Digital technology in the middle portion of the Bottoms Up composition also has entertainment value, including the transformational Chameleon 2 and Pulsate 3. As a result, the protagonist bartenders and "entertainment pouring" become wildly popular. The patrons, instead of demanding the booze, are dazzled by their antics and cheer them on.
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Brian meets up with bar veteran Doug Couglin (Bryan Brown), and they put together a dance-duo bar-tending act, taking five minutes to a mix a drink as they dance and toss gin bottles behind the bar to cutting-edge rock music.
BOTTOM ROCK GAY BAR BOSTON 1970S MOVIE
Bartenders' performance of "entertainment pouring" was popularized in Las Vegas nightclubs and the movie "Cocktail" (1988) in which Brian Flanagan (Tom Cruise) juggles Martini shakers and ice cubes.
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Middle: The void that is created between the counter and cornice works as a showcase for the action, an open window into the liveliness and high energy value of a bar-bartending, drinking, interactions between bartender and patrons, as well as patrons with patrons. Therefore, the counter's function is defined by the horizontal surface for the exchange of drinks from bartender to patron. Although the counter is the primary destination within a drinking environment, the majority of the time the counter face is not seen due to the amount of stools or people standing or sitting in front of the surface. As Palladio noted, "Beauty will result from the form and correspondence of the whole, with respect to the several parts with that the structure may appear an entire and complete body, wherein each member agrees with the other, and all necessary to compose what you intend to form." 1īottom's Up (Top Down) expresses the classical notion of harmony, as well as architectural space and time in its composition of beginning, middle and end: Beginning: The face of the bar counter and its surface is the foundation or grounding portion of the Bottoms Up configuration. The plan of a Palladian villa may be read in much the same fashion, as each side of the central axis is often a mirror of the other. Architecture may be observed from beginning-to-end as well as from end-to-beginning (left-to-right or right-to-left). Aristotle believed that a tragic plot "must have a beginning, middle and end and be confined to a single sequence of events, with the episodes arranged in such a way that if any one were changed or taken away, the effect of the whole would be seriously damaged." The internal and external sections of a composition, distinguished by the schema of tripartition, divides a building into two borders and an enclosed area-the beginning, middle and end of the "whole". Based on Pythagorean interpretation, three is the number of the whole-beginning, middle and end. Everything on the exterior of Bottoms Up is a leisure experience, and everything on the interior is service or task oriented.īottoms Up consists of a three-part composition, a schema that creates harmony by division of a whole into consonant parts. The bartender's vantage spot also allows her to see the entire space. The view of clientele looking into the enclosed bar area is drastically different from the one the bartender sees as he looks out to the people gathered around the bar. The implied plane of the counter and cornice creates a boundary, separating bartenders from the people. If a cornice and counter are mirror images of one another in shape, form and placement, one perceives the configuration as a single form.īottoms Up leads people to a point of interest in a space, but the physical structure prevents them from going behind the bar.
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The soffit, which often differs from the cornice in material or color, may be used for racks to display glasses. A bartender's actions are highlighted in the interior space. In bars and clubs Bottoms Up defines space and functions as a destination point. Bottoms Up is used in retail as a cash wrap, in the workplace as a reception desk, in cafes as a coffee counter and in clubs as a bar. Bottoms Up (Top Down) is an architectural element comprised of a significant cornice above, and a corresponding counter below, that frame a spatial void for service function activities between them.