Mary Chapin Carpenter brings her seemingly never-ending tour to the Lobero Theatre. Courtesy photo
This is the tour that never ends,” says singer-songwriter Mary Chapin Carpenter of her current tour supporting “Songs from the Movie,” her January 2014 album of greatest hits arranged for the singer and a full orchestra. Because it involves arranging a different orchestra for each city, whether it’s Los Angeles, Pensacola or Glasgow, Scotland, it’s not the usual round of bus and plane rides from city to city.
“I see the (orchestral tour) as having a life that goes on … past the horizon. It’s not timed to anything. It exists as long as orchestras invite us to come and present it.”
A 10th anniversary screening of the movie “Sideways” was held at the Arlington Theater on Sunday. Attendees take in a question-and-answer session involving, from left, moderator Gabe Saglie, actress Virginia Madsen, director Alexander Payne, Hitching Post owner Frank Ostini and Kalyra Winery owner Martin Brown, also shown below. NIK BLASKOVICH / NEWS-PRESS
The motion picture “Sideways” celebrated its 10th anniversary Sunday with a special screening at the Arlington Theatre, which featured a post-film interview with director-writer Alexander Payne and star Virginia Madsen. It was a time to toast the cultural resonance of this humble character study, as its effects are still being felt in the Santa Ynez Valley and beyond.
Ten years ago, “Sideways” enlivened the entire county when Fox Searchlight announced it would be shooting among the many wineries that dot the area, but that was before it was released. After its premiere, and its run of film festivals, and its several Oscar and Golden Globe nominations, our county realized just how important this film was to the economy, and to this day, visitors can take a tour that takes in the wineries that its lead anti-hero Miles (Paul Giamatti) and his friend Jack (Thomas Haden Church) seek out.
In just over a year, Lorde has taken over the pop world, primarily on the coattails of her chart-topping single “Royals.” Brian Cassella photo
Just over a year ago, Ella Yelich-O’Connor, the 17-year-old New Zealander known as Lorde, dropped her first single, “Royals,” into the swirling maelstrom of pop culture. Maybe it was the song’s minimal aesthetic matched with its gospel-like chorus, maybe it was the critique of pop music itself contained in the lyrics, or maybe it was because it was so damn catchy — using the most basic of chord progressions — but overnight Lorde was everywhere, and she hasn’t really misstepped yet. She appears at the Santa Barbara Bowl this Thursday, and if audience videos of her tour are an indication, the scene will be one of teen hysteria. In lieu of that, let’s quickly examine how Lorde dominated the charts and pop culture in the short span of a little over a year, while hovering above the excesses of the Mileys, Iggys and the Nickis out there.
Her manager Scott Maclachlan discovered her at age 12, covering Duffy’s “Warwick Avenue” at a school talent show, and started to work with her on material. Four years later, this thoughtful, well-read goth team had produced “The Love Club EP,” a collection that came out fully formed, with no fumbling around trying to find an identity or in thrall to obvious influences.
Thurston Moore, second from right, and his band, from left, Deb Googe, Steve Shelley and James Sedwards Matador Records photo
Thurston Moore is tireless. Since the end of his marriage to Kim Gordon and by extension the end of Sonic Youth, he’s just as busy as he ever was, forming and disbanding experimental bands, guest appearing on several records, including a black metal band’s, and working on a new album that just came out, “The Best Day.” He’s touring with the band that made that album, which includes Sonic Youth’s Steve Shelley on drums, Nought’s James Sedwards on guitar, and Deb Googe of My Bloody Valentine on bass, and they’ll be coming to SOhO on Thursday, along with another classic ’90s band, Sebadoh.
For those surprised by the acoustic chamber music of 2010’s Beck-produced “Demolished Thoughts,” this is a return to the explorations of drone, Krautrock repetition and noise of Mr. Moore’s other works.
Flamenco is part of everybody in Spain,” says organizer Vibiana Pizano. Paco Villalta photo
If your only experience of flamenco is watching it every Fiesta on the steps of either the Courthouse or the Mission, well, the Flamenco Arts Festival has some news: that’s only the beginning. For three days the Festival brings in some of the most daring artists in the world of flamenco not just to perform, but to hold master classes in the art form, from dancing to guitar playing. It’s only three days, but the Festival hopes that for some it will stoke the flames of flamenco passion.
“This is a very high level professional production,” says owner and organizer Vibiana Pizano. “These are the people who have made flamenco what it is. These are the people who are the masters, who the kids in town learning flamenco aspire to be. We’re really fortunate that we can bring them here and inspire the kids who are learning flamenco now.”
Rob Garza, left, and Eric Hilton are the duo that make up Thievery Corporation, spinning bossa nova beats and vocals with a twist.
Just a few weeks after the Eighteenth Street Lounge club opened in Washington D.C., Rob Garza walked through its doors to the sounds of “¡guas de MarÁo” by Antonio Carlos Jobim coming from the DJ booth, and he knew he had found his new home. He also found the lounge’s co-owner Eric Hilton, whom he would soon team up with to DJ and make music under the moniker Thievery Corporation. On their new album “Saudade” (released in April on ESL Music, the duo’s label), they return to the bossa nova rhythms of their early days and have produced what is for the band a very straight-ahead album filled with songs. They’ll be bringing this new work and their dub-heavy back catalog to the Santa Barbara Bowl on Sunday.
“We feel this album is a kind of palate-cleanser before our next sonic expedition,” Mr. Garza says. “It started with me and Eric in the studio trying to make a few songs in this genre and then at one point we thought, ‘Why don’t we just make a whole record that goes back to our bossa nova and Brazilian influences?’
Clairy Browne and the Bangin’ Rackettes bring their popular, long-running tour to the Blind Tiger.
Clairy Browne and the Bangin’ Rackettes may sound like they grew up playing the beer-soaked barrooms of Memphis, but in reality this group hails from Melbourne, Australia. You’d never know that from their songs, one of which, “Love Letter,” got major play in the U.S. when it became the soundtrack to a clever Heineken commercial two years ago. The song, a mix of Amy Winehouse-style retro soul with nods to Phil Spector and Otis Redding, sounded both modern and straight out of a 1966 jukebox. From Melbourne cabarets to the artistic greenhouse of SXSW, the group has been touring incessantly, and now they arrive in Santa Barbara, to play at Blind Tiger, a most appropriate venue for their glamorous show.
In the early 2000s, Clairy Browne was in a band called Jacket, “a bad version of Black Eyed Peas,” she groans. “It was hip-hop in as far as Australians can do hip-hop. I wasn’t dropping any rhymes, I was always singing.”
But that’s where she met bass player and future collaborator Jules Pascoe. She called on him in 2009 with a special request. A promoter called Hannah Fox was putting on a special night.
“I was thinking I wanted to get back on stage, nothing major, just perform,” she says. Ms. Browne had an idea to form an R&B girl band, sing five (quite obscure) covers, get dressed up in vintage outfits, and deck the stage with candlelight. “It was raucous on stage the minute we did it. It had that hysterical feeling of 1966 television.”
Overnight Ms. Browne had a thing on her hands and a promoter who wanted her and her band to do more.
“I love that cathartic emotive sense that (soul music) songs give you,” she says. “It’s all about celebration and community and politics and heart. All those themes were important to me.”
The band, which at one point featured Clairy’s sister as a back-up singer, became very popular around Australia, but it was the Internet that helped them go international. In 2012 their manager got a late-night call from someone in Europe who not only wanted to use “Love Letter” in a commercial, but wanted to fly Ms. Browne to Prague to be in it. Soon she found herself strapped to a stage and being turned upside down in a production that did not use any computer effects. (Search YouTube for Heineken and “Love Letter” to find the commercial.)
That was 2012 and soon the band was touring internationally, just “dipping our toes in the market,” as she says. Clairy Browne and her music were continuing the work started by Sharon Jones and the Dap Kings, Amy Winehouse, Adele and others in this retro R&B movement.
“I feel like what we’re trying to do is slightly different,” she says. “We have more edge and drama and dirt, you know what I mean? More unpredictability.”
On this tour they’ve taken time to record new material for their follow-up to “Baby Caught the Bus,” their debut album. They did so at Atlanta’s Stankonia Studios, owned by the members of Outkast. “A lot of hits came out of that room,” Ms. Browne says. “And I did get to meet Big Boi. He came into the studio while I was doing vocals, and scared the s— out of me! I was like, okay, now I get to sing in front of you! We don’t have those kind of opportunities in Australia, so this was a big deal.”
The band will end its current tour at the Troubadour in Los Angeles, and then focus on the next album.
Ms. Browne’s dad was a musician too, although he never got as far into the business as his daughter. However, he did have some advice for her. “‘The cream always rises to the top,’ he’d say. You have to have that attitude of — you cannot fail.”
Clairy Browne and the Bangin’ Rackettes
When: 8 p.m. Wednesday
Where: Blind Tiger, 409 State St.
Cost: $15
Information: clairybrowne.com or 957-4111
Whitney Davis, center, begins the Tour De Cure with her mom, Linda Davis, left.
VIC NEUMANN/NEWS-PRESS PHOTOS
Fancy a bike ride? Saturday morning around 200 women and a smattering of men — husbands, brothers, friends, lovers — gathered at Leadbetter beach for the first annual Tour de Cure Women’s Series.
The ride was created by the American Diabetes Association t raise awareness and funds to stop the disease “one ride at a time,” according to the event’s poster. It was also a way to directly encourage a more healthy lifestyle by taking to the streets on two wheels and seeing Santa Barbara and Carpinteria up close.
Comedian, actor and talk show host George Lopez performed his stand-up comedy June 27 at The Fox Theatre in Atlanta, Ga. Dan Harr photo
This has been a rollercoaster year for comedian George Lopez. He’s already been humbled and made much late-night fun over his drunken fall at a Canadian Casino. And then his latest sitcom “Saint George” on FX got the axe after only 10 episodes (more on that later). All that has turned him back to the one thing that he can do with absolute confidence, with no interference, and that’s stand-up. This Saturday he returns to the Santa Barbara Bowl for an evening of hilarity and soul-baring. While his stand-up has often been about family and culture and the effects of an abusive upbringing — told with devastating humor and honesty of course — Mr. Lopez says that he’s going to get even more personal for this new tour.
“We’re going to deal with the private George, not the public George,” he says. “Which I think is more compelling . . . The thing with the next special is to get more personal and dig deeper.”
There will print be in 20 years? Will people still want to hold books and magazines and newspapers in their hand? Or will they be getting information in other ways? And in whatever future scenario one imagines, where is the place of the library in all this? These are the questions examined with humor and smarts in the new group show “Requiem for the Bibliophile,” which opened last week at Museum of Contemporary Art (MCA).
Co-curated by MCA’s executive director Miki Garcia and J.V. Decemvirale, a UCSB PhD student, this collection of seven artists from Santa Barbara, New York, Mexico City and beyond all riff on the idea of the library and by extension the museum as well, both repositories of culture but for what?
