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The term “musical legend” is applied far too liberally these days. And the irony is, of course, that those who are truly deserving of such accolades tend to be the least comfortable with embracing them. Kenny Edwards has been making considerable music since the mid ’60s.
Last week, 11 Brooks students were named as scholarship winners in a competition created earlier this year by The Territory Ahead and the photography institute. Along with monetary compensation, 16 of the students’ photos will be published as part of the retailer’s winter marketing campaign.
This New Year’s Eve, maestro Richard Kaufman, one of the world’s finest pops conductors, will help the Santa Barbara Symphony ring in 2008 in style. He and guest soloists Matt James (tenor) and Nelson Kole (piano) will be performing a tribute to composer Leroy Anderson as well as works by Smetana, Lara, Puccini, and Sousa, among others.
It was recently announced that famed contemporary Realist painter Dorothy Churchill-Johnson has donated six of her works to the County of Santa Barbara. Churchill-Johnson, who has worked in town for over 30 years, has shown her works in France, Russia, and the Philippines.
Seen in some quarters as the feminist reply to Superbad or Knocked Up, Juno seems more like the film that actually speaks like the kids-only even more so. It comes equipped with its own special hip factor; one that automatically assumes that teens are not merely our future, they’re our present.
Playing with tradition is a bold move, and one Rodney Gustafson, artistic director of State Street Ballet, is not afraid to try. Last weekend, the company presented its annual holiday production-a 1930s Hollywood twist on The Nutcracker.
Rather than trying to stretch themselves to pen (or cover) a full album of holiday tunes, big name acts like Coldplay and the Killers have gone the smartand commitment-freeroute, deciding to release individual, holly jolly ditties that get the job done without outstaying their welcome.
Having released two recordings at the very beginning of a decade that threw forth some sublime independent pop (Sugarchild) and a divine offering of electronica (Watch These Walls), in 2002 Sugarchild’s next recorded undertaking, Make It Happen, saw the trio venture into alt-country terrain.
UCSB’s Professional Artists Lab and NanoSystems Institute co-sponsor STAGE, which offerskett a $10,000 prize.
Santa Barbara has proved itself as a world-class venue for the arts, but any town can import talent. This past weekend, the city got a chance to see its domestic artistic accomplishments as two preprofessional ballet companies put on their annual Christmas spectacles.
