Cuban Performs With Silvio Rodríguez After Controversial Remarks At Concert

More photos A remarkable work of public architecture, it reflects and engages Los Angeles like few other buildings. Photography by Los Angeles Times staff Sept. 20, 2013 In a lecture at Harvard in the early 1990s, the Spanish architect Rafael Moneo referred to Frank Gehry as a “noble savage.” The comment, partly a joke, perfectly summed up the conventional wisdom that had gathered around Gehry’s work during the time he was designing Walt Disney Concert Hall. As the prevailing caricature had it, Gehry was architecture’s answer to the action painters of the 1950s: Jackson Pollock operating at an urban scale, working as much by intuition as strategy, and dribbling his unorthodox forms across building sites instead of canvases. The building, which will turn 10 years old next month, responds to the lonely moonscape urbanism of Bunker Hill with a shimmering, canny gregariousness that spills down Grand Avenue in both directions. It understands and adapts to its peculiar context far better than the buildings by well-known architects that preceded (Arata Isozaki’s Museum of Contemporary Art, Moneo’s cathedral) and followed it (Coop Himmelblau’s arts high school) on Grand. And thanks to Gehry’s productive collaboration with the acoustician Yasuhisa Toyota, Disney Hall solves the devilish practical challenges that have frustrated a long line of concert-hall architects. Its auditorium, lined with a billowing collection of Douglas fir panels and seats upholstered in an almost-garish floral pattern that dares you to dislike it, delivers a remarkably and reliably lively sound. In short, Disney Hall accomplishes all the things Gehry has become famous for and all the things he was supposed to be incapable of doing. Disney Hall under construction in 2001. More photos When Gehry was named one of the finalists in the competition to design a new building for the Los Angeles Philharmonic in 1988, he was keenly aware of the typical objections to his work. In an early presentation of his proposal, he made a point of saying that his buildings “aren’t from Mars.” He emphasized how much his career was “bound to this city.” He was, in fact, the only local architect among the four finalists. His initial design, quite different from what was ultimately built, imagined a small village for classical music at the top of Bunker Hill.

Concert preview: Iron & Wine keep stretching definitions

Rodriguez, who came to Carcasses’ defense amid the controversy, included the 41-year-old pianist and leader of the jazz-fusion band Interactivo in his line-up of artists Friday at an open-air concert in the Havana neighborhood of Santiago de las Vegas. Without making any mention of the controversy swirling around Carcasses, Rodriguez presented his fellow musician as a “talent” and recalled that they worked together recently on an album. During Friday’s show, Carcasses provided piano accompaniment for Rodriguez on his song “Segunda Cita” and also performed two other instrumental numbers with other musicians. Carcasses did not make any remarks to the crowd of 300 people, but he told foreign correspondents afterward that he hoped he had put the controversy behind him. During a Sept. 12 official concert in Havana that was broadcast live on national television, Carcasses sang a song calling for free access to information and the election of the president by direct popular vote. The jazz fusion artist said Monday he had been barred indefinitely from performing at future state-run events because of his comments during the concert, which had been organized to demand the release of Cuban intelligence agents imprisoned in the United States. But authorities on the Communist-ruled island later reconsidered and lifted the sanction. The 66-year-old Rodriguez, Cuba’s best-known folk singer, came to Carcasses’ defense on Tuesday. He said his fellow musician had committed a “regrettable error” in pressing his demands at an event organized to call for the release of agents “who have sacrificed their lives for the security of the people.” However, as a Cuban citizen, Carcasses “has the right to express what he thinks in his country,” Rodriguez added. Considered heroes in Cuba, the four agents were arrested in 1998 and convicted of espionage in 2001, receiving sentences ranging from 15 years to life in prison. While a fifth agent who was also arrested and convicted of the same crime has since been paroled and allowed to return to Cuba, the other four spies remain in prison. The Cuban Five insisted they were spying on Miami’s Cuban exile community, not the U.S. government. Cuba says the men were sent to Florida in the wake of several terror bombings in Havana allegedly masterminded by anti-Castro militant Luis Posada Carriles, a former CIA operative. Follow us on twitter.com/foxnewslatino

Now a tribute concert aims to make up for lost time. Organisers said the anniversary concert by a tribute band would be a chance to see what had been missed. “Pembroke Castle had hosted Hot Chocolate and other venues had regularly hosted chart acts, but nobody had at that stage had anyone near the Stones,” said Malcolm Cawley – DJ BB Skone – who was 24 at the time. A poster for the gig that never happened The Rolling Stones were organising an European tour and had been offered the chance to fill a gap in September. Word quickly spread as the promoters advertised the event, even in the national press. Permission had not been granted by the local council however as Ann Dureau, who was a councillor in her 30s on Pembrokeshire Borough Council at the time, recalled: “The response was utter horror. The councillors said it would mean closing the whole of the main street and shop windows would have to be battened down. “They were saying things like ‘we’ll be inundated by hippies and wild people’. “There was a meeting and it was thumbs down completely when it came to the vote, although I voted for it. “Young people couldn’t believe that we’d lost such an opportunity and in retrospect it was a bold plan and it was a pity we didn’t grab a chance to see what would happen.” Jon Williams, the current Pembroke Castle manager, said health and safety had been the main issue behind the council’s refusal to grant permission but there had been other issues too. “I think the promoter came to Pembroke Town Council very late in the day, about a month before the concert was due,” he said.

Concert marks 40 years since the Rolling Stones ‘nearly’ rocked Pembroke

A poster for the gig that never happened

Itas just me and bass, drums and keys and then the numbers start to blossom.a That is in keeping with the wonderful musical path down which Beam ambled with his fifth studio full-length, which was recorded in New York with longtime producer and collaborator Brian Deck. Admittedly, itas something of a departure for Iron & Wine, straying into more nocturnal and metropolitan jazzy and R & B terrain, while keeping the rural folk core intact. For his part, Beam calls it a kitchen-sink record or agenre potpourri,a an album that dictated its direction once he got in the studio and saw where the players a an all-star collection including members of Sex Mob, Jazz Passengers and Antony and the Johnsons a were capable of taking the material. aI like to find something new to suit each record. I donat like to do the same record twice. But thatas not hard a I mean thereas lots of different kinds of music out there. aSo originally I planned to make it a more stately, elegant kind of album. I really wanted to work with the strings, so in my mind it was going to be more of a torch song, elegant, orchestra kind of thing. But then I got the band together … and it just kind of worked.a aSome of the lyrics are unpalatable … theyare unsettling,a he says of the material on Ghost on Ghost, and the warmth theyare swaddled in. aI like when thereas contradictions, for sure.a And, ultimately, thatas what Iron & Wine, on this album and others, is all about a his journey.