Those that know, glow
Bathe yourself in ultraviolet glory at Star Theater!
YOU MUST DRESS TO GLOW TO ENTER THIS EVENT
21+. This event has sold out for nine consecutive years.
More info: www.glowjob.net
Corrosion Records & Missionary, Hunter Productions Present:
(HIVE begins after concert at 11pm)
Sun March 17th 2019
Doors at 8:00pm - 21+
Local presale starts Thur Sept 13 at 10 am. General on sale starts Fri Sept 14 at 10 am.
Low. A band from Duluth, Minnesota, formed in 1993. Featuring Alan Sparhawk on vocals and guitar and Mimi Parker on vocals and drums and Steve Garrington on bass. Sparhawk and Parker are married with two children; they first met in fourth grade in rural Minnesota. Garrington is the latest addition to the band, longtime bassist Zak Sally previously replaced original bassist John Nichols and Sally departed the group after the release of Great Destroyer.
Low released its first album, I Could Live in Hope, in 1994 (producer by Kramer) on Vernon Yard Records. Pegged as "slowcore," due to the band's minimalist soundscapes and the beautiful harmonies of Sparhawk and Parker, which stood in stark contrast to the era's fascination with "grunge." Low continued to work with varied producers and released a constant stream of critically acclaimed albums (e.g., Long Division, Curtain Hits the Cast, Things We Lost in the Fire), one-offs, collaborations and other miscellany, including a classic Christmas album, aptly titled Low Christmas. Throughout, Low toured the world and eventually found themselves in the company of acts such as the Dirty Three, Radiohead and Nick Cave and the Bad Seeds.
Sparhawk has formed a few side projects, notably the dirty punk blues band, The Black Eyed Snakes and, most recently, the rock trio The Retribution Gospel Choir. Low's latest album, Drums and Guns (produced by Dave Fridmann), was released in 2007 on Sub Pop Records.
THE NO'S: No cameras, no recording devices, no outside food or beverage, pets, weapons, drugs, alcohol, or illegal substances. No stage diving, No crowd surfing. No refunds.
THE NO’S: No cameras, no recording devices, no outside food or beverage, pets, weapons, drugs, alcohol, or illegal substances. No stage diving, No crowd surfing. No refunds.
Hailed as one of the most vital standard-bearers of modern African music, singer, songwriter, and guitarist Fatoumata Diawara is taking her artistry to fresh and thrilling heights. Boldly experimental yet respectful of her Malian roots, Fatoumata’s music defines her as the voice of young African womanhood – proud of her heritage but with a vision that looks confidently to the future. Her live performances “scream with energy” (NPR), her stage presence both “hypnotic” and “captivating” (Rolling Stone). Fatoumata’s most recent release, Fenfo, is a set of vivid and original new compositions that draw on the rich experiences and musical adventures she’s enjoyed in recent years. A modern day storyteller, Fatoumata covers such timeless subjects as respect, humility, love, migration, family and how to build a better world for our children in her music. “Don’t sing just to sing,” she emphasizes, “sing to change things, to make things better.”
As a singer, actress, songwriter, and activist, Fatoumata has shared her message and experience with audiences all over the world. With performances at Glastonbury and other major festivals, Fatoumata has also worked with some of the biggest names in contemporary music. She recorded with Bobby Womack and Herbie Hancock; assembled a West African super-group featuring Amadou and Mariam, Oumou Sangaré, and Toumani Diabaté to record a song calling for peace in her troubled homeland; climbed aboard Damon Albarn’s star-studded Africa Express, which culminated in her sharing a stage with Sir Paul McCartney; and performed with countless other esteemed musicians such as Omara Portuondo, Dee Dee Bridgewater, Habib Koité, Roberto Fonseca, and Rokia Traoré. In fact, it was fellow Malian songstress Rokia Traoré who encouraged Fatoumata to pick up a guitar, a suggestion that opened the door to her career in music.
Welcome to a unique and immersive poetry event that takes poetry outside classrooms and lecture halls and places it in the lush interiors of a bordello. The Madame presents a rotating cast of poets, each operating within a carefully crafted character, who share their work in public readings, spontaneous eruptions of poetry, and most distinctly, as purveyors of private poetry readings on beds, chaise lounges and in private rooms. For a fee, all of the poets are available for these sequestered readings at any time during the event. Of course, any true bordello need a good cover; ours is an immersive cabaret featuring poetry, burlesque, live music, vaudeville, aerials, visual art, magic, and mysticism, with newly integrated themes, performances and installations at each event.
Doors open at 8pm, and the show begins promptly at 8:30pm. As usual the festivities will be presided over by your hosts Mister Charley, The Madame, and that rapscallion, Tennessee Pink. For more information, including featured performers and thematic details, please visit thepoetrybrothel.com. Costumes and/or cocktail attire are encouraged but not required. The Poetry Brothel staged show will wrap up around 11:30pm, but feel free to stay on for a free dance party, where the poets and mystics will continue to be available for private readings.
Includes reserved priority seating, a surprise gift, and two premium private reading tokens good for readings with any of the poetry whores, the featured readers for the night, and/or The Madame or Tennessee Pink, creators of The Poetry Brothel
Ticket holders must show their AWP Conference badges at the box office to collect these half-price tickets
Home. Where the heart is. For Bombino and most other Tuareg, there’s only one place that can be. In recent years, the rest of the world has largely written off that home as a hot and savage wasteland, a bolt hole for religious extremists and terrorists, a geopolitical video nasty with little to offer apart from the oil, gold and phosphates that lie beneath its soil. But Bombino would like us to take a closer look and think again. His feelings are beautifully summed up in the song “Tehigren” (‘Trees’), from his brand new album ‘Deran’: ‘Do not forget the green trees / In our valleys in the Sahara / In the shade of which, / Rest the beautiful girls / Radiant and lovable’. How to celebrate that desert home, how to protect it, develop it, unify it, respect it and, above all, never forget it, are the salient themes of ‘Deran.’ They’re dressed up in ten songs of rare maturity and power that mark a turning point in the career of a guitarist and songwriter who was born in the shade of an acacia tree about eighty miles north west of the ancient town of Agadez, and has since risen to forefront of the new Tuareg guitar generation. It’s a turning back the source of everything that makes Bombino who he is. “My mission for this album was always to get closer to Africa,” he says. Not surprising then that the decision was made to record ‘Deran’ as close as possible to his native Niger in the southern Sahara. The ideal venue emerged in the shape of Studio Hiba, a top flight recording facility owned by King Mohammed VI (he loves his tunes, apparently) located in a fairly drab industrial suburb of Casablanca in Morocco. There Bombino and his steady longterm band - fellow Tuareg Illias Mohammed on guitar and vocals, American Corey Wilhelm on drums and percussion and the Mauritanian (living in Belgium) Youba Dia on bass - slept, ate and made music in blissful isolation. Their circle was widened by Moroccan percussionist Hassan Krifa, and by Bombino’s cousins Anana ag Haroun (lead singer of the Brussels-based Tuareg band Kel Assouf), and Toulou Kiki (singer and star of the film Timbuktu), who dropped in to add some ‘gang’ vocals. After Casablanca, the tapes flew to Boston to be embellished by Sudanese friend and keyboardist Mohammed Araki.
How does one define John 5? Is he rock? Is it country? Is he heavy metal? What about emo, industrial or bluegrass? Truth is there is no one set genre to fit John 5. In a world where music must be defined, John 5 breaks every mould by continually changing and adapting his style. Although he is unmistakably John 5 in his sound, he mixes around with the foundation with every new track he writes, every album he guests on and every time he picks up the guitar.
Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar and have pushed him to the forefront of a crowded scene. Back home, he's celebrated for his original compositions and verbose poetry, an original creator in a genre defined by cover bands. In the exterior, where Saharan rock has become one of the continents biggest musical exports, he's earned a name for himself with his guitar moves. Mdou shreds with a relentless and frenetic energy.
Mdou Moctar hails from a small village in central Niger in a remote region steeped in religious tradition. Growing up in an area where secular music was all but prohibited, he taught himself to play on a homemade guitar cobbled together out of wood. It was years before he found a "real" guitar and taught himself to play in secret. He became a star amongst the village youth. In a surprising turn, his songs began to win over local religious leaders with their lyrics of respect, honor, and tradition.
In 2008, Mdou traveled to Nigeria to record his debut album. The album became a viral hit on the mp3 networks of West Africa, and was later released on the compilation "Music from Saharan Cellphones." In 2013, he released "Afelan," compiled from field recordings of his performances recorded in his village. Then he shifted gears, producing and starring the first Tuareg language film, a remake of Prince's Purple Rain ("Rain the Color Blue with a Little Red in it"). Finally, in 2017, he created a solo folk album, "Sousoume Tamachek," a mellow blissed out recording evoking the calm desert soundscape. Without a band present, he played every instrument on the record. "I am a very curious person and I want to push Tuareg music far," he says.
His new album, "Ilana" is his most ambitious to date - taking the tradition into hyperdrive, pushing Tuareg guitar into an ever louder and blistering direction. In contrast to the polished style of the typical "world music" fare, Mdou trades in unrelenting grit and has no qualms about going full shred. From the spaghetti western licks of "Tarhatazed," the raw wedding burner "Ilana," to the atmospheric Julie Cruise-ish ballad "Tumastin," Mdou's new album seems at home amongst some of the great seminal Western records. But Mdou disagrees with the classification. Mdou grew up listening to the Tuareg guitar greats, and it was only in the past few years on tour that he was introduced to the genre. "I don't know what rock is exactly, I have no idea," he says, I only know how to play in my style."
As Mdou travels the world, his music is an opportunity to be heard and represent his people on a world stage. His music has been featured in the BBC, The Guardian, Pitchfork, New Yorker, New York Times, L.A. Weekly, NPR, Rolling Stone, and Les Inrocks. His film continues to be screened at film festivals around the world.