With one of the more iconic hooks in hip-hop history, “C.R.E.A.M” (Cash Rules Everything Around Me) is by far Wu-Tang Clan’s most popular record, making them household names. The single was on their debut LP Enter the Wu-Tang (36 Chambers) and is considered a magnum opus of hip hop music. When you combine Method Man’s unique — yet silky-smooth flow — along with Raekwon and Inspectah Deck’s cutting-edge lyricism, you have the makings of a classic record.
“C.R.E.A.M” was recorded by the group in July of 1993, but was officially released November 9, 1993 as the eighth track from the 36 Chambers LP. RZA — the group’s defacto leader and beat maker — produced the song by sampling the opening piano riff from Charmel’s 1967 record “As Long as I Got You,” with a perfectly placed set of looping drum kicks added on.
Despite all the praise the record received within the hip-hop community and its current status as a classic record, “C.R.E.A.M” was not a chart-topp. Debuting at number 96 on the U.S. Billboard Hot 100, it eventually peaked at number 60 later that week, also peaking at number 8 on the hottest hip-hop/R&B songs. It became certified gold officially in 2009, 15 years after its release.
“The Rza is just razor sharp, he always on point with the beats with the rhymes”
In an interview for 247HH (hip-hop), Raekwon revealed the meaning behind the song’s tittle, revealing that “cream” was a slang term for money kids around the neighborhood would use. Saying that it came from cartoons like, Tom & Jerry, where the titular cat — Jerry — would slap Tom (the mouse) with whipped cream as they would fight over food. As a result, “cream” became something that they said when they were fighting over money or. in general, want of a better financial situation.
He also revealed that the acronym “cash rules everything around me” came from group mate Method Man’s associate, Raid. Detailing that back then, people would write graffiti and would break words down to give them meaning so, Raid broke down “cream” to mean “cash rules everything around me.”
RZA shed light on how the record came about, in an interview with SiriusXM. Divulging that the name of the original track was “The Lifestyle of the Mega Rich” and it had about 8 minutes of material from Raekwon and Inspacteh Deck. He wanted them to condense their lyrics into more concise verses and thought it needed a great hook. That’s where Method Man came in to play. The most culturally transcendent of the group, RZA even acknowledged that it was Method Man’s melodic flow on the hook that took Wu-Tang from gold to Platinum.
In a more recent interview with DJ Vlad, Inspectah Deck revealed that it was the success of “C.R.E.A.M” that made him realize how big of a group they were. Recalling a memory from a show the clan in Webster Hall, noticing that many of his heroes were there to see the Clan perform. From Big Daddy Kane, to Tracy Lee and Q-Tip.
The songs music video paid homage to where each member of the group was from, as a form of imagery that added even more depth to the record. The music video begins in the projects of Staten Island and then sees the Clan make their way to a more lavish lifestyle, driving Mercedes and sipping champagne.
Raekwon And Inspectah Deck were the only members of the group to have verses on the record. With both relating to the harsh realities of being from the inner cities. Telling their life stories’ in each verse. Rae gives a timeline of his life from his move from to Staten Island and his time spent in New York City. His first two lines perfectly captures the environment he hails from.
“I grew up on the crime side the New York times side
Where staying alive was no jive.”
Continuing with more personal tales of being separated from his father with his mother leaving and moving the family to Staten Island.
“Second hands moms bounced on old man, then we moved to shaolin land”
He chronicled his entire life on this verse and gave descriptive accounts of his times in the inner-city. The story being told is raw, real and vivid, something the man known as “the chef” is known for. Finishing his verse with:
“Figured out I went the wrong route, so I got with sick a** clique and went all out
Catching kings from cross seas hauling MVP’s every week we make 40 g’s
N***a respect mine or here goes the tech nine ch-ch pow move from the gate now”
Inspectah Deck took a similar approach to Raekwon, with similar accounts, while his verse detailed his own attempts at preventing the youth from following a similar path.
“Spent 22 long hard years we still struggling
Survival got me bugging but I’m alive on arrival
I peep at the shape of the streets
And stay awake to the ways of the world cause sh*t is deep”
With Raekwon’s story-telling abilities an entire story was told in one perfectly executed verse. From this verse alone, we learn, that at 15 he had plans of making “cream” but, was sent to jail for selling drugs. Yet, he only sold drugs because he never had much and only wanted a piece of the finer things in life – a sentiment many incarcerated Black men can share in. In the end, his life was taken away for trying to get his version of the American dream.
“Life as a shorty shouldn’t be so rough.
Though I don’t know why I chose to smoke sess
I guess that the time when I’m not depressed
But I’m still depressed, and I ask; what’s it worth
Ready to give up so I seek the old Earth”
“C.R.E.A.M” has left behind a significant legacy in hip-hop. The song’s popularity helped shift the balance of power from the West coast to the East, even going on to transcend any tension between the differing coasts.
The record has been sampled or interpolated by Drake on “Pound Cake/Paris Morton Music 2,” Notorious B.I.G on his hit record “Notorious Thugs,” featuring Bone-Thugs-N-Harmony. Other artists include Joey Bada$$ on his song “Paper Trail$” as well as, Mos Def on “Mathematics.”
Just as music fans the world over are clamoring to get their fix, so, too, are musicians longing to get out in front of actual crowds and ply their trade. No live stream can replicate the energy of a live concert, where musical notes serve as a conduit facilitating an infinite loop of energy travelling between the band and the audience. Live music requires presence — you have to be there, to be sure — though not just in body, but in mind and spirit, too. Within that presence, as one finds alignment with the head, the heart, and the feet, is where the magic lives. As it has been said, “Seek and ye shall find.”
Bridging that thought, it’s been especially hard to find live music these days (no explanation necessary), especially that of the safe and socially distant variety with crowds respectful of both coronavirus and others’ personal space. Creativity has become the order of the day in terms of booking, and I’ve now been lucky enough to catch a few live shows in locales previously unthinkable: a field behind Woodbridge HS, the Asbury Park Elks Lodge, even a few backyards, not least of all my own.
Some days live music seems more poignant than others; Jerry Garcia’s birthday has always been one of those days. I’ll never forget seeing Jerry on his birthday at The Palace at Auburn Hills, August 1, 1994, one of just three performances by the Grateful Dead on this date. Well, in the summer of 2020, any live show is special, and just as I was one of the lucky ones to see Jerry’s birthday show in ‘94, so, too, was I lucky enough to see Cosmic open the Days Between (marked by the days between Jerry’s birth and death, 8/9/95) on August 1, 2020.
After having spent the day on the beach in Asbury Park with my wife, we parted ways {one of the beautiful things about our marriage is that even though we have divergent interests, she unilaterally supports my passions} and I grabbed some primo socially distant real estate at the Asbury Elks Lodge, right up front near the band and in front of the PA. I’ve spoken of silver linings in other recent musings, but my favorite one bears repeating: encroaching on someone else’s personal space has become societally uncool, and that bodes really well for an abundance of dancing space. Punctuality has also become the order of the day and, since timeliness is next to godliness, mine was rewarded not just with the best 10×10 foot square in the house but also with soundcheck, a tasty version of “Beat It On Down the Line,” even if the band ultimately decided not to play a “seventy-eight beat intro for Jerry’s birthday” after briefly parrying the idea back and forth.
Just fifteen short minutes after the announced start time of 4:00, everybody was dancing in a ring around the sun as Cosmic took to the stage and opened this gorgeous afternoon with the Grateful Dead’s anthemic summer song, “The Golden Road To Unlimited Devotion.” This song has a short history with the Grateful Dead and wasn’t to be played live at any time after 1967, wayyyy before my time, heck, even before the actual summer of love later that same year, but to me it’s always been a party tune and set a fiery tone for the day as the band implored, “Hey hey, hey, come right away. Come and join the party every day.” An impressive and energetic “Viola Lee Blues” followed (is there any other kind???), before the band played “Set Me Free”, the first of seven original tunes they would play on this sunny August afternoon.
Shirtless guys and sun-kissed girls in long flowing dresses, spinning and twirling in a scene reminiscent of San Francisco’s Golden Gate park, the crowd was beauty personified. On this day, as we celebrated what would have been Jerome John Garcia’s 78th trip around the sun, none of us were thinking about the problems of the world, at least no more so than pertained to social distance and wearing masks. We were celebrating the life and music of Jerry Garcia, the outward expression of whose passion in turn shaped most of our lives. From the youngest among us who, forget about having seen Garcia live, probably shouldn’t have been drinking legally, to those with stories from the Avalon Ballroom and the last time they saw “Golden Road” live, our collective spirit embodied the principle of community.
Yet, in a whole world full of petty wars, “Throwing Stones” unfortunately seems to grow more relevant with each passing day. Political bullshit aside, it’s a fun song that set up one of the day’s highlights, “Cream Puff War”, driven by the insane timekeeping of drummer Dan Donovan, who would also provide an interesting bit of trivia during set break, “I wanted to make sure we worked this one into the setlist today since it’s the only tune (whose lyrics) were written by Garcia.” A short but combustible tune that the Grateful Dead only played in 1966 and 1967, Cosmic did it great justice on this most special day for Deadheads. That, I think, is the beauty of the Grateful Dead and the symbiosis they inspire between the musicians occupying their space and the deadheads taking it all in. Regardless of who’s holding the guitar, we’re all just fans (maybe fanatics would be more appropriate but let’s not parse words).
Another glorious original rocker followed, “Make Me Feel High,” as Wanda, Exalted Ruler of the Fraternal Order of Asbury Elks (I can’t shake the image of Fred Flinstone as Grand Poobah of the Royal Order of Water Buffaloes) made her way to the stage, seemingly intent on having a discussion with each band member during the middle of the song. Fully expecting a buzzkill announcement like “turn it down” or some shit like that, Wanda surprised me at the end of the song by taking the mic and welcoming us all while imploring us to “enjoy the music and the hospitality.” Poor timing aside, it was a nice message.
Taking the break as a chance to confess their hunger and ask for provisions, a familiar drumbeat signalled the start of “Samson & Delilah,” with bassist John “Jelly Roll” Nemeth taking lead vocals. John was a noticeable force on the bass all afternoon and I’m sure glad I had a hand in getting his mix turned up during soundcheck. “Wine Women Rock”, another original, this one with keyboardist Billy Siegel on lead vocals, was so good that one fan felt inspired to drop a tip in the bucket on stage left in the middle of the song.
Even when he’s not singing Dead tunes, Billy still has the Brent Mydland thing going on and I just love his vocals, this last being my favorite of the “Billy” tunes. Lead singer and guitarist Michael Jaskewicz went off script with the next one, a lovely version of Dylan’s “When I Paint My Masterpiece” before an explosive “China Cat Sunflower” > “I Know You Rider” that closed the set 75 minutes and almost 10,000 steps later.
I love that this band, with a local and loyal following behind them, has the balls to play their own songs in key spots of the set. Opening the second set with “This Fire”, they continue to make the statement that they are so much more than a Dead cover band. I haven’t asked but I suppose that’s why they dropped “Jerry Band” from their moniker, as they seek to grow and develop their own material. I’ve now heard eleven original songs over two shows these past couple of weeks, and here’s to hoping there’s an album release on the horizon.
“Foolish Heart” is always a treat and Jaskewicz characteristically dazzled with both his guitar and his voice. “The Wheel” gave way to “Crooked Tree”, another rockabilly original that really slams as Siegel pounded the black and whites. Some fine setlist wizardry gave an emphatic Siegel the chance to continue stealing this segment of the show with the joyous “Hey Pocky Way” that followed. There would be no MVP, however, on this sun-soaked afternoon, as it was a total team effort. “Run For the Roses” was the first turn through the Jerry Garcia catalog before “We Are Divine,” an original dripping with proggy funk that was one of the best songs of the night, GD or otherwise.
During “Terrapin Station,” I closed my eyes and transported to another time and place, enjoying the simultaneous delicacy and raw power of a song that, from the first time I heard it, literally shaped the rest of my life. The Rolling Stone’s “Loving Cup,” even if it felt more like Phish’s version, rocked like the set closer that it could have been (my notes here simply read, “Sweet Jesus!”), even though there was still a “Loose Lucy” and a “Might As Well” on tap. Singing thank you, for a real good time!
I’d have gone home happy right then and there, fully spent having shared all of my love and energy with the band and the folks around me, but if the band was going to treat us to one (or three) more, I’d dig deep and continue to give all of myself right back. One more original was followed by a pair of JGB tunes, the powerful “Mission In the Rain” and the prayerful “Sisters and Brothers”. “Mission” has long been a personal favorite, a song by Robert Hunter that really paints a picture of the human condition.
Of this song, Garcia, in an interview, once said “Mission in the Rain” was “… a song that might be about me. It’s my life; it’s like a little piece of my life. Hunter writes me once in a while.” I felt every bit of that with Nemeth’s foreboding bass notes and Jaskewicz’ stirring vocals. As for “Sisters and Brothers”, what better way to close the day than with the hopeful gospel of Charles Johnson song popularized by the Jerry Garcia Band, “My Sisters and Brothers.” I’ll leave you with the power of its words …
I wanna say to my sisters and my brothers Keep the faithWhen the storm flies and the wind blows Go on at a steady pace When the battle is fought, and the victory’s won We can all shout together, we have overcome We’ll talk to the Father and the Son When we make it to the promised land If we walk together, little children We don’t ever have to worry Through this world of trouble We gotta love one another Let us take our fellow man by the hand Try to help him to understand We can all be together, forever and ever When we make it to the promised land
18,651 steps on the lawn of the Asbury Elks. Who’d have thunk it???
Setlist
Soundcheck: Beat It On Down the Line
Set One: The Golden Road (To Unlimited Devotion) > Viola Lee Blues, Set Me Free*, Throwing Stones > Cream Puff War > Make Me Feel High*, Samson & Delilah, Wine Women Rock*, When I Paint My Masterpiece, China Cat Sunflower > I Know You Rider
Set Two: This Fire*, Foolish Heart, The Wheel, Crooked Tree*, Hey Pocky Way, Run For the Roses, We Are Divine*, Terrapin Station, Loving Cup, Loose Lucy, Might As Well
Encore: unknown original, Mission in the Rain, My Sisters & Brothers
Not too long after parts of the nation started reopening, did many individuals start to ignore the CDC’s recommendations to help stop the spread of COVID-19.
A picture of the secret rave held under Kosciuszko Bridge.
Footage of a secret rave at Kosciuszko Bridge in Brooklyn showed people gathered without participating in social distancing. Regardless of the global pandemic, hundreds of guests attended and many didn’t wear masks.
“Huge parties whether on land or boat are: Illegal, Disrespectful, violate constant decency, rude,” Cuomo tweeted.
Huge parties whether on land or boat are:
Illegal Disrespectful Violate common decency Rude
Aren’t those enough reasons not to be stupid?
— Archive: Governor Andrew Cuomo (@NYGovCuomo) August 3, 2020
Renegade, the rave organizers, told Gothamist that there’s no stopping people from gathering. One organizer said, “people need a release,” referring to quarantine.
This was not the first time Renegade held a group gathering during the pandemic. On July 4, they organized a rave supposedly for the Black Lives Matter Movement.
Among artists asked to play was DJ and producer Mike Simonetti. According to Guest of a Guest, Simonetti declined. He felt the event was disrespectful after his father died alone from COVID-19.
Although many attended the rave, some guests felt uncomfortable once they arrived.
Footage taken from attendees shows no social distancing among the rave.
An attendee told Gothamist that him and his friends stayed on the outside and stating, “I would not do that again….It was too soon for too many people in one spot.”
Renegade continues to defend the cause of the rave, but said it got out of hand.
“I don’t want people to go back to putting their heads in the sand. We need to stay on top of this and keep marching and keep protesting,” said one organizer.
You’ve likely read the comment, “This album is ahead of its time,” but what does that even mean?
Just before the Talking Heads created their most critically acclaimed album, Remain in Light, the group was getting sick of talking to each other. David Byrne was considered “too controlling” by the other 75% of the band and like all rising rock stars, hinted at leaving the group in early 1980 to pursue his solo career. Lucky for music enthusiasts, art prevailed over war. The ‘70s are proof that tension in the recording studio has a track record of birthing masterful albums. Fleetwood Mac’s Rumours, Pink Floyd’s The Wall and The Beatles’ Let It Be, stand the test of time in terms of compositional and lyrical genius, but nothing foreshadowed our current social and economic COVID-19 pandemic like the Talking Heads fourth studio release.
Remain In Light transformed a new-wave, post-punk quartet into a 10-piece worldbeat-funk band in just eight African-inspired tracks. And where there’s polyrhythmic improvisation, there is prophetic intellect. Evidence of Talking Heads time travel can be found in the album made public on October 8, 1980. Nearly 40 years later, the 40-minutes body of work speaks to our society more than ever.
BORN UNDER PUNCHES (THE HEAT GOES ON)
David Byrne greets the listener with, “Take a look at these hands,” an ode to obsessive hand washing during a time of paranoia, uncertainty, and cleanliness.
All I want is to breathe. I’m too thin. Won’t you breathe with me? Find a little space, so we move in-between. In-between it. And keep one step ahead, of yourself.
Look up symptoms of COVID-19, and find “shortness of breath or difficulty breathing” at the very top of the list. How can we prevent the spread? By creating a safe space (six-feet to be exact) between us.
Don’t you miss it, don’t you miss it.
Some ‘a you people just about missed it! Last time to make plans!
Well I’m a tumbler… I’m a Government Man.
The government men across the globe have canceled social gatherings to prohibit the spread. Before everyone had a chance to say their last goodbyes to each other, bars, restaurants, college campuses, sporting arenas, public parks, coffee shops, and libraries were closed down until further notice.
Never seen anything like that before.
The nation is under attack as we fight an overwhelming and unprecedented battle. Quarantined citizens are emotionally drained, sick patients are physically deteriorating, workers are financially crippled and hospital works are most of the above.
All I want is to breathe. Won’t you breathe with me. Hands of a Government Man. Find a little space so we move in-between. And keep one step ahead of yourself. Don’t you miss it! Don’t you miss it!
As compassionate people come together to praise essential works, conservative Americans are unable to face themselves at home as they fight to reopen and build a wall around logic. “Born Under Punches” describes a government turning a blind eye to human suffering, a lack of air, social distancing and unprecedented events. And that’s just the first track.
CROSSYEYED AND PAINLESS
David Byrne now plays a man gone mad from media.
Lost my shape
Trying to act casual
Can’t stop, I might end up in the hospital
Some die and some are asymptomatic, but all are impacted by COVID-19. Emotionally, physically, or socially. For the majority of Americans, a privileged, everyday life came to a screeching halt as cases began to skyrocket.
They’re back, to explain their experience.
In the age of social media, many stories are told, most are fake news. This disease was considered to be extremely deadly in some circles, yet many citizens have recovered, and even more may have had it without knowing.
I’m ready to leave I push the fact in front of me Facts lost Facts are never what they seem to be Nothing there! No information left of any kind Lifting my head Looking for danger signs
No right answer. Scientists and reporters are doing their best to report facts, but the paranoid public isn’t confident they are moving in the right direction.
The island of doubt It’s like the taste of medicine Working by hindsight Got the message from the oxygen Making a list Find the cost of opportunity Doing it right Facts are useless in emergencies
The White House ridiculed New York’s Governor Cuomo for asking about respirators. The cost of respirators was said to be too high as the governor tried preparing for the rising curve. Regardless of the emergency, egos and economics got in the way, deeming the facts useless.
Friends. Live Music. Incomes. Lives. Society as we know it. We are all “still waiting” to understand the next moves. “Get the message from the oxygen.” Speaking of curves, let’s move to the next track.
THE GREAT CURVE
Sometimes the world has a load of questions
Seems like the world knows nothing at all
The world is near but it’s out of reach
Some people touch it, but they can’t hold on
Who do we believe are the experts as the disease is studied more every day? Exiting our front door can be deadly. Our neighbors live next door, but it is against the rules to interact with them. Some ignore the rules and socially gather only to contract the disease and lose everything.
She is moving to describe the world Night must fall now-darker, darker She has messages for everyone Night must fall now-darker, darker
Byrne draws a connection between a woman and Mother Earth. Across the world, we see positivity and optimism from an environmental perspective. As we focus on the COVID-19 curve as a human race, there is a much bigger picture we are not concentrating on. The woman in this song is part human and part Earth and we need to protect her. She is shifting as some of the most densely packed cities in the world react to COVID-19.
A world of light, she’s gonna open our eyes up
For the first time in decades, densely populated cities like Punjab, India are experiencing the positive impact of global lockdown as the human-influenced smog lifts. They now open their eyes to the Himalayan Mountain peaks for the first time this millennium.
ONCE IN A LIFETIME
One of the Talking Heads most popular tracks might also be one of their most 2020 quarantine-relevant.
And you may find yourself
Living in a shotgun shack
And you may find yourself
In another part of the world
And you may find yourself
Behind the wheel of a large automobile
And you may find yourself in a beautiful house
With a beautiful wife
And you may ask yourself, well
How did I get here?
Remember in 2019 when people were not forced to remain inside and reflect? It was okay to be on autopilot and walk the streets or fields or cities in between and just be without being. In quarantine, we are tasked with the most impossible job of all—learning to cope with ourselves with little outside influence.
Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again after the money’s gone Once in a lifetime, water flowing underground
We stand over the sink, hands under the water, repeating the birthday song in hopes of resolving and removing the one-in-a-lifetime virus from each finger. We would love to return to a same as it ever was time, but it will likely be a new normal. Will we remain in our houses forever or return to the world we once knew? Or will it be a hybrid?
HOUSE IN MOTION
The second half of the album must disprove the notion of a sonic COVID-19 quarantine conspiracy, right? If you are currently pacing in your home, reading, thinking, moving, and wondering more than usual, then this one is for you.
I’m walking a line
I’m thinking about empty motion
I’m walking a line
Just barely enough to be living
Get outta the way (no time to begin)
This isn’t the time (so nothing was done)
Not talking about (not many at all)
I’m turning around (no trouble at all)
You notice there’s nothing around you, ’round you
I’m walking a line
Divide and dissolve
Good news, you get to leave your home and walk around the grocery store in a paranoid state. The aisles are blocked off, forcing you to treat your neighbors like Neanderthals. Saying hello isn’t the same without a mask and we can barely say goodbye without wondering what level of COVID-19 they left on us. The same beautiful house that was written about in “Once in a Lifetime” is the same place you escape to wash the outside-world filth from your potentially pandemic-covered hands.
I’m walking a line I hate to be dreaming in motion I’m walking a line Just barely enough to be living Get outta the way (no time to begin) This isn’t the time (so nothing was done) Not talking about (not many at all) I’m turning around (no trouble at all) I’m keeping my fingers behind me, ‘hind me I’m walking a line Divide and dissolve
Does this scare you? We are social creatures. We are supposed to be fully living and interacting with peers according to our elementary schooling. The narrator is crushing the idea of social contact and, instead, inviting the paranoia of his peers. Full-blown, introverted paranoia.
SEEN AND NOT SEEN
He would see faces in movies, on T.V., in magazines, and in books…
He thought that some of these faces might be right for him…
And through the years, by keeping an ideal facial structure fixed in his mind…
Or somewhere in the back of his mind…
Are we spending too much time streaming music, watching Netflix or staring in a mirror? The focus of this spoken-word-by-Byrne reflective track is post-pandemic physical appreciation. Who cares about what happened in 2019 if it’s possible to reinvent in 2020? We finally escape out of quarantine, but what is stopping us from impulsively mistaking our own identity? Should we redefine our social, physical and emotional selves, or is this a good spot to restart?
They may have picked an ideal appearance based on some childish
Whim, or momentary impulse…
Some may have gotten half-way
There, and then changed their minds.
He wonders if he too might have made a similar mistake.
Is the narrator saving face for the previously mentioned government man or is he just trying to act casual?
LISTENING WIND
What happens to people in countries that lack access to 5G or vaccines or respiration or clean water? Is Mother Nature watching out for her children or is it the lack of tourism that prevents their people from the global disease?
Mojique buys equipment in the marketplace Mojique plants devices in the free trade zone He feels the wind is lifting up his people He calls the wind to guide him on his mission He knows his friend the wind is always standing…by. Mojique smells the wind that comes from far away Mojique waits for news in a quiet place He feels the presence of the wind around him He feels the power of the past behind him He has the knowledge of the wind to guide him…on.
A return to nature. The wild is calling. What were the redefined terms of survival of the fittest in 1980 (or 2020)?
THE OVERLOAD
A dark, eerie, Brian Eno-driven piece closes the album with an apocalyptic exclamation point.
A terrible signal Too weak to even recognize
A gentle collapsing The removal of the insides I’m touched by your pleas I value these moments We’re older than we realize In someone’s eyes
Free healthcare was the topic of debate less than two months before 2020 changed America. Who is this “someone” Byrne speaks about? What is the underlying ignorance that haunts us throughout an album recorded in 1980?
A change in the weather A view to remember The center is missing They question how the future lies In someone’s eyes
We are reminded that Mother Earth is slowly healing during human dormancy, yet the pessimistic power of the composition reminds us that there is a serious problem. Midtown Manhattan’s Times Square is one of the most photographed locations in the world. A central hub of a global city. Currently, it’s empty and missing.
The gentle collapsing Of every surface We travel on the quiet road …the overload
The closing lyrics of the album are about as poignant as the opening. As local and state governments look for ways to reopen a social society, they call for extra hands to sanitize surfaces, and open up roads for people, not cars. Has Mother Nature finally forced us to abide by her rules or is our society too ignorant and self-centered to protect one another? Either way, the answer is overwhelming.
A favorite album will transport you to a time when you needed the music most. But an iconic album encapsulates the present, whether you like it or not. Remain in Light was written during the political, economic, and social injustices of the late ‘70s, yet it connects the same unprecedented, introspective, unusual feelings we have during a global pandemic – mask off and same as it ever was.
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.
Wurliday Performing at Palace Theatre
“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.
Hawkins has released their debut single, “Lights Off,” having arrived on the local music scene in New Haven, CT in May 2019. Hawkins is known for balancing energetic rock ‘n’ roll mixed with infectious hooky pop sophistication. The band consists of Hawkins French (vocals), Joseph Frank (guitar), Richard Frank (bass), and Joshua Frank (drums).
Their debut single is a pop rock anthem that blends soaring guitars, thunderous drums, and melodic bass lines along with the catchy hooks that you’ll hear in contemporary pop music. The subject matter of this track discusses the current superficial state of relationships and wanting more than just a one-night stand. This song intertwines their ability to create memorable pop hooks, lyrics that compel you to sing along, all balanced under a monumental sound that instantly demands the listener’s attention.
The band has performed on countless major stages across the East Coast. Notable performances include Mohegan Sun Casino, The Bitter End, Foxwoods Casino, and the Pleasantville New York Music Festival. In Pleasantville, the band shared the stage with illustrious acts such as Blues Traveler, Suzanne Vega, and Living Colour. In November they are still planning to headline at the Toyota Oakdale Theatre.
Speaking on “Lights Off” the band explains:
“This track evokes the feeling of when relationships don’t have a clear direction and are solely based upon superficiality. This is our commentary on the common tug of war that can occur in tumultuous relationships that people in their youth experience.”
Incarcerated rapper Bobby Shmurda celebrates his 26th birthday today, with hopes of it being his last behind bars. On the heels of the anniversary of his breakout record, the Brooklyn-born drill rapper may have even more good news to look forward to, as a parole hearing — set for August 17— will determine his immediate future.
Why they wanna pin a felly on me?
After a countdown from a website seemingly belonging to the embattled rapper set a date for August 4, many began to speculate about the meaning, with some assuming it was related to his release. Speaking to TMZ in late July, The rapper’s mother — Leslie Pollard — confirmed that the rapper was indeed scheduled for a parole hearing in August. While also divulging his plans for a documentary about his life, as well as new music as soon as he gets out — as the rapper is still contractually tied to Epic Records. For his birthday, GS9 cohort Rowdy Rebel’s official Instagram, shared its own social media ode to his label-mate, hash-tagging “3months left.” It is unclear whether it is referring to his own release or that of Bobby Shmurda.
https://www.instagram.com/p/CDeM1vQnXIF/
Nonetheless, rumors of a release as early as August 5, set social media ablaze, with most eliciting thoughts of joy.
When Bobby Shmurda is released from prison his hat finna come back to him like Thor’s hammer https://t.co/InTD5RI1AW
Spotify CEO Daniel Ek thinks that it’s the artist’s own fault they aren’t making enough money because they aren’t putting out enough music. It’s been widely known that the popularity of streaming services instead of buying music from the artists or their labels has hurt the artists revenue but Daniel Ek is taking it to the next level by putting the blame on the artist for their measly payouts.
Spotify CEO Daniel Ek, photo via Bloomberg.
Spotify has a market value of about $21 billion in 2019 and Daniel Ek himself has an estimated net worth of nearly $2 billion. According to Business of Apps article they say,“Estimates vary on how much a Spotify stream is worth to artist: from $0.006-0.0084 to as low as $0.00318/stream” at a pay rate of $0.006-0.0084 a stream it would take a million streams for an artist to make $7,000. In comparison the article states that, “Amazon Music tops the list in terms of average payment per stream on $0.01196/stream. YouTube Premium delivers $0.00803, Apple offers $0.00563, and Google Play $0.00551. Pandora’s rate, on the other hand, is even lower than Spotify, at $0.00151.” In the first quarter of 2020 Spotify’s revenue brought in $1.85 billion from Premium subscribers, while ad-supported users generated $161 million for the company.
Daniel Ek stated in an interview with Music Ally that, “There is a narrative fallacy here, combined with the fact that, obviously, some artists that used to do well in the past may not do well in this future landscape, where you can’t record music once every three to four years and think that’s going to be enough,” essentially putting the lack of revenue the artists own fault. Daniel Ek explained that, “ What tends to be reported are the people that are unhappy, but we very rarely see anyone who’s talking about… In the entire existence [of Spotify] I don’t think I’ve ever seen a single artist saying, ‘I’m happy with all the money I’m getting from streaming.” Which begs the question, are artists not working hard enough or are they just not being properly compensated for their work by streaming services?
Musicians are not happy about this mindset in the music industry that Daniel Ek has been promotin. Ben Albert of Rochester Groovecast thinks Daniel Ek’s remarks are, “Disrespectful” saying that, “Music is not a fast food chain.” The fact that Spotify’s CEO believes that artists aren’t working hard enough and should just turn out more music is disheartening to the music community particularly those who are on the road a lot and believe in creating more complex and artistically driven music. Gabriel Marin from Consider the Source spoke on this matter saying, “People like [Daniel] Ek seem to only look at pop and commercial music as how all music is made. Yes those forms of music are easy to make happen and often a whole career of someone in that field will be 3-4 years. Music that has more weight takes longer; bands that make a living and artistically thrive in a live setting can’t put albums out at a predictable pace like that.”
In times like these where COVID-19 is hitting the music industry harder than many industries it’s hard to understand how someone running one of the biggest music platforms can so easily criticize artists instead of supporting them. Justin Henricks of Wurliday and Beau Sasser’s Escape Plan chimed in on the matter saying that, “Spotify is in a very unique position of ability to offer some real aid and relief to an industry that is in dire need of it at the moment. Take a page from Bandcamp who offered to relinquish their revenue share and give 100% of their proceeds on specific days to the artists/labels. I find it appalling that not only has Spotify chosen to ignore their ability and responsibility to help in any way but have actually double downed to say Artists should work harder, churn more music into their billion dollar money making machine, and leave us all out to dry. Shame on them.”
Dopapod‘s Rob Compa shared a similar sentiment, saying “I don’t think Daniel Eck understands that touring was how bands like mine and many friends of ours was how we raised any money to record albums, let alone make a meager living. Now, with COVID, we can’t even do that. So if he expects us to produce album after album, where does he expect us to get the money to make them? To me, he’s a little like some general who’s never even been in a fight, telling all of us to get out of the trench and run into no man’s land.”
For more on this story and Ek’s point of view, read Music Ally’s original interview here.
When COVID-19 hit New York City in March, the music, as Jim Morrison crooned, was over. But one place it never stopped was at Soapbox Gallery, one of Brooklyn’s most unique and eclectic performance venues.
Soapbox Gallery is not the brainchild of a veteran promoter, profit-seeking barkeep or musician, but a music-loving sculptor with a true D.I.Y. spirit, Jimmy Greenfield.
A native of Poughkeepsie, Greenfield moved to NYC’s SoHo in the mid-1970s to pursue a career in art. While there, he drank in and was inspired by the loft jazz scene percolating at homey little venues like Sam Rivers’ Studio Rivbea. Like many visual artists, Greenfield became friendly and collaborated with the adventurous musos on that scene. And like many a SoHo artist, he was eventually priced out of the tony neighborhood and helped pioneer a new scene with a move to Brooklyn in the early 1980s.
Greenfield came to the street-level space at 636 Dean Street that would become Soapbox in 1996. He utilized it for years as his sculpture studio, with the street frontage being dedicated to installations by visual artists he loved.
“The gallery was inspired by the idea of a soapbox, the humble stage that one stands upon to deliver a message, a narrative story, that can start a movement that can perhaps change the world,” says Greenfield. “It functioned that way for our art shows and, since 2014, with our escalating program of musical events.”
Music became a part of Soapbox Gallery in 2014, when Greenfield made his venue the home to periodic shows by critically acclaimed Brooklyn Raga Massive, a collective of world class musicians dedicated to furthering the understanding of Indian classical and Raga forms. Within a couple of years, Greenfield decided to move his sculpture studio to another location and, over time, convert Soapbox into a full-time performance space.
“The idea was to create an intimate space, a sanctuary that was almost like a mini-concert hall,” adds Greenfield. “I wanted the best sound and atmosphere, so we completely renovated the space, with soundproofing, a dropped ceiling with acoustic tile, high-end sound mitigation and amplification. We wanted the room to be a draw, the perfect acoustic environment that would attract the very best musicians.”
It was serendipitous that Greenfield tapped his neighbor, filmmaker Dave Power, and his brother, the sound-painting saxophonist Hayes Greenfield, for advice on cameras and sound, and to execute all the physical labor.
“Our intention was to create not only a world-class performance space of intimate size, but a top-of-the-line production center as well,” adds Greenfield. “We designed where the camera drops would be, where the computers and controls would be, even a system to move the sound around the space and the stereo spectrum, all anticipating the era of streaming. So we were ready for what has, unfortunately, become the performance model of today.”
Another thing Jimmy did to attract a top-flight coterie of performers was purchase the world-class piano, the lightly used Yamaha C7 that is the physical centerpiece of the space.
“My friend Ludwig found that for us, a 1998 Yamaha Grand that was barely used,” continues Greenfield. “It was another stroke of good luck in the collective, all D.I.Y. effort to build this space and scene.”
The scene started to gain critical mass in 2019 with Soapbox Gallery’s weekly Piano Hangs, organized with David Berkman, noted pianist, author and director of the Jazz Department at Queens College.
“Every Saturday, we would invite four to five pianists to perform and discuss their work,” adds Greenfield. “The series attracted high-caliber talent from the worlds of jazz, classical and beyond, like Fred Hersh, Chano Dominguez and Bruce Barth.”
Into 2020, Soapbox Gallery continued to expand its palate of performances. Greenfield added small groups like jazz trios, classical quartets, a virtual fest with the New England Conservatory Jazz Lab, and solo performances by notables like electro-jazzer Adam Neely, looping violinist and vocalist Natie, singer/songwriter Tracey Yarad and many more.
One mainstay of the space has been Jimmy’s renowned musician-brother Hayes Greenfield and his Immersive Surround Sound Experience. Here, Hayes employs his saxophone, flute, kalimba, harmonica, voice and a plethora of delays, synths, effects pedals and loopers to create meditative sound environments reminiscent of Brian Eno’s ambient works. With the assistance of Hayes’ sponsor, Eventide, Soapbox Gallery has been outfitted with a system that produces true 3D sound that can be moved around the space and within the heads of stream listeners.
When COVID-19 closed down NYC’s live performance venues in mid-March, Jimmy and Hayes were quick to provide a sonic salve for the quarantined masses, in New York and wherever there was a broadband connection.
For weeks after the shutdown, Hayes performed his Sound Meditations nearly every day at 3 pm from the Soapbox Gallery, more than 30 total events and counting. As soon as WNYC’s Greene Space began streaming in early April, Soapbox Gallery began programming more events, from its space and the homes of some of its coterie of musicians.
Since May, Soapbox Gallery has been presenting live-stream performances six days a week from Greenfield’s former sculpture studio. Its state-of-the-art, three-camera system provides a great view of the action, and video overlays are increasingly a part of the performance equation, providing a unique multimedia experience.
One notable upcoming event that will make the most of the technology is Soapbox’s three-day Sonic-Vision Looping Festival, August 26– 28. The event will include adventurous performances by noted percussionist Will Calhoun (Living Colour, Pharoah Saunders), Hayes Greenfield and the ambient guitar duo, Guitars A Go Go, who will perform their hypnotic improvisations to fractal videos.
Also not to missed are the latest installments of its on-going “Couples in Harmony” series, curated and hosted by Tracey Yarad, which presents real-life couples in performance, often for their first artistic collaborations. On Sunday, August 16, Soapbox Gallery will feature jazz vocalist and bassist Teri Roiger and John Menegon; on August 23, singers/songwriters Lisa St. Lou and Tor Hyams.
With Senate recess looming at the end of the week and Congress still in talks over the details of the next COVID relief bill, the National Independent Talent Organization (NITO) is urging Senate leaders to continue support in its Call to Action Campaign for the RESTART and SaveOurStages (SOS) Acts. Without bipartisan support, the survival of live music industry would be uncertain as many venues remain shuttered to the public. This is a call to save live music as we know it.
“So many people in our industry live hand to mouth, day to day. There are no pensions and no health insurance or retirement plans for indie musicians or the people who tour with and support them. At least musicians can try to reach out to their audience online for support, but what is a guitar tech to do? What of the drum tech or the sound engineer or the road manager or driver — not to mention the promoters, the booking agents, the bartenders? The ripple effects of the world of live entertainment going dark are vast. Let’s shine a light on all the people whose work helps all of our lives to be enriched by live music. Let’s support them through NITO’s advocacy.”
Buffalo singer-songwriter Ani DiFranco
Both acts have gained momentum with a total of 44 cosponsors in the Senate according to a press release from NITO. If passed by Congress, RESTART and SOS would aid the hardest-hit small and mid-sized businesses, potentially for the next 6 months. Among the supporters of RESTART is ASCAP, BMI, SESAC, NAMM, NIVA, Spotify, Universal Music Group, Warner Music Group, American Society of Travel Advisors and YouTube, all of whom have recognized how devastating it would be for the U.S economy to lose the nine billion dollar contribution that independent music businesses make under normal circumstances.
RESTART’s sponsor Senator Michael Bennet (D-CO) recently acknowledged the importance of the live music industry’s survival in a tweet of support of NITO.
Today, @HowardSchultz and over 100 business leaders are calling on Congress to include the #RESTARTAct in the next relief package. They know our economy will only recover if hard-hit small businesses get the support they need to stay afloat into 2021. https://t.co/yGqPDmmSgO
That is why NITO is imploring “lovers of live music and all performing arts” to take part by sending letters of support via email and social media to Senators and House Representatives encouraging them to #SaveLiveMusic.
During the past four month NITO has grown tremendously. From 14 founding agencies to over 800 active live touring organizations including; management companies, talent agencies, artists and a vast array of industry professionals. All have seen a significant financial impact as the doors to our venues remain close for the unforeseen future.
If you would like to share your story or show support fill out a Call to Action form here.
