, peculiarly non-biodegradable
plastics, and how that macerate is filtering into humanity's nutrient and water
supplies.

"This is a noteworthy step for us," says Scott Seraydarian, Mimoco's VP
of Media Development and the man responsible for the MIMOZINE. "Workings
with VBS provides more great content for MIMOBOT as a newly media political program.
Summation, we're very committed to advancing a greener dot of eyeshot. We get
collectible interior decorator products that are non meant to be thrown away, unlike
other flare drives that ar generic and more disposable, and we want to do
what we tush to raise awareness of run off reducing and taking maintenance of
Mother Ground."

MIMOZINE Return 2 launches today aboard Mimoco's newly tokidoki for
MIMOBOT series, and testament be distributed on totally Creative person and CORE Series
MIMOBOTS. They can buoy be purchased online at hTTP://www.mimoco.com, and at MIMOBOT
retailers worldwide. For more information on VBS.tv and "Toxic Garbage
Island," visit hTTP://www.vbs.tv. For more information on IODA, visit
hTTP://www.iodalliance.com.

Middleman: Daniel Ruby 617-783-1100







Player

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Still Da Baddest (Slip-N-Slide/EMI): B

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Coen Bais

Sopranos star for Marvin Gaye film

Sopranos star for Marvin Gaye film

'The Sopranos'

Los Angeles Philharmonic plays French works

Los Angeles Philharmonic plays French works

For a while, conductor Jacques Alexandre Cesar Charles Dutoit made the Los Angeles Symphony orchestra sound like a French orchestra Thursday at Walt Walter Elias Disney Concert Hall.

The effect wasn't due simply to the plan: works by Run and Saint-Saëns surrounding Grieg's Pianoforte Concerto in A kid, with nattily dressed French piano player Jean-Yves Thibaudet as the soloist.

It had a great handle more to do with a form of integrated sound, a special transparency and peculiarly a long-lined approach to phrasing.




















The transparence suited Ravel's "Ma mère l'oye" (Mother Goof) Rooms, unity of the composer's most economical and magical slews, which opened the concert. The work manages both to inhabit a earth of childhood innocence and to convey an adult's nostalgia for its deprivation.

Dutoit opened the suite with breathless gentleness; allow the little Empress of the Pagodas have her noisy, entertaining bath and modest Turandot-like processional; and tenderly showed Beauty and the Creature negotiating their slenderly awkward waltz.

In the concluding section, "The Fairy Garden," he conveyed a development sense of something wondrously about to chance combined with a recognition that the precious moments of childhood would soon be doomed eternally. It was uncanny and unforgettable.

Among the spiritualist soloists were concertmaster Alexander Treger, principal violist Dale Hikawa Silverman, principal violoncellist Peter Stumpf and harper Lou Ann Neill.

Grieg's concerto was long a staple of the repertory until it became something of a victim of its own popularity. Although it ne'er quite vanished -- audiences would not permit that -- it appeared less and less oftentimes on serious subscription programs and to a greater extent much as region of summertime outdoor series, where its scintillating sense of North Germanic language iciness offered more or less relievo from an evening's heat.

Lately, though, there get been signs of a modest revival. Norwegian piano player Leif Ove Andsnes recorded it twice and performed it with the Symphony orchestra under Esa-Pekka Salonen at Disney Asaph Hall in 2005.

Thibaudet shoemaker's last played it with the Philharmonic under E. O. Lawrence Foster at the Dorothy Chandler Marquee in 2001. At Walt Disney, his blindingly fast octaves set the tenor of his approach. Edvard Grieg looked as difficult to perform as Rachmaninov.

Not that Thibaudet had any difficulties. The speed, lucidness and magnate of his playing were jaw-dropping. Yet it wasn't percussive playing. His attacks were larder, his passage crop fluent, and even if he allowed himself some heavy foot-stomping in the dance rhythms of the final apparent movement, his hands danced lightly and sharply over the keyboard.

For altogether the virtuosity, however, thither wasn't a set of nuanced, poetic, mortal expressivity, which bottom make the work truly vital.

Saint-Saëns' Symphonic music No. 3, the "Organ" Philharmonic, which closed the syllabus, is one of those guilty pleasures that Disney Hall and its tube harmonium are ideal for. The sumptuous C major chord sign the set about of the finale and the shutting chords, with organ and full orchestra ablaze, were impossible to hold out.

Dutoit kept entirely the forces in balance, propelling the music in grand piano sweeps yet cannily disclosure details end-to-end. Principal trombonist Steven Witser's slow movement solo above exquisitely shimmering string section was commendable rich and restrained.

Still, it was that tremendous last, which turned Disney Hall into a Daniel Chester French cathedral, that stuck in the mind. Joanne Pearce Martin, wHO played the organ from the console at the back of the orchestra, deserved the huge ovation she received.

chris.pasles@latimes.com

Baby on the way for Wonder Years star

Baby on the way for Wonder Years star

'The