Marika Hughes & Bottom Heavy
Marika Hughes & Bottom Heavy grab tradition by its head, reshaping the landscape of genre and sound. Marika fronts the band with such ease and so naturally it makes one wonder why cellos haven’t always fronted bands. Her stylings are reminiscent of her classical upbringing yet defying expectation as she moves us with her supple vocals through jazz, funk, rock, and back again, surprising us along the way. Rooted in groove—with Kyle Sanna on guitar, Fred Cash on bass, Charlie Burnham on violin, and Tony Mason on drums—Bottom Heavy instantly establishes itself as a strong new sound; flowing freely between funky instrumentals, dreamy lullaby, free improv, and killer songs. As you are charmed by her cello, her voice, and her band, you will be charmed by Marika herself: fiercely authentic, her audience an old friend invited along for the fabulous ride.
The TRIAD Performing Arts Program strives to empower youth with the necessary tools to make their voices heard on and off the stage. Our goal is to promote healthy and positive behavior using performance as a rehearsal for life. TRIAD’s innovative curriculum is carefully crafted around the specific needs of our partner communities, and offers vulnerable youth an open forum to safely voice their sadness, struggles, dreams, and desires. We integrate music, dance, drama and creative writing to deliver crucial life lessons in an entertaining and exciting format. Very simply, we believe kids learn more when they are having fun.
The National YoungArts Foundation identifies and supports the next generation of artists in the visual, literary, design and performing arts; assists them at critical junctures in their educational and professional development; and raises appreciation for the arts in American society.
The Moth is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling. It is a celebration of both the raconteur, who breathes fire into true tales of ordinary life, and the storytelling novice, who has lived through something extraordinary and yearns to share it. At the center of each performance is, of course, the story – and The Moth’s directors work with each storyteller to find, shape and present it.
Afterlife Music Radio
In late 2008 Marika asked some of her favorite performers/composers to each write a solo piece for cello for her to record and perform. This collection of pieces inhabits a space at the intersection of the two roads Marika has found herself travelling – the early road of her classical training as well as the road she discovered in San Francisco, using the cello in songs, contemporary jazz, pop, experimental, and improvisation. The pieces are very personal and the process of realizing them has been a collaborative one. They blur the line between composition and improvisation. Because they were written for the cello, because they were all written for Marika by people who know her well, and because these are her interpretations, the pieces form a set, unified by a thread of restlessness and yearning and rendered with passion and a deep affection for all the people who have contributed to the commissions.
The composers are: