Vermont’s Twiddle played The Putnam Den, after Phish, on July 4th. Famed photographer Andrew Scott Blackstein was there to capture the show.
Category: Capital Region
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America and Fuego – Night 2 of Phish at SPAC
Phish, an American summer tradition for more than 30 years, celebrated the 4th of July with arguably the high-watermark for Summer 2014, and the tour is only four shows old. The second night of the nearly-annual three night run at SPAC was arguably the strongest of the shows and featured new material from Fuego and not a single cover song – a stretch dating back to December 28th, 2013.
Photo by Jim Gilbert Naturally, the show opened with “The Star Spangled Banner”, on the 200th anniversary of the song’s birth during the War of 1812. “555”, the 2nd in 3 shows, filled in at the typical “Let’s play ‘Moma Dance’ and get the party started” slot, followed by “Kill Devil Falls” and then the first liftoff of the night with “Moma Dance”, later than usual but no complaints could be heard.
Then “Reba” appeared mid-first set, a seemingly rarer placement, but so perfect, as it kept things interesting and gave a chance for earlier than second set ethereal bliss. Speaking of bliss, “Waiting all Night” was a good pair to Reba, but also a good break time for anyone who hadn’t yet taken a minute to collect themselves amid an inspired and active first set. “Runaway Jim > 46 days, Rift” followed for a happy sing along dance time on the lawn.
“Split Open and Melt” – the potential set closer – continued the off and on dance frenzy of the show, flip-flopping back and forth between staples and jam vehicles. Melt’s ending jam was on par with versions from its last era of strong set closers, 2000. But this was not the end – “The Squirming Coil” emerged as the PERFECT first set closer, just as the sun was going down and the last bit of light left the Saratoga skies. Fishman hit the high note during “It got away…” and Trey lost it briefly before recovering. Page’s beautiful outro could have brought a tear to your eye.
When it comes to a seven-song second set, it means you have no complaints. Even with “Backwards Down the Number Line” showing up both expected and unexpected, we had one helluva time in those first five songs. “Fuego” is straight fire. Start to finish, a growing jam with a vibe in the same class as the 12/31/10 “Holy Ghost”, began with Mike’s bass groove and slowly pushed the jam, keeping Trey in check and progressing towards the beautiful jam that developed from the patience. The first must hear jam of the SPAC run, and the first Type II “Fuego” means we have a long and awesome summer ahead of us if this show is any indication.
“Down with Disease” and “Twist” were a nice 1-2 follow-up to “Fuego”, keeping the energy consistent and exhibiting great patience, a trait that
PhishTrey does not always put forth. The result was Mike taking the lead on “Disease” with a recurring bass groove that flowed nicely while Page was nowhere to be found for a spell, although the mouth-popping noises were interesting as things eventually descended into “Twist”, full of ‘Woos’ and whatnot, but nothing too spectacular in this version.
Photo by Jim Gilbert “Light” quickly emerged for a solid and progressing jam that built around Trey’s guitar riff, leading to a psychedelic jam straight from the late ’60s and Bob Ezrin’s tutelage on Fuego. Trey’s ‘Close Encounters of the 3rd Kind’-esque repetition comfortably landed “Light” right next to “Theme from the Bottom”, as pleasant and well placed as you could ask for after four powerful jam vehicles. There was hope that this would be a “Theme” ala Atlantic City 2013, but that may have just been a one-off treat.
“Backwards Down the Number Line” served as a breather song for both band and fans, and although we still danced, this song could be in the first set of any given show and receive far less audible groans than it did tonight. But when you follow “BDTNL” with “First Tube”, all is forgiven as we couldn’t have asked for a better closer to this show. And having Jedi Trey slowly rising his guitar into the air to cap it off – Priceless. A “Character Zero” capped the night and did nothing more than increase anticipation towards the final night of the run at SPAC.
Photo by Jim Gilbert Setlist:
Set 1: The Star Spangled Banner, 555, Kill Devil Falls, The Moma Dance > Reba, Waiting All Night, Runaway Jim > 46 Days, Rift, Split Open and Melt, The Squirming Coil
Set 2: Fuego > Down with Disease > Twist > Light > Theme From the Bottom, Backwards Down the Number Line, First Tube
Encore: Character Zero
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Phish at Saratoga Performing Arts Center, July 3rd – A Strangely Designed Setlist
Maybe it was because the run began on a Thursday night. Or maybe it was because of the delayed gate opening from the round of thunderstorms that rolled through Saratoga just before the venue was to open, but the Latin phrase ‘Non sequitur’ for “that which does not follow” can easily be used to sum up the first night performance from Phish at Saratoga Performing Arts Center on July 3rd, 2014.
Photo by Jim Gilbert Expectations are always high when Phish comes to play at the Saratoga Performing Arts Center (SPAC). Phans based in the Capital District consider SPAC to be Phish’s summer home venue. Even the band themselves have said as much in media interviews. With one night of summer tour already under their belt, a new album from which to showcase material from and rumors that few covers were to be played this tour, the hard-core phans question was ‘How would the band handle song selection and position?’ The answer: Rather oddly.
The other oddity was drummer Jon Fishman’s scaled back drum kit with fewer cymbals, snare drums and the absence of the wood blocks under his hi-hat. Phish heads were lamenting the elimination of the woodblocks and various cymbals from which Fish draws distinctive sounds for certain songs like “Walls of the Cave”, “It’s Ice”, “Reba” and “Fluffhead”. Summer tour has just begun and already phans are in crisis mode: First, there may be no covers which traditionally serve as launch pads for exploratory jamming (think “Torn & Frayed”, “Cross-Eyed and Painless”, “Boogie on Reggae Woman”) and now the possible elimination of other songs from the repertoire because of the changes to the drum kit. Or perhaps new takes on old favorites from our favorite drummer with a less is more approach? You have to love a band that knocks you out of your comfort zone.
7/4/2014 Saratoga Performing Arts Center, Saratoga Springs, NY. Photo by Dave Vann © Phish. All Rights Reserved. We were certainly knocked out of our comfort zone with the odd selection of “Farmhouse” as the opening tune. First songs lay the vibe for the rest of the set and a slow tempo song about cluster-flies and swatting them on what was turning out to be a damp, cloudy, and foggy night did make for an unusual statement. “Wolfman’s Brother” was funky as usual but delivered at a sleepy relaxed pace as if the band was still warming their hands and fingers up from the lingering drizzle. The band seemed to pick up the tempo with “Maze”. It was jarring enough to get our attention but a little rough around the edges in the interplay between Anastasio and McConnell. Would “Maze” prove to be the launch pad for the rest of the set?, one that flows with synchronized dark nasty jams or would it continue to be a disjointed mishmash of singles? We got our answer with the sleepy reggae of “Yarmouth Road” and another song with lyrics about insects. So this means “Bug” is coming, right? Nope, “Strange Design” was up next. But it is clearly making sense. The set-list is just strangely designed so that is why they are playing “Strange Design”.
Now that we are all feeling strange and sleepy about this set, Trey takes us to REM sleep with “Devotion to a Dream”, the first of four songs to be played tonight from Fuego. We are on a dreamy journey of the band’s 30+ year history. It seems to now be headed in the right, albeit strange direction which is beginning to seem by design . “Ocelot” begins the wake-up call and delivers with its usually jamtastic but too short ending. The alarm clock has sounded “Chalkdust Torture”. “Mound”, the dreamlike but awesome “Roggae” and “Possum” closed out an odd strange first set.
Photo by Jim Gilbert Set Two began with a 15-minute plus “Bathtub Gin” and a 12-minute plus “Limb-by-Limb”, which was by far the highlight of the evening. The almost half hour of music in Set Two’s first two songs makes up for the sleepy weird first set. Everyone is stoked for the energy to continue. But would “2001” make an appearance in the three spot? Nope, that’s a cover. Mon dieu and Merde! Instead, the second song from Fuego, “WinterQueen” bats third and allows those of us who danced and raged silly during the first thirty minutes to dial it down and catch a breath (not that we needed it after set I). My own personal feeling is that “WinterQueen” is a first set song and will hopefully find a home there. “The Line”, the third song from Fuego (for those readers unfamiliar with the story), is about basketball player Darius Washington, Jr., who as a freshman and Conference USA Rookie of the year and a 72% free throw shooter for the University of Memphis missed two of three free throw attempts during a game vs University of Louisville. Had he made all three attempts Memphis would have beaten the then sixth ranked Louisville Cardinals.
“Tweezer”, “Prince Caspian” and the playful and fun “Sparkle” are always fun and frolicking, but a not-so-special/best all time “Antelope” ended Set II. Phish returned to the stage and performed a two song encore: “Sing Monica”, which has a throw-back 60’s vibe to it ala the Beatles era, and Tweezer Reprise.
Photo by Jim Gilbert A brief recap of night one of Phish at the Saratoga Performing Arts Center (SPAC) would sound like this: Interesting song selection and placement in a definitely weird somnolent first set. The Fuego material is all worthy of being added into the rotation and the songs will find their homes. The show definitely left us with questions about covers, and how Fishman will get the same sounds in songs on his stream-lined drum kit. We definitely have something to talk about and ponder and as always the carrots were dangled that leave us wanting more. Just no clusterflies please.
Phish, Saratoga Performing Arts Center – July 3rd, 2014
Setlist
Set 1: Farmhouse, Wolfman’s Brother, Maze, Yarmouth Road, Strange Design, Devotion to a Dream, Ocelot, Chalkdust, Mound, Roggae, Possum
Set 2: Bathtub Gin > Limb By Limb > Winterqueen, The Line, Tweezer > Caspian > Sparkle, Antelope
Encore: Sing Monica > Tweeprise -
Venue Profile: The Troy Savings Bank Music Hall Preserves History and Magnificence
Though indiscriminant from the outside, passing beyond the entry is a portal into another time. In an era during the booming peak of industrial America, Troy hustled and bustled with growth. As a result of successful patronage to Troy Savings Bank, a music hall was gifted to the public. In 1870, the Board of Trustees of the bank moved its offices to a new building, located at 30 Second St, that included a music hall on the upper floor. George Browne Post was the hired architect.
Troy Savings Bank Music Hall is an acoustic marvel with no clear reason as to why. Many have attributed the sound quality to variables like hard walls, ratio to length, width and height, stage dimensions, interior design and textures. However, it wasn’t until 1890 when an Odell concert organ was installed that the hall reached it full acoustical potential. The organ was eight years old at the time of purchase belonging to millionaire William Beldon. The organ has remained untouched since its installation with the exception of routine maintenance. According to the Troy Savings Bank website, the organ is “the nation’s largest nineteenth-century concert organ in original condition.”
Just as a nation struggled with the ups and downs of the economy over the last hundred years, so had the hall. As the twentieth century developed the advent of radio and television provided cheaper and easier means of entertainment. However, in 1979, the Troy Savings Bank Music Hall Corporation was formed as a not-for-profit organization to restore and maintain the hall. In 1989, the hall was named a National Historic Landmark. Today, The Troy Savings Bank Music Hall is operational.
The Troy Savings Bank Music Hall continues to carry on tradition. Historically, a great musician of their time rarely failed to include the hall on an American tour. World-renowned performers are booked year round from singers and songwriters to orchestras and comedians. Every artist, every performance seemingly captures the essence and glory of the halls storied past. Every wooden chair is equipped with metal bars located on the back and on the underside of the seat. Hinting to the past, the bars held top hats and the scarves. Indeed, Troy Savings Bank preserves history and magnificence.
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An Interview with Dani Moz
At Los Angeles International Airport, blurry-eyed travelers stand upon moving walkways with luggage in tow as they head out from the solace among the clouds to the bustle on the ground. The average person walks about 3mph. A weary cosmopolitan standing atop this massive conveyor belt like a bag of produce moves twice as quickly, while seemingly standing still.
On a lazy Sunday, Dani Moz stands outside her childhood home in Delmar as, she too, continues to move while seemingly standing still. Handmade signs throughout the neighborhood advertise a garage sale. Her garage sale. A blue Chris Drury Rangers jersey hangs upon a rack with a $50 price tag spinning in the breeze. The hockey team out of New York just lost the Stanley Cup Finals the previous night to her hometown Los Angeles Kings. There it hangs, along with three racks of clothes, a number of different books and DVDs, CDs and sheet music – relics of her life as Danielle Mozeleski.
Atop a table outside her parent’s garage stands a box and several promotional headshots at the ready for the now-(former) television phenomenon to sign autographs. What she raises from the sale will help fund the album to which she’ll proceed to record on the West Coast in a few days. What she doesn’t sell today will go to charity.The pedestrian looking tag sale is just another example of the constant motion in Moz’s life. As she stands on the driveway, hugging old friends and chatting with local high school kids, her singing career is moving. She is less than a month removed from the competition on NBC Television’s The Voice; but her schedule is no less hectic today.
Quite the contrary.
“It’s actually crazy, ’cause it hasn’t. The great thing about leaving the show when I did was the opportunities that have been thrown my way. I’m now doing music full-time, so my career in PR has been put to the side for now. Which is fantastic. I’ve really been focusing on music 100 percent.”
Before performing, Moz established a public relations career, ultimately landing a job at Boston Gardens, marketing for the venue that plays host to the Celtics and Bruins. That experience has taught her the importance of timing. The metal of a career takes shape once it emerges from the fires of the crucible. For Moz, that crucible was the weekly competition viewed by millions on national television. There are stars who have taken similar paths; Kelly Clarkson, Carrie Underwood, Jennifer Hudson, and Chris Daughtry. But, when considering the hundreds of contestants who have appeared on The Voice and similar shows, she knows the rate of success is against her. Even those who ultimately win, are not guaranteed fame.
“Being on a show like The Voice, there’s a big misconception that, just because you’re on that platform, things will come easy to you after the show. Or, if you make it to a certain point, [people] think ‘oh, you’re definitely going to be famous. Label deals are going to be thrown at you.’ And, to a certain degree, there is that. However, now more than ever is the time to work hard and hustle.
Now is not the time for me to sit back and wait for offers to fly,” said Moz. “Now is when I’m getting in everyone’s face to say, ‘Hey, I may not be relevant when the show starts back up again in September, so this is where I am now, and this is what my vision is. Help me bring it to life.’”
Moz is already separating herself among her peers. Speaking among friends from the show, she said she can already see fellow competitors bewildered from the lack of record deals coming their way. “That’s where everybody has it twisted,” she said. So, once she was voted off the show, thanks to a strong will she attributes from her mother, she started hammering out her career. “I never take anything for granted… You’ve got to earn it. You got to hustle.” Even a short stay with her parents back home has called for radio interviews, performing at the Saratoga Performing Arts Center, and visiting her high school to speak to students about building character. Living in Los Angeles provides her the resources to pursue her dream, networking with producers and pitching her talents to a number of different labels.
Moz has an EP she previously released on iTunes in 2010. But, she said, her sound has evolved since, and she is ready to try out new material.“I’m really excited to bring that to fruition, and to put all my new material together,” said Moz. “Definitely going to make a full Dani Moz album of my own songs, and shop it to labels, and see where it goes and takes me.”
“It’s all about having the passion and the drive.”
That’s what she said to members of Bethlehem Central’s choir and band groups. As she stood the students, Moz found her role switch to motivational speaker, as some questions asked of her where of students discouraged from not reaching their own goals. “I was in the same spot you guys are in,” she said, admitting that as a student she was never first chair, and she never earned the lead in all her four years in drama. But, she said she continued on because it was her passion.
“So, it’s not to say, if you’re not the best at what you’re doing, you can’t excel and flourish in that field.”
Before the sun rises the following day, Moz is at a terminal at Albany International Airport. A mix-up with the flight has her on the phone with customer service.
Nothing is to get in her way.
Moz headlines Schenectady County’s SummerNight Beach Party with a performance at 8 p.m. on Friday, July 11. The event is scheduled to begin at 5 p.m.
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Hearing Aide: Mirk “Run”
Mirk, an Albany-based R&B band released their third endeavor, Run, and the melodies are already too catchy. The most accurate description of the seven piece band is evolutionary. Between the band’s first two albums, Love and Grind, and now Run, no element is subtle. Maybe Mirk says they’re “running out of time,” but this album is proof of the exact opposite.
The band implemented many changes which are apparent from the first audible second of the album. Run opens with a ballad starting with new keyboard player James Rock and the band’s female backing vocalist Tara Merritt, whose voice is much more prominent – and rightfully so – than it ever has been before. Both Rock and Merritt are in high spirit and are set up to bring to the album the same energy of a dark, smokey bar room. This opening track, “Let it Go,” sets the intense, yet dynamic mood for the rest of the album.
As such, the addition of James Rock on keys is critical to the round sound of this album. Rock may be young, but he lives up to his name. He gives Run a rock ‘n’ roll angle. He’s not afraid to overplay, to voice full, nearly obnoxious, uninterrupted chords. And that’s a good thing because this allows the rest of the band, especially guitarist Mike Thornton, and bassist Kate Sgroi to weave around this soundscape, and experiment with far more notes than Grind saw. Grind is no failure. It’s a great artifact, and a clear stepping stone, but it can be surpassed, as Run proves.
Just seconds into this first track, “Let it Go,” lead vocalist Josh Mirsky comes in with the opposite of his usual trade: a backing vocal part to Merritt. He sings, “I ain’t got no money,” as a response to her aching voice, which might give a listener chills. Again, that barroom feel is heavy, but here the light fades up onto the rest of the band. They’re definitely not a mechanized backing track, either. They’re personable. They’re human. Instead of being “the band,” for a solo artist, the whole group works as a cohesive unit to bring an emotional element to the music, especially during “My City,” and “Marathon,” two previously released singles which made heavy use of Chris Russell’s sax.
This is reminiscent of Mirk’s previous endeavors. The soulful element of this album appears especially in tracks like “Turn Me On,” which listeners heard on Grind, such as “Butterscotch.” On the other hand, the album also contains some of Grind’s driving rock beats – provided by Stephen Struss — on songs like “Torture.” However, old Mirk fans – including those who first heard Love – aren’t the only ones that will be pleased with Run. The album furthers the band’s ability to try new things. Lovers of experimental bands like Muse might enjoy the title track, “Run,” whereas Billy Joel fans will relate well to “Love Above” – and even this, and the next track, “Crowd Surf,” turn into hip-hop in the style of someone like Weerd Science. But no matter what you’re listening to, the prime mover of Run is the fact that Mirk is not sticking to a specific theme – they’re writing what they want to write.
Run perfectly utilizes Mirk’s tried and true methods of mixed genre fun, with the evolutionary sounds of each instrument and vocal track. They are only getting better and we recommend seeing them in Albany before they’re out of town for good, because this band is only going to get bigger.
Key tracks: Let it Go, Love Above, Marathon
Run can be downloaded on iTunes, and physical copies are available on Mirk’s online store.
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Albany County DA Serves Pete Nice The ‘Gas Face’ Over Taxes
Apparently Peter Nash’s status as rap’s “Prime Minister Pete Nice” does not exempt him from paying New York state taxes.
The Albany Times Union reported that the Clifton Park resident and retired rapper pled guilty to misdemeanor criminal tax fraud in Albany County Court Tuesday, July 1.
Nash did not attempt to use his rap moniker to avoid taxes, but the Albany Count District Attorney’s Office said he must pay the Empire State $13,101 in back taxes, penalties and interest. He will also be on probation for three years, the district attorney’s office said. He will be sentenced on Aug. 26.
As Master of Ceremonies for the group 3rd Bass, Nash released three albums between 1989 and 1991, two of which went gold. “Pop Goes the Weasel!” a track directed towards Vanilla Ice’s unwelcome a popularity in rap circles, reached No. 1 on the U.S. Billboard rap charts.
Nash subsequently quit the music business and devoted his time to baseball history and memorabilia.
According to several published sources, Nash owned a memorabilia shop in Cooperstown, and authored a book titled Legends of Brooklyn’s Green-Wood Cemetery.
His baseball endeavors also include attempts to secure property for an official grave site of Negro League players.
Nash was involved in litigation in 2009 with an auction house relating to the authenticity of baseball memorabilia he consigned for sale which resulted in him signing a court order admitting to having committed fraud.
Robert Van Winkle was not approached for comment.
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The Best of Phish at SPAC Top 10 Moments
After 14 amazing shows since 1992, Phish is returning to SPAC on July 3rd, 4th and 5th to celebrate the start of their summer tour and America’s birthday in the process. We asked fans what some of the top moments of Phish at SPAC over the past 20 years were, and here are what they came up with.
10) La Grange bustout 7/8/12After 13 years without the ZZ Top classic, SPAC was blessed with a set closing “La Grange” in a summer of bustouts.
9) Massive storm just before the 8/16/09 show & Llama>Moma opener
Maybe you got stuck in the downpour outside the gates, maybe you were lucky to be in the pavilion or under cover already when it hit. The rain was torrential and the Llama>Moma made up for it immediately.
8) Tweezer Reprise opener/encore 6/19/10
Phish can be funny sometimes. Having not ended with Tweezer Reprise the night before, they opened with it at SPAC, and for some reason, closed with it too. Because why not?
7) Harpua with ‘I Kissed a Girl’ 8/16/09
This was a fun moment – getting a tour-ending ‘Harpua’ and Fishman singing a Katy Perry song. Only Phish.
6) Sabotage in honor of MCA 7/7/12
RIP MCA
5) Psycho Killer 7/6/12
Amid all those bustouts in the summer of 2012 came one of the most sought after Phish covers, nestled comfortable inside a “Tube”
4) Mike’s Groove 7/10/94
Mid-second set went a little something like this: Mike’s Song -> Low Rider -> Mike’s Song > I Am Hydrogen > Weekapaug Groove. That monster Stash in the first set bumps this show up a few notches on principle alone.
No video exists of this show, so enjoy some audio from Phishtracks.com
3) DWD -> Free > Poor Heart > You Enjoy Myself 6/26/95
Three ‘highly recommended’ jams, according to Phish.net, plus a little bluegrass mixed into the start of a monster second set, just as Phish was expanding into amphitheaters.
2) ASITHOS > Piper -> Jibboo 6/19/04
This show’s second set gives 7/8/12 a run for its money, and rightly so. Some of the finest jamming to come out of the 2004 tour, although that isn’t saying a lot. Still, this was a gem if you were there.
1) The Entire Second Set 7/8/12
This setlist pretty much says it all – nonstop playing for more than an hour. Oh and they encored with YEM. Easily one of the best if not the best Phish show at SPAC.
Set 2: Axilla > Light > Twist > Kill Devil Falls -> My Friend, My Friend > Swept Away > Steep > Piper > Free > Kung > Harry Hood > Cavern > David Bowie
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Interview: Discussing The Beatles with Dr. Gordon Thompson
There is little question as to how quickly news travels today. With the advent of smart phones, computers and 24-hour news services – the impact of the event is as immediate as its occurrence. But, the collective experience is no longer as vivid, only because of the diversity by which we all receive the news; where one person may watch a transmission over television, another is viewing it from his iPhone. The shared memory isn’t quite shared at all.
In 1964, television was the leading means of entertainment, and NBC’s Ed Sullivan was the man to provide you that entertainment. Radio could no longer compete. And, the home computer would not be conceptualized for another 20 years. Sullivan practically invented “prime time” television with his 8 p.m. telecasts. But, on February 9th, he not only entertained viewers, he created news. And, in doing so, had a hand in creating a memory.
Dr. Gordon Thompson is the music department chair for Skidmore College in Saratoga Springs, NY. He remembers that broadcast of The Beatles, as, it seems, everyone from his generation. It’s a shared memory as vivid as that February night 50 years ago.
“In 1963-64, a generation of baby boomers sought to distinguish themselves, not only from their parents, but also from their older siblings,” said Dr. Thompson. “As usual, they did this en masse, just as they always do, whether hippies, punks, gangstas, etc. They buy the same clothes and adopt the same jargon, all as a way to separate themselves from the others.”
Dr. Thompson is a ethnomusicologist, or one who studies the relationship between music and culture. He is also respected as this area’s leading expert on all things Beatles.
And, come July 5th, he’ll have a seat at Albany’s Times Union Center to attend a Paul McCartney concert. Ironically, on account of the ticket prices (which, as of today, are going for as high as $766.50 on studhub.com), he initially thought of not going.
“Well, this morning I changed course and went for the tickets, so I’m going. I’ll be in section 103.”
When arena officials announced the event in April, news crackled across all mediums. The excitement seemed to overshadow the news of Ringo Starr performing at the smaller, more intimate, Palace Theatre. Nonetheless, “Macca”, the man behind many of the band’s lyrics, has never been here. And, though popular music has transformed since “The Fab Four” left the stage, their music is as timeless, and popular, as Bach.
“I’m not sure exactly that we could call Bach ‘popular,’ but his music was important,” said Dr. Thompson. “McCartney has said that they compared themselves to Bach because, just like him, they were chugging out music on a regular basis for a particular audience. His was the Lutheran church. Theirs was the baby-boom generation.”
NBC newscaster Edwin Newman reported the details on “Beatle Mania” the following November. Newman, a respected journalist known for his candid interviews of foreign head’s of state, was also a music aficionado. From 1965 to 1971, Newman was a Broadway drama critic. Later in life, he hosted summer Boston Symphony concerts from Tanglewood, in Massachusetts.
But, in 1964, it remained questionable whether or not he appreciated The Beatles.
“It’s anybody’s guess why The Beatles emerged from its cellar night clubs to national prominence, but emerged, they did,” reported Newman, who is held in reverence for his journalistic talents. However, he was also known for his sense of humor, as evident in his playful quips in the same report. “The sound they make is called the Mersey Sound, because Liverpool is on the Mersey River. [Pause.] The quality of Mersey is somewhat strained.
One reason for The Beatles’ popularity may be because it’s almost impossible to hear them [over the screaming of fans].”
Newman’s career as a journalist would span over four decades.
No one accused him of being a music critic.
“Trying to second-guess history is a tricky business,” said Dr. Thompson. “Everything looks so inevitable to us, but was much less definite to contemporary players. If not for Felix Mendelssohn, we might not be paying attention to Bach. I’m not saying that Bach’s music doesn’t have much to commend it; but aesthetics are a social construct and social constructs by definition are constantly changing.
One of the reasons the Beatles remain so important is because of the cultural role they played at a critical point in history. In the wake of the Second World War, the rise of the baby boomers, the exponential growth of globalism – aided by both the beginnings of satellite telecommunications and the initiation of commercial transatlantic jet travel – and the emergence of acoustic-magnetic recording and a convergence of audio playback technologies, the Beatles were the most successful performers out of the gate. Their recordings, indeed their career, helped to define the popular-music industry in such a way that they shaped the very artistic vehicles used by artists today.
Yes, Lady Gaga is building on Lady Madonna in a way.”
So explains the appeal McCartney has upon today’s youth. The fingerprints left behind by The Beatles of yesterday are still visable, if not through music than by avant garde choices in fashion. Though it can be safely assumed that part of McCartney’s popularity is fueled behind older generations that age along with him, but the simplicity of and the diversity within the group’s catalogue of music has an appeal for everyone.
Today, “Beatlemania” is no longer an event, but a shared phenomenon enhanced by the many means in which fans use to listen to music. The same tools used to disseminate details of current events, draws generations together in a shared memory.
“They were modernists in an era when parents wanted things to return to an imagined happier pre-Cold War era, “said Dr. Thompson. “In an era of presidential assassinations, brutally repressed civil-rights marches, and an increasingly angry and dangerous world that seemed right on our doorstep, the Beatles irreverently espoused innocence. Rather than duck and cover in fear of an atomic bomb, the Beatles told us to live and be funny doing so.”
Tickets are still available for Paul McCartney by visiting the Times Union Center box office, or through Ticketmaster.
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Catch Phish on the Net From SPAC
Not going to be around this holiday weekend to catch Phish at Saratoga Performing Arts Center (SPAC)?
There’s still hope for you.
Livephish.com will be streaming the three-day event over the Internet.
Phish is coming to Saratoga Performing Arts Center on July 3-5. One of the crown jewels of venues at which the ever-popular jamband will stop to perform during this year’s summer tour.
It’s a developing trend for venues and artists to telecast their performances over the Internet. It certainly is a perk for those who are unable to obtain tickets, or simply can’t travel the distance to attend the show. But, for those who can attend, should.
For one, live events have an appeal that can not be replicated on a computer. And, another reason was reported by us back in June, when it was announced that the Putnam Den would host late-night shows at two locations: Putnam Den and The Parting Glass in downtown Saratoga Springs.
The post-shows in Saratoga have become a destination after seeing Phish at SPAC, with up and coming bands, as well as local bands ready to burst onto the scene and keep fans dancing into the wee hours of the night. The lineup for this year’s post-shows is yet another installment of great music that shows the vibrant scene of Upstate New York.
It’s to be expected that the group will be playing some tracks from their most recent album, Fuego, which they debuted earlier this month. Please be sure to read Myke Menio’s review of it here.
