9 tcs 2014 week8 300dpi by Santa Monica Daily Press

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30TH ANNUAL TWILIGHT CONCERTS

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30TH ANNUAL TWILIGHT CONCERTS

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LEE “SCRATCH” PERRY

Reggae legend LEE "SCRATCH" PERRY BRINGS DECADES OF INNOVATION TO HIS TCS PERFORMANCE

cratch Perry's official biography describes him as the best known and most charismatic of all Jamaican record producers, and while it's a big boast, it's also probably accurate given his legacy and influence. Born Rainford Huge Perry and nicknamed Lee by his mother, he grew up in St. Mary's, a rural Jamaican village. As a young man he found quick success in the music business working as a producer at the heart of the Jamaican music scene. However, Perry had a series of disputes with his employers over the next few years and eventually struck out on his own in 1968 to form Upsetter Records. Under his own label Perry proved a prolific artist who chose to release work under multiple names including Pipecock Jakxon, Super Ape, The Upsetter and his most famous “Scratch”. He found commercial success in several forms including a series of instrumental

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songs named for the “spaghetti westerns” that played in Kingston's theaters at the time. His work began to spread beyond his native Jamaica and he scored on the British charts in 1969 with “Return of Django.” It was during this time that Perry is credited becoming one of the founders of “dub” a version of Reggae that strips out vocal tracks and reinterprets them as instrumentals, often with a focus on drum and bass. The techniques pioneered by Perry and his cohorts transformed the original music into something new, and other genres have since adopted dub practices including rap, techno, disco and in some cases forming it's own genres such as dubstep. Perry's dedication prompted him to build The Black Ark, a recording studio in his backyard where he earned worldwide acclaim as a producer. However, the country itself and the music business in particu-

AUG 28 - DEEP REGGAE: LEE “SCRATCH” PERRY AND SUBATOMIC SOUND SYSTEM W/ MEXICO 68, HOSTED BY JEREMY SOLE

lar were rife with corruption and infighting. According to his biographers in a recent documentary, Perry faced perennial threats from criminals and corrupt officials who demanded constant bribes and the tumultuous period culminated with a The Black Ark burning to the ground. Perry left Jamaica for Europe and eventually settled in Switzerland. He spent 10 years sporadically producing music with a variety of collaborators and has acknowledged drugs and alcohol heavily fueled his work during this time. His life, and work, took on a new meaning when he adopted a sober lifestyle including a vegetarian diet. He eventually worked to reclaim his position as legendary figure in the music business and embarked on a new world tour in 2006 to spread his newfound message of peace and prosperity. His album Jamaican E.T. won a Grammy for Best reggae Album in 2003 but he has

SEPT 4 – OK GO & ALLAH-LAS SEP 11 - 100% SOUL: CHARLES BRADLEY W/ KING JAMES & THE SPECIAL MEN

never rested on his laurels. Since winning the award, he has released another 15 albums as either a solo artist or part of a group. Two follow up records; End of an American and Revelation were also nominated for awards. At 78, Perry has continued to create at a fast pace, branching out beyond music. In 2010 he had a solo art exhibit in Los Angeles focus on in canvas paper and a video instillation. He has also been the subject of two films including The Upsetter: The Life and Music of Lee 'Scratch' Perry directed by Ethan Higbee and Adam Bhala Lough narrated by Academy Award Winner Benicio Del Toro. This year he released Back at the Controls, an album that harkens back to this Black Ark Studio days and was funded with help from an online crowd sourcing platform. 2014 also saw the release of the full-length album master Pierce containing revised versions of songs from an 2010 EP.

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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.

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Eats with beats at the Pier FOOD OPTIONS APLENTY FOR THOSE WHO WANT TO DINE WHILE THEY LISTEN

here's nothing like a beach picnic. From the sweat inducing cooler-carry car to the mid-meal staring contest with seagulls just waiting to swoop in if you blink to cleaning encrusted potato salad out of bowls at the end of the night, it's a good time. But perhaps you don't consider sand an essential seasoning on your sandwich, maybe you like hot foods served actually hot or maybe you're a grown adult who would like an adult beverage with your meal. Fortunately, there are crowds of happy restaurateurs eager to meet your culinary needs on Thursday nights. Located above the beach, TCS eatery options include The Albright, Ristorante Al Mare, Kettlecorn, Roasted Corn, the Churro Man, Kona Shaved Ice, Crazy Coconut Boy and new addition The Lemonade Stand. The food stands are located adjacent to the vital "Concert Garden," an upgrade from the

traditional beer garden that also serves, wine, spirits and non-alcoholic drinks. The Concert Garden, sponsored by Michelob Ultra, kicks off each concert with a happy hour from 6 - 7 p.m. Adults can settle in at a prime spot and enjoy drink specials before the music, and crowds, begin. Outside the garden, you can eat a fullmeal, grab some to go snacks or just sip a cool cocktail as the sun sets over the Santa Monica Mountains. “From personal experience, when I go to a concert myself, especially a music concert, I want a little snack, like popcorn or roasted corn,” said vendor Carlos Escobar. Escobar operates the Tees-R-Us booth on the Pier and manages several TCS food booths. He said between the kettle corn, roasted corn on the cob, lemonade and caramel apples, the group offers exactly

the kind of food that caters to the on-thego concert eater. “I think our sales are a testament of how great we're doing.” He said they go through over 400 ears of corn a night and more than 50 pounds of corn (pre-popped weight). While the food is good, he said the real selling point is the sense of community that builds around events like TCS. “We've been doing it for so long that for me personally the best part is seeing returning customers especially those that come every year,” he said. “They tell me 'we're back again” and they're happy to see us. It's become a tradition that we're building, not just for people coming to the concerts but for people who love the food. We've been here for over 10 years and there are people from all kinds of walks coming to us.” Greg Morena of the Albright said the mix of food, drinks and music is an experi-

ence like no other. “It's a wonderful orchestra,” he said. “The retail locations, activations, concert flow and the mix of offerings are all keys to the success of the event. Give people what they want, make them happy. Sounds simple but it's a very delicate balance and a constant work-in-progress, all carefully mastered by Pier Management and The City.” Morena said the recently rebranded Albright sees TCS as an opportunity to connect with the friends restaurant has made over its 37 year history. “TCS is tradition. The Albright, 37 years young, is all about tradition. The nautical, Albright knot (which ties two cords together), connects The Albright with The Pier family and makes so many people happy, for us this is the best part of TCS.”

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2014 Twilight Concert Series bios WEEK 9

SEPTEMBER 4

OK Go WITH

ALLAH-LAS

Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Tim Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation. The four songs of the all-new Upside Out EP represent the first preview of Hungry Ghosts, due out in the fall on the band’s own Paracadute. This is the band’s fourth full-length and the newest addition to a curriculum vitae filled with experimentation in a variety of mediums. The band worked with longtime producer and friend Dave Fridmann (Flaming Lips, Weezer, MGMT), while also enlisting a new collaborator in Los Angeles, veteran Tony Hoffer, (Beck, Phoenix, Foster the People) to create their most comfortable and far-reaching songs yet. Building on (and deconstructing) 15 years of pop-rock smarts, musical friendship, and band-ofthe-future innovations the EP, Upside Out, offers a concise overview of forthcoming Hungry Ghosts’ melancholic fireworks (“The Writing’s on the Wall”), basement funk parties (“Turn Up The Radio”), IMAXsized choruses (“The One Moment”), and space-age dance floor bangers (“I Won’t Let You Down”). Drawn from the same marching orders issued to big-hearted happiness creators as Queen, T. Rex, The Cars or Cheap Trick, and a lifetime of mixed tapes exchanged by lifelong music fans, Upside Out is a reaffirmation of the sounds and ideas that brought the band together in the first place. The four songs provide an assured kick-off to a new sequence of interconnected performances, videos, dances, and wild, undreamt fun. “As the band has evolved over the last 15 years, the creative palette we work with has expanded in so many unexpected and gratifying directions,” says frontman Damian Kulash. “This record feels like it’s the musical manifestation of that — like we can speak in a clearer voice when we are playing in a bigger sandbox. Just as the band’s whole project became clearer to us as we learned to find more homes for our creativity — we triangulated it from more directions. And, I think the music itself has gotten more focused for similar reasons. We went in with fewer preconceptions of who we are or what our sound is, and came out with a record that sounds much more uniquely our own because of it.” Continuing a career that includes viral videos, New York Times op-eds, a major label split and the establishment of a DIY trans-media mini-empire, collaborations with pioneering dance companies and tech giants, animators and Muppets, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.

OK GO

WEEK 10

SEPTEMBER 11

Charles Bradley WITH

KING JAMES & THE SPECIAL MEN

If 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 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.

CHARLES BRADLEY

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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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Not dead yet THE ZOMBIES AND MYSTIC BRAVES ELECTRIFY THE CROWD

nternational sensation The Zombies gave fans a tour through rock history as they played hits from multiple decades during their TCS show.

PHOTO CREDIT DAVID ZYGIELBAUM - ZOMBIES

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PHOTO CREDIT DAVID ZYGIELBAUM

PHOTO CREDIT DAVID ZYGIELBAUM - MYSTIC BRAVES

PHOTO CREDIT DAVID ZYGIELBAUM

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

2411 Delaware Avenue in Santa Monica

(310) 453-9677

MICHIGAN 24TH

Santa Monica Recycling Center

CLOVERFIELD

Aluminum Plastic Glass Bi-Metal Newspaper CardboardWhite/Color/Computer Paper Copper & Brass X DELAWARE AVE. 10 WEST

PHOTO CREDIT DAVID ZYGIELBAUM

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