NYC’s cult funk ensemble Brooklyn Funk Essentials have just shared a playful video for their irresistible new jazz-funk jam “AA Side Single.” The music video was just released October 16th, in follow up to the critically acclaimed recent single “Scream!” released on Dorado Records.
The tongue in cheek video is full of vibes and features legendary lead singer Alison Limerick, BFE founder and bassist Lati Kronlund and the entire BFE lineup.
Brooklyn Funk Essentials is a music collective who mix jazz, funk, and hip hop, featuring musicians and poets from different cultures. Across a career that stretches 28 years and six albums, Brooklyn Funk Essentials have established themselves as an audacious project fusing soul, hip hop, spoken word, jazz, Latin and of course, funk. BFE have built up a loyal international cult following on every continent since its inception in 1993 by iconic producer Arthur Baker and bassist Lati Kronlund.
The band was born out of New York’s buzzing hip-hop, jazz and slam poetry scenes in the early 90s, rotating some of the finest musicians, DJs, poets, rappers and singers. BFE’s debut album Cool & Steady & Easy is a classic underground hit with the version of Pharoah Sanders’ “The Creator Has a Master Plan,” while tracks like “Take The L Train” and “Big Apple Boogaloo” became DJ favorites.
“The cult funk ensemble Brooklyn Funk Essentials share the playful video for their infectious new jazz-funk jam “AA Side Single” today”
– Ghettoblaster
The songs “AA Side Single” and ‘Scream!’ are both taken from the BFE’s hotly anticipated seventh studio album Intuition, which will come out in early 2023 on Dorado Records. Thus, the original label who first signed Brooklyn Funk Essentials in 1994.
BFE are on a European Tour through summer to autumn, with European festival dates across Sweden, Norway, France, Belgium, Czech Republic, Turkey and more.
To watch the video for “AA Side Single,” click here. To listen to Brooklyn Funk Essentials, click here.
When Sid Seth moved to NYC from Ahmedabad, Gujarat in India five years ago to attend the Manhattan School of Music he shortly found that “the city that never sleeps” seemed to have gone into hibernation. In a new city, at a new school and without friends, Sid Seth turned to art and music, his longtime companions. It was during this time that Seth wrote “Simple Yet True,” his just-released debut single.
“Simple Yet True,” trickles in with acoustic guitar and Seths clear vocals, before building to a cathartic emotional release. The song is yearning but bright, a song for slow mornings, paired with coffee and cream.
Seth made the song using his own multi-instrumentalist talents on guitar and piano and with the help of Kris Crawford — who has produced for Ariana Grande and Shawn Mendes — and Alex Psaroudakis — who has won a Grammy for master engineering. In addition to these industry veterans at his back, Seth has experience playing live in NYC at such venues as the Bowery Electric, Feinstein’s 54 Below and the Green Room, and at venues in India as well.
But he’s not just a musician. Seth’s inspiration for “Simple yet True” actually came from painting first. In his room during the pandemic, when the city seemed to stand still, Seth felt drawn to the page, he said. He ended up painting a long-forgotten scene from his childhood onto the canvas, and that artful nostalgia translates in clean sweeps off the canvas and into his music.
Sid Seth’s next show is at Kobrick Coffee Co. in NYC on October 20 at 7:30. He will be playing with Justin Charles, an 18-year-old song-writer and producer. Tickets are available here. And, on December 8 Seth will play Rockwood Music Hall.
It’s not every day you get the opportunity to be a part of Europe’s largest club festival, but over September 22-25, I traveled to Hamburg, Germany and experienced all that Reeperbahn Festival had to offer. Northern Europe’s version of South by Southwest, Reeperbahn has been going strong for 17 years, highlighting a wide variety of artists from across the European continent, and from around the world. Each year, the festival partners with another country, bringing artists from all over and press from the partner country, to see all that Hamburg has to offer.
Partnering with America in the post-pandemic era meant that the ability to travel overseas had more ease and certainty of flight status than anytime in the past three years. Hamburg reached out to NYS Music for coverage of the festival, and it was an opportunity impossible to pass up.
With 24 combined hours of travel planned, and only 60 hours to spend in Hamburg seeing indie and punk bands in small club settings, the stage for the weekend was quickly set. Add in learning a bit about Hamburg and the role the city plays not just geographically, but also in music history, plus seeing performances at truly marvelous once-in-a-lifetime venues, and this whirlwind trip to a gem of a port on the North Sea made for the perfect return trip to Europe.
Roller Disco
Reeperbahn is the area of Hamburg prime for entertainment and nightlife, with musicals, music venues, restaurants and a red light district that, all combined, offer a little something for everyone. ‘Ropewalk’ in English, the Reeperbahn was where rope was made, being just near the Elbe River that brings you well into the European continent or out to the North Sea, The British Isles and Scandinavia. This makes Hamburg “Das Tor zur Welt” – the Gateway to the World.
The Festival Village has its main grounds in the St. Pauli quarter of Hamburg, with a few stages, a Flatstock poster exhibit, roller skating disco, educational displays including water reclamation efforts and a few pop up band performances. Slightly underwhelming as it was – and intentionally so – the Festival Village is not a single-location music festival, but rather spread out across the Reeperbahn area at dozens of clubs and theaters, as well as outdoor stages in the median of the Reeperbahn. Flanked by the ‘dancing towers’ and the neon lights of the red light district, the nightlife was as vibrant as you’d find in Amsterdam. While not a city-wide festival, Reeperbahn gave a taste of what Hamburg has to offer, and left me wanting to return to see more of the city outside the entertainment center.
For comparison sake, take a psychedelic remix of St. Mark’s Place – multiple blocks worth – and with a paid wristband, you get to hop from club to club, seeing bands from across the country, all with the goal of finding their footing and making it to the next level.
This kind of festival of course does happen in America, with SXSW the inspiration, as co-founder and managing director Alexander Schulz shared during a dinner at Restaurant Nil with press from America, England, Denmark and Germany on Thursday evening. For an hour, Schulz entertained questions that got to the heart of why Reeperbahn is not just a notable festival for Europe, but a destination event that draws an international crowd.
Co-founder and managing director of Reeperbahn Festival, Alexander Schulz, breaks bread with journalists at Restaurant NIL.
Schulz sees Reeperbahn as a way to combine a consumer program with a professional program, with both audiences meeting in the evening. Add in the Reeperbahn ANCHOR awards show on Saturday, showcasing six international finalists, and a strong relationship with the city of Hamburg, and a recipe for success is served up each September.
Navigating the pandemic by partnering in 2020 with Denmark (from which fans could drive) and in 2021 with South Korea (although the festival was mostly virtual), the first year fully back in person brought in the USA and the hope of rekindling the flame that was dimmed for a year or so.
Dr. Carsten Brosda, Minister of Culture and Media for the city of Hamburg, proudly noted that the festival is much bigger than music, and with full capacity allowed and no restrictions, it didn’t take much to get the local and regional governments behind the Reeperbahn Festival. “Whenever something is possible, we do it,” said Brosda. With hundreds working the festival plus more pre and post, the feeling of doing things together has returned, as the culture, concerts and inspiration they provided were not something the city wanted to lose. In 2020, it was the first time seeing artists on a stage all year, following months of lockdown, and some bands didn’t want to leave the stage. Skip ahead to 2021 and a second period of lockdown made it more difficult to hold the 2021 event and was thus virtual.
While global inflation certainly impacted the 2022 event, and the German government maintained a public transportation mask mandate, Reeperbahn Festival served as the gateway to European music, and connected the rest of the world via the United States. This year’s lineup of bands was meant to appeal to the musical tastes of Americans: contemporary, classic rock, techno and electronic, plus German acts that have crossover (including Hamburg duo BOY)
Following dinner, I linked up with Justin and Sam from Aquarium Drunkard, based in Los Angeles. We headed to the Reeperbahn and to Drafthaus to see Afghan-Dutch artist Ferdous, who provided a taste of futuristic R&B, the first music of this 60 hour jaunt. Making the most of the club nature of the festival, we headed over to Molotow where four venues are contained under one roof, including an outdoor ‘Backyard’, the ‘Karatekeller’, the Club and the Skybar, the latter of which we caught the soundcheck and most of the performance of Montreal band Choses Sauvages. Watching the lead singer bust out Ric Ocasek vocals (and fit the look a bit when his sunglasses were on) gave a new wave of new wave, along with animated crowd interaction that commands a second viewing in the near future on this side of the pond.
Choses Sauvages
We headed to the Backyard for a brief taste of HighSchool, a post-punk trio from Melbourne, Australia. An 80s indie vibe resonated, along with a bassist who looked as though he had recently placed second in a Lou Reed look alike contest.
Next stop was Gruenspan – the largest stand-alone venue on the Reeperbahn with a capacity of 850 – for Vancouver-based Destroyer, one of the many recommendations provided to me by Parisian friend Benjo. When I first glanced at the lineup, not a single band was familiar, and this was not the ‘wow I am getting old if I don’t know any of these bands’ first takes. Dozens of unsigned bands and no true headliner of the festival made every band a new discovery, and thankfully some guidance helped line up acts that were well worth venturing to see. Notably, Gruenspan was the first venue that had any third party sponsorship with Rolling Stone banners around the second level, as corporate sponsorship was present at the festival, but not overwhelming as seen at large North American festivals.
Destroyer
Starting promptly at 11:30 pm with strong bass and drums, the groove was no doubt excellent and the performance quite lively, but the catch was the lead singer Dan Bejar. Destroyer itself was a unique offering, with Bejar adding the flair that made this show well worth the recommendation. Performing in the vein of a freak poet, Bejar would take a knee after his portion of the song was complete, the band behind him carrying the tune to completion. Odd for the uninitiated (myself included), the music was at times feedback and a slow grinding for the audience, but they delighted in it nonetheless. Perhaps there is a Western Canadian appeal to the European crowd, or what this westerner presumes to be European influence on a Vancouver export, yet this remained a fantastic band to catch live and an otherwise great discovery.
Friday of Reeperbahn began a little late, as jetlag and exhaustion had finally caught up with me, and the beds at Premier Inn certainly not helping by being so inviting following a long day at school, followed by 12 hours of planes, trains and automobiles, then 6 hours of club-hopping. The German saying ‘Es ist nicht der Alkohol, der den Káter verursacht, sein Aufwachen” (it’s not the alcohol that causes the hangover, its waking up) never rang truer, and one that has always stuck with me since a trip to Bavaria and Austria in 2011. While no one pursues a hangover, travel, time change and revelry were quite the combo to contend with.
Venturing out into the bustling Spielbudenplatz, I found excellent Vietnamese at Com Nieu 21. While pho would have been a good option, a noodle salad and summer rolls with a Vietnamese iced coffee worked nicely to push through the aforementioned Káter. Taking a walk just a few minutes off the main drag, I found the city to be immediately quieter and residential, with kids playing, riding scooters and enjoying the day.
I walked down towards the Elbe River for a boat cruise and tour of the port area along with bloggers from Lithuania, Brazil and England. Drinking Astra beers and eating fried fish sandwiches fresh from the Elbe that day, the boat cruise was accentuated with great music and company amid canals reminiscent of Amsterdam, with twists and turns as we navigated the port. Spectacular views of the city and the Elbphilharmonie, where we would see a live performance that evening, gave a full scope view of the city to all.
The Louisiana Star riverboat and the Elbphilharmonie
Disembarking at the Elbphilharmonie in HafenCity, and part of the Speicherstadt warehouse district (a UNESCO World Heritage site), we could see theaters for Der König Der Löwen (The Lion King) and Eiskönigin (Frozen) across the river, each of which had their own ferry for patrons. Hamburg is, after all, the third largest city in the world for musicals, with Hamilton having opened on October 6.
Located in the Kontorhaus business district with the Chilehaus, the Elbphilharmonie opened on January 11, 2017 and serves as a symbol of the city’s past, present and future. With an old warehouse serving as the foundation, when the Elbphilharmonie was constructed, supports were built into the river to ensure stability for this landmark on the Elbe River.
Mine
More than a concert venue, the building houses a Westin hotel, apartments, restaurants, conference rooms and a spa, plus the original cranes, all at a 866 Million Euro cost; while that price tag was controversial, the venue is a boon to the city and a must visit for anyone seeking acoustically perfect performance spaces. With the full concert hall having seating for 2100 created in a terraced manner so that no seat was more than 30 meters from the stage, the venue itself is decoupled from the rest of the building, ensuring that the sound is pristine with no outside interference.
Acoustics are so acute thanks to 10,000 individually shaped gypsum fiber panels, with a design for classical music in mind that ensures sound is distributed to each and every corner. What’s more, an organ was built inside the walls, and the stage location gives nearly a theater-in-the-round perspective to all in attendance.
Taking a closeup look at the stage before a performance by Mine (Mee-na), I marveled at the arrangement of the seating, the proximity to the stage, and the music that we would be experiencing shortly. Taking a seat alongside Erik, a music critic from Copenhagen, this 75 minute performance, while entirely in German, stands out as one of the most spectacular of the festival, and the calendar year.
Mine
Entering the stage were a 13-piece band, including five strings, three backup singers and Mine, the lead singer who describes her music as “German-language folk with hip hop, jazz and electronic elements” arrived on stage and began a most symphonic performance. Joined by three additional drummers for the second song, not knowing German didn’t help, as Mine spoke to the audience between songs, with laughs and applause at times in a show that got more upbeat as it progressed.
Projections on the stage from overhead were mixed with lighting, with a South Asian flair added to each song via percussion, guitar and theremin. Joined by a New York letter jacket sporting Fatoni, whom Mine dueted with on “ROMCOM” in 2017, this James Corden lookalike (and thankfully not Corden) stayed for a few tunes to freestyle rap, eliciting approval from the audience.
Then the bagpipes began, with a piper coming in from the wings to crush the one song he was there to play. Mine continued into the performance, alternating between melodic solo songs and heavier full band engagements, bringing out a pink-haired vocalist for a song that drew huge applause, and establishing herself as the perfect artist to perform tonight in this monumental venue. A total of 21 musicians performed with Mine over the course of the show, and the audience gave a standing ovation the likes of which are rarely seen at American live music performances. Mine was a highlight of the weekend in a venue that is just as incredible as photos and videos show.
Westchester rock trio, Shining Faces, released their debut single, “Worthless” on Wednesday, September 28. The music group with origins in the Upper Westchester County area transitioned their involvement in the rock scene in New York City.
Shining Faces
A unique feature of the band’s start-up counts their spawnage from the upstate-based Pow! Burger joint. The collaboration between the burger restaurant and the rock band helps to carry the representation of the DIY cultural aspect of the Upper Westchester community.
‘Worthless’ debut single cover art
The members comprising the band are vocalist, guitarist and songwriter Clinton Meekel, bass player Kevin Giachetto, drummer Austin Flynn and guitarist Nick Trujillo. The artists opened about their experience working at the independently-established Pow! Burger joint, their music career and the connection between the workplace they were previously employed at and the punk and surf rock performances made in the Metropolitan area that are supported by former co-workers from the Pow! Burger.
Heather Occhino: How did the band meet?
Clinton Meekel: So, Austin, Nick, and I met while working at Pow! Burger. Nick and Austin actually had a project together called “Block Tape”, and the three of us had a project together called “Anklebiterz”. Kevin and I had played drums a lot together growing up with Kevin’s brother, Justin. I had put out some stuff solo during COVID, but I really wanted to be able to play live. I put together a trio with Austin and our other friend, Sean. When we moved to the city, Austin moved over to drums, we added Kevin on bass, and Nick is our newest addition on a second guitar.
HO: What inspired the band members to pursue making music?
CM: I always grew up around music. My dad repairs guitars and collects records and just has a really extensive knowledge on all kinds of eclectic rock and punk music. I started playing when I was five years old and haven’t stopped since.
HO: What was the group’s reason for relocating to New York City?
CM: Basically, I moved here to finish college. It’s new and there’s a lot of awesome stuff happening down here musically. I used to drive down here all the time to go to shows and it’s really cool to be living in the midst of all of it.
HO: What influenced Shining Faces to add more contemporary-based punk-rock influences to traditional songs, such as Joe Cocker’s “The Letter” and Hound Dog Taylor’s “Give Me Back My Wig”?
CM: I had listened to those songs a lot growing up, and I wanted to pay homage to those musicians. There’s something timeless about those songs in particular, and I love being able to take something old and mess around with it and make it fresh. Those songs translate really well live too, because people recognize the songs but maybe have forgotten about them. Then it creates an opportunity to bond with people over those songs too. People come up to us after shows and bring up The Letter, and it’s just really great to get to talk with new people about songs that we all love.
HO: When Pow! Burger was established, did the then-employees plan on choosing a direction toward music?
CM: It was totally by chance that so many of the people who work there, who I now consider very close friends, were also interested in making music. But it definitely became a commonality for all of us there. There aren’t really any venues in Yorktown or record stores, so it’s hard to find any sort of musical community. I’m lucky that all my time at work could be spent with guys who do care about music and have a taste that aligns with mine.
My friend from Pow! Leapfrog Jones actually opened for us a few weeks ago at the Bowery Electric, and I just saw him play the other day at another venue. We all just kind of had bands on the side, but everyone is really supportive. Even the owner Dave, he comes to our shows. And Yorktown isn’t close, but he’s invested in our success. It’s honestly not very often you see a business owner who actually cares about the success and security of their employees beyond the workplace, so we’re all really lucky. And just to have this community of people who have our backs and are rooting for us.
HO: What was the transition like leaving Pow! Burger and moving to the city?
CM: It’s a little bit crazy actually. We’re all friends, so I see the guys from Pow! all the time. They all make their way down to the city for our shows. I think some more of them might even move out here too, and I love having them on bills with us or vice versa. I remember overhearing someone after a show say, “What is this restaurant they all work at?” Because basically the entire staff was in the audience. It’s pretty awesome to see.
HO: As mentioned in the biography about Shining Faces, their aim is to find “authenticity in a world in a world where our lives are becoming increasingly commodified”. In which ways is this sentiment expressed in their musical work/artistic expression?
CM: Punk has always been about rebellion. I’m really inspired by guys like Iggy Pop, the Sex Pistols. Punk has always been a vessel for counterculture. I think we and most other people in our generation feel like we’re getting screwed. We’re losing faith in our institutions. There’s so much pressure, especially with social media to make yourself marketable. To make every bit of yourself something that can become profitable. It’s easy to feel helpless. And we’re angry. So our aim is really just to create and give a raw reaction to what is happening in the world. We’re young and people want to dismiss us but we’re the ones who will grow up in the world that policies being passed right now are shaping.
HO: What ultimate message/(s) does the band want to spread to their listening base?
CM: I think what we wanna get out there, especially with “Worthless” is just to not let the world get you down and cling to your passions. What we kind of pose in this song is am I worthless? In a world where everyone is supposed to be doing a million things at once, how valuable am I beyond what profit I can produce? Or is all of that worthless and the bits of the humanity within us are what is actually significant? We’re kind of grappling with things like “what is all of this for?” It’s a question that only yields more questions, but we’re going to keep asking.
NYC‘s Baby Got Back Talk, one of AfroPunk’s “Top 8 Punkest Bands on the Planet,” have just announced their new debut EP Existential Shred. The EP will be dropping later this Summer 2022 on Wiretap Records. They have been named one of Alternative Press’s ’17 black alternative bands leading the next generation.
Photo: Kate Hoos
Formed back in 2017, Baby Got Back Talk initially consisted of vocalist/bassist G’Ra Asim, synth op/vocalist Rhiana Hernandez, and lead guitarist/vocalist Jake Lazaroff. After years of sharing bills with local compatriots like Choked Up, Universe Ignore Her, and Gibbons (acts that were all anchored by the propulsive stick work of drummer Wes Ruiz) Baby Got Back Talk welcomed Ruiz into the fold. Now, they are an inseparable pair named one of The Utah Daily Chronicle’s top 5 Black Alternative Bands You Need to Know in 2021.
“We’re what punk looks like in the 2020s: driven by a DIY ethic, conversant with social issues–especially as they pertain to gender and race, enabled by inter-web, bankrolled by day jobs, powered by a rad likeminded community, resonant with the most venerable iterations of rock ‘n’ roll but firmly committed to injecting some new flavor into the mold.”
“On their upcoming EP Existential Shred New York pop punk band Baby Got Back Talk delve into the very nature of human existence. They tackle death, life changes, and the state of the world with excellent literary lyrics, plenty of synths, and a healthy dose of hope.”
– Punk News
Baby Got Back Talk is a D-I-why?-because-we-gotta punk party from New York City. The band teamed with producer John Naclerio (Just Surrender, The Audition) at Nada Recording Studios for their latest EP, ‘Existential Shred’ due out later this Summer 2022 on Wiretap Records.
“A catchy pop punk hook-fest that throws the middle finger to anyone claiming that being marginalized is “in” these days. “Model Minority” could become an anthem of importance for queer folks and POC in the punk scene today.”
– Tuned Up
The band has released a pair of EPs in 2017’s Take This The Wrong Way and 2018’s Up In Open Arms. Their full-length debut, 2020’s Genre Reveal Party, was mixed by Paul Leavitt (All Time Low, Senses Fail, Yellowcard).
On the weekend of September 22-25, 2022, Firefly Music Festival returned to the Woodlands of Dover, Delaware to celebrate its 10th anniversary with headline performances from Halsey, My Chemical Romance, Green Day, Dua Lipa, and many more! The diverse genres of artists is what makes Firefly a memorable experience.
Bleachers @ Firefly Main Stage
Firefly Music Festival took place in The Woodlands of Dover, Delaware, right next to Dover International Speedway. What makes Firefly unique isnât just the performances, but the atmosphere and the overall experience. Since its start in July 2012, festivalgoers are offered the chance to camp at the festival, whether that be in an RV, a glamping site, or a pop-up tent. Along with the camping, each stage embraces its own personality: the Backyard hosted most of the rap acts over the weekend, The Pavillion which hosted most of the EDM acts, The Treehouse and The Nest which offered attendees an escape from the massive size of the Woodlands to an area where they could see their favorite small artists in an intimate setting such as SEB.
SEB @ Treehouse
Firefly certainly does not shy away when it comes to good eating. Whether its a quick bite from the various food trucks or a tasty dessert at Stuffed Ice Cream, Firelfy has it all including vegan friendly meals. Attendees could not get enough of Stuffed Ice Cream’s delicious cruffs – an ice-cream filled donut toasted to perfection. Even on the chilly nights, festivalgoers were seen lined up for the mouth-watering treat. The good news is everyone can explore the various flavors and options Stuffed Ice Cream has to offer in its New York City based store located on the Lower East Side of Manhattan.
A Weekend Filled With Entertainment
A little bit of rain and muddy floors didn’t stop the party on Thursday. Firefly kicked off its weekend with headlining sets from Halsey, Jamiexx, Willow, 100 Gecs, San Holo & Gayle. While some walked onto the festival grounds admiring the numerous decorations and activities, others ran to secure a spot at the stage where their favorite artists would perform. Willow brought the energy to the main stage dressed in a custom T-shirt designed by one Firefly’s clothing booths. She played the iconic “Wait a Minute!” along with “Meet Me At Our Spot”.
Willow @ Firefly Main Stage
Although Willow brought great energy to stage, 100 Gecs certainly knew how to turn up in style dressed in unique wizard like outfits. Mosh pits left and right filled the audience which some would say only enhanced the lively performance. Songs performed by the Duo included “money machine”, “stupid horse”, “mememe” and more.
Thursday was one for the books but Friday was just as memorable. Many were looking forward to Big Sean who unfortunately had to cancel his set due to a respiratory infection. LSDREAM filled in for the Detroit based rapper and did not disappoint. Illuminating the night sky with vibrant colorful visuals is what made LSDREAM stand out.
LSDREAM @ The Backyard Stage
During the day fans were scattered across the festival site. It was the first time Norwegian singer/songwriter Anna of The North performed in the U.S since covid. While on stage she brought out guest singer Gus Dapperton to sing “Meteorite” together. NYSM staff photographer Adrian Hernandez had the opportunity to shoot portraits of Anna who was nothing but kind, loving, and energetic throughout their photo session.
Anna of The North with Gus Dapperton @ Firefly Main StagePortrait Session With Artist Anna of The North
My Chemical Romance closed the main stage with a roar on night 2. Fans of all ages, old and young, sang along word for word almost every song the band performed. In between songs, lead vocalist Gerard Way was interactive with the audience and knew how to put a smile on everyones face through his humor.
My Chemical Romance @ Firefly Main Stage
Later that night, once Zedd took the stage, an overwhelming surge of cheers and screams kicked in. Zedd had the crowd on overdrive right from the start of the set. On top of that, the laser light show was perfectly in sync with his electronic tunes.
Zedd @ The Backyard Stage
Once day 3 arrived, it meant the weekend was finally here. Time to unload, sit back and enjoy the beautiful day packed with great music. Sueco brought life to the crowd after jumping into the audience to crowd surf his fans. Shortly after he joined the spectators in the center of a moshpit as he performed “fast”.
Sueco @ Firefly Main Stage
Porter Robinson ended the night performing songs from his latest album Nurture such as “Something Comforting”, “Shelter”, and the emotional dedication “Mother”. Some even shed a tear during his impactful set.
Porter Robinson @ The Backyard StagePorter Robinson @ The Backyard Stage
It felt like the weekend flew as the last day of Firefly Music Festival finally arrived. It was during the middle of The Regrettes when festivalgoers were kicked off site due to a severe weather warning. This caused sets to be pushed back and some shortened like Charli XCX. Unfortunate for those who were looking forward to see the pop queen but the show went on.
Lead Vocalist Lydia Night of The Regrettes @ The Backyard Stage
Once festival grounds reopened, T-Pain sang some of his classic hits and features such as “Good Life” with Kanye West. Shortly after, Conan Grey was on stage followed by The Kid Laroi at the Backyard stage and finally, to end the weekend on a high, Dua Lipa closing on her hit “Don’t Start Now”.
T-Pain @ Firefly Main Stage
As the saying goes, all good things must come to an end. While it’s sad to say goodbye to this years festival, we look forward to the next one and carry the memories we made along with us. See you soon Firefly!
In an interview with Loverboy magazine, Bentley Robles uses a term I really liked: Catastrophize. When he’s in a relationship, Bentley Robles tends to catastrophize. As he put it in his hit single “i hate the weekend,” when his boyfriend goes out on the weekend and the possibility of him sleeping with other men looms, Robles might equate that with the end of the world.
The penchant to catastrophize is a defining characteristic of Gen-Z and Millenials. It’s that ever-present subconscious panic of dystopian apocalypse: climate change, hurricanes, facism, nuclear war. All of those anxieties linger in the back of the youth’s mind, bursting out instead in little catastrophes: break-ups, petty fights. Robles’ new pop-punk break-up anthem, “don’t listen to this song” with fellow queer pop singer Gregory Dillon indulges those little catastrophes with all the weight of something larger.
The chorus of the song is about the antagonist sitting in their car outside the singer’s house — something pretty mundane and inoffensive. But in this case, the tone describing this scene is malicious: “You’re so f***ing stupid / sitting in your Honda, in my drive way.” It’s that crude and irrational anger that sets the song up as a break up song; it communicates the particularly delicious, insatiable feeling of hating on your ex.
“Don’t listen to this song” indulges in those feelings momentarily, but it’s not quite satisfying. It’s oversaturated — like a little too much perfume, too much creamer in your coffee; you’ll lose those woodsy base notes, you don’t get quite enough caffeine. Or maybe it’s too much because it’s not enough. The song is aggressive, confident and proud, but it’s not articulate. That invigorating emotionality and expression is played down by kitschy guitar and trendy all-lowercase titles, it comes across as aloof but forced.
This song lies somewhere between Machine Gun Kelly — pre-Travis Barker — and Charlie XCX, with a big inspiration from Gayle’s “abcdefu.” The guitar’s pace is very MGK, and Robles and Dillon’s voices are auto-tuned to sound sparkly and cyber-y, in a more diluted version of Charlie XCX’s vocals.
Robles and Dillon are constructing their own image as modern pop stars. They are still pretty fresh on the scene, with their spotify’s going back to 2019 and 2018 respectively. Though neither has released a full length album, both have put out EPs and several singles. Robles is from LA, but now based in Brooklyn; he’s played at some of NYC’s iconic spots, such as The Bowery Electric, Mercury Lounge and The Delancey. Dillon is a native East Coaster from New Hampshire. He’s said he moved to Brooklyn in search of confidence as an adult, and has now been featured in numerous publications such as GAYTIMES, BILLBOARD and PAPER.
“don’t listen to this song” is pop-punk, marking a turn for Gregory Dillon from his usual “‘80s stained” sound. Though the instrumentals in “don’t listen to this song” sound computerized, there’s no synth or nostalgia; the song is very present.
With lyrics like “Hate when you hit your vape” and “get the f*** out my face” the duo bridges on satirizing the whole fad of made-for-TikTok songs with obvious lyrics, 15 second choruses and missing bridges. But when the absurdist lyrics are paired with visuals of Dillon and Robles running suburban streets dressed as teletubbies as they do in the promotional materials for this song, it’s more absurdist than mocking, in a fun, albeit unoriginal, way. To see them play live, Robles and Dillon will be at The Public Theater on October 2 and C’mon Everybody on November 15. Pre-save the song here.
NY-based pop band Enrose has dropped their new single “Disease,” the group’s first release since their debut EP Wait, Create in April.
Led by saxophonist-songwriter Gabi Rose, the band’s genre-blurring aim brings together a track with impressive instrumental and tonal variation.
Promotional art for “Disease.”
“Disease” features glossy production from the band’s Anthony Lopardo, with the song opening up with warm saxophone notes and watery guitar chords. The first verse touches on personal isolation, with lines such as “it all came knocking at my door, and now I’m medicating all alone.”
Lyrics such as these come with current event context, with the single’s cover art being a video game depiction of Rose’s struggle through the Coronavirus pandemic, a period of unique difficulty for musicians.
This connection is more explicit on the chorus, on which she sings “no don’t you touch me, I’ve got a disease.” This section displays “Disease” at its most explosive, with blown out drums and interesting EWI touches (electronic wind instrument) leading a catchy and infectious hook.
The track’s vocal performance is just as strong as the instrumental one, as Rose sings smoothly and hits high notes when they come. Verse two shows off the R&B influences on “Disease,” with her adopting a sing/rap vocal delivery that reminisces of genre contemporaries such as SZA.
Switches between musical approaches like these are found from front to back, with the outro featuring a “guitar-inspired” saxophone solo according to Rose.
While relatively new, “Disease” isn’t a rookie effort from Enrose, and it shows. This track that displays a cohesive effort from a group of talented musicians, and it’s one that’s easily enjoyable too.
The newest release from New York bred ambient duo MoonTree, “Lullaby For Our Last Night,” is the anti-single: it lacks a catchy chorus, surprising bridge or album teasing theme. Instead, the haunting new track finds meaning in its formlessness, hitting a chord that though familiar, is truly singular. The song is saying goodbye, and though drifting, aimless and without structure, it still feels final.
MoonTree is made up of Purchase College students Ben Cuomo and Jaya Franceschini.
MoonTree is composed of Ben Cuomo and Jaya Franceschini, two 18-year-olds attending Purchase College. They released their first song last year, followed by an EP, For The Time We Have Left, of eight songs. The group shows an inclination toward odes in their song and album titles; each piece feels dedicated and specific to a time, place or person. Their tone has been honed in on since that album but their harmonic, off-kilter melodies and slow, paced-out rhythms have remained consistent through their discography.
In “Lullaby For Our Last Night,” Franceschini is droning and repetitive, probing the listener over and over “Will you say goodbye?” Then, “Be on time,” she orders, repeated by her counterpart Ben Cuomo’s technologically distorted voice. With their voices layering; they are begging — eachother, themselves — “Be on time.” The song, an ode to goodbyes, to the act of leaving, comes down to not wasting time, to honoring last moments. Though slow, the song is steady, not one second of its four minutes are wasted.
MoonTree’s sound is self described with many hyphens: avant-garde, neo-jazz, ambient-soul. Their sound doesn’t lend itself to most existing music genres; it’s easier to describe visually: like a glow and a glower, like a dark room over a busy street. MoonTree’s artist bio says they are “creating a soundtrack to twenty-first century city life,” and its true, but this new song more references the specific loneliness of a night in New York City — not just the sadness but the allure and dreaminess that loneliness holds. “Lullaby For Our Last Night” is out on all streaming platforms, and you can find MoonTree on Instagram.
If you grew up in the early 1960s, or watched Nick at Nite in the late 1980s, you probably remember this theme song:
An ear worm if there ever was one, the theme song to Car 54, Where Are You? is one of the greatest in television history and one that traverses four of New York City’s boroughs in just 16 seconds of the 29 second theme song. Meanwhile, Officer Gunther Toody (Joe E. Ross) and Officer Francis Muldoon (the legendary Fred Gwynne) are playing checkers on the dashboard of the titular Car 54.
For a run of 60 episodes, starting on September 17, 1961, Car 54, Where Are You? was the start of a career for a few of the actors on the show, and served as one of the early examples of portraying police, fire and even the military in more comedic situations than had been the custom on TV and in cinema.
The cast also included Al Lewis as Officer Leo Schnauser; Charlotte Rae as Sylvia Schnauser; Nipsey Russell as Officer Dave Anderson and Paul Reed as Captain Paul Block. Guest stars were a staple of the show, and featured notable names including Tom Bosley, Hugh Downs, Hal Linden, Charles Nelson Reilly, Sugar Ray Robinson, Jean Stapleton and many more.
Car 54, Where Are You? aired on Sunday nights from 8:30–9:00 p.m. on NBC, following Walt Disney’s Wonderful World of Color and preceding Bonanza. The show wrapped up on April 14, 1963 after two seasons.
Created by Nat Hiken and with theme song and lyrics composed by John Strauss, Car 54, Where Are You? had multiple directors, including Hiken, Al De Caprio, and Stanley Prager. The show was filmed on location and in the Bronx at Biograph Studios, which burned down in 1980 and now is the home of the New York Department of Sanitation. The show was nominated for four Emmys, winning one for Outstanding Directorial Achievement in Comedy for Nat Hiken in 1962.
In order to renew the show for a third season, NBC wanted to negotiate a part ownership deal for the show. Hiken would not agree to the deal and the show’s sponsor, Proctor and Gamble, could not convince CBS into taking the show over, where there was no room on the schedule. Hiken had become burnt out with writing, directing, and overseeing the show, and becoming exhausted with issues on the show, he ended the show after the second season and never worked on anothre series again. Not maintaining the success of the first two years – where the show placed in the top 20 of shows each week – led to cancellation in 1963. Hiken would pass away a few years later at age 54.
An early show that made light of the boys in blue, viewers did find enjoyment in the show, as seen in Nyack, NY where a patrol car was stolen from the police station parking lot was given the nickname “Car 54.” Not every police officer liked the show, leading one high-ranking New York police official, speaking anonymously, said he’d have liked to see the show cancelled as he believed it made all policemen look morons. “Being a policeman is a grim and humourless business, not at all funny,” he was quoted as saying.
Still, while being set in the fictional 53rd precinct in the Bronx, Car 54, Where Are You? was filmed at a studio in the Bronx’s real-life 48th Precinct, where the captain of the 48th made the show aware that he and his men found the show amusing and enjoyed it in their squad room.
Gwynne and Lewis would go on to greater fame in The Munsters, and Gwynne would write children’s books while extending his acting career into the early 1990s with his memorable role in My Cousin Vinny.
Joe E. Ross would provide vocals on a popular Milt Jackson jazz track, “The Oo-Oo Bossa Nova” on the album Jazz and Samba, a reference to Officer Toody’s trademark catch phrase “Oo-Oo.”
In the early 1980s, the show’s theme song is parodied as “Mario, Where Are You?” in an Atari commercial for Mario Bros. video game.
The lyrics to the theme song include five calls to respond to that lie in and outside the 53rd precinct: a hold up in the Bronx, fighting in Brooklyn, a traffic jam that spans from Harlem to Jackson Heights in Queens (a stretch of 7 miles), a missing child report and the head of state of the U.S.S.R. arriving at the future JFK Airport who presumably needs a police escort a mere 17 miles away. Can Muldoon and Toody really be expected to handle all these crises at the same time? Of course not, but the myriad of duties these two and their station are needed for expresses a positive view of the police in the early 1960s, keeping the role comical yet respectable. But was Car 54, Where Are You? an early form of copaganda, or just a light-hearted look at an integrated precinct in the melting pot of New York City?
The line “Khrushchev’s due at Idlewild” is the only part of the theme song that reference real events (although a cross-borough traffic jam is not out of the question), dating to September 1960, when Soviet leader Nikita Khrushchev flew into Idlewild Airport (now John F. Kennedy International Airport) to attend the United Nations General Assembly.
Debuting in the 1960 when merchandising became a key part of any major network show, there were multiple comic books based on Car 54, Where Are You?, as well as a board game, a car model, and puppets of Toody and Muldoon.
The Car 54, Where Are You? board game
A reboot of the show took place on the big screen in 1994 when Orion Pictures released what would be a bomb in Car 54, Where Are You? Starring David Johansen (of New York Dolls and Buster Poindexter Fame) as Officer Toody and John C. McGinley as Officer Muldoon, they were joined by original-series cast members Al Lewis and Nipsey Russell, and accompanied by Fran Drescher, Rosie O’Donnell, Daniel Baldwin, Jeremy Piven, Tone Loc, The Ramones and Penn and Teller. Among the reasons the movie bombed – the movie was filmed as a musical, but most numbers were later cut, leaving the movie to the dustbin of Hollywood.
A Car 54, Where Are You? comic book
A classic television show set in the Bronx, Car 54, Where Are You? serves as an early TV show set in the Bronx with a legacy that goes beyond its memorable theme song.
“Car 54, Where Are You?” theme-song lyrics
There’s a holdup in the Bronx, Brooklyn’s broken out in fights. There’s a traffic jam in Harlem That’s backed up to Jackson Heights. There’s a scout troop short a child, Khrushchev’s due at Idlewild Car 54, Where Are You?
