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Santa Cecilia Orchestra will once again celebrate the glory of Latin-infused classical music by hosting Latinos Clásicos, which will take place at Occidental College’s Thorne Hall in Los Angeles on Sunday April 29 at 4:00 p.m.

As the next concert celebration of Santa Cecilia Orchestra’s 19^th season, conductor Sonia Marie De León de Vega will lead SCO’s 80-piece symphony orchestra that will feature the world premiere of Yalil Guerra’s Old Havana.  This sizzling concert’s bold color and atmosphere infused music will ignite passions in an orchestral performance that is sure to exhilarate and delight the audience, revealing the soul of Latin music, thrilling Latin rhythms and rich, exciting orchestration.

The concert will take place at Thorne Hall, 1600 Campus Road, Los Angeles, 90041 on Sunday February 12, 2012 at 4:00 p.m.  There will be one performance only of this program. Tickets priced at $26, $20 and $7 (youth, 17 and under) are available by calling the orchestra office at (323) 259-3011 or by visiting www.scorchestra.org/201011orderform.html#latinosclasicos

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Santa Cecilia Orchestra will perform Dvorák and Gershwin, its next concert of the 2011-2012 season, which will take place at Thorne Hall, in Los Angeles on Sunday February 12, 2012 at 4:00 p.m.  Conductor Sonia Marie De León de Vega will lead the orchestra performing George Gershwin’s fused jazz with symphonic music with Bryan Pezzone, who returns to SCO’s stage to play Gershwin’s Piano Concerto.  SCO will dazzle the audience with their virtuosity as they close the concert with Dvorák’s greatest romantic work, Symphony No. 7.

SCO is fulfilling its Music is For Everyone mission by offering full orchestra concerts, chamber concerts and its nationally acclaimed Discovering Music program.

The concert will take place at Thorne Hall, 1600 Campus Road, Los Angeles, 90041 on Sunday February 12, 2012 at 4:00 p.m.  There will be one performance only of this program. Tickets priced at $26, $20 and $7 (youth, 17 and under) are available by calling the orchestra office at (323) 259-3011 or by visiting www.scorchestra.org/201011orderform.html#dvorakandgershwin.

A complete season schedule is available at www.scorchestra.org/concerts.html.

About Santa Cecilia Orchestra and Conductor Sonia Marie De Léon de Vega

Founded in 1992 by world renowned conductor Sonia Marie De Léon de Vega, the Santa Cecilia Orchestra offers full orchestra and chamber concerts, and its nationally acclaimed Discovering Music, a two-year music education program that is currently offered in 18 elementary schools throughout Los Angeles.  SCO has made a commitment to share the beauty and inspiration of classical music with Southern California audiences, giving special focus to Latino communities.  Media and speaking engagement inquiries, please contact Lucia Matthews of DIÁLOGO at lucia@dialogo.us or for news, photos and biographies of the conductor and soloists, visit http://www.scorchestra.org/PressRoom.htm/.

Conductor Sonia Marie De Léon de Vega and the Santa Cecilia Orchestra (SCO) return to Occidental College with “Romantic Offerings,” a spectacular opening night concert of SCO’s 19th season on Sunday November 6, 2011, at Thorne Hall.  Romantic Offerings will include the beautiful Bruch Double Concerto featuring the Orchestra’s own principal players: Michael Arnold, clarinet, and Lauren Chipman, viola.

Inspirational Maestra De León de Vega will conduct the most beloved of all the Brahms symphonies, the Second.  The evening’s program also includes Mendelssohn’s St. Paul Overture and Bruch’s Concerto for Clarinet, Viola and Orchestra in E minor, Op. 88.

The concert begins at 4:00 PM and is performed without intermission. Tickets, which are on sale now for 26/$20 (adults) and $7 (children), are available by calling (323) 259-3011 or visiting www.scorchestra.org/201011orderform.html#romanticofferings.  A complete season schedule is available at http://scorchestra.org/concerts.html.

Sonia Marie De Léon de Vega, Conductor

Maestra De Léon de Vega is world renowned for her skills on the podium as the music director and conductor of the Los Angeles-based Santa Cecilia Orchestra, the only orchestra in the nation with a specific mission to share the beauty and inspiration of classical music with Latino communities. Maestra De Léon de Vega is celebrated in education circles for creating Discovering Music in 1998, a two-year music education program that is currently offered in 18 elementary schools throughout Los Angeles.  The program has touched the lives of more than 40,000 students in 35 schools through the power of music education.

About Santa Cecilia Orchestra

Founded in 1992, Santa Cecilia Orchestra has made a commitment to share the beauty and inspiration of classical music with Southern California audiences, giving special focus to Latino communities.  SCO offers full orchestra and chamber concerts, and its nationally acclaimed Discovering Music, a two-year music education program.  The upcoming season features four concerts:  Three full symphony concerts and a chamber orchestra performance.  Media and speaking engagement inquiries, please contact Richie Matthews of DIÁLOGO at richie@dialogo.us or for news, photos and biographies of the conductor and soloists, visit http://www.scorchestra.org/PressRoom.htm.

Ice Cube may cut hair in the movies, but if you schedule a photo shoot with him, his people will request it be BYOB — Bring Your Own Barber. You’ll need to bring a makeup artist, too.

After all, he’s not the same man he was whenBoyz n the Hood came out, 20 years ago last month. The Academy Award–nominated film sparked Cube’s transformation fromAmerikkka’s Most Wanted into its most adored. He is Cube, the mogul — a rapper, actor, director, documentarian, producer, writer and pitchman. The man even once saw the lights of the Goodyear Blimp and it read, well, you know.

The only thing he hasn’t done is paint. Fittingly, his latest venture is a collaboration with Rareink to release a limited-edition line of autographed prints, each featuring an artist’s interpretation of a classic Ice Cube album cover.

Which is the occasion of our penetration of the sixth-floor compound of Cubevision, located on the Sunset Strip across from the Roxy. There you see posters of the dozen-plus films he has produced, including Sindwir Schonda?— Are We There Yet? in German. His personal office is crowded with mementos, awards and symbolic gestures. Not one, but two Scarface posters.

Even if his current world is more lunches at the Grill than ice-grills, when you meet O’Shea Jackson, in his Westside Connection T-shirt, you will instantly remember that this is motherfucking Ice Cube. You’re forced to genuflect before the poisonous pen behind N.W.A, arguably the most imaginative and greatest rapper in gangsta-rap history.

Cube has stockpiled enough street cred to sustain four lifetimes’ worth of Janky Promoters and Coors Light commercials. He started this gangsta shit. The least we can do is pay attention.

With hip-hop in its fifth decade and Jay-Z and Kanye West name-droppingPicasso and Basquiat, did your decision to do the Rareink project stem from where the genre and its fans are at now?

I was watching Nightline or 20/20 and saw an artist who could put on a Mick Jagger song and paint Mick before the song was over. I knew that if I was a Mick Jagger fan, that’s something that I’d want. I’d want one for George Clinton. If you’re an entertainer who wants longevity, you want to get to the point where your fans cherish not only your work but you as an artist. You want to provide them with something authentic.

We’re at the 20th anniversary of Death Certificate. Do you think an album that outwardly political could get released on a major label today?

If the artist was hot enough. Eminem‘s released some controversial albums, so I don’t think there’s a limit. Would it get accepted by the mainstream music community? Probably not. They thought it was the worst shit at the time, so why would they think differently today?

It’s also the 20th anniversary of Boyz n the Hood. Today, every rapper wants to diversify, but you and Ice-T were the first. Did you know even then that it was important for your longevity?

It struck me after the opportunity was presented. When you’re engulfed in hip-hop, especially as I was in the late 1980s and early ’90s, you’re just trying to be the best rapper in the world. But when I had the chance to do Boyz, I saw everything on a whole other level. Working with John Singleton showed me that if he could do it, so could I. I wrote the song “Boyz-n-the-Hood,” I did the movie and I was in N.W.A. It was the universe saying, “You’ve got to expand on this.”

How hard would it be to get a movie like that made today?

It’s not easy. Hollywood doesn’t want to fund those movies, they want comedies. And if they do a drama, it won’t deal with race issues, it will deal with family issues, like Precious. I was trying to make a movie and I spoke with a dude who was, like, “I think the movie’s cool, but I don’t like the killing in the end. I don’t want sad shit in the film.” It’s, like, are we trying to depict reality or make this fantasy bullshit? But with DVD sales down, Hollywood cares more about the foreign market. You’d have to make Harry Potter meets Boyz n the Hood to get some hard-core shit made today.

Is that why you’ve gravitated toward comedy?

It’s the path of least resistance. The thing is to work on good projects. I don’t want to be a dude like Stanley Kubrick, pop out every five or six years because I’m waiting for the perfect one. They know I can make comedies work, so that’s what they want. It’s not like you go to McDonald’s and ask for a taco.

How did those Coors Light commercials come about?

They wanted to sell more beer. I told them, “It took y’all long enough to get me.”

You have two sons rapping, Doughboy and OMG. Have you given them any advice about the rap game?

I told them to fall in love with the music and not the industry, and you’ll be fine.

Written by:

Jeff Weiss

Photo:

Jenne Warren

Back in December the music blogosphere got all worked up. Turns out there was a new indie supergroup afoot, with Michael Cera on the bass!

The band was tweely named Mister Heavenly, and it featured Islands’ Nick Thorburn, Man Man’s Honus Honus, and Modest Mouse’s Joe Plummer. Pitchfork had the story, natch, and it was the biggest news on Stereogum since Zooey Deschanel started giving Ben Gibbard foot massages.

Though Pfork’s headline was “Michael Cera Joins Mister Heavenly,” it wasn’t entirely clear that he was an actual member of the group. In the Stereogum piece, even Honus Honus (aka Ryan Kattner) wasn’t sure. “Don’t know,” he told them when asked point blank. “We are all Dogstar fans.”

Personally, this story wasn’t much on our radar until we heard Mister Heavenly was playing FYF Fest next month. Sure, we would have loved to speak with members of the recently-reunited Death From Above 1979 or South Bay punk legends the Descendents, but, c’mon, this is George Michael Bluth we’re talking about. We put in our interview request to Sub Pop’s publicist and began preparing a list of questions, which were mainly just jokes about George Michael’s girlfriend Bland.

Unfortunately, it was not to be. The publicist, Bekah Zietz, casually noted that Cera is no longer the group’s touring bassist and would not be performing at FYF. Not only that, but she says he was never in the group in the first place. “[He] did not record nor was he ever a permanent member of the band,” she wrote to us, “just a friend of the band who was helping them out when they were in need of a bassist.”

So, there you have it. No Michael Cera at FYF Fest, unless he’s there watching. It makes us wonder what happened. Could Cera have gotten cold feet after Kattner’s disgruntled-sounding comments to Spinner at SXSW this year, where the band — with Cera — performed?

“Michael is a buddy, never toured before, good bass player but he’s not playing on the album,” he said. “When the band formed a year ago, we thought it would be fun to have him on the road but it’s been kind of a distraction. I hate the girls screaming ‘Michael.’”

In any case, so long Michael Cera. We’ll always have Scott Pilgrim vs. the World.

Written by:

Ian Joulain

Image:

Evan Culbertson

At the L.A. Phil’s performance of Tchaikovsky’s Fifth Symphony last week at the Hollywood Bowl, a lot of people had a hard time keeping their minds on the, um, crescendos.

The problem — if you can call it that — was 24-year-old Chinese pianist Yuja Wang, who kicked things off performing Rachmaninoff’s Third Piano Concerto. It was hard to notice her finger work, as she was clad in a bare-shouldered, high-hemmed orange dress.

Times critic Mark Swed was particularly captivated, dedicating almost a third of his review to her and her tiny outfit. “Her dress Tuesday was so short and tight,” he wrote, “that had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.”

Um, Swed was clearly not at HARD Summer Fest this weekend.

In any case, since the review was published last Wednesday, bloggers and commenters have begun taking sides on the case of the titillating pianst. Amanda Ameer, a publicist for classical musicians, said on artsjournal.com that Wang had the right to dress to kill, even if her taste was questionable and might possibly hurt her career.

“Do I think the dresses are an odd choice? Yes,” she wrote. “Do I think wearing them is unfair to her artistic partners on stage? Possibly. Do I think that, as long as they don’t prevent her from playing the piano, she should wear them if she wants to? I do, so long as she accepts that it will be all people want to talk about, for better or worse.”

Washington Post critic Anne Midgette, meanwhile, found Swed’s overemphasis on
Wang’s outfit symptomatic of the stodginess of the insular classical music scene: “Let’s have a reality check for a minute. Yes, the dress is short, tight, and revealing. But in the real world — the world outside classical music’s still-prurient bubble — this is not unusual attire for a young rising starlet in the public eye…these dresses and shoes are not inherently shocking, let alone a cause for restricting admission to those under 18.”

Our opinion? Swed should relax. We encourage more classical performers to heed the words of The Producers‘ Max Bialystock, who memorably shouted out his office window, “That’s it, baby, when you’ve got it, flaunt it! Flaunt it!”

Written by:

LA Weekly

Re:Play L.A. is our concert series with local indie acts covering classic albums. The final installment — Aug. 17 at the Hard Rock Café on Hollywood Boulevard — will feature genre-unclassifiable duo J*DaVeY. But unlike the other artists in the series, J*DaVeY weren’t immediately sure what they wanted to cover. They considered the Stooges’ self-titled debut, the Beatles‘ Revolver and Talking Heads‘ Brian Eno–produced classic Remain in Light. Seeing that they’ve already covered “Smells Like Teen Spirit,” they toyed with the idea of performing Nirvana’s Nevermind.

Makes sense that the group’s members — singer-songwriter Jack Davey and producerBrook D’Leau (by the way, Jack’s the woman and Brook’s the man) — would have a hard time picking a style, considering they can play so many of them. They’re L.A.’s freshest, funkiest fusionists, and they’ve been coloring outside the lines and defying being “genre-cized” since forming in 1999. They can play hip-hop, new wave, rock, pop, electro, R&B and … that’s about all we have space for here.

They finally settled on the 1980 Police recordZenyattà Mondatta. “In our iTunescollections, we both have their entire catalog — not one song is missing,” Davey says. “That album is probably my favorite, particularly ‘When the World Is Running Down, You Make the Best of What’s Still Around.’”

The choice becomes more clear when it’s compared to J*DaVeY, particularly the title, which is intentionally vague; J*DaVeY avoid assigning specific meaning to their music. “I believe that leaving things open to interpretation makes [our music] more interactive with the audience,” D’Leau says.

The record’s energy also matches that of Davey and D’Leau. “Zenyattà Mondatta seems like it was more of a jam session. It’s a lot more free-flowing [than a typical studio album],” D’Leau says. As they told us when we interviewed them for L.A. Weekly‘s 2011 People issue, they don’t rehearse their shows to death, in order to give fans a different experience every time. In that same spirit, the pair decided on Zenyattà at the last minute.

D’Leau says he’s a bit nervous about the show. The record is important to him: His parents played it when he was growing up, and he introduced Davey to it when they first began working together in high school. But we’re sure any fear will dissolve once the duo start in on their slithering remix of “Don’t Stand So Close to Me.” Or maybe they’ll play that song straight. The beauty of J*DaVeY is that nobody, not even they, will know until that very moment. —Rebecca Haithcoat

J*DaVeY perform as part of L.A. Weekly‘s Re:Play L.A. series, Wed., Aug. 17, 9 p.m., at the Hard Rock Café, 6801 Hollywood Blvd., Hlywd. Free.

Written by:

Rebecca Haithcoat

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