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Big leaps start at SMC. Enroll today at smc.edu! FALL SEMESTER BEGINS MONDAY, AUGUST 28 SANTA MONICA COMMUNITY COLLEGE DISTRICT BOARD OF TRUSTEES Dr. Andrew Walzer, Chair; Barry A. Snell, Vice Chair; Dr. Susan Aminoff; Dr. Nancy Greenstein; Dr. Louise Jaffe; Dr. Margaret Quiñones-Perez; Rob Rader; Chase Matthews, Student Trustee; Dr. Kathryn E. Jeffery, Superintendent/President Santa Monica College | 1900 Pico Boulevard | Santa Monica, CA 90405 | smc.edu
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2017 TWILIGHT CONCERT SERIES Schedule WEEK 1 6/22 NEO SOUL
KHALID Bibi Bourelly WEEK 2 6/29 INDIE POP
LEMAITRE Coast Modern WEEK 3 7/13 REGGAE
MARCIA GRIFFITHS
Table of contents
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HEADLINER PROFILE P5
BAND BIOS P7, P10, P12, P13
THEN & NOW P15
Mr. Elevator Arms Akimbo/ Rusty's EAC
EMERGING VISUAL ART
WEEK 5
P6
EVENT MAP P8, P9
INSIDERS GUIDE P15
WEEK 4 7/20 ROCK
ERIC BURDON & THE ANIMALS
7/27 DANCE
MIAMI HORROR Cleopold WEEK 6 8/3 AMERICANA
VALERIE JUNE IRMA THOMAS WEEK 7 8/10 LATIN
MON LAFERTE Buscabulla WEEK 8 8/17 INDIE ROCK
WARPAINT Wild Belle
CLEOPOLD
IRMA THOMAS
BUSCABULLA
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Nothing scary about loving a Miami Horror show
MIAMI HORROR
iami Horror came to prominence as part of a pop renaissance in their native Australia but the band have steadily evolved into their own space and their recently released EP “The Shapes” has taken the band to a more visionary place by exploring the intersection of sound and visual art. As a conceptual release, “The Shapes” has given the band a chance to refine their diverse mix of influences and create a unique work that is designed to be an uplifting experience. It’s that attitude they bring to their live show this week on the Pier. Lead singer Josh Moriarty, said their live shows are an attempt to inspire people to dream and to be free. “You don't have to do what you are told, life is filled with guidelines but no real set rules other than do unto others, apart from that you can make it up as
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you go,” he said. “We try to do this with visuals, sonics and that magic human energy of four people on stage creating something that can only exist in that one particular moment in time.” Moriarty said he harkens back to a Midnight Oil show in Sydney Harbor in 1985 and Peter Garret climbing the scaffolding during the end of Power and the Passion as the inspiration for his live act. “I always thought that was one of the coolest things I had ever seen,” he said. “There is a man unencumbered by the restrictions of society, there is a magic and a freedom in that moment and it is something I have tried to capture in Miami Horror performances to this day.” Having played across the globe, they’ve learned to craft their on-stage performance to best fit the venue and Moriarty said engaging the diverse audi-
ence at shows like TCS is part of the musician’s craft. “Open air gigs can create a more universal bonding experience, at a club show everyone is there to see you but at an open-air gig it is usually a festival of some sorts so you have to persuade people who may not know your music to get involved and be a part of the spectacle,” he said. “It takes the right attitude and performance from a band and a few nuanced sentences here and there to do that. It's not something you learn overnight but it is something I think we now do very well all these years later.” While any performer can judge the success of their shows by their technical merits, Moriarty said the energy in the room is a clear measurement for a show and when the stars align, the bond between a band and the fans is some-
thing wonderful to behold. “There is a symbiosis between performer and audience, neither can exist without the other so there is a push and pull and a lot of trust involved,” he said. “I feel like a conductor who just lets people know if they trust us and come along for the ride they will no doubt have a good time. At its most basic it is entertainment and escapism for a brief wink but at its best it can be a transcendent experience for both parties.” The band has traveled between Los Angeles and their native Australia while working on past albums so the local beach vibe isn’t a surprise to the group. In fact, they have a softspot for the city, if only in name. “(Santa Monica) the name of my favorite Everclear song, maybe I might get lucky and see Art Alexakis floating about backstage huh?” said Moriarty.
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Snarkitecture builds a following at TCS
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he iconic Santa Monica beach has always provided a visual element to the Twilight Concert Series but in recent years, organizers have recruited emerging visual artists to provide an additional experiential layer to the show. This year the Twilight Concert Series has partnered with Snarkitecture to decorate the iconic Santa Monica Pier. Snarkitecture is a New York based collaborative practice established to investigate the boundaries between art and architecture. The unique name originated from Lewis Carroll’s, The Hunting of The Snark, a poem describing the impossible voyage of an improbable crew to find an inconceivable creature. Throughout the journey, Snarkitecture creates architectural scale projects, installations and object. They pride themselves with their work focusing on the reinterpretation of everyday materials, structures and programs to new and imaginative effect. Snarkitecture is this year’s artist of the summer concert series as provided by Snap Inc., presenting sponsor of the Santa Monica Twilight Concert Series. Alex Mustonen, Co – Founder of Snarkitecture said, “When Snapchat approached us with this opportunity, we knew that the Santa Monica Pier would provide a great backdrop and allow us to play off the natural setting.” Snarkitecture has installed their Dancing Columns piece for the summer concerts. The approach is centered on the importance of the experience, making it a great fit for the traditional beach summer concerts.
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Santa Monica Pier Director, Jay Farrand said, “We love how Snapchat finds ways to both support and showcase artists while adding fun for the Twilight crowds. It is a delicate balance to find art that can work in such a highly regulated outdoor environment with a lot of interaction.” Dancing columns is an interactive architectural installation that invites spectators to explore, play and relax amongst an environment made from inflatable dancing columns. Referencing the ancient form of an architectural colonnade. “We wanted to create an environment that would be playful and unexpected,” said Mustonen. “Additionally, the use of a soft material for the installation allows people to touch and interact with their architectural surroundings and in turn, engage in a memorable shared experience while enjoying the Twilight Concerts.” Visitors are invited to move within and around the grid of columns, as the columns rise and fall in unpredictable and playful ways. The soft materials of the dancing columns encourage people to touch and interact with their architectural surroundings and in turn, engage in an unexpected and memorable shared experience. “This year’s Snarkitecture installation feels so fun and perfect for LA. Inspired by the inflatable tube signs we have all seen around used car lots and other businesses. I’ve seen people of all ages playing in them each week, not to mention all the selfies,” said Farrand. “Where else can you find art that dances to the music with you at a concert?”
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2017 Twilight Concert Series bios WEEK 5 7/27 DANCE
MIAMI HORROR Cleopold Cleopold Cleopold is an Australian singer-songwriter whose debut EP was just snapped up by Detail Co., a boutique record label owned and curated by Chet Faker. Its lead single, "Down In Flames," will serve as Cleopold's emergence as an independent artist. Based in Los Angeles, Cleopold has penned multiple singles for Miami Horror and Cassian, while collaborating with other Australian luminaries like Bag Raiders and Chet Faker. Cleopold provided the lead vocals for Miami Horror's latest single, "Love Like Mine," and Cassian's recent club hit, "Running," while honing his compositional chops on film scores for directors like Roman Coppola. Cleopold crafts blunt, honest songs with a confidence and sonic precision rarely heard in an emerging artist. His shapeshifting voice is deliberately hard to pin down, and places Cleopold in a musical territory all his own. Cleopold will return to Australia in August for a national tour supporting Miami Horror. With the keys to Chet Faker's Melbourne recording studio, he also plans to pen his debut LP in his labelowner's throne — a seat still warm from composing the award-winning album, Built On Glass.
CLEOPOLD
WEEK 6 8/3 AMERICANA
VALERIE JUNE & IRMA THOMAS VALERIE JUNE "Understanding the order of time is important to anyone hoping to manifest a dream," says Valerie June. "There is a time to push, and a time to gently tend the garden." Since the release of her 2013 breakout Pushin' Against A Stone, June has been patiently at work in the garden of song, nurturing seedlings with love and care into the lush bloom that is her stunning new album, The Order Of Time. Some songs grew from seeds planted more than a decade ago, others blossomed overnight when she least expected them to, but every track bears the influence of
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time. See, time has been on June's mind a lot lately. It's the only constant in life, even though it's constantly changing. It's the healer of all wounds, the killer of all men. It's at once infinite and finite, ever flowing with twists and turns and brutal, churning rapids that give way to serene stretches of placid tranquility. Fight against the current and it will knock you flat on your ass. Learn to read it, to speak its language, and it will carry you exactly where you're meant to be. "Time is the ruler of Earth's rhythm," June explains. "Our daily lives revolve around it. Our hearts beat along to its song. If we let it, it can be a powerful guide to turning our greatest hopes and dreams into realities." June knows a thing or two about turning hopes and dreams into realities. With Pushin' Against A Stone, she went from self-releasing her music as Tennessee's
best kept secret to being hailed by the New York Times as one of America's “most intriguing, fully formed new talents." The New Yorker was captivated by her "unique, stunning voice," while Rolling Stone dubbed her "unstoppable," and NPR called her "an elemental talent born with the ability to rearrange the clouds themselves." She astonished TV audiences from coast-to-coast with spellbinding performances on The Tonight Show, The Late Show, Austin City Limits, Rachael Ray, and CBS Saturday Morning, and graced some of the world's most prestigious stages, from Carnegie Hall to the Kennedy Center. First Lady Michelle Obama invited June to The White House, and she toured with artists like Sharon Jones & The Dap Kings, Sturgill Simpson, Norah Jones, and Jake Bugg in addition to flooring festival SEE BIOS PAGE 10
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VALERIE JUNE
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crowds at Bonnaroo, Outside Lands, Newport Folk, Hangout, ACL, Pickathon, Mountain Jam and more. In the UK, the reaction was similarly ecstatic. June performed on Later‌with Jools Holland, joined a bill with the Rolling Stones in Hyde Park, and took the press by storm. Uncut praised her "remarkably careworn vocals," MOJO swooned for her "glorious sound," and The Independent's Andy Gill wrote, "June has the most strikingly individual delivery I've heard in ages." When it came time to record the follow-up, June felt liberated by the success, fearless and more confident than ever in trusting her instincts and following her muse. There was to be no rushing the music, no harvesting a song before it was ripe on the vine and ready to be plucked. When she sensed the time was right, she headed to rural Guilford, Vermont, with producer Matt Marinelli, spending long stretches through the fall and winter living and recording away from the hustle and bustle of her adopted home of Brooklyn. "They made us feel so welcome in Vermont," remembers June. "I was cooking amazing food and hanging out with the band all the time. There were long talks and long walks in the snow, and friends would come up for holidays. I felt like I put myself in a place where I could really soar. With the last album, I was absorbing and learning and developing so much in the studio, but this is me taking
the things I learned and the things I felt in my heart and fighting for them." In her heart, June is a songwriter first and foremost, willing and able to blur the lines between genres and eras of sounds. The result is an eclectic blend of folk and soul and country and R&B and blues that is undoubtedly the finest work of her career. Opener "Long Lonely Road" settles in like languid southern heat, as June looks back to the sacrifices of her parents and grandparents, singing in a gentle near-whisper of the sometimes difficult, sometimes beautiful journey we all must undertake in search of brighter days. On the soulful "Love You Once Made," her voice is backed by rich horns and vintage organ as she makes peace with the specter of loss and the ephemeral nature of our relationships, while the bluesy juke joint rocker "Shake Down" features backup vocals from her brothers, Jason and Patrick Hockett and father, Emerson Hockett recorded at home in Tennessee, and "Man Done Wrong" centers on a hypnotic banjo riff that's more African than Appalachian. "People shouldn't necessarily think of bluegrass when they see the banjo," explains June. "It was originally an African instrument, and people in America used to play all kinds of banjo: mandolin banjo, ukulele banjo, bass banjo, classical banjo, jazz banjo, there were even banjo orchestras. For some reason people like to limit it and say it just has to be in folk and bluegrass, but to me it can be in anything, and I really wanted to set the banjo free on this record." The banjo turns up again later as the
underpinning of the R&B rave-up "Got Soul," which plays out like a mission statement for the entire album, as June offers to "sing a country tune" or "play the blues" but reveals that underneath it all is her sweet soul. Those genre terms might be simplistic ways to attempt to define her, empty signifiers creating distinctions between sounds where June sees none. "With You" channels the sprightly, ethereal beauty of Nico with fingerpicked electric guitar and cinematic strings, "Slip Slide On By" grooves with shades of Van Morrison, and "If And" slowly builds over meditative hum that hints at John Cale. Despite the music's varied nature, the songs all belong to a cohesive family, in part because they're tied together by June's one-of-a-kind voice, and because they're all pieces of a larger rumination on the passage of time and how it affects us. The ultimate takeaway from tracks like "The Front Door" and "Just In Time" is that the present is all we have. Everything around us (our loved ones, our youth, our beauty) will someday fade and disappear, but that transience is what makes those things all the more magical. We're given this brief moment to share our love and light with the world, and when, as June sings on the album, "Time's hands turn and point straight towards you," you'd better be ready. Thankfully for us, June was ready when time told her to harvest these songs. In the garden, as in life, there is a time for everything and the moment has finally arrived to enjoy the fruits of all her labor. With 'The Order Of Time,' Valerie June has prepared a bountiful feast, and there's a seat at the table for everyone.
2009 marked the 50th anniversary of Irma Thomas's first recording session and she remains one of America's most distinctive and classic singers, a treasure from the golden age of soul music who remains as compelling and powerful as ever. Irma first achieved prominence with a string of 1960s hits such as "Time Is On My Side," (later covered by the Rolling Stones), "It's Raining" and "Wish Someone Would Care." She toured extensively across the South with her band, The Toronados. Yet, her life has not been without its share of hardship and challenge. Pregnant at age 15, she was forced by her father into what she calls a "shotgun marriage." After the devastating effects of Hurricane Camille in 1969, when she was a single mother with four children to support, she moved her family to Los Angeles and worked for a time at a Montgomery Ward store, recording and performing only intermittently. Upon returning to Louisiana in the 1970s, she slowly rebuilt her reputation as The Soul Queen of New Orleans, signing with Rounder in 1986. In 2005, while she was working in Austin, Texas, Hurricane Katrina flooded her home and destroyed all her possessions, along with her nightclub, The Lion's Den. In the wake of the tragedy and loss that Katrina brought, her career has enjoyed an unprecedented upswing. After several nominations, she won a Grammy and continues to produce new music.
IRMA THOMAS
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These are your beaches, keep them clean.
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DŽūĿē ƥƑîIJǶČ ĺĚîēîČĺĚƙ and parking fees. HowToTwilight.com has a map and info of easy options like EXPO, Big Blue Bus, Bike Share, Rideshare and Bike Valets.
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BUSCABULLA
BIOS FROM PAGE 10
WEEK 7 8/10 LATIN
MON LAFERTE Buscabulla
MON LAFERTE Singer, Songwriter and Chilean performer from Viña del Mar, Mon Laferte is a winner of double platinum album plus gold in Mexico, winner of two MTV 2016 awards, nominated to two Latin Grammy Awards with a tour that visited the USA,
Mexico and Chile with over 70 sold out dates. She knew what she wanted in life when since she was 14 years old when the guitar turned into her partner and even in her teen years she transmitted her feelings through the verses she was writing. Musically educated in the streets of Viña del Mar and Valparaiso, she captures popular poetry from her roots that reflect in her tearing yet mellancholic voice.
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WEEK 8 8/17 INDIE ROCK
WARPAINT Wild Belle
WARPAINT It’s easy to get the wrong impression about Warpaint. The band’s studio albums (including their most recent full-length, 2014’s Warpaint) tend to emphasize moody atmospheres: gauzy keyboards, hypnotic harmonies and sinister grooves. In concert, however, the Los Angeles quartet—vocalist/guitarist Emily Kokal, vocalist/guitarist Theresa Wayman, bassist/vocalist Jenny Lee Lindberg and drummer/keyboardist Stella Mozgawa— pair this moodiness with bumped-up tempos and sinewy beats. Of course, confounding expectations has been part of Warpaint’s m.o. since the band formed in 2004. And so when the band convened to make their third studio album, Heads Up, they shared a common goal: to make a faster, dance-oriented record. “We’ve always had this really jammy, highenergy live show compared to some of our records,” Kokal says. “We all love to dance. We didn’t want to take away from the emotion or the core feeling of what our band is all about—which I don’t even think we could take out if we wanted, because it is who we are—but we wanted to bump the speed up and have a little bit more fun.”
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Warpaint spent only four months in the studio making Heads Up, the quickest they’ve ever made a record. “We have a tendency to over-marinate on certain ideas,” Mozgawa says. “There wasn’t a great deal of laboring over things or doing things a million different ways and overdubbing for months.” In another switch, Warpaint tended to work one-on-one or in pairs with producer Jake Bercovici (who produced their EP Exquisite Corpse) in the studio. “The doors were a little more open in terms of what was accepted and what wasn’t, because we were sharing ideas so rapidly between us,” Mozgawa says. These looser vibes and individual experiences ensured that once Heads Up was complete, even Warpaint themselves were surprised—in a good way—at how the album turned out. “We’ve been on tour, and we’ve been around each and other,” Lindberg says. “But you need to take a break from that sometimes to get a fresh perspective, and to be excited and inspired about what you’re doing. I feel like we did that. “I feel really proud of what we made—almost surprised and shocked,” she continues. “When we were making it, I was like, ‘I wonder what this is going to sound like? How’s this going to come together?’ I love the way that it came together so nicely. I feel so proud of it, and like it’s an evolution of our band. It sounds like a mature version of Warpaint.” WARPAINT
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Snap to unlock!
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then & now
THE PIER IN 1987, DEBUT OF CIRQUE DU SOLEIIL (NOTICE BANNER UNDER PIER SIGN); TODAY IT'S... WELL, IT IS WHAT IT IS (COURTESY SANTA MONICA PIER CORPORATION)
insider guide TICKETS
CONCERT GARDEN
FOOD & DRINK
SMOKING
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.
There is a 21-and-over Concert Garden featuring refreshments from Boulevard and Duvel beers, Deep Eddy Vodka, and an assortment of cocktails and non-alcoholic beverages. Do not miss this view.
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 during the show. As a reminder, alcohol consumption is not permitted in public spaces, but there are several full-service bars in the area.
Don't even think about it, it's a 100-year-old wooden Pier, and we really like it.
TIME 7PM - 10PM, but those in the know stake out a good spot early.
METRO EXPO Arrive in style on the new EXPO line. No parking, no traffic, no hassles.
WEATHER & ATTIRE 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!
PARKING We highly recommend alternate transport for a hassle-free experience (EXPO, Bus, Breeze Bike Share, rideshare, skateboard, walk, llama), but if you need to drive, parking is available in the 1550 Pacific Coast Highway Lot next to the Pier on a first-come, first-served basis. Those wanting to avoid long waits and higher fees should try one of the municipal lots a few blocks inland around 2nd/Colorado or 4th/Olympic.
VOLUNTEER We couldn't put on this free amazing event without a little (or a lot) of help from our friends. Wanna volunteer?
mystery photo THE FIRST PERSON WHO CAN CORRECTLY IDENTIFY WHERE THIS IMAGE WAS CAPTURED WINS A PRIZE FROM THE SANTA MONICA PIER. SEND ANSWERS TO INFO@SANTAMONICAPIER.ORG
FRIENDS & FAMILY Bring them, the more the merrier. You will not regret it. This is one epic Summer tradition.
SEATING BIKE/SKATEBOARD VALET Park your wheels at the free bike and skateboard valet located next to the beach bike path just south of the Pier. Make it even easier and cruise over on a bike from the new BREEZE bike share.
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.
PETS Friendly dogs are welcome on the Pier only and must be on a leash.
Seating is not provided, so feel free to bring your own chairs, blankets, etc...
PRO TIP TCS is best enjoyed with friends and those you love. Make the show an event for you and yours and keep your eyes open, who knows, you might just meet the love of your life…
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