Broadway actress Jen Sánchez will debut her new music video for “Heartbeat” live in Times Square on New Year’s Eve. The music video for the pandemic-inspired song of resilience features real New Yorkers whose lives have been affected by the coronavirus and shutdowns.
The song was selected as a finalist and the Audience Choice Award winner in the Times Square Alliance’s Songs for Our City songwriting competition in June.
“Heartbeat” is a tribute to those working to keep their lives and cities afloat, as well as those who have been lost to COVID-19, while sharing an empowering and uplifting message of strength and solidarity.
The music video depicts scenes from Times Square and features real New Yorkers who are working each day to keep New York City running amid the pandemic, including Jason Clark, Co-Owner of Hold Fast Kitchen and Spirits; Ruth Levy, a Nurse Practitioner at Mount Sinai Hospital who worked in one of the hospital’s COVID wards; and Rob White, a Times Square Alliance Sanitation Maintenance Worker. The video was directed and choreographed by Broadway veteran Yani Marin and features performances by Broadway dancers Angelica Beliard, Natalie Caruncho, Albert Guerzon, Yani Marin, NaTonia Monét, Fredric Odgaard, and Brett Sturgis.
Viewers are encouraged to donate to NYCNext, an organization working to help the city we love recover and rebuild, and to energize and inspire others to act.
“Heartbeat” is written and performed by Jen Sánchez, directed and choreographed by Yani Marin, edited and filmed by Gregg Monteith, and produced by Jen Sánchez and Sophie Aung, for Times Square Alliance.
Christmas is here. Which means it’s time to deck the halls with bars of the holiday. So grab your cup of eggnog, your Santa hat, and enjoy this list of Christmas raps.
“You’re A Mean One Mr. Grinch” by Tyler, the Creator.
Inspired by the music and animation of Dr. Seuss’s “How The Grinch Stole Christmas,” Tyler took the reigns and composed a soundtrack to accompany the 2018 Universal Studios animated film The Grinch. Although a whole EP full of songs inspired by The Grinch can be found on Tyler, the Creator’s Spotify, something about Tyler’s typical cartoonishly deep vocal inflections make this song a true holiday standout.
“Christmas in Harlem” by Kanye West featuring Teyana Taylor
There’s something almost ironic about how Kanye, a man known for calling himself “Yeezus,” would release one of the 2010s most critically acclaimed Christmas songs. Originally released on December 17th, 2010, “Christmas in Harlem” brings us the best of both worlds around the holidays. Produced by Hit-Boy and originally released as part of Kanye’s GOOD Music series, “Christmas in Harlem” exhibits the raw talent West possesses when it comes to the meticulous process of arranging music.
“Santa Clause Goes Straight To The Ghetto” by Snoop Dogg featuring Daz, Nate Dogg, Tray Deee, & Bad Azz
Have you ever wanted to hear a gritty, G-Funk Christmas song that simultaneously critiques the modern commercialization of Christmas? Well, “Santa Clause Goes Straight to The Ghetto” is the song for you to hear this holiday season. Again, this song is a perfect blend of Snoop’s typical West Coast cool, calm, and collected rap flows while flipping the typical narratives driving Christmas songs. This song is sprinkled with social commentary and full of joyous Christmas cliches.
https://www.youtube.com/watch?v=mVkg5FM59NA
“Christmas in Hollis” by Run D.M.C.
If there were ever to be a rap song synonymous with Christmas, it would be Run D.M.C.’s “Christmas in Hollis.” This song may owe some of its notoriety to the hotly contested Christmas movie, Die Hard (yes, it’s a Christmas movie! ). Run D.M.C. trade-off shouted verses about stumbling across Santa in the park.
“Christmas Rappin’ ” by Kurtis Blow
For the next song on our list, we go back to the early days of rap when its popularity as genre was just becoming mainstream. Curtis Blow’s “Christmas Rappin’,” was released in 1979 and found instant success, capitalizing on two popular trends, rap and holiday music. “Christmas Rappin’,” was a product of two Billboard employees who recognized the potential for a hit song. They then enlisted Curtis Blow as the MC who would deliver this rendition of the Christmas classic “Visit from Saint Nick.”
“Merry Muthaf****n Xmas” by Eazy-E featuring Menajahtwa, Buckwheat from the Lil Waskals, Will 1X, & Atban Klann
Eazy-E isn’t referred to as one of the kings of gangsta rap for nothing, the twisted spin “Merry Muthaf****n Xmas” takes on Christmas music and is a prime example of E’s close ties to gang life growing up in Compton, CA. Everything about this song rings true to West Coast rap: the beat, the lyrical narratives Eazy-E and company explore, and, not to mention, the yuletide sampling and mentions of Santa that classify this otherwise raunchy cut as a Christmas song.
The most recently released song on this list, “Chi-Town Christmas” is perhaps one of the most emotionally potent tracks from Chicago-born artist Chance, the Rapper. Chance released a whole album’s worth of original Christmas music this past month featuring longtime collaborator Jerimiah. In “Chi-Town Christmas,” Chance once again takes center stage as the rap game’s family man and recites verses depicting a lowkey Christmas in Chicago. This isn’t the first time we’ve seen Chance dabble in Christmas music. However, this is by far his most organic attempt.
Christmas came early for Phish fans on December 24, with a 2pm premiere of December, an album from guitarist Trey Anastasio and Chairman of the Boards™, Page McConnell.
The sessions from the band’s recording studio, The Barn, in Vermont, were recorded over the summer, of which two songs were shared during The Beacon Jams series this fall.
The album features six tracks, all arranged for Page and Trey, offering a more melodic treatment of a few Phish ballads. The album leads off with Hoist track “If I Could” followed by “Mountains in the Mist,” and “Wingsuit,” “Joy” and “Miss You.” A 16-minute version of “The Squirming Coil” rounds out December, making it one of the longest versions of the song to date.
December was produced and mixed by Bryce Goggin, engineered by Ben Collette and mastered by Pete Lyman at Infrasonic Mastering, Nashville, TN.
Oscar winning filmmaker Peter Jackson has collaborated with The Beatles for the upcoming documentary, The Beatles: Get Back, due out in August, 2021.
Get Back looks at the Fab Four in 1969 and 1970, when John Lennon, Paul McCartney,George Harrison and Ringo Starr were preparing for their first live show in two years, showcasing the camaraderie and spirit between them, as they wrote and rehearsed 14 new songs.
The film draws from 56 hours of previously unseen footage of the band, shot by Michael Lindsay-Hogg in 1969, and includes more than 150 hours of audio. Also included in the documentary is the band’s final live performance as a group in London, England.
Paul McCartney said in a tweet:
Peter Jackson has released an exclusive sneak peek of his upcoming documentary “@TheBeatles: Get Back” for fans everywhere to enjoy.
In a video message, Jackson introduced an extended preview, noting that the film was due to be finished by now, but has been delayed due to the COVID-19 pandemic, saying “Hopefully it will put a smile on your face in these rather bleak times that we’re in at the moment.”
Jackson’s native New Zealand has COVID-19 under control, leading him to be able to resume work on the film. He stresses that the video shared is not a trailer, but a montage of scenes so far collected for the film, set to a rehearsal recording of the movie’s title track.
The Beatles: Get Back will be released with a new book of the same name, the first official book credited to the band since 2000’s The Beatles Anthology. The new book will be out on August 31, 2021, and features an introduction by Hanif Kureishi.
The Beatles: Get Back will open in theaters on August 27, 2021.
Saturday Night Live’s final episode of 2020, hosted by Kristen Wiig, featured two electric performances from musical guest Dua Lipa. The episode opened with Vice President Pence (Beck Bennett) and Vice President-Elect Harris (Maya Rudolph) receiving the COVID-19 vaccine.
One of the few artists who thrived during the pandemic, Dua Lipa’s second album Future Nostalgia cemented her status as a pop staple. It dropped in the first month of quarantine and didn’t need an accompanying tour to bolster its release, although one is coming in September 2021.
Future Nostalgia righted the wrongs of its predecessor, the 2017 self-titled debut Dua Lipa, by finding a distinct sound amid complaints of being too generic. Dua also improved her live performances, coming off more confident and energetic onstage than in the past. Future Nostalgia is ending the year on several publications’ best of 2020 lists, and is up for five Grammy Awards, including Album and Song of the Year.
Dua’s first song of the night was “Don’t Start Now.” While Future Nostalgia’s lead singlewas released on Halloween of 2019, it had major staying power throughout 2020. It reached its Billboard Hot 100 peak of #2 on its 19th week of release, and surpassed Lipa’s 2017 single “New Rules” as her biggest hit. The nu-disco bop channels “I Will Survive” by Gloria Gaynor, as well as Daft Punk and the Bee Gees, dealing with themes of female empowerment and independence.
https://www.youtube.com/watch?v=oDsyocmK3XI
Dua closed her SNL debut with “Levitating,” an album standout that became a single in August. The dance floor-ready anthem spawned remixes with Madonna, Missy Elliott, and DaBaby, although none compare to the original solo version. “Levitating” is arguably Future Nostalgia’s high point, expertly updating the Studio 54 sound for 2020. The DaBaby remix made Barack Obama’s recently unveiled list of favorite songs of 2020.
Saturday Night Live returns in January. Revisit Kristen Wiig’s memorable final episode as a cast member on SNL, where Mick Jagger dedicated “She’s A Rainbow” to Wiig and the cast gave her an emotional send-off.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Being Both, Girl Blue and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
When EQXposure kicks off on Sunday evening, host Pearson will feature an hour of two in a row from a select group pf local artists. These two songs in a row will give a glimpse into an artist or band that reveals who they are and what they are all about, no matter how different or similar the songs are.
Next, Pearson, features the new project from Christopher Brown of Troy’s Super Dark Collective, called Being Both. The debut track “Picturing Picturing,” from the album Her Words, My Mouth, is a beautiful tune of longing, with a subtle mellotron background set next to an arpeggiated electric piano.
Also featured is a brand new song from Girl Blue, “Just a Dream”
Saratoga Springs’ Sly Fox and the Hustlers are currently in the studio completing a new album to be released in Spring 2021. Ahead of time, Fox has shared a Christmas tune, a cover of Ray Charles’ “That Spirit of Christmas,” designed to spread some love this holiday season.
Released on December 17, along with the snowfall, the song channels the Ray Charles holiday classic with Fox’s blues roots through his vocals and guitar. The single will be available for purchase on all streaming sites and all proceeds will be donated to Toys for Tots in the Capital Region during the month of December.
Sly Fox shares some thoughts on the song:
I’m one of those people that loves Christmas music, especially the classics but this one is my favorite! I’m a huge Ray Charles fan and it’s a cover of his song, “That Spirit of Christmas.” What makes it stand out to me (among all the great Christmas songs) is the soulful message of the song with an emphasis on spirituality, love, family and trying to sustain those good vibes throughout the year!
Fans of National Lampoon’s Christmas Vacation will recall the song from the scene where Clark (Chevy Chase) is in the attic. The artwork for the song is Fox and his sister on Christmas morning at 5yrs old with his first guitar. For more music from Sky Fox and the Hustlers, follow them on Facebook.
After nearly 20 years, Syracuse’s Dexter Grove have decided it is time to be heard again. Premiering at 5pm ET Friday, December 18 on YouTube, original band members Charley Orlando and Steve Drizos had kept in touch after the breakup of the band, and talked more than once about reuniting, even if only for a recording session. The result of that session is the new single, “Life.”
Due to the COVID-19 pandemic, the opportunity arose, and according to Orlando, what was most important to work on floated to the top, and that was Dexter Grove.
It felt amazing after so long to put on headphones and hear the two of us playing together again. It was somewhat magical. I layed down the basic tracks and emailed them to Steve and he would record his parts and send them back to me, and then I’d record more parts and send it back to him. It was very organic and super fun to collaborate as Dexter Grove again.
We pulled in Jenny Conlee (of The Decemberists) to play piano, organ and Moog parts to fill it out. The result is a new DG song that will have old and new fans alike smiling over the outcome.
Charley Orlando
Dexter Grove’s sound is a mix of Americana and roots rock with a healthy dose of improvisation thrown in. The two musicians have stayed busy as musicians in the meantime, with the ever busy Orlando who normally performing across New York and the Northeast, as well as locally with Pearly Baker’s Best, releasing his new album Note to Self, and Drizos has a debut album slated for 2021.
Listen to a Dexter Grove show from April 14, 2004, at Canal Street Tavern in Dayton, Ohio, and if you’re looking for any of Dexter Grove’s earlier albums, order or download them here.
Otto Botté dropped his “Humbara” music video on December 14, 2020. The song is a nod to the New York City based artist’s Colombian roots.
Botté is known for being 1/3 of the sample-based electronic group Pool Cosby, who just released their second album, Day Breaks. He has also worked with an array of superstar musicians. He did the mastering on the Robin Schulz remix of “Waves” by Mr. Probz ended up landing him a Grammy nomination back in 2015 for Best Remixed Recording – Non-Classical. He has worked with names Enrique Iglesias, Trey Songz, Fedez, Club Dogo in his and has mastered work that adds up to over 8 million in sales.
The single “Humbara” dropped originally back on November 20, 2020. The song has a unique and genre-bending sound that sees a fusion of worlds and cultures and creates one irresistible dance track out of them. It really deep dives into the culture-rich sounds of Botté’s Colombian roots while creating a laidback electro-synth melody. It uses traditional Colombian instrumentation, from the thumping conga drums to the dance-inducing wooden flutes and maracas.
The track recently surpassed 18,000 streams and has received support from big names like NPR Music’s World Cafe, Kick Kick Snare, and radio play on LA’s LatinAlt HD3. The music video brings even more energy and support to the up and coming track with names like Pablo Morelo directing it.
“Humbara was the first song I created as a solo producer about 4 years ago. I was single then, and the only thing I felt I could confidently write about was my relationship with God, so I wrote a song to him.”Otto Botté shares about his inspiration behind the track, “Last year, I fell in love with someone, and the more I heard this song, the more I felt God’s love in my relationship and how it constantly felt like He was singing this song back to me. It’s been a beautiful experience connecting with God these past few years, and at the time with her through this song. The experience itself always felt as if our relationship (mine with hers and God) was manifested through the melodies and grooves in this song. It symbolizes how there can be a spiritual connection between two people and God.”
The video features only Botté singing and dancing in different scenic natural areas. There are a few shots of animals and beautiful views but manley is simplistic in the best way possible focusing on the music and Botté. Check out the full video here.
For more information on Otto Botté visit his website here.
It’s somewhat surprising that during the storied touring career of Phish, they’ve only played five shows in the City of Binghamton. The last one of these took place 26 years ago today, on December 14, during a time that’s now looked back upon in deep reverence. December of 1995 was one of the band’s most formative and successful eras. In fact, tonight’s show at the Broome County Veterans Memorial Arena was deemed worthy enough of being the first official live release from Phish’s extensive live catalog. With a couple of classic song selections and some jams that are truly definitive of the band’s ascent, it’s not hard to see why.
“Suzy Greenberg” starts off the show before a lively Binghamton crowd in grand fashion. Baby grand, that is, as Page McConnell takes a couple of spirited piano solos to the delight of all during this old school Phish favorite. The “Llama” that immediately follows sees him deftly shift over to the organ early on for a few more harrowing runs. Trey then quickly assumes command on guitar and leads throughout the rest of the way on the APicture of Nectar classic that’s executed to perfection.
This opening pairing is followed with another in the “Horn” > “Foam” sequence that comes next. “Horn” is played with no frills. But the “Foam” provides the first real chance for the band to stretch out a little, thanks to some exploratory solos from McConnell and Anastasio that do just that. These lead to a short but ever so powerful jam that culminates in a beautifully sustained guitar note atop the classic relentless rhythm of Mike Gordon on bass.
“Makisupa Policeman” then produces one of the all-time most bizarre “keywords” from Trey, a reference about smoking a joint with Khaddafi in bed.
While the “Policeman” doesn’t really do much, the “Split Open and Melt” that proceeds it certainly does. Jon Fishman pops right away on this one, delivering the signature opening drum beat, and doesn’t let go. He nails the song’s odd time signature and lays the groundwork for a pulsating, driving jam that eventually shifts into Type II territory before re-entry. It’s the first real extended jam between all four musicians and a sign of things to come.
“Tela” then takes everyone on a quick excursion to Gamehendge, with McConnell handling the lead vocals and Anastasio providing the fiery guitar finish as usual. “Taste That Surrounds” provides a glimpse into the evolution of a Phish song. Now simply known as “Taste,” this is a primitive version that would be one of the last ones ever played before being further modified. Its song history provides full details.
After a move by “Dan from Binghamton” in the ongoing “Band vs. Audience” chess match featured that tour, Phish’s second set begins. “The Curtain” is a more than apt opener that displays the technical wizardry and seamless cohesion that are staples of December ’95. Without even pausing for a moment, “Tweezer” starts up as soon “The Curtain” goes down. This serves as the meat of the second set, and the show really, with a jam that patiently builds and includes a distinct “Slipknot!” tease.
Before it can fully bloom, though, Trey suddenly begins strumming an entirely different melody altogether and redirects the rest of the band through “Timber.” This is cast aside fairly quickly. Not long after the final “Timber” lyric, the “Tweezer” jam reemerges and Phish jumps back on it in a seamless merge through musical traffic.
Fishman drives the tempo to a near-insane pace at one point which, when combined with Trey’s wailing guitar sound effects, give this one a true feeling of a train about the run off the tracks. As “Tweezer” comes to a surprisingly gentle landing, “Keyboard Army” emerges. This 1995-era special features all four band members on a different instrument at McConnell’s keyboard rig. Until it was recently dusted off at Dick’s in 2015, tonight’s performance in Binghamton was the final one played.
“Halley’s Comet” begins the landing sequence for tonight’s show and features a sneakily impressive jam that revolves around an infectious Anastasio-created melody. Phish collectively toys with the tempo, once again ramping it up to extreme levels and stretching the first ever jammed out “Comet” to almost twelve minutes. A rare, late-show “NICU” then emerges from the ska-like outro jam and, with it, another mesmerizing improv-heavy jam on the tail end that takes it from a standard to a stellar version.
“Slave To The Traffic Light” serves as a proper close to a set full of both patient improvisation and hard rock. And, after noticing a request for it displayed on a fan’s sign, Trey notes it’s “one they want to play” and leads the band through a show-closing take of Jimi Hendrix’s “Bold As Love.” Phish left it all out on the table this evening in, remarkably, their final Binghamton show to date.
Phish Broome County Veterans Memorial Arena – Binghamton, NY 12/14/95
Set 1: Suzy Greenberg > Llama, Horn > Foam, Makisupa Policeman > Split Open And Melt, Tela, Taste That Surrounds, My Sweet One, Frankenstein
Set 2: The Curtain > Tweezer -> Timber (Jerry the Mule) -> Tweezer -> Keyboard Army, Halley’s Comet -> NICU -> Slave To The Traffic Light
