{"id":26616,"date":"2017-11-16T08:50:08","date_gmt":"2017-11-16T13:50:08","guid":{"rendered":"http:\/\/kennetttimes.com\/?p=26616"},"modified":"2017-11-16T08:50:15","modified_gmt":"2017-11-16T13:50:15","slug":"on-stage-shindell-anything-but-careless-at-the-flash","status":"publish","type":"post","link":"https:\/\/kennetttimes.com\/?p=26616","title":{"rendered":"On Stage: Shindell anything but ‘Careless’ at The Flash"},"content":{"rendered":"

By Denny Dyroff,<\/strong> Staff Writer, The Times<\/em><\/p>\n

\"\"<\/a>

Richard Shindell<\/p><\/div>\n

Kennett Flash has built a reputation for being both a rock club and a listening room \u2013 one night it could be electric guitar whiz Jennifer Batten and the next night the folkie duo The Kennedys.<\/p>\n

The venue will be in \u201clistening room\u201d mode on November 17 when veteran singer-songwriter Richard Shindell headlines a show at Kennett Flash (102 Sycamore Alley, Kennett Square, 484-732-8295,\u00a0http:\/\/www.kennettflash.org<\/a>).<\/p>\n

Shindell, a New Jersey native who now splits his time between residing in the United States and living in Buenos Aires, Argentina, released his debut album \u201cSparrows Point\u201d on Shanachie Records in 1992.<\/p>\n

The versatile entertainer is now performing shows around the country in support of his latest album, \u201cCareless,\u201d which came out on Amalgamated Balladry in 2016. His discography also includes more than 10 albums that were made in between his first and his most recent offerings.<\/p>\n

\u201cCareless\u201d represents the culmination of years of work, preparation, and growth. It was meticulously recorded over three years in upstate New York and Buenos Aires, Argentina. Shindell immersed himself in the studio — allowing the time and latitude to explore, experiment and take risks.<\/p>\n

\u201cI recorded \u2018Careless\u2019 mostly in upstate New York \u2013 at a studio in the Saugerties near Woodstock,\u201d said Shindell, during a phone interview last week from a tour stop in Cedar Rapids, Iowa.<\/p>\n

\u201cI also did a lot of recording in Buenos Aires. My wife is from Buenos Aires and we\u2019ve been living there for 17 years. I love Buenos Aires. There\u2019s a lot of culture there. Argentina and its people are really interesting.\u201d<\/p>\n

On \u201cCareless,\u201d Shindell mixes in more electric guitar work than usual.<\/p>\n

According to Shindell, \u201cReturning to the electric guitar has transformed my relationship with all aspects of my career. The wider sonic and dynamic range of the electric has been a real inspiration. Rejuvenating.\u201d<\/p>\n

In addition to playing live shows to support \u201cCareless,\u201d Shindell\u00a0is also, for the first time in almost 20 years, playing selected dates with\u00a0Cry, Cry, Cry,\u00a0his long dormant celebrated collaboration with Dar Williams and Lucy Kaplansky.<\/p>\n

\u201cI\u2019m working \u2018Careless\u2019 a lot,\u201d said Shindell. \u201cBut, I got diverted with Cry, Cry, Cry. I love the intricate harmonies of those two guys. I\u2019ve put some of the Cry, Cry, Cry songs in my sets as well.<\/p>\n

\u201cPerforming with them was fantastic. We just fell into the old material as if we had never parted company. The new stuff took some time for us to figure out the harmonies but it felt great. We did some recordings and a few are releasable. But, I\u2019m not sure if it will be an LP or and EP.<\/p>\n

\u201cI\u2019m an album-oriented artist. I released the new album because I love it. I felt all these songs belonged together. The songs sort of grew themselves over a period of time on the voice recorder on my phone. I use my phone to capture melodies and lyrics \u2013 mostly things I play on my guitar.<\/p>\n

\u201cA lot of times, it\u2019s a melody free of any setting.\u00a0 Sometimes, it\u2019s an observation \u2013 something I\u2019ve seen or something I\u2019ve heard someone say. I do this a lot but many of them never see the light of day. Giving them a name is tough. I\u2019ve found that it\u2019s a good idea to go back and name them \u2013 a title that gives them an identity. It takes form and becomes a thing in the world. It\u2019s a way of validating them.\u201d<\/p>\n

Shindell is more than just a song writer \u2013 he is a song crafter.<\/p>\n

\u201cIt\u2019s just a question of having a phrase in English that sounds good to me,\u201d said Shindell, who also released five EPs from 1995-2009.<\/p>\n

\u201cThe line has to sound good and be something that can be sung. It\u2019s really helpful for these words to have a wide-open quality \u2013 to not be too specific \u2013 to not be too determined about where it is going.\u201d<\/p>\n

Like a tournament Scrabble player, Shindell is always looking for the perfect word to fit the situation.<\/p>\n

\u201cI edit fairly well,\u201d said Shindell. \u201cI like to mess around with word choices and word order \u2013 and that will go on forever. I love that process.<\/p>\n

\u201cI love polishing it. Then, after a while, it sounds fine and I can\u2019t do anything more to it. I am a perfectionist. Actually, I wish I were less of a perfectionist.<\/p>\n

\u201cI\u2019ve started writing new songs for my next project. But, I don\u2019t want to play them live. I\u2019m trying to hold back as much as possible. The idea that anything you play on stage can be preserved for posterity \u2013 it completely changes the equation. Once I start recording, I will have to play them live.<\/p>\n

\u201cFor the songs in my current show, I go all the way back to the beginning. I always do a smattering of songs from all my records.\u201d<\/p>\n

Video link for Richard Shindell \u2014 https:\/\/youtu.be\/9gek6HgQilI<\/a>.<\/p>\n

The show at Kennett Flash will start at 8 p.m. Tickets are $30.<\/p>\n

Other upcoming shows at Kennett Flash are Todd Sheaffer of Railroad Earth and Jason Webb on November 18 and Adrian Legg on November 19.<\/p>\n

Voltage deals with electrical power. The Voltage Lounge (421 North Seventh Street, Philadelphia, 215- 964-9602, www.voltagelounge.com<\/a>) deals with sonic \u2013 and electrical — power.<\/p>\n

On November 16 and 17, The Voltage Lounge will host a pair of shows featuring powerful young bands \u2013 The Funeral Portrait on Thursday evening and The Wrecks on Friday night.<\/p>\n

\"\"<\/a>

The Funeral Portrait<\/p><\/div>\n

The Funeral Portrait is a four-piece emotional rock band that features Lee Jennings (vocals), Mikey J (guitar), Robert Weston (bass), and Homer (drums). The<\/p>\n

Based in Atlanta, Georgia, The Funeral Portrait got its start in late 2014 and since then has done over 16 tours and shared bills with such acts as Alesana, Islander, Famous Last Words, Davey Suicide, Escape The Fate, and Slaves.<\/p>\n

\u201cThe band has been in existence for three years but this line-up has only been together four months,\u201d said Jennings, during a phone interview Wednesday afternoon as the band was driving from Richmond, Virginia to a show in Baltimore.<\/p>\n

\u201cThis line-up, which came together in April, is what we\u2019re focusing on. Earlier this year, everyone who had been in the band except me quit. Some were going back to school and others were starting new projects. . I don\u2019t blame them because touring is not for the feint of heart. And, I think they were kind of over this type of music.\u201d<\/p>\n

The Funeral Portrait\u2019s debut EP \u201cFor The Dearly Departed\u201d came out a few years ago and was followed by the single \u201cMemorable.\u201d The group\u2019s first album \u201cA Moment of Silence\u201d was released in 2016 and the band just released its new single \u201cThe Crash.\u201d<\/p>\n

\u201cThe first EP was theatrical metal and then the first single and the album were more atmosphere-based,\u201d said Jennings. \u201cNow, we\u2019re going back to the middle ground \u2013 dark rock. The new single is the only track released by the current band.<\/p>\n

\u201cWe\u2019re trying to build a fan base that is genuine. We have a tight-knit community of fans who will always corm to see us play.<\/p>\n

\u201cIt\u2019s hard to keep fans\u2019 attention because the music industry us so singles-based right now. So, we\u2019re focusing a lot of time and energy on one song at a time.\u201d<\/p>\n

Right now, that song is \u201cThe Crash.\u201d<\/p>\n

\u201cWe just released \u2018The Crash\u2019 a week ago and the fans love it,\u201d said Jennings. \u201cI\u2019m insanely proud of this song. I think it\u2019s the best recording the band has ever done. It shows what I want The Funeral Project to become \u2013 a heavy-hitting rock-and-roll band. It\u2019s important to keep our fans interested.<\/p>\n

\u201cThe dynamics of the band changed with the new line-up. It\u2019s on the inside. It flows better. It\u2019s just a better band.\u201d<\/p>\n

Video link for The Funeral Portrait — https:\/\/youtu.be\/0pN6sQJMNkk<\/a>.<\/p>\n

The all-ages show at The Voltage Lounge, which also features Emery, Civilian, Loyal and In Your Memory, will start at 7 p.m. Tickets are $20.<\/p>\n

\"\"<\/a>

The Wrecks<\/p><\/div>\n

The Wrecks, who are bringing their \u201cRobot Army Tour\u201d to the Voltage Lounge, are a Los Angeles-based indie rock band with roots in Thousand Oaks, California. The group features Nick Anderson (vocals\/guitar), Nick Schmidt (guitar), Harrison Nussbaum (guitar), Aaron Kelley (bass), and Billy Nally (drums).<\/p>\n

With influences such as The Pixies, The Strokes, Weezer, and Vampire Weekend, the band rocks out with its own distinct melodic and quirky sound.<\/p>\n

The Wrecks are touring in support of their debut three-song EP \u201cWe Are the Wrecks. The single that followed — \u201cFavorite Liar\u201d — caught the attention of Jeff Reagan at SiriusXM\u2019s Alt Nation and reached top #5 on their Alt-18 countdown for weeks.<\/p>\n

The EP is currently Top 40 at Alternative Radio and has almost 5.5 million streams on Spotify. The live video has garnered almost 400,000 views on YouTube.<\/p>\n

\u201cIn November 2015, we were in the room together for the first time,\u201d said Anderson, during a phone interview Wednesday from a tour stop in Niagara Falls, N.Y. \u201cThree days later, we snuck into a recording studio and recorded the tracks for the EP.\u201d<\/p>\n

The Wrecks recorded their debut EP on a whim when they heard the news that a friend had been granted access to a professional recording studio for just a few days.<\/p>\n

With zero budget, limited recording experience, and less than a week as a band under their belts, the group set out to write and record the best songs that they could in three days.<\/p>\n

\u201cA friend was in custody of the studio and placed the key under a mat,\u201d said Anderson. \u201cWe didn\u2019t know we weren\u2019t allowed to be there.\u201d<\/p>\n

As the owner\u2019s ex-wife was on her way to the studio, the band members were told they had just minutes to leave without a trace.<\/p>\n

\u201cAs we were pulling out, we saw the ex-wife\u2019s car pull into the driveway,\u201d said Anderson.<\/p>\n

The Wrecks made a successful getaway \u2013 but it was not a clean getaway.<\/p>\n

\u201cWe realized that we left the tracks on the hard drive there,\u201d said Anderson. \u201cAaron snuck in the next night at 2 a.m. to get the files.\u201d<\/p>\n

Once they got the recordings back, the Wrecks joined together with a co-producer to assemble the EP.<\/p>\n

\u201cOur co-producer was Andrew DiAngelo,\u201d said Anderson. \u201cHe is also co-producing our next EP.\u201d<\/p>\n

Both EPs are being released on Another Century Records.<\/p>\n

\u201cAnother Century was coming to our shows before anybody else,\u201d said Anderson. \u201cWe signed with them because they were the first to show interest — and because they are a growing label.<\/p>\n

\u201cWe originally released the EP on our own in April 2016 and then Another Century re-issued it in February 2017. We\u2019re finishing the second EP now. Andrew and I are co-producing again.<\/p>\n

\u201cWe recorded it in L.A. and then scrapped those recordings. We came east and re-recorded the EP at Patrick Barry\u2019s home studio in western New York. Now, we\u2019re playing songs from both EPs in our live shows.\u201d<\/p>\n

The Wrecks\u2019 fans can expect the new EP any day now.<\/p>\n

\u201cThe EP is wrapped up and is now in label preparation,\u201d said Anderson. \u201cWe\u2019re now getting the artwork finished up. And, we\u2019re hoping to get a single out early next year.\u201d<\/p>\n

The Wrecks played Fillmore Philadelphia a few months ago as an opening band. Now, they are headlining their own national tour.<\/p>\n

\u201cThe shows at the Fillmore were incredible,\u201d said Anderson. \u201cThey helped with ticket sales for this show.<\/p>\n

\u201cThis tour is our first-ever headline tour \u2013 38 dates and half of them have sold out already. It\u2019s a big change for us because we played a 25-minute set as an opening act and now we have a 45-minute set. It\u2019s pretty interesting to tour having released just three songs. But, we have enough songs to play for two hoiurs. We write all the time and we have jams we work on at soundcheck.<\/p>\n

\u201cWe\u2019ve only toured as a support band so we\u2019re used to playing for people who don\u2019t know who we are so it doesn\u2019t matter if we have three songs or 30 songs. We\u2019ve changed the set throughout the tour based on what songs are working the best. It\u2019s important to be able to read the crowd.<\/p>\n

Video link for The Wrecks \u2013 https:\/\/youtu.be\/_kHjDNHEU5o<\/a>.<\/p>\n

The all-ages show at The Voltage Lounge, which also features The Technicolors and Mainland, will start at 7 p.m. Tickets are $14.<\/p>\n

Other upcoming shows at The Voltage Lounge are The Emo Band on November 18, In Hearts Wake, Like Moths To Flames, Phinehas and Fit For A King on November 21, and Bitsky, Mirkos, Avrage Joe and NO SIR E on November 22.<\/p>\n

\"\"<\/a>

Margaret Cho<\/p><\/div>\n

On November 17, Margaret Cho will bring her politically-charged and brutally-honest comedy to the stage at the Sands Bethlehem Event Center<\/a> (77 Sands Boulevard, Bethlehem, www.sandseventcenter.com<\/a>).<\/p>\n

This has been a busy time for Cho, a five-time Grammy and Emmy nominated comedian who was recently named one of Rolling Stone magazine\u2019s 50 Best Stand-Up Comics of All Time.<\/p>\n

A pioneer among women in comedy, Cho doesn\u2019t take anything for granted as she continues to tackle difficult subjects with sensitivity and her razor-sharp insight with her takes on addiction, abuse, activism and Asianness.<\/p>\n

\u201cOne good thing about stand-up is that you can take on anything,\u201d said Cho, during a phone interview Monday from her home in Los Angeles. I\u2019m grateful for my profession.\u201d<\/p>\n

Cho is out on her \u201cFresh Off The Bloat\u201d tour.<\/p>\n

According to Cho, \u201c\u2018Fresh Off The Bloat\u2019 is my sickest show to date.\u00a0 My grandmother said — you look like bloated as if you\u2019ve been found dead in a lake after several days of searching. Koreans are the most savage of all the Asians. My new show is all about being fresh off drugs and drinking and suicide and coming back to life — finally fished out of the river Styx. It\u2019s meta. It\u2019s magical. It\u2019s me.\u201d<\/p>\n

As always, Cho\u2019s show deals with a variety of topics such as gay marriages and what is happening in politics at the moment.<\/p>\n

\u201cIt\u2019s a crazy person in the White House now,\u201d said Cho. \u201cIn comparison, Bush is adorable now. It\u2019s pretty bizarre.<\/p>\n

\u201cThe man in the White Hose now is mentally ill \u2013 and it\u2019s not even addressed. People don\u2019t even talk about it and how bad it is. We are letting Trump get away with pretty much murder. He didn\u2019t win fair and square. He didn\u2019t get there by merits of his own.<\/p>\n

\u201cWe\u2019re not at school recess with a bully. This is the real world and he\u2019s dangerous. Hopefully, the good will prevail and we\u2019ll survive. But, we don\u2019t know. That\u2019s what is really scary. We just have to find a way to hang on and survive this.\u201d<\/p>\n

Trump is just one of Cho\u2019s many targets.<\/p>\n

\u201cI talk about Harvey Weinstein,\u201d said Cho. \u201cIt\u2019s a long time coming \u2013 so important and so vital. It\u2019s so important to tell the truth. I now feel I can talk without fear of repercussions. I also talk about the way things have shifted for the Asian-American community and about gay rights.\u201d<\/p>\n

Cho\u2019s new TV project \u201cHighland\u201d has been picked up for pilot by TNT Network.\u00a0\u201cHighland\u201d will chronicle what happens when two extended, dysfunctional Korean-American families who share the same patriarch must come together after tragedy strikes.\u00a0As it turns out, the most reliable person in both families is the one who just got out of rehab.<\/p>\n

\u201cWe shot the pilot and it\u2019s incredible,\u201d said Cho. \u201cI\u2019m excited about this show. It\u2019s so good.\u201d<\/p>\n

On another front, Cho will co-star with Will Smith in his new movie \u201cBright,\u201d which will premiere on Netflix on December 22.<\/p>\n

Video link for Margaret Cho \u2013 https:\/\/youtu.be\/Do1KezAC3Rk<\/a>.<\/p>\n

The show at Sands Bethlehem Event Center will start at 8 p.m. Tickets are $49. Tickets are $25, $35, and $39.50.<\/p>\n

Other upcoming acts at the Sands Bethlehem Center are Billy Gardell on November 18 and Culture Club on November 19.<\/p>\n

Over the years, the American listening audience has had limited exposure to the native music of Cuba.<\/p>\n

There has been Latin dance music by Havana native Gloria Estefan and her band, and, years and years ago, bits and pieces of Cuban music from Desi Arnaz, a native of Santiago de Cuba, who played the role of bandleader on his wife Lucille Ball\u2019s TV show. But, these are hardly representative of the treasure trove of great music coming from the small island nation.<\/p>\n

The Caribbean island of Cuba has been influential in the development of multiple musical styles in the 19th and 20th centuries. The roots of most Cuban musical forms lie in the cabildos, a form of social club among African slaves brought to the island. Cabildos preserved African cultural traditions, even after the Emancipation in 1886 forced them to unite with the Roman Catholic church.<\/p>\n

At the same time, a religion called Santer\u00eda was developing and had soon spread throughout Cuba, Haiti and other nearby islands. Santer\u00eda influenced Cuba\u2019s music, as percussion is an inherent part of the religion. Each orisha, or deity, is associated with colors, emotions, Roman Catholic saints and drum patterns called toques.<\/p>\n

Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Most important among these are France, the United States, and Jamaica. Reciprocally, Cuban music has been immensely influential in other countries, contributing not only to the development of jazz and salsa, but also to Argentinian tango, Ghanaian high-life, West African Afrobeat, and Spanish “nuevo flamenco”.<\/p>\n

\"\"<\/a>

Susan Werner, recently in Havana.<\/p><\/div>\n

American singer-songwriter-guitarist Susan Werner has embarked on a mission to elevate Americans\u2019 awareness of the treasure trove of music emanating from Cuba \u2013 especially with her new recording \u201cAn American in Havana.\u201d<\/p>\n

On November 17, Werner will showcase music from her new disc when she performs with Cuban vocalist\/percussionist Mayra Casales at the World Caf\u00e9 Live (3025 Walnut Street, Philadelphia, 215-222-1400, www.worldcafelive.com<\/a>).<\/p>\n

Werner\u2019s new six-song EP, \u201cAn American In Havana,\u201d is a collection of original songs inspired by Werner\u2019s recent travels to Cuba.\u00a0 The recording features performances and arrangements by legendary Cuban percussionist Mayra Casales (Dizzy Gillespie, Tito Puente, Regina Carter), along with Werner\u2019s trademark songcraft and wry, poetic lyrics.<\/p>\n

\u201cI made two trips to Cuba in the last three years,\u201d said Werner, during a phone interview Wednesday from her home in Chicago. \u201cThe first one was in 2015.<\/p>\n

\u201cCuba had started to show up again in the news. There was excitement and America re-establishing political ties with Cuba.<\/p>\n

\u201cHavana is one of the world\u2019s great musical capitals, so I wanted to go. I went with a group on a 10-day trip. It was a \u2018People-to-People\u2019 trip. My second trip was independent.<\/p>\n

\u201cCuba is worth it. It rewards your curiosity. It\u2019s the last \u2018different\u2019 place. Because of the U.S. embargo, Cuba has retained much of its culture and identity. Americans are an object of curiosity to them. The whole Cuba experience is fascinating.\u201d<\/p>\n

The most well-known native styles of Cuban music are rumba, rural rumba and son. Son Cubano is a style of music and dance that originated in Cuba and gained worldwide popularity during the 1930s. Son combines the structure and traits of the Spanish canci\u00f3n with Afro-Cuban stylistic and percussion instruments elements. The Cuban Son is one of the most influential and widespread forms of Latin American music. Its derivatives and fusions, especially salsa, have spread across the world.<\/p>\n

\u201cOn both trips, I\u2019d sit in with Cuban musicians,\u201d said Werner. \u201cI heard a lot of son music. I learned how to play Cuban rhythms on guitar. They\u2019re played on the off-beat. It makes you want to dance. In Cuba, many of the rhythms are the same as they are in Africa.<\/p>\n

Cuba\u2019s musical innovations stemmed from the interplay between African slaves settled on large sugar plantations and Spanish or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants reconstructed large numbers of percussive instruments and corresponding rhythms, the most important instruments being the clave, the congas and bat\u00e1 drums.<\/p>\n

Werner knows the importance of percussion in this music.<\/p>\n

Joining Werner for many of these shows is Mayra Casales, a Havana-born percussionist. Casales, who recorded with Werner, grew up in a family of Cuban musicians and her artistry informed all the songs on this record.<\/p>\n

According to Werner, \u201cMayra is the real deal. She has not only lived the story of Cuban music but plays it, and plays it at a world class level.\u00a0 Going to Cuba is amazing — and if you can\u2019t pull that off this year — going to see Mayra play is the next best thing.\u201d<\/p>\n

\u201cAn American in Havana\u201d was produced by Werner along with Venezuelan drummer Pablo Bencid. It is her13th studio recording.\u00a0The lead track, \u201cCuba Is\u201d, describes an American\u2019s first impressions of the island in lyrics set to an Afro-Cuban beat.<\/p>\n

\u201cRhythms communicate more than words do,\u201d said Werner. \u201cIt\u2019s irresistible.\u00a0 It is so rewarding to bring this show to my audience \u2013 especially bringing Mayra Casales. It\u2019s a delight. She plays a lot of percussion instruments \u2013 including clave and congas \u2013 and she sings. She is the real deal.\u201d<\/p>\n

Video link for Susan Werner \u2013 https:\/\/youtu.be\/rSNb1qarA_0<\/a>.<\/p>\n

The show at the World Caf\u00e9 Live will start at 8 p.m. Tickets are $25.<\/p>\n

The Steel City Coffee House (203 Bridge Street, Phoenixville, 610-933-4043, www.steelcitycoffeehouse.com<\/a>) will host Kipyn Martin and Jason McGovern on November 17, JD Malone & The Experts on November 18 and Matt sentry and Jeff Campbell on November 22.<\/p>\n

The Colonial Theatre (Bridge Street, Phoenixville, 610- 917-1228, www.thecolonialtheatre.com<\/a>) will present Theatre Organ Concert with Pierre Fracalanza on November 19.<\/p>\n

Burlap & Bean Coffeehouse (204 South Newtown Street Road, Newtown Square, 484-427-4547,\u00a0www.burlapandbean.com<\/a>) will present Kevin Gordon with Katie Buxton on November 16, Mouth of Babe on November 17 and Idlewheel featuring Craig Bickhardt and Jack Sundrud on November 18.<\/p>\n

The Ardmore Music Hall (23 East Lancaster Avenue, Ardmore, 610-649-8389,\u00a0www.ardmoremusic.com<\/a>) will have Big Sam\u2019s Funky Nation with special guest Darla on November 17, Tommy Conwell & the Young Rumblers with special guest Dynagroove on November 18, Funky Brunch featuring Hannah Taylor & The Rekardo Lee Trio on November 19, and Urban Guerrilla Orchestra and Loose Ends featuring Jane Eugene on November 19.<\/p>\n

The Sellersville Theater (24 West Temple Avenue, Sellersville, 215-257-5808,\u00a0www.st94.com<\/a>)\u00a0 will host Rhonda Vincent & The Rage on November 17, Savoy Brown featuring Kim Simmonds<\/a> along with Dustin Arbuckle & The Damnations<\/a> on November 18, Boy Named Banjo<\/a> and Maybe April<\/a> on November 19 and Brother Joscephus and the Love Revolution on November 22.<\/p>\n

The Grand Opera House (818 North Market Street, Wilmington, Delaware, 302-652-5577, www.thegrandwilmington.org<\/a>) will host the Delaware Symphony Orchestra on November 17 and \u201cInvincible \u2013 A Glorious Tribute to Michael Jackson\u201d on November 18.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Denny Dyroff, Staff Writer, The Times Kennett Flash has built a reputation for being both a rock club and a listening room \u2013 one night it could be electric guitar whiz Jennifer Batten and the next night the folkie duo The Kennedys. The venue will be in \u201clistening room\u201d mode on November 17 when […]<\/p>\n","protected":false},"author":1,"featured_media":26618,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7529],"tags":[6518,9702,8832,9703,9701,9256],"class_list":["post-26616","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-d-arts-entertainment","tag-featured","tag-margaret-cho","tag-richard-shindell","tag-susan-werner","tag-the-fineral-portait","tag-the-wrecks"],"_links":{"self":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts\/26616","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=26616"}],"version-history":[{"count":1,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts\/26616\/revisions"}],"predecessor-version":[{"id":26617,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/posts\/26616\/revisions\/26617"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=\/wp\/v2\/media\/26618"}],"wp:attachment":[{"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=26616"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=26616"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kennetttimes.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=26616"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}