Entertainment Calendar – Issue of Feb. 9, 2012

1329769028 60 Entertainment Calendar – Issue of Feb. 9, 2012

MUSIC

The Poway Library presents next show in their Acoustic Showcase concert series, bluegrass band Old Town Road 2 p.m. Saturday, Feb. 11. This event is also free. The Poway library is located at 13137 Poway Road. For information about either event, call 858-513-2900.

The San Rafael Catholic Church presents The Sung Contemplative Rosary, featuring The Sorrowful Mysteries of Lent, 7 p.m. Friday, Feb. 24. All are welcome to sing and pray along with members of the Parish Choir to better focus on the Last Days in the Life of Christ through visual means, scriptural readings and song. San Rafael Church is located at 17252 Bernardo Center Drive, Rancho Bernardo. For more information, call 858-487-4314.

The Sandy Devito Combo will be playing 7 – 10 p.m. Saturday, Feb. 11 for a Valentine Dinner Dance at the Rancho Bernardo Courtyard by Marriott. Call 613-2000 for further information and reservations.

The Poway Center for the Performing Arts presents “An Intimate Evening with Crystal Gayle,” 8 p.m. Tuesday, Feb. 14. The first 200 concert-goers through the doors will receive a Valentine’s Day rose compliments of Crystal Gardens Florist. Tickets are $55 adults, $10 youth (under 18 years of age with the purchase of an adult ticket). For tickets and more information, visit powayarts.org.

The Coastal City Jazz Band presents “A Musical Journey with Sammy Nestio,” 2 p.m. Sunday, March 18 at the Carlsbad Community Church, corner of Jefferson and Pine, Carlsbad. Tickets are $15, $12 Seniors and Students. For more information, call Gary Adcock at 858-775-1113.

The Friends of the Rancho Bernardo Library will present San Diego’s favorite guitarist, Peter Sprague and his quartet Wednesday, February 22nd at 6:30 p.m.  Appearing with Peter will be Tripp Sprague on sax and flute, Gunner Biggs on bass and Lisa Hightower on vocals. The concert will be held in the Community Room of the Library, 17110 Bernardo Center Drive. Donations are appreciated. For information call 858-485-0602.

The Classical Music Society presents the California Consort, playing piano quintets by J. N. Hummel and F.

Schubert, 2:30 p.m. Sunday, Feb. 19 at Lutheran Church of the Incarnation, 16889 Espola Drive, Poway.

Cost is $5 students, $25 adults. For more information call 858-385-0659 or contact com.

Yale Strom & Hot Pstromi perform at the Carlsbad City Library (aka Dove Library) Ruby G. Schulman Auditorium 2 p.m. Sunday, Feb. 12. This special concert explores the relationship between klezmer and Jazz with Yale Strom (violin), Elizabeth Schwartz (vocals), Tripp Sprague (reeds), Lou Fanucchi (accordion), Jeff Pekarek (bass) and Tim McMahon (drums). Free and open to the public. The Ruby G. Schulman Auditorium at Carlsbad Dove Library is located at 1775 Dove Lane, Carlsbad.

Thomas Mellan, organist, performs a free concert 2 p.m. Sunday, Feb. 12, at the Rancho Bernardo Community Presbyterian Church, 17010 Pomerado Road. Sponsored by the San Diego Alumni Chapter of Mu Phi Epsilon Professional Music Fraternity. For more information, call 858-487-0811, ext. 288 or contact .

Orchestra Nova presents a night of “Favorite Opera Moments,” 7:30 p.m. Monday, Feb. 13, with “the Nova Experience,” featuring activities and food beginning at 6 p.m. at the Sherwood Auditorium, La Jolla. Tickets range from $26 – $66; Students and educators – $10; active military families are free. For tickets, call 858-350-0290 or visit orchestranova.org.

David Chase leads the La Jolla Symphony Chorus in a concert of the “Music of the Americas,” 4 p.m. Sunday, March 11 at St. Elizabeth Seton Catholic Church. Ticket prices range from $15-$8. St. Tickets also available for sale at the door. Elizabeth Seton Catholic Church is located at 6628 Santa Isabel Street in Carlsbad. For more information call 858-534-4637 or visit lajollasymphony.com.

The Martin Luther King, Jr., Community Choir San Diego, popularly known as the MLK Choir, will perform 2:30 p.m. Sunday, Feb. 19 at the Scripps Miramar Ranch Library Center. They will perform a varied program from their repertoire of gospel music, Negro spirituals, anthems and classical works. There is no charge for the concert, although donations are appreciated. Meet the singers at a complimentary post-concert reception. Scripps Miramar Ranch Library Center is located at 10301 Scripps Lake Drive. Call 858-538-8158 or visit srfol.org for information.

St. Bartholomew’s Episcopal Church presents Mozart’s “Requiem,” 4 p.m. Sunday, Feb. 19 at the church, 16275 Pomerado Road, Poway. The entire Requiem will be performed with a full orchestra, soloists and choir. The soloists are local artists Diana Villwock, soprano; Evangelina Woo, mezzo-soprano; Sean McCormac, tenor and Tim McLellan, bass. This concert is a part of the church’s ongoing Concert Series which is celebrating its 7th year. There will be a $10 donation accepted at the door. For more information, call 858-487-2159.

The Coastal Communities Concert Band presents French Horn soloist Master Sergeant Joseph Lovinsky at its 2012 Anniversary Concert 2 p.m. Sunday, Feb. 19 at Carlsbad Community Church, 3175 Harding St., Carlsbad. MSgt. Lovinsky is the principal hornist in the prestigious U.S. Army Band “Pershing’s Own,” the Army Brass Quintet, the Maryland Symphony Orchestra, and the Washington Ballet. The program will include works by Haydn, Verdi, Sousa, and Gershwin, along with a medley from “Fiddler on the Roof.” Tickets are $15 general admission and $12 for seniors and students, and can be purchased in advance by calling 760-436-6137 or 858-793-8258. Tickets will also be available at the door.

The La Jolla Symphony & Chorus (LJS&C) presents its third concert of the 57th season 7:30 p.m. Saturday, Feb. 11 and 2 p.m. Sunday, Feb. 12 at the Mandeville Auditorium at UCSD. The concert features Verdi’s overture to “La Forza del Destino,” John Adams’ “The Wound Dresser,” and Brahm’s Symphony No. 1 in C minor. Individual tickets are $29 general, $26 senior, and $15 student. Group discounts are available. Parking is free. A pre-concert lecture is offered one hour prior to concert times. To purchase tickets or for more information, call the LJS&C office at 858-534-4637 or visit lajollasymphony.com.

Sycuan Casino presents Juice Newton, Billy McLaughlin and D.C. Hathaway in a benefit concert for Dystonia 7 p.m. Sunday, Feb. 19 at the casino, 5469 Casino Way, El Cajon. Tickets range from $35 – $45, must be 21 or older with valid ID. For tickets and more information, visit sycuan.com/entertainment.

The City of Poway is looking for bands and entertainers to serve as entertainment at events hosted by the city in 2012, including the Summer Concert Series. If your band or entertainment group is interested in becoming a performer at special events, visit poway.org/entertainment for the complete application process. Entertainers must submit promotional materials during January 2012 to be considered for special events that take place during 2012. All materials must be postmarked or emailed no later than Jan. 31. Your materials will be kept on file for one calendar year, and you will be contacted by staff if you are selected. More more information, visit the website or call Audrey Denham at 858-668-4774.

The Poway Folk Circle, a group of local musicians, host folk song circles and acoustic jams. Folk Song Circles meet at 6:30 p.m. the third Tuesday of every month in Templar’s Hall in Old Poway Park, 14134 Midland Road. Bluegrass Jams meet on the second Monday of every month at Round Table Pizza in Rancho Bernardo, 16761 Bernardo Center Drive. The Craft Fair Jam is 9 a.m. the first Saturday of the month in Old Poway Park, and Slow Jam Sunday is 1 p.m. the last Sunday of the month in Old Poway Park. These events are free and open to the public. For further information, visit powayfolkcircle.org.

DANCE

San Diego Civic Dance Arts presents “Collage 2012: Defining Moments” from Friday, Feb. 3 – Sunday, Feb. 19 at Casa del Prado Theatre in Balboa Park. Shows are 3 p.m. and 7 p.m. Saturday, Feb. 11 and 18; and 2 p.m. Sunday, Feb. 12 and 19. Tickets are $12 for VIP seating, with a $2 discount to groups. There is also a two-for-one ticket offer available to everyone. Purchase at the box office before each show, by calling 619-796-3657 or online at  collage2012.eventbrite.com.

Poway dance instructor Debbora Childress is offering dance classes in the Poway Community Park. Children 3 – 18 years old can learn the arts of tap and ballet during one-hour, age-appropriate classes held 11 a.m. – 6:15 p.m. Mondays and 1-5 p.m. Thursdays. “Dance for Children,” an introduction to dance and tumbling for children ages 3 – 5, will be held 10 a.m. Mondays. For more information, call Debbora Childress at 760-747-9777, email her at or visit poway.org/classes.

Have you ever wanted to learn “cut a rug” or “jitterbug” like the swing dancers of the 1920s and 1930s? Jonathan and KC Wilt will be teaching a six-week Beginner’s Jitterbug Swing Dance Class Mondays, 7 – 8 p.m. at The Church at Rancho Bernardo, 11740 Bernardo Plaza Court. Registration: $60 individual /$105 couples. Returning student rate: $55 individual/$95 couple. Sign up at .

The Mojalet Dance Studio presents the 9th Annual Café Mojalet Gala Fundraiser “It’s a Jungle Out There,” 6 – 9:30 p.m. Saturday, Feb. 18 at The Poway Community Park Auditorium, 13094 Civic Center Drive, Poway. This performance showcases the variety of programs offered through their organization with professional, adult, teen, and youth programs. Live performance, food and drinks. Tickets are $35 assigned table seating, $25 general admission. For more information, call 858-243-1402 or visit mojalet.com.

The San Diego Ballet Company presents “Romance” Friday, Feb. 10 – Sunday, Feb. 12 at the Lyceum Theatre, Horton Plaza, downtown San Diego. Tickets are $35 general admission, $45 preferred seating. For tickets and more information, call 619-544-1000.

Malashock Dance presents their 5th annual fundraiser, “Malashock Thinks You Can Dance! – A Night at Studio 54,” 6:30 p.m. Saturday, March 10, at Anthology, in 1337 India Street, Little Italy, San Diego. All proceeds benefit the artistic, education and outreach programs of Malashock Dance. Cocktails and a silent auction proceed a 3-course dinner beginning at 7:30 p.m., as well as a performance from Grammy award-winner Thelma Houston. Tickets are $125, $250, or $500 per person, and can be purchased online at malashockdance.org or by calling 619-260-1622. For more information email or visit malashockdance.org.

Dance to ballroom dancing with DJ Rudy Vidal’s Funtastic Sounds 7- 10:30 p.m. Fridays and Mike Krause’s live dance band Saturdays at The Growing Place Montessori School, 13242 Pomerado Road, Poway. Entrance fee is $10/person. Location features 1,000 square feet of wood floor for dancing and free off-street parking. For more information, call Mike Krause at 619-922-6765.

Tap dancing classes for adults, taught by Gigi St. John, are Tuesdays at the RB Swim & Tennis Club. Each class is one hour, intermediate at 11 a.m. and beginners at noon. Just show up or sign up by calling St. John at 951-282-3639.

The Academy of World Dance n Arts offers a free introductory class to swing, salsa and ballroom 7 to 8 p.m. every Friday, year-round for ages teen through adults. No previous experience needed. For more information, visit worldancenarts.com or call 858-679-8277. The academy is located at 12621-A Poway Road, Poway.

THEATER

Poway High School presents “Bye Bye Birdie,” 7 p.m. Thursday, Feb. 9 – Saturday, Feb. 11 at the Poway Center for the Performing Arts, 15498 Espola Road in Poway. Tickets are $12 for reserved seats, $10 for students, seniors and active-duty military. For an online order form, contact Michele Ulrich at (858) 486-0549 or . Tickets may also be obtained at the door.

Patio Playhouse Theater in Escondido is offering acting classes for students grades 6 – 12. The six-week session begins Tuesday, Feb. 21 with Novice classes  5 – 6 p.m. Tuesdays and Advanced classes 5 – 6 p.m. Thursdays. Cost is $10 per class/$60 per session. To Register, e-mail or contact Patio Playhouse at 760-746-6669.

The Welk Theater presents “How to Succeed In Business Without Really Trying,” running through Sunday, Feb. 26 at the Welk Resort Theater, 8860 Lawrence Welk Drive, Escondido. Showtimes are 1 p.m. Wednesdays, 1 and 6 p.m. Thursdays, 1 p.m. Saturdays and 6:30 p.m. Sundays. Ticket prices available online at welktheatersandiego.com or by calling 760-749-3000.

Guy Hovis & Ralna English of “The Lawrence Welk Show” will be appearing at the Welk Theater in Escondido for five performances only running through Saturday, Feb. 11. Fun for the entire family! Performing many of their hits and viewer favorites from the weekly TV series, they will also sing many standards from the great American songbook of the 1930s and 1940s, plus pop, patriotic, Broadway, country and gospel. Ticket prices and showtimes are available at welktheatersandiego.com.

The La Jolla Playhouse presents Sandra Bernhard in her latest show, “I Love Being Me, Don’t You?” 8 p.m. Wednesday, Thursday and Friday and 7:00 p.m. and 9:30 p.m. Saturday Wednesday, March 14 – Saturday, March 17 at the Playhouse, 2910 La Jolla Village Drive La Jolla. Tickets range from $35 – $60. For tickets and more information, visit LaJollaPlayhouse.org.

The Cove at CRB is holding a Spoken Word Workshop 9:30 – 11:30 a.m. Saturday, Feb. 18 at The Cove at CRB, at 11838 Bernardo Plaza Court, Suite 101, Rancho Bernardo. Spoken Word (aka Slam or Rap Poetry) is for anyone who is curious about this art form. Open to all who want to write, perform and/or listen to poetry. Award-winning spoken word instructors/performers Danielle Bennett and Nicholas Macedo will teach how to create and perform your own spoken word poetry. Only $10. Sign up with CRB Drama Director, Connie LePere at .

The Old Globe presents “Dividing the Estate,” running through Sunday, Feb. 12 at the Old Globe Theatre and “The Recommendation,” running through Thursday, Feb. 26 at the Sheryl and Harvey White Theatre. Ticket prices start at $29. For tickets and more information, 619-234-5623.

Patio Playhouse and Pacco Arts present “The Complete Works of Shakespeare (Abridged) and Revised,” a hilarious comedy, performing 8 p.m. Fridays and Saturdays and 7 p.m. Sundays through Sunday, Feb. 12 at the Patio Playhouse, 201 East Grand Avenue, Escondido. For tickets and more information, call 760-593-7074 or visit paccoarts.com.

STAR Repertory Theatre presents the hit dance musical “Footloose,” opening Thursday, Feb. 16 and running though Monday, Feb. 20 at the California Center for the Arts, Escondido. Ticket prices and performance times are available on the website at starrepertory theatre.com.

Coronado Playhouse presents “42nd Street,” running through Sunday, March 4 at the Coronado Playhouse, 1835 Strand Way, Coronado. Showtimes are 8 p.m. Thursdays, Fridays and Saturdays and 2 p.m. Sundays. Tickets are $20 on Thursday and Sunday; $25 on Friday and Saturday, with student, senior, military and group discounts available. For tickets and more information, call the box office at 619-435-4856 or visit coronadoplayhouse.com.

The Broadway Theater begins its 8th season with the comedy/drama “Grace and Glorie,” opening Friday, Feb. 10 and running through Sunday, March 4, at the Broadway Theater, 340 East Broadway, Vista. Performance times are 7:30 p.m. Thursdays through Saturdays and 4 p.m. Sundays. Tickets are $17.50. For tickets or more information, call the box office at 760-806-7905 or visit broadwayvista.com.

J*Company Youth Theatre presents “Thoroughly Modern Millie,” running Saturdays and Sundays March 3 – March 18 as well as Thursday, March 15 at the David & Dorothea Garfield Theatre, Lawrence Family Jewish Community Center, Jacobs Family Campus, 4126 Executive Drive, La Jolla. For tickets and more information call the JCC Box Office at 858-362-1348 or visit sdcjc.org/jcompany.

STAR Repertory Theatre’s Kids Theatre Academy presents the “Seussical the Musical,” opening Thursday, Feb. 23 and running though Sunday, Feb. 26 at the California Center for the Arts, Escondido. Ticket prices and performance times are available on the website at starrepertory theatre.com.

The Welk Theater presents, by popular demand, the return of “Late Night Catechism,” 8 p.m. selected Saturdays Feb. 18 – May 19. Tickets are $35 and can be purchased by calling 888-802-SHOW or visiting welktheatersandiego.com.

La Jolla Playhouse presents the second production in its innovative, site-based Without Walls (WoW) series: Moving Arts’ “The Car Plays: San Diego,” running Thursdays through Sundays Feb. 23 – March 4 at an outdoor location in La Jolla to be announced shortly. Performance times are 5:30 p.m., 7 p.m. and 8:30 p.m. Thursdays and Fridays; 3 p.m., 4:30 p.m., 7 p.m. and 8:30 p.m. Saturdays and Sundays. Tickets are $25. For more information, call the Playhouse Box Office at 858-550-1010 or visit LaJollaPlayhouse.org.

The Ensemble at New Village Arts presents Shakespeare’s broadest farce “The Comedy of Errors,” Saturday, Feb. 11 – Sunday, March 4 at New Village Arts Theatre, 2787 State Street, Carlsbad Village. Showtimes are 8 p.m. Thursdays and Fridays, 3 p.m. and 8 p.m. Saturdays and 2 p.m. Sundays. Tickets are $29 general admission/$26 senior, student, military/$25 groups of 10 or more (opening night tickets $36). For more information or to purchase tickets, call 760-433-3245 or visit NewVillageArts.org.

Cygnet Theatre presents “A Beheading in Spokane,” running through Sunday, Feb. 19 at 4040 Twiggs St. in Old Town San Diego State Historic Park. Showtimes are Wednesdays and Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m. and Sundays at 2 p.m. and 7 p.m. Contains strong language and violence. Tickets range from $29-$54 and can be purchased at cygnettheatre.com or by calling the box office at 619-337-1525.

The San Diego REPertory Theater presents “In the Wake,” opening Friday, Feb. 17 and running through Sunday, March 4 in the Lyceum Space, San Diego REP, 79 Horton Plaza, San Diego. Previews begin Saturday, Feb. 11. Tickets range from $32 to $51, student tickets $18. Discounts for groups, seniors and military also available. Tickets available for purchase online at sdrep.org.

The Scripps Ranch Theatre presents “Brooklyn Boy,” an inspirational comedy-drama about going home again, back to family and friends and one’s old neighborhood, running through Sunday, Feb. 19. Tickets are $25 general admission, $22 students, seniors and active military. For reservations, call the theater box office at 858-578-7728.

Scripps Ranch Theatre is located on the campus of Alliant International University, Avenue of Nations, off Pomerado Road.

Tickets for the 2011-2012 season at the Poway Center for the Performing Arts are on sale on the center’s website, powayarts.org, by calling 858-748-0505 or at the box office, 15498 Espola Road, noon to 5 p.m. Fridays and 10 a.m. to 3 p.m. Saturdays.

PowPAC, Poway’s Community Theatre, is offering a number of varied volunteer opportunities for its award-winning theater. For more information, contact Maxine Brunton at 858-679-0640, or call the theater box office and leave your name and telephone number at 858-679-8085.

ART

The North County Society of Fine Arts is a local nonprofit group devoted to bringing the visual arts to public attention and fostering art education.

Members’ artwork currently displayed for February includes Sharon Ford at the Poway library, 13137 Poway Road, Janet Perkin and Kathryn Peterson at the Bernardo Heights Community Center, 16051 Bernardo Heights Parkway and Vita Sorrentino at Luc’s Bistro, 12642 Poway Road.

For further information and to download entry form to NCSFA’s April open exhibit at the Poway Center for the Performing Arts, visit ncsfa.org.

See Israel through the eyes of two young surfers at the free San Diego premiere of the new film “Promised Land,” 6 p.m. Sunday, Feb. 12 at Maranatha Chapel, 10752 Coastwood Road, San Diego. Ray Bentley, senior pastor at Maranatha Chapel, invites the community to this free showing with these words, “a must see film.” For details, go to MaranathaChapel.org.

The Palomar College Venture Program is offering a Watercolor Fundamentals Class 9 a.m. – 1 p.m. Saturday, March 3 and Saturday, March 10 at the Escondido Campus, 1935 East Valley Parkway, Escondido. The class is open to beginners through advanced students. Call Palomar College to register at 760-744-1150 ext. 2702, cost is $70. For more information, call Tom at 760-505-7681 or arttom.com.

Eveoke Dance Theatre and Art Produce present “Reflections,” a new work focusing on six extraordinary women, Josephine Bakhita, Rachel Corrie, Henrietta Lacks, Mukhtar Mai, Hannah Szenes and Michi Nishiura Weglyn, through Sunday, Feb. 12 at Art Produce, 3139 University Ave., San Diego. 8 p.m. Friday – Saturday, 2 p.m. Sunday. Tickets are $24 general, $18 student/ senior. Call 619-238-1153 or visit eveoke.org for tickets and info.

The Escondido Art Association presents “You Gotta Have Heart,” an open, juried exhibit of framed fine artworks by association members and other local and regional artists, from Wednesday, Feb. 8 through Saturday, March 3, at the Artists Gallery, 121 W. Grand Avenue. Ribbon awards for the best artworks will be presented during a free artists’ reception to be held on Saturday, Feb. 11 from 5 – 8 p.m. Members of the public are invited to attend. Regular gallery hours are 11 a.m. to 4 p.m. Tuesdays through Saturdays. Admission to the Gallery is always free.  For more information, 760-489-0338 or 760-741-3117 or escondidoartists.org.

The Mission Trails Regional Park Foundation (MTRP) presents two shows, “Eye 4 Nature,” with photography by Nancy Varga and “The Four Seasons at Mission Trails: The Moods and the Mystery,” with photography by Rick Wiley. These exhibits will be on display in the Mission Trails Regional Park Visitor Center Art Gallery Saturday, Feb. 11 – Friday, March 2. The public is cordially invited to a reception in honor of the artists 1 – 4 p.m. Sunday, Feb. 12. The MTRP Visitor and Interpretive Center is located at One Father Junipero Serra Trail, San Diego, and it is open daily from 9 a.m. – 5 p.m. Admission is free.

The Escondido Arts Partnership Municipal Gallery presents their annual “Members Exhibition,” Friday, Feb. 10 – Sunday, March 4, with an opening reception 5:30 – 8:30 p.m. Saturday, Feb. 11 at the Escondido Municipal Gallery, 262 E. Grand Avenue, Escondido. Gallery hours are 11 a.m. – 4 p.m. Tuesday – Saturday. For more information, visit escondidioarts.org.

The Escondido Arts Partnership Municipal Gallery presents “Panache 2012,” an art auction and fundraiser 5:30 – 8 p.m. Saturday, March 24 at the Escondido Municipal Gallery, 262 E. Grand Avenue, Escondido. Enjoy an evening of live and silent auctions, fine wine and delicious food while supporting the arts. Tickets are $45 through Sunday, Feb. 12, $55 Monday, Feb. 13 – Tuesday, March 20, and $65 at the door. For reservations and more information, call 760-480-4101 or visit brownpapertickets.com/event/217200. All attendees must be 21 or over.

ArtHatch and Distinction present “Irresistibly Idiosyncratic,” featuring the art of JoKa, Dan Barry and Mike Bell, opening Saturday, March 10 and running through Saturday, April 7 at the ArtHatch & Distinction Gallery, 317 East Grand Avenue, Escondido. There will be an opening reception 6 – 10 p.m. Saturday, March 10. For more information, call 760-781-5779.

Rancho Bernardo Art Association is looking for artists who want to meet others who share the same interest, learn from demonstrations and exhibit their work. The members have critique nights and an award show. For membership, contact Phyllis Hensperger at 858-675-2262. Adult membership is $25, couples $30, students $15. More information at ranchobernardoart.com.

MUSEUMS

Walk in the footpath of Poway’s first residents every Saturday morning at Poway’s Kumeyaay-Ipai Interpretive Center. Savor the smell of blooming native plants that Kumeyaay people smelled each spring for more than 2,000 years. Trained guides will share the culture, history and botany of this five-acre archeological jewel for free from 9 to 11:30 a.m. Saturdays at 13104 Ipai Waaypuk Trail (formerly Silverlake Drive). For information, go to poway.org/kiic.

The Flying Leatherneck Aviation Museum at MCAS Miramar has its Bell 214ST Iraqi “Super Huey” helicopter on display. Also on display is the Sikorsky HRS.

Another feature is a single-seat flight simulator, which gives members of the public a 20-minute “flight” for $15.

The museum is open 9 a.m. to 3:30 p.m. Tuesdays-Sundays. Call 858-693-1723 or visit flyingleathernecks.org for more information.

The Rancho Bernardo Historical Society runs a free museum at the Bernardo Winery, 13330 Paseo Del Verano Norte, Rancho Bernardo. Museum hours are 9 a.m. to noon Tuesdays and 10 a.m. to 1 p.m. Fridays and noon to 3 p.m. Saturdays and Sundays. Call 858-487-4599.

The Poway Historical and Memorial Society operates the free Poway Heritage Museum and the Nelson House in Old Poway Park, 14114 Midland Road in Poway. Hours are 9:30 a.m. to 12:30 p.m. Saturdays and 11 a.m. to 2 p.m. Sundays. Call 858-679-8587 or visit powayhistoricalsociety.org.

LOCAL MARKETS

The Poway Arts & Crafts Guild presents the Boardwalk Craft Market 8 a.m. to 2 p.m the first Saturday of the month in Old Poway Park. Featuring locally produced and sold clothing, jewelry, household furnishings and gift items, the craft market will continue on the first Saturday of the month thru May. During the Summer months of June, July and August, the Craft Market will expand to the first and third Saturday. The Fall & Winter season will begin in September 2012 when the Craft Market is held on every Saturday until Christmas. For information on the craft market, call PACG at 858-486-3497.

The Scripps Ranch Farmers Market & Art Festival is from 9 a.m. to 1 p.m. every Saturday at 10380 Spring Canyon Road, the site of the old E.B. Scripps Elementary School. For more information, visit srfm.org.

Poway Farmers Market is 8 to 11:30 a.m. every Saturday next to Old Poway Park, at Midland Road and Temple Street. The market, sponsored by the City of Poway and operated by Outback Farms, features certified organic produce, most of which is grown in San Diego County. For more information, call 858-668-4576.

The Bernardo Winery hosts a farmers market which includes fresh produce, vendors and food stalls every Friday from 9 a.m. to noon at 13330 Paseo Del Verano Norte.

The North San Diego Farmers Market is held 10 a.m. to 3 p.m. each Sunday, and 11 a.m. to 2 p.m. each Wednesday at the Sikes Adobe Historic Farmstead, 12655 Sunset Drive in Escondido. For more information, visit NSDCFM.com.

OTHER EVENTS

Come explore the tide pools with the Birch Aquarium at Scripps 12:30 – 2:30 p.m. Saturday, Feb. 18 at Hospital Point. Aquarium naturalists will show participants how to tread lightly through these fragile ecosystems and will help them discover the wonderful world of tide pools. The cost is $12, ages 2 and older. Directions to meeting place will be provided at time of RSVP. RSVP required at 858-534-7336 or at aquarium.ucsd.edu.

The Balboa Park Puppet Theater presents new holiday shows for kids 10 and 11:30 a.m. Wednesdays – Fridays and 11 a.m. and 1 and 2:30 p.m. Saturdays and Sundays at the Marie Hitchcock Puppet Theater, Balboa Park. Wednesday, Feb. 8 – Sunday, Feb. 12 is “The Very Hungry Caterpillar.” Wednesday, Feb. 15 – Sunday, Feb. 19 is “The Rabbit in the Moon.” Wednesday, Feb. 22 – Sunday, Feb. 26 is “The Boy Who Cried Wolf.” Wednesday, Feb. 29 – Sunday, March 4 is “Year of the Dragon.” Wednesday, March 7 – Sunday, March 11 and Wednesday, March 14 – Sunday, March 18 is “The Magic Well.” Tickets are $5 for adults, $4 seniors and $3 children ages 2 and up. For more information, visit balboaparkpuppets.com.

The 22nd Annual Jewish Film Festival is being held through Sunday, Feb. 19 and showcases 48 of the best contemporary Jewish-themed films from around the world, celebrating life, human rights, and freedom of expression. Single ticket prices for most films are $10.75- $12.75 for seniors, $11.75 for JCC members and $13.75 for non-members; tickets for the opening night film, Mabul, and the closing night film, My Best Enemy, are $13.75-$15.75 ($12.75-$14.75 for seniors), the Feb. 14 screening of Dusk, Family Day, Teen Screen, and Joyce Forum Shorts in Winter are free.  Festival passes, senior and student discounts, and group rate discounts are available. For tickets or information, call 858-362-1348 or visit lfjcc.org/sdjff.

The Bernardo Winery presents its annual Valentines event, “Vino Valentino,” 6 – 9 p.m. Sunday, Feb. 12. Prepare your senses for an all-inclusive, romantic evening at the oldest winery in Southern California! Enjoy wine tasting, desserts, horse-drawn carriage rides, delicious crepes and a unique parting gift. Contact the Bernardo Winery for reservations. Tickets are limited. Tickets are $60 per person or $110 per couple. Call 858-487-1866 for reservations and information or stop by the winery office or tasting room to make your reservation.

Downtown Escondido is hosting the “For the Love of Chocolate & Second Saturday ‘SweetArt’ Festival,” 1 p.m. Saturday, Feb. 11 on Grand Avenue. Enjoy tasting chocolate paired with wine, beer and champagne at boutiques, spas, salons and other retail stores on Grand Avenue between Center City Parkway and Juniper Street. Tickets are $20. For tickets and more information, visit escondidiochocolatefestival.com.

Come out and celebrate Fat Tuesday with Gaslamp Mardi Gras, 6 p.m. – midnight Tuesday, Feb. 21 in the Gaslamp Quarter, downtown San Diego. Featuring five stages with live music performances, special guest appearances and the world’s top Electronica, Dubstep and House DJs, as well as a grand parade down 5th Avenue and street performers. Tickets are $20 in advance or $25 at the door, attendees must be 21 or older and have valid photo ID to enter. Proceeds will go to the Gaslamp Quarter Association. For more information or purchase tickets, call 619-233-5227 or visit gaslamp.org.

The Family Winemakers of California present “Tasting 2012,” a comprehensive tasting o wines from California’s small, family-owned wineries 3 – 6 p.m. Sunday, March 11 at the Del Mar Fairground’s Exhibit Hall. This year’s event will feature more than 150 wineries in California. Tickets are $45 through Monday, Feb. 20, $55 Tuesday, Feb. 21 – Saturday, March 10 and $65 at the door. For tickets and more information, visit familywinemakers.org.

Circus Vargas returns to San Diego Friday, Feb. 17 – Monday, Feb. 27 at Balboa Park, Thursday, March 1 – Monday, March 5 at the El Cajon Westfield Parkway, Thursday, March 8 – Monday, March 12 in Mira Mesa Community Park and Thursday, March 15 – Monday, March 26 in Vista at Highway 78 at Vista Village Drive. Tickets range from $25 – $60 for adults and $20 – $55 for children. For more information and tickets, call 877-468-3861 or visit circusvargas.com.

The Gem Faire returns to Del Mar on Mar. 2-4, 2012 at Del Mar Fairgrounds/Exhibit Hall.  Hours are Fri. noon – 6 p.m., Sat. 10 a.m. – 6 p.m., and Sun. 10 a.m. – 5 p.m.  General admission is $7, valid for the entire weekend. Over 100 world renowned importers/exporters and manufacturers will be on site with the largest selection of fine jewelry, gems, beads, crystals, minerals, findings and much more at the lowest prices in today’s market. Finished and unfinished jewelry, rare gemstones, and jewelry making tools & storages will be available all under one roof.  Have your jewelry repaired and cleaned while you shop.  Plus, enter for a chance to win cool prizes every hour throughout the weekend. For more information, visit gemfaire.com or contact Gem Faire, Inc. at 503-252-8300 or email: .

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Sony Music’s Popmarket.com Releases Complete Albums Collections By Jazz Masters Stanley Clarke & George Duke

stanleyclarkebox square Sony Musics Popmarket.com Releases Complete Albums Collections  By Jazz Masters Stanley Clarke & George Duke

Stanley Clarke&#151The Complete 1970s Epic Albums Collection and The George Duke Band&#151The Complete 1970s Epic Albums CollectionBoth titles available for pre-order at Popmarket.com in advance of January 24, 2012, release dateThe Ultimate Jazz Festival continues as Sony Music’s PopMarket.com presents Complete Albums Collections from the Epic Records archives by two of the greatest names in modern jazz&#151Stanley Clarke and George Duke. These box sets contain the most famous and successful albums in these artists’ respective careers, nearly all of them reaching high chart positions on the Billboard Jazz, R&B and Pop charts.Newly assembled and affordably priced, these two latest titles will be available starting January 24, 2012, as limited edition D2C (Direct to Consumer) exclusives. Both titles are released by Epic/Legacy, a division of SONY MUSIC ENTERTAINMENT. They are currently available for pre-order at the website.These two new artist entries in the Complete Album Collections series follow up the first 14 jazz box sets in the series, released through PopMarket.com between May and December 2011. Those titles covered the Dave Brubeck Quartet, Miles Davis, Stan Getz, Dexter Gordon, Billie Holiday, the original Mahavishnu Orchestra, Wynton Marsalis, Return To Forever, Woody Shaw, Wayne Shorter, Grover Washington Jr.; and Weather Report (all on Columbia/Legacy); and Paul Desmond and Nina Simone (on RCA/Legacy).Each multi-disc box set contains the artist’s entire album output during their original label tenure (Columbia, Epic, RCA, Arista, and so on), or focuses on some aspect of it. Each album is packaged in a replica mini-LP sleeve reproducing that LP’s original front and back cover artwork. Booklets in the boxes contain full discographical information and rare photos. The Clarke includes an introduction by Stanley and the Duke extensive “behind the scenes” liner notes by George describing the making of the albums.Both the Stanley Clarke and George Duke box sets have been newly-remastered by Sony Senior Mastering Engineer Mark Wilder. He has received three Grammy Awards® and seven Grammy nominations in his nearly 25 years at Sony. Both box sets are produced by Grammy®-winning producer Richard Seidel, with all packaging supervised by Grammy-winning former Legacy Vice President of Jazz Marketing Seth Rothstein.Available January 24, 2012:Stanley Clarke&#151The Complete 1970s Epic Albums Collection (Epic/Legacy)stanleyclarkebox 560 Sony Musics Popmarket.com Releases Complete Albums Collections  By Jazz Masters Stanley Clarke & George DukeA product of the highly respected inner-city Philadelphia Musical Academy, bassist Stanley Clarke (b. 1951) was 20 years old when he arrived in New York and started gigging with the likes of Art Blakey, Gil Evans, Stan Getz, Horace Silver and others. Most importantly, there was Clarke’s association with Chick Corea, with whom he became a founding core member of Return To Forever in late-1971. Within a couple of years, Clarke’s overpowering presence as a (co-)bandleader and innovative finger-popping bass virtuoso earned him a spot as the inaugural artist on Nat Weiss’s beloved New York-based Nemperor Records (distributed by CBS/Epic) in late 1974. Clarke had the freedom to explore multi-part symphonic works alongside rockin’ funk jams, and his sessions attracted the greatest names of the day, including keyboardists Corea, Jan Hammer and Clarke’s future collaborator George Duke, to drummers Billy Cobham and Lenny White, to guitar heavyweights John McLaughlin, Jeff Baxter, Ray Gomez, and on nearly every one of his Nemperor/Epic LPs, Jeff Beck. Clarke’s second Nemperor LP, 1975′s Journey To Love roared into the R&B Top 10 when one of its tracks, “Silly Putty,” became an FM radio staple. Clarke’s eclectic nature (which later brought him countless movie soundtrack scoring assignments) is heard in full on 1977′s double-LP (now double-CD) I Wanna Play for You, which covers every base from jazz, rock and reggae, to early voyages into electronica, and much more. It is released here for the first time on CD in its entirety and in the correct sequence.1. Stanley Clarke (Nemperor/Epic, 1974) 2. Journey To Love (Nemperor/Epic, 1975) 3. School Days (Nemperor/Epic, 1976) 4. Modern Man (Nemperor/Epic, 1978) 5. I Wanna Play for You (Nemperor/Epic, 1979) 7. Live 1976-1977 (Epic)

The George Duke Band&#151The Complete 1970s Epic Albums Collection (Epic/Legacy)georgedukebox 560 Sony Musics Popmarket.com Releases Complete Albums Collections  By Jazz Masters Stanley Clarke & George DukeThe near half-century performing and recording career of George Duke (b. 1946) began in his native San Francisco Bay area as a teen keyboard prodigy, whose (later) conservatory training provided the foundation for his wide-ranging compositional and production skills. Recording as early as age 21, he went on to associations in the late-’60s with European jazz-rock fusion violinist Jean-Luc Ponty, legendary bandleader Cannonball Adderley, and most significantly, Frank Zappa and the Mothers Of Invention, on-and-off from 1969 to ’75. All the while, Duke continued to record as a leader (on a European label) under his own name, LPs that tempered his jazz and blues roots with forays into soul, funk, and the new rhythms of disco. As Duke points out in his 4,000-word album-by-album liner notes, all his influences and experiences were explored on the six albums he cut for Epic Records in the ’70s. Duke routinely placed vocal and instrumental single tracks on the R&B charts, and cemented his partnership with bassist Stanley Clarke. The back-to-back Top 5 successes of 1977′s RIAA gold Reach For It (with the #2 R&B hit title tune) and 1978′s Don’t Let Go (with the full-length 6-minute-plus “Dukey Stick,” whose ‘Part One’ became a #4 R&B hit) ensured Duke’s place as a command­ing presence on that decade’s top-notch Epic and Columbia jazz rosters. These records also provided a launch pad for the prolific Clarke/Duke Project that later spanned the entire decade of the ’80s. The final album in the box, A Brazilian Love Affair, unique in Duke’s discography, was recorded in Brazil with several top name Brazilian artists and went on to become what many fans consider his best album.1. From Me To You (1977) 2. Reach For It (1977) 3. Don’t Let Go (1978) 4. Follow The Rainbow (1979) 5. Master Of The Game (1979) 6. A Brazilian Love Affair (1979)

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Headbangers India : Welcome !

Cypher 150x150 Headbangers India : Welcome !They played a killer show to a packed venue at the recently held Octoberfest in Bangalore. So we caught up with Jack Doolan and Carl Dawkins from Cypher16, the U.K. based metal band, to talk to them about India- the bands and the audiences, their music and more. A Headbangers India exclusive.

HB: How was your trip to India for Octoberfest? That was the second time you guys had come, right?

C16: We first toured over here last year, about the same time…in October. We played Mumbai, Pune, Bangalore and Goa, and it was a life changing experience for us, and we figured we’d better come back as soon as we can! So it was our second trip.And it was the better one, let’s say. Last year it was a great experience getting into India, but this year was really really good, frankly.The show (at Octoberfest) was probably the best day of my life, better than any other show I’ve done, without any exaggeration. It was so much fun! And the crowd was so responsive, we couldn’t have asked for a better show! Everyone was around us for about two and a half hours and wanted photos and… it was overwhelming. So yeah, it was a great experience, and we love India! That’s the main message we’d like to give… we love playing to Indian people.

HB: Tell us more about your show, at the Octoberfest…

C16: We were hoping for a good response, to be honest. We did a lot of work promoting the show actually. We were booked for the show only about a week… a week and a half before the show, and this is unheard of in England. But we made the effort, got our visas sorted and got it done. So we were really hoping for a good response, but we weren’t expecting THAT kind of a response. It was really amazing. It was almost packed right upto the entrance, and everything we wanted the crowd to do, they did, and with as much energy as we could have asked for. Yeah, frankly… amazing show. Much more than what we expected.We were watching Kryptos before us, and watching their crowd, who were quite into it. Kryptos finished and a lot of people started to filter out. We then started to soundcheck and before we knew it, the entire room was packed. Almost 1500 people, plus… And our Facebook page’s fans- it’s just going through the roof! All of a sudden, people want to chat with us. A lot of bands, when they play shows… people want to talk to them. And i think the most important part of being a musician and being in music, is that when someone likes your music, enjoys your show… it’s important, you know, to give it back and spend some time with your fans, talking to them and making them feel special as well because they’re who made you feel special yesterday.

HB: Tell us how it all started off for Cypher 16…

C16: I started the band when I was 15, when I was doing my exams in school. I got into metal when I was 10, and I started writing music. That was when the band Cypher was born. And when I was 16, I heard about MySpace, funny enough, and I decided to set up a page for Cypher. And when I said “Cypher” for my preferred website name, it was taken. So, as naive as I was then, I decided to add numbers in the end. And how old was I then… 16! So that’s how Cypher16 came about. And as the band started playing at shows, we got to know that there were other “Cyphers” around. We did not want to be another one of them. And the MySpace was doing really well, and we did not want to move to another site. So we ended up keeping the 16. And as silly as it sometimes sounds, I think it flows pretty well. So that is the quite pathetic story behind Cypher16, ha ha.It suits the music pretty well. Take ‘Lamb of God’… the first time I heard “Lamb of God” I thought they were Catholic. So yeah, there are a lot of weird names around, but yeah Cypher16 will be a name people will remember. Especially after the show, and I hope people go listen to our music, go tell their friends about us.And when we come back next year, it’s gonna be big!Our visa restricts us, which means we won’t be able to return to India for a few more months. Which restricts us from doing shows like Great Indian Rock, which we’d love to do, but we want to come back in either January or February. But yeah, it seems to be going pretty well for us so we wouldn’t mind coming back every few months, IF you guys want us back!

HB: The genre debate in metal is quite an endless one. So what genre would you say your music falls under?

C16: We get asked this a lot. And I don’t see the point of saying what genre we are, and I don’t see what the point of the debate is. And in England, it’s getting ridiculous right now with people trying to set guidelines about how the debate should go. We do a wide mixture of stuff, and we’d like to put ourselves under the genre of “Symphonic Dance Metal”, because that’s quite unique and it quite defines our music. Its fresh, slightly progressive, and I’ve never heard stuff like what we do. Similar yes, but not the same.

HB: Your MySpace page says that electronica is one of your influences. How did that happen?

C16: Yes. In fact, when we played our set, I realized that it kinda progresses. It’s always heavy, but it starts off with the synth and then progresses. The synth is where the electronica comes in, I guess. When you play, people would say “that’s not metal” or “no, that’s not metal”. But at the end of the day, it’s music. Call it what you want. If you like it, you like it. That’s about it.You recognize a lot of bands by their sound. We saw a lot of bands on stage in India, and you’d recognize them when you hear them on the radio because of their sound. If you’ve heard them before, you’ll know them. And this is how we are now. We’re playing around with a lot of things, synth and electronic stuff, and this makes it slightly different. I don’t see why we should stop, and it’s interesting stuff. It’s a song, and it doesn’t make any difference if its got synth in it, if it’s a good song.Electronica bands, hip hop bands… they add elements of guitar and distortion. And in the same way we add elements of electronic music apart from metal. It’s a general appreciation of music.

HB: Your mini-album- ‘The Man of the Black Abyss’. Tell us a little more on how that happened…

C16: We wrote this one when we were around 17-18. We went and recorded 4 songs initially, and then we went on tour. We played in America, and we played alongside Mudvayne and that was pretty awesome. Once we got back from America, we recorded two more tracks, which eventually ended up as a six-track EP. It’s very different, and it was recorded in a studio that hadn’t done a metal band before. It was for indie bands, soft bands… and being 17, we didn’t have a lot of recording experience. Being in a studio, we didn’t know what to expect. But it was very different. Some people loved the production, some hated it.But it has a very interesting feel to it, because of the production. It was quite a successful record, because it brought us to India the last year, and yeah, this year. We’re now back in the studio doing an EP, which is hopefully going to be out by the end of this year, or January. It’s probably going to be a four-track. And we’re now in a very very metal studio, so the sound if going to be different. I prefer the sound that we’re doing now. But it all comes with experience, with trial and error, and you learn as you grow up. We’re working with a producer who’s worked with Sith, and the sound is very very good. “I am Scientist”, which is up on our MySpace, which is the latest single, will show you the difference in sound, and what we’re doing now.

HB: What’s the new EP going to be called?

C16: No idea yet! We haven’t finished writing it yet. We’re only about 60-70% done, and will finish it up once we get back to England. Hopefully the next time we come to India, we’ll have the new stuff all ready.

HB: All your songs seem to deal with a particular theme. Could you elaborate on that?

C16:Yes, they all are based on a single theme. ‘The Man in the Black Abyss’ actually was a concept album. It’s about a guy who exists, a philosopher of sorts, who wanders around, questioning stuff. It explores his life and his death, and what’s in between. So it’s quite conceptual. If it’s about him dying, it’s about him being aware that he’s dying, and aware of what life used to be like, and remembering all the people he left behind. Now he’s on a journey to the next life- it’s a kind of middle path. It’s quite deep stuff I suppose, but I like writing on a singular theme.

HB: Is the man in the Black Abyss the same person we see in your music videos?

C16: Yeah, the man in the Black Abyss seems to have become something like a band mascot, in a literal sort of way. Something like Eddie with Iron Maiden. He did wonders for them, as a band. He kinda very much helped the band by, you know, coming on stage, back in the early days. So, the video, our first video, was about a man in the church, and yes, he should feature in our next video too.

HB: You’ve played alongside bands like Mudvayne and Dark Tranquility. Any more of those big shows coming up?

C16: Yeah, it’s been great to play with bands like those. But it’s very difficult to play those shows. Especially with bands like Dark Tranquility, you’re playing for a very niche sort of music- Scandinavian melodic death metal. Their fans are into Scandinavian Melodic Death Metal, and nothing else. So you get these kids who just wanna have a beer and get ready for their heroes to come on stage, so its tough. But if you win some of them over, it’s great. It’s also a lot of fun and its great touring experience. These guys always pack the venue out, so it’s a great venue to play to. And yeah, we’re going to be doing a lot more shows in the next couple of months, and you’ll definitely be hearing about us on Facebook and MySpace, so we’ll let you know once it’s all confirmed.

HB: You must’ve watched some of the Indian bands that played at Octoberfest. Any of these bands you’d like to mention… any opinions you’d like to share with us?

C16: Well, I was quite shocked actually, at how good they were. When we came over last year, we hadn’t heard of any metal bands in India. And we were sitting backstage this time, and we heard a band soundcheck, and we were like “that is bloody good!” We came out, and it’s some young Indian guys. They were like how we were a couple of years ago. And hopefully, in a couple of years, they’ll start getting out. Maybe we can get in, and they out… You know? America’s a large space, with a lot of metal bands. But England’s a small space, but a lot of people and a lot of bands. So to come to India and to be blown away by the local scene is good. There are a lot of bad bands in England, and they play all the time just because they’ve got experience. But I didn’t see a bad band in India… all the bands were good. They really did the country proud. I was really proud of our band, the four of us. We really put up a good show. I also liked the Kryptos guys, and all the others. Don’t remember their names, but they were all good. They did their fans proud as well.I’d actually like to do a shoutout to Escher’s Knot, who fucking blew me away.I thought they were really, really good, so I should check those guys out. I actually did a little bit of research before we came, on some of the bigger Indian bands and I kinda talked to a couple of them, to see what the scene was like over here. Last year, we didn’t come on a metal tour, and we didn’t have the experience of playing with metal bands. So we spoke to bands like Inner Sanctum, Kryptos, Demonic Resurrection, and first of all, they reply to emails, which is amazing. In England, noone cares.Noone replies to anything anyone sends anyone! So it was actually nice to have a conversation with these bands and talk about things. Everyone was really encouraging about us coming back, and people from those bands came and watched the show. And yeah, as we said, all the bands played to a really high standard. Really, really impressed! And we’d like to take one of those bands out on tour the next time, with us, because we’re told that the bands don’t tour much. Kryptos are really big in Bangalore, but they probably don’t go on tour around India much. So it would be nice to give them the tour experience- hitting the road and spending a week or two away, with different shows and different venues every night.

HB: We noticed at Octoberfest that Cypher 16 gets involved in the whole promotional aspect as well. Your comments on that?

C16: I’d give that advice to anyone. I think there’s two ways of looking at it. If you want to be in a rock band, and be a rock start, you go into your dressing room, finish your soundcheck, play your show, and then walk off. We saw quite a few bands do that at the show. But if you wanna play a better show, connect with people, have people get to know you, get to know how you are as people, I think. We did a lot of the promotion ourselves, we told people “we’ve come all the way from London, so to come and check us out”. We also told them that “if you don’t like us, you can leave” but we asked them to watch us. And all credit to India, 90% of the people showed up.In England, you can’t do that. People would get annoyed, and not show up.A lot of the people who came for our show, apart from the fact that we are an international band, was because we went down to them, and we talked, and told them to come to our show. You gotta be human, because we’re not better than anyone else. So the India show was testament to the fact that if you work hard, it does pay off.A lot of bands in the UK don’t realize that you have to work hard. A lot of them have it lucky, but most of them don’t know that you have to work hard. So after we told people to come, we went back to the hotel room and we were thinking to ourselves how many people would actually show up. And after 6-7 hours of promotion, if people don’t show up, it’s demoralizing. In the UK, people would’ve said they’d come, but they won’t show up. But in India, when the guys we’d spoken to actually showed up, well…it was amazing. We managed to put up one hell of a show, and yeah, even if there were 5 people in the room we would’ve put up one hell of a show. But the fact that there were more than 1500 in there… it didn’t change anything. But no matter how many people turn up, you still put up the same show, till every person who comes to your show feels good about coming to the show. So everybody- get involved, get in their faces.The bands I’ve idolized, and those I’ve met in the shows… and those who have taken the time to come and talk to me, are in my head, the ultimate heroes- you know? A big part of me is a Nine Inch Nails fan, and I was fortunate enough to meet Trent Reznor in person. He doesn’t do many interviews,doesn’t talk much, he’s quite an intense guy. But all the times I’ve met him, he’s taken the time to chat and he’s not afraid to talk to you, to the fans. When I watched them live, they blew me away. And I went and spoke to him after that, and it was great that he was human enough to speak to me. Totally rounded off the best day of my life. In India, after we came out, it was pretty intense, and we ended up doing hundreds of photos. for almost an hour… and hour and a half almost. But that’s great!

Thank you so much for talking to us. We hope to see you guys in India again next year!

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The Big Gigs for week of 2/3

1328794630 65 The Big Gigs for week of 2/3

There is more buzz about Lenny Kravitz‘s upcoming appearance in "The Hunger Games" film than there is for his latest album, "Black and White America." Despite guest appearances by Jay-Z, DJ Military and Drake, "BWA" is mostly retro Kravitz, a celebration of his love of classic rock and vintage soul. The title track finds him getting into social commentary about his biracial life. "Stand," the current single, sounds like Elvis Costello trying to be the Beatles. "Liquid Jesus" sounds like Prince paying tribute to Curtis Mayfield. It’s easier to get excited about the newest addition to Kravitz’s always top-notch band — bassist Gail Ann Dorsey, known for years with David Bowie. Opening are Trombone Shorty and Orleans Avenue, the jazz-soul ensemble that always works the crowd into a lather; Shorty is a former Kravitz sideman. (7:30 p.m. Tue., State Theatre, $51-$66.) Bream

The Asteroids Galaxy Tour is a singular Danish dance-pop act, not a collection of touring bands. Led by Euro-babe Mette Lindberg, the stylized sextet sounds like the B-52′s had they been raised on Motown and psychedelic funk. If you’re into brassy and synthy bubblegum indie-pop, you’ll dig. Apple apparently does; it featured the AGT single "Around the Bend" in a 2008 iPod Touch ad. The group just released its sophomore LP, "Out of Frequency." Opening is mysterious Philadelphia chillwavers Vacationer. (9 p.m. Wed., 7th Street Entry, $12-$14, 18 & older.) Jay Boller

COUNTRY

Justin Moore is a perfect post-roundup entertainment for the World’s Toughest Rodeo. He has the machismo, the twang and the people-pleasing instincts to ignite a crowd with "Bait a Hook," "Backwoods" and "Small Town USA." (7:30 p.m. Sat., Xcel Energy Center, $20-$78.) Bream

HIP-HOP

More than a dozen years of gnashing it out in the underground hip-hop ranks can drain an act, but not Oakland, Calif.-based duo Zion I. Production ace AmpLive is the group’s biggest draw, with his chameleonic beats (electronica, reggae, psychedelic) propping up rapper Zumbi’s soulful and socially conscious rhymes. Zion I’s latest release is last year’s "Heroes in the Healing of the Nation," their second collaborative disc with Living Legends crew member the Grouch; that project rocked the main stage at last summer’s Soundset festival. (9 p.m. Fri., 7th Street Entry, $15, 18 & older.) Boller

JAZZ

Drum powerhouse and offbeat monologist David King returns to St. Paul with his Dave King Trucking Co., which like his other jazz bands (Happy Apple, the Bad Plus) is starting to get a national and international reputation — and we don’t mean for on-time deliveries. Guitarist Erik Fratzke received a nice little salute from a New York Times critic when its latest CD, "Good Old Light," was released last summer. Expect frisky modern jazz, sometimes rockin’, sometimes avant, also featuring bassist Adam Linz and the oft-sizzling sax of Brandon Wozniak. (9 p.m. Fri.-Sat., Artists’ Quarter, $15.) Tom Surowicz

The fun couple of Twin Cities improv, saxophonist Pat Moriarty and pianist Ellen Lease, debut their latest project, Resurrection, featuring two younger-generation players. There’s 20-year-old trumpeter Noah Ophoven-Baldwin — with a name that long, he’d better be good. And where you might expect a drummer or bassist, there’s tuba player Evan Clark. (8 p.m. Sat., Studio Z, 275 E. 4th St., St. Paul. $5-$10. 651-755-1600.) Surowicz

Keyboardist Jeff Lorber can take the credit (or blame) for unleashing Kenny G on the music world back in 1980. Now he’s hitting the road with a new version of his Jeff Lorber Fusion band, co-starring Yellowjackets bassist Jimmy Haslip, and a new CD, "Galaxy," which updates two songs from that 1980 album ("City" and "Wizard Island"). The good news is that Lorber’s touring band features two outstanding hornmen. Post-bop and funk trumpet great Randy Brecker is the big name, but there’s also fiery, underrated sax man Bob Francheschini, a heavy jazz player who’s recorded with the Twin Cities’ own Anthony Cox, worked with Latin music legends Eddie Palmieri, Willie Colon and Mario Bauza, and is a longtime associate of guitarist Mike Stern. (7 & 9 p.m. Wed.-Thu., Dakota Jazz Club, $25-$40.) Surowicz

WORLD

Samba Meu (My Samba) is the title of a lovely hit by Brazil’s Maria Rita, daughter of the legendary Elis Regina – and now it’s the name of a new Minnesota combo that’s delving deep into contemporary Brazilian fare. The band is anchored by the excellent veteran percussionist Tim O’Keefe, and features the bilingual vocals of Karen Quiroz. (7-10 p.m. Thu., Black Dog Cafe.) Surowicz

Her Fearless was the top most on Billboard 200 in 11 continuous weeks. When getting back to work, try remembering the basics such as goal setting, seeing small improvements as a source of inspiration, and collecting as much inner patience as possible in coping with the long process of learning new pieces. For those of you who suppose that the key to concert is to get a couple of hotshot concert, you could guess again and that is good assistance. Jimmy Buffett and the Dave Matthews Band are among the usual suspects back on the road again this summer. I like the song primarily because it is much darker than some of their earlier stuff. Before Janet was to be born, Joe was in search of his personal music career forming the R&B/blues band, the Falcons. No matter which part of the world you are in, you can easily book your tickets.

Ladyhawke, Rebecca Ferguson + The Wanted: 5 Must-Hear Pop Songs Of The Week

1328649427 49 Ladyhawke, Rebecca Ferguson + The Wanted: 5 Must Hear Pop Songs Of The Week

It’s Tuesday! Time for another round of 5 Must-Hear Pop Songs of the Week!

We got another week of international explosion! Get ready for two comebacks from the land Down Under, two U.K. “X Factor” chanteuses rapidly on the rise and one very dreamy boy band about to (finally) explode Stateside. The global divide… it’s shrinking!

1.) Ladyhawke, “Black White & Blue”

It’s been a minute since we last heard from New Zealand native, Ladyhawke. After charming us with infectious ’80s-tinged New Wave confections such as “Paris Is Burning” and “My Delirium” back in 2008, the singer-songwriter returns in 2012, and this time around, she’s got more guitars.

“‘Cause this is real life, you can’t fight it,” the singer croons before the crashing chorus of “Black White & Blue,” the newly released lead single from her upcoming sophomore attempt, Anxiety.

Filled with searing guitars, spaced-out electronica and gritty production, it sounds like Ladyhawke’s gone a little more garage rock or riot grrrl than electro-pop for her newest outing. Is this newfound edge? Yep. I’m feeling it. + LISTEN TO LADYHAWKE’S “BLACK, WHITE & BLUE”

2.) Rebecca Ferguson, “Too Good To Lose”

The seventh season of U.K. “X Factor” produced an unusually solid amount of talent from winner Matt Cardle to bossy swag songstress Cher Lloyd to the newest tween sensation, One Direction. Yet one of the strongest debut efforts from the bunch came from the show’s notoriously soft-spoken crooner, Rebecca Ferguson.

“Too Good To Lose,” the upcoming second single off of her critically acclaimed debut album, Heaven, released back in December, is the latest proof that Ferguson might have made a more worthy winner of Season 7. Filled with a feel-good ’60s soul and an unexpectedly modern flair of warm electronica, the song successfully blends classic sound with new innovation, resulting in something fresh and entirely listenable: “Hear my prayer now,” she belts out. “Just say the word and I could be there now.”

Ferguson might have had trouble breaking through her timid persona onstage, but you’d never know it after one listen of this sleek, masterful production. It just goes to show: It really is the quiet ones that’ll surprise you. + LISTEN TO REBECCA FERGUSON’S “TOO GOOD TO LOSE”

+ Listen to more Must-Hear Pop Songs Of The Week after the jump!

3.) The Wanted, “Glad You Came”

U.K. boy band The Wanted are no strangers to my weekly Must-Hear wrap-ups. Given their latest moves on the Billboard Hot 100, it looks like they’re about to get comfy within the playlists of Top 40 radio too.

The handsome troupe is currently making their way across the United States to support their debut American single, “Glad You Came,” released at the end of 2011. Already a No. 1 hit in the U.K. last summer, the band’s explosive dance-pop stormer bursts with hook-heavy lyrics and a positively euphoric energy: “My universe will never be the same/I’m glad you came,” the boys lovingly croon before the track explodes into its Ibiza-lite, hands-in-the-air synthesizer dance break.

We already knew that the resurgence of the boy band is nigh, and judging by the trembling girls that lined the venue when I caught them in NYC at Irving Plaza last weekend and their debut U.S. TV performance on “The Ellen DeGeneres Show” two weeks ago, it seems America’s pretty glad they came too. + LISTEN TO THE WANTED’S “GLAD YOU CAME”

3.) Diana Vickers, “Boy In Paris”

Quirky U.K. “X Factor” darling Diana Vickers has been teasing out tracks from her widely anticipated follow-up to 2010′s Songs From The Tainted Cherry Tree for the past few weeks now, including the relentlessly infectious “Music To Make The Boys Cry.”

Just this morning, the raspy-voiced chanteuse released a brand-new extended album snippet: “Boy In Paris,” a stomping electro-pop sizzler cowritten by Scritti Politti member David Gamson. “Dancing in the dark with the boy I met in Paris,” she croons across the chorus, which vaguely pulses with a “Hold It Against Me” surge. Vickers told fans that the song has “a kind of early Eurythmics sound with all the dark synths,” and that it was a major representation of the new album’s sound.

If that’s truly the case Ms. Vickers, you might just have yourself one of the finest albums of 2012. + LISTEN TO DIANA VICKERS’ “BOY IN PARIS”

5.) Gabriella Cilmi, “Vicious Love”

Soulful Aussie songstress Gabriella Cilmi has done plenty of shape-shifting over the past few years. After debuting in 2008 with the wonderfully sing-songy “Sweet About Me,” she returned to the forefront in 2010 with Ten, an unexpected collection of disco-tinged space-pop tunes like “On A Mission” and “Hearts Don’t Lie.”

Now, it seems Cilmi’s coming back to Earth with a newly released buzz track called “Vicious Love.” Set against a gentle guitar strum, a hypnotizing piano melody and a lone tambourine, the nearly acoustic number finds the talented chanteuse relying solely on her rich vocal ability — a nod to the throwback ’60s sound of the U.K. neo-soul ushered in by the likes of Adele, Amy Winehouse and Duffy.

Recent interviews suggest that her turn as a disco diva two years ago wasn’t exactly her desired path artistically, so it’s nice to hear that Cilmi’s finally found her groove again. + LISTEN TO GABRIELLA CILMI’S “VICIOUS LOVE”

Bradley Stern is a writer from Connecticut. In his spare time, he enjoys organizing his Britney Spears CD collection in reverse chronological order and plotting the various ways in which he will bring down Katy Perry to become Rihanna’s best friend. But most of all, he spends his time tweeting and musing daily about pop music on his blog, MuuMuse.

Blue October - The House of Blues - Orlando, Florida Photo by me (Michelle Collins) Welcome to my Squidoo! States and major venues. In the wake of concert a lot of things changed and there's a dupe born every minute. Shortly after, Urban made up our minds to leave the band to pursue a solo career. That should raise several eyebrows of a small number newbies. As a child she used to sing for the church. You know I could not embrace this when they can. How can experienced people have world-class music streaming traps? She wrote songs about other kids as they reacted badly to her. You can find a wide variety of things to do - but if you want a little culture, you should definitely find out what events are planned at the Harris Concert Hall.

National Semiconductor to Highlight New High-performance Analog Technologies at electronica 2006

1328648226 63 National Semiconductor to Highlight New High performance Analog Technologies at electronica 2006

Media ContactNaomi MitchellNational Semiconductor(408) 721-2142Reader InformationDesign Support Group(800) 272-9959World Wide Webnational.com

National Semiconductor to Highlight New High-performance Analog Technologies at electronica 2006

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FOUR TET Releases Exclusive Track For Upcoming Japan Benefit Compilation

1328099839 74 FOUR TET Releases Exclusive Track For Upcoming Japan Benefit Compilation

In the world of electronic music, Kieran Hebden (aka: Four Tet) is one of the good ones.  Timeless, incredibly consistent, and impervious to trends, it’s always worth looking into anything new that is released with the Four Tet name stamped onto it.  Highly respected as an innovator in his field since the late 1990s, albums like 2001‘s PAUSE -his breakthrough sophomore release under the Four Tet moniker- showcased Hedben‘s continued reimagining of the genre through the incorporation of acoustic instrumentation and such unorthodox samples as clicking typewriter keys.  It also resulted in the media pinning Hebden as the posterboy for another catchphrase movement that was being referred to as “Folktronica.”  A decade later, he is still the one to watch.  Even when the musician/producer isn’t releasing his own solo material or working with Fridge (his pre-Four Tet post-rock outfit) he’s remixing music by everyone from Aphex Twin, Madvillain, and Battles to Beth Orton, Explosions in the Sky, and Black Sabbath, or collaborating with the likes of Burial and Thom Yorke.

His latest work, “MOMA” [posted below] is an exclusive track created for an upcoming Japan benefit compilation curated by Blonde Redhead‘s Kazu Makino.

Titled, We Are the Works In Progress, the album was not only compiled in benefit of Makino‘s homeland of Japan, but it features one of the most impressive lists of talents that I ever remember seeing on any compilation; benefit or otherwise.  Along with Four Tet’s lead off track, other compilation-exclusive tracks have been donated by artists like Deerhunter, John Maus, and Nosaj Thing.  There’s even an appearance by experimental minimalist composer/legend Terry Riley, who offers up an exclusive complete reworking of one of his older 1970s tracks.  Many Westerners may have already forgotten about the horrendous tragedies that struck Japan earlier in the year, but there is still an endless amount of post-tsunami aid that needs to be given to the country and purchasing an incredible album that you should probably be picking up anyway is a great way to do it.  The fact that all profits will be going directly to Japan relief is only a tremendous bonus.

The album is 14 tracks deep and will be released in both digital and double vinyl formats January 10th 2012.

Here are the complete details (via the press release):

WE ARE THE WORKS IN PROGRESS is a 14-song benefit album to support Japan and it’s ongoing efforts to heal post-tsunami. Born in Kyoto Japan, Kazu Makino wanted to help her homeland and turned to her friends and colleagues to ask that they donate tracks for the album. The response was unbelievable, and Kazu has collected an amazingly cohesive group of songs.

The album is the first release on the Asa Wa Kuru label, which Blonde Redhead created together for this album. It is Japanese for “Morning Will Come”.

Proceeds from the album will initially go to Japan Society and Architecture For Humanity, and more will be added. It’s important to Kazu to add additional charities as the situation keeps developing and worsening, and people’s needs keep changing. Her hope is that they can work with agencies that also help changing the way we live and think and help us become less reliant on nuclear power.

Kazu writes: This album contains exclusive material by artists that I admire. It took a while to make it this way, but it was worth the wait. We wanted it to be something special – something you don’t normally put on and album, and therefore many of these tracks are works in progress….hence the name. They are ideas that we became very attached to…versions of music that aren’t right for release, but ones that we love. Unfinished things often carry more energy….the possibility of it eventually becoming something great is infinite without having to be quite yet. I’ve noticed that each songs relates to one another. Like my friend Scott Mou said, “it sounds like each song is passing a baton to the next one”. I feel the same way.

1. MOMA – FOUR TET exclusive

2. NO FACE – KARIN DREIJER ANDERSSON Fever Ray/The Knife, exclusive

3. G SONG – TERRY RILEY exclusive reworking of a song from the 70s by Terry himself, including new vocals

4. NIGHTCRAWLER – NOSAJ THING exclusive

5. BERCEUSE – JOHN ROBERTS exclusive

6. PENNY SPARKLE – BLONDE REDHEAD Drew Brown exclusive remix of album track

7. BIRD ON A WIRE – PANTHA DU PRINCE exclusive

8. IN HERE THE WORLD BEGINS – BROADCAST re-release of a tour vinyl-only track

9. DRIP – LIARS/BLONDE REDHEAD previously released track remixed by Blonde Redhead

10. CURVE – DEERHUNTER exclusive

11. STALAGMITE – STALACTITE Susumu Mukai of Zongamin + Drew Brown, exclusive

12. CASTLES IN THE GRAVE – JOHN MAUS exclusive

13. BAMBOO HOUSE – DAVID SYLVIAN/RYUICHI SAKAMOTO previously released

14. SONG SEVEN - INTERPOL previously released b-side

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Making Moves With Puff: How Sean Combs Is The Best And Worst Thing For Bad Boy

1327961834 56 Making Moves With Puff: How Sean Combs Is The Best And Worst Thing For Bad Boy

DX contributor Luke Gibson questions if Sean Combs the executive destroyed the empire that an artistically inclined Puff Daddy built back in 1994.

“After bucks / Crush crews after us / No games / We ain’t laughing much / Nothing but big things / Check the hit list / How we twist shit / What changed but the name / We still here / You’re rocking with the best / Don’t worry if I write rhymes / I write checks…” –Diddy, “Bad Boy For Life” by P. Diddy and the Family. “Flava In Ya Ear” smashed the New York airwaves in 1994. In an era when car stereos promoted music in the same way that ringtones do now, “Flava in ya Ear” breathed life into Craig Mack and ushered Bad Boy Records into the mainstream. It was essentially the record before the record. It allowed Biggie’s incredible debut to be released on the East Coast’s freshest Record label. It shifted focus from Def Jam and directly onto music’s newest executive. Sean Combs corporate ascent is the ultimate hustler story. Diddy grinded his way into the limelight, and he could dance his way to the top on Christopher Wallace’s Ready to Die. With the exception of some powerful accusations from 2Pac and Death Row Records, Bad Boy Records was East Coast royalty–and Diddy was the king.

In a mere year he did what no other Hip Hop record label was able to do effortlessly. He released two platinum-selling R&B album’s (Faith Evans’ platinum-selling Faith and 112’s double platinum, self-title debut), and was accumulating a talent-laden roster, that included arguably Hip Hop’s biggest star, Biggie Smalls. March 9, 1997 surely changed the path of the label just as it did a culture. The successful Ready to Die, which has sold over four million copies to date, was followed by the commercially stunning Life After Death, which has sold over 10 million units. Bad Boy was flawless for the next four years, dropping a string of successful albums albums that included Puff Daddy and the Family’s No Way Out (seven times platinum) and Mase’s Harlem World (four times platinum). It’s a run of success that quite frankly may never be replicated partially due to music industry climate. The music plays differently a decade later. And the label that released it is just a shell of what it once was.

Diddy, maybe more so than any other Hip Hop entity, has built a brand on image. He utilized Twitter as marketing tool well before many SEO companies caught hold of the idea. Ciroc vodka’s drastic increase in sales is undeniably tied to Diddy’s image. His Sean Jean clothing line has made massive strides in the fashion world, forming a joint venture with Zac Posen, purchasing Enyce and grossing around $100 million a year. He made an otherwise uninteresting reality television series, “Making the Band,” can’t miss TV. The series made him marketable and just about any product with entertainment value associated with him profitable, but it also damaged his Bad Boy Records brand. I’ll never forget after watching the infamous “Cheesecake Episode” where Diddy told a group of hungry emcees to walk to Brooklyn to get a cheesecake. My friend Jay looked at me and said, “Nobody will ever take those guys serious.” He was right. Diddy ruined their credibility in a mere moment and saved face by disbanding the group right around the release date of their project. The next few seasons saw Diddy undress artists on national television. It was great TV, but working conditions lacked artistic freedom, and respect for ones craft. It’s no wonder that the drastic roster turnover and lack of sustained careers at Bad Boy is a common sight. His professional relationships with Rick Ross and Nicki Minaj have helped repair some of the lost value in his name as a record executive. But Bad Boy is a tough—and in many ways a damn near impossible—sell to established artists. LOX aside, think about the last time you heard a commercially or critically successful artist or group talk about possibly signing with Bad Boy. Much the same way Death Row lost credibility with Suge Knight’s strong arm tactics; Bad Boy has lost credibility with Diddy’s television antics. The comparison doesn’t end there, as Bad Boy has released less and less music at a rate that is approaching Death Row numbers before the label’s demise.

“These haters speculate / They always watching mine / She know what time it is / Just like my watch line / My clothes line / The cologne bitch / I know you smell this money sitting on this throne bitch / I’m strong bitch / I own shit / Gave myself a ten digit bonus…” –Diddy, “Another One,” by Rick Ross f. Diddy. The numbers that Bad Boy Entertainment openly promotes are misleading. It’s routine to read on any Bad Boy related site that Bad Boy’s annual sales have reached an overall average of $100 million. What is more often than not left out is the fact that, Bad Boy Entertainment consists of not only Bad Boy records, but Sean Jean, Justin’s (Diddy’s Atlanta Restaurant), and publishing companies that Diddy owns. So when the label boasts $100 million dollars of annual sales, it has more to do with Macy’s than music. There were zero releases from Bad Boy in 2011. Only the 2010 release of Coming Home by Diddy Dirty Money, saw any significant sales attention in 2011. That album was certified double platinum by the RIAA in May of 2011.

The roster has turned over several times in the last decade. Of the former Bad Boy artists, it’s a “Where the hell are they now?” list. Loon was extradited back to the US to face felony drug charges, and G-Dep fought drug addiction and ultimately confessed to a murder that took place nearly 20 years ago. Black Rob finished a six year bid and resurfaced on Duck Down. Meanwhile, Carl Thomas is AWOL, and Mase is somewhere between the church and G-Unit. Shyne signed with Def Jam after finishing a 10 year bid. And the “Making the Band” artists are at best Playboy pin ups, and at worst former local celebrities. In an interview with DJBooth.net, Carl Thomas once said, “Bad Boy is the type of label that is wonderful if you wanna break an artist. Now if you wanna sustain a superstar, that may not be the situation for you.” With the exception of Diddy, and the now disbanded Danity Kane, no artist in the last 10 years on the Bad Boy Roster has went platinum or gold twice. Yung Joc, and Cassie, who were both thought of as the Bad Boy revival, saw successful debuts follow with either a disappointing sophomore project or no project at all. With the exception of two critically acclaimed Janelle Monae projects, there hasn’t been a sustainable successful Bad Boy artist in nearly 10 years.

The downfall of Bad Boy the label directly results in the way Sean Combs branded Diddy and Bad Boy as one. Any transition from record executive into artist is complicating, and his was no different. Diddy became the label’s flagship artist after the passing of B.I.G. Despite the platinum success he has had as an artist, he is no longer viewed as a top-notch producer in most circles. And even Combs himself will admit his limitations as a rapper and/or vocalist. His business acumen aside, he’ll likely never have the artistic appeal that a Dr. Dre, Eminem, Lil Wayne, Jay-Z or 50 Cent have with their respective labels or audiences. A feature on an Eminem or Hov project can be career defining; the same can’t be said about a feature on a Diddy project. The $75 Million records sold worldwide don’t sound as appealing when recent projects have struggled to consistently chart. Sean Combs the mogul has trumped Diddy as the artist since 1997. When Suge threw those infamous shots at The Source Awards about managers dancing in videos, it turned out to be bigger than East/West or Bad Boy/Death Row. With the exception of Janelle Monae, almost every artist released on Bad Boy had some sort of Diddy appearance. Careers were built on Diddy appearances and those careers rarely transcended beyond Bad Boy. The Bad Boy roster has again been rebuilt, and there might be a few lucrative years ahead. But based on history, there is no reason to believe that any sort of sustainable success will follow at Bad Boy.Despite being a record label that hasn’t recently seen the type of success associated with other moguls (Aftermath, G-Unit, Cash Money, Roc-a-fella/Roc-Nation), Diddy’s brand and image has been a fixture in mainstream media. His extremely successful “Making the Band” franchise has resulted in millions in television revenues and three albums that have charted gold or better. He has been the face of “Rock the Vote,” the originator of “No Bitchassedness” and has turned Circoc into Hip Hop’s high end Vodka of choice. Diddy’s popularity is at all time high, while his sales as an artist pale in comparison to the glory years. Diddy’s talk about transitioning into film and out of the music industry, in truth, happened close to a decade ago. His recent signees are most likely his last grasp at regaining his standing as a prominent Hip Hop executive. So while Diddy publicly courted artists like Jay Electronica and Odd Future, critics and fans scratch their heads and try to picture where artists like the aforementioned would fit on Bad Boy. Signings of Machine Gun Kelly, and French Montana, are positive moves. And while both have the opportunity to have long careers, it’s questionable that Diddy will invest the time to allow that success to be seen on Bad Boy beyond one album. It’s Diddy’s job to be excited about his current roster. Hell it’s Diddy’s personality to be excited about anything he touches. Two recent Grammy nods ensure that Janelle Monae will remain an important R&B voice. But aside from that, where do MGK or a Red Café fit in? The label has historically reached for “106 & Park” audiences, and if that strategy didn’t result in albums sold, Diddy was quick to move on. Diddy’s brand has helped him amass near $500 million dollars. Forbes predicts him to be the first hip hop billionaire but all that money hasn’t kept Bad Boy’s music relevant commercially or critically for the better part of a decade. Maybe it started when Shyne, the next heir to the Bad Boy kingdom, heard his verdict. Maybe it happened when a group of hungry artists were walking to Junior’s to get a piece of cheesecake. But somewhere along the road, Diddy as the “Powerhouse Record Exec” lost his aura. It doesn’t make him any less Hip Hop, but it does make it all the more unlikely that Bad Boy musically becomes notorious again. We know he won’t stop, can’t stop—but lately Sean Combs as a music executive has lost his pulse.

Luke Gibson is a freelance writer residing in Philadelphia. He has contributed to HipHopDX.com, The Courier Times and is presently finishing a book of poetry.

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New Jay Electronica – “Call of Duty: MW3″ f/ Mobb Deep

Last time we heard from New Orleans Roc Nation member Jay Electronica, he was sampling John F. Kennedy and partnering up with Charlotte Gainsbourg. That was almost a year ago, and we’re still anxiously awaiting his debut record, Act II: Patents of Nobility (The Turn), which should supposedly arrive this year.

To tide us over until whenever that may be, Jay dropped a new song, “Call of Duty: MW3.” It’s got a hell of a beat, complex and percussive, but it never distracts from Jay and guest Mobb Deep preaching religious tolerance, remembering Steve Jobs, and bragging about making it “from Myspace to the top of the food chain.” Check it out.

Jay Electronica – “Call of Duty: MW3″ f/ Mobb Deep

by Genevieve Oliver on October 12, 2011 ‡ 35 reactions

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No Stranger Here musical wonderland

1327879029 74 No Stranger Here musical wonderland

Shubha Mudgal, Ursula Rucker and Business Class Refugees

No Stranger Here (EarthSync, 2012)

EarthSync’s latest offering is a real treat. Part devotional meditation, part savvy supplication for a sense of universality through music, No Stranger Here is the combined efforts of Hindustani music’s vocal force Shubha Mudgal, Philadelphia’s poet and spoken-word artist Ursula Rucker and EarthSync’s masterful Business Class Refugees headed up by Patrick Sebag and Yotam Agam. Centering their collaboration around the Indian mystic and poet Kabir, No Stranger Here dazzles listeners with the hypnotic vocals of Ms. Mudgal and Ms. Rucker’s razor sharp poetry and spoken word sections against the wildly rich tapestry of the Business Class Refugees.

Mr. Sebag explains the collaboration this way, “We look at it like a film that has two major actors that tell the same story but each from his place and environment. Every song is a different story and should leave room for everyone to tell their stories in harmony. That’s what music and collaboration is all about. That is what we love doing.”

Cinematic in feel, No Strangers Here isn’t about a pretty kind of ethereal, but a grounded expansiveness that feels like flying with sweeping strings and Ms. Mudgal’s divine vocals. Rooted by Ms. Rucker’s hothouse spoken sections, many of the tracks explore a transcendental space against some spectacular electronica and lush strings arrangements.

Standout tracks include the breezy “Steadfast,” the thickly jazzy “When I Was” and the single instrumental track “Searching For You” with its hip Pat Metheny feel. There are also some real gems on this recording that include the darkly rich “A Stranger Here” full of an edgy hipness and captivating vocal work and the tracks “Above All Else” and “Outsider” with vocals by Ms. Mudgal that simply make you want to drop in and wallow about.

Drawing in Kabir’s poetry for No Stranger Here’s inspiration, EarthSync’s CEO and producer Sonya Mazumdar explains Kabir’s importance this way, “Kabir is a major reference point for Indians. He had the ability to put these massive philosophical concepts in a way that the common person, who was denied education or had very simple ways for dealing with life, could grasp perfectly. Kabir equated the love between two people to the love between an individual and God. Composers down the ages have interpreted his depth and simplicity in various musical formats.”

No Stranger Here is one of those musical wonderlands where getting lost is the whole point.

Listen to samples and buy MP3s

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