Heidi Duckler Dances Into 39th Year in the Light of the Harvest Moon

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With immersive magic, Heidi Duckler Dance celebrated its 39th year with a site specific dance perfomance and gala last Saturday with signature impressive original style.

The excitingly innovative dance company is known for site-specific perfromances, and this one, held the the Frank Gehry-designed outdoor space of the Loyola Law School Campus, was stunning. The performance, Dance in the Light of the Harvest Moon was an hour long extravaganza of swirling and galvanizing dance.

 

Featuring live saxophone and cello, dancers in stunning fish head costumes wove from plaza area to ascending stairwells, parking garage ramps, and beside a spectacularly lit purple and green tree. Why fish? Renowned architecht Gehry was known to love fish, and the campus was designed, Gehry himself as said, as a kind of stage set,  “…a little village of buildings around a main plaza…with character and diverse structures.” The buildings served here as a contained aquarium of sorts, aswim with lights, music, and dancers who moved, literally and figuratively “upstream” and circled vibrantly hued buildings.

Along with Duckler’s innovative hand overseeing all,  Madison Olandt, and Aleks Perez choreographed and directed. The
original collaborative piece School of Fish, created by transdisciplinary choreographer Shoji Yamasaki, was a highlight. Skilled visual artist and costume designer Snezana Saraswatic Petrovic created stunning costumes for the event, creating fish heads from plastic zip ties for the dancers, and dressing them in shiny, supple scaly-gloves, fabrics, and sparkly shoes. Costumes, music, and sinuous, ecstatic dance moves all combined with super views of the DTLA skyline for an ecstatic night of dance.

Audience members were treated to charcuterie platters and cocktails, a gala awards ceremony at which Duckler introduced her successsor as artistic director for coming years, Raymond Ejiofor, preceding the dance performance.

The performance moved from plaza to outdoor stairs, from ghostly figures in a kind of underworld to fish-head shimmring swimmers, goddess Diana-like huntresses under illuminated trees, and a final multi-level work that had audience members following the fish-head-wearing dancers up five levels of the school’s parking garage, with costumed saxophonist and bubble machines a part of the delightful finale.

That final piece ended on the rooftop amid the shimmering downtown lights with a silent auction, live band, and buffet tables.  With audience members makng their way home at last to dream of dancing fish and moonlight seranades.

 

  • Genie Davis; photos by Genie Davis and Jack Burke

 

The Gaslight Anthem Helms Strong Rock Lineup on a Summer Night at the Greek 

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On a balmy night at the Greek Theatre, a rockin’ triple lineup headlined by The Gaslight Anthem brought three and a half hours of exciting rock n’ roll.

The concert began with The Dirty NIL,  a tight four person punk rock band all the way from Ontario, Canada. The band offered a lively set that veered toward the punk as the first opener at the Greek tonight. Lead singer and guitarist Luis Bentham was in strong voice and Ross Miller brought cheers for his robust bass work and wild stage leaps. Highlights included the terrific song “The Light, the Void and Everything.”

Joyce Manor, local natives out of Torrance, Calif., got the growing audience to their feet with a super danceable “My Tattoo.” Channeling a taste of Blink 182, they powered through a 45-minute set that also included the must-dance power rocker “Gotta Let It Go” from their new album, “as well as End of the Summer,” “Eighteen,” “House Warning Party,” “Stairs,” 2014’s sing-along “The Jerk,” and “Dance with Me,” along with many cuts from their 2022 album “40 oz. to Fresno,” finishing up with a raucous “Catalina Fight Song.”

Lead singer and guitar Barry Johnson totally brought it – including during a moment in which a “big f@&% spider” crawled across the stage – he’s not an arachnoid fan, but even the spider was probably dancing throughout the 45 minute set.

The Gaslight Anthem came on stage to a recording of Cindy Lauper singing “Girls Just Wanna Have Fun” and I think every girl and boy at the Greek had a lot of fun on the LA installment of the band’s History Books tour.

Offering strongly anthemic melodies with lead singer and guitarist Brian Fallon in fine voice, fans sure weren’t disappointed with a galvanizing, tight set that began with “45” and moved through 20 songs in a generous 85 minutes set, including the beautiful, lush, and romantic “The Weatherman,” from the band’s latest 2023 LP, History Books. The song’s titular narrator is just “trying to read you …” and the audience hushed in anticipation.

Every member of the New Jersey native band came ready to raise the roof – if there was one at the Greek, that is –  Fallon who handles rhythm guitar as well as vocals; Alex Rosamilia, guitar; Alex Levine, bass; Benny Horowitz, drums; and Bryan Haring on keyboards.

There were many highlights , including the high energy “Bring It On;” a poignant “Film Noir;” and the lightly nostalgic “Here’s Looking at You Kid,” the latter of which was followed by a tender cover of Red Hot Chili Peppers’  “Soul to Squeeze.”  

Then it was time to rock out again to a set that included the pounding drums of “American Slang,” as well as the location-appropriate blusey rocker “Mulholland Drive,” which concluded with delicately rendered blues-based guitar riffs. 

Favorites like “Autumn” brought a vibrant Springsteen-like vibe (note: Springsteen himself played on their new album’s title track which wasn’t on the set list tonight)  while a beautiful “Michigan 1975,” from the new album, led into a closing trio of songs that included “Mae,” crowd fave “Great Expectations,” and a rousing version of “The 59 Song,” as the finale that got the crowd clapping along and anyone still seated up on their feet.

Celebrating the October release of their new album after almost ten years on hiatus, the concert nonetheless focused on classic tunes which merge elements of indie rock, grunge, Americana, and blues rock that is at turns propulsive, sharp, and elegaic. It was a fine show under the starry sky tonight.

  • Genie Davis; photos by Jack Burke

 

 

Mixing It Up: A Vibrant Palette of Memory at Shockboxx

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Buzzing with lively energy,  the group exhibition Mixtape, now at ShockBoxx Gallery in Hermosa Beach brings the invigorating result of an international open art call to life while stirring up some good ol’ B-side nostalgia. Remember years ago when you carefully and painstakingly curated a mix of your favorite songs and recorded them on cassette tapes? Such a task was executed with the hope of eliciting the perfect mood to match the handwritten titles scribbled onto their plastic cases with a ballpoint pen.  Artist Laurel Meister’s linoleum block print illustrates this nostalgic fun when “Sexy Time” and “Songs to Cry To” were in rotation along with “2 Good 2 B True” and “Fresh Crush Mix.” It was about the journey, not just the destination.  

 Laurel Meister’s Mixtape inspired print,  “A Love story as told from the passenger seat of an 88′ Mustang.”

But what does Mixtape really mean for this exhibition? Is there just a bunch of art with boomboxes and portraits of famous musicians? There is some of that, yes. Like Meister; Ariel Cohen’s painting “Skanktuary;” and James Frost’s “Little Mermaid (Lady Gaga),” each of which lean into the more literal understanding of the theme. 

 James Frost with his lush and lovely painting, “Little Mermaid (Lady Gaga).” 

Ariel Cohen with “Skanktuary.”

But what the jury happily stumbled upon when culling over 400 submissions, was that most artists had their own interpretation of what Mixtape meant to them.

“Ice Cream Girls” by photographer Alain Bali. 

Punk rock had a big impact on French culture and fashion photographer Alain Bali,as he documented musicians touring Europe in the 80s, from The Clash to the Sex Pistols. It was a time where street photography was minimally edited and imperfections on film were celebrated. Here, Ice Cream Girls catches some mid-lick side eye in a grainy black and white double portrait.

Eileen Oda’s intricate and delicately rendered pencil drawing “Soul Food” also captures  a street scene in black and white. Her warm urban scene gives viewers a look at a tableau that gets to the heart and soul of a specific place, and moment, in time.

Zoe Blackman’s oil on canvas work, “Hereditary,” places a nude self-portrait holding hands with her childhood-created character, Heartman, in front of every youngster’s favorite fast-food icon, McDonald’s. The play on American culture, personal life experiences and fictitious characters create a narrative that teeters somewhere between light-hearted and possibly grave circumstances that makes this an intriguing mix all its own.

The curation of the selected works is a mixtape in its own right, flowing with bold color waves, texture and 3-dimensional storytelling . “Summer Dreaming,”  a vibrant scene using acrylic on a ceramic plate by Theodosia Marchant sets this tone with a black female figure dynamically placed amid the clouds, a rainbow and floral accents. This sunshine-y work hangs over a playfully tactile ceramic sculpture by artist Karl Hauser.

Alison McMahon with her life drawings at the ShockBoxx Mixtape opening.

Hermosa Beach native Alison McMahon, a staple in the ShockBoxx community of artists, took the mixtape theme to the next level with a whole slew of unframed life drawings and watercolor paintings featuring musicians who performed live in the South Bay.  McMahon’s ability to capture the soul of artists like Zeal Levin, V Torres, Steve Aguilar, and Emily V among others, covers a single wall and plunges viewers into a recognizable rock n’ roll past.

Somaya Etamad [left] standing next to her sold work on opening night alongside myself [center] and Mike Collins. [right]

The diverse and vibrant works in this exhibition may recall the past, but they also ably reflect the future with what gallerist Mike Collins describes as “the ever growing community of artists and art patrons that call ShockBoxx home.”

Mike Collins [right] discussing his work with guests at the Mixtape opening.

Above: While nostalgia for a mixtape rings true across the board for most Gen Xers, these tiny humans are way too young to have experienced such a thing. It was fun to watch them take in the artwork and make some summations of their own.

Jennifer Nerio, “Can of Snacks.”

Above all else, Mixtape is about memory, and the ways in which a personal recollection can also be a universal one.

This exhibition reminds us not only of a moment in time where movies, fashion and big hair were breaking the rules, but a time when a musical compilation was a source of identity, a snapshot of our drive to create something soulful, emotive, meaningful or just plain fun. It’s a representation of something that was put out into the world and into the hands of someone you loved, or better yet, into your own hands. And this tape won’t unravel at your favorite song, as ShockBoxx thumbs through the archives, remastering and continuing the anthology. 

Mixtape runs through Sunday, July 7th at 636 Cypress Avenue, Hermosa Beach, CA 90254. See the gallery’s instagram for open hours or email info@shockboxxproject.com for appointments. The exhibition can also be viewed online via Artsy here.

Written by: Aimee Mandala

Photos: Aimee Mandala, ShockBoxx, Matthew Alceves, Kelly Capouya, Theodosia Marchant, Genie Davis.

Wind on the Water – Day Three Musical Magic at Beach Life Festival Blows Out a Bit Early

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Wind was not a band on the Sunday Beach Life Festival playlist, but nonetheless, it played the final song. Extreme wind gusts, swaying lights, blowing sand, and ZZ Top’s beards flowing like flags left and right were all the unfortunate signs of the imminent closure of the fest four hours early.  While Fleet Foxes, Trey Anastasio, and My Morning Jacket were unable to
perform, there was still a great line-up for a Sunday musical brunch to partake of earlier in the day.

It began at 11:30 am on the Hightide main stage with a terrific, power-packed set from Australian pop rockers Atlas genius. Playing a heading mix of songs from 2012 to their latest album release just last week, End of the Tunnel.

The group was generous of time and spirit, strutting the cat walk and sharing stories from pandemic times between melodic hits, including “If So,” “Symptoms,” and “Trojans,” which captivated with extensive radio play in the States nine years ago, as well as new tunes such as “On A Wave.”  It was a great start to the day and another festival highlight.

Next up: the lush harmonies and silky vocals of Sugar Ray on the Lowtide, interspersed with banter about aging, hangovers, and the veteran funk rock performer’s fourth performance with the fest.

The set began with “Someday,”  and ran through a joyous set of hits including “When It’s Over” and pop hit “Fly.”

An unexpected and previously unheard delight was St. Paul and the Broken Bones out of Birmingham, Alabama. Preaching the gospel of “Wolf in Sheeps Clothes” and the semi-eponymous “Broken Bones and Pocket Change,” among others, this mix of New Orleans-style jazz and Southern Soul was absolutely riveting.

Lead singer Paul Janeway has an unbelievable set of pipes, and he took his magnetic personna and vocals off the stage and into the wind blown audience, even climbing up into the VIP viewing area to summon all listeners to his church of music and joy.

All revved up and ready to party, the crowd spilled out the sides and back of the small Riptide stage for the exuberant Latin jazz stylings of Tito Puente Jr.

Wild, profound, and danceable musicianship by Puente and his band,  from “Junior’s Mambo” to “Unforgiven Love.”

Meanwhile, on the increasingly windblown Lowtide stage closest to the water, country girl Margo Price offered a virtuoso country rock n’ roll sound including melodic rockers like “Shelter Me” and “Cocaine Cowboys.”

Playing guitar and drums and belting out tunes of country life, painful love, and independent swagger, her heart was still showing for the simple pleasures of “Tennessee Song,” with lyrics like “Seasons go, seasons come/Who we are and where we’re from/The truth is clear to those who know/As above, so below.”

Another strong performance by a fine female rocker came from Courtney Barnett back at the Hightide main stage. A real wow of a performance from Barnett, her set list shone like a hard bright diamond in the late afternoon sunlight.

Barnett noted the wind several times, but didn’t let it stop her,  offering up greats like “Rae Street,” “History Eraser,” and “Walking on Eggshells” before a strong finish with “Nobody Really Cares If You Don’t Go to the Party.” Her muscular indie alt rock sound has a bit of country twang and a bite of the blues. The Australian artist is one to watch with the release of her latest album at the end of last year,  End of the Day.

Classic blues rock was next up from ZZ Top. Beards whipping around in the increasingly sand-strewn wind on the Lowtide stage, the band vibrated power-packed songs like “Under Pressure,” the band’s big radio hit “Legs,” and a cover of Merle Haggard’s “Sixteen Tons.”

While they got in 12 of 14 songs, the last two were cut off by wind cancelling the rest of the set as the lights swayed and palms bent dramatically above the stage rigging.

We’d alerady switched stages ourselves after the Haggard cover due to the blowing sand, catching the bottom half of a set packed with great tunes from the terrific Gaby Moreno at the Riptide.

Moreno’s music ranges from Latin to jazzy folk and Americana. Great lyrics and passionate vocals delivered to an attentive crowd dancing on the astroturf.  “Dance the Night Away” is a gem; so to is the very different and vibrant “Solid Ground” from her new Dusk.

We were having a fantastic day, and super looking forward to Fleet Foxes back at Hightide, pausing to pick up a slice of pizza before grabbing a spot. But that was when the announcement was made for everyone to calmly evacuate from the nearest exit. We were close to the main entrance, so leave we did, pizza in hand, momentarily glad there’d be only an hour’s break and delay before resuming the fest when wind gusts ceased.

But as soon as we were out of the venue proper, watching fronds fall from palms and the waves crash up against the Redondo Beach pier, it became obvious to me at 5:30 that the fest wouldn’t be resuming an hour later. When  we returned to the press office at 6:45, rumors abounded, and 15 minutes later the official call was made that the festival would not start back up.

While the wind had the last song – a real howler – the fest was a wide-ranging, smooth running, extremely fun event. It was a joy to hear artists new to me, such as Grace McKagan, Jordana, City and Colour, and St. Paul and the Broken Bones, as well as experience favorites like Local Natives, Atlas Genius, and Courtney Barnett all serving up generous full concert-length sets. Classic acts Seal, Sting, DEVO, and Incubus were great to hear live, too. Wind or not, we were blown away by the array of musical talent.

If you missed the event, you’re in luck – you can listen to the fest for free on YouTube – the recaps are on the Beach Life Festival Live You Tube channel. You can also stream via Soundcloud.

  • Genie Davis; photos by Jack Burke