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DTSTART;VALUE=DATE:20220827
DTEND;VALUE=DATE:20221114
DTSTAMP:20221030T171049Z
CREATED:20221030T171049Z
LAST-MODIFIED:20221030T171049Z
UID:94898-1661558400-1668383999@slochamber.org
SUMMARY:Alyssa Monks: Be Perfectly Still\, A Retrospective
DESCRIPTION:The SLO Museum of Art is pleased to present the first museum retrospective by contemporary artist Alyssa Monks. The exhibition will bring together paintings that span the arc of Monks’ career\, from the early 2000’s to works created during the pandemic. Through paintings that are expressive\, lush\, and often intimate\, Monks conveys the very essence of being human through works that meditate on love\, loss\, and the perennial search for self. \nThe paintings included in this exhibition feature large-scale portraits of Monks and those closest to her\, portrayed in vulnerable or intimate contexts. Often capturing fragmented elements of a scene\, or layering together various spaces and moments\, Monks’ works disorient the viewer and invite reflection on one’s own vulnerability. Through the use of thickly applied brushstrokes\, and her tendency to flip the background and foreground in her work using semi-transparent filters of glass\, vinyl\, steam\, water and or foliage over shallow spaces\, Monks creates surface tension in her work that eschews easy interpretation of her subject matter. \nThis exhibit is showing from August 27th – November 13th at the SLO Museum of Art. See SLOMA website for more details.
URL:https://slochamber.org/event/alyssa-monks-be-perfectly-still-a-retrospective/
LOCATION:San Luis Obispo Museum of Art\, 1010 Broad Street (at Monterey)\, San Luis Obispo\, CA
CATEGORIES:Community Events
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DTSTART;VALUE=DATE:20221001
DTEND;VALUE=DATE:20221101
DTSTAMP:20221010T173543Z
CREATED:20221010T172358Z
LAST-MODIFIED:20221010T173543Z
UID:94528-1664582400-1667260799@slochamber.org
SUMMARY:Nate's On Marsh Presents: National Pasta Month
DESCRIPTION:Did we tell you? It’s National Pasta Month! We think there’s a reason to celebrate pasta every month\, but especially during October a.k.a. #NationalPastaMonth. One of our most favorite pasta types is the widely loved\, ever versatile spaghetti pomodoro. To honor this favorite\, we’re offering the Italian classic for $11.99 all month long. Come and get it.
URL:https://slochamber.org/event/nates-on-marsh-presents-national-pasta-month/
LOCATION:Nate’s on Marsh\, 450 Marsh Street\, San Luis Obispo\, CA\, 93401\, United States
CATEGORIES:Community Events
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DTSTART;VALUE=DATE:20221003
DTEND;VALUE=DATE:20221008
DTSTAMP:20221001T001830Z
CREATED:20221001T001830Z
LAST-MODIFIED:20221001T001830Z
UID:94238-1664755200-1665187199@slochamber.org
SUMMARY:Rideshare Week 2022
DESCRIPTION:Rideshare Week invites you to explore other ways of getting where you are going\, by pledging to try something new. You’ll save money\, improve your health\, reduce your stress\, preserve our air quality\, and decrease roadway congestion. From October 3rd-7th we are asking San Luis Obispo County commuters to ditch the car and choose a more sustainable way to go. That could include biking\, walking\, rolling\, bussing\, carpooling\, vanpooling and even working from home!  Everyone who pledges to choose an alternative way to go during that week will get entered to win one of five California State Parks annual passes. \n\n 
URL:https://slochamber.org/event/rideshare-week-2022/
LOCATION:CA
CATEGORIES:Community Events
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DTSTART;TZID=America/Los_Angeles:20221004T170000
DTEND;TZID=America/Los_Angeles:20221004T181500
DTSTAMP:20221002T185204Z
CREATED:20221002T185204Z
LAST-MODIFIED:20221002T185204Z
UID:94319-1664902800-1664907300@slochamber.org
SUMMARY:Moonwise Wellness + Yoga Presents: Prenatal Yoga
DESCRIPTION:This prenatal yoga class offers a community for pregnant people to connect with the body in a supportive way\, cultivating gentle awareness and loving kindness with the guidance of the breath. We will find sanctuary within and harness a balance between effort and ease. This practice offers poses\, breath work and meditation as resources for both on the mat and beyond to prepare for birth and parenthood. Please consult your healthcare provider before participation in the class. Participants are encouraged to bring their own yoga supplies that will make them most comfortable in the practice including yoga mat\, block\, blanket/towel\, bolster\, or cushions\, as well as water and snacks.  Two sessions offered. \n\nSESSION 1 \nDay: Tuesday \nDate: October 4 – November 1 \nTime: 5:00 PM – 6:15 PM \nAge: 18+ yrs. \nLocation: Senior Center Main Room (1445 Santa Rosa Street) \nCost: $90.00 (5 classes) or $20.00 drop-in \n\n 
URL:https://slochamber.org/event/moonwise-wellness-yoga-presents-prenatal-yoga/
LOCATION:SLO Senior Center\, 1455 Santa Rosa St.\, San Luis Obispo\, CA
CATEGORIES:Community Events
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DTSTART;TZID=America/Los_Angeles:20221004T193000
DTEND;TZID=America/Los_Angeles:20221004T210000
DTSTAMP:20220711T201447Z
CREATED:20220711T201447Z
LAST-MODIFIED:20220711T201447Z
UID:92718-1664911800-1664917200@slochamber.org
SUMMARY:Cal Poly Arts Presents Gabriel Kahane
DESCRIPTION:In this intensely personal show\, composer\, singer and songwriter Gabriel Kahane explores the quiet\, domestic concerns of marriage\, fatherhood\, and loss\, against the backdrop of a nation and planet in existential crisis.
URL:https://slochamber.org/event/cal-poly-arts-presents-gabriel-kahane-2/
LOCATION:CA
CATEGORIES:Community Events
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DTSTART;TZID=America/Los_Angeles:20221004T200000
DTEND;TZID=America/Los_Angeles:20221004T220000
DTSTAMP:20220814T184250Z
CREATED:20220814T184250Z
LAST-MODIFIED:20220814T184250Z
UID:93372-1664913600-1664920800@slochamber.org
SUMMARY:The Wallflowers
DESCRIPTION:♦ SHOW INFORMATION ♦ \nTuesday\, October 4\, 2022 \nDoor Time- 7:00 PM \nShow Time- 8:00 PM \nALL AGES \nTier 1: $67.00 – $74.00 \nTier 2: $57.00 – $64.00 \nTier 3: $47.00 – $54.00 \n♦ ABOUT THE PERFORMER ♦ \nRock ‘n’ roll is often hard to define\, or even to find\, in these fractured musical times. But to paraphrase an old saying\, you know it when you hear it. And you always hear it with the Wallflowers. \nFor the past 30 years\, the Jakob Dylan-led act has stood as one of rock’s most dynamic and purposeful bands – a unit dedicated to and continually honing a sound that meshes timeless songwriting and storytelling with a hard-hitting and decidedly modern musical attack. That signature style has been present through the decades\, baked into the grooves of smash hits like 1996’s Bringing Down the Horse as well as more recent and exploratory fare like 2012’s Glad All Over. Even so\, in recent years\, Dylan – the Wallflowers’ founding singer\, songwriter and guitarist – has repeatedly stepped outside of his band\, first with a pair of more acoustic and rootsy records\, 2008’s Seeing Things and 2010’s Women + Country\, and then with the 2018 film Echo in the Canyon and the accompanying soundtrack\, which saw him collaborate with a host of artists classic and contemporary\, from Neil Young and Eric Clapton to Beck and Fiona Apple. But while it’s been nine long years since we’ve heard from the group with whom he first made his mark\, the Wallflowers are silent no more. And Dylan always knew they’d return. “The Wallflowers is much of my life’s work\,” he says simply. Plus\, he adds with a laugh\, “It’s pretty hard to get a good band name\, so if you have one\, keep it.” Good band name aside\, that life’s work continues with Exit Wounds\, the brand-new Wallflowers studio offering. The collection marks the first new Wallflowers material since Glad All Over. And while the wait has been long\, the much-anticipated record finds the band’s signature sound – lean\, potent and eminently entrancing – intact\, even as Dylan surrounds himself with a fresh cast of musicians. Which\, the front man is quick to point out\, is not all that unusual. “The Wallflowers has always been a vehicle for me to make great rock ‘n’ roll records\,” he says. “And sometimes the lineup that makes the record transfers over into touring\, and sometimes it doesn’t. But my intention is always to make the Wallflowers record I want to make\, using the musicians I have beside me.” Dylan’s vision has always been the core of the Wallflower’s music. How he chooses to express that vision\, however\, is what makes a song a Wallflowers song. “I usually just let the songs tell me what kind of arrangements they need\,” he says. “And if they’re asking for full-band electric arrangements\, then that’s what the Wallflowers provide. And I knew I wanted to make a full-band electric record this time out.” And made one he has\, with one special guest on board – Shelby Lynne\, who lends her voice to three of the album’s tracks. “I hadn’t met Shelby before\, but like most people\, I’ve been a fan of hers for quite some time\,” Dylan says. “She has one of those voices that’s very uncommon\, very unique\, very rare.” But there was more to their duet than just a mutual appreciation. “You can have your favorite singer come in\, but it doesn’t mean you’ll have any connection – there has to be more than that\,” Dylan continues. “And as soon as I heard Shelby sing\, I knew we had something.” That “something” is present throughout Exit Wounds\, which\, true to its title\, is an ode to people – individual and collective – that have\, to put it mildly\, been through some stuff. “I think everybody – no matter what side of the aisle you’re on – wherever we’re going to next\, we’re all taking a lot of exit wounds with us\,” Dylan says. “Nobody is the same as they were four years ago. That\, to me\, is what Exit Wounds signifies. And it’s not meant to be negative at all. It just means that wherever you’re headed\, even if it’s to a better place\, you leave people and things behind\, and you think about those people and those things and you carry them with you. Those are your exit wounds. And right now\, we’re all swimming in them.” To be sure\, Exit Wounds is populated by scarred souls that “used to rumble\, used to roar\,” of “nobodies drinking flat beer\,” and those who’ve been “abandoned and locked out and pressed to the fire.” Throughout\, Dylan’s lyrics are specked with images of spears and swords and battle-worn flags being raised\, of wayward buses and battered ships\, riderless horses and lost planes. Of course\, ask Dylan what these songs are about\, and\, well\, like most practiced songwriters\, he’s not going to tell you. “I’m always a little cautious when people ask that\,” he says. “Not because it demystifies the songs\, but more because I think it’s belittling to the listener to have to be ‘told.’ I usually find that if you have to do that for someone\, you probably didn’t hit your mark.” That said\, Dylan will at least acknowledge that the tracks on Exit Wounds reflect the tumultuous times in which they were written. “The climate affects how you feel\, which affects how you’re writing songs\, even if you’re not writing specifically about current events.” He turns to the late John Prine to illustrate his point. “If we still had John Prine\, I don’t think he’d be writing songs specifically about current affairs\, but he’d probably be writing songs about characters affected by current affairs. I think that’s mostly what I do.” As far as Exit Wounds\, Dylan continues\, “I’m the same writer I’ve always been – I was just also writing during a time when the world felt like it was falling apart. That changes the way you address even the simplest things\, because you have panic in your mind all the time. You have anxiety. And you also have hope. And it’s all in there.” When it came to realizing these new songs on record\, Dylan assembled a backing band of musical associates – “people that I’ve wanted to play with or that I have played with through the years” – and headed into the studio under the watchful eye of producer Butch Walker. As for what Butch brought to the sessions? Beyond his pedigree as an in-demand producer and first-rate singer-songwriter and musician\, he’s also\, Dylan says\, “someone I’ve known a long time\, and that was important to me. Because you go through a lot when you make records\, to be honest. When you’re young\, you’re taught that if you don’t have conflict in the studio\, then you’re probably not doing anything good. But I don’t believe that. And so it was more of a joyful experience making this record.” That joyful experience extended to Dylan’s interplay with his fellow musicians. “This was not the type of thing where it’s a rotating cast and you call a different drummer for each song\, or you pull out the Rolodex and ring the local sessions guys\,” Dylan says. “The record was made as a band – the five Wallflowers.” And to Dylan\, a band\, even one with a constantly shifting lineup\, is a sacred thing. “I’ve always been a believer in collaboration\,” he says\, “and no matter who I’m playing with I’ve always tried to include them very heavily. Otherwise\, why would they be around? Because I do think bands\, whether it’s a long standing group or just five people who are working together for that one stretch of time\, make better rock ‘n’ roll records than solo artists.” He laughs. “I mean\, it’s not 100 percent true\, but it’s usually true.” At the end of the day\, Dylan continues\, “It’s just exciting to have guys playing in a room together. That’s how you get the one plus one equals three factor\, you know? That’s the magic.” For Dylan\, Exit Wounds is the next chapter in a career devoted to chasing – and capturing – that magic. “I came up in an era of great rock ‘n’ roll bands making great music\, and it’s the way I always imagined I would do it one day\,” he says. “So that’s always been my vision with the Wallflowers – to be a great rock ‘n’ roll band. And I’ve worked on it for 30 years now and I still have a lot to say. It’s something I started a long time ago\, and it’s far from finished.”
URL:https://slochamber.org/event/the-wallflowers/
LOCATION:Fremont Theater\, 1035 Monterey St\, SLO
CATEGORIES:Community Events
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