Event on 2013-08-16 19:00:00
Supporting Acts: I-Vibes
Jamaica's first dancehall. superstar, Yellowman ushered in a new era in reggae music following Bob Marley's death. His early-'80s success brought the popularity of toasting — the reggae equivalent of rapping — to a whole new level, and helped establish dancehall as the wave of the future Yellowman was one of the most verbally nimble toasters of his time, with a loose, easy flow, a talent for improvisation, and a definite wit in his wordplay. Plus, all the boasting about his prowess on the mic or in the bedroom had to be over the top to be convincing: true to his stage name, Yellowman was an albino, which carries a tremendous social stigma in Jamaica. Bouts with cancer pushed him into more thoughtful, socially conscious territory in the '90s, but his initial style remains the most influential, paving the way for countless dancehall toasters to follow. Yellowman was born Winston Foster in Negril, Jamaica, in 1959 (some accounts say 1956). An early target for abuse because of his albinism, he grew up in an institution in Kingston, with little to keep him company besides music. Influenced by early toasting DJs like U-Roy, he practiced rhyming and got a job with the Gemini Sound System as a substitute DJ. Christening himself Yellowman and dressing in a bright yellow suit, he peppered his lyrics with jokes about his skin color and outlandish tales of his sexual conquests. In 1979, he won a landslide victory at the well-known Tastee Talent Contest, and within months he had become one of Jamaica's top concert draws, thanks to a dynamic, humorous stage show. Yellowman recorded prolifically in the early '80s, at one point flooding the Jamaican market with more than 40 singles. His first full-length album, Them a Mad Over Me, was recorded for Channel One in 1981 and featured the hit title track and the single "Me Kill Barnie," an answer record to Lone Ranger's hit "Barnabas Collins." Despite this success, Yellowman didn't truly hit his stride on record until he hooked up with groundbreaking dancehall producer Henry "Junjo" Lawes. The 1982 LP Mister Yellowman kicked off their collaboration; released internationally by Greensleeves, it started to break him in the U.K. and U.S., and is still often acclaimed as his best album. It also launched a series of Jamaican hit singles over the next few years that included including "Yellowman Getting Married" (a rewrite of the My Fair Lady number "I'm Getting Married in the Morning"), "Mr. Chin," "Who Can Make the Dance Ram" (a rewrite of "The Candy Man"), "Zungguzungguguzungguzeng" (sampled by several hip-hop acts), "The Good, the Bad, and the Ugly," "Soldier Take Over," "Nobody Move Nobody Get Hurt," and "Wreck a Pum Pum," among others. Many of his recordings during this era featured vocal contributions from fellow DJ/toaster Fathead, whose specialty was punctuating lines with animal noises ("ribbit" and "oink" were his favorites). After 1983's Zungguzungguguzungguzeng album, Yellowman signed a major-label deal with CBS Records, which encouraged him to maintain the stylistic versatility of his previous work. However, his lone album for the label, 1984's King Yellowman, sported mixed results, attempting everything from slack toasts to R&B and pop-tinged crossover tracks, including covers of "Sea Cruise" and "Take Me Home Country Roads," and the much-maligned fusion attempt "Disco Reggae." He subsequently released several albums on Shanachie, including 1984's Nobody Move Nobody Get Hurt, 1985's Galong Galong Galong, 1986's Going to the Chapel, and 1987's Don't Burn It Down. The latter found him delving more into social consciousness; the title cut was a pro-marijuana protest, while "Stop Beat Woman" condemned domestic violence, and "Free Africa" criticized apartheid. Around the same time, he suffered a bout with throat cancer, but fortunately recovered. He returned to action with the hit Fats Domino cover "Blueberry Hill," and moved to the Ras label to record the well-received Yellow Like Cheese album with producer Philip "Fatis" Burrell. 1994's Prayer album (still on Ras) was the first effort in this new direction, and it was followed quickly by Message to the World in 1995. 1997's Freedom of Speech continued in a similar vein, after which Yellowman switched over to the Artists Only label. His first effort was 1999's Yellow Fever, which concentrated on conscious reggae but also featured some good-natured party tracks. New York followed in 2003, and Round 1 in 2005.
at The Standard
200 Anastasia Blvd.
Saint Augustine, United States
- Food For Life: Kickstart Your Health – Cooking and Nutrition Classes
Event on 2013-07-28 16:00:00
Research has shown that certain dietary patterns can help prevent diabetes, cardiovascular disease, cancer, and other chronic diseases. Lowering cholesterol and blood pressure while improving energy, skin and mood are some of the many benefits people experience on this diet. According to the American Diabetic Association, "Appropriately planned vegetarian diets, including that of total vegetarian or vegan diets, are healthful, nutritionally adequate and may provide health benefits in the prevention and treatment of certain diseases." Learn how to make a qualitative shift in the way you eat as opposed to a quantitaive one.
PCRM's Food For Life: Kickstart Your Health classes offer a unique opportunity to:
- Learn about various health topics including blood pressure and digestion
- Discover which foods are optimal for weight management
- Learn the practical cooking skills needed to help you on your journey to better health
In the Food For Life: Kickstart classes, attendees do all of this while enjoying a cooking demonstration and tasting delicious, healthful dishes in a supportive environment.
Class 1: July 28th: The Power of Your Plate
- Green Monster Smoothie
- Braised Kale
- Quick Black Bean Chili
Class 2: Aug. 4th: Let's Go!
- Green Apple and Cinniman Oatmeal
- Chickpea Salad with Orange Miso Dressing
- Portobello Fajitas
Class 3: Aug. 11th: Getting in Gear
- Breakfast Tofu Scramble
- Mexican Kale and Blue Corn Salad
- Orzo with Tomatoes, Basil, Peas and Pine Nuts
Class 4: Aug. 18th: Breaking the Food Seduction
- Fruited Breakfast Quinoa
- Red Curry ChickpeaSweet Potato Soup
- Ginger Noodles
Class 5: Aug 25th: Keys for Natural Appetite Control
- Refreshing MintSmoothie
- Curried Tomato Lentil Stew
- Brown Basmati Rice
This is a 5-class series. Sign up for all five classes for .00 or enjoy a single class for .00 Cost includes class handouts, cooking demonstrations and the tasting of the meals prepared in class.
The Food For Life program is a community-based nutrition education program of the Physicians Committee for Responsible Medicine (PCRM). PCRM is a nonprofit organization advancing preventative medicine, primarily good nutrition, and supports higher standards in research.
Registration may also be done via mail or in person. Please contact Instructor Elizabeth Federman firstname.lastname@example.org to the commencement of classes.
Cancellation Policy: There will be a .00 cancellation fee per registrant up to a week before classes begin. After that, no refunds will be accepted.
There is a suggested text for this class: 21-Day Weight Loss Kickstart by Dr. Neal Barnard. Find it here athttp://www.pcrm.org/shop/byNealBarnard/21-day-weight-loss-kickstart
Whether you are anxious to get a jumpstart on weight loss or already know about the benefits of a plant-based diet, this book is the kickstart youve been waiting for. With more than 60 recipes, daily meal plans for the 21-day program, tips for grocery shopping, and more, this book will teach you how to make the best food choices and get your body on the fast track to better health.
Elizabeth was the Featured Food For Life Instructor for PCRM for the month of Jan. Read her story here!http://www.pcrm.org/health/diets/ffl/newsletter/food-for-life-instructor-spotlight-elizabeth
Find out more about Instructor Elizabeth Federman at PCRM's website.https://secure2.convio.net/pcrm/site/Donation2?df_id=12221&12221.donation=form1&JServSessionIdr004=0na95eh8d4.app209b
What Class Attendees Are Saying:
"Elizabeth is very knowledgeable and thorough in her presentations and explanations, and her cooking hints were so valuable as well. We learned so much and got to sample a wide variety of foods. A totally positive experience, this class is highly recommended."
Marjorie, Van Nuys, CA
"Our instructor was phenomenal. She was so well prepared and thoughtful in her approach. Elizabeth is very easy to talk to and very knowledgeable. Even thought of economics. She didnt miss a beat and made it so easy and fun. I feel better than I ever have!"
Nicole, Huntington Beach, CA
Special thanks to Pastor Richard Poole and the Session at Faith Presbyterian Church of Valley Village for their enthusiastic support and for their generous donation of use of facilities for these classes!
Food For Life
Kickstart Your Health
at Faith Presbyterian Church of Valley Village
5000 Colfax Ave
Los Angeles, United States
Event on 2013-09-20 20:00:00
Looking back over the past 25 years of rootsy, Americana, string-based music, the impact of Leftover Salmon is impossible to deny. Formed in Boulder, CO in 1989 the group was one of the first bluegrass bands to add drums and tour rock & roll bars, helping Salmon become a pillar of the jam band scene and unwitting architects of the jam grass genre. Though the band members are reticent to accept the weight of their influence, Leftover Salmon co-founder, singer, guitarist, fiddle and mandolin player Drew Emmitt does reflect fondly on the band's early days. "We knew we were doing something special" he says. "At that point in the early-90s, it was the birth of the jam band movement, Phish was starting out, Widespread Panic was starting out, and they were a little ahead of us, obviously, but we were one of the first bands to get out there with bluegrass and just get on the road and try to make something happen without a record deal. We were just following in the footsteps of New Grass Revival, Hot Rize and Little Feat, but by doing that I think we inspired some other bands too." If Salmon had never played another note after the devastating death of banjo player/co-founder Mark Vann in 2002, the legacy would have been secure; the members' names etched in the books of history. But today, more than two decades after Salmon first took shape, the band has a new album (Aquatic Hitchhiker, due May 22 on LoS Records), a new banjo phenom (Andy Thorn), and a new lease on an old agreement. Leftover Salmon is officially back. The legend of Leftover Salmon begins in October 1985 when band leader, co-founder, singer, guitarist and washboard player Vince Herman left his home in Morgantown, WV with a buddy in search of that Rocky Mountain High. "The day that I arrived in Boulder" recalls Herman, "we literally drove in off the highway, parked the car, saw a sign at a bar that said 'Bluegrass', went in there and it was Drew playing with the Left Hand String Band; like the moment we got to town." Some would call this fate, others coincidence, either way this moment would change the lives of Herman, Emmitt and a whole lot of other people. A few years later Herman had established his own group, the Salmon Heads, and on New Year's Eve 1989 he asked Left Hand String Band members Emmitt and bassist Glen Keefe to fill in for some missing Salmon Heads. They took the name Leftover Salmon and the group played its first show at The El Dorado Caf in Crested Butte, CO. A few months later revolutionary electric banjo player Mark Vann moved toColoradoto join the Left Hand String Band and was quickly pulled into Leftover Salmon as well. Though the lineup would change through the years to include such luminaries as drummers Michael Wooten (1989-1997) and Jeff Sipe (1997-2000, 2007-2010), bassists Keefe (19891991) and Tye North (19932000), accordion and harmonic player Gerry Cavagnaro (1990-1991), keyboard players Bill McKay (2000-2011) and Joe Jogerst (1991-1993), the core of Leftover Salmon was always rooted in the relationship between Herman, Emmitt and Vann. Leftover Salmon delivered its debut album; "Bridges to Bert" in 1993, and followed it up with the live album "Ask The Fish" in 1995, both of which helped land the group a spot on the influential H.O.R.D.E. tour. With the band's stock on the rise and their Colorado slamgrass style firmly established, they signed to Hollywood Records and released what many consider to be the definitive Salmon record, 1997's 'Euphoria". The band would go on to release four more albums, each unique in its own way, none more so than 1999's "The Nashville Sessions" which placed Salmon alongside some of its biggest influences and most beloved colleagues, including Sam Bush, Bela Fleck, Jerry Douglas, Widespread Panic's John Bell, Blues Traveler's John Popper, Earl Scruggs, Waylon Jennings and Lucinda Williams. On March 4, 2002, at age 39, Mark Vann lost his battle with cancer. Vann insisted that the band carry on and Salmon enlisted Noam Pikelny to assume the banjo role, keeping the flame lit through endless tours and several more albums, including 2002's Live (pronounced "liv"), a live album released shortly after Vann's death and the last record he ever performed on; Live also featured the new rhythm section of Jose Martinez (drums) and Greg Garrison (bass), both of whom remain members of the group to this day. The following year the band released "O Cracker, Where Art Thou? " which found Salmon backing Cracker's David Lowery and Johnny Hickman, and 2004 would see the release of Leftover Salmon, the first post-Vann Salmon studio effort. On New Year's Eve 2005, exactly 15 years to the day since Leftover Salmon's very first show, the band desperately needed a break and made arrangements for an indefinite hiatus. The big NYE concert felt like a conclusion, perhaps a proper ending to a very influential, dare we say important and just damn fun band. "The reality is Leftover Salmon is what we did for a living" says Herman. "We had families and we kind of had to keep feeding the beast, and the toll of that spiritually on the music was audible, so we had to pause to do other things and really get more in touch with ourselves as musicians and find out what direction we would go outside of Salmon." Herman created Great American Taxi and Emmitt a solo outfit (Drew Emmitt Band) as well as the Emmitt-Nershi Band with The String Cheese Incident's Billy Nershi. There were a few Leftover Salmon reunion shows here and there starting with some festival engagements in 2007, but as the years went by and solo careers took off it appeared that Leftover Salmon, at least a fully-engaged Leftover Salmon, was a thing of the past. Then something unexpected happened. During one of those reunion runs in 2010, Salmon's banjo player at the time, Matt Flinner, couldn't make the show so Emmitt brought along former RockyGrass Banjo Contest winner Andy Thorn from his Emmitt-Nershi Band. It was a game changer. "Andy's a real young guy with a lot of great energy who plays in a way that definitely relates to Mark's [Vann] playing and he's a lot of fun to be around, it's led to a real revival that just clicks on some hard to describe level" says Herman. "We've played with some great banjo players over the past few years, and not to say anything about them being less than great musicians, but there's just something intangible about playing with Andy that kind of makes Drew and I look at each other and grin. This is what we've been missing as far as that feeling between Drew, Mark and I that used to be there." The 29-year-old Thorn grew up a Salmon fan in North Carolina and says the band helped him realize "this is what I want to do with my life." Ironically, it's his presence in the group that has given Leftover Salmon new life. Today, on the brink of another "Festivaaal" season, the band has recorded Aquatic Hitchhiker. Produced by Los Lobos' Steve Berlin, this is Salmon's first record in eight years and first ever of all original material. "Steve [Berlin] understood where this album needed to go and how we all needed to work together as a band to make it happen" says Emmitt. Set for release on May 22, the recording process solidified the new Salmon, cauterizing old wounds and allowing fresh ideas to grow over past scars. "The time is right for this band to come back on a lot of levels" says Emmitt. "It's taken us a little while, but I think we're finally there." -Aaron Kayce April 2012
The Infamous Stringdusters
The Infamous Stringdusters are doing something right: earning critical acclaim, awards, and nominations aplenty; hosting their own successful music festival; forging their own record label, High Country Recordings; and quickly growing and enthusiastic fan base across the country. They sound like no one else, combining virtuosic chops on five traditional bluegrass instruments, with an ethos of pushing the genre forward. The Stringdusters' live show takes improvised string band music to new places, combining musicianship and songwriting with experimental performance and contagious energy flowing between the band and crowd. And with "Silver Sky", the first studio album on High Country Recordings, the band showcases their progressive nature and proficiency in the recording studio.
Assembly of Dust
Assembly of Dust's 2011 release Found Sound represents a "behind the curtain" look at a band that has garnered critical acclaim both for their studio albums and live performances. AOD's crew secretly recorded the band 2007 New Years Eve performance in order to capture totally inspired, unfiltered versions of their best material. While the album maintains the high standard of song craft and lyrical depth that Genauer and Co. are known for, it separates itself from past efforts with an energetic delivery that showcases improvisational musicianship; music's best kept secret may have just been found. Assembly of Dust's last album Some Assembly Required, fits nicely between Wilco, My Morning Jacket and Neil Young. It's a star studded and purposefully constructed album featuring the likes of Richie Havens, Bela Fleck and Grace Potter. Genauer calls it the bands piece de resistance. "Found Sound" he explains "came about in almost the complete opposite way" Genauer explains "Our front-of-house engineer, Jack Trifiro, recorded one of our shows without us knowing," says Genauer of Found Sound. "He managed to sneak a full, multi-tracked recording session past us without us knowing. " The group may have stumbled onto something unique in the music world a defining moment that the band didn't even know it recorded. "When he revealed it to me years later it was like looking at a picture of the band taken with a spy cam" says Genauer. "Upon studying it, I found he had framed the shot well. No double chins." He laughs. "The sound quality is fantastic. He captured a diverse collection of songs and a great performance through a crisp lens." Then there's the guitar! While the entire band provides musical prowess, it's the guitar work that shines through most on Found Sound. Adam Terrell's solos rip through "Zero to the Skin" and "Borrowed Feat" (which one may proclaim "Stevie Ray Vaughn-ish"). "We have fantastic musicians in AOD I don't think that's been as celebrated as my songwriting or lyrics," says Genauer. "I'd be remiss if I didn't point out Adam's talent. He's a soulful person and it comes out in his playing. I get goose bumps standing next to him on stage." With eight songs, Found Sound captures AOD's disparate moods and musical moments. It boasts three songs that have yet to make it to an AOD studio album. The unreleased tracks include the extended, almost grandiose "Songbeard," as well as the sunny, 70s country pop of "Long Dead" and the decidedly jaunty "Feline Disguise." The band also deftly steps outside of their catalog with a nod to the Beatles in "Lady Madonna" Found Sound comes off as a focused portrait (think of the audio version of Ansel Adams) of a band and their landscape . "It's for the diehards" says Genauer. "We proved on our last record that we can write and record well crafted songs people get that. It was nice to capture and memorialize a rippin' live performance for ourselves and our fans." Anyone using Found Sound to speculate about the direction of the bands next studio record will be left without a compass. "We'll more than likely take another flip flop approach for the next one," says Genauer, laughing. "I'm hoping to try an acoustic-based record. Or maybe a collection of Tibetan throat songs and vegetarian spoken word "
at The Capitol Theatre
149 Westchester Ave
Port Chester, United States
Event on 2013-09-27 21:00:00
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Signs Of Skin Cancer
This event is 21 and over
For audiences in the United States — and, in fact, to the English-speaking world at large, the new album I Walk is an introduction to an artist whose music is fervent, personal and passionate, a singer-songwriter with stunning creative confidence. Which is perhaps to be expected, because, as one writer put it, Herbert Gronemeyer is the biggest selling artist youve never heard of. Not that hes been invisible. Before he embarked on a musical career, he was seen on film screens in the breakout German film Das Boot, and more recently (2007), he was in the Anton Corbijn film Control. And in 2010, he wrote the evocative score for Corbijns arresting film The American starring George Clooney. But those intermittent appearances on the U.S. cultural radar are footnotes in the context of his musical career in Germany, where he has been the most successful recording artist of all time for the past three decades, where his album sales have surpassed 18 million copies, and two of his albums, 1984s 4630 Bochum and 2002s Mensch, have become the biggest German-language albums in history.
I Walk, then, is an introduction that is also a summation, a collection of songs from throughout Groenemeyers remarkable career, going back as far as 1985s Airplanes In My Head and going forward to English translations of some of his most well-known songs, and two that are new to this project. As the website DIY wrote in October 2012 upon the U.K. release of I Walk, the the album is Sophisticated, majestic pop, with songs ranging between love and lament, joy and grief, and always with a hint of melancholy even in the most glorious moments. Listeners will hear sweeping and uncynical songs made to reach the upper reaches of the arenas that Groenemeyer has filled with ease, heartfelt anthems that at the same time have intimacy and emotional resonance. Even if you dont know the narrative behind the lead-off song Mensch, written a year after devastating losses of his brother and his wife within a three day period, you feel the undercurrent in his performance, and in the lyric: We lose and still we try, he sings, and ends the song with a simple I miss you. On Mensch, Groenemeyer is accompanied by Bono, one of the guests on the album along with Antony Hegarty of Antony and The Johnsons on the dramatic Will I Ever Learn (When he started singing, my skin went up, Groenemeyer recalls) and guitarist James Dean Bradfield of the Manic Street Preachers on To The Sea.
Over the course of fourteen studio albums and many live tours, Groenemeyer established his reputation as a songwriter whose music reflects the influences of such writers as Randy Newman and Elton John, and a performer whose sweep and theatricality brings to mind such artists as David Bowie and U2. The only thing holding him back from broader international recognition was the language barrier: he sings in a language spoken by less than 3% of the worlds population. Thats a significant disadvantage, and goes a long way towards explaining why no European or American pop superstar has emerged from Germany. While singers whose primary language is French (Aznavour, Gainsbourg) or Spanish (Iglesias) have crossed over to global acceptance, singing in German has been more limiting. Now, with I Walk, that obstacle has been lifted.
Although Groenemeyer was born in Gottingen, Germany, in 1956, he considers his home town to be Bochum, where he spent most of his formative years (he told an interviewer that the location of his birth was due to the presence of a medical specialist in Gottingen whom his mother consulted during her pregnancy). In the mining town of Bochum, Herbert began taking piano lessons at the age of eight, and got his initial break in the local theatre, where he was hired as a pianist, but then landed a performing role in a production of Willy Russells John, Paul, Ringo and Bert. In 1981, his acting career took off when he was cast as a war correspondent in Wolfgang Petersens film Das Boot. This lead to more acting roles, but although he would continue to appear in films through 1985, he was determined to pursue his more enduring creative passion by focusing on his music. I was always a musician, he says. My acting, I would say, was OK, but I think in music Im much better. I feel more at home.
His recording career got off to an inauspicious start — his four albums released between 1979 and 1983 didnt cause much of a stir — and he didnt give up acting right away, but the release in 1984 of the album 4639 Bochum changed everything. It topped the German charts, quickly becoming the countrys third biggest-selling album of all time. Over the course of the next fifteen years, his music became more political, addressing the Kohl governments policies, and the impact of the fall of the Berlin Wall. 1993s Chaos went to number one, and on his tour that year he played to well over a half-million fans. The next year, he became the first non-English-singing artist invited by MTV to do an Unplugged concert.
In 1999, Groenemeyer moved to London, and founded his own record label, Groenland Records, and released an ambitious project Pop 2000, an 8-CD collection compiling recordings from the entire post-war-Germanys pop music and youth culture. Groenland also released the back catalog of the influential Krautrock act NEUI, and signed such contemporary artists as Boy, Metric, and William Fitzsimmons, as well as other seminal artists such as Harmonia and Gang of Four. 1999 was also the year his wife Anna died of cancer, and he also lost his brother Wilhelm. For a year, Herbert suspended his career, and then he returned to the concert stage with a Philharmonic Orchestra, an event that was taped and released on DVD as Stand der Dinge (State of Affairs). Then, in 2002, came his most successful album, Mensch, an album that without exaggeration could be called the Thriller of Germany, with advance orders well over platinum, and sales now exceeding three million copies, more than any album in the countrys history.
Although Herbert helped facilitate his friend Anton Corbijns film about Joy Division, Control, wrote the score for Corbijns The American, and devoted time to humanitarian projects (he was given a 2005 European Hero award by Time magazine for such efforts as helping to establish Germanys Make Poverty History campaign), its music that drives him, and I Walk is just the natural outgrowth of his desire to push forward creatively. Working on an English-language album, he says, was less about dissatisfaction with his status outside the German-speaking world that about the challenge, the opportunity for self-discovery. Since he normally writes melodies by employing what he describes as banana English, it seemed like a logical progression, even though he has relocated from England and now spends most of his time in Berlin.
I have to find my own challenges, he says. This is one of those moments where I think, OK, lets try it. So lets start here and see what happens. I try to reinvent what Im doing in my limited way. And thats the fun. Thats my joy. This is what I can do.
at Bimbos 365 Club
1025 Columbus Avenue
San Francisco, United States