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Just in time for the Gem and Mineral Show, the “Gems of Rock” are coming to Tucson. The lineup includes: headliner Peter Rivera, singer and drummer of the classic psychedelic rock/soul band Rare Earth, accompanied by Mr. Skynyrd, “Arizona's Premier Lynyrd Skynyrd Tribute band” and award-winning Arizona folk singer Jeordie.
Rivera has multiple gold and platinum albums under his belt, including hit songs with Rare Earth like "Get Ready." The night also features a special performance by Arizona's own children's music program, The Schoolhouse of Rock and local Tucson R&B band Soul Essential. Festivities also include a raffle and a late night open jam from 1 to 2 a.m.
8 p.m. Friday, Feb. 8. at El Casino Ballroom, 437 E. 26th St. General admission tickets are $45, VIP tickets, featuring a meet and greet with Peter Rivera are $75. For more information, visit keylife4ent.com/shop
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This week U.S. Senator Kyrsten Sinema, along with Sen. Marco Rubio (R-Florida) and Sen. Thom Tillis (R-North Carolina) introduced the Threat Assessment, Prevention, and Safety Act of 2019 (S. 265).
The bill intends to streamline law enforcement efforts on local, state and national levels to better prevent violent acts of mass casualties.
Through the implementation of a Joint Behavioral Threat Assessment and Management Task Force (comprised of federal threat assessment experts, state and local law enforcement officials and mental health service professionals) a national strategy would be created to “prevent targeted violence through threat assessment and management, and evidence-based processes to identify individuals that exhibit patterns of dangerous behavior that may precede an act of targeted violence,” according to a press release.
Since perpetrators of these crimes can act anywhere at any time, the task force is supposed to help state and local law enforcement agencies access the same resources for combating these threats as the FBI and Secret Service.
The task force would be able to make recommendations on how to implement protocols for local law enforcement agencies to effectively preempt dangerous attacks. The bill requires these recommendations to reflect the different needs and resources of communities across the country, in order to prevent the enforcement of a national standard.
These recommendations would be funded through grants awarded by the Department of Homeland Security. Grant money would also be available to community stakeholders such as local governments, tribal organizations, educational institutions and nongovernmental organizations who create “community-based behavioral threat assessment and management units.”
The bill specifically requires recommendations for a Behavioral Threat Assessment and Management School Violence Prevention Program for educational institutions across the country.
A one-page briefing of the bill created by the office of Sen. Rubio states: “We have the expertise to combat the targeted violence plaguing our schools, places of worship, and public spaces, but we have yet to fully implement it to prevent attacks.”
“We must provide law enforcement with the tools they need to keep Arizona families safe and secure,” Sen. Sinema said in a press release. “I will work every day to protect Arizonans from senseless, tragic acts of violence.”
U.S. Representatives Brian Babin (R-Texas) and Val Demings (D-Florida) introduced a companion bill in the House.
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Brews & Books. Books have a way of making your heart and brain feel full, while beer has a way of making your stomach feel full. So if you’re looking to feel fulfilled every which way, a book club hosted by a brewery isn’t something you should miss out on. Head over to 1912 Brewing to discuss this month’s book, The Mermaid Chair, by Sue Monk Kidd, a story that involves an ailing mother, a trip to an island and a handsome monk—exactly the type of elements that made it a perfect fit to be adapted into a Lifetime movie. While you discuss the book, enjoy beer, mead, wine and whatever food you’d like to bring, because this is a potluck! 5 to 8 p.m. Thursday, Jan. 31. 1912 Brewing Company, 2045 N. Forbes Blvd. Free. Details here.
Te Amo, Argentina. World-renowned cellist Antonio Lysy won a Grammy for his album Te Amo, Argentina, an homage to the sounds of the country, from the music of tango in Buenos Aires cafes to the Amerindian rhythms of the Andes Mountains. In this show, the album comes to life, featuring not only chamber works and cello solos by Lysy, but spoken word, film and tango dancing by Miriam Larici and Leonardo Barrionuevo, tango choreographers on So You Think You Can Dance and gold medalists on NBC’s Superstars of Dance. Come hear the works of Ginastera, Piazzolla, Guastavino and more. By the time you walk out, you’ll be just as in love with Argentina as Lysy is. 7:30 p.m. Thursday, Jan. 31. Leo Rich Theater, 260 S. Church Ave. $30. Details here.
J.I.D. Growing up whip smart and poor made J.I.D. creative and resourceful. To quick flow mix up. To mash together funk and soul with Bollywood flair. To pay little attention to rules and transcend limitations. The resulting hip hop is fresh and deconstructed and, um, dangerous. (Yes, we know, dangerous doesn’t exist anymore.) This Atlanta kid grew up on Mobb Deep and Wu-Tang, and J.I.D. too has a crew, Spillage Village (alongside 6LACK). Like Wu, his dystopic visions are darkly comic and fully realized. His high-pitched nasal flow enlists hyper-complex internal rhyme schemes and hypnotic repetition to assert and deconstruct at once, a cut and pasted ransom note atop warped sitars and descending piano scales. The effect is disorienting and utterly original. As J.I.D. guides us through his “get on my dick/cannabis spliff”-enhanced world, that old-fashioned “I feel cool as shit bumping this” vibe is attained. Hell yeah, hip hop doesn’t just survive, it thrives in J.I.D.’s jittery, capable hands. J.I.D., with Reason, Hardo, and Lou the Human on Thursday, Jan. 31. 191 Toole. Doors at 7 p.m. $20-$25. All ages. Details here.
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Twenty-five years strong, swing revivalists Big Bad Voodoo Daddy’s latest, Louie Louie Louie, is a rousing celebration of music legends Louis Armstrong, Louis Jordan and Louis Prima. At The Fox Theatre. Details here.
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Unlike most musicals, the story of Hamilton is told almost exclusively in song. So when I first heard that History Has Its Eyes On You: A Hamilton Music Revue would be doing a concert featuring the music of Hamilton "but none of the songs with plot," I wasn't too sure what to expect.
It turns out, the Stateside Presents performance didn't have any trouble celebrating the music of Hamilton without veering into the story behind the music. They focused instead on songs (from the musical, the Mixtape and the Hamildrops) that people can resonate with today; songs about love, lust, parenthood and the endless and revolutionary impact of immigrants. The show isn't a performance of the musical, but a celebration of the timeless themes and transcendental music—and performed on a stunning level, of course.
Singer Alyssa Chiarello at one point delivered a note so impressive—so high, held for so long, so beautifully—that her castmates essentially stopped the show to congratulate her on it, and to have the audience do the same.
Alex Ncube and Eddie Maldonado's love for the music they were performing was palpable in the audience. Ncube dedicated a touching rendition of "Dear Theodosia" to her daughter and demonstrated special appreciation to the lyrics about inclusivity. Meanwhile, Maldonado delivered every single one of his lines with a brash smirk one would believe of Alexander Hamilton himself.
And while Maldonado did perform many of Hamilton's lyrics, the cast didn't stick to dedicated roles. Sean Mullaney, whose high-energy performance was definitely a crowd pleaser, represented Schuyler's baby sister "Peggy" in one song, and transitioned into George Washington's commanding role in the next. Matravius Avent mastered both the calm, measured tone of Aaron Burr's opening lines and the tremendous speed of Marquis de Lafayette's rap in "Guns and Ships."
The organizers of the show said from the beginning that they wanted the show (much like the original musical itself) to be a tribute to hip hop, and that was apparent in the room before the first note was sung. The performers ditched Hamilton's typical 1800s garb for leather and mesh. They substituted Hamilton's full orchestra for DJ Kim E. Fresh and a modern band. During "Cabinet Battle," the cast transitioned their rap battle into a dance off, which segued into a kind of break dance intermission. These steps took the much-loved music and transitioned it seamlessly into a show that stands apart from the original work it honors.
The show accomplished the goal it set out with: To celebrate the music of one of the most-loved modern musicals outside of the original (high-priced) theater setting. I sincerely hope this show returns to Tucson, because it is a hell of a good time.
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