Events

Tickets: $35 Advanced | $37 Day of Show
Doors – 7:00pm Show – 8:30pm
Ages: 21+

K. Michelle
Damar Jackson

The hip hop, RnB songstress released her latest album, KIMBERLY: The People I Used To Know, today on iTunes and Spotify!

CHOCOLATE / March 15 / BLONDE!
==> A Night Of Deep Dark Afro Tech
and Forward Thinking House Music!

DJS / Oscar P, Pro-K,
KARMA, Ivan Gregory

FREE Before 10 PM
$5 REVOLUTIONARY DONATION After

Live art by Cale

21+

Join Nina Fuego’s Catering for the ultimate business networking event! Mix and mingle with business people representing some industries and companies in and around San Diego.

The 3rd Annual Sip & Sample Mixer® is a great opportunity to reach small to large companies, meet new clients and learn how the different chambers of commerce and business organizations can make your business grow.

Mixer admission: $35 Buy Tickets Online

20% of the proceeds from ticket sales will be donated to Noni’s Heart Foundation to help spread #AutismAwareness in our communities!

Food and beverage is covered with admission

The infamous Funk Soul Social returns with a very special edition that is sure to revive those old school feels featuring Rap legend Sir Mix-A-Lot known for hits like “Baby Got Back,” “Posse’ on Broadway” and many others. The night also welcomes the Funk and Soul vibes of special guests Kim Jackson and The Routine Players and Hip-Hop R&B sounds of The Lyrical Groove.

Tickets: $25 Advanced/Day of Show
Doors/Show- 8:00/9:30pm
Ages: 21+

Sir Mix-A-Lot (sirmixalot) parlayed a gonzo tribute to women with large buttocks into hip-hop immortality. But even before he struck crossover gold, he was one of rap’s great D.I.Y. success stories. The Grammy award-winning emcee co-founded his own record label, promoted his music himself, produced all his own tracks, and essentially pulled himself up by the proverbial American bootstraps. Even before “Baby Got Back,” Mix-A-Lot was a platinum-selling album artist with a strong following in the hip-hop community, known for bouncy, danceable, bass-heavy tracks indebted to old school electro.

San Diego, CA welcomes the 4th Annual Sn Diego Soul Music Festival to the Valley View Casino Center on April 14th, 2018. Show starts at 8pm and doors at

Candidates for San Diego County District Attorney will be invited to speak and answer questions. The DA decides what, if any, charges to press against citizens, be they young black men or police officers. The DA has broad discretion to either increase the incarceration rate or unilaterally begin criminal justice reform. The choice in this case is between a career prosecutor and a career public defender. If you care about how crime (or non-crime) is punished, you care about this race in this election.

GEORGE CLINTON

Recording both as Parliament and Funkadelic, George Clinton revolutionized R&B during the ’70s, twisting soul music into funk by adding influences from several late-’60s acid heroes: Jimi Hendrix, Frank Zappa, and Sly Stone. The Parliament/Funkadelic machine ruled black music during the ’70s, capturing over 40 R&B hit singles (including three number ones) and recording three platinum albums.

Born in Kannapolis, NC, on July 22, 1941, Clinton became interested in doo wop while living in New Jersey during the early ’50s. . Basing his group on Frankie Lymon & the Teenagers, Clinton formed The Parliaments in 1955, rehearsing in the back room of a Plainfield barbershop where he straightened hair. The Parliaments released only two singles during the next ten years, but frequent trips to Detroit during the mid-’60s – where Clinton began working as a songwriter and producer – eventually paid off their investment.

The Parliaments finally had a hit with the 1967 single “(I Wanna) Testify” for the Detroit-based Revilot Records, but the label ran into trouble and Clinton refused to record any new material. Instead of waiting for a settlement, Clinton decided to record the same band under a new name: Funkadelic. Founded in 1968, the group began life as a smoke screen, claiming as its only members the Parliaments’ backing but in truth including Clinton and the rest of the former Parliaments lineup. Revilot folded not long after, with the label’s existing contracts sold to Atlantic; Clinton, however, decided to abandon the Parliaments name rather than record for the major label.

By 1970, George Clinton had regained the rights to The Parliaments name: he then signed the entire Funkadelic lineup to Invictus Records as Parliament. The group released one album – 1970’s Osmium – and scored a number 30 hit, “The Breakdown,” on the R&B charts in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament (the name, not the band) for the time being.

Inspired by Motown‘s assembly line of sound, George Clinton gradually put together a collective of over 50 musicians and recorded the ensemble during the ’70s both as Parliament and Funkadelic. While Funkadelic pursued band-format psychedelic rock, Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by ’60s acid culture and science fiction. From its 1970 inception until Clinton’s dissolving of Parliamentin 1980, Clinton hit the R&B Top Ten several times but truly excelled in two other areas: large-selling, effective album statements and the most dazzling, extravagant live show in the business. In an era when Philly soul continued the slick sounds of establishment-approved R&B, Parliament / Funkadelic scared off more white listeners than it courted. (Ironically, today Clinton’s audiences are a cross-cultural mix of music lovers from 8 to 80.)

1978-79 was the most successful year in Parliament/Funkadelic history: Parliament hit the charts first with “Flash Light,” P-Funk’s first R&B number one. “Aqua Boogie” would hit number one as well late in the year, but Funkadelic‘s title track to “One Nation Under a Groove” spent six weeks at the top spot on the R&B charts during the summer. The album, which reflected a growing consistency in styles between Parliament and Funkadelic, became the first Funkadelic LP to reach platinum (the same year that Parliament‘s “Funkentelechy Vs. the Placebo Syndrome” did the same). In 1979, Funkadelic‘s “(Not Just) Knee Deep” hit number one as well, and its album (“Uncle Jam Wants You”) also reached platinum status.

During 1980, Clinton began to be weighed down by legal difficulties arising from Polygram‘s acquisition of Parliament‘s label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982’s “Computer Games”. Several months later, Clinton’s “Atomic Dog” hit number one on the R&B charts; it stayed at the top spot for four weeks, but only managed number 101 on the pop charts. Clinton stayed on Capitol for three more years, releasing three studio albums and frequently charting singles in the R&B Top 40.

Clinton and many former Parliament/Funkadelic members continued to tour and record throughout the ’80s as the P-Funk All Stars, but the decade’s disdain of everything to do with the ’70s – especially the sound of disco – resulted in critical and commercial neglect for the world’s biggest funk band, one which in part had spawned dance music..

During much of the three-year period from 1986 to 1989, Clinton became embroiled in legal difficulties (resulting from the myriad royalty problems latent during the ’70s with recordings of over 40 musicians for four labels under three names). Also problematic during the latter half of the ’80s was Clinton’s disintegrating reputation as a true forefather of rock; by the end of the decade, however, a generation of rappers reared on P-Funk were beginning to name check him.

The early ’90s saw the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) that re-established the status of Clinton & co. as one of the most important forces in the recent history of black music. Clinton’s music became the soundtrack for the rap movement, as artists from MC Hammer, to LL Cool J to Snoop Doggy Dogg depended heavily on the infectious groove of Clinton productions as the foundation of their recordings.

Along with the renewed notoriety and respect, Clinton’s visibility and presence became familiar to a wider audience thanks to appearances in movies “The Night Before”, “House Party”, “PCU”, and “Good Burger”, hosting the HBO original series “Cosmic Slop”, and doing commercials for Apple computers, Nike, and Rio Mp3 players. Clinton also composed the theme songs for popular TV programs “The Tracey Ulman Show” and “The PJs”.

Clinton has received a Grammy, a Dove (gospel) , and an MTV music video awards, and has been recognized by BMI, the NAACP Image Awards, and Motown Alumni Association for lifetime achievement. Clinton’s Partliament/Funkadelic was inducted into the Rock and Roll Hall of Fame in 1997.

In reviewing Clinton’s illustrious career and success as a producer / writer/ performer, perhaps his greatest achievement stemmed from his relentless dedication to funk as a musical form. Funk as a musical style had been around for what seems like forever, deeply rooted in the music traditions of New Orleans and the Blues of the Deep South. Following the lead – and commercial success – of James Brown and Sly Stone, Clinton took Funk to new heights, blending elements of Jazz, Rock, Pop, Classical and even Gospel into his productions, eventually developing a unique and easily identifiable style affectionately called “Pfunk.” Clinton’s inspiration, dedication and determination resulted in the elevation of “funk” music to complete recognition and acceptance as a true genre in and of itself.

On February 16th, 2012 George Clinton added to his list of accomplishments a Honorary Doctorate of Music from the renowed Berklee College of Music.

Day26’s story is already well-known to their fans, millions of whom tuned in watch it unfold on MTV’s Making the Band 4 (Which became the highest rated show in MTV history). When Sean “P. Diddy” Combs put out the call for vocalists in January of 2007, he was looking for talented newcomers with superstar potential and a tireless work ethic. What he got when Robert, Will, Brian, Mike and Qwanell (who later resigned from the group in December of 2009), was more than he or the fans could have ever anticipated.

On August 26, 2007, the lives of five young men were changed forever. On that day, they became DAY26. DAY26’s self-titled debut album enter the record books as the biggest-selling debut album from a male R&B group in the 17-year history of SoundScan. The album – which included the hit singles, “Got Me Going” and “Since You Been Gone” – exploded into the #1 spot on the SoundScan/Billboard 200 in its first week of release, while also topping Billboard’s “Top R&B/Hip-Hop Albums” chart.

As the guys struggled with realizing their dreams amidst breakups, hookups and fights that shook the home they shared with MTB’s Danity Kane and Donnie, their fans have gained unprecedented access to the highs and lows of fame. “It’s definitely a blessing and a curse at the same time,” laughs Brian. “The fans actually get to see who Day26 is as individuals and how we mesh together.” It’s a process that has only strengthened them as a group, and helped evolve the sound on Forever and a Day.

“Forever In A Day”, the group’s sophomore album gave the guys the opportunity to show the world how they’d grown personally and artistically. “Forever In A Day”, included the hit single, “Imma Put It On Her (Feat. Yung Joc and Diddy)” – and soared into Billboard’s “Top R&B/Hip-Hop Albums” chart at #1, while also landing at #2 on the comprehensive Billboard 200 with First week sales in excess of 113,000. “Forever in a Day was a collective effort,” says Will, “The first album was mostly us proving we could sing, and I like to think of the second album as us making great music in general.”

While under the watchful eye and knowledgeable guidance of “Super Manager” Joseph “Screwface” Charles, the group collaborated with many producers including: Jermaine Dupri, Bryan-Michael Cox and Jazze Pha, as well as Superstar Songwriters such as Ne-yo and T-Pain. The guys have learned to work their personal experiences into the songwriting. Robert wrote “Honest” about his experience of coming into the limelight under the watchful gaze of MTV cameras. “It’s about how I just want to be who I am, and how we try to keep it honest with our fans.”

As their story, and sound, continues to evolve, Day26 is still at heart, a group of talented artists with a dream that continue to break boundaries. The group prepares for the release of their upcoming third album, “A New Day” to be released this summer on Atlantic Records.

Join us to celebrate life in our community and promote peace in the southeast!!!