What are you NOT listening to?

That’s a weird question to ask right? I mean, how do you know what you’re not listening to? But as a music lover, do you ever wonder about all the great music you have yet to encounter? I know I do.

As we get ready for a season of great music here at UCLA Live, I’ve been digging around getting more informed on our lineup–which I admit, includes a wealth of artists I’ve not encountered before–educating myself on all that music I haven’t been listening to.

I found this article from last spring from NPR’s “All Songs Considered” program.

Music You Should Love But Don’t

The article specifically mentions a couple of artists UCLA Live has been proud to present, including the up-and-coming guitarist from Mali, Vieux Farka Touré, who is appearing here with blues legend Taj Mahal Oct. 22

This NPR piece also highlights Allen Toussaint, who was on the bill at UCLA Live last spring. What an amazing show that was. If you’re a music lover with varied tastes, you’ve probably encountered Toussaint’s influence  at some point– he’s written songs for or collaborated with just about everyone, including The Meters, Elvis Costello, The Rolling Stones, The Who, The Band, Paul McCartney, Aaron Neville, Dr. John, Jerry Garcia, Phish and so many others.

But if you caught him here at UCLA Live last season you were lucky. And, if you ever get the chance to see him perform live again, grab it.

Toussaint is incredibly slick, smooth as silk in person, and an gracefully warm and gifted presence on the stage, effortlessly sliding from storytelling to consummate vocals, his hands never missing a chance to caress music out of the keyboard in front of him.

Allen Toussaint at UCLA Live March 6, 2010

I had been loosely touched by Toussaint long before I ever really knew the man’s name, thanks to an old boyfriend who introduced me to The Meters, which has become a perennial favorite.

So now, I’m asking all our music lovers out there, how do YOU discover new music? And what do you love that you think everyone should be listening to?

What are the most trusted go-to sources that consistently inspire new music discovery for you? (Hopefully UCLA Live and other quality performing arts organizations are a part of that for you.)

For me, I have a handful of friends/music lovers in my life whose taste I trust so implicitly that I will listen to anything they tell me I should, no questions asked.  That’s not to say I like everything they like, but I never feel like I’ve wasted my time by checking out one of their recommendations.

Often I will listen to KCRW, especially “Morning Becomes Eclectic” with the day’s tracklist open on my computer. That way when I hear a song that makes me go “Oh wow, who was THAT?” I can make a note of it.

I’ve made a lot of pleasant new discoveries that way.

I’ve discovered my mind and soul are like super-absorbent sponges when it comes to music. I am built to consume as much as possible.

Tell us what we should be listening to! And, we’ll do our best to return the favor on stage in Royce Hall this year, I promise.

A Matter of Poetry

OK people. It’s official. Individual tickets to all our events are now on sale. Woohoo. We can’t wait for everything to get going around Royce Hall. Check out the calendar if you haven’t in a while and see if anything strikes your fancy.

And…speaking of fancy, we’ve added a fancy new spoken word event to the lineup this year—an evening with not one but TWO–count ‘em, TWO–former U.S.  Poets Laureate. (Oh that’s one of those fun word pairings like culs de sac). Two of America’s most lauded poets, Billy Collins and Kay Ryan join our spoken word slate April 23, just in time to celebrate National Poetry Month. (We’ll be calling on you the audience to share some of your own poetry with us around this event as well. More on that in the near future).

I love the way poets wield language, especially poets like Billy Collins who often do it with a slightly tongue-in-cheek style.  I love the way they can inspire us to look at so many different things in a poetic light.

Here’s a fun one from Collins…

Another Reason Why I Don’t Keep A Gun In The House

The neighbors’ dog will not stop barking.

He is barking the same high, rhythmic bark

that he barks every time they leave the house.

They must switch him on on their way out.

The neighbors’ dog will not stop barking.

I close all the windows in the house

and put on a Beethoven symphony full blast

but I can still hear him muffled under the music,

barking, barking, barking,

and now I can see him sitting in the orchestra,

his head raised confidently as if Beethoven

had included a part for barking dog.

When the record finally ends he is still barking,

sitting there in the oboe section barking,

his eyes fixed on the conductor who is

entreating him with his baton

while the other musicians

listen in respectful

silence to the famous barking dog solo,

that endless coda that first established

Beethoven as an innovative genius

I love the musicality of his writing, and how a sense of music often comes into play or directly into the style of the poem. I feel like the world is like that, or at least it SHOULD be like that. Perhaps we should all be listening for those songs, those melodies in all of our moments whether those are moments of quiet and contentment or moments of frustration and hopelessness.

Collins again….

I Ask You

What scene would I want to be enveloped in

more than this one,

an ordinary night at the kitchen table,

floral wallpaper pressing in,

white cabinets full of glass,

the telephone silent,

a pen tilted back in my hand?

It gives me time to think

about all that is going on outside–

leaves gathering in corners,

lichen greening the high grey rocks,

while over the dunes the world sails on,

huge, ocean-going, history bubbling in its wake.

But beyond this table

there is nothing that I need,

not even a job that would allow me to row to work,

or a coffee-colored Aston Martin DB4

with cracked green leather seats.

No, it’s all here,

the clear ovals of a glass of water,

a small crate of oranges, a book on Stalin,

not to mention the odd snarling fish

in a frame on the wall,

and the way these three candles–

each a different height–

are singing in perfect harmony.

So forgive me

if I lower my head now and listen

to the short bass candle as he takes a solo

while my heart

thrums under my shirt–

frog at the edge of a pond–

and my thoughts fly off to a province

made of one enormous sky

and about a million empty branches.

But of course, we can’t all express those thoughts and sounds quite as well as Collins and his cohort Kay Ryan. That’s why we spend evenings listening to people like them, to help us identify the sounds and rhythms inherent in the written word….to open our eyes and hearts and ears to something our own brains might never be able to spontaneously produce in that way. As arts lovers perhaps just experiencing it can be almost as profound as creating it.

Perhaps, just perhaps, poetry matters.

Photo courtesy athena via Flickr.

Truisms and Truthiness

With all the buzz around Wikileaks this week and the recent passing of Daniel Schorr–one of the last real “newsmen” of his kind–I’ve been thinking a lot about journalism, its evolution and its role in modern culture.

I took my first news reporting class in the mid-1990s at Arizona State University’s Walter Cronkite School of Journalism.  Email and the internet were still emerging, still dial-up based and still something of a novelty. (Raise your hand if you’ve ever reported a story by digging up information on library microfiche or sitting behind those awful monitors at the courthouse that dulled your eyeballs with a greenish glow).

I distinctly remember the ah-ha moment when my professor (a Pulitzer-Prize winner by the way) said: “Never use the attribution ‘according to the internet.’ That’s like saying ‘according to the telephone.’” He followed up with tips on how to decipher how legitimate internet sources were, much like we were taught to do with a human source.

Seems absurdly obvious now, but think back to 1996—the internet was all very new (and regrettably, still just as grammatically challenged.)

Still, then and now, there are a couple of basic logical truisms when it comes to absorbing information:

“You can’t believe everything you read” and “Consider the source.”

We live in a largely sourceless, hyper-opinion-driven climate of news dissemination. It’s exciting and scary at the same time. Exciting because for we news junkies it’s cool to have so many ways to absorb information and so many voices to consider and scary, well, for obvious reasons.

The explosion of the blogosphere, the rapid dissemination of any and all newsworthy topics, the rise of pundit status among people who’ve never had to adhere to a three-source rule, pour through the pages of a phone book trying to find an expert source, pound the pavement, develop on-background contacts—this reality makes it increasingly important and yet often difficult to check off those aforementioned truisms.

And I’m not saying anything new or clever when I use the “infotainment” moniker to dub our current media climate, but really that’s what it is–Infotainment.

Put simply, even given all the myriad outlets and information sources our current journalism climate offers, we basically like getting information from places we like. We flock to media and blogs and outlets that adhere to our highly personalized appetites and it’s easy to insulate ourselves from anything, any opinion that runs counter to our own. And it’s equally easy to perpetuate stories and blogs that align with our own ideologies. We can create our own truth around pretty much anything these days, and that’s kind of scary.

I’m not exempt from this. In full disclosure, I am a card-carrying member of the Stewart/Colbert militia. Their tongue-in-cheek, nothing-is-sacred satirical methodology appeals to me, partially because it’s so skillfully delivered and partially I admit, because their politics and ideology pretty much line up with my own.

Still, it makes me think.

If you hold to the adage that you can’t believe everything you read then does that imply the only things you might actually be able to believe are being perpetuated by people who don’t actually expect you to believe every word they write or say? Is Stephen Colbert perhaps the truest journalist of our times if you embrace the  Bizzaro World idea of journalistic truth?

Is Colbert-style  “truthiness” really the best we can hope for in our current media climate? And does it in fact offer us more actual truth than straight journalism? What is “straight journalism?  It’s an interesting conundrum to ponder, whether you are a casual reader, middling information hound or total news junkie.

To that end, I’m looking forward to having The Yes Men here at UCLA Live Oct. 14.

The tagline for The Yes Men’s documentary The Yes Men Fix the World is “Sometimes it takes a lie to expose the truth.”

The Yes Men—Andy Bichelbaum and Mike Bonanno—stretch the truth for sure, lying and posing as executives from government agencies and multinational corporations in an effort to ferret out often more-salacious untruths. Their methods are extreme and, well, fabulously funny at the same time. Still, their cunning legerdemain, however comically or altruistically motivated, hasn’t left the duo unscathed.

Whether or not you agree with The Yes Men’s tactics or motivation, you have to admit, what they do is thought-provoking.

And isn’t that essentially what any information-consumption should be about? To inspire you to think? To process…to not just swallow something whole simply because it comes from someone who looks just like you, who thinks just like you, who shares your worldview or your methods of information gathering and dissemination. What an idea. Maybe I will watch Fox News tonight. (Maybe not).

I’m sure we’ll examine the idea and phenomenon of “truthiness” a couple of times here in Royce Hall this year, first with The Yes Men and later in February with The Onion Editors.

In the meantime, don’t believe everything you read. Unless it’s good stuff about UCLA Live of course. That you can take to the bank.

Photo note: Front page of the fake New York Times The Yes Men printed and handed out. If only some of THOSE stories were true.

Connect Four

Hello friends,

Today is the last day of our 2010-11 subscription drive, woohoo!  TONS of you have taken advantage of our amazing new deals for subscribers – THANK YOU!

For everyone else, you have a few more hours to pick up any one of our series and save a HEFTY 20% or choose your own series with ANY FOUR SHOWS and save 15% before tickets go on sale to the general public on Monday, August 9th.

If you’re on the fence, we highly recommend the Choose Your Own Series, because it allows you to sample something of everything by picking any 4 shows while still getting the advantages of subscribing:  priority seating, big savings and ticket exchange privileges.

We realize it can be tough to navigate all the cool stuff on the season, so we asked our friends over at the Hammer and Fowler Museums for their picks. Check ’em out…

Jennifer Gould, Marketing Manager at the HAMMER Museum recommends:

Helios Dance Theater: Beautiful Monsters
Helios is an LA treasure, and with an original score by Paul Cantelon (The Diving Bell & Butterfly), it’s going to be an incredible evening. Some examples of their previous works: http://www.heliosdancetheater.org/media.html

Yes Men Live
Andy Bichlbaum and Mike Bonanno are my heroes. They’ll be yours too.

The Onion Editors
I’m so excited about this! The Onion editors were featured in an episode of This American Life a few years back, which documented the process of narrowing down 600 potential headlines to the hilarious 16 that actually appeared in the weekly edition. Check it out:  http://www.thisamericanlife.org/radio-archives/episode/348/Tough-Room

David Sedaris
An obvious choice. He’s so amazing in person.

Stacey Ravel Abarbanel, Director of Marketing and Communications – Fowler Museum at UCLA recommends:
Dengue Fever: The Lost World (1925)

A little-known Dengue rocked the Fowler amphitheater in 2006 at the party we held to celebrate the opening of our long-term exhibition Intersections: World Arts, Local Lives. We had a hard time prying people away to the dinner going on upstairs, so enchanting was the lovely Chhom Nimol and her Cambodian-inflected rocker cohorts. I’d love a chance to see and hear how they’ve matured as artists.

Richard Thompson featuring Harry Shearer, Pete Zorn & special guests Cabaret of Souls
Just one week after Dengue Fever, but I can’t resist this combo of legendary musicians and impresarios in what sounds like a funny yet thoughtful musical theater reckoning.

Ghazal: Kayhan Kalhor, Shujaat Husain Khan & Samir Chatterjee
A couple of years ago my brother sent me Ghazal’s CD Rain, and I was smitten. This music is so intricate, at times measured and soothing, then pulsing with excitement. See these masters live? Absolutely.

Stephen Petronio Dance Company
I Drink The Air Before Me sounds like a stirring new production.  I can’t wait to check it out.

So head on over to the calendar, connect the dots and pick your four today!

Happy Summer and What’s Your Favorite?

Happy Friday!

It truly feels like summer has arrived and it should be a great weekend in Los Angeles! We’re spending the summer in the basement of Royce Hall gearing up for the 2010-11 season, planning ahead for the appearances of truly amazing artists on the lineup this year.

Summer’s great, but we can’t wait for fall when the halls and theater above us will be filled with music and dancers and creative thinkers—and well, hopefully YOU.

Side note: I was watching “Family Guy” the other day and a few scenes of the episode took place on some unnamed college campus. Guess what building/area was the iconic image immortalized in cartoon form to signify “collegiate-looking space?” Yep. It was the front of Royce Hall and surrounding quad area.

Anyway, we UCLA Live staffers have been talking amongst ourselves about our favorite shows on the season and we decided to film a little video about it—also using that iconic Royce Hall backdrop.

Take a little peek into the minds of the people who help make performing arts come alive in Royce Hall. Don’t be scared, we’re mostly sane.

So, what do you think? What event are you most looking forward to this season? Better yet, get out into the sunshine this weekend and film your own video telling us about your favorite pick of the UCLA Live 2010-11 season. (For ideas, peruse our calendar here).

And, if you see a few shows you like, consider taking advantage of our Choose Your Own series offer. Pick four or more events and save 15%.

Post your video and send us a link at info@uclalive.org. You might just find yourself with a special prize!
In the meantime, keep those summer vibes rolling and we’ll see you in Royce Hall in September!


Splendor, Mundanity and Strenuous Briefness

Harvey Pekar died this weekend. Fans of graphic novels knew him as the “master of the mundane,” creator of the long-running series American Splendor, whose emphasis on the less-than spectacular events of an ordinary life became an inspirational treatise on how to extract the profound from the mundane.

Harvey was here at UCLA Live just a few months ago, appearing with Alison Bechdel, a truly stunning graphic novelist and generally brilliant woman who spoke frankly of the ways in which Pekar inspired her over the years. She even shared a short strip she had drawn based on a stick-figure outline Pekar handed her one day. “Here,” he said. “You should draw this.” Her multimedia presentation on the Royce Hall stage  flashed on a yellow, lined piece of paper with a few scribblings Harvey had made, simple scribblings that somehow inspired a story.

Pekar himself talked about his somewhat incongruous rise to fame in the graphic novel world…after all, he can’t draw at all, but one of his early and most prolific collaborators/supporters was R. Crumb who is pretty much a legend in the genre.  Harvey was, in person, much as like his character is in the  American Splendor strip—just a guy. A guy like the rest of us. For me, the most endearing part of his appearance here was seeing him interact with Bechdel, and seeing first-hand the impact his work and vision had on fellow artists. His latest work is The Pekar Project, an online strip for Smith Magazine for which he worked with a variety of talented up-and-coming artists.

Harvey’s life and death calls to mind a lot of questions. What is art? What is profound? What is mundane, and where do these ideas converge?

It makes me think of a passage from one of my favorite books, The Picture of Dorian Gray.

“Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours and be changed or, have other secrets, a world in which the past would have little or no regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.”

Don’t we all feel like that sometimes? Don’t we all lay down our heads at night sometimes and wonder what it would be like to wake to a different world?  But we never really do. We wake to our own lives every day. We go about our routines. We do our jobs. We think our thoughts. We live. We live the only way we can because that’s all we can do.

Our actual lives are largely defined by our most mundane habits and necessary behaviors. But those things don’t necessarily define the self. Harvey Pekar knew that.  It’s in the mind,  and through art and literature that we can perhaps, if we are lucky and inspired enough… extract the beauty and profundity from those simple and often mundane behaviors and tasks. There’s beauty in the breakdown.

Life is brief, more brief than we would like…strenuously so. We have our moments of pleasure and pain, of joy and bitterness and then we go. Perhaps, if we’re lucky, we leave a little inspiration behind.

Rest in Peace, Harvey Pekar.

Here’s a little something from another inspirational chap to see you off.

…e.e. cummings

into the strenuous briefness
handorgans and April
darkness, friends

i charge laughing.
Into the hair-thin tints
of yellow dawn,
into the women-coloured twilight

i smilingly glide. I
into the big vermilion departure
swim, sayingly;

(Do you think?) the
i do, world
is probably made
of roses & hello:

(of solongs and, ashes)

The Soundtracks of Our Lives–Live

Yes I dig the band whose name is alluded to in the title of this blog entry, but it’s other self-created “soundtracks” that are running through my mind right now.

I’m talking about those albums that worm their way into your heart and life, the ones you play over and over incessantly (I can’t be the only person who does this!). The ones that either started out meaning something to you, or that grew on you until they did, or that carry such powerful emotion or pack such an evocative punch  in 13 or so tracks that they literally become a soundtrack to periods in your life.

I’m thrilled that we’re starting off our season in September with an event that strikes a chord like that. The legendary John Cale is coming to perform his Paris 1919 album in its entirety. I admit, before coming to UCLA Live, I was not well versed in Cale outside of The Velvet Underground.  But I am absolutely intrigued by this upcoming performance.

It’s a very nostalgic album, written while Cale was living in Los Angeles and apparently thinking very fondly of cities in Europe that he loves—sort of a soundtrack to a time in his life, not to mention  inspired (at least titularly) by the Treaty of Versailles. (Only John Cale could set the Treaty of Versailles to an artistic rock soundtrack nearly half a century after it occurred.) It’s been called his most accessible solo work and it’s extremely appropriate for our Royce Hall stage considering Cale originally recorded it with the UCLA Philharmonia. He’ll be accompanied by a full orchestra here too.

I love the concept of performing albums in their entirety. I’ve only witnessed it a few times….Roger Waters doing Dark Side of the Moon at the Hollywood Bowl and at Coachella a couple of years ago. The Pixies doing Doolittle at the Palladium just last fall.

It works for me. It’s like this ride that you’re on with the artists on stage….you know what’s coming next, they know you know,  and you can just go with it together. It’s a beautiful thing.

Obviously it’s not appropriate for every single album ever made. I can think of a few of my personal favorites that it just wouldn’t be right for.

But I can also think of a few others of those aforementioned soundtracks of my life that I think it might work out with, including The Flaming Lips’ Yoshimi Battles the Pink Robots, Green Day’s American Idiot, (though I suppose I could just go see the Broadway show, don’t mock me), Radiohead’s OK Computer, The White Stripes’ Get Behind Me Satan. (I have yet to truly hone in on why I love that album so much, I’m just going with it).

What do you think of the complete-album performance conceit? What are some of the soundtracks to your life that you might like to experience live and in full?

Even if Paris 1919 may not be on that list (yet), it’s sure to be a magical night in Royce Hall. Hope to see you there.

Photo courtesy nati via Flickr.

Roots and Inspiration

One of the highlights of our upcoming season for me is Mavis Staples and Billy Bragg: The Hope, Love & Justice tour Nov. 5.

I mean really, yes I am mostly a hyper-emotional sucker who regularly tears up at the “Star Spangled Banner” but  I think it would be hard for any music or arts lover to not to get behind the ideas of hope, love and justice.

Looking at our whole lineup of roots music this year has me waxing philosophical about the power of music to inspire, and also waxing nostalgic about my experiences with performing arts and music in Los Angeles.

The first time I’d ever heard of Billy Bragg was also a big first for my Los Angeles music life.

It was sometime in late 2000-early 2001. I’d been living in Orange County for a short while (I know, I know, it was for a job) and had a friend in town who wanted to drive up to the Knitting Factory on Hollywood Blvd. The now-defunct club was hosting Billy Bragg and this was my first live-music experience in Los Angeles outside of a few nights with a friend’s band at Brennan’s in Marina Del Rey. (I have a soft spot for that place too.)

Anyway, being the Teamster’s daughter I am, that first night at the Knitting Factory (RIP) helped instigate an undying love for Billy Bragg, especially punctuated by the Mermaid Avenue albums, which subsequently inspired my unrelenting passion for Wilco. (Side note: Did you know Jeff Tweedy produced Mavis Staples’ forthcoming album You Are Not Alone?) Also, if you’ve never seen this movie, you should totally check it out.

Obviously, ten years later, I’ve had countless more inspiring live-music experiences all around this amazing city— including feeling the Hollywood Bowl practically levitate in an Underworld glow, nights under the stars at the Greek theater with everyone from the Mars Volta to Tori Amos,  countless evenings perched aloft the stage at the Troubador, where one evening many years ago, an Alexi Murdoch performance brought an image to my mind that resulted in my purchase of a sewing machine, which in turn resulted in such a wealth of projects to come out of my tiny apartment that it has often been dubbed “the sweat shop.”

In short… music inspires. I’ve always felt like seeing live music was such a powerful experience. I don’t care how big or small the venue is, or if you’re close enough to see the sweat on the artist’s face or so far away you need binoculars. To me, from that first thrum of sound, you’re part of it. You’re part of something that didn’t exist before and wouldn’t exist the same way if you weren’t there.

I had a few of those moments in Royce Hall last spring, most notably with Tinariwen, Baaba Maal and the Blind Boys of Alabama. I anticipate many more of those such moments this season, especially thanks to our roots lineup. I hope you’ll join us for one or more of those events.

In the meantime, we’d love to hear your comments about acts or venues in this town that have inspired YOU over the years.

Hit me back below!

Welcome to UCLA Live’s 2010-11 Season!

Greetings true believers,

Jessica Wolf here, senior publicist for UCLA Live. And, well if that salutation doesn’t establish me as some kind of pop-culture geek I’m not sure what will.  Of course a general penchant for pop-culture geekdom is partially what makes me suited for a gig that requires pumping up the programming of UCLA Live. I think, if you’re like me and love music, pop-culture, spoken word and performing arts in general, you’ll find much to geek out over too as I say….welcome to UCLA Live’s 2010-11 season, which is accompanied by this brand-spanking new UCLA Live website.

Here you’ll find a wealth of information on our program, our awesome events, this new “Live Wire” blog, tips on how to get here and where to park (it’s really easy!) and  oh yes, even buy tickets.

That’s right. Tickets are officially on sale today for subscriptions to our 2010-11 season which includes something for every culture lover via a truly vibrant panoply of music, dance and spoken-word. Click around the calendar section, or sit back and flip through our series brochure to read up on the stellar acts we have lined up for you as you make your series selections.

Series subscription prices represent 20% off individual ticket prices, the biggest discount we’ve ever offered, so grab one (or more) series packages while the grabbing is good (through July 18). You’ll get the best possible seats and first dibs on individual tickets to any add-on shows throughout the year. You’ll also get the chance to purchase individual tickets to any shows not in your subscriber package a week before they go on sale to the general public Aug. 9. Sign up for our periodic e-news newsletter and we’ll keep you in the loop.

Feel like mixing it up? Not a problem. Choose your own UCLA Live 2010-11 adventures with our (aptly titled) Choose-Your-Own subscription offer. You’ll save 15% on tickets when you mix and match four or more events.

We want to make sure everyone has the opportunity to enjoy UCLA Live subscriber benefits. To that end, we’ve established a new payment-plan option this year. Pay half at the time of your order and pay the rest by Aug. 16.

Above all, please enjoy the season. We’re incredibly proud of it and proud to be part of the cultural flavor of this fabulous city. This communiqué is reaching you from the basement of Royce Hall where we are all debating what our favorite shows this year are (more to come on that front in a future blog entry). There’s so much to choose from.

Visit the Live Wire blog often and share your thoughts on our shows, and even on other performing arts from around the city and country that thrill and inspire you. We love to hear from our patrons and look forward to making some great memories in Royce Hall this year.

Stay tuned…..

Thoughts from the staff of CAP UCLA