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Cash Unchained: The Ultimate Johnny Cash Tribute
Take a journey back in time to the life and music of "The Man in Black" performed by Cash Unchained. The band has been national sought after while touring all over US bringing the sights and sounds of the legendary Johnny Cash.
Honestly follows future soul, James’ 2015 release which spent eleven weeks at #1 on the Billboard Contemporary Jazz Chart. The New York Times raved, “Boney James performs with panache...His arc as a soloist is emotional...he can paint a scene.”
The Greatest Showman: Sing-Along
The Greatest Showman is an original musical that celebrates the birth of show business & tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.
Happy Together Tour
Starring: THE TURTLES CHUCK NEGRON formerly of Three Dog Night GARY PUCKETT AND THE UNION GAP THE BUCKINGHAMS THE CLASSICS IV THE COWSILLS
Jan 25, 2019 | 8:00 PM | Friday
The work of Scott Bradlee's Postmodern Jukebox has been viewed on the ensemble's YouTube channel well over a hundred million times. Most of those doing the viewing, however, are not fully aware of the method to Bradlee's madness.
In fact, Bradlee's method runs deeper. He's educating his audience about 20th-century song styles; he's commenting on the elasticity of the pop form; he's confounding cultural context; he's uniting generations; he's breaking the rules. He's manifesting postmodernist ideas in his approach to production and business as well as music. But as far as the fans are concerned, it's just fun (and sometimes funny). Bradlee himself will tell you, simply, "I reimagine a song in another style because I want to hear it that way."
Asked what appealed to him about the popular music of the 1920s, ragtime especially, he says, "I could play it fast and loud. It was brash. And it had contempt for rules, which really appealed to me."
How does he come up with this stuff? "A lot of pop songs are constructed of elements that lend themselves to a certain feel," he points out. "The simple progression of the bass line in 'Blurred Lines,' for instance, reminded me of bluegrass. 'Sweet Child' sounds like an old blues song – the structure, the way the chorus repeats …" With Cyrus, it was more an instance of tongue-in-cheeky cultural criticism: "She'd gained all that notoriety from her 2013 VMA appearance. I had to recast her song for the '50s, which everyone thinks of as this squeaky-clean era."
The PMJ scene is more reminiscent of a speakeasy, with swells in vintage threads swilling Prohibition-era cocktails. "It's a variety show, a musical revue featuring special guests," Bradlee illuminates. "Coming to a PMJ show is like time-traveling back to Old Hollywood – it's an experience." Creating that for audiences appears to be PMJ's ultimate mission.
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