11 tcs 2014 week10 300dpi by Santa Monica Daily Press

30TH ANNUAL TWILIGHT CONCERTS

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30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG

30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG

New Orleans favorites bring some southern blues to the Pier .

ing James & The Special Men will be opening the show with their own brand of Rocking Rhythm & Blues straight out of the Big Easy. With members Jimmy "King James" on horn, guitar, vocals; John "Porkchop" Rodli on guitar; Robert "Kid Eggplant" Snow on Bass; Chris "Showtime" Davis on Drums; Bruce "Hollywood" Brackman on Tenor Sax; Dominic "Domino" Grillo on Tenor Sax and Bari Sax and Ben "Hot Dog" Polcer on Piano the group has earned a reputation as the masters of the New Orleans scene. According to their official bio, the band's performances are hot, sweaty and raw championing their hometown city with obscure New Orleans classics, and a steady stream of well-informed original recordings. They describe their style as “Rhythm & Blues ("Rock and Roll", as it's referred to outside of New Orleans) was born in "The City That Care Forgot" during the late 40's/early 50's in the years after WWII, and these indeed special men are doing everything possible and impossible to not only keep it alive, but make it strong, vibrant, and relevant to contemporary devourers of great music everywhere.” New Orleans locals can see them on a regular basis at their 9th Ward headquarters, BJ's Lounge, and people do travel from far and wide for the show. However, the boys are known to travel once in a while to such far off places as Santa Monica, the Lincoln Center in New York or just a cozy juke joint someplace small.

Charles Bradley: Victim of Love I

f you’re looking for a story that best summarizes the last year in the life of Charles Bradley, you’d be hard pressed to find a better one than the night he and his band showed up in Utopia, Texas to play an outdoor show in the middle of a thunderstorm. “It was just raining, raining, raining,” Bradley recalls. “I walked out onstage, and there were about 800 people there - maybe more - all of them just standing out there in the rain and the mud.” The band settled in and fought their hardest against the elements, but - for a moment, anyway - it seemed that nature was too much for even the mighty Charles Bradley. About halfway through the show, the power went out, leaving both the band and the drenched fans in total darkness. At any other show, that would be understood as the meteorological signal for “Quittin’ Time,” but if there’s one thing the last year of tireless touring before enrapt audiences has proven, it’s that Charles Bradley does not put on typical shows. “I could hear them screaming, ‘Charles Bradley! Charles Bradley we love you,’” Bradley smiles. “And so when the lights came back on, I said, ‘If all of you can stand out there in the rain and get soaking wet because you want to see me perform - to see me do something that I love to do - then you know what? I’m gonna get wet, too.’” And with that, Bradley jumped off the stage and into the crowd. “They went completely crazy!” he laughs. “We were laughing. We were hugging. We were getting muddy. It was just love.” That’s his whole persona in a single tiny scene: Charles Bradley, victim of love. Other artists appreciate their audiences, just as many are grateful for them, but few artists love their fans as much and as sincerely as Charles Bradley. By now, his remarkable, against-all-odds rise has been well-documented - how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs - most famously as a James Brown impersonator at Brooklyn clubs before finally being discovered by Daptone’s Gabriel Roth. The year following the release of his debut, No Time For Dreaming, was one triumph after another: a stunning performance at South By Southwest that earned unanimous raves; similarly-gripping appearances at Bonnaroo, Austin City Limits, Newport Folk Festival and Outside Lands (to name just a few); and spots on Year-End Best Lists from Rolling Stone, MOJO, GQ, Pasteand more. Victim of Love, Bradley’s second record, is a continuation of that story, moving past the ‘heartache and pain’ and closer to the promise of hope. “The first record taps into maybe two or three feelings,” explains Thomas Brenneck of Menahan Street Band, Bradley’s producer, bandleader and co-writer. “But the range of emotion on this record is huge. The last record was written by a man living in the Brooklyn projects for 20 years. This record is more than just a poor man’s cry from the ghetto. This time, he’s grateful.” Bradley agrees. “I was singing about all these hardships that I’ve been through. I wanted people to know my struggles first, but now I want them

CHARLES BRADLEY

to know how much they have helped me grow.” Drop into any moment of Victim of Love at random and that message is immediately apparent. Where the last record opened with the apocalyptic “The World (is Going Up in Flames), Victim begins “Strictly Reserved For You,” a track that sees Bradley grabbing his girl, jumping in a car and hitting the highway for a romantic getaway. In “You Put The Flame on It,” Bradley sings “My life is gold - you put the flame on it,” backed by a horn chart that sounds like it was lifted from a lost Four Tops single. And on “Victim of Love,” the song that gives the album its name, Bradley sings, “I woke up this morning, I felt your love beside me,” over the kind of gentle acoustic guitar that wouldn’t sound out of place on a classic Neil Young album. Which brings up another point: with the new subject matter comes a broader musical scope. Where Dreaming hewed close to the rough-and-ready R&B sound Daptone has become known for, Victim is stylistically more restless, edging closer into the kind of psychedelic soul The Temptations explored in the early ‘70s. “I’ve been calling it ‘New Direction Daptone,’” enthuses Brenneck. “People are not going to expect this. There’s a lot of psych influences on this record, a lot of fuzz guitar. I’m pushing the band & the arrangements further out, which in turns has to make Charles go further out.” That new direction is most apparent in “Confusion.” Opening with the kind of echo-drenched vocal and charging rhythmic cadence that characterized Curtis Mayfield’s “(Don’t Worry) If There’s a Hell Below, We’re All Going to Go,” Bradley calls down fire on crooked businessmen and duplicitous leaders. “That song is

about a lot of those big politicians who think they can make everybody’s decisions for them,” says Bradley. “The higher class think they can make up the rules for us. But a lot of those big wigs have never really been down to the harsh life. They don’t know how it feels. So I’m trying to talk to people who are going through those hardships.” As is typical of Bradley, the song comes off not as a roaring jeremiad, but as a deeply-felt note of sympathy for the oppressed and beaten-down. But if the album has a summary statement, it’s “Through the Storm.” Over a deep gospel groove, Bradley expresses his gratitude - to his fans, his friends and to God - for their support, their dedication and their devotion. “When the world gives you love,” he sings, “It frees your soul.” This is the new message of Charles Bradley, the Bradley who has emerged from the heartache stronger and more confident, overflowing with love to share. This is Charles Bradley, victim of love — gratefully returning the joy that has been given to him.

30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG

30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG

Twilight Concerts insider’s guide TICKETS

BIKE & SKATEBOARD VALET PETS

No tickets necessary, this is pure free summer fun (remember that?) all thanks to our partners and sponsors who have brought us another season of awesome free concerts at the beach. Make sure to show them some love.

Park your wheels at the free bike and skateboard valet located next to the beach bike path just south of the Pier.

TIME 7 p.m. — 10 p.m., but those in the know stake out a good spot early.

PARKING Parking is available in the 1550 Pacific Coast Highway Lot next to the Santa Monica Pier on a first-come, first-served basis. Those wanting to avoid long waits should try one of the municipal lots around Second Street and Colorado Avenue or grab the ParkMe app for live data of parking availability and prices. Go technology!

FRIENDS & FAMILY Bring them, the more the merrier. You will not regret it. This is one epic summer tradition.

FIRST AID/LOST & FOUND If you need first aid or assistance, please visit the Pier Tent or flag down a security officer. If it is an emergency, please call 911.

SMOKING Don’t even think about it, it’s a 100year-old wooden Pier, and we really like it.

Friendly dogs are welcome on the Pier only and must be on a leash.

during the show. As a reminder, alcohol consumption is not permitted in public spaces, but there are several full-service bars in the area.

WEATHER & ATTIRE

THE CONCERT GARDEN

It never gets too cold, but sometimes it gets a little chilly once the sun goes down. So bring something or head up to the Pier Tent on the deck to grab this year’s limited-edition sweatshirt or T-shirt!

There is a 21-and-over Concert Garden featuring Michelob Ultra, Barefoot Wines, an assortment of cocktails and non-alcoholic beverages. Do not miss this view.

SEATING

E-MAIL LIST & SPECIAL OFFERS

Seating is not provided, so feel free to bring your own chairs, blankets, etc ...

FOOD & DRINKS

TAXIS

There are plenty of great food and beverage options on the deck and at the various restaurants on the Pier. Most even have to-go options perfect for munching

Let someone else do the driving. Download the Curb app and use promo code TCS2014 for $10 off your first ride.

30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG

30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG

TCS brought to you by... BUSINESS PARTNERSHIPS BUILD TRADITION AND COMMUNITY s the sun sets on another Twilight Concert Series organizers say the always popular entertainment events are made possible thanks in large part to the support of their business sponsors. S. Jay Farrand, Pier Administrator, said sponsors have covered 100 percent of the cost of the show for several years. While the City recently chose to supplement the budget this year to increase public safety,

the private funding still anchored the entire series. “The partners are the life blood of the Twilight Concerts,” he said. “A lot of people think the City pays for it or there's a magic pot of money, but each year a group of amazing sponsors and partners comes together to bring great free music to the community all Summer long.” Farrand said the partnerships extend

WATCHING THE SHOW from the beach tonight? Don't forget to recycle your glass bottles and aluminum cans.

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(310) 453-9677

MICHIGAN 24TH

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beyond cutting a check. Sponsor provided amenities have included charging stations (myspace/kcrw), give-aways (G'Day USA, NYNY, OneWest), food/beverage (Clif Bar, Albright, Michelob, Honest Tea, Barefoot Wine), cool product demos (Chevy), popup shops (Chilli Beans, Cotton On) skateboard repair shop (Loaded) and transportation incentives (Curb, ParkMe). “Everything cool except the music itself is pretty much provided by awesome partners,” he said. “It not only speaks to their generosity and understanding of the power of this tradition, but they also add a lot to the experience. The Pier becomes a village of activity that engages the audience. As Twilight continues to grow in popularity, the partners will play an everincreasing role in bringing the festival experience to life.” Craig Hoffman, Director of Partnerships & Development for the Santa Monica Pier said he looks for partners who are a natural match for the pier, such as Chevy's electric vehicles representing environmental consciousness. Those joint priorities help extend the partnerships beyond just a check for the bands. “We encourage and provide all pier partners an opportunity to cultivate relationships beyond the Twilight Concert Series and across multiple pier programs,”

he said. Rachel Kaye Assistant Marketing Manager Loews Santa Monica Beach Hotel said their sponsorship is tied to a commonality with the Pier. “Both the Pier and the concert series have a great deal of history behind them and, also being a longtime part of the Santa Monica landscape, it is important to Loews to contribute to the local culture,” she said. “Thursday nights in the summer bring out an array of passionate music fans who love experiencing the gorgeous Pacific sunsets while soaking up the vibrant sounds coming from the nearby Pier. Twilight concerts are a special part of the Loews summer experience and we look forward to remaining partners for years to come.” Hoffman said the partnerships have created long-term relationships between businesses and the community with many sponsors looking for additional ways to support the community and some nonprofits finding new community partners. Farrand said the long-term relationships help everyone. “Any time the community comes together in organic way for something special like this, there are lasting impacts on relationships, local businesses and the general well-being of the community,” he said.

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TWILIGHTSERIES.ORG

Twilight ( Dance) Concert Series retrospective I

t all started with a storm and a 60 foot by 80 foot circus tent. Thirty years later, the Twilight Concert Series is nearly unrecognizable from its earliest incarnation. Originally coined the Twilight Dance Series — a dance floor inlaid the small tent where the first concerts were held — the shows began in 1985 as push to bring people back to the Santa Monica Pier, which had been damaged by storms earlier in the decade. The first show brought 300 or so people to the tent to listen to the 17-piece Rhythm Kings big band, according to Katharine King who organized the event for more than 25 years. “It grew from 300 pretty quickly,” King said. “It grew by word-of-mouth and by the end of the summer it was probably a couple thousand.” The tent hung around for about five years, until they outgrew it. The dance floor made it another couple years after that, King said, before it just started getting in the way. “It was always an ode to the La Monica Ballroom way back when,” King said. “There was always dancing on the pier in the big band era. The La Monica Ballroom could fit 2,500 couples — 5,000 people.” The ballroom, which hosted a 50,000person grand opening in 1924, was knocked down in 1963. “We tried to keep that spirit alive for as long as we could,” King said. “But then it got so crowded that maybe once or twice a year we laid a parquet dance floor for swing night or salsa night.” When Bo Diddley played the series in 1990, there was no space for a dance

floor. A record-breaking 20,000-person crowd showed up, King said. The 1990 series was particularly well-attended and King toned the acts down in 1991 to avoid large crowds. Attendance dipped over the next few years but then began to rise again. King has loads of stories about near disasters. Tito Puente showed up late and drunk to one show. Mavis Staples’ band got stuck at the airport and so Staples was backed by the opening band. As the pier grew, King would have to adapt. When Diddley played in 1990 there was no Pacific Park and the whole pier was wide open. “Every year I’d go out with my measuring tape and figure out where we were going to build the stage,” she said. The beach scene, she said, started about 12 years ago. Baaba Maal, a Senegalese musician, was one of her all-time favorite acts. “The first time he played I was just blown away,” she said. “Then there are the people I just like so much personally, like Queen Ida and people like Bo Diddley. Poncho Sanchez is just a wonderful person.” King enjoyed attending the concerts as much as setting them up. “My whole attraction to it was that it was a real ritual,” King said. “It still is although the whole tenor has changed in recent years. It’s still the kind of thing where people have meeting places. It’s a true town square. Everyone has there way of doing it. They have their secret parking places. Whether you ride, you bike, or park somewhere, you know where you find your friends.”

PHOTO CREDIT DAVID ZYGIELBAUM -

30TH ANNUAL TWILIGHT CONCERTS

Ditch the ride for a stress-free time E

veryone knows that parking blows in Santa Monica, but you don’t have to give up on the city by the sea. Just leave the car at home and walk, bike or bus it down to the Santa Monica Pier for this summer’s edition of the famous landmark’s 29th annual Twilight Concert Series. The most convenient way to play is by hopping on your beach cruiser, using pedal power. It’s a great way to lose weight, stay in shape and avoid traffic jams Downtown. The city by the sea has an extensive network of bike lanes; a Downtown Bike Center complete with showers, lockers and a repair shop; as well as a free bike valet just south of the pier for those attending the concerts. It’s right off the beach bike path for easy access. If you are riding from the northern side of town, Montana Avenue to Ocean Avenue is a great route with plenty of scenery. You may want to use one of the walk bridges that connect Palisades Park to the beach bike path or take it all the way to the pier’s entrance at Colorado Avenue and walk it down to the valet. If you are coming from the south, try Main Street, Neilson Way (which turns into Ocean Avenue at Pico Boulevard) or for a great view of the ocean hit Barnard Way. Make sure to turn west on Bicknell Avenue to get to the beach bike path for the last mile or so. Those coming from the east side of town by bike should take bike lanes on Arizona Avenue or Broadway for a stressfree ride. Both streets hit Ocean Avenue, which will lead you straight to the pier entrance. Always remember that a white head light and red back light are required when riding at night and that it is illegal to ride on sidewalks or fail to stop at all traffic signals and stop signs. Helmets are not required for adults, but they are recommended. You just might need that brain of yours. And don’t forget to bring a trusty, strong U-lock to secure your cycle if you decide to stop off for some snacks before the shows. For more information on biking in Santa Monica, visit www.bikesantamonica.org

BIG BLUE FOR YOU If biking isn’t your bag, check out the award-winning Big Blue Bus, Santa Monica’s public transit system that has hubs at UCLA and Culver City. Most routes end in Downtown, so no matter which one you take you’ll be able to get to the pier by walking only a short distance. And the cost is cheap; only $1 per ride for most passengers. Big Blue has added extra service on Line 3 in anticipation of concert crowds. Line 3 runs along Lincoln Boulevard and Montana Avenue. And if the Big Blue Bus doesn’t work for you, there’s always the Metro system of Rapid and regular buses that run regularly on Wilshire, Santa Monica, Pico and Lincoln boulevards. For a detailed map of BBB routes, visit bigbluebus.com, and for Metro hit www.metro.net.

PARK IT OK, so we know that taking alternative forms of transit is not that difficult, but if you must hop into your car, there are plenty of places to park in Santa Monica, the best and most affordable being those structures farther from Downtown. Santa Monica has a new parking app for your iPhone that makes finding spaces easier than ever before. Santa Monica Parking, powered by ParkMe, provides real-time parking information for City Hall’s 28 lots, 12 structures and 5,967 on-street metered spaces. The app also includes information on privately-owned parking facilities. iPhone users can download the app for free via the Apple App Store by using the search string “Santa Monica Parking.” Sorry Android users, but your app isn’t online just yet but check back soon as city officials promise to have one up shortly. Parking at the Downtown structures after 6 p.m. only cost $1 for 2.5 hours verses the previous rate of $5. Reduces parking rates at the Civic Center and the Main Library are $1 per hour and a $5 daily maximum, just in case you want to head down early for some shopping on the popular Third Street Promenade. For a complete list of parking resources and pricing, visit www.parkme.com and search “Santa Monica.”

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OK Go went OK T

he modern kings of the online music video brought their energetic performance to the real world with a packed performance last week.

PHOTO CREDIT ERIC LIEB - OK GO - WEEK 9

PHOTO CREDIT ERIC LIEB - ALLAH LAS - WEEK 9

PHOTO CREDIT ERIC LIEB - LEE “SCRATCH” PERRY - WEEK 8

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PHOTO CREDIT DAVID ZYGIELBAUM - THE ZOMBIES - WEEK 7

PHOTO CREDIT DAVID ZYGIELBAUM - MYSTIC BRAVES - WEEK 7

PHOTO CREDIT DAVID ZYGIELBAUM - LA SANTA CECILIA - WEEK 6

PHOTO CREDIT DAVID ZYGIELBAUM -

PHOTO CREDIT DAVID ZYGIELBAUM - ORKESTA MENDOZA - WEEK 6

30TH ANNUAL TWILIGHT CONCERTS

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PHOTO CREDIT ERIC LIEB - OMAR SOULEYMAN - WEEK 4

PHOTO CREDIT DAVID ZYGIELBAUM - JAGWAR MA - WEEK 5

YUNA - WEEK 2

PHOTO CREDIT STEVE CHRISTENSEN - PAPA - WEEK 3

CULTS - WEEK 1

PHOTO CREDIT ERIC LIEB -

30TH ANNUAL TWILIGHT CONCERTS

TWILIGHTSERIES.ORG