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DTSTART;TZID=America/New_York:20220916T180000
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CREATED:20220913T203703Z
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SUMMARY:Paperhand Puppet Intervention presents "The Meanwhile Clock and Other Impossible Dances"
DESCRIPTION:A modern fairy tale and an exploration of deep time with giant puppets\, masks\, painted cardboard\, stilts\, and shadows all set to live music!\nMade for all people and all ages. \nFri\, Sat\, Sun Aug 12- Sept 18 Forest Theatre Chapel Hill\nAND Sept 23\, 24\, & 25 at NC Museum of Art \nShow times 7pm Pre-show 6:20 for each show\nMatinees at 3pm on Sunday Sept 11 and 18 ONLY.\nTickets available at www.paperhand.org AND at the door. \nHelp Momo in the struggle to keep the ‘Men in Gray’ of the Time Savings Bank from stealing our future with their greed\, foul cigars\, and capitalist ideas. The time is now! Join us!! We are summoning our collective spirit to invoke creativity and care for the Earth\, for its creatures\, for each other\, and for our future.\nThis summer\, join us as we re-engage and celebrate in the way we know how- with communal storytelling\, shadows\, masks\, and of course….giant puppets! Join us on the cool steps of the forest once again\, as we dive into a new story for our 22nd annual summer spectacle. All flourishing is mutual\, all liberation is collective\, and all living things are welcome. \n\n\n	Related
URL:https://artsorange.org/event/paperhand-puppet-intervention-presents-the-meanwhile-clock-and-other-impossible-dances/2022-09-16/
LOCATION:North Carolina Museum of Art\, 2110 Blue Ridge Road\, Raleigh\, NC\, 27607\, United States
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DTSTART;TZID=America/New_York:20210820T200000
DTEND;TZID=America/New_York:20210820T235900
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CREATED:20210805T184109Z
LAST-MODIFIED:20210805T184109Z
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SUMMARY:Preservation Hall Jazz Band\, Tank and the Bangas
DESCRIPTION:Related
URL:https://artsorange.org/event/preservation-hall-jazz-band-tank-and-the-bangas/
LOCATION:North Carolina Museum of Art\, 2110 Blue Ridge Road\, Raleigh\, NC\, 27607\, United States
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DTSTART;TZID=America/New_York:20200728T200000
DTEND;TZID=America/New_York:20200728T235900
DTSTAMP:20260520T221249
CREATED:20200711T172543Z
LAST-MODIFIED:20200711T172543Z
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SUMMARY:Blues Traveler\, JJ Grey & Mofro
DESCRIPTION:Blues Traveler \nThirty years ago\, the four original members of Blues Traveler gathered in the basement of their drummer’s parents’ home in Princeton\, N.J.\, and started a band that has now released 13 studio albums\, four of which have gone gold. In its 1994 hit “Run-Around\,” Blues Traveler had the longest-charting radio single in Billboard history\, which earned them a Grammy. Their movie credits include Blues Brothers 2000\, Kingpin\, and Wildflowers. They have been featured on Saturday Night Live\, Austin City Limits\, and VH1’s Behind the Music\, and they hold the record for the most appearances of any artist on The Late Show with David Letterman. \n“We intend to keep going as long as they pay us\,” says founding member John Popper\, resplendent in bathrobe and Simpsons pajamas\, with a Samurai sword dangling from a belt loop. “We’re going to be in everybody’s face this year. I feel like I’m in my prime.” \n  \nJJ Grey & Mofro \nFrom playing greasy local juke joints to headlining major festivals\, JJ Grey remains an unfettered\, blissful performer\, singing with a blue-collared spirit over the bone-deep grooves of his compositions. Onstage\, Grey delivers his songs with compassion and a relentless honesty\, but perhaps not until Ol’ Glory (2015) has a studio record captured the fierceness and intimacy that defines a Grey live performance. \n“I wanted that crucial lived-in feel\,” Grey says of the album. Grey and his band Mofro offer grace and groove in equal measure\, with an easygoing quality to the production that makes those beautiful muscular drum-breaks sound as though the band has set up in your living room. \n\n\n	Related
URL:https://artsorange.org/event/blues-traveler-jj-grey-mofro/
LOCATION:North Carolina Museum of Art\, 2110 Blue Ridge Road\, Raleigh\, NC\, 27607\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200426T200000
DTEND;TZID=America/New_York:20200426T235900
DTSTAMP:20260520T221249
CREATED:20200412T161153Z
LAST-MODIFIED:20200412T161207Z
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SUMMARY:Brittany Howard of Alabama Shakes
DESCRIPTION:JAIME \n“I turned thirty and I was like\, ‘What do I want the rest of my life to look like?\,’ “ says Brittany Howard. “Do I want to play the same songs until I’m fifty and then retire\, or do I do something that’s scarier for me? Do I want people to understand me and know me\, do I want to tell them my story? I’m very private\, but my favorite work is when people are being honest and really doing themselves.” \nAs the frontwoman and guitarist for Alabama Shakes\, Howard has become one of music’s most celebrated figures—the band has won four Grammys (out of its nine nominations)\, and she has performed everywhere from the Obama White House to the main stage at Lollapalooza\, where she sang with Paul McCartney at his invitation. But for her solo debut\, Jaime\, Howard boldly decided to explore new directions\, with diverse instrumentation and arrangements and intimate\, revelatory lyrics. \n“It’s scary to mess with success\, because the Shakes are doing so good\,” she says. “But I needed to shake it up—and if you’re going to do that\, you better go all out and make it worth it.” \nHoward had amassed a bunch of ideas and song scraps\, things that felt like they were outside the realm of the band. Her plans weren’t clear for these incomplete tracks\, which were mostly recorded alone on her laptop and given temporary\, random titles—making it challenging to even locate them later. \n“I wanted to do something on my own\, just my music\, that didn’t have to have a genre or stick to fans’ expectations\,” she says. “I knew I wanted to do a record\, but I didn’t know where to begin. I was freaking out\, I didn’t know what to sing or what it would sound like. I was writing every day\, putting all this stress on myself\, hoping something would happen.” \nIn search of inspiration\, Howard left her home in Nashville and went to Topanga Canyon for a change of scenery. “I was staying in this beautiful place and I was miserable because the songs just weren’t coming\,” she says. \nWhen she eventually went into engineer Shawn Everett’s studio in Los Angeles to record\, she only had a handful of finished songs. But once she started working with the band she had assembled—a core group of Alabama Shakes bassist Zac Cockrell (“We’ve known each other since we were kids\,” she says\, “so working with another bass player seemed ludicrous”)\, innovative jazz-based keyboard player Robert Glasper\, and drummer Nate Smith—Howard started to feel the music taking shape\, sometimes out of their playing and sometimes simply out of conversations. \n“I had forgotten some of these songs even existed\,” Howard says with a laugh. “’History Repeats’ took forever to mix because it’s the original from my Logic recording\, which I had recorded vocals on just to show my friend how the program worked and then forgot about it. The vocal on ‘Run to Me’ was recorded on a cell phone!” \nThe work Howard has done with her side bands\, Thunderbitch and Bermuda Triangle\, also impacted her ambitions for the songs on Jaime. “The Shakes do a cycle of recording and touring\, and then I get restless in the time off\,” she says. “Actually\, to me\, there is no time off—I’m a creative person and I need to create or I just feel weird\, not fully human. \n“With Bermuda Triangle\,” she continues\, “I learned about raising my own voice. The other girls had their own songs\, they could just play them on an acoustic guitar and they didn’t need a band. My music is really composed\, with lots of moving pieces\, so that inspired me to really pay more attention to what I write and try to be a better songwriter.” \nDifferent sounds and approaches started to emerge. Howard plays all the parts on “Short and Sweet\,” while “Presence” sees her accompanied only by a harp. “13th Century Metal” grew out of Glasper and Smith jamming in the studio—“I heard that and knew I had to do something with it\,” she says. \nEven more striking\, though\, are the stories Howard is telling on Jaime\, the deeply personal and emotional territory she covers directly and nakedly\, stripped of overtly poetic distance. She confronts harsh truths about relationships in songs like “Baby” and “Tomorrow” and examines spiritual ritual in “He Loves Me.” \nHoward points to “Georgia” as a breakthrough song on the project\, and for herself. “That’s a straightforward love song to another woman\, which is something I never confronted until I was older\,” she says. “In a small town like where I come from\, different is bad—I never wanted to be different. My greatest wish was to be like everybody else. I didn’t want to be almost six feet tall\, didn’t want this big\, bushy hair. That’s the truth of what it feels like to hold everything in and just want to be accepted for being yourself.” \n“Goat Head” is a painfully candid account of Howard’s family experience when she was growing up as a mixed-race child in a small Southern town. “It’s a story my mom told me when I was 13 or 14\,” she says\, “about how it was really hard to have little brown babies\, how hard it was raising us. I never saw our town that way\, never experienced it because I was too young\, but it explained so much about my mom—why she was always so stressed\, had so much trouble getting a job. \n“When I sang it\, I instantly felt afraid\, embarrassed\, vulnerable. I was definitely scared for the sake of my folks\, bringing up bad memories\, But it is my story to tell—that song was the experience of growing up in the South.” \nHoward titled the album after her sister\, who taught her to play the piano and write poetry\, and who died of cancer when they were still teenagers. “The title is in memoriam\, and she definitely did shape me as a human being\,” says Howard. “But it’s also about me—the people who know me well know how important she is to me.” \nAs the first project to come out under Brittany Howard’s own name\, Jaime represents an enormous step both musically and personally. “It’s my first time making decisions on my own\, being the captain of the ship\,” she says. “It brings up existential questions—why am I here\, why do I do this? People think that touring in a band is super-fun\, and it can be\, but nothing about it is normal. You miss out on a lot of stuff\, so I need to make sure I’m doing it for the right reasons.” \nHoward looks forward to playing these songs live\, but is tempering her expectations. “I have no idea what’s going to happen\,” she says. “I have to measure my success by the fact that I did something I didn’t think I could do—I knew I could\, but I didn’t know if I would. So just the fact that I made it\, and gave myself permission to just fuck it up and do some stuff that’s maybe stupid and not cool\, is pretty successful. Being a creative person\, that’s the most successful thing.” \nWebsite | Facebook | Twitter | Instagram | Spotify | Soundcloud | YouTube | Apple Music \n\n\n	Related
URL:https://artsorange.org/event/brittany-howard-of-alabama-shakes/
LOCATION:North Carolina Museum of Art\, 2110 Blue Ridge Road\, Raleigh\, NC\, 27607\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200421T200000
DTEND;TZID=America/New_York:20200421T235900
DTSTAMP:20260520T221249
CREATED:20200412T161117Z
LAST-MODIFIED:20200412T161206Z
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SUMMARY:Big Bad Voodoo Daddy\, Jake Shimabukuro
DESCRIPTION:Big Bad Voodoo Daddy \nSince its formation in the early ʼ90s in California\, Big Bad Voodoo Daddy has toured virtually nonstop and sold over 2 million albums. Their early residency at the Derby nightclub in Los Angeles reminded the world\, amid the grunge era no less\, that it was still cool to swing. The band\, co-founded by singer Scotty Morris and drummer Kurt Sodergren\, blends the classic American sounds of jazz\, swing\, and Dixieland with the energy and spirit of contemporary culture in an effort to revitalize the genre while remaining respectful of the music’s rich legacy. \n  \nBig Bad Voodoo Daddy’s first phase of stardom featured an appearance in the 1996 indie film Swingers\, introducing the band to an audience beyond its Los Angeles base. BBVD’s music has appeared in films and television shows including The Wild\, Despicable Me\, Phineas & Ferb\, Friends\, and many more. Band members have appeared live on Dancing with the Stars\, Late Night with Conan O’Brien\, seven times on The Tonight Show with Jay Leno\, and the Super Bowl XXXIII Halftime Show. The band has also appeared as special guests with many of the country’s distinguished symphony orchestras and has performed for three U.S. presidents. \nAfter 27 years\, 11 records\, over 3\,000 live shows\, and countless appearances in film and television\, Big Bad Voodoo Daddy\, with its all-original core lineup\, shows no signs of slowing down and is looking forward to sharing its music with fans new and old alike in 2020. \n  \nJake Shimabukuro \nJake Shimabukuro is a humble master of the ukulele whose mission is to connect and inspire people. He shares a deep emotional connection with the listener that is open\, magical\, and transcendent. Often referred to as the Miles Davis\, Jimi Hendrix\, Bruce Lee\, or Michael Jordan of his craft\, Shimabukuro performs around the world with an out-of-the-box blend of stunning virtuosity\, deep musicality\, and a natural entertainer’s flair. He takes the ukulele to places no one has gone before\, performing awe-inspiring music that ranges from jazz\, blues\, and rock to bluegrass\, classical\, and folk. \n  \nOn his latest album\, Trio\, Shimabukuro begins a bold new chapter; the artist himself regards it as a personal best. \n\n\n	Related
URL:https://artsorange.org/event/big-bad-voodoo-daddy-jake-shimabukuro/
LOCATION:North Carolina Museum of Art\, 2110 Blue Ridge Road\, Raleigh\, NC\, 27607\, United States
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