Okkervil River
with Landylady
The new Okkervil River album is called Away. I didn't plan to make it and initially wasn't sure if it was going to be an Okkervil River album or if I'd ever put it out. I wrote the songs during a confusing time of transition in my personal and professional life and recorded them quickly with a brand new group of musicians. I got together the best New York players I could think of, people whose playing and personalities I was fans of and who came more out of a jazz or avant garde background, and we cut the songs live in one or two takes trying to keep things as natural and immediate as possible over three days in a studio on Long Island that hosts the Neve 8068 console which recorded Steely Dan's Aja and John Lennon's Double Fantasy. I asked Marissa Nadler to sing on it and got the composer Nathan Thatcher to write some beautiful or- chestral arrangements, we recorded them with the classical ensemble yMusic and then I mixed the record with Jonathan Wilson out in Los Angeles.2013-2015 had been a strange time for me. I lost some connections in a music industry that was visibly falling apart. Some members of the Okkervil River backing band left, moving on to family life or to their own projects. I spent a good deal of time sitting in hospice with my grandfather, who was my idol, while he died. I felt like I didn't know where I belonged. When there was trouble at home, a friend offered me her empty house in the Catskills where I could go and clear my head. New songs were coming fast up there, so I set myself the challenge of trying to write as many as possible as quickly as possible. I wasn't think about any kind of end product; the idea was just to write through what I was feeling, quickly and directly. Eventually, I realized I was writ- ing a death story for a part of my life that had, buried inside of it, a path I could follow that might let me go somewhere new."Okkervil River R.I.P." and "Call Yourself Renee" are good emotional transcriptions of that time. I wrote the latter on psylocibin mushrooms on a beautiful afternoon in early fall in the Catskills. I wrote "The Industry" quickly after getting some bad news. "Comes Indiana Through the Smoke" is an anthem for the battleship my grandfather served on during the Pacific Theater of World War II. Before becoming a private school Headmaster, my grandfather was also a jazz musician; he paid his way through college as a bandleader, toured with Les Brown and His Band of Renown, and spent summers playing a residency at a NH lakeside gay dance club called The Jungle Room that kept live monkeys in the basement. (You can hear his actual trumpet on this song, played by C.J. Camarieri from yMusic.) "Judey on a Street" is a love song, sunny but written late at night when the woods are maximum spooky. We cut "She Would Look for Me" pretty shapelessly, with a lot of improvisation, and it's also a love song. "Mary on a Wave" is about the feminine aspect of God but is in a very masculine tuning: DADDAD. It's also a love song. I wrote "Frontman in Heaven" in an obsessive three- day streak of writing for 14 hours, going to bed, getting up and writing again. It wasn't a pleasant experience. I wrote "Days Spent Floating (in the Halfbetween)" by just jot- ting down the first sentence that popped into my head every morning in October im- mediately after I opened my eyes. At the end of the month I had a finished song. It was recorded as an afterthought as the last thing we did when they were about to kick us out of the studio. You can hear me flub some lyrics. But one take and we had it.I think this record was me taking my life back to zero and starting to add it all back up again, one plus one plus one. Any part that didn't feel like it added up I left out. Weirdly, it was the easiest and most natural record I've ever made. More than any time in my life before, I felt guided by intuition like I was going with the grain, walking in the direction the wind was blowing. The closer it got to being finished, the more the confusion I'd felt at the start went away. It's not really an Okkervil River album and it's also my favorite Okkervil River album.
at The Independent
628 Divisadero Street
San Francisco, United States
Orignal From: Okkervil River
Tuesday, 13 September 2016
20/1 – The Felice Brothers & The Horse Thief
20/1 – The Felice Brothers & The Horse Thief
20/1 – The Felice Brothers & The Horse Thief
at Button Factory
Curved Street, Temple Bar
Dublin, Ireland
Orignal From: 20/1 – The Felice Brothers & The Horse Thief
20/1 – The Felice Brothers & The Horse Thief
Aiken promotions presents
The Felice Brothers
& The Horse Thief
The Button factory, Jan 20th
Tickets priced €22 (incl booking) on sale at www.ticketmaster.ie
The Felice Brothers' new album Life in the Dark, due June 24 on Yep Roc, is classic American music. At once plainspoken and deeply literate, the band's latest features nine new songs that capture the hopes and fears, the yearning and resignation, of a rootless, restless nation at a time of change.
Life in the Dark also coincides with The Felice Brothers' 10th anniversary as a band. Hailed by the AV Club for a sound at once "timeless, yet tossed-off," they've released plenty of music over the past decade, often on their own without a record label, but the new album is the fullest realization yet of the band's DIY tendencies. Self-produced by the musicians and engineered by James Felice (who also contributed accordion, keyboards and vocals), the Felice Brothers made Life in the Dark themselves in a garage on a farm in upstate New York, observed only by audience of poultry.
"The recording is definitely rough around the edges and cheap," James Felice says, laughing. "It was liberating and really cool to do. It allowed us to untether ourselves from anything and just make music."
Because of makeshift studio set-up, the music they made was necessarily stripped down, emphasizing acoustic instruments and spacious arrangements on songs that showcase the sound of a band playing together live, with echoes in the music of Woody Guthrie, Townes Van Zandt, John Prine and rural blues.
"We tried to make it as simple and folk-based as possible, because we were working with limited resources," singer and guitarist Ian Felice says. "We wanted to take all the frills out and make it just meat and potatoes."
Still, there are hints of seasoning: among the folk and blues touchstones, the band took a certain inspiration from Neil Young and the Meat Puppets, too. Ian Felice says he was trying to channel the spirit of Meat Puppets II on opener "Aerosol Ball" — "They played kind of weird, freaky folk music, so there's a connection there," he says — while James Felice says listening to Neil Young's Tonight's the Night was like getting permission to make Life in the Dark.
"If you listen to that record, it's fucking crazy," he says. "We listened to that to know that what we were doing was legal and had precedent. If Neil Young could make a record that sounds like that, we can make a record that sounds like this."
He's referring to the wild, whirling accordion and big, loose rhythm on "Aerosol Ball," mournful glimmers of electric guitar and fiddle on "Triumph '73" and the ramshackle, blues-rock feel of "Plunder," full of grainy lead guitars, blasts of organ and a shout-along chorus inspired by the rhythm of Shakespeare's "Double, double toil and trouble" incantation in Macbeth. Though The Felice Brothers often share songwriting duties, the band gravitated toward Ian Felice's songs for Life in the Dark.
Along with Shakespeare and the Meat Puppets, Ian Felice absorbed the essence of writers from Anne Sexton to Anne Frank, Raymond Carver to Dr. Seuss, on tunes with clear, if unintentional, political undertones. "It's just what was going on when I was writing the songs," Ian Felice says. "It's a pretty politically charged climate right now." To say the least.
The singer's characters on "Aerosol Ball" exist in a dystopian culture bought, and ruled, by corporations; while "Jack at the Asylum" catalogs cultural ills including climate change, economic inequality and the numbing aspects of televised warfare, themes that recur again on "Plunder." He wrote the title track after re-reading The Diary of a Young Girl, the journal that Frank kept while in hiding from the Nazis during World War II. "The idea of living in a dark attic unable to fully grasp what is going on in your life and feeling powerless to change it seemed like a relevant metaphor for me at the time," Ian Felice says.
Elsewhere, he offers his own interpretation of classic American archetypes: "Triumph '73" follows a young man on the cusp of adulthood desperate to ride his motorcycle away from the life changes overtaking him, while the ballad "Diamond Bell" tells the story of a folk heroine gunslinger in the vein of Pretty Boy Floyd or Jesse James, and the hapless, lovestruck kid she ensnares. "It's part-love song, part-adventure story, part-tragedy, told in the Mexican folk tradition of singing about bandits," Ian Felice says. "I think it's one of the most straight-ahead narratives I've written."
The band, also including Josh Rawson on bass and Greg Farley on fiddle, with drums by David Estabrook, spent about a month recording Life in the Dark in the late winter of 2015. James Felice learned engineering on the fly — "I literally had a book, like, 'Where do you put the mic? How do you mic the kick drum?'" he says — and the band managed to nail most of the tunes within a few takes.
"There wasn't too much agonizing, just the joy of playing music," James Felice says. "We had an audience of chickens, and an audience of each other, and we were just really enjoying making it."
The resulting album is more than just classic American music — it's a parable for modern America.
at Button Factory
Curved Street, Temple Bar
Dublin, Ireland
Orignal From: 20/1 – The Felice Brothers & The Horse Thief
ZZ Top
ZZ Top
This event is 21 and over
ZZ Top
ZZ Top - Sleeping Bag (Music Video) ZZ Top - Rough Boy (1985) - Original Music Video ZZ Top - Legs (Original music video) ZZ Top - I Gotsta Get Paid ZZ Top - Gimme All Your Lovin'
ZZ TOP a/k/a "That Little Ol' Band From Texas," lay undisputed claim to being the longest running major rock band with original personnel intact and in 2004 the Texas trio was be inducted into the Rock and Roll Hall of Fame. Of course, there are only three of them – Billy F Gibbons, Dusty Hill, Frank Beard -- but it's still a remarkable achievement that they're still very much together after more than 40 years of rock, blues, and boogie on the road and in the studio. "Yeah," says Billy, guitarist extraordinaire, "we're the same three guys, bashing out the same three chords." With the release of each of their albums the band has explored new ground in terms of both their sonic approach and the material they've recorded. ZZ TOP is the same but always changing.
Evidence of that consistency and adaptability is found in LA FUTURA, their first studio album in nine years. Produced by Rick Rubin and Billy F Gibbons, it reflects the solid blues inspiration that has powered the band since the very beginning with a contemporary approach that underscores the group's inclination to experiment and explore new sonic vistas. The album includes ten new tracks including the widely lauded "I Gotsta Get Paid" that has become both a video and in-concert sensation as was featured among the four LA FUTURA preview tracks that were packaged as Texicali, a digital EP that generated excellent sales numbers in the weeks leading up to LA FUTURA's release on September 11, 2012.
It was in Houston in the waning days of 1969 that ZZ TOP coalesced from the core of two rival bands, Billy's Moving Sidewalks and Frank and Dusty's American Blues. The new group went on to record the appropriately titled ZZ Top's First Album and Rio Grande Mud that reflected their strong blues roots. Their third, 1973's Tres Hombres, catapulted them to national attention with the hit "La Grange," still one of the band's signature pieces today. The song is unabashed elemental boogie, celebrating the institution that came to be known as "the best little whorehouse in Texas." Their next hit was "Tush," a song about, well, let's just say the pursuit of "the good life" that was featured on their Fandango! album released in 1975. The band's momentum and success built during its first decade, culminating in the legendary "World Wide Texas Tour," with a production that included a longhorn steer, a buffalo, buzzards, rattlesnakes and a Texas-shaped stage. As a touring unit, they've been without peer over the years, having performed before millions of fans through North America on numerous epochal tours as well as overseas where they've enthralled audiences from Slovenia to Italy, from Australia to Sweden, from Russia to Japan and most points in between. Their iconography – beards, cars, girls, and that magic keychain – seems to transcend all bounds of geography and language.
Following a lengthy hiatus during which the individual members of the band traveled the world, they switched labels (from British Decca's London label to Warner Bros.) and returned with two amazingly provocative albums, Deguello and El Loco. Their next release, Eliminator, was something of a paradigm shift for ZZ TOP. Their roots blues skew was intact but added to the mix were tech-age trappings that soon found a visual outlet with the nascent MTV. Suddenly, Billy, Dusty and Frank were video icons, playing a kind of Greek chorus in videos that highlighted the album's three smash singles: "Gimme All Your Lovin', "Sharp Dressed Man" and "Legs." The melding of grungy guitar-based blues with synth-pop was seamless and continued with the follow-up album Afterburner as they continued their chart juggernaut. ZZ TOP had accomplished the impossible; they had moved with the times while simultaneously bucking ephemeral trends that crossed their path. They had become more popular and more iconic without ever having to be "flavor of the week." They had become a certified rock institution, contemporary in every way, yet still completely connected to the founding fathers of the genre.
They stayed with Warner for one more album, Recycler, released in 1990 and switched to RCA where they debuted with Antenna and followed with Rhythmeen and XXX. Mescalero, their latest, is one of the deepest sets ever presented by the band with 16 tracks brimming with virtuoso musicianship, humorously enigmatic lyrics and even a track sung entirely in Spanish. Beyond that, both a lavish four CD box set compilation, Chrome, Smoke & B.B.Q. and a two-CD distillation of that package, Rancho Texicano, were released in recent years by Warner Bros.
The elements that keep ZZ TOP fresh, enduring and above the transitory fray can be summed up in the three words of the band's internal mantra: "Tone, Taste and Tenacity." Of course, the three members of the band have done their utmost to do their part in assuring that ZZ TOP prevails. As genuine roots musicians, the members of the band have few peers. Billy is widely regarded as one of American finest blues guitarists working in the rock idiom. His influences are both the originators of the form – Muddy Waters, B.B. King, et al – as well as the British blues rockers who emerged the generation before ZZ's ascendance. In his early days of playing, no less an idol that Jimi Hendrix singled him out for praise. Part mad scientist, part prankster, he's a musical innovator of the highest order.
Dusty has long had an affinity for rock's origins; his earliest performances as a child included Elvis songs convincingly performed. Not only is he a bass virtuoso in his own right, his vocal prowess is awe-inspiring. He's the lead voice you hear on "Tush" and his ferocious vocals are heard, to great effect, on "Piece" on the new album. Good natured and diligent, Dusty is the rock solid bottom of ZZ TOP.
Frank has also been keeping the beat in that great tradition. As both a roots and progressive drummer, he has been acknowledged as key to the band's powerful on-stage and in-studio presence. He and Dusty, in their early years together, served as Lightnin' Hopkins' rhythm section which, as Frank tells it, was a life changing experience. Frank, despite his last name, is the guy in the band without a beard. But when you're with him, you're with a Beard. He's a rockin' paradox who provides the pulse of ZZ TOP.
ZZ TOP's music is always instantly recognizable, eminently powerful, profoundly soulful and 100% Texas American in derivation. The band's support for the blues is unwavering both as interpreters of the music and preservers of its legacy. It was ZZ TOP that celebrated "founding father" Muddy Waters by turning a piece of scrap timber than had fallen from his sharecropper's shack into a beautiful guitar, dubbed the "Muddywood." This totem was sent on tour as a fundraising focus for The Delta Blues Museum in Clarksdale, Mississippi, site of Robert Johnson's famed "Crossroads" encounter with the devil. ZZ TOP's support and link to the blues remains as rock solid as the music they continue to play. They have sold millions of records over the course of their career, have been officially designated as Heroes of The State of Texas, have been referenced in countless cartoons and sitcoms and are true rock icons but, against all odds, they're really just doing what they've always done. They're real and they're surreal and they're ZZ TOP.
at Salt River Fields at Talking Stick (OFFICIAL)
7555 North Pima Road
Scottsdale, United States
Orignal From: ZZ Top
This event is 21 and over
ZZ Top
ZZ Top - Sleeping Bag (Music Video) ZZ Top - Rough Boy (1985) - Original Music Video ZZ Top - Legs (Original music video) ZZ Top - I Gotsta Get Paid ZZ Top - Gimme All Your Lovin'
ZZ TOP a/k/a "That Little Ol' Band From Texas," lay undisputed claim to being the longest running major rock band with original personnel intact and in 2004 the Texas trio was be inducted into the Rock and Roll Hall of Fame. Of course, there are only three of them – Billy F Gibbons, Dusty Hill, Frank Beard -- but it's still a remarkable achievement that they're still very much together after more than 40 years of rock, blues, and boogie on the road and in the studio. "Yeah," says Billy, guitarist extraordinaire, "we're the same three guys, bashing out the same three chords." With the release of each of their albums the band has explored new ground in terms of both their sonic approach and the material they've recorded. ZZ TOP is the same but always changing.
Evidence of that consistency and adaptability is found in LA FUTURA, their first studio album in nine years. Produced by Rick Rubin and Billy F Gibbons, it reflects the solid blues inspiration that has powered the band since the very beginning with a contemporary approach that underscores the group's inclination to experiment and explore new sonic vistas. The album includes ten new tracks including the widely lauded "I Gotsta Get Paid" that has become both a video and in-concert sensation as was featured among the four LA FUTURA preview tracks that were packaged as Texicali, a digital EP that generated excellent sales numbers in the weeks leading up to LA FUTURA's release on September 11, 2012.
It was in Houston in the waning days of 1969 that ZZ TOP coalesced from the core of two rival bands, Billy's Moving Sidewalks and Frank and Dusty's American Blues. The new group went on to record the appropriately titled ZZ Top's First Album and Rio Grande Mud that reflected their strong blues roots. Their third, 1973's Tres Hombres, catapulted them to national attention with the hit "La Grange," still one of the band's signature pieces today. The song is unabashed elemental boogie, celebrating the institution that came to be known as "the best little whorehouse in Texas." Their next hit was "Tush," a song about, well, let's just say the pursuit of "the good life" that was featured on their Fandango! album released in 1975. The band's momentum and success built during its first decade, culminating in the legendary "World Wide Texas Tour," with a production that included a longhorn steer, a buffalo, buzzards, rattlesnakes and a Texas-shaped stage. As a touring unit, they've been without peer over the years, having performed before millions of fans through North America on numerous epochal tours as well as overseas where they've enthralled audiences from Slovenia to Italy, from Australia to Sweden, from Russia to Japan and most points in between. Their iconography – beards, cars, girls, and that magic keychain – seems to transcend all bounds of geography and language.
Following a lengthy hiatus during which the individual members of the band traveled the world, they switched labels (from British Decca's London label to Warner Bros.) and returned with two amazingly provocative albums, Deguello and El Loco. Their next release, Eliminator, was something of a paradigm shift for ZZ TOP. Their roots blues skew was intact but added to the mix were tech-age trappings that soon found a visual outlet with the nascent MTV. Suddenly, Billy, Dusty and Frank were video icons, playing a kind of Greek chorus in videos that highlighted the album's three smash singles: "Gimme All Your Lovin', "Sharp Dressed Man" and "Legs." The melding of grungy guitar-based blues with synth-pop was seamless and continued with the follow-up album Afterburner as they continued their chart juggernaut. ZZ TOP had accomplished the impossible; they had moved with the times while simultaneously bucking ephemeral trends that crossed their path. They had become more popular and more iconic without ever having to be "flavor of the week." They had become a certified rock institution, contemporary in every way, yet still completely connected to the founding fathers of the genre.
They stayed with Warner for one more album, Recycler, released in 1990 and switched to RCA where they debuted with Antenna and followed with Rhythmeen and XXX. Mescalero, their latest, is one of the deepest sets ever presented by the band with 16 tracks brimming with virtuoso musicianship, humorously enigmatic lyrics and even a track sung entirely in Spanish. Beyond that, both a lavish four CD box set compilation, Chrome, Smoke & B.B.Q. and a two-CD distillation of that package, Rancho Texicano, were released in recent years by Warner Bros.
The elements that keep ZZ TOP fresh, enduring and above the transitory fray can be summed up in the three words of the band's internal mantra: "Tone, Taste and Tenacity." Of course, the three members of the band have done their utmost to do their part in assuring that ZZ TOP prevails. As genuine roots musicians, the members of the band have few peers. Billy is widely regarded as one of American finest blues guitarists working in the rock idiom. His influences are both the originators of the form – Muddy Waters, B.B. King, et al – as well as the British blues rockers who emerged the generation before ZZ's ascendance. In his early days of playing, no less an idol that Jimi Hendrix singled him out for praise. Part mad scientist, part prankster, he's a musical innovator of the highest order.
Dusty has long had an affinity for rock's origins; his earliest performances as a child included Elvis songs convincingly performed. Not only is he a bass virtuoso in his own right, his vocal prowess is awe-inspiring. He's the lead voice you hear on "Tush" and his ferocious vocals are heard, to great effect, on "Piece" on the new album. Good natured and diligent, Dusty is the rock solid bottom of ZZ TOP.
Frank has also been keeping the beat in that great tradition. As both a roots and progressive drummer, he has been acknowledged as key to the band's powerful on-stage and in-studio presence. He and Dusty, in their early years together, served as Lightnin' Hopkins' rhythm section which, as Frank tells it, was a life changing experience. Frank, despite his last name, is the guy in the band without a beard. But when you're with him, you're with a Beard. He's a rockin' paradox who provides the pulse of ZZ TOP.
ZZ TOP's music is always instantly recognizable, eminently powerful, profoundly soulful and 100% Texas American in derivation. The band's support for the blues is unwavering both as interpreters of the music and preservers of its legacy. It was ZZ TOP that celebrated "founding father" Muddy Waters by turning a piece of scrap timber than had fallen from his sharecropper's shack into a beautiful guitar, dubbed the "Muddywood." This totem was sent on tour as a fundraising focus for The Delta Blues Museum in Clarksdale, Mississippi, site of Robert Johnson's famed "Crossroads" encounter with the devil. ZZ TOP's support and link to the blues remains as rock solid as the music they continue to play. They have sold millions of records over the course of their career, have been officially designated as Heroes of The State of Texas, have been referenced in countless cartoons and sitcoms and are true rock icons but, against all odds, they're really just doing what they've always done. They're real and they're surreal and they're ZZ TOP.
at Salt River Fields at Talking Stick (OFFICIAL)
7555 North Pima Road
Scottsdale, United States
Orignal From: ZZ Top
Wednesday, 7 September 2016
MailTime Email Messenger Mail
MailTime Email Messenger Mail
- "Message" Your Email:
- MailTime cuts out annoying clutters to display emails in clean bubbles, just like text-messaging! View your emails as conversations, not threads! When needed, you can always toggle between MailTime and traditional email interface with a simple tap.
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- MailTime sorts all your email messages into Chats and Newsletters based on your email behaviors. It prioritizes emails from friends, so you can focus on communication rather than organization.
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- Email conversations in MailTime are just like a group chat. You can easily add, or remove participants with a couple of clicks.
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- Record and send voice messages on the go when you want to send something quickly without typing.
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- Similar to Twitter's 140-character limit, MailTime alerts you if your message is too long. You can still send them, but there is no guarantee that they'll be read!
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Orignal From: MailTime Email Messenger Mail
FRIGHTENED RABBIT
FRIGHTENED RABBIT
with Into It. Over It.
Ever since Scott Hutchison started releasing music as Frightened Rabbit more than a decade ago, his emotionally honest and incisively worded lyrics have been among the projects most beloved qualities. Over the course of five albums, including their new Painting of a Panic Attack, Frightened Rabbits frontman has made poetry of his misery, and still somehow managed to make it sound anthemiclike a triumphant rallying cry rather than a downer. In all of those respects, Painting of a Panic Attack produced by The Nationals Aaron Dessner is the bands most accomplished collection yet. Great songwriters touch a nerve, and I think Scott really touches a nerve with these songs, says Dessner. To me, lyrically, this album is a step above anything hes written before.Beginning with the 2006 debut album Sing The Greys, Frightened Rabbit have become one of the U.K.s most beloved exports. Though originally self-released, Sing The Greys earned the band a deal with indie label Fat Cat Records, who re-released the album and the two that followed: 2008s Midnight Organ Fight and 2010s The Winter of Mixed Drinks. Their last album, 2013s Pedestrian Verse, marked their Canvasback / Atlantic Records debut, as well as their most critically and commercially successful albums to date. In the UK, that LP was dubbed a triumph by The Quietus, while The Guardian described it as a collection of stirring, instant anthems. Equal praise came from wide swath of U.S. outlets, including Rolling Stone, Time magazine, and Pitchfork, who praised Hutchisons lucid assessments of social and emotional turmoil. The album also helped Frightened Rabbit achieve new commercial milestones, bringing a Top 10 debut in the U.K..I think a lot of this new record is informed by reaching a conclusion of sorts with Pedestrian Verseclosing a door on a sound that we came the closest to achieving with that album, says Hutchison. After taking some time off from Frightened Rabbit to record and tour in support of the 2014 solo album he released as Owl John, the singer returned to his band with the goal of continuing to explore new approaches to songwriting. One important aspect of that evolution has been a shift to a more collaborative process, with all five band members contributing as songwriters.Painting of a Panic Attack began in the summer of 2014, when the band Hutchison, his brother/drummer Grant Hutchison, bassist Billy Kennedy, guitarist/keyboardist Andy Monaghan, and multi-instrumentalist Simon Liddell (who worked with Hutchison and Monaghan on Owl John and joined Frightened Rabbit after Gordon Skenes amicable departure) convened in Wales to begin demoing ideas. We started as though we were making an instrumental album, Hutchison explains. They wrote and tracked approximately a song a day during the course of a couple weeks and ended up with a dozen ideas that Hutchison took back with him to his new home in Los Angeles, where he would tackle the lyrics.The singer had relocated there from Glasgow earlier that same year, and, although initially optimistic about the move, he was surprised to quickly discover that he felt profoundly out-of-step in LA. I dont usually get homesick, he says, but Id never gone so far from home for such a long period of time before. Being disconnected by friends, family, and especially his bandmates was a stark contrast to his life while making Pedestrian Verse, where the band moved in together, forging a camaraderie and connection that was, in Hutchisons own words, gang-like.As he worked his way through the Wales demos, Hutchison says, I was circling what could be a central idea for this recordthis sense of not really being sure why I was in LA. But I was still avoiding admitting that that was how I felt. He sent a few tracks to his brother Grant for some feedback. Grant was like, Are you really saying what you think here?, Hutchison recalls. Initially I was pissed, but as I thought about it more I realized that he was right. That, out of the desire for this album to be different, I was avoiding writing about the stuff that actually matters to me and the things that were going on with me at the time. I was fictionalizing a bit too much. And after that conversation, a lot of things came into focus.The first thing he wrote after that the anthemic I Wish I Was Sober is sure to become one of Painting of a Panic Attacks signature songs. Its a lonely song, says Hutchison. Theres a lot of that on this record, because I was really lonely in LA. And I think thats what I Wish I Was Sober came to represent: that desperate point where youre like, I have had too much and I dont have anyone to lean on.Of first single Get Out a tune about a lover youll never get overHutchison says: Get Out is about that person to whom you are completely addicted. They are a drug, and the one that you dont feel like quitting. They live in your blood and will not leave. Ive always found it compelling to write about the physical nature of love and loss, rather than the mental aspect. Get Out continues that exploration and takes it to a somewhat obsessive level.As Hutchison continued to work on the new songs, he reached out to Dessner to discuss collaborating maybe writing a couple songs together. The two musicians originally met in 2013, when Frightened Rabbit opened for The National on a month-long tour. But Dessner was also a longtime fan of the band, and quickly became the obvious choice to produce Painting of a Panic Attack. Before this, Hutchison notes, wed never actually worked with a producer who had such a distinct awareness of our catalog and where wed been as a band. And Aaron was very mindful of thatwhat we had done in the past and where we needed to go with this album to take us creatively forward.Frightened Rabbit arrived at Dessners Ditmas Park, Brooklyn studio last August with thirty contenders for Painting of a Panic Attack, and whittled down from there over the course of the following month. As they considered which direction the album should take, Hutchison says it became clear that the best tracks were the ones with the most emotional immediacy. I Wish I Was Sober is not the first song Ive written about being drunk, and Break is not the first song Ive written about being a fuck-up and wishing I wasnt, but it turns out there are many ways of expressing that, says Hutchison. I think people who are fans of our band come to us for a sense of belonging. I know thats not unique to us, but I really do believe that our music can come to a person at a pivotal point in their life and that we can become this place to consider where you are in the world.
at The Neighborhood Theatre
511 E 36th Street
Charlotte, United States
Orignal From: FRIGHTENED RABBIT
with Into It. Over It.
Ever since Scott Hutchison started releasing music as Frightened Rabbit more than a decade ago, his emotionally honest and incisively worded lyrics have been among the projects most beloved qualities. Over the course of five albums, including their new Painting of a Panic Attack, Frightened Rabbits frontman has made poetry of his misery, and still somehow managed to make it sound anthemiclike a triumphant rallying cry rather than a downer. In all of those respects, Painting of a Panic Attack produced by The Nationals Aaron Dessner is the bands most accomplished collection yet. Great songwriters touch a nerve, and I think Scott really touches a nerve with these songs, says Dessner. To me, lyrically, this album is a step above anything hes written before.Beginning with the 2006 debut album Sing The Greys, Frightened Rabbit have become one of the U.K.s most beloved exports. Though originally self-released, Sing The Greys earned the band a deal with indie label Fat Cat Records, who re-released the album and the two that followed: 2008s Midnight Organ Fight and 2010s The Winter of Mixed Drinks. Their last album, 2013s Pedestrian Verse, marked their Canvasback / Atlantic Records debut, as well as their most critically and commercially successful albums to date. In the UK, that LP was dubbed a triumph by The Quietus, while The Guardian described it as a collection of stirring, instant anthems. Equal praise came from wide swath of U.S. outlets, including Rolling Stone, Time magazine, and Pitchfork, who praised Hutchisons lucid assessments of social and emotional turmoil. The album also helped Frightened Rabbit achieve new commercial milestones, bringing a Top 10 debut in the U.K..I think a lot of this new record is informed by reaching a conclusion of sorts with Pedestrian Verseclosing a door on a sound that we came the closest to achieving with that album, says Hutchison. After taking some time off from Frightened Rabbit to record and tour in support of the 2014 solo album he released as Owl John, the singer returned to his band with the goal of continuing to explore new approaches to songwriting. One important aspect of that evolution has been a shift to a more collaborative process, with all five band members contributing as songwriters.Painting of a Panic Attack began in the summer of 2014, when the band Hutchison, his brother/drummer Grant Hutchison, bassist Billy Kennedy, guitarist/keyboardist Andy Monaghan, and multi-instrumentalist Simon Liddell (who worked with Hutchison and Monaghan on Owl John and joined Frightened Rabbit after Gordon Skenes amicable departure) convened in Wales to begin demoing ideas. We started as though we were making an instrumental album, Hutchison explains. They wrote and tracked approximately a song a day during the course of a couple weeks and ended up with a dozen ideas that Hutchison took back with him to his new home in Los Angeles, where he would tackle the lyrics.The singer had relocated there from Glasgow earlier that same year, and, although initially optimistic about the move, he was surprised to quickly discover that he felt profoundly out-of-step in LA. I dont usually get homesick, he says, but Id never gone so far from home for such a long period of time before. Being disconnected by friends, family, and especially his bandmates was a stark contrast to his life while making Pedestrian Verse, where the band moved in together, forging a camaraderie and connection that was, in Hutchisons own words, gang-like.As he worked his way through the Wales demos, Hutchison says, I was circling what could be a central idea for this recordthis sense of not really being sure why I was in LA. But I was still avoiding admitting that that was how I felt. He sent a few tracks to his brother Grant for some feedback. Grant was like, Are you really saying what you think here?, Hutchison recalls. Initially I was pissed, but as I thought about it more I realized that he was right. That, out of the desire for this album to be different, I was avoiding writing about the stuff that actually matters to me and the things that were going on with me at the time. I was fictionalizing a bit too much. And after that conversation, a lot of things came into focus.The first thing he wrote after that the anthemic I Wish I Was Sober is sure to become one of Painting of a Panic Attacks signature songs. Its a lonely song, says Hutchison. Theres a lot of that on this record, because I was really lonely in LA. And I think thats what I Wish I Was Sober came to represent: that desperate point where youre like, I have had too much and I dont have anyone to lean on.Of first single Get Out a tune about a lover youll never get overHutchison says: Get Out is about that person to whom you are completely addicted. They are a drug, and the one that you dont feel like quitting. They live in your blood and will not leave. Ive always found it compelling to write about the physical nature of love and loss, rather than the mental aspect. Get Out continues that exploration and takes it to a somewhat obsessive level.As Hutchison continued to work on the new songs, he reached out to Dessner to discuss collaborating maybe writing a couple songs together. The two musicians originally met in 2013, when Frightened Rabbit opened for The National on a month-long tour. But Dessner was also a longtime fan of the band, and quickly became the obvious choice to produce Painting of a Panic Attack. Before this, Hutchison notes, wed never actually worked with a producer who had such a distinct awareness of our catalog and where wed been as a band. And Aaron was very mindful of thatwhat we had done in the past and where we needed to go with this album to take us creatively forward.Frightened Rabbit arrived at Dessners Ditmas Park, Brooklyn studio last August with thirty contenders for Painting of a Panic Attack, and whittled down from there over the course of the following month. As they considered which direction the album should take, Hutchison says it became clear that the best tracks were the ones with the most emotional immediacy. I Wish I Was Sober is not the first song Ive written about being drunk, and Break is not the first song Ive written about being a fuck-up and wishing I wasnt, but it turns out there are many ways of expressing that, says Hutchison. I think people who are fans of our band come to us for a sense of belonging. I know thats not unique to us, but I really do believe that our music can come to a person at a pivotal point in their life and that we can become this place to consider where you are in the world.
at The Neighborhood Theatre
511 E 36th Street
Charlotte, United States
Orignal From: FRIGHTENED RABBIT
Trailer and Branches, Study No. 1
Trailer and Branches, Study No. 1
Trailer and Branches, Study No. 1
North San Juan, CA
Autumn, 2014
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Orignal From: Trailer and Branches, Study No. 1
Art Garfunkel: In Close-Up – SOLD OUT
Art Garfunkel: In Close-Up – SOLD OUT
at Englert Theatre
221 E. Washington St.
Iowa City, United States
Orignal From: Art Garfunkel: In Close-Up – SOLD OUT
Blessed with what the New York Times described as a "beautiful countertenor," singer ART GARFUNKEL has made an indelible mark on the music world as both a solo artist and half of the unrivaled Simon & Garfunkel. He has also enjoyed a successful film career, published a book of poetry and released 12 solo albums, the most recent being SOME ENCHANTED EVENING in 2007.
Since then, he has been busy as a husband and father to his two sons, 23 year-old James and eight-year-old Beau Daniel. He is also an avid walker who has walked across Japan, the US (celebrated in the 1997 concert DVD ACROSS AMERICA) and now Europe.
GARFUNKEL was originally revered for his Grammy-winning, chart-topping songs and albums with partner and fellow NYC native Paul Simon. Their greatest hits collection, which includes "Mrs. Robinson," "Scarborough Fair," "The Sound Of Silence," "The Boxer" and "Bridge Over Troubled Water," among others, is one of the biggest selling album ever.
After Simon & Garfunkel parted ways in 1970, GARFUNKEL landed several major film roles, including "Carnal Knowledge" (opposite Jack Nicholson), "Catch 22" and Nicholas Roeg's "Bad Timing/A Sensual Obsession." His solo debut ANGEL CLARE spawned the top 10 hit "All I Know." His other solo albums include BREAKAWAY ('75; features the hit "I Only Have Eyes For You"), WATERMARK ('78; featuring "[What A] Wonderful World" with James Taylor and Paul Simon), FATE FOR BREAKFAST ('79), SCISSORS CUT ('81), THE ANIMALS' CHRISTMAS ('86), LEFTY ('88), GARFUNKEL (greatest hits, '88), UP TILL NOW ('93), ACROSS AMERICA ('97), SONGS FROM A PARENT TO A CHILD ('97), EVERYTHING WAITS TO BE NOTICED ('03), SOME ENCHANTED EVENING ('07) and THE SINGER (2012).
The late '80s brought two new challenges for GARFUNKEL: he published Still Water, a collection of poetry in '89, and began an amazing trek across America–on foot. But the '80s and '90s found GARFUNKEL doing what he does best: singing for an audience. "Taking on the fear and vulnerability of a live show keeps you vital," says GARFUNKEL, who relishes the opportunity to perform new and classic material for fans around the world. "I'm a singer trying to get away with a lucky job. I try to soothe, to lift…That's my life."
GARFUNKEL earned his Bachelor of Arts degree at Columbia College, majoring in Art History; later he earned his Masters degree in Architecture at Columbia University. He lives in New York City with his wife Kim. GARFUNKEL is an avid reader and has chronicled every book he's read since June 1968 on his website–-1,210 in all.
at Englert Theatre
221 E. Washington St.
Iowa City, United States
Orignal From: Art Garfunkel: In Close-Up – SOLD OUT
Cryptozoology: Ghosts & UFOs!
Cryptozoology: Ghosts & UFOs!
at Marysville Public Library
231 S. Plum Street
Marysville, United States
Orignal From: Cryptozoology: Ghosts & UFOs!
Teen Program for kids interested in Bigfoot, ghosts, UFOs, and more! Meets in Meeting Room A
Location: Main Library
at Marysville Public Library
231 S. Plum Street
Marysville, United States
Orignal From: Cryptozoology: Ghosts & UFOs!
Cats
Cats
Cats Neil Simon Theatre
at Neil Simon Theatre
250 West 52nd Street
New York, United States
Orignal From: Cats
Cats Neil Simon Theatre
Cats returns to Broadway an entirely new production based on the 2014 London Palladium revival, and with new dances by Andy Blankenbuehler (Hamilton). Trevor Nunn, who staged the original London and Broadway productions, will direct the revival.Synopsis:
Based on T.S. Eliot's book of poems about fantastically-named felines, "Old Possum's Book of Practical Cats," Cats immerses the audience in the world of "Jellicle Cats," a special breed that sing about their unique qualities before gathering for a Jellicle Ball at which one among them is chosen to ascend to the supernatural "Heaviside Layer."
Show Dates:
Performances from 14 Jul 2016
Opening: 02 Aug 2016
Closing: Open-Ended
Performance Schedule: TBA Tickets:
TBA
Pricing: TBA
Ticketmaster: 800-745-3000, 877-250-2929
www.ticketmaster.com
Advertisement Theatre Information: Take the N,R,W to 49th St. 888 Parking LLC Show Name:
Neil Simon Theatre
250 West 52nd Street
New York, New York 10019
United States
Public Transportation:
OR
or the 1 to 50th St., walk North to 52nd St. and West to the theatre
OR
Take the C,E to 50th St., walk North to 52nd St. and East to the theatre
Parking:
888 8th Avenue
New York, NY 10019
212-246-4872
Zenith Parking Garage
301 West 51st Street
New York, NY 10019
212-581-8490
Genre:
Musical
Cast List:
TBA
Production Credits:
Trevor Nunn (director) Andy Blankenbuehler (choreography) John Napier (scenic & costume design) Natasha Katz (lighting design) Mick Potter (sound design)
Other Credits:
Lyrics by: T.S. Eliot
Music by: Andrew Lloyd Webber
at Neil Simon Theatre
250 West 52nd Street
New York, United States
Orignal From: Cats
An evening with David Vawter-Columbus Society of Communicating Arts (CSCA)
An evening with David Vawter-Columbus Society of Communicating Arts (CSCA)
at South Campus Gateway
High Street
Columbus, United States
Orignal From: An evening with David Vawter-Columbus Society of Communicating Arts (CSCA)
After an award-winning, 20-year tour of such powerhouse advertising agencies as McCann-Erickson, FCB and Campbell-Ewald, in 2010 David Vawter returned to his roots and rejoined Louisville's Doe-Anderson (where he began his career as a junior copywriter) as their Chief Creative Officer. David is one of a handful of copywriters whose work resides in the permanent US Congressional Record. Throughout his career, across every media platform, he has remained true to David Ogilvy's edict that it's only creative if it sells. He is a multiple-Effie winner who has set performance benchmarks in categories ranging from automotive to bourbon to computer hardware.
His work has won nearly every major award in the industry, including CLIO, The One Show, Effie, Andy, ADDY and various write-ups for best and memorable campaigns in Advertising Age, The Wall Street Journal, Communication Arts, and Lürzer's Archive, among others.
Away from the office David is devoted to his wife, their four children, and the pursuit of the perfectly cut suit.
at South Campus Gateway
High Street
Columbus, United States
Orignal From: An evening with David Vawter-Columbus Society of Communicating Arts (CSCA)
Angel Olsen
Angel Olsen
with Alex Cameron
Anyone reckless enough to have typecast Angel Olsen according to 2013s Burn Your Fire For No Witness is in for a sizeable surprise with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is now burning wilder. Her disarming, timeless voice is even more front-and-centre than before, and the overall production is lighter. Yet the strange, raw power and slowly unspooling incantations of her previous efforts remain, so anyone who might attempt to pigeonhole Olsen as either an elliptical outsider or a pop personality is going to be wrong whichever way they choose - Olsen continues to reign over the land between the two with a haunting obliqueness and sophisticated grace. Given its title, and track names like Sister and Woman, it would be easy to read a gender-specific message into MY WOMAN, but Olsen has never played her lyrical content straight. She explains: Im definitely using scenes that Ive replayed in my head, in the same way that I might write a script and manipulate a memory to get it to fit. But I think its important that people can interpret things the way that they want to. That said, Olsen concedes that if she could locate any theme, whether in the funny, synth-laden Intern or the sadder songs which are collected on the records latter half, then its maybe the complicated mess of being a woman and wanting to stand up for yourself, while also knowing that there are things you are expected to ignore, almost, for the sake of loving a man. Im not trying to make a feminist statement with every single record, just because Im a woman. But I do feel like there are some themes that relate to that, without it being the complete picture.Over her two previous albums, shes given us reverb-shrouded poetic swoons, shadowy folk, grunge-pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase. She wrote some songs on the piano shed bought at the end of the previous album tour, but she later switched it out for synth and/or Mellotron on a few of them, such as the aforementioned Intern.MY WOMAN is put together as a proper A-side and a B-side, featuring the punchier, more pop/rock-oriented songs up front, and the longer, more reflective tracks towards the end. The rollicking Shut Up Kiss Me, for example, appears early on - its nervy grunge quality belying a subtle desperation, as befits any song about the exhaustion point of an impassioned argument. Another crowning moment comes in the form of the melancholic and Velvets-esque Heart-shaped Face, while the compelling Sister and Woman are the only songs not sung live. They also both run well over the seven-minute mark: the first being a triumph of reverb-splashed, 70s country rock, cast along Fleetwood Mac lines with a Neil Young caged-tiger guitar solo to cap it off. The latter is a wonderful essay in vintage electronic pop and languid, psychedelic soul. Because her new songs demanded a plurality of voices, Olsen sings in a much broader range of styles on the album, and she brought in guest guitarist Seth Kauffman to augment her regular band of bass player Emily Elhaj, drummer Joshua Jaeger and guitarist Stewart Bronaugh. As for a producer, Olsen took to Justin Raisen, whos known for his work with Charli XCX, Sky Ferreira and Santigold, as well as opting to record live to tape at LAs historic Vox Studios.As the record evolves, you get the sense that the My Woman of the title is Olsen herself - absolutely in command, but also willing to bend with the influence of collaborators and circumstances. If ever there was any pressure in the recording process, its totally undetectable in the result. An intuitively smart, warmly communicative and fearlessly generous record, MY WOMAN speaks to everyone. That it might confound expectation is just another of its strengths.
at 9:30 Club
815 V Street NW
Washington, United States
Orignal From: Angel Olsen
with Alex Cameron
Anyone reckless enough to have typecast Angel Olsen according to 2013s Burn Your Fire For No Witness is in for a sizeable surprise with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is now burning wilder. Her disarming, timeless voice is even more front-and-centre than before, and the overall production is lighter. Yet the strange, raw power and slowly unspooling incantations of her previous efforts remain, so anyone who might attempt to pigeonhole Olsen as either an elliptical outsider or a pop personality is going to be wrong whichever way they choose - Olsen continues to reign over the land between the two with a haunting obliqueness and sophisticated grace. Given its title, and track names like Sister and Woman, it would be easy to read a gender-specific message into MY WOMAN, but Olsen has never played her lyrical content straight. She explains: Im definitely using scenes that Ive replayed in my head, in the same way that I might write a script and manipulate a memory to get it to fit. But I think its important that people can interpret things the way that they want to. That said, Olsen concedes that if she could locate any theme, whether in the funny, synth-laden Intern or the sadder songs which are collected on the records latter half, then its maybe the complicated mess of being a woman and wanting to stand up for yourself, while also knowing that there are things you are expected to ignore, almost, for the sake of loving a man. Im not trying to make a feminist statement with every single record, just because Im a woman. But I do feel like there are some themes that relate to that, without it being the complete picture.Over her two previous albums, shes given us reverb-shrouded poetic swoons, shadowy folk, grunge-pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase. She wrote some songs on the piano shed bought at the end of the previous album tour, but she later switched it out for synth and/or Mellotron on a few of them, such as the aforementioned Intern.MY WOMAN is put together as a proper A-side and a B-side, featuring the punchier, more pop/rock-oriented songs up front, and the longer, more reflective tracks towards the end. The rollicking Shut Up Kiss Me, for example, appears early on - its nervy grunge quality belying a subtle desperation, as befits any song about the exhaustion point of an impassioned argument. Another crowning moment comes in the form of the melancholic and Velvets-esque Heart-shaped Face, while the compelling Sister and Woman are the only songs not sung live. They also both run well over the seven-minute mark: the first being a triumph of reverb-splashed, 70s country rock, cast along Fleetwood Mac lines with a Neil Young caged-tiger guitar solo to cap it off. The latter is a wonderful essay in vintage electronic pop and languid, psychedelic soul. Because her new songs demanded a plurality of voices, Olsen sings in a much broader range of styles on the album, and she brought in guest guitarist Seth Kauffman to augment her regular band of bass player Emily Elhaj, drummer Joshua Jaeger and guitarist Stewart Bronaugh. As for a producer, Olsen took to Justin Raisen, whos known for his work with Charli XCX, Sky Ferreira and Santigold, as well as opting to record live to tape at LAs historic Vox Studios.As the record evolves, you get the sense that the My Woman of the title is Olsen herself - absolutely in command, but also willing to bend with the influence of collaborators and circumstances. If ever there was any pressure in the recording process, its totally undetectable in the result. An intuitively smart, warmly communicative and fearlessly generous record, MY WOMAN speaks to everyone. That it might confound expectation is just another of its strengths.
at 9:30 Club
815 V Street NW
Washington, United States
Orignal From: Angel Olsen
RCA DRC62705E24 Double Play Mobile DVD System with Bonus Game Controller & Games
RCA DRC62705E24 Double Play Mobile DVD System with Bonus Game Controller & Games
- 7" Double DVD Player
- Mobile DVD System with Bonus game and Controller
RCA 7" double play mobile DVD system with bonus game controller and games Keep the kids entertained during family outings and road trips with the new RCA double play mobile DVD system with bonus game controller and games. Play and enjoy two different movies at the same time with the included dual screens and provided remotes. Both screens have the capability of playing the same movie if desired. Can also use the included game controller and 20 included games to switch up the fun. The double play mobile DVD system comes with mounting straps for a secure fit around your vehicles headrests.
List Price: $ 69.49
Price: [wpramaprice asin="B0134OX6TA"]
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Orignal From: RCA DRC62705E24 Double Play Mobile DVD System with Bonus Game Controller & Games
Youth Mental Health First Aid - 2 Days-2 & 9 Sept 2016 (Workshop 11)
Youth Mental Health First Aid - 2 Days-2 & 9 Sept 2016 (Workshop 11)
Turning Point Professional Training - Youth Mental Health First Aid 2 day training session at Turning Point The course teaches adults how to assist adolescents who are developing a mental health problem or in a mental health crisis. Course participants learn about adolescent development, the signs and symptoms of the common and disabling mental health problems in young people, where and how to get help when a young person is developing a mental illness, what sort of help has been shown by research to be effective, and how to provide first aid in a crisis situation. Course participants receive a copy of the Youth MHFA Manual to keep and a Certificate of Completion. Trainer: Fiona Blee is an experienced program manager who has worked in prevention and early intervention relating to mental health and substance use for 10 years. During this time she has coordinated a number of applied research trials in addition to developing training packages and interventions for teachers, youth and allied health workers. She is an accredited Standard and Youth Mental Health First Aid Instructor and is passionate about reducing stigma and encouraging help-seeking. Who should attend? The Youth Mental Health First Aid Course is for adults working or living with adolescents (those aged between 12 and 18 years), however, the course can be relevant for those helping people who are a little younger or older. This course is particularly suitable for parents, teachers and allied health workers. When: Friday 2nd and Friday 9th September, 9.30am – 4.00pm* Where: Turning Point Training Room, 142 Gertrude Street, Fitzroy Cost: 0 for 2 days (course materials, lunch and tea/coffee provided) Participants must attend both sessions in order to obtain a certificate of completion and to gain accreditation as a YMHFAider. For further information regarding content contact Naomi Crafti at Turning Point on 8413 8704. Registration enquiries: Contact Student Administration on (03) 8413 8700.
at Turning Point
54-62 Gertrude Street
Melbourne, Australia
Orignal From: Youth Mental Health First Aid - 2 Days-2 & 9 Sept 2016 (Workshop 11)
Turning Point Professional Training - Youth Mental Health First Aid 2 day training session at Turning Point The course teaches adults how to assist adolescents who are developing a mental health problem or in a mental health crisis. Course participants learn about adolescent development, the signs and symptoms of the common and disabling mental health problems in young people, where and how to get help when a young person is developing a mental illness, what sort of help has been shown by research to be effective, and how to provide first aid in a crisis situation. Course participants receive a copy of the Youth MHFA Manual to keep and a Certificate of Completion. Trainer: Fiona Blee is an experienced program manager who has worked in prevention and early intervention relating to mental health and substance use for 10 years. During this time she has coordinated a number of applied research trials in addition to developing training packages and interventions for teachers, youth and allied health workers. She is an accredited Standard and Youth Mental Health First Aid Instructor and is passionate about reducing stigma and encouraging help-seeking. Who should attend? The Youth Mental Health First Aid Course is for adults working or living with adolescents (those aged between 12 and 18 years), however, the course can be relevant for those helping people who are a little younger or older. This course is particularly suitable for parents, teachers and allied health workers. When: Friday 2nd and Friday 9th September, 9.30am – 4.00pm* Where: Turning Point Training Room, 142 Gertrude Street, Fitzroy Cost: 0 for 2 days (course materials, lunch and tea/coffee provided) Participants must attend both sessions in order to obtain a certificate of completion and to gain accreditation as a YMHFAider. For further information regarding content contact Naomi Crafti at Turning Point on 8413 8704. Registration enquiries: Contact Student Administration on (03) 8413 8700.
at Turning Point
54-62 Gertrude Street
Melbourne, Australia
Orignal From: Youth Mental Health First Aid - 2 Days-2 & 9 Sept 2016 (Workshop 11)
Wednesday, 31 August 2016
Lissie
Lissie
"I gotta keep my identity and focus on what I can do," goes the chorus of "Shameless," the first single from Lissie's new album, "Back to Forever." "I don't want to be famous, if I got to be shameless" she sings with equal parts strength and insecurity.It's less of an introduction to the Illinois-born/California-resident's second album and more of a laying out of her entire ideology in a three-minute song. It's classic Lissie, which is to say, every bit as frank as the songs on "Catching A Tiger," her 2010 debut album. "Catching A Tiger" has sold over 250,000 copies worldwide, been certified Gold in the UK and Norway and led to Paste Magazine naming her Best New Solo Artist. VH1 tapped her as a You Oughta Know artist and she received a Q Awards nomination for Best Breakthrough Artist.A similar directness, delivered by the Mezcal-and-cigarette voice that grabbed our attention on "Catching A Tiger," also infuses the other 11 tracks on "Back to Forever." Beyond that, Lissie defies characterization. She understands how much our apparent contradictions contribute to who we are -- like the observation of a new fan who described her as "so badass yet wholesome" -- and that identity is something fluid, not to be nailed down. Opinions -- of which she has plenty -- are just that, subject to change and not necessarily correct. "No one knows anything for certain, so to have a strong opinion, but also have a sense of humor about yourself is important," she observes.Lissie grew up in the heartland, in Rock Island, Illinois, near the mighty Mississippi, Unsurprisingly, the 2,500-mile-long river shaped her personality and inspired her songwriting."I used to think about all of the things that happened on the river over all that distance," she says. "It was exciting to think about how people, music, ideas and goods had travelled up and down its waters. There's this enthusiasm to it, but also this darkness -- it's taken lives, there's an incredible strength to its flow. The Mississippi gives such an energy to the Quad Cities (Davenport and Bettendorf in Iowa, and Rock Island and Moline in Illinois), where I was born and bred."While she came from a big, loving family and moved in many circles -- from musical theatre to pickup truck cornfield keg parties soundtracked by both gangsta rap and country -- she never really felt like she belonged anywhere. "There was always this tension I felt in school and in my music lessons, like you couldn't stand out or think you were special," Lissie remembers. She rebelled and eventually got kicked out of high school. After a short stint at Colorado State University and a semester in Paris, she ditched college in order to concentrate on her music. She recorded the five-track EP "Why You Runnin'" with her friend Bill Reynolds of Band of Horses and worked with Reynolds and Jacquire King (Kings of Leon) on "Catching A Tiger."Scads of festival performances (including Coachella, Glastonbury, SXSW, Lollapalooza, Austin City Limits, Bonnaroo, V, Isle Of Wight, Bestival and Secret Garden Party), television appearances and film/TV song placements followed plus a live CD/DVD of her sold-out show at London's Shepherd's Bush. The five-song 2011 EP "Covered Up With Flowers" that featured Lissie's take on songs like Lady Gaga's "Bad Romance," Kid Cudi's "Pursuit Of Happiness" and Metallica's "Nothing Else Matters" highlight her diverse tastes. She's even begun developing her own blend of mezcal (that's booze made from the agave plant)."With my first album, my heart was broken from this tumultuous relationship I'd been in, so I had that fresh hurt on my mind. This time around, that wasn't the case," says Lissie. "A lot of the songs on the new record are love songs, but from different angles. Time has passed. With that detachment came the ability to be objective and tell a much better, more well rounded story.""Shameless," written in London on Valentine's Day 2012 during sessions with Jim Irvin and Julian Emery, was one of the first tracks she recorded. Lissie returned to the States and teamed up with Garret "Jacknife" Lee (R.E.M., Snow Patrol, Silversun Pickups) later in the year."I went out to his place in Topanga Canyon, just outside of L.A. It was such a beautiful setting to record in, no dark cave of a studio, but mountain views and open doors with fresh air while I sang. I took my band with me (Eric Sullivan, Lewis Keller and newcomer Jesse Siebenberg) and we got to work. We just had a blast!" Jacknife was such a supportive, creative and fun producer to work with," recalls Lissie. Special guests Catherine and Allison Pierce of The Pierces and Barbara Gruska (Belle Brigade) dropped by to record backing vocals."The Habit," another track on the new album, is a soaring, searing plea to break the cycle of addiction, whether to a person, substance or anything else while "I Don't Wanna Go To Work," an anthem for the under-appreciated, points up exactly where a college education will get a person these days: mired in debt and stuck in a thankless job.Of the latter song, she says: "We just work and work and work. When you're young you have all these hopes and dreams for the future, then suddenly 20 years have gone by and all those dreams have slipped away. 'I Don't Wanna Go To Work' is bit of a sad song really, 'cause it's about accepting the way things are but staying out late and drinking too much on a work night and expressing your frustration and defiance about it. That's your moment and no one can take it from you. I hope that the world moves in a direction where education helps kids figure out what they are truly good at and enjoy doing. There are so many different kinds of people, I'd imagine we have enough complementary skills for it to work."Sunkissed mid-70s West Coast melodies are all over this second album and if there's wisdom in the lyrics, there's urgency and energy in the playing. "It's hard to put into words how much I love what I do," says Lissie, summing up. "I'm just telling stories that most people can relate to, I think. I sing with full pain and joy and it's gratifying when people hunker down and get in there with me at shows."
at Troubadour
9081 Santa Monica Boulevard
West Hollywood, United States
Orignal From: Lissie
"I gotta keep my identity and focus on what I can do," goes the chorus of "Shameless," the first single from Lissie's new album, "Back to Forever." "I don't want to be famous, if I got to be shameless" she sings with equal parts strength and insecurity.It's less of an introduction to the Illinois-born/California-resident's second album and more of a laying out of her entire ideology in a three-minute song. It's classic Lissie, which is to say, every bit as frank as the songs on "Catching A Tiger," her 2010 debut album. "Catching A Tiger" has sold over 250,000 copies worldwide, been certified Gold in the UK and Norway and led to Paste Magazine naming her Best New Solo Artist. VH1 tapped her as a You Oughta Know artist and she received a Q Awards nomination for Best Breakthrough Artist.A similar directness, delivered by the Mezcal-and-cigarette voice that grabbed our attention on "Catching A Tiger," also infuses the other 11 tracks on "Back to Forever." Beyond that, Lissie defies characterization. She understands how much our apparent contradictions contribute to who we are -- like the observation of a new fan who described her as "so badass yet wholesome" -- and that identity is something fluid, not to be nailed down. Opinions -- of which she has plenty -- are just that, subject to change and not necessarily correct. "No one knows anything for certain, so to have a strong opinion, but also have a sense of humor about yourself is important," she observes.Lissie grew up in the heartland, in Rock Island, Illinois, near the mighty Mississippi, Unsurprisingly, the 2,500-mile-long river shaped her personality and inspired her songwriting."I used to think about all of the things that happened on the river over all that distance," she says. "It was exciting to think about how people, music, ideas and goods had travelled up and down its waters. There's this enthusiasm to it, but also this darkness -- it's taken lives, there's an incredible strength to its flow. The Mississippi gives such an energy to the Quad Cities (Davenport and Bettendorf in Iowa, and Rock Island and Moline in Illinois), where I was born and bred."While she came from a big, loving family and moved in many circles -- from musical theatre to pickup truck cornfield keg parties soundtracked by both gangsta rap and country -- she never really felt like she belonged anywhere. "There was always this tension I felt in school and in my music lessons, like you couldn't stand out or think you were special," Lissie remembers. She rebelled and eventually got kicked out of high school. After a short stint at Colorado State University and a semester in Paris, she ditched college in order to concentrate on her music. She recorded the five-track EP "Why You Runnin'" with her friend Bill Reynolds of Band of Horses and worked with Reynolds and Jacquire King (Kings of Leon) on "Catching A Tiger."Scads of festival performances (including Coachella, Glastonbury, SXSW, Lollapalooza, Austin City Limits, Bonnaroo, V, Isle Of Wight, Bestival and Secret Garden Party), television appearances and film/TV song placements followed plus a live CD/DVD of her sold-out show at London's Shepherd's Bush. The five-song 2011 EP "Covered Up With Flowers" that featured Lissie's take on songs like Lady Gaga's "Bad Romance," Kid Cudi's "Pursuit Of Happiness" and Metallica's "Nothing Else Matters" highlight her diverse tastes. She's even begun developing her own blend of mezcal (that's booze made from the agave plant)."With my first album, my heart was broken from this tumultuous relationship I'd been in, so I had that fresh hurt on my mind. This time around, that wasn't the case," says Lissie. "A lot of the songs on the new record are love songs, but from different angles. Time has passed. With that detachment came the ability to be objective and tell a much better, more well rounded story.""Shameless," written in London on Valentine's Day 2012 during sessions with Jim Irvin and Julian Emery, was one of the first tracks she recorded. Lissie returned to the States and teamed up with Garret "Jacknife" Lee (R.E.M., Snow Patrol, Silversun Pickups) later in the year."I went out to his place in Topanga Canyon, just outside of L.A. It was such a beautiful setting to record in, no dark cave of a studio, but mountain views and open doors with fresh air while I sang. I took my band with me (Eric Sullivan, Lewis Keller and newcomer Jesse Siebenberg) and we got to work. We just had a blast!" Jacknife was such a supportive, creative and fun producer to work with," recalls Lissie. Special guests Catherine and Allison Pierce of The Pierces and Barbara Gruska (Belle Brigade) dropped by to record backing vocals."The Habit," another track on the new album, is a soaring, searing plea to break the cycle of addiction, whether to a person, substance or anything else while "I Don't Wanna Go To Work," an anthem for the under-appreciated, points up exactly where a college education will get a person these days: mired in debt and stuck in a thankless job.Of the latter song, she says: "We just work and work and work. When you're young you have all these hopes and dreams for the future, then suddenly 20 years have gone by and all those dreams have slipped away. 'I Don't Wanna Go To Work' is bit of a sad song really, 'cause it's about accepting the way things are but staying out late and drinking too much on a work night and expressing your frustration and defiance about it. That's your moment and no one can take it from you. I hope that the world moves in a direction where education helps kids figure out what they are truly good at and enjoy doing. There are so many different kinds of people, I'd imagine we have enough complementary skills for it to work."Sunkissed mid-70s West Coast melodies are all over this second album and if there's wisdom in the lyrics, there's urgency and energy in the playing. "It's hard to put into words how much I love what I do," says Lissie, summing up. "I'm just telling stories that most people can relate to, I think. I sing with full pain and joy and it's gratifying when people hunker down and get in there with me at shows."
at Troubadour
9081 Santa Monica Boulevard
West Hollywood, United States
Orignal From: Lissie
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