The indie band of brothers, Council, has announced their upcoming EP It Runs In The Blood. On May 28, their third EP of will be released on all platforms.
Council consists of three brothers: Pat, Doug, and Andy Reeves. As the trio grew up just outside Syracuse in Baldwinsville, NY, they’ve committed to trading a life of farming for their true passion; music. From working in the fields during the day to perfecting their craft in their family barn at night.
The debut single off of the new EP, “Faded Purple White Trash Royal”, was recently released. The track is available on major platforms and provides listeners a sneak peek of the anthemic tone expected on It Runs In The Blood.
Listen to Council’s Debut Single Here
Council‘s new EP contains singles, “I See Sparks,” “Still We Rise,” “Faded Purple White Trash Royal,” and the title track, “It Runs In The Blood.” Apart from the title track, the entire EP was written and produced by Council. The track “It Runs In The Blood” was co-produced and co-written by Kevin Andreas. Andreas is known for engineering A$AP Rocky’s hit, “Peso.”
Cover Artwork for EP
Council has begun to build a name for themselves. They have worked with countless household names and appeared on popular programs. The brothers’ band has played shows at mainstays in NYC. Also, they have opened for bands such as The Strumbellas, The All American Rejects, and The Kooks. The musicians have even had their music played throughout the 2018 Winter Olympics, FIFA World Cup, American Idol, So You Think You Can Dance, and the Premier League, to name a few.
As this band has begun to establish themselves in the music scene with their unique sound, they are definitely a group to watch out for. It Runs In The Blood will undoubtedly only add to Council’s growing success. Although this EP’s release isn’t for a few months, make sure to check out the band’s previous EP, Haunts Me.
As part of NYS Music’s continuing series looking at the Centennial years of the Harlem Renaissance, we turn to activist Marcus Garvey, leader of the Pan-African movement, the first American Black nationalist movement.
Marcus Moziah Garvey was born in St Ann’s Bay, Jamaica on August 17, 1887. His father, Marcus Garvey Senior, was a stonemason and his mother, Sarah Jane Richards was a household servant. Garvey had 11 siblings but was the only one to survive to adulthood. Attending a local church school until the age of 14, Garvey then moved to Kingston where he worked in a print shop as an apprentice. Garvey quickly rose through the ranks and became the first Afro-Jamaican foreman. Thus began Garvey’s fabled career in activism, becoming a trade unionist and partially leading the November 1908 print workers’ strike.
After being fired from his print shop job, Garvey’s hatred for the societal structures creating inequality began to form. Garvey joined the National Club, one of Jamaica’s first nationalist organizations, publishing several pamphlets and magazines campaigning for the removal of the British Governor of Jamaica. Economic hardship took hold of Jamaica, leading to a mass exodus that included Garvey. After Garvey spent several years traveling, including living with family in Costa Rica and attending University of London’s Birkbeck College, Garvey returned to Jamaica.
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Birth of the UNIA
Upon returning to Jamaica, Garvey formed the UNIA (Universal Negro Improvement Association). An organization whose goal was to “Establish a brotherhood among the black race, to promote a spirit of race pride, to reclaim the fallen and to assist in civilizing the backward tribes of Africa.”
With this organization, Garvey wanted to establish a country that would unite black people all over the world. After coming on to contact with fellow famed civil rights activist Booker T. Washington, Garvey moved to Harlem to establish the UNIA in the United States.
As the UNIA began to grow, Garvey launched his own weekly newspaper Negro Weekly. The newspaper reached worldwide audiences, nearing 10,000 copies circulated by the end of its first year. In 1919, Garvey launched his shipping company Black Star Line. The company’s goal was to establish trade and commerce between Africans all over the world. By this point, the UNIA had grown to over 4 Million members. The Black Star Line bought the S.S. Yarmouth, which they renamed it as the S.S. Frederick Douglass, in preparation for the group’s ambitious program which sought to establish a country for former slaves in Liberia.
Underwood Archives via Getty Images
Enemies
Garvey was infamous for his impassioned and controversial speeches which caused him many enemies from the likes of fellow activist, W.E.B. Du Bois, to FBI Director J. Edgar Hoover. Dubois was vehemently against Garvey’s separatist philopshy, going so far as to call him “The most dangerous enemy of the Negro race in America.”
Garvey was under surveillance from Hoover for several years. Hoover looked for any dirt he could dig up on Garvey, going so far as to hire the first black FBI agent to infiltrate the ranks. Hoover would use the same method against several civil rights leaders throughout the 20th century including Martin Luther King Jr. and Malcolm X. Eventually, Hoover was able to try Garvey and others within the Black Star Line with Mail Fraud. Garvey was found guilty and sentenced to five years in prison.
Imprisonment and Deportation
Before the trial, Garvey controversially had agreed to meet with the leader of the Ku Klux Klan, believing they had common ground when it came to Segregation. Garvey blamed the Jewish judges and jurors for his convention, claiming they held bias against him for agreeing to meet with the Ku Klux Klan leader. This began a trend of Garvey siding with segregationists. While in jail, Garvey wrote his famous letter “First Message to the Negroes of the World from Atlanta Prison.”
Garvey was released in 1927 after serving just three years of his sentence after President Calvin Coolidge received a petition with 70,000 signature demanding for his release. Upon release, Garvey was immediately deported back to Jamaica. Continuing his political activism in his home country, Garvey created the country’s first political party, the People’s Political Party (PPP). The party ran on the platforms of establishing a minimum wage and the ability to impeach and imprison corrupt judges. The party quietly faded away after Garvey lost the election and was imprisoned again for seditious libel.
Never forget that intelligence rules the world and ignorance carries the burden. Therefore, remove yourself as far as possible from ignorance and seek as far as possible to be intelligent.
Marcus Garvey
Later Life and Death
Never again was Garvey able to convey the same amount of influence that he once did. Garvey continued his political activism in Jamaica until 1935 when he moved to London. Garvey would go on to back other segregationist legislation such as The Greater Liberia Act of 1939, championed by infamous white supremacist Mississippi Senator Theodore Bilbo; this act sought to deport 12 million African Americans to Liberia under the justification that it would reduce unemployment. The bill never passed.
In January 1940, Garvey suffered a stroke that had left him paralyzed almost entirely. Word spread that Garvey had died, leading it to be reported in several papers. Garvey had a second stroke brought on from the reading of these headlines, leading to his actual death on June 10th, 1940 at the age of 52. Garvey was buried in London due to WWII travel restrictions but his remains were moved to Kingston, Jamaica in 1964.
Legacy
Marcus Garvey has a complicated legacy like no other civil rights figure. Garvey’s key message was one of African Pride, to love your self and heritage no matter what. Phrases coined by Garvey such as “Black is Beautiful” are still commonplace motivational statements today. On the other hand, Garvey was one of the most outspoken segregationists. Garvey sided with white supremacists on several occasions, even backing key legislature. While his aspirations of a unified African American nation might have been pure, the ways he went about achieving those goals were destructive. Marcus Garvey the man may be controversial, but his word would go on to influence generations of activists and spur change all over the globe.
The impacts of COVID-19 have been felt throughout the entire world, with many having to deal with unfortunate tragedies as a result of the virus. Furthermore, the worldwide quarantine was a strain on many people’s mental health. Humans are social beings after all and forced isolation is bound to have a negative effect, despite its necessity. It was during this time that recording artist, Summer Williams, began to brew ideas for the matching/music creation app, Lyricster.io.
Williams’ innovation was preceded by strenuous efforts to record, collaborate and discover new music during quarantine. There had to be a more efficient way to go about this without having to search countless databases for music album credits. Having used dating apps in the past, William, 30, saw this as an opportunity to add a new spin to musical fraternalization.
“Isolation and quarantine was a blessing and a curse. Being forced to stay indoors allowed me the time to slow down and focus on my needs as a music creator personally and what was lacking in the professional networking space,“ said Williams.
In doing so, she has entrenched herself as a member of the music industry as both a creator and executive. A graduate of Manhattanville college with a degree in music management, Williams is an R&B songstress in her own right, going by the moniker, SLSTRSS, with Lyricster.io serving as her passion project.
The official beta for Lyricster.io launched on January 21, 2021 and was presented at their Songwriters Super Conference, where potential consumers tuned in for a day of expert panelists in the music publishing, sync licensing, audio production, songwriting, social media and entrepreneurship industries, representing industry giants like; Twitter, Songtradr, Songtrust, Berklee College of Music and more.
While collaboration is one of the app’s main selling points, it is more than just about pairing musical acts together. Lyricster.io works to empower the individual through various initiatives. Each Thursday at 9 p.m., Lyricster.io hosts a free members-only virtual session with expert guest songwriters and producers from all genres of music, breaking down their creative processes.
The app has also introduced an online education platform titled “Lyricster University.” The learning tool uploads weekly ‘‘fast classes,” with animated lessons explaining complexities like; royalty collection and copyright protection for musicians, a major point of contention for established artists when speaking to hopefuls. Other features include the ability to filter by genre, location, vocal style, creator type and much more, with the option to match and message your way to musical relationships.
The idea of dating apps are amazing in terms of easily searching through an endless database of users so we kept that similar. What we added are key features fit for musicians, like video profiles instead of picture profiles, links to all music streaming, file sharing and ‘sounds like” filters to experience a user’s full audio resume before being swiped.
Lyricster founder Summer Williams
As a beta launch, all services are completely free. After March 15th, swiping in your city will always be free, but access to the upgraded filters and location search will be $14.99/month.
Imagine the beautiful new sounds of music when we can all just collaborate, both in song and in this country. This year has been incredibly traumatic as a dark-skinned woman in America and it’s time we change the sound ourselves, because we’ve played nice long enough.”
We’re coming up on one year without live music. Venues across New York State, and the country, are shuttered with no option for music beyond streaming. Our venues are the lifeblood of so many towns and cities across this great state, and these independent music venues still need our help, as they struggle to stay afloat until we’re in the clear.
In June, NYS Music photographers, having no live music to shoot, began looking at these music venues across the state. Over the summer and fall we saw venues closed for the foreseeable future, including The Jazz Standard in Manhattan. Venues are rallying their supporters to help as best they can at this time, including Arlene’s Grocery on February 9.
Paramount Hudson Valley Theater, Peekskill, NY – photo by Steve Malinski
Venues in New York and beyond are stuck in limbo, but they aren’t gone – not for good – so long as we can find resolution and relief at the state and national levels. The Heroes Act has passed in the House of Representatives, and the upcoming relief bill looks poised to jump-start the economy and provide a much needed lifeline to venues.
Winter has arrived, and across the state, venues still shine through the snowy nights. We start this month’s photo series of music venues across New York State in New York City, courtesy of Joseph Buscarello.
Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music now, for when this is over.
Staten Island-born musician, multi-instrumentalist and member of Blue Oyster Cult, Richie Castellano, celebrates his 41st birthday today.
Growing up in Staten Island, New York, Castellano is a fifth-generation musician who developed his musical talents at a young age. He is also an audio engineer.
Castellano earned his degree in Music Production at the State University of New York at Purchase. In 2001, he produced and engineered Regina Spektor’s debut album, 11:11. During his undergraduate career, he won three awards for his talents, including first place in the Songwriter Hall of Fame’s songwriting competition, 1998.
His versatile musical talents led him to Blue Oyster Cult. Beginning in 2000, Richie Castellano was one of their engineers. However, in early 2004, he received a call that would change his life: Eric Bloom of the band asked him to play bass. A few years later, in 2007, Castellano switched from bass and became the full-time guitarist.
His cover of Bohemian Rhapsody by Queen, in which he played every instrument and sung each harmony, went viral.
Today, Castellano continues to be a creative force in music. He sometimes works at his family’s music store in Staten Island, while also running a podcast called Band Geek, and continues to engineer and produce music.
While the COVID-19 quarantine has pretty much killed the live music business, it has only served to radically stimulate every idle musician’s appetite to record. One of the more interesting ventures to come out of this deluge, in concept and sound, is a Hudson Valley-birthed one, The Seed Project.
The Seed Project was initiated by Kingston drummer/songwriter, Sammi Niss, as a way to stay musically and socially engaged through the COVID-19 lockdown. Last winter, Niss landed a coveted gig as the new touring drummer for indie darlings Real Estate. But by early spring, their entire year of booked shows had been cancelled and, like musicians everywhere, she had lost her livelihood, purpose and primary mode of human contact.
With too much time on her hands and a multitude of beats and melodies dancing in her head, Niss recruited five bandmates and friends—all veteran songwriters, multi-instrumentalists and home-recordists— for a new D.I.Y. project. Her musical partners came from area bands including Frankie and His Fingers, Battle Ave., The Sweet Clementines and Hiding Behind Sound, most of which are associated with SubFamily Records. This label is a tiny but critically-mighty Hudson Valley collective founded by Niss, Frank McGinnis and John Burdick, one that has issued 10 long players since 2017.
The idea was to generate new songs and audio works collaboratively and serially, in the vein of the drawing game Exquisite Corpse. One person would begin a “seed,” which could be anything from a drum beat or guitar riff to a complete song demo. The seed would then advance, by random selection, through all six home studios, before returning to the seeder for mixing and finalization.
Sometimes the projects progressed predictably. A song lacking bass would get a bass part and a conventional rock arrangement would fall into place. At other times, incongruous elements derail the expected path, with choirs, full-on electro-meltdowns and audio manipulations performed by one member upon the contribution of the another.
“The whole thing turned out super interesting, more so than I might’ve expected,” said Niss. “There are some real classic good songs here, of no one genre really. There’s also some experimental art-splats and some really weird shit!”
To me, it sounds a little like each of us, but not a lot like any of us,” added John Burdick, guitarist with The Sweet Clementines and Old 97’s frontman and fellow New Paltzer Rhett Miller. “The process took on a life of its own, a new songwriting voice in which we were all kind of equally powerless.”
“The year 2021 will probably go down as a kind of baby boom for new music and records,” continued Burdick. “Our SubFamily Records family is kicking it off with this huge pile of curiosities, soon to be followed by great new records from Frankie and His Fingers and Battle Ave.”
The Seed Project is a sprawling audio adventure serving up 24 tracks, spanning a host of moods and styles. It was written, performed, and recorded by Sammi Niss, Frank McGinnis, Adam Stoutenburgh, Jesse Alexander, Pete Naddeo and John Burdick.
The album kicks off with the Elliot Smith-like “Needle in the Hen’s Teeth.” This is a Naddeo-seeded track that typifies the pure pop sensibility that runs through most of the tunes here, even when they dress them in a little Apples, in Stereo-like low-fi weirdness.
Things get more experimental on the following number, by Burdick, “That’s A Very Fine Example of a Metaphor, Child.” It begins with ghostly vocal humming, leading into a whirl of reverb-free distorted guitars, analog synth swirls and a burbling bass sequence. This is all before getting to the actual meat of the song, its delightfully detuned vocals that enter about two-thirds of the way in.
Most of the grooves provided here by drummer Niss, on tunes like “Backhand Slice” and “Double Swish,” are reminiscent of her new band, Real Estate. They are light, sleepy and strangely peaceful for something born during these crazy quarantine times. All the songs here are complemented with smart arrangements and instrumentation, especially the wonderful guitar textures provided by Naddeo, Alexander, Stoutenburgh, Burdick and Niss herself.
One of my faves is “Michigan.” It unfolds with some backwards acoustic guitar, which jump-cuts to some furious strumming and offbeat drum accents for the main body of the song. The track’s highlight is Naddeo’s Robert Fripp toned lead guitar, which dances a bit like Fripp’s own on Brian Eno’s “St. Elmo’s Fire.”
There are some straight-ahead radio-friendly tunes like “CompliKate” and “Rough Quotation,” which owe a bit to the Velvets and Luna. Also radio-friendly, in a decidedly alternative rock way, is “Seedling 1,” a reverb-laden, glacial-paced entry that sounds like a Mazzy Star outtake. On the McGinnis- inspired “State Seltzer,” we get a disco beat and electro percussion, all dressed with some sweet noise guitar, as Niss recites Dr. Seuss’s Green Eggs & Ham. And, far more bizarre, the main riff/refrain is strangely reminiscent of the theme song to The Cosby Show!
The Alexander-led “Richard, Lost in a Long Song” is a bit of waltz time weirdness, a spoken word fable of some otherworldly sort, with dulcimer, toy piano and “synthy stuff.” It’s something that kind of brings to mind the playful weirdness of “Mount Vernon and Fairway,” the Brian Wilson fable from the Beach Boy’s classic Holland album. Another standout is “Mary Heart in a Martha World,” one of the more fully realized and arranged tracks here, a stately ballad with some lovely harmony guitars and vocals from Burdick.
The collective even dips into pure instrumental textures with the somnambulant, Stoutenburgh-seeded “Nadir,” the driving “Pop Discreet” and the electronica noise and rhythmic breakdowns of the album closer, “Oby Award.”
The Seed Project is a strangely unified creation for one crafted by six different minds and musical sensibilities, working in six different locations. What’s most delightful is its looseness, the pure sense of play in it, the alchemy when musicians are closely listening to and complementing each other. It’s an album chockful of memorable melodies, killer hooks and textured detours, where the experimentations always complements and never overtakes the song.
Mikaela Davis has put the Flower City in Upstate New York on the map as a region where the harp and its sound has spread from Rochester to across the world. The last time we spoke to Mikaela was back in 2012 and was anticipating on what the future would bring for her. She took some time with us in the beginning of 2021 to talk about her past, present, and future music experiences in New York State.
The harp has been known since antiquity in Asia, Africa and Europe, dating back at least as early as 3000 BCE. The oldest description of a harp can be seen in the wall paintings of ancient Egyptian tombs in the Nile Valley. In the Americas, harps are widely but sparsely distributed, except in certain regions where harp traditions are very strong.
Matthew Romano: Who was involved in your musical education for the harp in New York State?
Mikaela Davis: Cynthia Andrews, who just retired this past year, she started me on the harp at Penfield School District in Rochester. I think Penfield is the only public school in Rochester that offers harp, then private lessons with Grace Wong who was the principal harpist in The Rochester Philharmonic Orchestra. I joined the Rochester Philharmonic Youth orchestra, that toured Canada and Europe. Then I went on to college at SUNY Potsdam to learn under Jessica Suchy-Pilalis at Crane School of Music.
MR: Are there any live music experiences in New York State during that time that stood out, that influenced you?
MD: Well, I remember in High School I used to ask for a Jazz pass for Christmas every year. Me and my high school buddies would go to every show at Rochester Jazz Festival we could, from 2007 to 2011. I’ve gone to so many concerts at this point they all blur together. At Mountain Jam 2016 where I sat in with Marco Benevento, Wilco played, after seeing them for the first time it confirmed that this is my favorite live band, it was the best live show I have ever seen.”
MR: Tell me about your history of the collaborations with Marco Benevento over the years?
MD: A friend of mine, who has a recording studio in the Catskills, where Marco lives, had passed my info along. Then he had me go open for him solo on the West Coast for some dates. That was where we met. My first time playing at Levon Helm Studios was with Marco. We’re really good friends, my band and his band and his family. We always play a couple shows together every year, I love hearing from Marco to play a show and it’s great, always a fun time. We joke about going to his studio to record a country record. It was his choice to cover David Bowie’s “Heroes” and to hang out at Mountain Jam to have me sing on it.
MR: How did your first collaborations with Bob Weir and Wolf Brothers come to fruition in Syracuse at The Landmark Theater and in Buffalo at Shea’s Performing Arts Center?
MD: Someone sent a live video of my band covering “Down by the River” by Neil Young in London to them and said, hey this harpist is cool she should guest with Bob. The Wolf Bros usually have friends sit in with them from around the world and they didn’t have anyone scheduled for Syracuse. That’s how it happened, being at the right place in the right time I suppose.
Mikaela Davis and Southern Star covering “Down By the River” in London
MR: How did you land on the song selections for the set?
MD: Bobby wanted me to play on “Birdsong,” I suggested “China Cat” into “I Know Your Rider,” and “Wharf Rat,” maybe. Yea, then last minute I suggested “Down by the River,” three days prior they said Bobby hasn’t done that before, let’s do it. So that was really magical, really fun. That was probably my favorite sit in, even though I was so nervous to play with these legends, Don Was, he’s incredible and Jay Lane
Jay Lane, Bob Weir, Mikaela Davis, Don Was
MR: Was the second encore at Landmark where you all did “Ripple” planned?
MD: No, he threw that one at me, “lets go do ‘Ripple,’ come on”, he does that every time I sit in with him. “Hey I want you to play on this too,” so I have to be ready. Cian McCarthy, my band mate, who’s a massive Dead fan, helped me learn all these songs inside out and assisted me in the back with the chord changes
MR: Hearing your harp on the song “Peggy O,” a cover of an old Scottish ballad from 1644 that the Dead made popular inside the Shea Theater in Buffalo,. really made that venue come alive with art and history
MD: That’s great, that was magical too, I forgot about singing “Peggy O” with them.
Mikaela Davis with Bob Weir & Wolf Bros at Shea Theater in Buffalo, NY
MR: Did these collaborations help influence you and Southern Star to cover the Live/Dead 69′ Album in October of 2019?
MD: Oh yea definitely, that’s why we chose to do it , learning Live Dead was really fun and difficult, we rehearsed like twice a week for a month because we really wanted to play through like the record with no stops. It gives me so much respect for that band, they were really innovative and incredible in what they were doing. I think “Feedback” was possibly my favorite.
MR: You and Southern Star stayed at Stone House Cottage on Oneida Lake in Summer of 2020 for a recording of “Cumberland Blues” How was that experience?
MD: There was five of us in this tiny house, we rented it and hung out on the lake, played music and did psychedelics. We just played that live with two microphones and recorded it for an Australian Radio Show for the 50th anniversary of Workingman’s Dead.
“I don’t know now, I just don’t know if coming back again” Oneida Lake 2020
MR: In Summer of 2019 you were in attendance for The Particle Kid, Lennon-Claypool Delirium, Flaming Lips Concert at Saranac Brewery in Utica, NY between Southern Star shows that also had Krist Novoselic from Nirvana in the crowd, any cool takeaways from that night on the town?
MD: That was honestly one of the most magical shows I’ve been to in a while, My friend Jake Engalls is in the Flaming Lips so we got to hang out, I’ve often collaborated with him for his solo band “Spaceface” A quick Hey thank you for being you was said to Krist Novoselic. Sean Lennon and I exchanged information and I was going to play with him for a residency he was planning at The Stone in New York City that unfortunately got postponed due to the pandemic
MR: You started 2021 with a show at Caffe Lena in Saratoga Springs where Bob Dylan played in 1960, isn’t your harp named Luna?
MD: Yea , I named her Luna when I was a teenager, I guess I named her that because she comes alive at night
MR: You debuted new material that night that came from a Seven day songwriting session with the band Rubblebucket, I think “The Pearl” was a standout as a musical analogy on what’s going on with the world inspired from a story by your Aunt Julia who referenced the dirty muck that we are all kind of stuck inside America right now
MD: Oh thank you, Yea that’s what I thought when my Aunt was talking to me about it , and she’s been wearing her pearl earrings a lot so, I truly believe ya know something great can come out of terribleness, I suppose if an oyster can make a pearl, so can we.
Caffe Luna January 9 2021
MR: At the end of the Caffe Lena Show you said “ I feel alive again, well see ya again soon, cheers” What’s on the horizon for 2021?
MD: I am hoping to make a record with my band, actually not hoping we’re going to do it. we’re going to make a record this year, we have enough songs and basically just trying to figure it out to do it remotely or safely gather and find a spot to record
MR: Marco Benevento or Sean Lennon’s studios in the Hudson Valley could be a great spot or maybe even with the virtual options you can gather a group of friends remotely for a cover of Talking Heads “This Must Be the Place”
MD: Yea great tune, well have to keep that in mind, yea well anything is possible that’s for sure, it’s a new age
Welcome to The Dutchess. Imagine over 250 acres of land filled with the most poetic scenes. A place where you are able to not only go for a walk, or learn how to garden, but you can also enjoy your favorite music or art pieces. But, the only way to get an invite into this oasis was just through word-of-mouth. No social media. No mass emails.
You may think a place like this must be somewhere in California, but this secret venue experience is located actually right here in New York, within the Hudson Valley.
Eric Mushel works at The Dutchess and is surprised that the venue doesn’t need to purchase any ads.
“Almost fully word-of-mouth and never got any paid advertisement,” Mushel said of the unique venue. “And we have been completely COVID compliant- especially since we have so much space.”
It’s hard to describe the vibes you feel when the property’s trees welcome you down a long driveway. It feels like there is instant peace within the air. You are surprised to learn that there is also a bar and restaurant with an amazing view and plenty of space to enjoy an outdoor gallery, or even a music festival.
Even though the pandemic was not so kind to restaurants or venues, these special grounds have been able to offer residents from all over New York state; a chance to organize yoga retreats and socially-safe galleries.
We are not able to share about the many people who have rented out the space since that information is protected. However, if you are a pop-culture guru you may recognize some scenes from a movie or even a fashion shoot for a famous brand.
When you are there, you can also feel the history throughout the farmhouses and the herb gardens. The property owners have been able to reserve the country charm of the late 1700s, yet incorporate modern amenities that can make anyone feel like a celebrity.
When one hosts an event, most of the produce is grown right on the property. In fact, there are event options to pick your own food for a 5-star meal.
So, if this place sounds too good to be true, contact porter@thedutchess.com to organize your next, invite-only, event and experience the magic for yourself.
