Rudy Colombini, the frontman of a Rolling Stones cover band, is neither modest nor reserved about his passion: San Francisco's Music City, a complex dedicated to musicians and musicianship at all levels. It may sound straight out of Nashville, but it's right here in the Lower Nob Hill neighborhood.

“This is the most important damn artistic project in the United States,” Colombini told The Standard.

The three-story facility, where 20 new rehearsal spaces opened Friday, offers future stars everything from living space to rehearsal rooms, dedicated audiences and an array of refreshments. In the company's fundraising materials, Colombini is equally grandiose, describing the complex as “Motown Records, CBGB, the Chelsea Hotel, Abbey Road Studios, the Berklee School of Music, the Rock & Roll Hall of Fame, all in one building.” “San.” Francisco.”

The post Music Metropolis in San Francisco Expands appeared first on DAILY SAN FRANCISCO BAY NEWS.

The last time Mission District icon La Doña released an EP, she was on the cusp of a national breakthrough. While 2020’s “AlgoNuevo” introduced her incantatory “femmeton” blend of cumbia, reggaetón, and R&B to a wider audience, an extensive tour with her band ended up being preempted by the pandemic. Released last week, her new single, “Paloma No Vuelve Amar,” picks up where “AlgoNuevo” left off, grabbing attention with a sound that’s sensuous and inviting, forthright and commanding.

The song has received a burst of attention, landing just after President Barack Obama included her tune “Penas Con Pan” on his widely watched summer playlist. The track is from her upcoming EP, “Can’t Eat Clout,” which is slated for release Sept. 15. It’s not a song cycle, but the project describes the uplifting trajectory of a young artist coming to embrace herself, her lover and her art, drawing on the Latin music idioms that Cecilia Cassandra Peña-Govea has accumulated since she was a child playing community events around the Mission with her parents and older sister in La Familia Peña-Govea. La Doña plays an early set Friday on the Lands End Stage at the sold-out Outside Lands festival. 

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Speaking of La Doña and the fabulous creative team surrounding her, congratulations to second-generation sign-painter and artist Lauren D’Amato, who was just tapped by the Headlands Center for the Arts for the 2023-24 Tournesol Award, “which recognizes an emerging Bay Area painter in support of establishing and maintaining a career in the region.” The award includes a $10,000 stipend, a private studio, and a culminating exhibition or project of the artist’s choice. Mission Local covered her solo show at House of Seiko in March, and you can watch her in action on La Doña’s irresistible “Dembow y Sexo (Visualizer).”

Music and activism have been inextricably entwined for San Francisco pianist/composer Jon Jang since the beginning of his career. A co-founder of Asian Improv, the record label and arts organization that’s been a primary vehicle for the Asian-American jazz movement, he’s developed an arresting repertoire drawing on traditional Chinese melodies and adventurous post-bop improvisation. 

Jang presents “Civil Wrongs: Music about Black American & Japanese American Incarceration” Thursday at Sha’ar Zahav. Produced by the Community Music Center as part of a series showcasing the organization’s faculty, the free concert commemorates the 35th anniversary of the signing of the federal law granting reparations to Japanese Americans wrongly incarcerated by the U.S. government during World War II. Featuring Erika Oba on flute, Gary Brown on double bass, and drummer Deszon Claiborne, who’s also on the CMC faculty, the program includes Jang’s 1987 composition “Reparations Now!,” which he wrote in tribute to the National Coalition for Redress and Reparations for Japanese Americans. 

The program also features “Meditations on Integration,” an extended work that Charles Mingus wrote in 1964 in response to a newspaper article about detention camps being built to hold protestors fighting segregation. Mingus recorded the piece several times under various names, including as “Meditation (For a Pair of Wire Cutters)” on the live album recorded in North Beach in 1964, “Right Now: Live at the Jazz Workshop.”

“This version is based on the Town Hall recording, a work introduced to me by James Newton,” Jang said, referring to the eminent flutist and composer with whom he worked widely in the 1980s and ‘90s. “We performed as a duo at anti-apartheid events and were ultimately invited to perform at the Arts Alive Festival in Johannesburg right after the election in 1994. The energy was electrifying. We played with two Black South African musicians in the rhythm section, and what was really moving was that they had not been allowed to perform in Johannesburg under.”

Reed maestro Sheldon Brown, who’s been busy recently touring with Cuban pianist Omar Sosa and Bobby Weir & Wolf Bros featuring The Wolfpack, plays a duo show Thursday Aug. 10 at the Red Poppy Art House with guitarist Scott Foster, renewing a collaboration that dates back some 25 years. The concert is presented by Jazz In the Neighborhood, an organization dedicated to getting fair wages for musicians. 

Jazz at the Make Out Room returns on Tuesday Aug. 15 with the protean duo of drummer Scott Amendola and saxophonist Phillip Greenlief, offering  a preview of their upcoming album “Stay With It” on Clean Feed Records. Pianist Motoko Honda, a pianist and composer who combines a wry sense of humor with a knack for startling harmonies, plays a solo opening set. 

Don Malcolm has been plumbing the cinematic shadows for the past decade at The Roxie, and he shows no signs of exhausting the darkness. Kicking off Sunday afternoon, A Rare Noir Is Good to Find offers a double bill, pairing the classic 1950 Mexican “cabareteraAventurera (The Adventuress)” with 1964’s “La muerte siba un blues (Death Whistles the Blues),” about a nightclub singer working undercover at a Caribbean casino. The series runs through Aug. 20. 

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The post A Cultural Mission, La Doña rising and music and justice appeared first on DAILY SAN FRANCISCO BAY NEWS.

When Elvin Bishop and Charlie Musselwhite return to the Chicago area for Thursday’s concert at Ravinia, it will be a homecoming of sorts. 

Both musicians lived in Chicago in the early 1960s, an era when they were developing their craft by observing blues titans like Muddy Waters, Howlin’ Wolf and Big Joe Williams. 

Bishop, 80, and Musselwhite, 79, are now members of the Blues Foundation’s Blues Hall of Fame. 

Bishop, who sings and plays guitar, was inducted into the Rock & Roll Hall of Fame in 2015 as a member of the Paul Butterfield Blues Band. Musselwhite is recognized as one of the world’s greatest harmonica players, with a style that is distinctive for its emotive subtleties. 

At Ravinia, the duo will be joined by multi-instrumentalist Bob Welsh for a set featuring songs from their 2020 collaborative album “100 Years of Blues.” Released by the Chicago label Alligator Records, the album topped the Billboard blues album chart and received a Grammy nomination. 

The lyrics to the autobiographical title track include references to Pepper’s Lounge and Silvio’s, two long-gone Chicago blues clubs that served as the musicians’ training grounds. Bishop and Musselwhite made the leap from fan to performer, fueled by invitations to sit in with bands that played long past midnight. 

“With all the different bands happening, it was a great scene for a young musician who was ambitious and wanted to develop a little bit,” Bishop said in an interview from his recording studio in Lagunitas, California. 

Elvin Bishop (left) and Charlie Musselwhite.

“You’d go around to all these clubs, and it was to your advantage to know everybody’s tunes that you went to see,” Bishop said.

“I don’t care how famous you were, when it gets to be about 2 or 3 in the morning, you’ll be glad to see any kind of help you can get. So you tried to learn the tunes and make as good a showing as you could because that was like putting in your resume or a job application. So, if a vacancy popped up, they’d think of you.”

Musselwhite had a similar experience. When a friend told Muddy Waters about Musselwhite’s harmonica skills, the blues icon asked the young man to sit in with his band. That led to more gigs and groundbreaking recording sessions for Musselwhite as a sideman and leader.

“I wasn’t hungering to be in the spotlight,” Musselwhite said from his home in Clarksdale, Mississippi. “I loved the music, and I just played it for myself. I wasn’t thinking about a career in music. Having me sit in wasn’t really unusual because [Waters] had people sitting in all the time. [Bands] would play till 4 in the morning, except Saturday nights, when they played till 5. That’s a lot of time to kill. So Muddy was happy to have people sitting in.” 

“!00 Years of Blues” album cover.

The duo’s “front-porch” style of stripped-down blues is a great fit for Ravinia’s outdoor Carousel Stage, where the duo is likely to play material from Musselwhite’s 2022 solo album “Mississippi Son,” which features his original tune “Blues Gave Me a Ride.”

The harmonica wizard has one exceptionally famous fan: former President Barack Obama. Musselwhite said he has had two conversations with Obama — one at a campaign fundraiser in San Francisco, the other during a 2013 White House performance.

Musselwhite said of the Bay Area interaction: “I gave Obama a harmonica, and I said, ‘I’ve heard that you like blues, and, if you’re interested, I could give you a few tips on how to play it.’ And he said, ‘Well, that’s really nice, Charlie. But I’m pretty busy right now.’” 

Bishop’s early years were spent in an Iowa farmhouse that didn’t have electricity or indoor plumbing. His family moved to Tulsa, Oklahoma, and Bishop earned a National Merit Scholarship and enrolled at the University of Chicago. 

Bishop’s family didn’t have much income, and he was the first one in the family to attend college. He still has vivid memories of his family’s struggles.

“My dad stayed unemployed quite a bit,” Bishop said. “I remember I was in Chicago, and I got a letter from my mom, and it was typed on paper towels. My dad had got a job as a janitor, so he’d bring the rolls of paper towels home.”

Musselwhite was raised by a single mother in Memphis, Tennessee. Seeking a good job, as a young adult he moved to Chicago, where he found factory work. He also served as an exterminator’s assistant, spraying for roaches and dispensing rat poison.

Reflecting on his journey from youthful apprentice to elder statesman, Musselwhite said, “I don’t know how I got this old so fast.”

The post Charlie Musselwhite and Elvin Bishop — ‘entrance porch’ bluesmen rejoice Chicago music roots appeared first on DAILY SAN FRANCISCO BAY NEWS.

Credit: Seth Taube

San Francisco is well known for its eclectic culture and vibrant artistic spirit. Not only did the city inspire iconic songs like “The Dock of the Bay” and “Lights,” it also catapulted the careers of legends like Carlos Santana, Grateful Dead, and Creedence Clearwater Revival. However, the city’s music scene has inspired people to seek success beyond music, including financial legend Seth Taube.

At the North American level, Seth Taube is best known for his work as a philanthropist, entrepreneur, investor, and finance professional. However, those familiar with the San Francisco music scene may know him better for his musical talent and passion. Having started playing the violin 44 years ago, Taube has honed his skills throughout his life and developed a deep appreciation for music. This was one of his reasons for becoming a resident of the San Francisco area.

“Choosing San Francisco was a conscious decision to immerse yourself in a community that inspires passion, fosters growth and sets the stage for exceptional achievement,” said Taube. “The local music scene embodies a perfect blend of innovation, diversity and artistic energy that I just can’t get enough of.”

Anyone who knows Taube will immediately understand his fascination with San Francisco, as he often speaks about how music and technological innovation can help deal with some of the pressing existential threats humanity faces. By forming several multi-million dollar companies and providing capital to over 500 other companies, San Francisco’s tech scene also happened to align with Taube’s vision of a better future.

“San Francisco has always been a place where innovation and collaboration are at the heart of every endeavor, be it artistic or entrepreneurial, making it the perfect playground for someone like me,” Taube explains. “Moving here not only allowed me to meet and play with some of the most talented musicians I’ve ever met, but also the opportunity to mentor entrepreneurs who could change the world in the near future.”

Taube regularly collaborates with several chamber music and bluegrass groups, two genres he always admired as a child because they were compatible with his favorite instrument, the violin. As part of the local music community, Taube has also focused many of his philanthropic efforts on helping young musicians develop their talent.

Paul Kantner of Jefferson Airplane once said, “San Francisco is 49 square miles and surrounded by reality,” describing it as an oasis for those who seek to transcend the constraints of everyday life. Now, as uncertainty mounts by the hour, visionaries like Taube see it as a glimmer of hope and a catalyst for positive change.

“I firmly believe in the transformative power of music. Not only is it closer than ever to a universal language, but it also has the ability to touch hearts, evoke emotion and bring people together,” Taube concludes. “Music is about taking something relatively simple and making something incredible out of it, and that’s what philanthropy, entrepreneurship and life should be about. The people here understand that.”

The post Seth Taube’s San Francisco Story: Music, Entrepreneurship, and Innovation | Musical Devices appeared first on DAILY SAN FRANCISCO BAY NEWS.

Porchlight Music Theater begins its ninth season of Chicago’s “lost” musical series with Porchlight Revisiting The Apple Tree, book and lyrics by Sheldon Harnick, book and music by Jerry Bock, with additional material by James Coopersmith.

Each of the three musical stories in The Apple Tree is directed by a different person, Frankie Leo Bennett (The Diary of Adam and Eve), Jamal Howard (The Lady or the Tiger?) and Laura Savage (Passionella), with musical direction from David Fiorello. Porchlight Revisits The Apple Tree will be on Wednesday, December 7 at 7:30 p.m. and Thursday, December 8 at 1:30 p.m. and 7:30 p.m. only at the Ruth Page Center for the Arts, 1016 N. Dearborn , presented for three performances street.

Porchlight Revisits subscriptions with three performance discounts are available and single tickets to Porchlight Revisits The Apple Tree are $52 at PorchlightMusicTheatre.org or by calling the Porchlight Music Theater box office at 773.777.9884.

Now in its ninth season, Porchlight Revisits celebrates the rarely seen musical gems of Broadway, Off-Broadway and beyond and is the ticket to go behind the scenes with an introduction to the luminaries who created the greatest musicals of all time, and an opportunity to discover a new “old” favorite in a big show. Chicago’s finest musical theater talent dusts off these treasures and, for a limited edition, transports audiences into the world of musical theater artistry from the past. In addition to productions from days gone by, each Porchlight Revisis includes the Behind the Show Backstory, an entertaining and informative multimedia presentation created and hosted by Artistic Director Michael Weber that introduces the evening’s production, including the show’s creative history, juicy backstage stories and much more.

The 2022-2023 Porchlight Revisits season begins with The Apple Tree from the songwriting team behind Fiddler on the Roof and She Loves Me. Nominated for Best Musical by Tony, this witty, melodic and charming piece is made up of three musical miniatures : The Journal of Adam and Eve, a whimsical, touching twist on the story of the world’s first couple, adapted from Mark Twain’s short stories; The Lady or the Tiger?, a 1960s rock ‘n’ roll fable set in a mythical kingdom and exploring the fickleness of love and passionella, based on Jules Feiffer’s offbeat Cinderella tale about a chimney sweep who dreams of it to be a “glamorous movie star”.

Additional Porchlight Revisits in the 2023-2023 season include Porchlight Revisits I am a Camera, Wednesday 8 February at 7:30pm and Thursday 9 February at 1:30pm, an addition to Porchlight’s Mainstage Cabaret, this special event production one Rare opportunity to experience the remarkable 1951 play that became the inspiration for the musical Cabaret and Porchlight Revisites Two by Two, Wednesday 24 May at 7:30pm and Thursday 25 May at 1:30pm and 7:00pm: 30pm Music by Richard Rodgers, lyrics by Martin Charnin and book by Peter Stone based on The Flowering Peach by Clifford Odets. Porchlight Revisites Two by Two tells the story of Noah, the Flood and their aftermath with touches of modern themes including the environment and generational differences.

The cast of Porchlight Revisits The Apple Tree includes Jonah Cochin (Adam/Ensemble); Maddison Denault (Princess Barbara/ensemble); Susan Hofflander (Snake/ensemble); Shea Hopkins (Flip/The Prince/Ensemble); Ruchir Khazanchi (Captain Sanjar/Ensemble); Michael Mejia (balladeist/ensemble); Leah Morrow (Ella/Passionella/Ensemble); Emma Rosenthal (narrator/ensemble) and Ciarra Stroud (Eva/ensemble).

The Porchlight Revisits The Apple Tree creative team includes Frankie Leo Bennett (director, The Diary of Adam and Eve), Jamal Howard (director/choreographer, The Lady or the Tiger?) and Laura Savage (director, choreographer, Passionella); David Fiorello (Music Director), Rachel Sypniewski (Costume Designer); Rachel West (lighting designer), Matthew R. Chase (sound designer); Alden Vasquez (stage manager); Emily Marrazzo (assistant stage manager); Kevin Vilchez (assistant stage manager); Majel Cuza (Production Manager) and Michael Weber (Artistic Director).

The post Solid and Inventive Group Introduced For Porchlight Music Theatre’s THE APPLE TREE appeared first on DAILY SAN FRANCISCO BAY NEWS.

San Francisco Conservatory of Music Ute and William K. Bowes, Jr. Center / Mark Cavagnero Associates

© Tim Griffith

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© Tim Griffith

Text description of the architects. Located in the heart of San Francisco’s Civic Center, the city’s performing arts district, the Ute & William K. Bowes, Jr. Center for Performing Arts at the San Francisco Conservatory of Music (SFCM) was designed by Mark Cavagnero Associates (Cavagnero ) as designed a “vertical campus” that combines student housing, restaurants, classrooms, rehearsal rooms, performance spaces and a radio station under one roof.

© Tim Griffith© Tim Griffith

The center was named in honor and recognition of the William K. Bowes, Jr. Foundation’s $46.4 million donation, which represents the largest capital donation ever made to a music school; the foundation’s namesake was a longtime SFCM supporter and trustee. The SFCM’s Ann Getty Center at 50 Oak Street, home of the conservatory since 2006, is within walking distance. The Bowes Center creates housing for up to 420 students. The building also includes 27 rent-stabilized apartments that will upgrade and replace existing units from the site’s previous building for its previous tenants.

© Tim Griffith

Cavagnero’s design emphasizes openness, commitment and light through its white and transparent glass exterior. Filled with sights and sounds of music, the Bowes Center invites passers-by at this busy intersection to watch performances through floor-to-ceiling windows in its jewel-box Cha Chi Ming Recital Hall on the ground floor. The top two floors light up like a beacon at night, with floor-to-ceiling windows, the 200-seat Barbro Osher Recital Hall, flexible event spaces, and a rooftop terrace with unparalleled views of City Hall, Davies Symphony Hall, the War Memorial Opera House, and other landmarks.

© Kyle Jeffers© Tim Griffith

Building on the company’s innovations in the design of SFJAZZ, Cavagnero’s design for Bowes achieves the transparency of a glass façade while exceeding its stringent acoustic requirements. To achieve a cohesive design language while meeting exacting acoustic requirements that vary from floor to floor, with a mix of performance, practice, recording and living spaces throughout the twelve floors, and made more complex by adjacent Van Ness Avenue —Cavagnero’s team designed a custom curtain wall system that integrates all acoustic requirements into a seamless envelope. Working with Kirkegaard Associates, Tipping Structural Engineers and cladding manufacturer CS Erectors, Cavagnero has pushed the boundaries of how glass can perform at high acoustic levels. The design uses double-glazed walls and a floating structural panel to isolate the transmission of noise and vibration from the street while maintaining transparency in the performance spaces. The double glazing system also adds a sustainable element to the design and creates an additional thermal buffer.

© Tim Griffith

On the second level of the Bowes Center, the Center for New Media provides studio space, classrooms, and critical listening rooms for students enrolled in the conservatory’s Technology and Applied Composition program. Taking advantage of the school’s location in the Performing Arts District and its proximity to Silicon Valley, the program prepares classically trained composers to score the film and video games. The center is also used by students of the SFCM’s Roots, Jazz and American Music program, created in partnership with SFJAZZ. Classrooms, keyboard labs, a black box technology hall and a recording studio for all SFCM students are located underground in acoustically tightly controlled spaces. Floors three through eleven feature one, two, and three-bedroom units, each acoustically isolated for practice. One floor is dedicated to the students of the San Francisco Ballet as an extension of the conservatory’s unprecedented partnership with nearby SF Ballet.

© Kyle Jeffers

project description. The Bowes Center is a “vertical campus” that brings together affordable student housing, restaurants, classrooms, rehearsal spaces, performance spaces, faculty offices, and a radio station under one roof in an integrated, collaborative environment. The Bowes Center, named in honor and recognition of the $46.4 million donation from the William K. Bowes, Jr. Foundation, doubles the school’s square footage and features state-of-the-art classroom facilities and three new event venues.

© Kyle Jeffers

The post San Francisco Conservatory of Music Ute and William Okay. Bowes, Jr. Heart / Mark Cavagnero Associates appeared first on DAILY SAN FRANCISCO BAY NEWS.

A recent Facebook post sparked rumors that Recycled Records, an iconic Reno music store that has been in business for decades, was closing.

That’s not happening, but the longtime record store will be moving to a new location in the coming months.

We visited the store at 822 S. Virginia St. to speak and learn more with co-owners Eric Jacobson and Kyle Howell.

What actually happens?

Jacobson confirmed to RGJ that Recycled Records is moving south, but declined to give details of the new location until the lease is signed. Recycled Records must vacate the Midtown location by June 1, when the lease ends.

They said they were within days of closing the deal.

Why is Recycled Records moving?

Jacobson said the current rent at 822 S. Virginia St nearly doubled after the building was purchased by an unknown company — unknown because Jacobson and Howell, who have owned the business since 2019, were not notified of the new building owner .

The RGJ was unable to determine who bought the building because the property records viewed by the RGJ did not contain details of the most recent transaction.

A Facebook Marketplace post by Aleks Vetushko, who, according to LinkedIn, is a co-owner of San Francisco-based real estate investment firm West Egg Real Estate, is listing the Recycled Records location for about $7,000 a month in rent. According to a real estate website, Vetushko appears to be the contact for Civil Capital LLC, but he could not be reached to clarify the new ownership.

Jacobson stressed that the decision to relocate was not just motivated by cost.

“We could afford that, but we don’t want that. said Jacobson. “If we hadn’t found a good spot, we would have paid.”

big picture

Recycled Records was among the first arrivals in the burgeoning hip neighborhood that would become Midtown. The company’s departure reflects how much real estate values ​​have changed. So where is Midtown going?

“I have four words for you: bars, tattoos, minimarts, and motels,” Jacobson said.

This story has been updated to clarify that Jacobson and Howell took over the store in 2019.

Follow @HaddadEvan for timely, relevant and compelling reports on food, drink and city life in Reno.

The post Reno music store Recycled Data is shifting out of Midtown appeared first on DAILY SAN FRANCISCO BAY NEWS.

San Francisco Conservatory of Music Ute and William K. Bowes, Jr. Center / Mark Cavagnero Associates

© Tim Griffith

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https://www.archdaily.com/994026/san-francisco-conservatory-of-music-ute-and-william-k-bowes-jr-center-mark-cavagnero-associates
© Tim Griffith

Text description provided by the architects. Located in the heart of San Francisco’s Civic Center, the city’s performing arts district, the Ute & William K. Bowes, Jr. Center for Performing Arts at the San Francisco Conservatory of Music (SFCM) was designed by Mark Cavagnero Associates (Cavagnero) as a “vertical campus” that incorporates student housing, dining, classrooms, rehearsal rooms, performance spaces, and a radio station all under one roof.

© Tim Griffith© Tim Griffith

The Center is named in honor and recognition of the $46.4M gift from the William K. Bowes, Jr. Foundation, which marks the largest capital gift ever made to a music school; the Foundation’s namesake was a longtime SFCM supporter and trustee. Walking distance to SFCM’s Ann Getty Center at 50 Oak Street, the Conservatory’s home since 2006, the Bowes Center creates housing for up to 420 students. The building also includes 27 rent-stabilized apartments, which upgrade and replace existing units from the site’s previous building for its prior tenants.

© Tim Griffith

Cavagnero’s design emphasizes openness, engagement, and light through its exterior of white and transparent glass. Filled with the sights and sounds of music, the Bowes Center invites passersby at this active intersection to see performances through floor-to-ceiling windows in its ground-floor jewel-box Cha Chi Ming Recital Hall. The top two floors glow like a beacon at night, with floor-to-ceiling windows, the 200-seat Barbro Osher Recital Hall, flexible event space, and roof terrace offering unparalleled views of City Hall, Davies Symphony Hall, the War Memorial Opera House, and other landmarks.

© Kyle Jeffers© Tim Griffith

Building on the firm’s innovations in the design of SFJAZZ, Cavagnero’s design for Bowes achieves the transparency of a glass exterior while exceeding its rigorous acoustic requirements. To achieve a cohesive design language, while meeting its high acoustic demands—which change from floor to floor, with a mix of performance, practice, recording, and residential spaces throughout its twelve stories, and are made more complex by the neighboring Van Ness Avenue —the Cavagnero team designed a custom curtainwall system that integrates all acoustic requirements into one seamless envelope. Collaborating with Kirkegaard Associates, Tipping Structural Engineers, and curtainwall fabricator CS Erectors, Cavagnero pushed the boundaries of glass’s capacity to perform at high acoustic levels. The design utilizes double-glazed walls and a floating structural slab to isolate noise and vibration transmission from the street while maintaining transparency in the performance spaces. The double-glazed system also provides a sustainable element to the design, creating an additional thermal buffer.

© Tim Griffith

On the Bowes Center’s second level, the Center for New Media features studio space, lesson rooms, and critical listening rooms for students participating in the Conservatory’s Technology and Applied Composition Program. Capitalizing on the school’s location in the performing arts district, and proximity to Silicon Valley, the program prepares classically trained composers to score the film and video games. The center is also used by students in SFCM’s Roots, Jazz, and American Music Program, created in partnership with SFJAZZ. Classrooms, keyboard labs, a black box technology hall and a recording studio for all SFCM students are located in highly acoustically controlled spaces below ground levels. Floors three through 11 hold one, two, and three-bedroom housing units, each acoustically isolated for practicing. One floor is dedicated to housing San Francisco Ballet Students as an extension of the Conservatory’s unprecedented partnership with the nearby SF Ballet.

© Kyle Jeffers

Project Description. A “vertical campus” that incorporates affordable student housing, dining, classrooms, rehearsal rooms, performance spaces, faculty offices, and a radio station under a single roof, the Bowes Center is designed to enable students to create, learn, and share music in an integrated, collaborative environment. Named in honor and recognition of the $46.4M gift from the William K. Bowes, Jr. Foundation, the Bowes Center doubles the school’s square footage and features state-of-the-art teaching facilities and three new performance halls.

© Kyle Jeffers

The post San Francisco Conservatory of Music Ute and William Okay. Bowes, Jr. Heart / Mark Cavagnero Associates appeared first on DAILY SAN FRANCISCO BAY NEWS.

Porchlight Music Theater began its ninth season of Chicago’s “lost” musicals series with Porchlight Revisites The Apple Tree, book and lyrics by Sheldon Harnick, book and music by Jerry Bock with additional material by James Coopersmith.

Each of the three musical stories in The Apple Tree is directed by a different person, Frankie Leo Bennett+ (The Diary of Adam and Eve), Jamal Howard+ (The Lady or the Tiger?), and Laura Savage* (Passionella) with musical direction by David Fiorello+.

Porchlight Revisits The Apple Tree was presented for three performances only Wednesday, Dec. 7 at 7:30 pm and Thursday, Dec. 8 at 1:30 pm and 7:30 pm at the Ruth Page Center for the Arts, 1016 N. Dearborn Street. Three-show discounted Porchlight Revisits subscriptions are available and single tickets to Porchlight Revisits

Now in its ninth season, Porchlight Revisits celebrates the rarely seen musical gems of Broadway, off-Broadway and beyond and is the ticket to go behind the scenes with an introduction to the luminaries who created the greatest musicals of all time and an opportunity to discover a new ‘old’ favorite all in one big show.

Chicago’s finest music theater talents dust off these treasures and escort audiences into the world of the art of music theater’s past for a limited run. In addition to productions from days gone by, each Porchlight Revisits includes the Behind the Show Backstory, an entertaining and informative multimedia presentation, created and hosted by Artistic Director Michael Weber+, introducing the evening’s production including the show’s creative history, juicy backstage stories and much more.

The 2022 – 2023 Porchlight Revisits season begins with The Apple Tree from the songwriting team behind Fiddler on the Roof and She Loves Me. This witty, tuneful and charming piece that was Tony nominated for Best Musical is made up of three miniatures: The Diary of Adam and Eve, a quirky, touching spin on the tale of the world’s first couple, adapted from Mark Twain’s short stories; The Lady or the Tiger?, a 1960’s rock and roll fable set in a mythical kingdom, which explores the fickleness of love and Passionella based on Jules Feiffer’s offbeat Cinderella story about a chimney sweep who dreams of being a “glamorous movie star.”

Additional Porchlight Revisits in the 2023 – 2023 season includes Porchlight Revisits I am a Camera, Wednesday, Feb. 8 at 7:30 pm and Thursday, Feb. 9 at 1:30 , a complement to Porchlight’s Mainstage Cabaret, this special event production is a rare opportunity to experience the remarkable 1951 play that became the inspiration for the musical Cabaret and Porchlight Revisits Two by Two, Wednesday, May 24 at 7:30 pm and Thursday, May 25 at 1:30 pm and 7:30 pm, with music by Richard Rodgers, lyrics by Martin Charnin and book by Peter Stone based The Flowering Peach by Clifford Odets. Porchlight Revisits Two by Two tells the story of Noah, the flood and its aftermath with touches of modern themes including the environment and the differences from generation to generation.

The cast of Porchlight Revisits The Apple Tree includes Jonah Cochin+ (Adam/ensemble); Maddison Denault* (Princess Barbara/ensemble); Susan Hofflander* (Snake/ensemble); Shea Hopkins+ (Flip/The Prince/ensemble); Ruchir Khazanchi+ (Captain Sanjar/ensemble); Michael Mejia^ (balladeer/ensemble); Leah Morrow* (Ella/Passionella/Ensemble); Emma Rosenthal* (Narrator/ensemble) and Ciarra Stroud* (Eve/ensemble).

The Porchlight Revisits The Apple Tree creative team includes Frankie Leo Bennett+ (director, The Diary of Adam and Eve), Jamal Howard+ (director/choreographer, The Lady or the Tiger?), and Laura Savage* (director, choreographer, Passionella); David Fiorello+ (music director), Rachel Sypniewski* (costume designer); Rachel West* (lighting designer), Matthew R. Chase+ (sound designer); Alden Vasquez+ (stage manager); Emily Marrazzo+ (assistant stage manager); Kevin Vilchez* (assistant stage manager); Majel Cuza* (production manager) and Michael Weber+ (artistic director).

Photo Credit: Oni Wright

Ruchir Khazanchi, Maddison Denault and Michael Mejia

Ciarra Stroud, Jonah Cochin and Susan Hofflander

Shea Hopkins, Leah Morrow, and Emma Rosenthal

The cast of PORCHLIGHT REVISITS THE APPLE TREE

Director and Choreographer Jamal Howard, THE LADY OR THE TIGER?, Director Frankie Leo Bennett, THE DIARY OF ADAM AND EVE and Porchlight Artistic Director Michael Weber

David Fiorello, Justin Akira Kono, Cara Strauss, Greg Strauss

David Sabbagh, Emily Marrazzo, Alden Vasquez, Jordan Large and Abbey Nettleton

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Porchlight Music Theater begins its ninth season of Chicago’s “lost” musicals series with Porchlight Revisits The Apple Tree, book and lyrics by Sheldon Harnick, book and music by Jerry Bock with additional material by James Coopersmith.

Each of the three musical stories in The Apple Tree is directed by a different person, Frankie Leo Bennett (The Diary of Adam and Eve), Jamal Howard (The Lady or the Tiger?), and Laura Savage (Passionella) with musical direction by David Fiorello. Porchlight Revisits The Apple Tree is presented for three performances only Wednesday, Dec. 7 at 7:30 pm and Thursday, Dec. 8 at 1:30 pm and 7:30 pm at the Ruth Page Center for the Arts, 1016 N. Dearborn Street.

Three-show discounted Porchlight Revisits subscriptions are available and single tickets to Porchlight Revisits The Apple Tree are $52 at PorchlightMusicTheatre.org or by calling the Porchlight Music Theater box office at 773.777.9884.

Now in its ninth season, Porchlight Revisits celebrates the rarely seen musical gems of Broadway, off-Broadway and beyond and is the ticket to go behind the scenes with an introduction to the luminaries who created the greatest musicals of all time and an opportunity to discover a new ‘old’ favorite all in one big show. Chicago’s finest music theater talents dust off these treasures and escort audiences into the world of the art of music theater’s past for a limited run. In addition to productions from days gone by, each Porchlight Revisits includes the Behind the Show Backstory, an entertaining and informative multimedia presentation, created and hosted by Artistic Director Michael Weber, introducing the evening’s production including the show’s creative history, juicy backstage stories and much more.

The 2022 – 2023 Porchlight Revisits season begins with The Apple Tree from the songwriting team behind Fiddler on the Roof and She Loves Me. This witty, tuneful and charming piece that was Tony nominated for Best Musical is made up of three miniatures: The Diary of Adam and Eve, a quirky, touching spin on the tale of the world’s first couple, adapted from Mark Twain’s short stories; The Lady or the Tiger?, a 1960’s rock and roll fable set in a mythical kingdom, which explores the fickleness of love and Passionella based on Jules Feiffer’s offbeat Cinderella story about a chimney sweep who dreams of being a “glamorous movie star.”

Additional Porchlight Revisits in the 2023 – 2023 season includes Porchlight Revisits I am a Camera, Wednesday, Feb. 8 at 7:30 pm and Thursday, Feb. 9 at 1:30 , a complement to Porchlight’s Mainstage Cabaret, this special event production is a rare opportunity to experience the remarkable 1951 play that became the inspiration for the musical Cabaret and Porchlight Revisits Two by Two, Wednesday, May 24 at 7:30 pm and Thursday, May 25 at 1:30 pm and 7:30 pm, with music by Richard Rodgers, lyrics by Martin Charnin and book by Peter Stone based The Flowering Peach by Clifford Odets. Porchlight Revisits Two by Two tells the story of Noah, the flood and its aftermath with touches of modern themes including the environment and the differences from generation to generation.

The cast of Porchlight Revisits The Apple Tree includes Jonah Cochin (Adam/ensemble); Maddison Denault (Princess Barbara/ensemble); Susan Hofflander (Snake/ensemble); Shea Hopkins (Flip/The Prince/ensemble); Ruchir Khazanchi (Captain Sanjar/ensemble); Michael Mejia (balladeer/ensemble); Leah Morrow (Ella/Passionella/Ensemble); Emma Rosenthal (Narrator/ensemble) and Ciarra Stroud (Eve/ensemble).

The Porchlight Revisits The Apple Tree creative team includes Frankie Leo Bennett (director, The Diary of Adam and Eve), Jamal Howard (director/choreographer, The Lady or the Tiger?), and Laura Savage (director, choreographer, Passionella); David Fiorello (music director), Rachel Sypniewski (costume designer); Rachel West (lighting designer), Matthew R. Chase (sound designer); Alden Vasquez (stage manager); Emily Marrazzo (assistant stage manager); Kevin Vilchez (assistant stage manager); Majel Cuza (production manager) and Michael Weber (artistic director).

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