The Hamptons in Long Island hosted a charity “drive-in,” concert that proved to be a public health threat after video footage revealed a mass crowd of people.
To the left, the Chainsmokers perform in front of a large crowd. On the right, they rep the tequila brand Ja Ja Tequila, which presented the concert.
The concert, Safe and Sound, went under investigation after the footage was posted. As a result, it created an uproar on social media.
A spokesperson for Goldman Sachs told CBS MoneyWatch that Solomon hadn’t witnessed any violations.
“David agreed to participate in an event for charity in which the organizers worked closely with the local government and put strict health protocols in place. He performed early and left before the show ended. The vast majority of the audience appeared to follow the rules, but he’s troubled that some violated them and put themselves and others at risk.”
– Goldman Sachs’ Spokesperson
Alongside the DJ’s, Southampton Town Supervisor Jay Schneiderman played with his band, but never witnessed any violations. He stated in a news conference in Southampton that guests gathered later. Because of this, the town cited the Chainsmokers concert.
The event organizers, In The Know Experiences and Invisible Noise, made a statement to Billboard. They insisted they always enforced social distancing regulations and instead, blamed the angle of the video for not portraying how well they followed CDC guidelines.
According to the CDC website, everyone should stand at least 6 ft. apart in crowds and wear face coverings. The footage showed a cluster of guests less than 6 ft. apart. It is unclear whether any of them were wearing face-coverings.
Not only were civilians all over the U.S. angered by the concert, but also Governor Andrew Cuomo. Cuomo took to Twitter with his rage about the footage.
“Videos from a concert held in Southampton on Saturday show egregious social distancing violations. I am appalled. The Department of Health will conduct an investigation. We have no tolerance for the illegal and reckless endangerment of public health.”
-Governor Andrew Cuomo
Videos from a concert held in Southampton on Saturday show egregious social distancing violations. I am appalled.
The Department of Health will conduct an investigation.
We have no tolerance for the illegal & reckless endangerment of public health.https://t.co/gf9kggdo8w
— Archive: Governor Andrew Cuomo (@NYGovCuomo) July 28, 2020
Governor Andrew Cuomo tweets about his dissatisfaction towards the video footage of the charity concert, Safe and Sound.
At this time, the concert is still under investigation but not coincidentally has led to the cancellation of moe.’s Miracle Mile in Vernon and Twiddle’s Drive-In, Jam Out trio of shows in Lake George, all slated for the weekend of July 31-August 2.
Ghostface Killah is one of the more renowned members of the Wu Tang Clan, lauded for his exceptional skills as an emcee, where he mixes detailed storytelling with a unique sense of imagery and style. Those abilities were ever-so-present on his second studio album Supreme Clientele. On the RZA produced album, he successfully implemented a trendsetting combination of lyrical excellence and story-telling exclusive only to him.
The lead single was the oft-sampled “Might Healthy,” which showcased his deadly skills as an emcee, as well as the kind of presence that would make him a mainstay of hip hop culture. Debuting at #7 on the Billboard 200, Supreme Clientele was the most acclaimed of each Wu Tang member’s respective sophomore effort. And ironically, the highlighted record — “Mighty Healthy” — was one of the few not produced by Wu Tang head honcho, RZA, with production being handle by producer and Wu Tang Clan DJ, Mathematics.
The iconic album cover
“Mighty Healthy” was partly inspired by Brooklyn based hip-hop group, Divine Force, and their single pack “Holy War (Live).” Divine Force was made up of emcees Sir Ibu, Lady Nefertiti and her brother Supreme and their DJ, Jizer. They were managed by Melquan, who also managed RZA (then known as Prince Rakeem), GZA (then known as Genius), and Ol’ Dirty Bastard, before 36 Chambers fame. “Holy War (live)” sampled drum patterns from Melvin Bliss’ “Synthetic Substitution,” an uncharted record that went on to become one of the most sampled songs in hip hop history.
On “Mighty Healthy,” Ghostface begins the sampling at around the 1:12 mark. You can hear him using Sir Ibu’s flow as well as some of his lyrics as a way of paying homage.
When we hug these mics, we get busy
Come have a good time with G-O-D
Make you snap your fingers or wiggle
Scream, shout, laugh or just giggle
Shake that body, party that body
Don’t f**k with ghost you’ll feel sorry
That’s word, I’m not the herb
Understand what I’m saying, saying, saying
Sir Ibu’s lyrics on “Holy War (Live)” read:
“The wisdom that I’m speaking are words that I’m rhyming
The God of rhyme, Divine Force gets busy
Make you hip or hop or get dizzy
Make you snap your fingers or wiggle
Scream, shout or laugh or just giggle
That body, party that body
Don’t (F**k) with me you’ll feel sorry
That’s word, I’m not the herb
Understand what I’m saying?”
Besides the Divine Force interpolation, “Mighty Healthy” sampled records from other pioneers of hip hop, sampling “Wish I Could Talk to You” by The Sylvers, as well as, “Nobody Beats the Biz” by Biz Markie featuring T.J. Swan and “Funk President (People it’s Bad),” by James Brown (another heavily sampled artist).
Ghostface did much more than just interpolate others, and “Mighty Healthy” showcased some of the best rapping of his career. Heavily inspired by martial arts — much like the rest of the Clan – the song begins with a sound bite from the film Shaolin Rescuers. He starts his verse with his typical and colorfully descriptive lyrics.
Son trifling f**k, wildflower on the cycle and
Picked up the broom thought I was Michael in
West Brighton Pool, now I’m into Iron Duels
Turn nuns to Earth Whoopi, she at Allah school
He starts with an honest, yet blunt description of himself, then says he thought he was “Michael in West Brighton Pool”– a home goods store located in Staten Island — but the imagery, metaphors and double entendre are ever present, as “broom” is also slang for guns; in the next line he talks about now being into “iron duels,” (as a gun is made of steel). Before finishing off the bar with a Whoopi Goldberg reference, known best at the time for Sister Act, where she played a choir singer who had to relocate after having witnessed a murder and enters witness protection as a nun.
“The world can’t touch Ghost, purple tape Rae co-host
In his second verse, he continues his onslaught, first by paying homage to Sir Ibu on the bride before getting into his verse, setting it off with this”
Hit mics like Ted Koppel, rifle expert
Let off the Eiffel, burn a flag in your grass, spiteful
Ringleader set it off, rap Derek Jeter
Culprit, prince of the game wish you could see us
Ghost brags here, letting the audience know that he is better than most. Ted Koppel was a famous anchor and broadcaster for ABC and Nightline, from 1980 until the program’s end in 2005. Ghost continues by saying, he’s a rifle expert who lets off “the Eiffel,” and “burn a flag in your grass, spiteful” is his way of saying that after conquering his enemy with his superior weaponry, he will continue to acknowledge it to the world. Finishing off by labeling himself “ringleader” and the “rap Derek Jeter.” He continues his braggadocios rhyming throughout,
“Too hot to handle, one thought from scrambling the mandolin
Hundred game Wilt Chamberlain, smack ‘em, say when”
“Mighty Healthy” has meant a great deal to hip-hop and to Ghostface, with Complex Magazine even naming it his best song. It has also been sampled on a myriad of records, including “No More Parties in L.A” by Kanye West — off of his 2016 album The Life of Pablo. The chorus was heavily interpolated on the Pusha T and Kanye West collaboration “New God Flow,” as well as a J. Cole rendition titled “Mighty Crazy.”
“Mighty Healthy” is one of the many bright spots from Supreme Clientele, yet its enduring legacy within hip hop circles has solidified the album as a classic. Ghostface stuck to his style and made it something to behold, especially at a time when other rappers were changing their sounds to fit the new party and club theme music of the 2000’s. The album’s success also cemented him as one of the commercial faces of Wu Tang, a spot that had only been previously reserved for Method Man.
Jazz musicians from around the world connect with their audience in virtual jam session.
The free online series is Flushing Town Hall’s attempt to keep the public safe from the spread of CODIV-19. As a result of it being completely virtual, their mission is to bring global arts to global people.
Hundreds of artists flock to the jam ever since its formation four months ago. Participants span from New York to Italy and Germany. It has also become a showcase of the global arts institution.
The Jazz Jam invites all members of the public to watch the live stream through Facebook or Zoom.
Flushing Town Hall’s website directs anyone interested in participating to email a three to four minute tune to education@flushingtownhall.org. 20 musicians will be selected to play along with the theme of the month.
The website states, “the mission of Flushing Council on Culture and the Arts (FCCA) is to present multi-disciplinary global arts that engage and educate the global communities of Queens, New York and New York City, New York, in order to foster mutual appreciation.”
NYS Music and Music Minds have teamed up to check in with musicians around the scene and see how they are holding up and how they are feeling about their craft. For the first installment, we talked to Shira Elias, vocalist of Turkuaz.
Vocalist Shira Elias finds her voice in the space where soul, pop, and R&B collide. This spring, Shira welcomed her debut solo endeavor, GOODS the EP, under her latest project, Shira Elias’ Goods & Services. With funk band, Turkuaz, Shira has recorded six records and played shows across the globe at legendary venues and festivals. Elias is collaborating with producer and musical partner MEGA to offer up a series of songs that are deeply personal, decidedly honest, and undeniably unique.
Adam Chase: In what ways has this time period put live music into perspective?
Shira Elias: I mean, you don’t know what you got til it’s gone, right? In so many ways, over the past 4 months we have seen how art brings people together and HEALS us. Especially now, live music is necessary in that way.
AC: In what ways has music helped get you through tough times?
SE: Music is therapy for me, both by experiencing it from an outside source and in creating it myself. It transports me to a spiritual place where I can really look within myself for answers and for comfort. For me, it’s the most potent anxiety reliever out there.
AC: What makes being a singer different from other musicians?
SE: Your instrument is your body. It is all within you. Instrumentalists have a separate entity that they channel their expression through. Vocalists have a more literally visceral connection to their instrument, which is a blessing and a curse. A blessing because I believe the sound of a human voice can resonate and express emotion in a more profound way than any instrument can by virtue of it being produced by a living being. And a curse, because there is no escaping it. You cannot put your instrument away in its case after the gig, which is why vocal health is a lifelong challenge for singers.
AC: What words of encouragement would you have for someone learning how to sing?
SE: I would tell them to sing as much as they can, as often as they can because your voice is a muscle that you need to train and work out just like any muscle in your body. You gotta get those reps in. And I would also encourage them to find their own true, authentic voice, rather than try to sound like someone else. No one else in the world can sound like you, so be the best you that you can possibly be.
Shortly before the country would celebrate its Bicentennial in 1976, the Grateful Dead would play a show at the Beacon Theatre. This is the second and last time the band would play this New York City venue before upgrading to the larger confines of Madison Square Garden a few years later. They had recently ditched their fabled massive Wall of Sound PA system for a more stripped down and intimate stage setup, opting to let the music speak for itself rather than overpowering the audience. A string of East Coast shows in June of this year would see the band in pristine form as they dusted off some of their classic songs and began to introduce new ones, ushering in a new era of The Grateful Dead.
The first set starts off in electric fashion thanks a crisp vocal section led by guitarist Bob Weir that helps fuel a cover of “Promised Land” that would make Chuck Berry glow. A slow, drippy “Sugaree” follows that allows fellow guitarist Jerry Garcia a chance to stretch out his vocal chords a bit before a rip roaring “Cassidy” sets the tone for the first set, thanks to accompanying vocal support from Bob Weir and Donna Jean Godchaux.
An audible first set highlight, based on the crowd reaction alone, is a sultry “Candyman” that places the lyrical craftsmanship of Robert Hunter and the complimentary guitar play from Garcia front and center. Soon after, the ravenous New York City crowd gets a little taste of Grateful Dead shows of old show thanks to a stirring rendition of “It Must Have Been the Roses,” a song the band played extensively in 1974 and a staple of Jerry Garcia Band shows for years to come.
The first set of this show ends with an impressive sequence of a “Let It Grow” that stretches out all the way to a “Drums”-esque type jam before settling into a set closing “Might As Well.” Even though this tune was also played the night before, it still marked only the sixth time this Dead tune was played live, one they would continue to showcase for another eighteen years,
Grateful Dead, June 1976
The band wastes no time in opening the second set with a “Saint Stephen” that immediately explores the given space and stretches into a formidable jam. However, instead of a “William Tell Bridge,” the rhythmic partners of Bill Kreutzmann and Mickey Hart begin the percussive intro of “Not Fade Away,” a Buddy Holly cover that, by now, The Grateful Dead seem to have appropriated as their own.
Contrary to most Dead shows, the ensuing Beacon “Drums” section gets ripcorded almost instantly in favor of an incredibly emotional “Stella Blue” that’s spearheaded by poignant Garcia-sung lyrics. This particular version is marked by a beautifully patient progression from all parties and is definitely one of the show’s highlights. Garcia’s hauntingly slow delivery of the vocals, matched perfectly by the rest of the band, gives this version a rather emotional feel to it. Take a listen to the entire segment from “Saint Stephen” to “Stella Blue” below – worth the price of admission alone.
“Samson and Delilah,” a song that made its live debut only weeks earlier in the beginning of the tour, shows off its future potential nicely with a shortlived jam that picks the energy back up before a leisurely “Friend of the Devil” brings things to a crawl again. A manic “Dancin’ in the Streets” then follows as the band seems to delight in varying up the tempo of this second set. The telepathic interplay between Garcia and bassist Phil Lesh is on prime display here.
Perhaps what makes this show so special is the superb sound quality, thanks to soundboard recordings captured by the band’s longtime live recording engineer Betty Cantor-Jackson. For years, this and the other June ’76 shows were some of the most revered recordings in the tape trading community. Picking up on that, these recordings have since been further polished and remastered and are now available for purchase as part of a 15-disc box set that highlights this special era of Grateful Dead music. It features this and four of the other shows surrounding this one. With production limited to only 12,000 individually numbered copies and a slew of crisp recordings from this seminal era of the band’s history, it’s sure to be a “sound” investment for any fan.
Grateful Dead Beacon Theatre – New York City, NY
Set 1: Promised Land, Sugaree, Cassidy, Candyman, The Music Never Stopped, It Must Have Been The Roses, Looks Like Rain, Tennessee Jed, Let It Grow -> Might As Well
Set 2: Saint Stephen->Not Fade Away->Drums->Stella Blue, Samson & Delilah, Friend Of The Devil, Dancin’ In The Streets->The Wheel->Sugar Magnolia->Scarlet Begonias->Sunshine Daydream
Six years ago today, Bobby Shmurda and his effervescent first single “Hot N-gga” was made digitally available for consumption by Epic Records. The music video – which has garnered nearly 650 million YouTube views – was released in May of 2014 and quickly became an internet sensation. While the record was re-packaged, the music video was not subjected to such changes, most likely because it had already reached “viral” status, but also because it represented the ingenuity of Brooklyn inner-cities. It spawned the “Shmoney Dance” craze where, in a moment of inventiveness, the rapper throws his hat in the air and begins to pop his hips left and right. Unplanned, the “Shmoney Dance” helped cement the record as the song of 2014. Peaking at Number 6 on the Billboard Hot 100, it helped usher in a new era. This was the first song that this current incarnation of social media (Instagram, Facebook and Twitter) made prominent, something we’ve since seen replicated several times over.
The hottest song of 2014
A subsequent EP – Shmurda She Wrote– followed along with other Billboard hits like “Bobby B!tch” and the cult classic “Computers.” Unfortunately, the success was short-lived. In December 2014, Bobby Shmurda, along with his associates, his brother and GS9 label-mate Rowdy Rebel, were arrested on charges of drug and gun possession, reckless endangerment and conspiracy to commit murder.
Ah Ah Ah
Less public members of the organization received the harshest of sentences, while Bobby Shmurda and Rowdy Rebel have been behind bars for the past six years, with an impending release set for the tail-end of 2020. Their impact on the New York culture has not been forgotten (as they successfully implemented the Chicago drill sound to help popularize the sub-genre of New York drill) and in return, fans have showered them with support and promises of a hero’s return. Hot
NYC-based alt-pop artist Karolina Rose has released the music video to her new single “Runaway Angels,” a deeply personal place of experience from the nomadic artist, split between NYC, Los Angeles, and Europe.
Rose’s previous singles include the glittery upbeat rhythms of “Greytopia” and the dusky grooves in “Objection.” “Runaway Angels” is the latest installment of Karolina’s versatile brand of ‘noir rose pop’ and step three in her visual EP project.
Speaking about “Runaway Angles,” Karolina explains:
Runaway Angels is more ballet-inspired with a graceful, haunting feeling. It balances between this place of healing and a place of hell—running from a dark, painful abyss of memories that mostly only come up while you’re dreaming. I started releasing the EP last year and these last two songs were quite personal to me. I took some months off on a sort of spiritual journey to look within and do some healing; Runaway Angels helped me process a part of my life that was really difficult for me. It’s euphoric to exercise this part of me out and share it. The chorus was written in my apartment and the rest of it was finished on a vacation during the thick of the #metoo movement. I wrote parts in the middle of the night and tweaked it on the beach with a mini Taylor I had with me and my laptop.
Karolina Rose’s compelling track inspires listeners in an empowering way while on their own journeys of finding love and healing.
Taylor Swift announced her new album, Folklore, to be released at midnight on July 24. This comes as a surprise to virtually everyone: no one, including her fanbase (the Swifties) who are known for their outlandish conspiracy theories, expected the move, and nothing leaked ahead of time. Folklore is arriving less than a year after Taylor Swift’s last album Lover, breaking her schedule of releasing an album every two to three years.
Surprise 🤗 Tonight at midnight I’ll be releasing my 8th studio album, folklore; an entire brand new album of songs I’ve poured all of my whims, dreams, fears, and musings into. Pre-order at https://t.co/zSHpnhUlLbpic.twitter.com/4ZVGy4l23b
Although her last three efforts have been fully pop, Folklore appears to be taking a more acoustic direction. Whereas Lover’s color scheme was pastel pink and blue with fantastical Wonka-esque music videos, all of Folklore’s visuals are black-and-white. The album’s only featured artist is Bon Iver on the song “Exile,” and Aaron Dessner of The National co-wrote 11 out of 16 songs.
Taylor Swift previously explored a stripped-back folk sound on “Safe and Sound,” her single with The Civil Wars for the first Hunger Games soundtrack in 2012, as well as on her album Red released later that year. Fans have begged for a Stevie Nicks or Joni Mitchell-inspired album for years, and they may have finally gotten their wish. While not a New York native, Taylor Swift moved to the city before the release of 1989 in 2014. That album’s opening song was “Welcome To New York,” and she revisited the city on Lover’s “Cornelia Street” and “Daylight.”
While Folklore hasn’t had an accompanying lead single announcement, Taylor Swift is releasing a music video for the song “Cardigan” alongside the album. There are eight collectible CD and vinyl covers in total, reminiscent of the four different diaries she released alongside Lover last year.
The music video for “cardigan” will premiere tonight, which I wrote/directed. A million thank you’s to my brilliant, bad ass video team – Cinematographer Rodrigo Prieto, producer Jil Hardin, executive producer Rebecca Skinner, AD Joe ‘Oz’ Osbourne pic.twitter.com/2hNXnzFbwY
Taylor Swifts’s last six albums, including Red and 1989, all debuted at #1 on the Billboard 200 chart. This time around, she’s facing competition from longtime rival Kanye West, who’s also releasing an album this week called Donda: With Child. Folklore has already sold 250,000 copies in China, and time will tell if she continues her #1 streak in the U.S.
For more information visit Taylor Swift’s website.
Falling Water have release “When Will We Be Saved,” their first single since 2014. Led by Long Islander Mark Rechler, the rock band wrote and recorded the song from a distance while in quarantine. The lyrics are about navigating chaos, specifically through the current pandemic, and dealing with feelings of anxiety and loneliness.
Clocking in at nearly four and a half minutes, “When Will We Be Saved” is an anthemic power ballad. Despite its conception in quarantine, it sounds engineered for lighter-waving at a physical concert. Its backup singers, busy instrumentation, and dramatic lyrics also evoke a number from a rock opera. While the song has a lot going on, its standout is the piano, which has a solo at the halfway point. The song’s lyrics begin rather pessimistic, but the band ultimately comes to terms with the new circumstances. “Now the angel of death, well she’s having a feast / changes are forced by this ominous beast” becomes “I’m gonna kick back and let it all go” in the outro.
“‘When Will We Be Saved’ is a true quarantine song,” said singer-songwriter and pianist Mark Rechler in a press release. “My whole life is trying to keep up with my to-do list, get stuff done, complete tasks. I have often said out loud, ‘If we could only get a time out for a month to catch up on all these projects, everything would be fine.’ Well, like a bad Twilight Zone, that gift was granted. During the first two months of quarantine, I found myself riddled with anxiety, exhaustion, and much fear […] ‘When Will We Be Saved’ is more about isolation and finding your best self in that quiet, lonely world.”
50% of the song’s profits will go to the PLUS1 COVID-19 Relief Fund. PLUS1 works with nonprofits such as Sweet Relief, Center for Disaster Philanthropy, World Central Kitchen, Partners In Health, and Trans Lifeline to support vulnerable communities. So far, the band has achieved over $8,500 of their $10,000 goal. Other artists who have partnered with PLUS1 include Arcade Fire, The National, St. Vincent, and CHVRCHES.
Falling Water plans to release their next full-length album in 2020. Stream “When Will We Be Saved” here:
If you are in or near Putnam County this weekend and are looking to get rocked, you are in luck. Almost Queen will perform at Tilly Foster Farm in Brewster, ready to bring an authentic Queen experience to Downstate NY.
Fronted by Joe Russo (no, not that one) Almost Queen is the most authentic Queen live show since the days of Queen themselves. A deliberate four piece band, Almost Queen delivers a live performance showcasing signature four part harmonies and intricate musical interludes. Donning genuine costumes, they recaptures the live energy and precision that is the ultimate Queen experience.
Doors open at Tilly Foster Farm at 6pm on Saturday, July 25 for the 8pm show. Please wear a mask and follow social distancing guidelines at the venue. Get tickets here.
