Give your favorite A Tribe Called Quest album a spin today. The man behind the turntables, Bedford-Stuyvesant’s Ali Shaheed Muhammad, who mixed up the beats that Q-Tip and Phife Dawg rhymed on celebrates his birthday today.
Born August 11, 1970, Ali Shaheed Muhammad became one of New York City’s underground rap legends. As a hip hop producer, Ali Muhammad is responsible for the early jazz rap sounds that A Tribe Called Quest is known and loved for.
Growing up in Bed-Stuy, Muhammad’s uncle, Michael Jones, who was a bassist and DJ himself, began teaching him at the age of eight. Ali would DJ parties in his Bed-Stuy neighborhood and recorded demos before joining Tribe in 1985.
Coming together in the early 1980’s in Queens, A Tribe Called Quest consists of Ali Muhammad (the only member not from Queens), who held the role of co- producer, assisted by the groups main composer, Q-Tip, along with Tribe’s MC, Phife Dawg. Together, the trio would be looked back on as pioneers of the alternative hip hop sounds which are still popular today. Muhammad was just 19 when the group released its first album, People’s Instinctive Travels and the Paths of Rhythm, in 1990
Ali Muhammad and A Tribe Called Quest rose in popularity through their second album, the 1991 jazz-influenced album Low End Theory. The album was stripped back compared to their previous, with instrumentals consisting mostly of bass, drums, and the regular use of Jazz sampling, all sounds that find themselves synonymous with the underground alternative hip hop scene.
Later on in 1995, Muhammad co-wrote and co-produced the Top 40 pop hit that launched the neo-soul movement, D’Angelo’s “Brown Sugar,” and earned another Grammy nomination via Lucy Pearl’s “Dance Tonight” in 2000. Muhammad has remixed songs for Janet Jackson, Maxwell, Maroon 5 and KRS-One, and has writer, producer or co-producer credits on more than 20 albums. He would also go on to found The Ummah, a production company with Jay Dee and Q-Tip.
Throughout the early to mid 90’s A Tribe Called Quest maintained their commercial success through the release of their 1993 album, Midnight Marauders, which saw technical improvements in the groups dynamic. A Tribe Called Quest seemed to be on an unstoppable rise to success however, the group went on an eight year hiatus. Despite not working together during those years, individual members had the chance to pursue moderately successful solo careers until their reunion in 2006.
In 2018, songwriter/guitarist Dang Anohen, drummer Lip Molina, guitarist/singer Grace Bergere, rhythm guitarist Jesse James, and bassist Mike Coe formed the NYC rock band, Sallies. Taking their inspiration from Nirvana, The Pixies, Sonic Youth, and Ramones the group congregated around Dang’s songwriting and labored on More of the Same for years leading up to its release in May 2020.
More of the Same opens with “Ain’t My Speed,” which premiered April 6, 2020 as a promotional track for the album. The initial lyrics “Can we pretend that nothing is there, say it offhand be more indirect, everyone’s clad in who gives a fuck, everything passed off with a laugh, can we just look the other way” fits well with the interpreted theme of the lyric video in that modern social media culture is vain and ineffectual. In opposition to this culture, the track continues “I’m going away out of this rat cage where I’ve catered to your every need.”
The second track “Driftwood” is a well-executed cascading manic rant where the influence of Nirvana is palpable. “Substance” is a grinding alternative rock song and in this writer’s opinion a critique of another aspect of our culture, consumerism. This becomes especially apparent with the biting lyrics “Everybody works for their cars.” While “T.V. Dinner” slows down the pace from previous tracks initially, but quickly rises in tempo to continue the album’s critique of entertainment culture and its “Hallmark wisdom.”
“Every Whim” is a track that brings the patina of garage punk to the album. Keeping with the cultural critique tradition of punk, the track speaks on the government with the lyrics “Ill get my paycheck, Don’t care who I’m Stepping on.” The following track “Sunny-Side Up” builds with instrumentals and lyrics that summarize the frustration of an individual fed up with being told how to be, “You gave me water, it never turned to wine, Hey that doesn’t Matter, Waters just fine.” “Touching” also taps into the frustration addressed in “Sunny-Side Up” but with more aggression on the track. The following song “Make Way” provides a solution to the frustration of previous tracks, “I’m in a bad way, I’m gonna make way” and serves as an inspiration to jump off whatever bad track you’re on.
“User-Friendly” represents a jarring protest of organized religion. “Id really like you to change me, Id really like you to brand me, Id really like you to savage me, You know me I’m User-Friendly”. The remaining lyrics paint the church, not as a provider of absolution, but a manipulative entity, a “User”. “Ill Be Fine” is another slow starting track that jumps right into a wave thrashing instrumental sequence. The final track “Half Mast” is a well-executed crescendo that both reinforces the anti-establishment position and talent of the Sallies.
MTV announced plans to move the Video Music Awards(VMA) outdoors instead of indoors as per its original plan due to COVID-19. The VMA’s will be spread throughout New York City on August 30 instead of Brooklyn’s Barclays Center.
Governor Andrew Cuomo announced back in June that VMA’s would take place despite COVID-19 sweeping across the country. He had announced they would take place at Brooklyn’s Barclays Center in hopes the city’s turnaround in its fight against the virus would make it possible to be held indoors by August. Unfortunately, holding a show indoors currently wouldn’t be difficult to do safely so MTV opted to follow the guidance of state and local officials urging them to move the VMA’s outside.
The VMA shows plan to return to Brooklyn’s Barclays Center for its 2021 edition. Until then MTV and the Barclays Center promised the show would “pay homage to the incredible resiliency of New York with several outdoor performances around the City with limited or no audience” within their statement.
The 2020 VMA’s will be hosted by Keke Palmer. The VMA’s will host performances by BTS, Doja Cat and J Balvin among others. Nominated music videos Billie Eilish’s “Everything I Wanted,” Eminem and Juice WRLD’s “Godzilla,” Future and Drake’s “Life Is Good,” Gaga and Grande’s “Rain on Me,” Taylor Swift’s “The Man,” and The Weeknd’s “Blinding Lights.” Nominated artists for the year DaBaby, Justin Bieber, Lady Gaga, Megan Thee Stallion, Post Malone, and The Weeknd. Nominated for PUSH Best New Artist are Doja Cat, Jack Harlow, Lewis Capaldi, Roddy Ricch, Tate McRae, and Yungblud. Song of the Year nominations are Billie Eilish: “Everything I Wanted,” Doja Cat: “Say So,” Lady Gaga with Ariana Grande: “Rain On Me,” Megan Thee Stallion: “Savage,” Post Malone: “Circles,” and Roddy Ricch: “The Box.” The rest of the categories and nominations can be found on MTV’s website.
For more information on the VMA’s visit MTV’s website.
The Palace Theatre, the City of Albany and Mirth Films have announced that folk group Eastbound Jesus will be featured on the next episode of “The Palace Sessions”. Eastbound Jesus’s performance will live stream for free on August 19 at 7 p.m. on The Palace Theatre’s Youtube channel.
Hailing from Greenwich, NY, Eastbound Jesus is a six piece “Northern Rock” band whose members are Adam Brockway, Carl and Luke Anderson, Dave Wright, Dylan Robinson and Zack Infante whose music is a melding pot of styles. Full Moon Over Salem is Eastbound Jesus’s latest project, released just this past February.
Story Updated: 8/9/2020
The Palace Theatre along with the City of Albany and Mirth Films have announced that Saratoga Springs natives Wild Adriatic will be featured on the next edition of “The Palace Sessions”. Taking place on August 19 at 7p.m. in a undisclosed unique location within the historic theatre, the performance will stream live on the Palace Theatre’s Youtube page.
Executive Director of the Palace Billy Piskutz notes:
“We are thrilled to be able to welcome live music back to the hallowed halls of the Palace Theatre. This historic building exists to entertain and create memories and after a nearly four-month absence due to COVID-19, it is a thrill to know that it will again. We hope that our patrons will enjoy these performances as much as we do!”
The series kicked off on July 15 with a special performance by Albany locals Wurliday. Additional shows are slated for September 16 and October 21. Those performers have yet to be announced at this time.
“Summer in Albany is synonymous with music and entertainment and it is wonderful to have the Palace Theater hosting local musicians albeit in a different way this year. I applaud the ingenuity of the Palace Theater, the Office of Cultural Affairs, and Mirth Films in bringing entertainment to people during COVID-19. I continue to be impressed with how our community has risen to the challenge of keeping the arts alive during this time and look forward to tuning in to the Palace Sessions.”
Albany Mayor Kathy Sheehan
During the performances donations are being accepted which will assist the Palace Theatre in continuing its mission to bring world-class arts and entertainment to New York’s Capital Region. Donations can be made HERE or directly through the Palace Theatre’s Text To Give program, by texting Palace2020 to 44321.
New York born and raised drummer for moe. Vinnie Amico celebrates his 51st birthday today. Amico has been behind the drum kit for almost 25 years, having joined moe. in November 1996 after Chris Mazur departed the band.
photo by Paul Citone
Vin was influenced by jazz thanks to his father, Sal Amico, playing bebop trumpet. At age 10, he received his first drum set, and, according to the Daily Gazette, ‘played a solo that rivaled the length of the 3 1⁄2-hour concerts for which his jam band, moe., is well-known.’ Amico would perform in events such as the Niskayuna High School Winter Jam and as a junior, he joined a Grateful Dead cover band, Dark Star.
Growing up in Niskyauna, Vin would meet future wife Debbie in 4th grade at Craig School. After moving from Utica, on the first day of gym class, Vin noticed Debbie and later that day told his brother Matt that ‘he saw the girl he was going to marry at school.’
high school yearbook photo courtesy of Debbie Amico
After graduating Niskayuna High School in 1987, Amico attended SUNY Buffalo, where he performed in bands including Sonic Garden (a Grateful Dead cover band), Acoustic Forum and Outer Circle Orchestra.
Vinnie seen here holding Jerry Garcia’s Travis Bean TB500 guitar
Later in college, the two would commute between Buffalo and Syracuse (where Debbie went to school) to see each other. Decades later, the couple are still together, having raised two daughters in nearby Ballston Spa, and recently spending Sundays during quarantine cooking up a storm in Vinnie’s Kitchen and performing live (socially distanced) music from his backyard. Check out Vinnie cooking up the famous Utica dish Chicken Riggies.
Behind the kit, Amico is a force and the driving force behind the band’s flow during live performances.
“Especially after Jim Loughlin returned to the band as a percussionist a few years later, Vinnie was able to help create one of the most unique and powerful rhythm sections on the jam-band circuit.” “At times, he has a gentle touch, too, helping guide moe.’s more Americana- and country-oriented songs and playing with moe.’s guitarist Al Schnier in their side-project Floodwood. That mixture of well-crafted songs and fierce improvisation has been one of moe.’s calling cards since their earliest days playing around the Capital Region.”
One memorable show to explore on Amico’s birthday is the ‘The Vinnie Amico Experience’ from Revolution Hall in August 2005. The thinly-veiled moe. show in the Troy, NY venue was a hot night both inside and out and featured Vin front and center, singing vocals on one-off performances of “Southbound,” “What I Got,” and “Casey Jones” amid an incredibly intimate performance from moe.
Have a great birthday Vinnie! Photos of Vinnie over the years behind the kit courtesy of Debbie Amico.
moe.down 2013 – photo by Jay BlakesbergJamming in Jamaica – Tropical Throe.down 2015Red Rocks 1999Behind the kit in his backyard, 2020 – photo by Jim Houlephoto by Jim Houlesnoe.down 2010moe. in Las Vegas 2005The Chance, Poughkeepsie – December 1999Amico-Barady Quartet 2009 Tropical throe.down, Punta Cana, DR 2011photo by Jay BlakesbergAt home behind the grill – photo by Jim Houle
Megaforce Records, of course, was the great east-coast underground metal label from the gods. Technically, Megaforce was a New Jersey label, not a New York label, but its founders, Johnny and Marsha Zazula, were New Yorkers, and later in the 80s when the label became associated with Atlantic Records, they became more New York-based. Like the UK’s Neat Records which defined the northern British metal scene in 1980-83 or Minneapolis’ TWIN/TONE or Seattle’s SUB POP later in the 80s, Megaforce was the label that defined the East Coast, North American (and beyond) underground/thrash scene.
In the early years, almost every release was flawless, you could buy the record based on the label alone: Metallica’s ‘Kill ‘Em All’ and ‘Ride The Lightning’, Raven’s ‘All For One’ and ‘Live At the Inferno’, Anthrax’s ‘Fistful of Metal’, Exciter’s ‘Violence & Force’, Overkill’s ‘Feel The Fire’, the great ‘From The Megavault’ compilation, and S.O.D.’s all-powerful ‘Speak English or Die’, just to name a few. Classic after classic after classic.
By 1988, when this gig happened, Megaforce had expanded well beyond the literal mom-and-pop operation that had organized gigs by bands like Anvil and Brooklyn’s Riot, brought Venom and Raven over from the UK for the first time, brought west-coasters Metallica out east and released the first Metallica records and first Raven records in the States. By now they were bigger-time, associated with major label Atlantic for most of their acts (except New Yorkers Anthrax, were on Megaforce-Island Records). I was doing a college radio show at WCDB up in Albany and we played piles of new and old Megaforce stuff and the Megaforce folks who serviced college radio were very cool gals. So this show – a Megaforce 5th Anniversary party with a bunch of bands – I had to go.
I remember I drove down to NYC in whatever crappy old car I was driving in ’88, and met my buddy Steve K, a Brooklyn-ite who did the radio show in Albany with me but had a summer job in Manhattan. I think we got food and drinks at some place Steve knew that would serve underage kids like us, and then found a parking spot and went to the Ritz – and saw Scott Ian from Anthrax walk by with his guitar case. A good start.
There were numerous bands – see the flyers attached. I think New York legend and KISS guitarist Ace Frehley, who’d just become a solo Megaforce act, was going to play but didn’t, which was fine with me. I love Ace, but it didn’t really fit in my mind what “Megaforce” was. The band all played short sets – either 3 or 5 songs, I think. I was hoping there’d be a surprise Metallica set or something, or maybe Raven or something, but it was not to be – the bands were as advertised, and S.O.D. was playing, which was unusual enough.
I don’t remember first band Prophet, but they were a bit more lightweight, commercial metal than the usual Mega-bands from what I recall about them, so we either missed or ignored them while getting beer. We managed to figure out how to get served, despite being underage – I’d just turned 20, Steve was younger – and blagged our way up to the balcony “V.I.P.” section. Beer was free up there, and you’d look around and see Danny Lilker from Nuclear Assault over here, Billy Milano from M.O.D./S.O.D. over there, Doug Pinnick from KING’s X walking by (I stopped him and told him how great their debut record was, he could not have been cooler), Rob “Wacko” Hunter who’d just left Raven at a table over there, and most memorably, Joey Ramone, hammered as the day is long, staggering by with a couple of punk rock chicks on each arm. I had to go over to Wacko and let him know I’d always considered Raven one of the great bands ever and he testily said “yeah … USED TO BE,” but was cool and shook my hand.
Anyway, the bands. Recollections are dim and general, as the ale was flowing, but I remember being blown away by King’s X. This was my first time seeing them, heavy rock with melodic vocal harmonies everywhere, I loved that debut ‘Out of the Silent Planet’ record, and they didn’t even slightly fit on this bill. I recall them opening with “King” and closing with “Visions” and playing one other song. Fantastic band, and one I’ve loved since.
West Coast thrashers Testament are a great live band, and I’d seen them play with Anthrax the summer before, but they sucked this night. I think they made it through not even two songs before having sound problems, having hissy fits onstage, knocking over their amps mid-song and stomping off. Lame.
M.O.D. played either before or after Testament (or maybe even after Overkill), were a big Megaforce push in the ’87-88 years, and were good, but I always thought they were a poor-man’s S.O.D. And the real thing was playing later.
New Jersey thrash kings Overkill ruled, maybe the band of the night. I think they played a couple songs from the then-current ‘Under The Influence’ album, but they definitely played “Rotten To The Core” from the first record, and the place went off – I was down in the pit by then.
Queens band Anthrax were a very big deal by 1988, so seeing them in a club already seemed unusual and special, even though they’d just graduated to the bigger halls less than a year before. They stuck mostly to the hits (“Indians”, “I’m The Man” I think), but I recall they played “Metal Thrashing Mad” from their debut Megaforce record, if I’m not mistaken, which brought down the house.
And then: S.O.D. By now everyone in the house (including me), and the band probably too, were well into their cups. I remember Billy, Danny, Scott and Charlie walking on stage, starting with “March of the SOD” and the place exploded into a giant pit, bodies flying everywhere – S.O.D. had only ever played a handful of late ’85 shows when that record came out, and this was the first-ever show after the ‘Speak English or Die’ album had graduated to legendary status. It was like the crossover Beatles had reformed. “United Forces” had the whole place roaring. It went too quick and the gig was over.
We made it back up to Albany alive somehow. I think I asked Steve to get us out of the city and I’d drive the rest of the way, passed out, and I dimly remember waking up and seeing him driving manically up I-87 with a giant cup of coffee, a Budgie mix-tape that was in my car cranked, and all the windows open. So I left him in charge and passed back out until we reached Albany – I think I had to work in the a.m. anyway. A mighty night. All hail Megaforce Records.
A strange summer in a strange year has seen a dearth of entertainment options. No movies. No music. A small band of heroes, named Aqueous, sought to fill the void for at least two beautiful August nights at the Silver Lake Drive-In Theater, amongst the beautiful rolling hills of Western New York. In classic Drive-In fashion, it was a double-feature, rife with of edge-of-your-seat thrills, suspenseful popcorn-tossing excitement, and of course heart-touching drama.
photo by Paul Citone
Night one opened with the slinky grooves of “Phase III” and didn’t really let up from there, for what turned into a non-stop funk-out dance party, appeasing the live-music-starved audience. It wouldn’t be long before the band sunk it’s sharpening teeth into an epic 30-minute “Origami.” It explored multiple plot points before exploding in straight fire guitar shredding. Like donning 3-D glasses, fuzzy dissonance came into sharp jump-off-the-stage focus, throwing the crowd’s heads back in awe.
The fans weren’t the only one’s missing live music. The band was clearly feeling the emptiness of the summer concert schedule, in particular the jam-scene mainstay Phish. They sprinkled multiple teases throughout the weekend. “Origami” featured some “Bathtub Gin” riffing, and then “Reba” and “Down With Disease” were jokingly teased before kicking into a full-fledged cover of “Horn” complete with real live horn honking from the crowd. Later on it came as a “Tweezer Reprise” hint here or a “Maze” segment there, like a famous actor playing a winking cameo in a smaller film.
Having gotten the gang back and firing on all cylinders in night one, the story arc advanced in night two. The heroes intent on ousting the evil villain who had robbed the world of its live music energy source, called upon the Aquengers. And they wouldn’t disappoint. At least for a short time, the air would fill with sweet sounds, the audience would laugh, dance and smile, the world seemed to be right side up once again.
The night’s opener, “On the Edge” dispensed with the booty-shaking funk of part one, and dropped quickly into a dark groove. Guitarist Mike Gantzer added in some twisted slide work while bassist Evan McPhaden pushed out monster-crushing bass blasts. It was some of the finest playing of the weekend, the band was locked in from the get-go. The ensuing “Random Company” rose and fell again and again, producing bigger and bigger swells of energy, in what would set the tone for an evening full of brilliant slow-building jams.
photo by Paul Citone
Knowing it was as big an enemy they would ever be called upon to defeat, the team added the friendly neighborhood Spider Man to their roster, with a fun instrumental run through the classic cartoon theme. Would it be enough? Even when the sound system went down during “Be the Same,” the band persisted, blasting through the minor hiccup with a set-closing rock out.
The 3-song hour-plus final set featured even more suspense. The band was hyper-focused and patient, developing in-the-moment beauty time and again, with ever more revelatory peaks. David Loss’s multi-weapon attacks would reach a climax in the show-closing “Triangle” with rapid-fire guitar and an extended classic rock-out ending.
Ultimately though, after the dust cleared the future of music is no clearer. No one knows when normal live music gigging will resume. Though drummer Rob Houk cut that tension with some much appreciated comic relief. He provided some fantastic banter throughout the two-night run, and also hammed it up on quality covers in the encore slots. Night one saw him singing from the roof on Pearl Jam’s “Dissident” while night two had him crushing Van Halen’s “Jump” after having hilariously threatened some Bon Jovi earlier in the evening.
photo by Paul Citone
While a Drive-In concert is certainly not ideal, under the current circumstances, the promoters at Buffalo Iron Works and the venue Silver Lake Drive-In provided the band and fans a very safe environment to briefly enjoy some level of normalcy to what would usually be a summer full of long nights of live music in sheds, fields and anywhere you can fit a stage.
Setlists
Friday, August 7 Set 1: Phase III, How High You Fly, Origami, Horn (Phish cover, debut) Eon Don Set 2: Skyway > Calling Out, Marty, Come and Go > Don’t Do It Encore: Dissident (Pearl Jam cover, debut) w/ Ryan Nogle on drums
Saturday, August 8 Set 1: On the Edge > Random Company > Spider-Man > Random Company, Weight of the Word, Be the Same Set 2: Dave’s Song, Color Wheel, Triangle Encore: 6’s and 7’s (debut), Jump (Van Halen cover, debut) w/ Ryan Nogle on drums
NYC-based dance-pop artist Michael Tapper has released the video for his debut single “Sleep In My Clothes” from his new project Practice. The song and video were both made pre-2020 madness, and yet the themes of isolation and self-quarantine root it (maybe too much) into current reality.
As an accomplished drummer and indie rock lifer (Tapper was previously the drummer of We Are Scientists, BishopAllen, Fool’s Gold and Yellow Ostrich), Tapper’s point of self-discovery that led to the creation of his album Not a Game took place in 2013, when he headed out on a 28-day sailing trip from Mexico to Hawaii with his brother-in-law. The album Not a Game represents an exciting new chapter in his career as well as the beginning of something else entirely — a fresh start, sonically and perspective-wise.
The moniker of Practice itself was borne out of this constant, self-exploratory toil, along with a connection to the practice of meditation itself. NBA legend Allen Iverson’s infamous “practice” speech was another inspiration for the project’s name, and the speech itself is showcased over the rippling synths and hissing snares of album centerpiece “Practice.”
Speaking about “Sleep In My Clothes” Tapper explains the song’s message on the struggles he’s encountered during this global pandemic:
Like everyone, coronavirus has upended my life and consumed probably the majority of my waking energy for the past month or so. My wife is a doctor in Manhattan, so we started quarantining before most people (when she’s not at work), concerned that she might bring it home from the hospital and not wanting to spread it to our friends or neighborhood. Our fears were founded because we did get it early, but thankfully our symptoms were mild. During this quarantine time, I was able to finish up preparing this music video for release. As I showed it to a few people, one friend mentioned that it embodies things we’re feeling during this isolation period. As one friend put it: “the vibe of the “Sleep In My Clothes” video is how I feel on a bad day during this quarantine — crying my mascara off (if I even had the will to put any on).”
The video starts very literally with me waking up in all of my clothes and walking out the door, which is the first verse of the song, but then takes it a step further by diving into a pool fully clothed. Later, the character experiences a sort of baptismal rebirth transformation, ending up completely naked, which is a literal reference to the lyrics but also a metaphor for honesty and vulnerability, which is what’s happening lyrically at the same time.
Cardi B broke the internet on Friday, August 7 with her new song and video “WAP.” Featuring Megan Thee Stallion, the song serves as a comeback for both of them.
“WAP” has ignited controversy for many reasons, but its lyrical content is the most conspicuous of the bunch. While sexual subject matter is nothing new for either rapper, they abandon past metaphors and double entendres in favor of a literal approach. There’s nothing wrong with this in theory, but the song coasts solely on shock value. It worked, though: a Republican congressional candidate’s Twitter rant gave them free publicity, and the video is trending on YouTube:
Although Cardi and Megan’s prior hits were full of catchy hooks and Instagram caption-ready lyrics, both are largely absent here. The straightforward verses are a missed opportunity for them to show off their wordplay, which they’ve weaved with their sexuality in the past. The Frank Ski sample gets old quickly, and Megan outshines Cardi on her own song.
However, while Cardi often faces accusations of ghostwriting, it’s completely believable that she wrote her own verses here. One line goes, “I want you to touch that li’l dangly thing that swings in the back of my throat,” which is the trademark brazenness that only Cardi B could pull off. Also, as we’ve come to expect from the Bronx rapper, the video’s visuals are stunning. It’s rare that a music video feels like an event anymore, but her surrealist Dr. Seuss take on the Playboy Mansion is truly something to behold. Carole Baskin of Tiger King infamy decried Cardi’s use of big cats in the video, despite their addition in post-production with a green screen. This seemingly random feud most likely began when Cardi defended Baskin’s archenemy Joe Exotic earlier this year.
Mostly featuring up-and-coming artists such as Normani, Rosalía, and Mulatto, the “WAP” video’s main attraction is Kylie Jenner. Her cameo spawned memes as well as backlash, including a petition to remove her from the video. Besides looking out of place, signees cited her cultural appropriation and alleged mocking of Megan Thee Stallion’s shooting injuries as reasons.
I wanna say thank you to every woman that was apart of my video! The fact that you made time in your schedules means alot to me! It was so important to me to include different women,that are different races and come from different backgrounds but are so powerful and influential.
Contrary to many “WAP” critics’ complaints, the problem doesn’t necessarily lie in the song’s raunchiness, Kylie Jenner inclusion, or use of exotic animals, but how one-dimensional it is. Cardi and Megan have always been outspoken about their sexuality in their music, but they supplemented it with other aspects of their personality and artistry. Compared to “I Like It”’s trap-salsa genius and “Savage”’s boasts of complexity, “WAP” feels lifeless, uninspired, and derivative of their peers.
Cardi B’s second studio album is set for release later this year.
Manhattan’s historic The Ear Inn has played a pivotal role in the music scene and beyond. In fact it is the oldest bar in New York City that has continuously served alcohol since 1817.
The Ear Inn has a very unique history after being open for two centuries. It dates back to a time where there was African aide to George Washington and The Ear served as residence for John Adams and Aaron Burr, among others. The Ear Inn was nicknamed by patrons as an untitled bar (“The Green Door”) for obvious reasons. As a result, the bar is listed on the National Registrar of Historic Buildings.
Recently unearthed recordings courtest of Jazz Lives feature performances from a bevy of jazz musicians in NYC. Every Sunday night at The Ear Inn was typical – those who knew, knew what to expect – but “typical” was also remarkable.
The Ear Inn c. 1940 – photo by kathy barbieri
We start back in October 2008, with a video featuring Howard Alden, alongside Jon-Erik Kellso, Danny Tobias, Harvey Tibbs, Evan Christopher, Dan Block, Sebastien Giradot, and Chuck Redd.
“Moonglow,” featuring Tamar Korn (vocals), Dan Block (clarinet), and Harvey Tibbs (trombone).
On June 7, 2009, the EarRegulars included Jon-Erik Kellso and Duke Heitger (trumpet), Matt Munisteri (guitar) and Neal Miner (string bass).
June 7, 2009 features Duke Heitger (trumpet), Harvey Tibbs (trombone), Dan Block (clarinet), Matt Munisteri (guitar) and Neal Miner (string bass), who summon Louis Armonstrong with “Some of These Days.”
Two weeks later, on June 21, 2009, featured Jon-Erik Kellso (trumpet) Harvey Tibbs (trombone), Matt Munisteri (guitar), Danny Tobias (cornet) and Jon Burr (string bass).
On September 6, 2009, enjoy the sounds of Danny Tobias (cornet), Michael Hashim (alto saxophone), James Chirillo (guitar), and Frank Tate (string bass).
The lineup of EarRegulars on November 8, 2009, featured Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harry Allen (tenor saxophone), and Neal Miner (string bass).
From the EarRegulars’ session on November 22, 2009, the groups includes Jon-Erik Kellso (trumpet), Scott Robinson (reeds), Matt Munisteri (guitar), and Pat O’Leary (string bass).
From December 6, 2009, enjoy the sounds of Jon-Erik Kellso (trumpet), Harvey Tibbs (trombone), Matt Munisteri (guitar), and Nicki Parrott (string bass) performing “Blues My Naughty Sweety Gives to Me” and “Blues in My Heart.”
From January 30, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Dan Block (reeds), Matt Munisteri (guitar), and Pat O’Leary (string bass, cello). Here’s Billie Holiday’s “I Gotta Right to Sing the Blues.”
From March 14, 2010, an Ear Inn session featuring Pete Martinez (clarinet), Harvey Tibbs (trombone), Matt Munisteri (guitar), Neal Miner (string bass), performing “I Cover the Waterfront,” appropriate given the rainy night and The Ear Inn’s location near the Hudson River, plus “Deed I Do” by Ruth Etting and “Jazz me Blues” by Tom Delaney.
From March 21, 2010, the EarRegulars are Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Scott Robinson (bass sax), Pete Martinez (clarinet) and guest Julian Lage (guitar).
On Easter Sunday, April 4, 2010, the lineup included Matt Munisteri (guitar), Pete Martinez (clarinet), Charlie Caranicas (trumpet), Pat O’Leary (string bass), and Andy Farber (tenor saxophone), who joins in for the closing number.
Later in April 2010, we are joined at The Ear Inn by Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harvey Tibbs (trombone) and Jon Burr (string bass).
Later on, a version of “Crazy Rhythm” by Roger Wolfe Kahn & his Orchestra (1928) featuring Matt Munisteri (guitar), Harry Allen (tenor saxophone), (John Allred (trombone) and Pat O’Leary (string bass).
From April 18, 2010, enjoy Benny Goodman’s “Avalon” featuring Jon-Erik Kellso (trumpet), Matt Munisteri (electric guitar), Julian Lage (acoustic guitar), Harvey Tibbs (trombone) and Jon Burr (bass).
Cornetist Marc Caparone joins the band for Ruby Braff’s “One Hour.”
And finally, Caparone leads the EarRegulars on “Whispering” with Harvey Tibbs, Dan Block (clarinet), Matt Munisteri, Jon Burr, and Julian Lage.
From April 25, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Harry Allen (tenor saxophone), Matt Munisteri (guitar) and Neal Miner (string bass). The opening song from a splendid session was a Chicago jazz classic with roots in Oliver and Bix, performed as a Basie stroll.
You’ll also find Ben Webster’s line on “In a Mellotone,” “Did you call her Today?,” “I Got Rhythm” and “The Jeep is Jumpin’”
From May 2, 2010, watch Jon-Erik Kellso (trumpet), Andy Farber (tenor saxophone), Matt Munisteri (guitar), and Danton Boller (string bass) played “The Man I Love” (sans Kellso), “Somebody Stole My Gal,” and “Beer Street Blues.”
From May 9, 2010, aka “Mother’s Night,” where the core quartet is Matt Munisteri (guitar), Jon-Erik Kellso (trumpet), Pat O’Leary (string bass) and Jim Masters (trombone), enjoy “I Found a New Baby,” “It’s the Talk of the Town,” “Please Don’t Talk About me when I’m Gone,” and a closing “Lazy River.”
Going back to May 16, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Pete Martinez (clarinet), Matt Munisteri (guitar), and Greg Cohen (string bass). Watch them perform “I Believe in Miracles,” I’m a Ding Dong Daddy from Dumas: Willie the Weeper,” “Mahogany Hall Stomp” and “I’m Confessin’”
Skip ahead on week to May 23, 2010, and the weekly session included Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Neal Miner (bass), Scott Robinson (tenor sax and cornet), and guest Julian Lage (guitar). This collection of musician perform “Oh Sister, Ain’t That Hot?,” “On the Sunny Side of the Street,” “Wabash Blues,” and “Struttin’ With Some Barbecue.”
From May 30, 2010, here are a few combos featuring Danny Tobias (cornet), Chuck Wilson (alto sax), James Chirillo (guitar), Murray Wall (bass) Dan Block (clarinet), Pat O’Leary (cello/bass), and Tony Steele (bass). Various incarnations of these gentlemen feature “Beale Street Blues,” “Ain’t Misbehavin’,” “Love Me or Leave Me,” and “China Boy.”
