— ■ ■ ■ t > 1 •' -■ A’ I Courtesy Photo AMI DIFRARCO’s aew album, “Little Plastic Castle” will hit stere shelves aatfuawide today. The album, which is heiufl released ea DIFraace’s ewa Righteous Babe Recerds label, is her 12th album. DiFranco’s ‘Castle’ leads new releases By Jim Zavodny Staff Reporter Folk singer/songwriter and righteous babe Ani DiFranco releases her 12th album today on her own record label. The new album, titled “Little Plastic Castle,” is the follow-up to 1997’s “Living In Clip,” DiFranco’s most successful record to date. Columbia Records debuts two of its new rhythm and blues/soul singers this week with albums from the En Vogue-like group Destiny’s Child and solo youngster Kimberly Scott. Rap artists dominate the two new movie soundtracks coming out today. The latest Wayans Brothers film, “Senseless,” includes previ ously released tracks from the Gravediggaz, Roni Size and Moby, among others. The Wu-Tang Clan, ONYX and Nas grace the sound track of the new movie “Ride,” which was formerly titled “1-95.” Electronica, the music indus try’s most recent fad, represents itself on a new compilation titled “Digital Empire: Electronica’s Best.” Appearing on the album are two of techno’s English champi ons, Prodigy and The Chemical Brothers, along with America's The Crystal Method and a host of other block rockin’ samplers. New Releases: February 17, 1998 B-Tribe: “Sensual Sensual” (Mesa/Atlantic) Michael Crawford: “On Eagle’s Wings” (Atlantic) Deep Forest: “Compares” (550 Music) Destiny’s Child: “Destiny’s ChUd” (Columbia) Ani DiFranco: “Little Plastic Castle” (Righteous Babe) Various Artists: “Digital Empire: Electronica’s Best” (K-tel) Jagged Edge: “A Jagged Era” (So So Def/Columbia) f; Original Movie Soundtrack: “Ride” (Tommy Boy) Kimberly Scott: “Kimberly Scott” (Columbia) Original Movie Soundtrack: “Senseless” (Gee Street/V2) ByLizaHoltmeier Staff Reporter In the beginning, it consisted of four dancers and a choreographer performing at senior centers. TWenty years later, it is a 22-person ensemble, per forming across the nation at places like Jacob's Pillow, the American Dance Festival and Kennedy Center. Hubbard Street Dance Chicago, which performs at the Lied Center for Performing Arts this Friday, has become one of the premiere dance companies in the United States. Its repertoire, which is described as contemporary modem and ballet, includes such well-known choreographers as Twyla Tharp and Bob Fosse. Lou Conte, a former Broadway dancer and Joffrey scholarship winner, founded the ‘ company^ hr *977. At-the time, the coatpa^ ny’s four dancers had limited performances, and their repertoire consisted entirely of pieces by Conte. Conte realized early on that he wanted to bring in other choreographers, said Carrie Ranck, communications manager for Hubbard Street. She said Conte didn't want to be like Paul Taylor or Martha Graham, choreographers whose companies exclusively showcase their own works. Shortly after its inception, Hubbard Street began commissioning works by other choreogra phers. Margo Sappington is one choreogra pher who has played a marked role in the Hubbard Street repertoire. “She has very different ways of moving,” said Josef Patrick, who has danced with Hubbard Street for 12 years. “The company has five pieces by her, and you wouldn’t know they were by the same person.” Friday's program includes one of Sappington's pieces. The company formed one of its most important artistic relationships in 1990 with choreographer Twyla Tharp. In the past eight years, Hubbard Street has become a showcase for Tharp’s classics as well as her new works. “I love the quirkiness of Tharp’s choreography,” Patrick said. "It looks like it’s not choreography. It looks like something everybody can do, but yet it’s very intricate.” Patrick said working with Tharp had been a trea sured experience. "Shea kind of like an Italian mother,” Patrick j said. "She’s very strong and demanding, but it’s Jj only because she cares and wants you to look good.” Tharp's additions to Hubbard Street’s num bers include the ballroom-like "Nine Sinatra . Songs” and die apocalyptic “Fait Accompli” Kevin O’Day, a former member of Tnarp’s company, also has forged a strong relation ship with Hubbard Street. "You can definitely see the influence i Tharp has had on him,” Patrick said. “The j way he approaches things is similar,” However, Patrick added that O’Day’s choreography tended to take more from classical ballet technique. Because the style of choreography Hubbard Street performs varies, dancers must be versatile in a variety of movement “When I first joined the company, the choreography was jazzi er and more in the musical theater style,” Patrick said. "* we’ve become a company for major contemporary jazz." Despite these changes, the dancers’ training while at: Street is still rooted in the traditions of ballet. Ranck said it was no surprise that the majority of Hubbard Street's dancers have previous experience with other city ballet companies or conservatories. ‘That ballet base is important for strength and technique,” Ranck said. Like most dance companies, Hubbard Street has a strong out reach program in addition to its repertoire ~ building. Two years ago, the company established a minicompany for young, preprofessional dancers.This,grojij^