Drummer for the Rolling Stones for over 50 years, Charlie Watts, has died. The founding member of the British rock group passed away on Tuesday, August 24. He had recently stepped back from the band’s fall tour, which is slated to kick off on September 26 in Saint Louis, MO.
British Rock musician Charlie Watts, on drums, of the group the Rolling Stones, performs onstage during ‘The Rolling Stones American Tour 1981’ (in support of their album ‘Tattoo You’), at Madison Square Garden, New York, New York, November 13, 1981. (Photo by Gary Gershoff/Getty Images)
It is with immense sadness that we announce the death of our beloved Charlie Watts. He passed away peacefully in a London hospital earlier today surrounded by his family. Charlie was a cherished husband, father and grandfather and also a member of the Rolling Stones one of the greatest drummers of his generation. We kindly request that the privacy of his family, band members and close friends is respected at this difficult time.
Earlier this month, Watts withdrew from the Rolling Stones’ upcoming COVID-19 pandemic-postponed U.S. tour, noting he needed to recover from an unspecified but “successful” recent medical procedure. At the time, Watts’ spokesperson said “Charlie has had a procedure which was completely successful, but I gather his doctors this week concluded that he now needs proper rest and recuperation. With rehearsals starting in a couple of weeks it’s very disappointing to say the least, but it’s also fair to say no one saw this coming.”
Despite battling and recovering from throat cancer in 2004, Watts overcame substance abuse in the 1970s and 80s and was seen as a steady hand behind the kit, melding jazz into the rock n roll sound of the Rolling Stones.
Drummer Jon Fishman paid a natural tribute to Rolling Stones drummer Charlie Watts ahead of the bad news this week. On his August 18 “The Errant Path” radio show, Fishman spun “Moonlight Mile” and commented ”For me the sound and feel of Charlie Watts will never get old. I just love that guys drumming. It stands up no matter what’s before it or after.”
Trey Anastasio Band drummer Russ Lawton, upon hearing the news shared, “So sad to hear about Charlie’s passing. Always loved his feel, the tasteful drum parts he came up with and his sound too. The reason I’ve been playing Gretsch drums since I was a kid was because of him. He will be missed.”
Like many renaissance bands of the 60s, The Rolling Stones have lost one of their core members. However, the show must go on. Drummer Steve Jordan was announced as the fill in drummer for Watts when he announced he would sit out the tour, and will continue playing drums on The Rolling Stones 2021 tour. He has previously been the drummer for Keith Richards’ solo band The Expensive Winos since the 1980s.
The New York Youth Symphony (NYYS) is thrilled to announce their 2021-2022 performances under music director Michael Repper. Performances will take place in Stern Auditorium and Perelman Stage at the world renowned Carnegie Hall. The full orchestra will return to the stage for three performances in November, March and May, performing repertoire by Valerie Coleman, William Grant Still, Mahler, Tchaikovsky, and more.
The New York Youth Symphony performs a concert at Carnegie Hall, on November 17, 2019. Credit: Stephanie Berger.
Soloists joining the orchestra include baritone Paulo Szot on Mahler’s Songs of a Wayfarer and Rodgers & Hammerstein’s Some Enchanted Evening from South Pacific, and violinist Grace Park performing Barber’s Violin Concerto. The performances will also include the world premieres of new works by First Music commission prize winners Jonathan Cziner, Patrick O’Malley, and Liza Sobel.
“We are thrilled to return to Carnegie Hall. We’re exceptionally proud of all we accomplished during this period of uncertainty, but performing live for our community is something we have all missed dearly. We are ecstatic to return to the stage and celebrate music and unity together with you through our performances.”
Michael Repper
The New York Youth Symphony is the most awarded youth program of its kind in the nation, recognized for its innovative educational programs for talented young musicians. It was founded in 1963 as an orchestra to showcase the metropolitan area’s most gifted musicians aged 12-22. Since its creation, its activities have grown to encompass programs in jazz, chamber music, conducting, composition, and musical theater songwriting. They have performed at world class venues such as Carnegie Hall, Jazz at Lincoln Center, and the Public Theater.
2021-2022 ORCHESTRA Season Michael Repper, Music Director
Season Opening Concert Sunday, November 21, 2021 at 2:00 PM Stern Auditorium/Perelman Stage at Carnegie Hall Valerie Coleman: Umoja: Anthem of Unity Patrick O’Malley:Obliviana (First Music commission and World Premiere) Tchaikovsky: Symphony No. 5 in E minor, op. 64
The McCrindle Concert Sunday, March 13, 2022 at 2:00 PM Stern Auditorium/Perelman Stage at Carnegie Hall Barber: Violin Concerto, op. 14, featuring Grace Park, violin Jonathan Cziner:Ruach (and Other Delights) (First Music commission and World Premiere) William Grant Still: Symphony No. 1, “Afro-American”
The Spring Concert Sunday, May 22, 2022 at 2:00 PM Stern Auditorium/Perelman Stage at Carnegie Hall Liza Sobel: First Music commission and World Premiere Mahler:Songs of a Wayfarer, featuring Paulo Szot, baritone Rogers/Hammerstein:Some Enchanted Evening, featuring Paulo Szot, baritone Brahms: Symphony No. 2 in D major, op. 73
Don Everly, the remaining half of the iconic Everly Brothers, has passed away at the age of 84. Together with his brother Phil, The Everly Brothers helped revolutionize and form the early sounds of the rock and roll movement that would engulf America. Their distinguished harmonies accompanied with elements of country music would go on to influence an entire generation of fellow musicians, enabling them to be one of the first artists to be inaugurated in the Rock & Roll Hall of Fame, alongside Elvis Presley, Chuck Berry, Little Richard, Buddy Holly and Jerry Lee Lewis in 1986. Phil Everly later passed on in 2014 at the age of 74.
Issac Donald “Don” Everly was born on February 1, 1937, about two years before his brother Phillip. They spent most of their childhood in Shenandoah, Iowa, raised by musically-inclined parents who performed country music throughout the South and Midwest before moving to Iowa. Their father Ike hosted a show on local Iowa radio, first singing with with his wife Margaret, and later “Little Donnie” and “Baby Boy Phil” joined them as the Everly Family. The family would later relocate to Knoxville, Tennessee. Here, the brothers would find work on Cas Walker’s Farm and Home Hour, a regional radio and TV variety program. They managed to catch the eye of Chet Atkins, who managed RCA Victor Studios in Nashville and was also a family friend. Atkins was somehow able to get the brothers a recording deal with Columbia Records in 1956. However, the lone single “Keep a-Lovin Me,” which Don wrote and composed ,flopped and the Everlys were quickly dropped by the label.
Again with the help of Atkins, they were later hired by Acuff-Rose music publishers in Nashville, but strictly as songwriters. However, this connection helped finally launch their career as they were soon introduced to a Cadence Records label that was looking for recording artists. At Cadence, they were presented with a song that had been rejected by dozens of other artists previously. But the Everly Brothers would record it in February of 1957, and their lives would never be the same again. “Bye, Bye Love” reached No. 2 on the pop charts, fighting with Elvis for radio airplay, and also reached No. 1 on the country and No. 5 on the R&B charts.
Their follow up to “Love” was somehow even more successful, with “Wake Up Little Susie” topping both the pop and country charts just a few months later. Both songs, and many of their other hits like “All I Have To Do Is Dream” and “Bird Dog,” were all written by the husband-and-wife Nashville writing team of Boudeleaux and Felice Bryant that Cadence Records employed. Their early hits helped them land an opening spot for Buddy Holly and the Crickets for tours in the late ’50s. Their innovative “countrified” rock style and distinct harmonies would begin to plant the seeds of influence for some of the greatest bands of the latter half of the 20th century. The Beatles once referred to themselves as the “British Everly Brothers” in their nascent days and Simon and Garfunkel have readily admitted to them being the driving influence behind their collaboration.
Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock and roll.
Paul Simon
After three years at Cadence, the Brothers would sign with Warner Bros. Records in 1960. It was here that they recorded their first successful hit that they wrote and composed themselves, “Cathy’s Clown.” It would go on to sell eight million copies and become the duo’s biggest-selling record. It’s also the first song ever that Warner Bros. released in the UK. If there’s any doubt as to the popularity of this song, it somehow even made its way into a Phish show as the opener for their show at SPAC on 7/2/19.
The Everly Brothers would continue to churn out Top 10 hits in both the US and UK throughout the early ’60s like “Walk Right Back,” “Crying In The Rain” and “The Price Of Love.” In fact, they would average one Top 10 hit on the pop charts every four months from 1957 to 1961. However, royalty disputes would later emerge with Acuff-Rose, to the point where The Everly Brothers would only record songs from other composers/publishers so as not to pay them anything. This also meant they were cut off from working with the Bryants who had written so many of their hits.
Both brothers enlisted in the United States Marine Corps Reserve in 1961. They did resume their career after being discharged from active duty, but their success in the US would begin to dwindle. The Everly Brothers’ last US top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be)”, a song recorded but unreleased by The Chordettes. Album sales began to dwindle as well. The Everlys’ first two albums for Warner Bros. peaked at No. 9 US, but after that, of a dozen more LPs, only one made the top 200: 1965’s Beat & Soul. By the end of the 1960s, the Everly Brothers still maintained some success in Canada, the UK and Australia, but returned to their country rock roots with 1968’s Roots which was critically acclaimed. But this wasn’t enough to keep their contract with Warner Bros. from lapsing after ten years. In 1970, Don Everly released his first unsuccessful solo album. The following year, the brothers would resume touring once more, with Lindsey Buckingham joining them in 1972. But sadly, the brother’s relationship also frayed over the years. Their last performance together took place on July 14, 1973 at Knott’s Berry Farm in Buena Park, CA with Phil smashing his guitar and walking off stage leaving Don to finish the show by himself while famously remarking, “The Everly Brothers died ten years ago.”
Both brothers would then go on to pursue solo careers, with Don Everly finding some minimal success on the US country charts in the mid- to late-1970s with his band Dead Cowboys, and playing with Albert Lee. He also recorded with Emmylou Harris on her 1979 album Blue Kentucky Girl. But nothing approached the commercial success he had experienced with his brother.
The brothers would later reunite in 1983, with a concert at the Royal Albert Hall in London which was recorded for a live LP and video broadcast on cable television. This helped put them back on the map and included a new album EB ’84, produced by Dave Edmunds with its single “On The Wings Of A Nightingale” written by none other than Paul McCartney. It returned The Everly Brothers to both the US and UK pop charts for the first time in more than a decade.
Their last charting hit would be in 1986 with the title track to Born Yesterday. Afterwards, their career consisted of mainly collaborations with other artists. They would go on to provide backing vocal’s on Paul Simon’s signature solo effort, Graceland. And later, in 2003 and 2004 on Simon and Garfunkel’s “Old Friends” reunion tour, they would share the stage again. As a tribute to the Everly Brothers, Simon & Garfunkel opened their own show and had the Everlys come out in the middle of it. At almost all shows, Simon made a point to express how much of an influence the brothers had on his career.
There was a time in history where hip hop gave insight into the issues facing the Black race. But as the infantile genre continued its ascendency into the mainstream during the mid-to-late 1990’s, popular acts and record labels began shifting away from the raw, gutter and street sound of rap. Rather than focus on tales of the inner-city, lyrics began to reflect a more glamorous lifestyle, that was backed by a wardrobe to match.
Onyx never suffered from that conundrum. The Southside, Jamaica outfit always seemed to know where their niche lied. They excelled in their raw, energetic, raucous, and lyrically inclined style of rap. Coming off a platinum-selling album and high-charting single, it would’ve been easy for them to continuously chase commercial success. Rather, the “Slam” emcees stuck with what originally garnered them critical acclaim.
Their sophomore effort, All We Got Iz Us, has been certified gold with over half-a-million sales yet, never reached the success of its predecessor. Nonetheless, the Jam Master Jay signees delivered several more classic hip hop records. The singles, “Live Niguz” and “Last Dayz,” have gotten their just due, but the anthemic “Walk in New York” best resonates with the parts of New York City many can’t fathom.
According to New York City’s crime database, in 1993 (the year Onyx’s debut album dropped) the city faced nearly 2000 murders, and over 85 thousand robberies. For better context, New York City is estimated to face only 468 murders in 2021, a substantial difference. In light, it is easy to see why Onyx’s style, sound and lyrics reflected such lawlessness and aggression, those were the times!
Their description of their hometown is more resemblant of a violence laden wasteland where ruthless aggression rules above all. Yet it’s clear as day the pride each emcee exudes when characterizing their beloved New York City, for better or worse.
The title “Walk in New York” refers to the strut and swagger one from New York maintains as they walk, particularly when part of a larger ensemble. And as the proprietors of hip hop, New Yorkers held a certain panache when it came to the culture, taking pride in setting all the latest trends.
Fredro Starr begins the record, emphasizing that New York was not a part of the gang culture that had become so prominent in hip hop as a result of the West Coast influence (possibly a jab, as this was during the height of the east coast-west coast hip hop beef), before reminding listeners of the intense animosity between NYPD and young minorities.
We don’t throw gang signs in New York We just be on some shit in New York New York City, shiftee low down gritty You punk niggas yell pity and smell shitty NYPD can suck my dick
One of Hip Hop’s greatest attributes is that it allowed inhabitants of inner cities to express their first-hand experiences. Unpolished thoughts that are not ready-made for the mainstream were encouraged during the 1990’s. On the song’s second verse, Sonsee furthers fortifies the real New York experience.
Them damn streets are eager to claim all lives But fuck it, it’s my home hate it or appreciate it It’s the torrid 8 million story orientated Designated and made for the real renegades So I never been afraid to stomp, comp, then get paid
As the song continues, Sonsee’s temperament changes, he goes from accepting the cards he was dealt, to taking pride in the lawless nature in which many from the inner-city were conducting themselves. Which I maintain should go in the case study for nature vs nurture.
New York hold shit down on keep locked we rock all night And if Zoo York niggas wasn’t part of your shit, your shit wasn’t right We known to start shit up from trends, to riots, to fracas And big enough to fuck up anybody that wanna attack us And that’s cause the five boroughs are deep Most of us are peeps, true Zoo York niggas we play for keep
The unmistakable Sticky Fingaz concludes the record with a fitting encapsulation of mid-1990’s New York City. From the violence, the distinctive swagger that New Yorkers carry themselves with, the “by any means” mentality of its hustlers, and the tourists who visit the outskirts and the city’s landmarks, but would never step foot in the jungle.
Representin’ New York City and for what it’s worth Yo we the triflest mother fuckers on the face of this Earth So if you don’t like your life fuck with a nigga from New York The instincts we got is to shoot first then talk But what seems to always gives us away is our “niggery” walk And I speak from experience, so pleader take heed to advice We sellin guns and drugs and sex or anything for the right price The crime rate’s so goddamn high, we had to name the shit twice Cause tourists be scared to death to visit the criminal’s paradise Home of bloodshed and tears and for souvenirs there’s fears It appears nobody cares so say your prayers
While not a major hit record, the song resonates mainly with New Yorkers, specifically those who lived through those dangerous times as well as those who feel Onyx represent the values hip hop were founded on. Real street tales from people who actually experienced them.
So fuck the mayor, fuck Rudy, Ray, and the governor Ya’ll niggas couldn’t walk my walk, my talk’s ruggeder
In East Harlem, the Afro Latin Jazz Alliance (ALJA) in partnership with Lantern Organization and Mega Development, announce today, along with the New York City Department of Housing Development and Preservation, plans to bring a new 16,000 square feet Afro Latin Music & Arts Center along with 330 affordable housing units to East Harlem.
The project, Timbale Terrace, will construct a new mixed-use development on the east side of Park Avenue between East 118th Street and East 119th Street (formerly a NYPD 25th Precinct Parking Site) with a performing arts center operated by the Afro Latin Jazz Alliance.
Timbale Terrace will offer housing to low-income families while the Afro Latin Music & Arts Center will provide community programs, music and technical production training, after-school programs, free arts education classes, community event spaces, world-class live performances, and more.
“East Harlem is the community that best represents the mission of the Afro Latin Jazz Alliance, to use music as an entry point for service to the community and to reflect back to that community the beauty and ingenuity of its citizens”
Arturo O’Farrill, Founder and Artistic Director of ALJA
For the last two decades, ALJA has served as a well-renowned cultural institution in NYC preserving the music and heritage of Afro Latin jazz. The Timbale Terrace will allow the organization to expand their performance and educational programming. They currently are enriching over 1,000 elementary, middle, and high school students in underprivileged NYC schools. 50% of the affordable units will be given a community preference status for residents who live in East Harlem (or served by the Community Board district of the project, Manhattan CB #11).
Along with Lantern Organization and Mega Development, ALJA is eager to work with essential local arts and cultural groups such as Art For Change, the Association of Hispanic Arts, El Museo del Barrio, La Casa de la Herencia Cultural Puertorriqueña, Speaking In Rhythms, Taller Boricua PR Workshop, and many others.
For more information regarding ALJA, please visit: afrolatinjazz.org
Self-described manipulator of light. DJ by night and day. Keyholder to the power of music and unknown grassroot secrets of our music and political history. A description of him will often times be brought up amongst select youth who attend his nights at clubs before they can think of his name. “ Who was that old guy DJing when we went to Union Pool?” “ He had played the techno music and was playing until we left at 3 am” “ Ah… Yes, DJ… DJ Preskool.”
Found halfway down on his website at the beginning of a paragraph, it transcribes the origin of his name is that “Before there was Old Skool or Nu Skool, there was PreSkool.” So, who is this DJ?
Larry Weissman, 71, who used to only be DJ PreSkool on weekends, quit the ill-fitting suit of corporate America in 2014 leaving his position as Vice President of IT at Wells Fargo. He then put himself through Dubspot (A DJ school in New York City) to do something that he seemed to have been manifested to do, DJ.
Larry Weissman outside his home. photograph by T. Sesselman, 2020 during quarantine in Heights, Jersey City, NJ
His “71 years around the sun” has been one that some envy and others look down upon. But frankly, he is just here to live the life that he wants to live.
The son of a third-generation baker, Larry Weissman’s story starts in Springfield, Massachusetts. Having been born in the ’50s there was “a lot of tension between, you know, people that were on the left and the right. Plus Springfield is a very old city and very segregated. So you know like many people of my age, I mean we experienced somewhat of a negative situation,” Weissman had said recalling his time growing up.
My dad as a person had pretty much always treated people right but was also very much a classic second-generation immigrant who had fought bravely in World War II, although he definitely mellowed out later. But me and him butted heads a lot in my teenage years with the pressure of the Vietnam War, which I was against. That kind of all made me wanna leave, and basically, I ended up running away going to Boston, living in Boston for a summer, then figuring out how to stay in Boston.
I was listening to The Beatles and the Stones and Jimi Hendrix, smoking pot and doing everything…I was a rock N’ roller.
Larry Weissman
Once in Boston, he did a year and a half of the College of Basic Studies program at Boston University before dropping out. Weissman explained, “the theory was that they were looking for people who were highly intelligent, but were not good academically, right up my alley, right? It was a good idea, except what they didn’t realize was that they were describing all these hippies.”
Weissman described Boston back then as to how “it was like San Francisco. It was like a very hip place to be. There was tons of great music, J. Geils. All sorts of really good stuff going on.” After dropping out, it wasn’t long until he left Boston and hitchhiked across the country a few times “ It’s hard to explain to people now but it was just kind of a thing where you’d meet certain people. Maybe you hang out with them for a couple of months.”
Before settling down in San Francisco in 1971, Weissman had lived on commune in Oregon. “We anticipated that there was going to be some sort of actual political civil war, it was even more against each other than it is even now, although it’s getting pretty bad now too.”
Left: Debbie Olcese, lead guitarist for the Lisa Kindrid band Right: Larry Weissman
But after a few years, Weissman realized that, “I was more interested in continuing to do community organizing and living in the city, so I moved down into the largest commune in San Francisco, which is called the Good Earth Commune” and living in the Haight-Ashbury neighborhood, known for its counterculture movements in the ’60s and 70’s.
While being a part of the White Panther Party A white people organization formed in support of the Black Panther Party) in San Francisco, Weissman had joined The Peoples Ballroom. He gives most of his credit to the Peoples Ballroom for starting his interest in producing music.
To me, part of being a hippie was all this new music going on.
The Peoples Ballroom was a coalition of community organizers and community people and bands and sound guys and all the different kind of stuff and the idea was to put on shows for the community that also combine music with, you know, information about different topics that were going on and to provide a certain amount of financial support for everybody by all of us, like passing the hat and sharing it.
We did it outdoors, that would range from block parties and small events in the Panhandle all the way up to very large events in Golden Gate Park, including many, many shows with thousands of people. I think the biggest show we did was the Grateful Dead and the Jefferson Starship in 1975, was 50,000 people in Lindley Meadow.
One of the jobs that I had was to come up with tapes to play in between the bands though I didn’t think of it at the time as DJing, but in fact, at night we would go to my friends recording studio and we were making these tapes to play about. Ironically even some of the music I played last night (referring to his DJing at Union Pool the night before the interview) is music that I played back then. Like. It’s funny how it all comes around in circles.
Larry Weissman
The organization had also sought out to make political changes as well. In 1969 when the city government put out a bunch of anti-music laws they grew a backing and were able to get laws changed. Weissman said that they had thought “capitalists [had] taken over the music industry and what we were looking for is to create something outside of that.”
An anti-nuke rally, in San Francisco in 1978. People’s Ballroom built stage did sound, and security Larry Weissman was event manager and Jackson Brown played
During this time Weissman and the organizations he was a part of “were constantly butting heads with the police.” He talked about his daily run-ins with the police and the general harassment from them.
Weissman then recalled to what he said was one of the worst arrests for him was:
The Gay Liberation Front and the gay community in the Castro had just started the Gay Freedom Day things and we had a stage and security for them. Sylvester played. It was super great.
But the city didn’t like the fact that the hippies and gay people were working together. So at the end of the show, 6 cops broke into the backstage and beat the shit out of me, and took me to jail. I was charged with four counts of assaulting a police officer.I had a jury trial. Mom was there, she came out for it and I represented myself and got acquitted on all charges because they were phony.
Larry Weissman
Sometime after being acquitted, Weissman had served a year in jail after representing himself to the Supreme Court of California and it was even noted how well and organized he had represented himself. Once out of jail “people had scattered everywhere. I personally had a son who was like, you know five or six years old,” and a lot of the groups faded out as well.
Lucky enough, however, Weissman said he got “on the ground floor [of] computing in ’78, ’79 and ’80 in the Bay Area. Which was in fact the ground floor, I mean we got an Apple from Steve Wozniak personally.”
For a while, he would go between Queens and San Francisco, computerizing companies until he decided to make the transition fully to New York City in ’98 now that his son was older. In order to stay in New York he “ended up taking the job at Wells Fargo Bank. I was a senior VP, I kept all their inner wholesale banking systems running. I had 160 people. I worked with a big budget, I was doing good but at the same time where I was spending all my time outside of work was always going to plays and dance recitals and seeing music and hanging with all these kids that were in their 20’s.”
I started meeting a lot of younger kids that would eventually become the Williamsburg music scene and the first people were mostly over in the Lower East Side and then gradually moved to Williamsburg and I moved to Williamsburg probably 2004.
In many ways [it was] very similar to Haight Ashbury, it was a ghetto. There was a lot of empty buildings and stuff and while there was never the political intensity that they had in Ashbury they had in terms of the culture and the quality of the music of the area were equally there. I was very fortunate to meet a lot of those people and obviously since you know it was the best place I’ve found since the Haight Asbury.
Larry Weissman
After getting involved in the community friends had started to suggest that he should start to DJ since he had such an intense music depth and with that, a much more interesting perspective. With the encouragement from friends, he started to “DJ in underground loft-type stuff and then very slowly a couple of different clubs started happening,” Weissman said for how he started his DJ career.
Then finally in 2014 ,“I finally said you know what? This is what I want to just do, so that’s when I retired from the bank and became a full-time DJ.”
Photo By Syra Sparkle Left Photo: Crowd at Union Pool Right: Larry Weissman Performing
The main reason that I DJ is that I’m trying to show kids that there’s no one way to be like, not everybody who’s 71 years old does what I do, but what I do is equally as valid as some 71-year-old grandfather. Most of the songs I play have very specific messages about fighting against oppression and being free and opening your mind and that’s where me and these kids communicate.
In the ’60s we were trying to figure out how to have a better community and a better life without any guidelines or rulebooks. Rather than make speeches, I just try to be as authentic as I can in what I’m doing and I get a lot of love from people for that.
If they (referring to kids in their 20’s) saw me on the street they wouldn’t look at me twice, but we’re there in the backroom together and we’re sharing this music, and I’m not sharing my music. I’m not playing old 60’s songs, I’m trying to show them that there’s something about their music that’s the same as mine.
Larry Weissman
Starting to become a DJ at 50, Larry Weissman now splits his time between DJing clubs and working with the owner of 20 Sided Games in Brooklyn, doing live DJing for Dungeons & Dragons games. Weissman is “not looking to become famous. I just like doing what I’m doing with it where I’m at and I don’t let anyone tell me that I shouldn’t do it. ’cause I’m too old or you know this or that. So yeah, I urge people, particularly people in their 60s. Out in the 70s is don’t limit yourself at all.”
A younger Larry Weissman
When asked if he would change anything in the past, Weissman said, “I wish I wouldn’t have made my mom so unhappy when I was a kid. But ultimately at every point in my life, I did what I thought was the right thing to do. I’m not saying it was all the right thing to do, but I can tell you that I did what I thought was the right thing. So no, I don’t regret those decisions.”
The inaugural Catskill Mountain Jubilee (CMJ) was held August 12-14 at The Blackthorne Resort in East Durham, New York. The venue’s biggest event yet bent genres and danced around the intersection of electric and electronic. bands like Lotus bridged the gap between Doey Joey and Dark Star Orchestra. The eclectic influences and open minds made for a few days full of idea-filled conversations, exciting new music, and top notch vendors. The not-too-big, not-too-small festival in the middle of a humid heat wave created an atmosphere of mutual respect which cultivated a space ripe for profound understanding of ourselves and our community.
Gnomes and 9 Pins
The CMJ had a familiar story that aligned with folklore about sailors being led by gnomes deep into in the Catskills only to find joyful celebration full of music. Diverse creatures of the forest gathered to play games of 9 pin all night, illuminated by a seemingly ever burning bright firelight. It is said that every 20 years, that light can be seen and music heard. Some felt a pull, while others felt magic.
Blue emerges
This past weekend, bright lights could be seen and music heard. Strangely, in the land of Mountain Jams and Cosmic Alignment’s past, genres at CMJ could not be identified. In a most peculiar way, the over 400 residents at Blackthorne resorts were nowhere to be found the first and second day. It was as if they did not exist.
Pool Party with Doey Joey
Games were played at DJ Doey Joey’s pool party. Bright colors, bubbly movement existed in this thriving ecosystem that was the Joey crowd. Fans extended like dorsal fins, electric poi hung in the air like angler fish and glow sticks helped fasten hair into a bun as the warm day slowly cooled.
Meeting of the Minds in Transitional Times
“Face it, Black Tourmaline from the Himalayas is f***ing so rad. Believe what you want. The point is the aesthetics.” –
The intensity of the heat matched the the conversation during the day at CMK. Crystal Wielders and Zen masters took shade at the second stage which acted as an arena to discuss the ultimate debate: Quartz or Himalayan Black Tourmaline on your back?
Your Ocean
As night fell and humidity rose, attention could only be directed towards the place with the light. The oceanic thickness in the air combined with the “mind like alter” transition from healthy debate to learning seemed only appropriate.
Lotus gave intimate, yet energized upstate Flodown that evoked new levels of emotional connection for fans as guitarist Michael takes his victory lap with the band. Incoming stand-out guitarist Tim Palmieri and fellow guitar warriors exchanged theories on the most humane strategies for reducing a crowd into liquid form with their solos.
Moe. guitarist Al Schnier is not featured in this photo.
This is a moment that captures the heart and soul guitar playing in the band Lotus from Michel to Tim. Tim’s eagerness to learn from Michel and Michael letting go of this place will put a smile on all Lotus Fan’s Faces. We love the band. We will miss Mike, and we still want Lotus in our lives.
During tumultuous conditions, the vendors acted as protector and mother to any patron in need. Regardless of Maslow’s ranking, the vendors were there to provide quality accommodations every homeostasis need, like Keith’s Coffee.
Some vendors even appeared to have a special ability to live paint the eye of the storm, channel its dragon spirit and will the storm and all of its heat away.
Rainbow Party
After the storm passed and the heat broke, Annie In The Water acted as the rainbow ride all the way to a party “where the wine flowed like cheap booze in soup containers.”
The locals, feeling safe, were drawn out of what turned out to be their their air conditioned summer homes. What did the trick? It seemed the upbeat jams of Lucid did the trick. Lines of golf carts were full of folks seeing a world of possibility they never knew existed. The party continued into two nights of Dark Star Orchestra.
Powers and Abilities
Once the heat broke and everyone at CMJ began to interact with more cognizance, something unexpected happened.
Karina Rykman discovering what Umphrey’s McGee and Doom Flamingo member Ryan Stasik called “Levitation and Doom (Flamingo hat)”
As true celebration began, the inner power of each individual began to manifest itself in different ways.
Becoming Jellyman
These patrons responsibly used their powers to summon a deep feeling of gratitude and acceptance among all attendees. The group seemed to tie closer and closer bonds throughout the weekend.
Newfound confidence in community had many take their light bending to an entirely new level.
It takes some kind of magic to allow oneself to submit to romance and all that goes along with it. It is a scary world out there, but only with the support of our community can we find it in ourselves to kiss the girl.
Karina Rykman finding her inner light
Sometimes finding that one inner light in ourselves was all we needed.
Looking Forward
“fuck yes” – Woman on the left.
What does this all mean? It means that the power of a beautiful place, good music and supportive minds can remind us why we loved going to see music when it was all still new. It also allows us to tap into our inner optimist. Regardless of how bad life might feel, we could probably make it to the next set.
“It will buff out.” A rainbow Hemp Hatted Zen Master shared his mantra with the crystal keepers while gazing deep into the looking stone. He explained the phrase meant everything will be ok, but he has to do work.
“At least if the journey has no destination, the jubilant reassurance that we are all in this together” – Loosely quotes from David Byrne but with a CMJ twist
“Let’s cherish the Memories we’ve had so far, and have equanimity with what happens next.” – Wonzie
“F**k yeah!” -Woman on the Left (pictured above)
This Inaugural symposium brought together individuals from every planet, ocean, desert, pool party and pot of gold. It was a true meeting of the minds. Moving forward we will be empowered to take care of more fellow music fans, regardless of their favorite band or who they think is getting “The Torch.” In times where addiction runs rampant, we must remember that we are all in this together and everyone without a water bottle needs one.
The Catskill Mountain Jubilee certainly felt like it had been happening for centuries. and maybe it hasâ¦
For a reminder of how far we have come, check out this awesome video from shutdown with Karina and Marlo from Melt playing China Cat Sunflower
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Paul Moody, the William Deuel Band and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Paul Moody
Folk singer-songwriter Paul Moody is a recent Woodstock transplant from Chicago, who also performs under the name Moody Jr. His upcoming album Songs From Youth, out this October,is preceded by the contemplative, personal single “Breaking Into Cars.”
Moody’s music is immersive and ambient, with detailed soundscapes you can almost meditate to. The best example is “All I Had Was You,” his most-played song on Spotify with almost 500K streams.
The William Deuel Band
Formed inSaratoga Springs in 2018, The William Deuel Bandis a unique amalgamation of the Rolling Stones and Nirvana, with some country and blues thrown in for good measure. Their newest full-length effort, Moment in Time, features frontman William Deuel, drummer Chris Reed, Jr., and bassists Jason Brown and Ethan Henderson. Highlights include “Ballroom Bananas” and “Can’t Wait on Sunday.”
The Great Pacific Garbage Patch
“Situational Comedy” is the final track on The Great Pacific Garbage Patch’s debut album, You’ve Changed. Despite its title evoking images of Michael Scott or Leslie Knope causing hilarious hijinks at their workplace, this pop punk tune is bleak and anxious, referencing The Truman Show and a self-conscious feeling of being watched by an audience: “And it’s been a good run / I just hope that I could give the people what they want.” The Albany trio is made up of drummer Jordan Demarest, bassist Dan Haggerty and lead singer and guitarist Will Kachidurian.
Armand Hammer and The Alchemist headlined Capital One City Parks Foundation SummerStage on Sunday, August 15, showcasing underground rap from their latest record Haram. The lineup for the day was rounded out by an opening DJ set from GENG PTP, followed by short sets from Moor Mother and Fielded.
Armand Hammer and The Alchemist at SummerStage, 8/15/21. Photo by Buscar Photo
As with most SummerStage shows, the evening started off with a series of short films, including a two minute short Pumbucha in which a low-level influencer tries to push a disgusting beverage that only causes them physical and emotional pain. After the film, DJ and producer GENG PTP took to the stage to spin original songs and classic hits, including “All Caps” in tribute to the late MF DOOM (remember, all caps when you spell the man’s name). During the set, underground rapper AKAI SOLO joined inand performed “Nebula” and “True Truths” off of his records Eleventh Wind and Mad Space respectively.
GENG PTP at SummerStage, 8/15/21. Photos by Buscar Photo
Next up was genre-defying poet and multi instrumentalist Moor Mother. Blending spoken word poetry with avant-garde and jazz influenced beats and soundscapes, Moor Mother delivers a powerful and thought provoking performance. Standing at the front of the stage, she fervently echoed the mantra “WE ARE STANDING ON GRAVES,” echoing a similar plea from the SummerStage public announcer before the show to honor the native lands and burial grounds our cities are built upon. Moor Mother is currently putting out and featured on some of the most cutting edge music, much of which is available on her BandCamp page.
Moor Mother at SummerStage, 8/15/21. Photo by Buscar Photo
Fielded took the stage next and delivered a short set of lighter pop tunes. The three-piece band provided a bit of change of pace for the night, but sandwiched between the high energy and cerebral performances of Moor Mother and Armand Hammer, Fielded soothed the crowd and allowed the evening to take on a different atmosphere as the sun was setting. The singer from Fielded would also later make an appearance to provide vocals on a song for Armand Hammer.
Fielded at SummerStage, 8/15/21. Photos by Buscar Photo
Armand Hammer is the collaborative project of underground rappers Billy Woods and Elucid. The duo occupy a really specific sub-genre within the rap umbrella. Cerebral and relenting lyrical flow is delivered over more minimal but psychedelic beat patterns laced with horns and ambient loops. The instrumentals here serve more of a mood-setting purpose while the lyricists engage in a “stream of consciousness” rap style.
Elucid of Armand Hammer at SummerStage 8/15/21. Photo by Buscar Photo
Making their LP debut in 2013 with Race Music, the group hit a major stride with 2018’s Paraffin. Hailed as an underground rap opus, this LP brought the duo’s unique style to the forefront and began inspiring a wave of new rappers in the genre. With their latest release Haram, Armand Hammer is joined by heavyweight producer The Alchemist. His inclusion is apparent right at the start of the record, delivering a dark and hypnotic beat on “Sir Benni Miles” to set the mood of the record straight away. Haram explores, in startling detail, the wounds and fear still experienced by African Americans today as a result of colonial slavery and oppression in America. This fear is embedded in the lyrics and instrumentals across the 40-minute runtime of the record.
The group love sharing the stage with their peers, allowing fellow rap duo Shrapknel on stage to perform a couple of their songs. The whole night was a showcase of the exciting artists on Backwoodz Studios, all the artists who performed tonight have releases on the label.
Billy Woods of Armand Hammer at SummerStage, 8/15/21. Photo by Buscar Photo
Concerts right now are nothing short of a spiritual experience. After 18 months of isolation and fear due to the pandemic, being at a concert today is both daring but rewarding. Getting back to the enjoyment of a concert while being safe and cognizant of what is still going on is incredibly important at this time. Artists on stage are acutely aware of this, and seeing these artists take the stage again after all this time you can’t help but feel the energy emanating from them. After a couple of songs, Elucid was so caught up in the performance he desperately pleaded to the sound engineers, “I need more volume up here man, this is a physical experience right now,” a sentiment that was on clear display amongst the audience.
The Alchemist at SummerStage, 8/15/21. Photo by Buscar Photo
Next up for Capital One City Parks Foundation SummerStage is a very special benefit show with Common this coming Sunday, August 22nd. The show is supported by exciting hip hop artist Rapsody. We will be there – make sure to check back for a photo gallery and review of that show. All upcoming SummerStage shows will require proof of vaccination along with a government issued ID to gain entry. Make sure to check the individual requirements of any show you plan on attending as vaccine and testing requirements begin to take shape.
Dave Matthews Band performed in Syracuse, NY at the St Joseph’s Amphitheater on Wednesday, August 18 on the shores of Onondaga Lake. This marks the band’s third show at the Amp. Dave Matthews Band performed at the old Sky Chief Stadium in 2009 that included special guest Sam Kininger. Dave Matthews performed solo for the Dalai Lama at the Carrier Dome in 2012.
photo by Josh Davis
The rain-soaked masses came out for all occasions to the shores of Onondaga Lake to celebrate live music. It comes as fast as it passes through, so why fear the rain? The band responded with a 23-song set list mixed with old and new material from their catalog.
photo by Josh Davis
“Come and relax now leave your troubles down no need to bear the weight of your worries here let them all fall away.” For the first time in thirteen years, they opened the show with “Pantala Naga Pampa” -> “Rapunzel” that also appropriately starts the Before These Crowded Streets record. Thirteen years from this August 19 also marks the day Leroi Moore gave up his ghost as founding member on saxophone for the band.
The heavy rains commanded the band’s attention on stage. The crowd, as well, who started a “JTR” chant that helped changed the set list to oblige the rain dance request. The lyrics resonated off the stage through the sky, Rain, rain, Rain down on me Again And again, Rain down on me... Some thunder did come off the bandstand from Carter Beauford’s floor Tom drums during the JTR jam.
photo by Josh Davis
Do You Remember all of the Summer Tours this band has consistently put on with last year being its only break? Tim Reynolds was eager to play his electric guitar this tour. He shines during “Crush” and“You Might Die Trying.” His notes are both fueling off the horn section for full crescendo endings.
Dave Matthews debuts a song played for just the second time named “The Only Thing.” The jam includes Buddy and Tim jiving back and forth on funk. The new lyrics hit home in the crowd. I just want some kind of love I know cause I feel it, It’s a lonely world you’re living in. I just want love. more love. Lord knows I need it. It’s the only thing…
photo by Josh Davis
For those in the crowd battling a love they can’t break free from the band drops a raucous “Can’t Stop” The song started on Summer tour of 2006 and has grown to their most recent studio album. Dave’s words on this track clearly show the yearning that hopefully fades So hungry, you make me, I surrender… I’m hurting like a junkie for you. The outro chorus screams Free the Beast inside of me.
“You and Me,” a song written in Lake George, NY was played for the 375th time. The band also busted out “Captain” for the first time since Madison Square Garden In 2018.The “Jimi Thing” mash up jam featured covers by Huey Lewis and the News’ “I Want a New Drug” and Prince’s “Sexy Motherfucker.” Keyboardist Buddy Strong really stepped out vocally with Rashawn Ross on this while howling on that B3 Hammond organ. Its a damn shame to lose your way running wild. The band then went heavy with “Louisiana Bayou” and “Grey Street” to end the performance.
photo by Josh Davis
During the encore, two riders were approaching and the wind began to howl. The band played off the rainy night’s elements again for their finale. Stefan Lessard’s chilling bass intro to DMB’s take on Bob Dylan’s “All Along the Watchtower” was beyond appropriate to end the night. This version also features a tribute to Led Zeppelin during the finale as Dave belts out the infamous final verse to “Stairway to Heaven” before ending ”Watchtower.” No reason to get excited…
Dave Matthews performed solo at a Stephen Talkhouse in the Hampton’s on Thursday evening. The band visits New York for shows in Saratoga Springs and Jones Beach in September. In November they return to the world’s most famous arena, Madison Square Garden.
Dave Matthews Band – St Joseph’s Amphitheater, Syracuse NY – August 18, 2021
Setlist: Pantala Naga Pampa->Rapunzel, Funny the Way It Is, JTR, So Much to Say->Too Much, Squirm, Do You Remember, Crush, The Only Thing, You Might Die Trying, You and Me, Can’t Stop, Dancing Nancies, Warehouse, Captain, Jimi Thing I Want a New Drug (Huey Lewis & The News cover) Sexy M.F. (Prince cover) Louisiana Bayou, Grey Street
Encore: All Along the Watchtower (Bob Dylan cover with Led Zeppelin Verse)
