HeadCount announces it’s one million voter registration since its formation on October 20, 2020 which is a huge milestone for the nonprofit. HeadCount is also announced its partnership with Grubhub to bring it’s “Deliver Your Voice” event to life where the two companies will encourage further voter registration before the upcoming election. The event will take place on October 29 and 30 and will feature 24KGoldn and Dominic Fike.
In this election alone HeadCount has registered over 423,000 voters, more than twice their original goal. They’ve managed to do this with a variety of techniques but one of the biggest ones is by influencers promoting voter registration. They have partnered with names like Ariana Grande, David Dobrik, and Dead & Company and companies like Spotify to bring these huge numbers of new registered voters to reality.
The “Deliver Your Voice” event consists of HeadCount hosting Grubhub’s next edition of their Sound Bites concert series, Soundbites – Election Edition which is presented by First Tube Media. The event will feature 24KGoldn on Thursday, October 29and Dominic Fike on Friday, October 30 who will take the virtual stage each for a 45-minute set. Each set will start at 7PM EST followed by a live Q&A, further encouraging fans to participate in this year’s election. Grubhub will donate $10 for every comment during the lives tream, up to $100,000, to HeadCount in support of the on-going initiative to promote civic engagement. Fans will also be able to order in with exclusive Perks to avoid missing a second of the concert through Grubhub.
HeadCount is introducing a new way for people to reach out to friends and family to check in on voter registration. HeadCount is providing an easy way to contact friends and help them vote through an app called OutVote. HeadCount is doing a brief 20 minute introduction session to the OutVote platform via Zoom next week on the below dates and times. October 23rd – 7pm ET/4pm PT, October 25th – 3pm ET/12pm PT, and October 27th – 6pm ET/3pm PT. People interested can sign up for any of the above sessions here. Once confirmed for a training, people will be sent an email with a zoom link for the session 24-48 hours before your session.
For more information on HeadCount or to register to vote visit their website.
Magic Dance, the solo project of singer/songwriter Jon Siejka, is releasing a new album this December titled Remnants. However, the band decide to couple the release of the album with a new EP From Death To Life!
Siejka does not stop there and pleases fans with also a new music video for the first single “Zombie Breath Surprise.” Siejka had fun writing and recording the song, as he wanted to create an AOR celebration in the spirit of Halloween.
Formed in Long Island, NY, Magic Dance was started by Jon Siejka in 2012. Siejka is a self-taught musician and producer. Siejka wanted a platform express his synth-wave music, which was influenced by iconic-synth 80’s pop and movie soundtrack music. His sound has evolved over time, and has now become a heavier, guitar-oriented style, reminiscent of classic AOR music. The songs also have strong elements of mid 80’s music.
The line-up for the EP consisted of Jon Siejka on the vocals, guitars, and synths. Kevin Krug, Gabor Domjan, Luke Anderson, Emanuele Moretti were on the bass as Kevin Mcadams was on the drums. Gdaily was credited for the saxophone, and Tim Mackey provided guitar solos on “Zombie Breath Surprise” and “No Light (Hand Of Death)”. Ziy Shalev also had a guitar solo, for the track “Oh No”. For more information, you can find Magic Dance on Facebook,Twitter, and Instagram. Their new EP, “From Death To Life!”, is out now!
Key Tracks: Zombie Breath Surprise, No Light (Hand Of Death), Oh No
On October 16, indie-rock band El Modernist released their newest single, ‘Evolution,’ proudly played as an LGBTQ+ Fight Song. All proceeds from the track will be donated directly to The Trevor Project, an organization dedicated to providing crisis intervention and counseling to America’s LGBTQ+ youth.
Both Elton John and Freddie Mercury were able to be successful, even with the stigma that came with being queer. They were able to lay a path for future queer artists. More recently, Lil Was X, Frank Ocean, Tyler the Creator, and many others have taken what Elton and Freddie gave them and ran. In today’s time of social upheaval, more and more queer artists are fighting for the rights they deserve.
According to their lead singer, Will Freddette, “This is an anthem for the queer artists that have been contributing and pushing the boundaries of art since the beginning of time, while more often than not having to hide their true selves while doing so.”
El Modernist deliver a new take on the world of indie-rock, notably with ‘Evolution.” The band combines upbeat, catchy garage-rock with a modern alternative hip-hop sound. They are a very high-energy group, and bring that to their performances, resonating with fans of all ages.
All members come from diverse musical backgrounds and find great joy in blending various influences. This allows them to create something entirely new and entirely their own. Featuring a concoction of acoustic and electronic drums with screaming guitar riffs, every El Modernist show is a party that you do not want to miss.
El Modernist, founded in 2018, is based out of Albany and have played various venues in the Capital District. Additionally, they help to curate the “We Are Albany NY” Spotify playlist which features music from any and all Albany-based who wish to be a part of it.
The single will be released on all streaming platforms on Friday, October 26.
Big Picture Media have teamed with Kevin Lyman Group + Dynamic Talent International to announce a special one time event. ‘The ADAPT Conference’ will focus on entertainment professionals who have found ways to adapt to the changing climate. Attendees can expect a “crash course” on entertainment’s pandemic business models.
The one-day ticketed event will occur on October 22 via the Whova Conferencing App. Tickets are currently on sale at https://adaptconference.eventbrite.com/ Industry Professionals: $149 Industry 4-Pack: $400 Students: $49.
Scholarships have been made available for industry professionals who are currently unemployed due to COVID19. Approved applicants will receive 50% off conference registration and a spot on the “Open To Work” directory. Applications for the ADAPT Unemployment Scholarship are now open .
March saw a screeching halt of a majority of the entertainment industry including live events due to the COVID-19 pandemic. A significant amount of the world’s economy frozen but all sense of normalcy was lost. Even though things have reopened the entertainment industry faces the reality of being denied reopening major revenue streams. While several businesses are forced to shutter their doors permanently, a new sense of urgency has been risen to create new “normal” ways to operate.
Classes and topics at the ADAPT Conference will include Live Streaming in the age of COVID-19, Inside the Label’s Mind, Socially Distant Live Shows, and more. Each class will be taught by a top entertainment business leaders including Kevin Lyman (Vans Warped Tour), Trevor Swenson (Dynamic Talent International), Joel Madden (Veeps + MDDN), Brian Rucker (Twitch), Eric Tobin (Hopeless Records), and more.
Founded in 2007 in the heart of New York City, Big Picture Media an entertainment publicity agency . They specialize in publicity and buzz-building services for bands, festivals, events, soundtracks and more.
Current Event Agenda:
9:00am PT – From Obstacle to Opportunity: A conversation with Kevin Lyman, Laura Hutfless + Jeremy Holley (co-founders of FlyteVu)
9:30am PT – Class #1: Managing through Rocky Waters: creating new revenue opportunities + keeping a lean overhead
11:00am PT – Class #2: Inside the Label’s Mind: releasing new music, breaking through the noise, and what they’re looking for today
12:30pm PT – Class #3: Evolution of the Venue: from March, to now, and the Future
2:00pm PT – Class #4: Socially Distant Live Shows: the comeback of Drive-Ins
3:30pm PT – Class #5: Live Streaming in the age of COVID-19
5:00pm PT – Networking Breakout Sessions hosted by industry professionals
As lighting strikes, it is evident Sydney Irving belongs. Although, you’re just getting to know the high school senior, her name will hold a heavier weight as time moves on. She will fill your music library, as you come to realize Sydney Irving‘s on the rise.
Today’s “Rain” sheds New Light
The Syracuse songwriter released her music video “Rain” to back the single that debuted late last month.
The premise of “Rain,” is it’s usually a bad thing and you want to get away from it. But, the rain is purifying. It washes away. You step into the light and feel better than before.
Sydney Irving – On “Rain”
“Rain” marks a many first for Sydney. It is the first storyline video of her short career. “For Hanna, Emily and Justin, it’s a little love triangle kind of thing. We had to direct everything we wanted done.” Interestingly enough she remains out of the limelight, tastefully, hanging back with the band.
Rockstar On The Rise
Based on her websites bio, Irving drew from the likes of Taylor Swift, but her roots are much deeper. Infected with the classic rock bug. The Doors, Tom Petty, Ryan Adams and other greats influence her musicianship. Currently she is hooked on Raising Sand, a Plant/Krauss duo album that was ironically released October 23, when Irving was only four years old.
Why Sydney you ask? It’s her grasp on past and future music generations and bridging them together. Her sheer humbleness. It’s her retro take on the music industry, reeling us back to how things were done. She has a plan and she executes.
The 17-year-old is combining the above influence with modern hooks to develop a sound more fitting for her voice. Irving and her team have another single to release in November titled “What Have You Done.” All of which will be apart of a December EP release. “For the new record it’s an endavour into more rock and roll,” said Irving.
“Rain” is for sale on Irving’s website, on a 100-count limited edition, signed-CD run. It can be purchased on iTunes and Amazon music. Today it will be released alongside the video on major streaming platforms.
Hidden details amidst an over-exposed storyline hints at Irvings style. Her Ziggy Stardust alter-ego may be coming though with those lightning rod earrings. The Mojo, her band is refined, yet capable to unwind into a catchy rock bliss.
Sydney’s Standout Moments
Big standout moments are self fulfilling in their own right for Irving. When asked where she wanted be in a year or so down the line, Irving calmly had no shift from her current thought. She is grateful for the journey, happy to be balancing music and school, beyond humble and appreciative of her team behind her. “My management team, Grace Musicians Group, have helped me get to where I am today.” Irving seemingly stumbled upon Breedlove Guitars after her dad got her a second instrument
I’ve always love music, my dad will always have a record playing. I think the love came from a young age. I love the connection you can have with people and music. Theres been a couple times where I’ve been out playing and people say they came to the restaurant, or bar, just to see me.
Aside from high honor roll, Irving has been nominated for three SAMMY Awards and recently claimed the title of Young Adult Artist of the Year at the International Singer Songwriter Association Awards. She stood out last month against 1,300 talented nominations, in Atlanta, Ga.
Irving give Barns Courtney a run for his money on “You and I.”
If “Rain” doesn’t have you on the hook take it direct from the songwriter yourself: “I would say – come check it out, you might like it.”
“Point of No Return” is one of three singles released by Diana Zinni in 2020. The song touches upon a certain dichotomy when it comes to love and loss: vulnerability and self-assuredness. She is willing to get to the point of no return in her love, but she also doesn’t want to get to a point where there is no return and her love isn’t reflected back to her. She is self-confident yet insecure about these feelings of love, loss, regret.
With a soulful voice reminiscent of Kate Bush or Rilo Kiley, Diana Zinni is poised to make a splash on the independent music scene. For “Point of No Return,” she had David Lizmi on bass, David Heilman on drums, Matt Chiravalle on lead guitar, Lucas Saur on Cello, Rob Clores on organ, and Lilly Katz tap dancing. Diana saw Lilly at a dance event performing a modern piece and spoke to her afterward, where Lilly mentioned that she always wanted to be in a band as a tap dancer. Diana was looking for “out-of-the box percussion,” and asked Lilly to perform on this track.
Diana counts Paul Simon, Steve Winwood, and Bob Dylan among her influences, and you can hear their writing styles come through on “Point of No Return.” Diana currently resides in Jersey City, NJ where she manages a studio, after moving across the river from Brooklyn. She had hosted an open mic tonight pre-Covid, and has continued to do so via Zoom.
Zinni also produced an outdoor show with a bunch of friends earlier this year, and would like to continue doing similar things, weather-permitting. Keep an ear out for future singles to be released in 2021, hopefully on her next album The Vault. Her debut album, Fire & Water, can be found on Spotify.
Last Saturday was a special gathering in the midst of a strange year. Le Getaway was a sold-out, socially distanced event held by lespecial and Eggy which featured daytime activities, drum circles, basketball courts, ping-pong tables, and cabins that were rented for the night by attendees. It took place at Club Getaway, a beautiful lake resort nestled in between the mountains of Connecticut. Reminiscent of the good ol’ Catskill Chill days, there was a bonfire set and porch jams until the sun came up. It’s nice to know that a socially distanced live music event is possible if we can all be smart and responsible. If the right precautions are taken, it seems like we can get back to this live music thing soon.
So many activities.
This was a beautiful gathering, it was both much needed and very appreciated. But it was a bit chilly, so you know lespecial and Eggy had to bring the heat. Literally, Jon from lespecial had to turn up his personal heater it was so cold. Rory Dolan led a socially distanced drum circle early in the day, Luke joined in too.
Rory leads a socially distanced drum circle.
Eggy played a jam filled opening set, warming up the crowd as the sun went down. These guys are tight, I would not sleep on them. Soaring high on funky synth leads by Dani Battat and Jake Brownstein’s guitar shredding, Eggy proved to be an amazing opening act.
Eggy flying high.
lespecial then took the stage and opened up with “The Vessel.” Their set was everything you could every hope a lesepcial show to be: dark, bass heavy, and Primus-inspired goodness. Rory took a masterful drum solo. Mike Meyers even sat in on the Halloween Jam and Lee Ross sat in on the sax for a tune. There’s something spooky about this band that makes seeing them around Halloween feel so right. lespecial has a very unique, refusing sound that cuts through much of the jam band muck with many bands that sound similar. They stand out and stand behind their sound which definitely draws inspiration and honors Primus.
Rory’s drum solo.
After lespecial, the attendees with cabins were treated to a bonfire jam which featured, of course, a fire and music. Late night porch jams were held by the new “porch dwellers” with Escaper’s very own Will Hanza on mandolin. Nothing can substitute the space that live music creates.
lespecial put on a hell of a show.
This was exactly what we needed. Let us get back to this as soon as possible, in a safe and responsible way.
Can’t wait to be back.
lespecial at Le Getaway 10/17/20
The Vessel, Fruit Wolf Dance, Jackwise, Machine Elf, Harambe Zombie, Tommy the Cat (Primus cover) > The Awakening > Tommy The Cat, Onlookers, Sugaboi, Third Antler > Fourth Antler, Chocolate Chip Trip (Tool cover), Halloween Jam, Tonberry, Buggn>In the Air Tonight>Buggn
The Afro Latin Jazz Alliance will host the virtual “Notes 4 Votes” on Oct. 25 at 8:30 p.m. EST. The event will showcase jazz and classical music alongside global artists and speakers to support getting out to vote in the 2020 election. “Notes 4 Votes” will be emceed by multi-Grammy Award winner Arturo O’Farrill, journalist and critic Larry Blumenfeld, and Tracy Hyter-Suffern, Executive Director of The National Jazz Museum of Harlem. The Afro Latin Jazz Facebook Page will broadcast the event.
The “Notes 4 Votes” diverse performance list includes, Terence Blanchard, Vijay Iyer, Carla Bley, Dr. Cornel West, Oscar Hernandez, Simone Dinnerstein, Steve Swallow, Dr. Shana Redmond, Matt Shipp, The Villalobos Brothers, William Parker, Kikirikí Biquéy, Ayodele Casel, Akua Dixon, Jen Shyu, Ganavya Doraiswamy, Crystal Joseph, Tiffany Austin, Mimi Jones, Caridad “La Bruja” De La Luz, Luis Perdomo, and more.
Nothing, nothing, nothing is more important than getting your vote in and on time. Too many of us slept on this moment four years ago and we cannot afford to let the process for change given to us by our framers, go unused. Musicians from every genre and aesthetic are lining up to show us that we must likewise unite. Let nothing stand in the way of showing the nation and the world that we can take back our destiny as a people governed by sanity and the fair application of governance that is the basis of the social contract and the foundation of the American ‘experiment!’
Arturo O’Farrill
The Afro Latin Jazz Alliance is a nonprofit created by Arturo O’Farrill in 2007 to promote Afro Latin Jazz through performances and education programs. Their mission is to perform, educate, and preserve the music of the Americas, starting from African and indigenous roots with the entry point of jazz. The Afro Latin Jazz Alliance is committed to social justice, equity inclusion, and equality of all cultures worldwide.
October 20, 2010 was Phish’s first performance in Utica, and they made it as memorable as possible. Having never played in “Sin City,” Phish had plenty in store for fans in Utica, amid a Fall 2010 tour that fans flocked to, selling out nearly the entire tour and making tickets for the 5,700 person capacity room the highest in demand of the tour, short of Halloween.
Fan made badge from Fall Tour 2010 – design by Jiggs
Phish had never played Utica before, although Trey Anastasio was no stranger, having performed thrice previously, once with Oysterhead in 2001 and twice with Trey Anastasio Band in 2002 and 2005. Returning to the Utica Auditorium, Anastasio blended Phish’s “Guyute” with Utica for “GuyUtica,” which many fans dubbed the unofficial name for the show, and led to a memorable weaving in and out of “Guyute” over the night.
If you were hanging outside ahead of the show, you saw an ample Lot scene, with a nice breakdown of the evening here from Coventry Phish. Fans celebrated outside, with Utica native Amy Fischer celebrating her 100th Phish show, and what a show it was. A delectable set that reference “Guyute” all night, thanks in part to fan Jesse Feitel, who rode the rail with a homemade ‘Guy-Utica’ sign that hung on the rail facing the band.
The energy was alive and palpable in the tiny auditorium this evening, giving it all the feels of an old school show. The band seems to pick up on this right away and launches into “My Soul,” a blues cover that fits nicely in the opening slot. The tone shifts from blues to rock with the “Stealing Time From The Faulty Plan,” still a fairly new tune at the time, that comes next. A typically rousing Trey Anastasio guitar solo puts the finishing touches on this one. Then comes only the second “Vultures” of the year to date, with the additional “potato to the throat” lyric thrown in for good measure.
While “Vultures” does yield a somewhat brief “Type 1” jam, things don’t seem to really stretch out until the “Wolfman’s Brother” that follows. A brief vocal jam transpires at the end of the composed section before giving way to the first real extended improvisation of the night. Keyboardist Page McConnell makes his presence felt on the clavinet early and often throughout this one. Trey even finds space to fit in a “Streets of Cairo” tease as the jam progresses before immediately shifting to another cover song, this time The Talking Heads’ “Cities.” This produces the first hometown reference of the night as the “dry ice” is changed to a “Genesee” factory. Much of the funk established in the preceding “Wolfman’s” carries right over into this one with another bass and clav-heavy jam. Now that the table has been set, so to speak, what comes next is one of the true highlights of the Phish 3.0 era, a sure sign to many that the band was finally “back” from its near five-year hiatus.
photo by Andy Hill
Anastasio begins strumming the opening melody, soon joined by drummer Jon Fishman, and the band is off and running with the show’s namesake, “Guyute.” The early, lightning quick pace and frenetic lights bouncing around the small auditorium seemed to create a verified frenzy in the room, leading to a raucous cheer at the end of this one. Even before the “David Bowie” that comes next, Anastasio is already teasing the main “Guyute” melody repeatedly and eventually bassist Mike Gordon joins in too. It’s fairly clear early on that this is no standard “Bowie.”
After a flawless run through the composed section, Anastasio drops one more “Guyute” tease before the music comes to a near standstill and the band collectively starts teasing “Wilson.” It only takes the crowd a measure or two before they begin the customary “Wilson” chants with Anastasio then singing lines from “Guyute” in response. They would do this one more time as well, jumping out of the “Bowie” jam to go back and tease “Wilson” briefly before reentering right where they left off.
Naturally, “Wilson” proper is the next selection, giving the amped up crowd one more time to chant. More teases and quotes abound in this one as well, it’s as if “Wilson” is being played in the key of “Guyute.” Finally, a reprieve of sorts comes through in “McGrupp and the Watchful Hosemasters” that produces a fairly mellow keys-driven jam that’s free of any nonsense. “I Saw It Again” sees even more “Guyute” teases in a feedback heavy outro jam that Anastasio eventually steers into a phenomenal set closing “Run Like An Antelope” with, you guessed it, even more “Guyute” quotes.
photo by Andy Hill
The show could have ended right then and there and there would have likely been little resistance. Instead, Phish follows it up with a set that may not be as memorable as the first one, but certainly does nothing to diminish this Utica show’s legacy. Just like the first one, the second set begins with a cover selection, this time The Who’s “Drowned” in its only performance of the tour. McConnell takes the reigns on this relatively brief jam before Anastasio seamlessly nudges it towards “Sand.” The pulsating, driving rhythm supplied by Gordon on bass fuel this one throughout in what’s really the most extended jam of the second set. In fact, it almost sounds slightly ripcord-ed as instead of exploring further, they shift gears into “Theme From the Bottom.”
“Axilla” and then “Birds of a Feather” follow, each doing their part to raise the second set energy back up. “Birds” especially produces a brief yet fierce jam with more splendid interplay between Anastasio and McConnell. Afterwards, the band lets Page sing “Tela,” only its fourth performance since their return last year.
photo by Andy Hill
“Axilla” and then “Birds of a Feather” follow, each doing their part to raise the second set energy back up. “Birds” especially produces a brief yet fierce jam with more splendid interplay between Anastasio and McConnell. Afterwards, the band lets Page sing “Tela,” only its fourth performance since their return last year.
The closing sequence to this show is quite something too. It begins with “Split Open and Melt,” a song that certainly has the capability of getting dark and deep. After a few early minor hiccups, it appears to be going in that direction. But instead, the music begins to take on a lighter tone with Anastasio singing something else lightly over the top of it. It takes the rest of the band a little while to join in, but before long, they veer into a quick version of “Have Mercy.” This is all but a quick pit stop as after one verse, Phish switches back to improv mode and begins the jam anew, taking it into a blissful new direction. After this peters out, Anastasio begins the (quick) into to “Piper” for one last dive into the unknown. One more relentless jam ensues, replete with a “Birds of a Feather” tease. Slowly but surely, the closing drum beat to “Split Open and Melt” soon arises from the end of this, finishing up the sequence in grand style.
Poster by Ryan Kerrigan
They waste no time before jumping into a grandiose and beautifully patient “Slave to the Traffic Light” that then closes the set in fitting fashion. As for an encore selection, Phish went back to cover well for another longtime favorite in Led Zeppelin’s “Good Times, Bad Times” and a version that near blows the roof off the Utica Memorial Auditorium. And with that, a show for the ages was born.
Phish Utica Memorial Auditorium – Utica, NY 10/20/10
Set 1: My Soul, Stealing Time From the Faulty Plan, Vultures, Wolfman’s Brother[1] -> Cities[2] > Guyute, David Bowie, Wilson[3] > McGrupp and the Watchful Hosemasters > Saw It Again -> Run Like an Antelope[4]
Set 2: Drowned -> Sand > Theme From the Bottom, Axilla > Birds of a Feather, Tela > Split Open and Melt -> Have Mercy > Piper -> Split Open and Melt > Slave to the Traffic Light
Encore: Good Times Bad Times
[1] Vocal jam. [2] Alternate “Genesee Factory” lyric. [3] Lyric changed to “I must inquire Guyute.” [4] Trey teased Guyute instead of saying “Marco Esquandolas.”
The Beastie Boys announced their decision to allow their song, “Sabotage” for a Biden and Harris Presidential Campaign ad. Unfortunately the ad was pulled due to the featured club owner receiving harassment from President Trump supporters just days after debuting on October 18, 2020 This is the first time the band has ever allowed one of their songs to be used for a presidential ad. The ad focuses on how COVID-19 is detrimentally affecting the live entertainment industry.
https://youtu.be/SW86jyTsYe4
The Beastie Boys have sued Monster Energy and GoldieBox in the past for using their songs without permission in their ads. The only things they have allowed is the use of “Sabotage” in trailers for “Star Trek” and the “Destiny 2” video game.
The Beastie Boys are a hip hop and rap group from New York City that formed back in 1978 under the original name Young Aborigines before becoming the Beastie Boys in 1981. Some of their most well known songs include “Sabotage,” “No Sleep Till Brooklyn,” “Fight for Your Right” and many many more. Their debut album, Licensed to Ill, was the first rap record to top the Billboard 200 chart. They have eight studio albums and have become a household name throughout the years and recently released a documentary “Beastie Boys Story Out Now” on April 14, 2020.
The Ad focuses on the venue the Blind Pig that is a club Ann Arbor, Michigan that has been extremely affected by the ongoing COVID-19 pandemic. The venue was shut down after its 50 years of existence where it was a substantiation part of its community. It’s owner in the ad speaks about how he considers Donald Trump’s shortsighted response to the coronavirus crisis is one of the main reasons his venue is in such poor shape.
A spokesperson from the Biden campaign according to the Variety article explained that, “the Beastie Boys, who had ‘never licensed music for an ad until now,’ agreed to the use of “Sabotage” in the spot ‘because of the importance of the election.’”
The Ad was pulled on Wednesday October 21, 2020 after the owner of the Blind Pig received threats and was attacked by Trump supporters. Campaign spokesperson Bill Russo expanded on the situation saying, “The price for having a voice in our political process cannot be endless harassment. And yet, that is what Joe Malcoun and his family currently face as he was doxxed, harassed and threatened after the Trump campaign has sought to smear a community leader who dared to speak out against Trump’s failed response to the Covid crisis. It is shameful,” according to TheNew York Timesarticle.
For more information on the Beastie Boys visit their website and for more information on the The Biden and Harris Presidential Campaign visit their website.
