Her work has been featured in Vogue, The FADER and i-D Magazine.

New York via El Paso, René Kladzyk is a performance artist, musician, perfumer and cultural geographer. Her nom de guerre: Ziemba.

Released in the summer of 2016, Ziemba’s debut full length album Hope is Never was recorded in upstate New York at Black Dirt Studios. It functions as a reliquary for the beauties of life and its inescapable perils. Sentient, introspective and forward-thinking, like the artist herself, pushing boundaries.

Utilizing the powers of technology, traversing space and time, XOXO connected with Kladzyk for a Q&A. Brace yourselves.

Your oeuvre contains soaring a cappella pieces, lushly ambient experimentalism, as well as melodic synth pop ear-candy. In the digital age, as an artist how do you incorporate artifact in with technology?

Well, working with fragrance is in some ways a rejection of the nature of music consumption in the digital age. It's spatially specific and ephemeral. It necessarily has to ground you to the right now, and encourages you to pay attention to the present moment in ways that you may not be accustomed to. So in that sense, it's an appropriate artifact to accompany my digital music releases, and hopefully pulls the listener more entirely into the sonic world. Liz Pelly wrote an interesting article about the ways that Spotify is transforming music listenership, turning everything into Muzak—a background to enhance some "vibe" or another. My aim is the opposite of that.

The narrative in the video to “El Paso” depicts the stark dichotomy that exists on the borderlands. What was life like straddling between El Paso and one of the most dangerous cities in the world, Ciudad Juárez?

The divided life of the border is very different depending on a number of axes of privilege. For me growing up in El Paso, and crossing to Juárez for family gatherings and nights out with friends, I had the privilege to not be there when the violence increased so dramatically. Whereas, for my stepmom, a Juárez native, crossed back and forth every day while the violence was at its height, to take care of her mom. And then the experience is a whole other thing entirely for people who can't leave at all, because they lack the resources, the papers or are tied there in other ways. It was an interesting dynamic around that time, because so many of the more privileged people of Juárez moved over to El Paso. Even the mayor of Juárez lived in El Paso. I don't actually know if he still does…

I did my master's research in El Paso and Juárez, during the height of the violence. I did interviews with thirty-something people living on either side of the border, and most expressed a conflicted relationship with life on the border. On the one hand, the border is a profoundly special place. I think most fronterizos are very proud. To be of two cultures and have the diversity of experience that comes with that. But, on the other hand, if you have to cross back and forth with any regularity, it's a sort of psychological journey. Your whole comportment changes when you cross between the two countries; the way you drive, your attentiveness to your surroundings, your level of trust in your neighbor. Having to do that on a daily basis takes a toll.

It's wild too, with Trump's false narrative about the border wall fixing violence in El Paso, and how this may impact people's understanding of the border. El Paso has always been the safer neighbor to Juárez's "city of sin," spectating the violence across the Rio Grande. During the Mexican Revolution, people paid admission to sit on rooftops in downtown El Paso and watch the Battle of Juárez. If you're curious you should read David Dorado Romo's book about this, its amazing. In many ways it’s emblematic of the economic imperialism that characterizes the relationship between the U.S. and Mexico, so much bloodshed to get drugs to American consumers (the world's largest drug market). I think a lot of Americans look at the bloodshed in Juárez as though they are not connected to it, and that's the problem. But it’s in the cartels' interests to keep the violence out of El Paso, and helps Americans to dissociate their recreational drugs from the blood of Mexicans. It helps people to forget that El Paso is one of the biggest ports of entry for drugs into the U.S., the fact that it’s also one of the safest cities. Trump can tout the safeness of El Paso all he wants, but the violence in Juárez is intrinsically connected to the economic vitality of the borderlands, and should not be forgotten when we talk about what a "secure border" looks like. The interesting dynamic of our southern border today is that as the borders have become more porous for money and goods through agreements like NAFTA and the growth of the drug trade, it's also become much more difficult for actual people to cross through. For someone like my stepmom, who grew up being able to cross back and forth with relative ease—it would take 5-10 minutes, while now it typically takes several hours. This has radically changed the nature of being a fronterizo.

“El Paso” casts an unblinking eye on the underground histories of the U.S./Mexico border region: The Bracero Program, maquilladoras, NAFTA, U.S. border quarantine policy, drug cartel violence, femicide. What is your hope as an artist by injecting political commentary into your art?

I believe that artists fuel cultural change, and so there is an ethics to making creative work for the public. Not everything I've made has overt political commentary in it. But, it's all political on some level. I would say the common thread of all my creative work is that its bent on combating nihilism, and encouraging hopeful future vision. Part of this is the idea that people should care about the plight of others, and understand that we are all connected. The hyper-individualism of our culture is a destructive force. I made the video about “El Paso” because its a situation that I have a unique window into, that I thought many people would benefit from seeing, and so on some level I felt a personal obligation to share it.

Tell us about the succubus that inhabits Lala’s cave?

That is a long story. I don't know if I can get into it for the scope of this article. Its actually kind of difficult to talk about. I would say though that the main points are that she's real, and that part of making that EP was trying to engage with how hard of a time Western culture has with empowered sexual women. I became extremely fascinated with the femme fatale archetype.

After releasing several EPs, singles and a full-length album, what motivates you to continue to search for “sounds in trucks and pipes, and refrigerated caves?”

There was a time when I decided that I should live my life in such a way where if I die tomorrow it's okay, because I haven't been wasting it. That's what I try to do. I continue with music because it continues to be a way to foster connection that I think is meaningful. It matters beyond me and is my unique contribution to planet Earth. Music is a fundamental part of what makes us human. It’s such a joyous thing.

"Sometimes I feel with you as if I'm lost in time, outcast, and its my favorite place." - Ziemba

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“Do you remember the life before this?”

Sometimes, in dreams, I think I do. I have no recollection of writing the lyrics to that song, it's kind of a mystery to me. I just found it in a notebook of mine, in my handwriting.

In addition to being a musician, you are a perfumer. Tell me about "A Door Into Ocean," both the fragrance and the song?

At the time that I made “A Door Into Ocean,” I had already done several releases where I created a fragrance to accompany the music. “A Door Into Ocean” was the first time I wrote the music to accompany the fragrance. The idea was more to create a certain type of space or mood, really quintessential ambient music. Something uplifting, sensuous and sweet. I wanted the soundscape to be something you could play on repeat and get lost in, for it to move through space the way fragrance does.

As featured in the song, what is a LIGO chirp and why was it important to incorporate it into "A Door Into Ocean?"

The LIGO chirp is the first documented evidence of gravitational waves, ripples in space-time. It was proof of part of Einstein's theory of relativity, and showed how new exotic matter is created in the universe—new life, new worlds. Around the time that I composed “A Door Into Ocean” I was beginning to work on my new album Ardis, which is a parallel world. I site the birth of Ardis as this moment that was recorded with the LIGO chirp, the collision of two neutron stars. A Door into Ocean is the name of a feminist science fiction book by Joan Slonczewski, and was one of the books that inspired Ardis. I would say that “A Door into Ocean” was an early experiment for the compositional approach to Ardis, even though Ardis is musically quite different.

Is hope never or a fold?

Both. The idea was that hope pulls you outside of time. It’s this weird mingled combination of nostalgia and future vision. By a fold, I mean a fold in the fabric of time. Never in that its outside of time. A lot of the album Hope is Never was trying to cope with several significant losses, while attempting to hold memories in some way.

What is on the horizon for René Kladzyk?

Ardis. I'm releasing the first songs from Ardis next week. Even though it's an album, I'm releasing it in three stages throughout the spring. Each part, or territory, of Ardis has its own fragrance connected to it. This show in Tucson will actually be my first live show upon its release.

Ziemba performs as part of Ladytowne Live at Club Congress on Wednesday, Feb 13.

Arizona Theater Company is putting on a show this Valentine's Week and we want you to go! Packed full of music, this show will keep you dancing song after song. Showings are at the Temple of Music and Art located at
330 S. Scott Ave.

Organizers describe the event:

With Love, Marilyn stars Erin Sullivan as Marilyn Monroe in a special one-woman tribute performance to one of the most iconic romantic ingenues.

And here is your chance to go for free!

Show times vary starting Valentine's Day (Feb. 14) to Sunday, Feb. 17.

Enter with your name and email for a chance to see the show on us. Entrants must be 18 or older to participate. Good luck!

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.

With flowers strewn through their hair, critically lauded Flor de Toloache took to the stage at 191 Toole, on Tuesday, Jan 22. From the outset, the audience was left to ponder… Was this sisterhood compromised of florid roses born out of love? Or the beguiling blooms of chrysanthemums wrought from heartache? It was hard to tell. Regardless, their reputation as NYC’s first and only all­-female mariachi preceded them.

Vocalist/vihuelista, Shae Fiol expands, “We are women of New York City absorbing its diversity and putting it into our sound. It’s all about the love of music.”

The fact that their 2017 album Las Caras Lindas (Chulo Records) won Best Ranchero/Mariachi Album at the 18th Latin Grammy Awards only added to their street cred.

The posies that comprised this evening’s vibrant bouquet: Founding member, vocalist/violinist Mireya Ramos, trumpeter Jackie Coleman, guitarronista Amanda Lozano and Fiol. Hailing from diverse cultural and musical backgrounds—Australia and Italy to Puerto Rico, classical and jazz to hip hop—the result of this coalescence is an edgy, fresh and iconoclastic take on traditional Mexican music which breathes new life into a too-often staid and testosterone permeated genre.

Early into their 90 minute set, promulgating a message of empowerment, Ramos said, “A grito can resemble a laugh or a cry. And, a shot or two of tequila doesn’t hurt.” Echoing mariachi icon Lolá Beltran from days of lore, reclaiming this spontaneous burst of emotion for a new generation, Flor de Toloache called out to the audience to engage in a bit of primal scream therapy, Latin style, and release “one unified grito.” “Aye yai yai yai,” resounded throughout. From that moment until the final bow—not unlike the effect of the legendary toloache flower used by Mexican curanderos as a potent love potion—this band of soul sisters mesmerized, casting a spell over the audience.

During the apogee of bell bottom jeans, then burgeoning guerrilla photographer Ed Arnaud waxes nostalgic about how he managed to snap such killer shots, usually without the band’s permission. “I used to sneak my camera into shows in knee-high tube socks under big bells. I only had a 50mm lens at the time.” You could see a wobble in Arnaud’s strut as he passed through the entrance doors. Duping the bouncers—this before invasive full-body pat-down procedure became de rigeur.

From local punks Civil Death to punk icons Black Flag, photographer Ed Arnaud presents Lake of Fire: Tucson Punk in the 1980s. A photographic event on Saturday, Jan. 12, 6 to10 p.m. at Wooden Tooth Records.

“Wooden Tooth describes my show as Tucson punk in the '80s.” Arnaud expands, “To be more specific, it’s photos of punk and underground bands that played in Tucson during the early ‘80s.” And, what Arnaud presents in his retrospective is only a glimpse into the richness of the scene. “There were so many great bands that came through Tucson then. Sometimes two or three shows in a week.” Most of which were low in attendance. “Drawing 10 to 50 people.”

Here is a sneak peak into rarefied air.

The first time actor, director and Rincon High School drama teacher Maryann Green staged a play she’d written herself, she sold out the house. Twice. Those two shows were part of the 2013 Fringe Festival that hooked her on fringe for life.

Now she heads up a volunteer crew of 15 to produce the Tucson Fringe Festival 2019, from Thursday, Jan. 10, through Sunday, Jan. 13. The fest includes 50 performances in 12 local venues. Admission to each show is $10, but a range of multi-show options are available, from a $15, two-admission pass to a $95 all-access pass.

A growing phenomenon around the globe, fringe theater is unique in its artistic freedom. Fringe productions often radically disregard conventions of structure, space, physical language and audience engagement. Acts self-identify as Fringe, pay an artist’s fee and get their names drawn from a hat, or not, as luck will have it.

Green says, “The first week of September, we hold a party where guests take turns pulling shows out of the hat until we have a full line up.”

Tucson Fringe sometimes pays a price for that artistic freedom. “Comedy shows tend to do better, ticket-sales wise,” Green says. “But some of my favorite past shows have been thought-provoking, heavier pieces.

“I was also really happy to be able to offer The Esperanza Dance project a last-minute spot in the festival,” she adds. “They help victims of childhood sexual violence heal through dance and multi-media performance.”

For comedy, we especially look forward to the first entries we’ve seen whose subject matter is entirely about work life: Name Tag Blues, Shane “Scurvy” Spears’ send up of the ignominies along the path to a window office; and Moira Keefe’s, Life as An Associate ...AKA F**ing Cashier, about a retiree’s return to the workforce.

We also like the funny, full-frontal feminism of Mo Urban and Steena Salido’s C*nts vs C*nts Talking About C*nts variety show and Elaine Orion’s Delightfully Rude, winner of the “Best Comedic Performance” award at the 2018 Boulder Fringe Festival.

And we’re looking forward to the Tucson fest’s first straight-up stand up performance, Bill Santiago’s The Immaculate Big Bang, a parody of every deeply believed origin story of everything.
Complete descriptions and tickets for all performances are at squareup.com/store/tucsonfringe.

From 3 to 4 p.m. Sunday, Jan. 13, the Comedy Alliance of Tucson and the Tucson Fringe Festival co-host “What Are You Laughing At,” a free, audience-participation panel discussion about the comedy scene in Tucson. Details are at catcomedy520.org. 

David Fitzsimmons once dreamed of hosting his own Prairie Home Companion. It was 2008, and at the prompting of radio personality Bobby Rich, he began creating celebrity-studded radio plays to benefit the Southern Arizona Diaper Bank. “Attendance swelled,” Fitzsimmons says. He was onto something. 

In recent years, he’s translated the format into The Arroyo Café Radio Hour, a live show and AZPM broadcast he produces every December at the Rialto Theatre. This year’s event is Saturday, Dec. 22. Tickets are $15 at rialtotheatre.com. The show always sells out. 

“We’ve raised more than $20,000 in the (four) years we’ve been at the Rialto,” Fitzsimmons says. “This year the funds are going to AZPM (Arizona Public Media), because I love NPR, Reveille Men’s Chorus because I love their mission and music and Mariachi de Pueblo High School because Pueblo educator John Contreras has a wonderful music program that deserves support.”

Reveille’s Grandsons of the Pioneers are a regular feature of the show, performing in the almost-forgotten harmonies of the popular Western music genre. The 20-year-old organization promotes excellence in music, but also human rights, diversity and advances against AIDS.

“Our musical director Lindsay McHugh is the heartbeat of our show,” Fitzsimmons says. “She is a music teacher and a classical opera virtuoso. She gives us our Gaslight melodrama flavor.”

Besides the Grandsons of the Pioneers, the show’s musical guests include Mariachi Aztlan de Pueblo High School, the popular folk and roots quartet French Quarter and Tucson’s American Idol contender Crystal Stark. Fitzsimmons says, “Her comedic chops always delight us.” 

Each year, an all-star cast of comedians begin meeting in September with veteran radio producer Marty Bishop to write the show. Regulars include Estrogen Hour co-founder Nancy Stanley; KXCI personality and podcaster Brigitte Thum; veteran sketch writer Mike Sterner; comedian and attorney Elliot Glicksman; in-demand local Josiah Osego, and, shaking off the cobwebs of comedy retirement, adman Jay Taylor.

Also featured are Wilbur Wildcat and, and a mystery guest. Fitzgerald says only that “It isn’t Santa Claus.” 

AZPM Producer John Booth, who formerly worked for the PBS documentary series Frontline, edits the show. Fitzsimmons says Booth hopes to take the show statewide one day.

Rialto executive director Curtis McCrary says the venue’s staff looks forward to the Arroyo Café Radio Hour to kick off the holiday season. “It really brings the spirit of the season alive—corny jokes, uncomfortable events with your relatives, music that drives you crazy, hokey Christmas fashion, and at the center of it all, Mr. Dave Fitzsimmons, serving as the Ham that no Christmas celebration should be without! We all get to have super Christmas fun while raising money.”

Comedy Family Christmas at The Mint

Drown your family-holilday-anxiety hangover at The Mint on December 25. The club’s Tuesday comedy night, hosted by Jose Joey G, takes a hiatus in January, but closes out the year with headliner Polo Cisneros and feature comedian Bri Giger. An open mic follows. 

Tucson was gifted with a pre-Yuletide performance by the world-renowned Juilliard String Quartet last Wednesday, Dec. 5. Taking the near-capacity audience at the Leo Rich Theater through the gamut, from pianissimo to fortississimo, at times galloping furiously in mellifluous harmony and, at others, building tension. Playing off the intentional push/pull of contrapuntal discord, crescendo followed by diminuendo, they stewarded the music to dizzying heights until allowing it to rupture into sharply pointed spires.

Formed in 1946, as the quartet-in-residence at the Juilliard School, this lauded assemblage perdures. The present incarnation consists of cellist Astrid Schween, violist Roger Tapping, second violinist Ronald Copes and Areta Zhulla, the most recent violinist to occupy the first chair. Its forebearers’ intent: “To play new works as if they were established masterpieces and established masterpieces as if they were new.” These descendants stayed true to the mission statement.

Composed circa 1798, the Juilliard String Quartet executed Ludwig van Beethoven’s String Quartet in D major, Opus 18, No. 3 with striking aplomb. Despite its numbering, it's actually the first quartet Beethoven composed. With gentleness and a sense of wonder the ostinato delighted throughout the composition until the fourth movement. During the presto the Juilliard String Quartet shifted the centre of gravity attacking the motif in dramatic ways driving headlong to a breathtaking resolution.

Teetering between consonant and dissonant harmonic intervals, creating tension that leaves the ears of a Western audience longing for resolve, the Juilliard String Quartet explored during Lembit Beecher’s One Hundred Years Grows Shorter Over Time.

“The movements of this quartet are like successive generations retelling the same story. As I wrote, a melody kept coming into mind: A waltz written by my Estonian grand-uncle in the 1950s. I first played this music with my brother when we were teenagers. Over the years we kept returning to it. The waltz appears fully realized, as if an old recording,” Beecher said of his piece.

Schween provided contrapuntal anecdotes while Tapping and Copes sautilléd their bows off the strings in powerful unison leaving Zhulla free to soar.

After the intermission, the Juilliard String Quartet returned for Joseph Haydn’s String Quartet in F Major, Opus 77, No. 2. It seemed fitting to close the program as Haydn is widely considered the creator of the genre. Achieving delicate equilibrium, they masterfully created sublime contrast between the galant style of the 18th century and the dignified seriousness of the Baroque.

Executed as by the unfailing hands of surgeons, over the course of the evening, the Juilliard String Quartet performed with barely containable ardor—that at moments impelled their bodies to rise upward from the benches and chairs they sat upon—displaying unparalleled artistry, effortlessly laying claim to a shared sovereignty as one of the world’s finest.

Weekend Laff’s

Monica Nevi is featured supporting Jason Russell at Laff’s Comedy Caffe this weekend. We’re starting with Nevi because, at this writer’s age, it could be time to start sucking up for an interview in her hilarious Amazon Prime documentary series, 80 for 80, featuring interviews with folks 80 and over.

Nevi turned to stand-up comedy in college when injuries stymied her basketball career. She appeared in several Northwest comedy festivals and on FOX TV’s nationally syndicated show Laughs. She also co-hosts the popular podcast, HugLife and toured the US in the adorably named Blanket Fort Tour.

Jason Russell says he grew up a comedian.

“Every Saturday night, we’d have a family party with chips, candy bars and watch SCTV and SNL,” he remembers. Russell would imitate the characters. Eddie Murphy and Richard Pryor were favorites. Soon he started creating voices and performing skits for family and friends.

He says his silly humor endeared him to most teachers and fended off the fights other biracial kids endured. Hosting the high-school talent show inspired him to try stand-up.

Russell’s comedy style is clean, silly and full of memorable characters. His performance credits include shows with Patti LaBelle and Martin Lawrence, and with Tommy Davidson of In Living Color. He also was part of a documentary about interracial comedians called Crossing the Lines.

Nevi and Russell perform with local openers at 8 and 10:30 p.m. Friday, Dec. 7, and 7 and 9:30 p.m. Saturday, Dec. 8. Admission is $12.50, $17.50 for preferred seating. There’s also a two-item minimum. Details and reservations are at laffstucson.com.

Holidays at the Wench

Bunny Boom Boom, Stormy Leigh, Lela Rose, Natasha Noir, Nikki Riot, Kitten Minx LaFemme, Divina Moorephina, Taryn Garters and Ms. Trixie Phillips are featured in the holiday edition of First Fridays Burlesque at the Surly Wench Pub.

Roxy Merrari promises a holiday extravaganza starting at 7 p.m. Monday, Dec. 10, at the club, where she hosts a weekly open mic and monthly showcase. Watch for details on the Facebook page, Comedy at the Wench.

Family-friendly comedy

Clean Comedy Shows in Marana and Vail feature popular stand-up comedian and hypnotist Jim Kellner in their monthly series. He performs at 7:30 p.m. Friday, Dec. 14, at 8000 N. Silverbell Road, Marana; and at 7 p.m. Saturday, Dec. 22, at Vail Theater of the Arts, 10701 E. Mary Ann Cleveland Way. Tickets are $10; $30 for a family.

Waitress. Sarah Bareilles is not going to write you a love song, but the six-time Grammy nominee is going to write the original music and lyrics for this hit musical, and you're going to love it. Inspired by Adrienne Shelly's film, the musical tells the story of a small-town waitress with big-time dreams who thinks a baking contest and the cute new doctor in town might be just the ticket. The all-woman creative team features screenwriter Jessie Nelson (I Am Sam), choreographer Lorin Latarro (Waiting for Godot) and director/Tony award-winner Diane Paulus (Hair, Pippin, Finding Neverland). Don't wait-ress to buy tickets! Tuesday, Dec. 4 through Sunday, Dec. 9., with shows at 7:30 p.m. Tuesday through Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday, and 1 p.m. and 6:30 p.m. Sunday. Centennial Hall, 1020 E. University Blvd. $19 to $125+. Details Here.

Sleepspent. Drawing inspiration from the nocturnal shoegaze acts of the 90s, El Paso indie rockers Sleepspent manage to be lethargic and passionate at the same time. Still a young band (only releasing their debut EP earlier this year), they've crafted a unique sound of moody guitars, subtle vocals, and plenty of shifting layers. Occasionally they'll throw in some jangly acoustics to shake things up, which works out perfect for a band refusing to focus on one sound too long. Drift into Sleepspent at Monterey Court. 6:30 to 9:30 p.m. Tuesday, Dec. 4. 505 W. Miracle Mile.

An Irish Christmas. Take a more untraditional way to get into the holiday spirit! Award winning  Irish dancers have worked hard to host a great show. Learn the traditions of Irish culture such as butter making but don't worry, they'll throw some songs you are familiar with. Between sining and dancing it will be an unforgettable night. Tuesday, Dec. 4. 7:00 p.m. Fox Tucson Theatre. Details Here.

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Events compiled by Brianna Lewis, Emily Dieckman, B.S. Eliot and Jeff Gardner.