From Bob Dylan to the dance floor, here are five weekend events to check out in Iowa City
Whether you are looking for ways to celebrate the end of the academic year or need to take mom somewhere, there are plenty of ways to satisfy all tastes this weekend in Iowa City.
Here are five events to add to the agenda, from a unique dance party to live local music.
Presented by the Summer of the Arts, Forever Young: The Music of Bob Dylan is a tribute to the artist featuring a lineup of local favorites. The concert will happen at 2 p.m. Saturday, May 10, at the Englert Theatre, tickets are available for purchase online.
Get tangled up in tribute with a local Bob Dylan tribute concert
Saturday: If you missed seeing Bob Dylan on his latest tour stops in Iowa, don't fret. Presented by the Summer of the Arts, Forever Young: The Music of Bob Dylan is a tribute to the legendary artist. The lineup is juiced up with local favorites, from the Beaker Brothers to Dave Zollo and Room Service, a band from City High. The tribute concert aims to honor Dylan's iconic career, featuring fresh reinventions of classic hits. Performances start at 2 p.m., Saturday, May 10, at the Englert Theatre. Tickets are available online and range in price from $10 to 33.
The Shrek Rave is coming to Gabe's from 9 p.m. to 1 a.m. Saturday, May 10.
Hey, now it's a Shrek Rave
Saturday: The virality of the cult-classic animated film has seeped from the internet into club spaces, proven by the international success of the 'Shrek Rave!" The official tagline is: 'It's dumb, just come have fun! Who cares! Cool is dead!' The Shrek Rave will bring its layers of good fun to Gabe's on Saturday, May 10. From 9 p.m. to 1 a.m., enjoy the typical charms of a rave in a thematic din. Tickets are available online and cost $20.
More: We spent a day at Iowa 80: The World's Largest Truck Stop. Here's what we discovered:
Catch Joel Worford at Northside Saturday Night from 6 to 8 p.m. Saturday, May 10.
Live from the Northside, it's Saturday night
Saturday: Northside Saturday Night's season is back in full swing. The weekly free concert series highlights local musicians in the Northside neighborhood every Saturday until the end of September. Joel Worford will take the outdoor stage first from 6 to 8 p.m., Saturday, May 10. Wofford will play songs from his project, 'Thoughts for Breakfast,' which combines the soulfulness of jazz, Americana, and funk music.
Kitty Corner Social ClubÕs sign hangs above the business Tuesday, Feb. 18, 2025 in downtown Iowa City, Iowa.
A purr-fect Sunday at Kitty Corner Social Club
Sunday: Haven't made it to Kitty Corner Social Club yet? The cat lounge's Mother's Day event might be the perfect opportunity. From 5 to 7 p.m. on Sunday, May 11, snuggle up with cats, treat yourself to self-serve snacks, and a special 'Bee Movie' screening followed by a chat with local beekeepers. Tickets for the event are available for purchase online and cost $10 per person.
More: The Iowa City Farmers' Market returns Saturday. Here's what to expect during the 53rd season:
The new sign for Alleycat, formely Joystick Comedy Arcade, is pictured on the building at 13. S. Linn St. Tuesday, April 23, 2024 in downtown Iowa City, Iowa.
A case of the Sunday funnies at AlleyCat
Sunday: Enjoy some laughs alongside Iowa City comedians at AlleyCat's Sunday Open Mic. Both aspiring and seasoned comedians will share their original material on stage. The show starts at 9:30 p.m. on Sunday, May 11, and will be followed by karaoke.
Jessica Rish is an entertainment, dining and education reporter for the Iowa City Press-Citizen. She can be reached at JRish@press-citizen.com or on X, formerly known as Twitter, @rishjessica_
This article originally appeared on Iowa City Press-Citizen: What's happening in Iowa City this weekend? Music and more music
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Los Angeles Times
3 hours ago
- Los Angeles Times
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) And, it offered the groundlings at home the chance to see a much-discussed, well-reviewed production only a relatively few were able to see in person — which I applaud on principal and enjoyed in practice — and which will very probably not come again, not counting the next day's final performance. The film, directed by Clooney and co-written with Grant Heslov (who co-wrote the stage version as well), featured the actor as producer and ally Fred W. Friendly to David Strathairn's memorable Murrow. Here, a more aggressive Clooney takes the Murrow role, while Glenn Fleshler plays Friendly. Released during the second term of the Bush administration, the movie was a meditation on the state of things through the prism of 1954 (and a famous framing speech from 1958 about the possibilities and potential failures of television), the fear-fueled demagoguery of Wisconsin Sen. Joseph McCarthy, and Murrow's determination to take him on. (The 1954 'See It Now' episode, 'A Report on Sen. Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.
Forbes
11 hours ago
- Forbes
Saturday Conversation: The Timeless Willie Nelson On Positive Thinking
US musician Willie Nelson performs on stage during the Luck Reunion at Luck Ranch on March 13, 2025, ... More in Spicewood, Texas. (Photo by SUZANNE CORDEIRO / AFP) (Photo by SUZANNE CORDEIRO/AFP via Getty Images) The great B.B King once said to me, when he was 71, 'Any day you don't learn something is a day wasted.' At 92, nobody embodies that profound philosophy better than fellow legend Willie Nelson. In the first half of 2025 alone Nelson has performed on his 'Outlaw Music Festival' tour with Bob Dylan, he has a duet out with Steve Perry, he has an album of Rodney Crowell covers out, Oh What A Beautiful World, and his new THC drink, Willie's Remedy is one of the top products, top five to be specific, in the booming THC drink business. I spoke with Nelson about how staying positive keeps him young at heart. Steve Baltin: Where are you on the tour today? Willie Nelson: We're in Maui. Baltin: Is the tour done or are you just there on the tour? Nelson: We're a few days off and we've come over here for a while. Baltin: I know you've been playing with Dylan a little bit on the shows. Do you ever tease him about not being the oldest guy on the tour this time? You beat him by about eight years. Nelson: (Laughs) We're having a good time out there. Baltin: You just did the song with Steve Perry and of course you have this wonderful new album where you do Rodney Crowell songs and you duet with Rodney. How much fun is it for you to get to work with all of these different artists still and keep things fresh by collaboration? Nelson: Well, it's as good as it gets. I can't ask for anything better than that. Baltin: How did the Steve Perry one come about because that one's a little different for you? Nelson: That was someone's idea, they asked me about it, and I said, 'Great, let's do it.' Baltin: Then for the Rodney album, was there one song that jumpstarted the album and gave you the idea of covering his songs? Nelson: One of the greatest country songs ever written Rodney wrote. It's called 'Till I Gain Control Again,' and he's a great writer. He doesn't write bad songs. The other greatest song country wise is George Jones 'He Stopped Loving Her Today.' Those are, in my opinion, the two greatest country songs. And Rodney is a great writer. Baltin: I imagine you guys have been friends for some time too. So that probably makes it more fun. Nelson: Oh yeah. It's nice being able to do things with old friends. Like they say, they don't make old friends. Baltin: It's really interesting to hear your choices for greatest country songs of all time, because there's about a million people who would pick 'Crazy.' Nelson: (Laughs) Well, I won't argue with them. Baltin: Do you have to take a step back from your own stuff a little bit though? Because I know as an artist you get too close to your own stuff and it's hard to look at it with perspective. Nelson: I think that's right. I've written a lot of songs and at the time I wrote them I liked them all and I guess I still do. Baltin: I talk about this with so many songwriters and songs have a tendency to come out of the subconscious or from the universe, whatever you want to call it. Are there songs of yours that you've written that you're like, 'I don't even know where that came from but it's a great song?' Nelson: Yeah, all of them are usually like that Baltin: Are there any then that particularly still surprise you or that you get a different perspective on and appreciate more? Nelson: I believe songs, they don't get old. 'Stardust' is one of the greatest songs of all time. 'Moonlight In Vermont,' 'Your Cheating Heart,' all those songs don't get old, they just get better. Baltin: Let's talk about Wilie's Remedy because we talked about the collaboration. But how much does Willie's Remedy help keep you young on the road? Nelson: Well, I can't smoke anything anymore. My lungs have already said, 'Don't do that.' So, I don't really do anything now much except a few edibles. Baltin: How important is it then to have the drink because the THC drink is a whole new thing? Nelson: I think it's good, the people like it from what I've seen and heard. It's getting to be pretty popular out there. Baltin: Are you involved in putting it together? Nelson: I think it's great. I don't do a lot. My wife does a lot for it. She works hard and talks to a lot of people, and I nod my head a lot and say, 'Yes, thank you.' Baltin: Said every good husband ever in the history of the world. That's probably got more to do with growing old than any THC, saying yes. Nelson: Thinking positive is the best thing you can do. Imagine what you want and then get out of the way. Baltin: How important is it then to have an album right now like Oh What a Beautiful World, which is such a beautiful title. Was it important to you to put that out now to help motivate and make people happy? Nelson: Yes, I think it's time we try to make people happy and talk about the good things and be positive. Baltin: When you think of the things that make you happy and are positive what are a couple of the things that come to mind for you? Nelson: They need to ask themselves that question, 'What is the greatest thing in the world?' And we all have different answers. When it comes down to it you'll know what to do if you honestly ask for an answer. Baltin: What are your personal things that make you happy? Nelson: I enjoy playing music, I enjoy seeing people get together and forget about everything except music. I think there's a great positive exchange that takes place. We don't care what political affiliation you're with, what color you are, it doesn't matter if you like music, come on. Baltin: You have coming up the fortieth Farm Aid. How much fun is something like that in terms of getting to collaborate with great musicians, but also obviously deliver a very important message and support people that you believe in. Nelson: Those guys (Neil Young and John Mellencamp) have been with me all along and I couldn't have done it without them. And we're still doing it 40 years later. I think the small family farmers appreciate what Farm Aid has done and we hope to continue to do it. Baltin: With Willie's Remedy, you are giving back to the farmers as well. So is it important to you to walk the walk, not just talk the talk? Not only do you do Farm id, but you give back to them year -round through your different programs. Nelson: I think we all have a reason to be here. We're all missionaries of one kind or another. We were all sent here to do something, and we know what it is, what it was. And we try to do it, we try to show people the way that we think it should be done and I'm a big believer in treating others the way you want to be treated.
News24
31-05-2025
- News24
Weekender playlist: From Hendrix to Nirvana, Whitney to Winehouse... some iconic song covers
In this edition of The Weekender's playlist, Joel Ontong has you covered. He takes a look at some of the best and most iconic covers of all time. When Nine Inch Nails' Trent Reznor first heard country legend Johnny Cash cover his song, Hurt, he said it was like 'someone kissing your girlfriend'. 'I knew where I was when I wrote it. I know what I was thinking about. I know how I felt,' Reznor told The Sun in 2008. 'It felt invasive.' But, after watching Cash's music video, Reznor was floored: 'It really, really made sense, and I thought, what a powerful piece of art.' 'I never got to meet Johnny, but I'm happy I contributed the way I did. It felt like a warm hug. I have goosebumps right now thinking about it.' Cash's version of Hurt is hailed as one of the best covers of all time. What made it great was that he sang as if he meant every word, like it was coming straight from his heart. This raises the question: What makes a great cover? It's not better or more theatrical vocals or upscaled production, but rather the ability to make a song one's own and find ways to reinterpret, not just redo. News24's Weekender playlist looks at some great or notable covers. Another iconic cover is Jimi Hendrix's take on Bob Dylan's All Along the Watchtower. Hendrix's recording is the stuff of guitar legend. Midway through the song, he delivers arguably the greatest guitar solo put to wax. The song showcases what happens when cutting-edge guitar technology falls into the hands of a visionary. Plenty of Hendrix's peers had access to wah-wah pedals, reverb, and delay effects, but none of them could play like him. If Hendrix hadn't covered All Along the Watchtower, and Dylan hadn't written it, rock music wouldn't be the same. Dylan was also so impressed by Hendrix's version that he even changed the way he played the song live. READ | Weekender playlist: From Oklou, Internet Girl and Weed420... to prog rock by Pope Francis Sometimes, a bit of theatricality can help make an iconic cover – case in point, I Will Always Love You by Whitney Houston, written by Dolly Parton. Parton's original is lovely, but Houston's version is monumental. Though the 1992 version is backed by a dated adult contemporary instrumental, Houston gives a vocal performance for the books. In the song's coda, Houston lets it rip, but not at the expense of emotional rawness. A similar case is Aretha Franklin's cover of Respect, originally by Otis Redding. In an era where everyone was covering each other's songs without really adding much, Franklin's performance defined the Southern Soul sound of the 1960s. Amy Winehouse and Mark Ronson's cover of The Zutons' Valerie is, to many, the definitive version of the song. The Zutons might not have known it at the time, but Valerie was made for Winehouse. A great cover can also simply highlight great songwriting, especially when it's overlooked. When Nirvana decided to add David Bowie's The Man Who Sold the World to their MTV Unplugged setlist, they probably didn't put that much thought into it. Their raw and rugged rendition is simple but brilliantly highlights Bowie's compelling songwriting, much better than the original ever did. Mainstream jazz music has also been noted for artists frequently doing covers, and there are many great ones by the likes of Miles Davis, Bill Evans and Abdullah Ibrahim. For our playlist, we included John Coltrane's take on Sound of Music's My Favourite Things. It's a significant departure from the original, but it is one of the best cool jazz recordings ever. We also included two songs you might not have known were covers: I'm a Believer by Smash Mouth (used in Shrek) and Red Red Wine by UB40. Both songs were written by Neil Diamond and appear on his debut album.
