Snug Harbor Cultural Center & Botanical Garden will present a Heritage Farm Benefit concert featuring Gangstagrass, on Saturday, April 29 from 1:00 PM – 5:30 PM on the South Meadow of Snug Harbor Cultural Center & Botanical Garden on Staten Island.
Snug Harbor’s Heritage Farm was established in October of 2011 to help feed, inspire, and educate the local community. The Heritage Farm is a 2.5-acre production farm that uses sustainable, low-till farming practices that focus on building soil health through the use of compost, crop rotation, intercropping, and cover cropping. The goal is to provide the Staten Island and NYC community with hands-on growing experiences, insights into NYC’s food systems, and access to fresh and local produce for years to come.
Snug Harbor is pumped up to bring Gangstagrass to Staten Island to perform on our outdoor South Meadow Stage. In the same way that Snug Harbor offers our visitors a blend of contemporary cultural events inside of classically historic architecture, Gangstagrass fuses together the sounds of bluegrass and hip-hop into an unexpected and energetic sound that creates a fantastically fun experience for concertgoers! And as a bonus: by purchasing a ticket to the concert, you’ll be directly helping our Heritage Farm inspire Staten Island’s community. Concert proceeds will go towards underwriting Heritage Farm hands-on workshops, growing experiences, and healthy eating opportunities.
Snug Harbor President Jessica Baker Vodoor
Kicking off the festivities will be MakerPark Radio DJ Tom Ferrie at 1:00 PM and Staten Island’s own Jazztronauts at 2:00 PM, with Gangstagrass taking the stage at 4:00 PM.
Gangstagrass is a band combining great American traditions of bluegrass, hip-hop, and beyond to create a whole new musical genre that is more than the sum of its parts. Known for the Emmy-nominated theme song “Long Hard Times to Come” from the FX television show Justified, they’ve developed a whole new genre. Their latest album “No Time for Enemies” climbed to #1 on the Billboard Bluegrass chart.
In addition to entertainment, food trucks and vendors will be onsite, including Valducci’s Pizza Truck, Melts & Soups, Egger’s Ice Cream, Celebrate at Snug Harbor, and Pig Island NYC. Drinks are sponsored by Kills Boro Brewing Company, who will also be pouring their unique signature beers at the event. This program is supported in part by the New York City Department of Cultural Affairs in partnership with the City Council. All the proceeds benefit the Heritage Farm at Snug Harbor.
The Jazztronauts are Nutone Recording’s funkiest fusion band, hailing from Staten Island. Focusing on improvisational performances that incorporate their love of jazz, funk, hip hop, and electronic music, their sounds have been dubbed future jazz by listeners and their shows have quickly become a gathering place for music lovers and nightlife aficionados.
More information, including the schedule of events and tickets, can be found at Snug Harbor’s website.
Jim Jones continues to make the airwaves with his unfiltered take on Vibe and Billboard’s list of the 50 Greatest Ever Rappers. The list — which was part of a collaborative effort to celebrate Hip Hop’s 50th anniversary — named Jay – Z as the genre’s greatest ever MC. However, it was Pusha T’s ranking that raised ire of the “We Fly High” rapper. Coming in at number 29, Pusha T’s career as a member of the Clipse (alongside his brother Malice) and his solo work on GOOD Music has made him a staple of hip hop lore. Yet, Jim Jones doesn’t see it as such and on an episode of The RapCaviar Podcast, the Dipset member aired out his true feelings.
“What has he done that puts him in the greatest rappers of all time besides talk about coke that he probably didn’t get himself?” Jones asked. “He’s nice as shit. He could rap his ass off, but what has he done?
“Nobody has dressed like him. Nobody wants to be like Pusha T. I don’t remember nothing. And let’s not be evil, but we don’t talk about rap where the n-gga that’s popping the bitches wanna fuck and the n-ggas wanna be like.”
He continued: “I don’t know too many n-ggas in this game that was leaning towards being like Pusha T. Pusha T don’t hold no weight out here. He not pushing no shit out here.”
Jim Jones Doubles Down on The Breakfast Club
Jim Jones then rehashed the sentiments during an appearance on The Breakfast Club. Confronted by DJ Envy and Charlemagne Tha God about the controversial stance, the Harlem MC colorfully reiterated himself. For the purpose of his argument, Capo focused solely on radio play and club records.
“Could you name five Pusha T records?” Jones asked The Breakfast Club staff. “Could you name five Pusha T records? No. Could you rap to five Pusha T records?” After Charlemagne named several standout Pusha T records, Jones dismissed Charlemagne as a Pusha T fan and joked about him listening to the records in his basement.
While Jim Jones acknowledged Pusha T’s talent as a lyricist, he said he hasn’t made enough of a cultural impact to be considered an all-time rap great.
“Shoutout to Pusha T, I love your soul,” Jones continued. “You my dawg, you not in my top 50. You might be in Charlamagne’s top 50 and things like that, but you haven’t done that much for me in my life.”
“I never wanted to be like Pusha, I never had a Pusha moment in my life. Where I’m from, n-ggas wanted to be like you if you was really that dude as a rapper.”
Jim Jones Makes his Loyalties Clear
Jim Jones is an accomplished rapper himself and is certainly entitled to his opinion. However, his conviction is not without bias. Along with his controversial opinion on Pusha T, Jones has made the rounds for declaring Drake as hip hop’s greatest ever rapper. During appearances on the RapCaviar Podcast and an interview on Complex, Jones asserted his controversial take.
“Drake is the only one that gets played anyplace on this Earth, and they’re gonna know it in English. If you’re not putting Drake in the Top 2 of all time, like, what are we gonna do? We gonna keep putting shade on his name? He has broke every single statistic, period. You heard?”
Drake of course, famously brought out Jim Jones and the entire Diplomats crew during his performance at the Apollo Theater and celebrated the veteran rapper and his cohorts with a heartfelt tribute. “These guys right here, from Harlem, made us dress different, talk different, walk different, rap different. All the way in Canada.”
Verdict
Thus, it could be that after that moment Jim Jones’ view of what makes an all-time great rapper was altered and he only saw things through a Drake lens. Or, the one they call Capo could just be aligning with his good buddy who also happens to be the most popular rapper in the world. After all, Pusha T and Drake’ s longstanding beef ended without a reply from the Canadian crooner. Consequently, many declared Pusha T the winner as he was one of the few to land a crack in Drake’s pop-star armor.
What Jim Jones might have looked over is that Drake himself counts Pusha T amongst his many influences. During an episode of the short-lived MTV show When I Was 17, Drake shared a story from his formative years revealing his fandom of the “Dreaming of the Past” rapper. While scouring eBay in search of Clipse memorabilia, Drake stumbled upon and purchased a microphone that was allegedly autographed and used by Pusha T.
“I used to pretend I was doing interviews on the red carpet and perform all the Clipse songs in my basement with the mic,” he says. “I’m a full-sized teen at this point, so this is in private. And I performed with it so much that I rubbed the autograph off. I don’t even know if he really signed it, but that was my big thing. At the time it meant the world to me.”
Furthermore, Pusha T remains one of the very few that can get Jay – Z on a record. For rap fans, that may be influence enough.
The University at Albany Department of Music and Theatre will finish the 2022-23 season with four concerts featuring six of its large ensembles at the UAlbany Performing Arts Center on the university’s uptown campus.
The first in the series of concerts took place on April 22, with the UAlbany Chamber Singers and UAlbany Community Chorale, The Choral Hour. In the spirit of Earth Day, the program featured music that focuses on the power and beauty of nature, our relationship to our planet, and its place in the greater universe Both led by Michael Pfitzer, the Chamber Singers is a select group of 28 students who offer music of the highest quality, while the Community Chorale consists of 45 singers from across the campus community, representing majors from all schools and programs.
The Choral Hour. Credit: Gary Gold.
On April 24 at 8 p.m., the UAlbany Jazz Band will perform a program of works by Charles Mingus, Gil Evans, Paquito D’Rivera, and more. Directed by Keith Pray, the ensemble is open to all students.
UAlbany Jazz. Band. Credit: Lawdy Luc.
The UAlbany Symphony Orchestra will present a program on April 30 at 3 p.m., featuring Dvorak’s Symphony No. 8 in G Major and Faure’s Pavane, Op. 50. Led by conductor Christopher David Neubert, this large ensemble regularly performs works representing outstanding repertoire from the Baroque, Classical, and Romantic periods of the 20th and 21st centuries.
UAlbany Symphony Orchestra. Credit: UAlbany Performing Arts Center.
The season culminates on May 1 at 7 p.m. with Sound of the Trumpets, Roar of the Drums, a shared concert by the UAlbany Concert Band, and the UAlbany Percussion Ensemble. Under the direction of Richard Albagli, the percussionists will perform three works with high school student William Lauricella as a special guest. Conductor Kevin Champagne will lead the band in five works including Star Wars Saga by John Williams.
Sound of the Trumpets, Roar of the Drums. Credit: UAlbany Performing Arts Center.
Advance tickets for each University at Albany Department of Music and Theatre concert are $5 for the general public and $3 for students, seniors, and UAlbany faculty staff, while same-day tickets are $10 for the general public and $8 for students, seniors, and UAlbany faculty staff. All tickets must be purchased online from the UAlbany Performing Arts Center’s website, while information and assistance can be obtained by contacting the main office at (518) 442-3995 or PAC@albany.edu.
The 20th Anniversary of the Django A Gogo Music Festival begins early this May and culminates with the main event: an intensive “Guitar and Violin Camp” at The Town Hall in New York City on May 6 at 8:00 p.m.
Additionally, Django A Gogo includes an enhanced “Guitar and Violin Camp” from May 2-May 7 at The Woodland in New Jersey. The concerts will follow the Django canon and veer into reinterpretation, improvisation, and interplay between artists.
Poster for the Django a Gogo Music Festival. Credit: Stephane Wrembel Presents.
Wrembel has produced Django a Gogo since 2003, bringing together some of the finest musicians to celebrate the constant evolution of the Sinti guitar style, commonly referred to as “gypsy jazz.”
The 3 concerts at The Woodland are as follows:
On May 3, Stephane Wrembel Band (Stephane Wrembel on guitar, Josh Kaye on guitar, Ari Folman-Cohen on bass, and Nick Anderson on drums) presents The Art of the Guitar with special guests Simba Baumgartner (Django Reinhardt’s great-grandson), Paulus Schaefer and more!
The Art of the Violin follows on May 4, featuring violinist Jason Anick and Trio Dinicu featuring Tommy Davy on guitar and Luann Homzy on violin as well as guitarists Stephane Wrembel, Debi Botos and, and Sam Farthing.
The Woodland concerts conclude May 5, celebrating the release of Wremble’s new album, Django New Orleans, recorded with his NYC-based supergroup of musicians. Django New Orleans features Stephane Wrembel and Josh Kaye on guitar, Adrien Chevalier on violin, Joe Correia on Tuba, Scott Kettner on drums, David Langlois on percussion, Nick Driscoll on sax/clarinet, Joe Boga on trumpet and Sarah King on vocals.
The main event on May 6 at The Town Hall opens with Stephane Wrembel Band, Simba Baumgartner (France), Paulus Schaefer (Holland), Debi Botos (Canada), Samy Daussat (France), and Sam Farthing (U.S.) on guitar; and Aurore Voilqué (France) on violin. The second set follows with a short performance by Trio Dinicu featuring Tommy Davy on guitar and Luann Homzy on violin, followed by a set from Django New Orleans. The concert concludes with a grand finale with all performers on stage.
The concerts for the Django a Gogo Music Festival, both at The Woodland and The Town Hall, are open to patrons of all ages. Tickets for The Woodland Concerts start at $35/show and a limited number of three-day passes for $90 are available. Tickets for The Django A Gogo Music Festival at The Town Hall start at 49.50.
The historic Royal Albert Hall in London is Eric Clapton’s home away from home. Since his debut at the historic venue with the Yardbirds in 1964, Clapton has performed there more than any other artist, over 200 times, and counting.
photo by Carl Studna
Clapton also holds the record for the longest run of concerts at the venue, set in 1990 with 18 shows, then breaking that record the following year with 24 concerts. These were some of the most ambitious shows of Clapton’s career, with each night featuring him performing a career-spanning set with one of three lineups – a rock band, a blues band, or an orchestra conducted by Michael Kamen. Kamen previously worked with Clapton on the Lethal Weapon soundtracks, plus the TV show Edge of Darkness. Before his untimely passing in 2003, Kamen had become a leading film & TV composer, with X-Men, Die Hard & Band of Brothers among his many credits.
Clapton surrounded himself with superlative musicians for the performances on during the 1991 residency, with a roster of legends including Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Phil Collins, Robert Cray, Buddy Guy, Albert Collins, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy.
Clapton released 24 Nights in October 1991, commemorating that record-setting run. The double live album and home video delivered great performances but only covered a fraction of what was filmed and recorded. Now, Warner Records is giving the concerts the release they deserve this summer with a limited edition box set, Eric Clapton:The Definitive 24 Nights. Featuring nearly six hours of live music and 35 unreleased performances, the collection distills Clapton’s 1990-91 Royal Albert Hall residencies using the best performances from the rock, blues, and orchestral nights to create full concerts for each genre.
All the audio and video included in The Definitive 24 Nights was painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).
For the rock concert, Clapton played many of his classic songs including “Sunshine Of Your Love,” “Can’t Find My Way Home,” “Layla,” and “Wonderful Tonight.” Covers of “Crossroads”, and a reggae version of “Knockin’ On Heaven’s Door” with Phil Collins on drums are highlights. Clapton also featured several tracks from his most recent studio album (1989’s Journeyman), including the hits “Pretending,” “Running On Faith,” and “Bad Love.”
With Eric Clapton aided by special guests Buddy Guy, Albert Colins and Robert Cray, the blues concert delivered a master class in the genre with ripping versions of standards like “Key To The Highway,” “Sweet Home Chicago,” “Black Cat Bone,” and “Reconsider Baby.”
The orchestral concert is the most unique of the collection. For those performances, Clapton’s nine-piece band was joined by the National Philharmonic Orchestra conducted by legendary composer Michael Kamen. The collaboration resulted in stunning arrangements for “Layla,” “White Room,” “Bell Bottom Blues,” “I Shot The Sheriff,” “Lay Down Sally,” and more.
The biggest highlight from the orchestral concert – and possibly the entire box set – is the previously unreleased 30-minute epic, “Concerto For Guitar.” Kamen composed the piece especially for Clapton, which made its live debut at Albert Hall. In the set’s liner notes, music journalist David Fricke writes about the version included in the collection: “Near the halfway mark in this 1991 reading, [Clapton] takes off on guitar as if he has the rest of Cream at his heels – at once precisely melodic and jubilantly unhinged – as Kamen echoes that ferment in the strings and brass.”
The Definitive 24 Nights will be available on limited edition box sets as either 6-CDs ($139.98) or 8-LPs ($199.98) on June 23. Both versions come with three Blu-ray discs for the video content, a hardbound book, and an individually numbered lithograph featuring a photograph of Clapton by Carl Studna. Each are limited edition versions and available now to pre-order HERE.
Standalone versions of the individual concerts – 24 Nights: Rock, 24 Nights: Blues, and 24 Nights: Orchestral – will be released the same day in 2-CD/DVD ($29.98) and 3-LP (Rock and Orchestral) ($49.98) and 2-LP (Blues) ($39.98) configurations.
Eric Clapton fans will also now have the opportunity to experience the excitement of the legendary Royal Albert Hall concerts on the big screen as Unique X and Iconic Events present the Across 24 Nights cinema event globally on May 17th, with encore screenings from May 21st. Edited from the original footage and remastered in Dolby ATMOS and 5.1 Surround Sound, Across 24 Nights will bring fans together to celebrate the ultimate musical event cinema experience. For further information & tickets, please visit ericclaptoncinema.com
The Definitive 24 Nights Track Listing
24 Nights: Rock
“Pretending”
“Running On Faith”
“Breaking Point” *
“I Shot The Sheriff” *
“White Room”
“Can’t Find My Way Home” *(Feat. Nathan East on lead vocals)
“Bad Love”
“Before You Accuse Me” *
“Lay Down Sally” *
“Knockin’ On Heaven’s Door” *
“Old Love” *
“No Alibis” *
“Tearing Us Apart” *
“Cocaine” *
“Wonderful Tonight”
“Layla” *
“Crossroads” *
“Sunshine Of Your Love” *
24 Nights: Blues
“Key To The Highway” *
“Worried Life Blues”
“Watch Yourself”
“Have You Ever Loved A Woman”
“Everything’s Gonna Be Alright” *
“Something On Your Mind” *
“All Your Love (I Miss Loving)” *
“It’s My Life Baby” *
“Johnnie’s Boogie” *
“Black Cat Bone” *
“Reconsider Baby” *
“My Time After A While” *
“Sweet Home Chicago” *
“Watch Yourself” (Reprise) *
24 Nights: Orchestral
“Crossroads” *
“Bell Bottom Blues”
“Lay Down Sally” *
“Holy Mother” *
“I Shot The Sheriff” *
“Hard Times”
“Can’t Find My Way Home” * (Feat. Nathan East on lead vocals)
“Edge Of Darkness”
“Old Love” *
“Wonderful Tonight” *
“White Room” *
“Concerto For Electric Guitar” *(composed by Michael Kamen)
“A Remark You Made” *(A tribute to Jaco Pastorius)
42 North Brewing Company and Holiday Valley Resort have announced their partnership to celebrate the third annual Hilltap Festival at Holiday Valley on July 2nd. From 12pm-9pm this outstanding festival fuses music, craft beer, and outdoor adventure atop the mountain at Spruce Lake.
The Hilltap Festival will kick off with Kody & Herren bringing their roots from Springville, NY as the opening act. Following the guitarists will be the Buffalo-based Ten Cent Howl. The folk band is renowned for their up-tempo, Americana sound. Ionic band, The Probables will be giving a special performance at the base of the mountain for the closing act. Fans can expect to hear their bluegrass, rock and contemporary sounds at the festival as part of their 2023 Destination Tour.
“This is one of our favorite events of the year. There is no better place to merge craft beer, roots music, and adventure. It’s truly a one-of-a-kind venue”
-John Cimperman, 42 North Brewery Founder
Festival attendees will park at the Tannenbaum Lodge and take a chair lift ride to the top of the mountain. Once everyone has arrived at the mountain, a full day of music and adventure can be enjoyed along with thrilling activities such as mountain biking, stand up paddleboarding (SUP), and ax throwing. Furthermore, attendees can fill their stomachs at Fat Bob’s BBQ and Villagio.
Presale tickets are $40, same day tickets are $45 and $50 if you want to transport a mountain bike on the chairlift. Admission provides a lift ride to Spruce Lake, a full day of music, and access to the vendors and demos. Children ten and under are admitted for free if they’re accompanied by a paying adult.
More information about about the Hilltap festival and tickets can be found here.
A new NYC bill, titled the “Disclosure of service fee charges associated with tickets to entertainment events in NYC” was proposed by NYC lawmakers, forces ticket selling retailers to fully disclose the price of each ticket, including added service and convenience fees, up front.
Recently, concert tickets for Taylor Swift’s “Eras” Tour cost, at face-value, from $49 to $499. When they were sold on Ticketmaster, though, some Swifties ended up paying far more for each stadium seat, after days of waiting in line. And that’s just for the ticket alone.
What buyers don’t always know is that when they select their seat number and squint at their credit cards, is that the ticket cost is about to be augmented by service and convenience fees, added at the last minute from Ticketmaster.
It isn’t just Taylor Swift, Zach Bryan spoke out against Ticketmaster, arguing that his music speaks to working class people and working class people should be able to attend his concerts, without having to take out a second mortgage. Since merging with Live Nation, Ticketmaster has all but monopolized the live music consumer scene, to the point that the government has had to get involved. Live Nation was brought into a Senate Judiciary Committee hearing last January where they were accused of stifling competition by antitrust experts and lawmakers — all while Swifties gathered and sang just outside the building’s doors.
Councilmember Justin Brannan.
The new bill, sponsored by New York City Councilmember, Justin Brannan, states that the early disclosure of the full price ensures customers can make a truly informed decision. Not only should the full price of the ticket, including added fees, be disclosed to the customer, but the bill specifies that added fees should be included in all advertisements as well.
“As a whole, the concert industry is shifting to all in pricing,” said Jennifer Sellers-Dimitrov, who has been managing and coordinating concerts and events in the NYC area for over a decade. “In fact many ticketing companies have adopted this practice already. A fan should see the cost of a ticket before purchase. However what’s important here is the ticket price for the concert or event clearly spells out the base ticket and the fees. To place them together without the breakdown affects the artist’s value in the market. When you see a ticket price as $30 plus $15 in fees versus $45 flat, it shows which portion you’re spending on the act, $30, which is their ticket value in the market.”
“It’s important that ticket inventory is sold to the customer and fan, and that allotment and data is controlled by the entity taking the risk on the event whether it be the venue, promoter or the artist,” Sellers-Dimitrov continued. “This allows for the buyer to be notified about changes, cancelations, and other events from the artist, venue or promoter. When tickets are sold on the secondary market, that can’t happen. Along with price gouging and fake tickets, but that’s a whole other topic. “
The new law requires the operator of a place of entertainment to disclose the full price of a ticket whenever they display a ticket price on advertisements. The advertised price would be required to include fees such as taxes and service fees to increase transparency. Violators of the law would be subject to civil penalties from zero dollars for the first violation up to $500.
The bill passed the city council and committee, and is set to take effect toward the end of 2023.
The American Classical Orchestra has announced its final concert this season on Thursday, May 18, at Alice Tully Hall: Romantic Fantasy
American Classic Orchestra’s Romantic Fantasy will be an evening of Romantic music by Rossini, Schumann, Sarasate, and Grieg, played on period instruments. The program features Filipino-American baritone Enrico Lagasca, critically acclaimed for his role as Daedalus in the U.S. premiere of Jonathan Dove’s opera The Monster in the Maze, and Avery Fisher Career Grant recipient violinist Rachell Ellen Wong. The program will begin with a brief presentation by orchestra founder and artistic director Thomas Crawford.
Founded in 1984 as the Orchestra of the Old Fairfield Academy, the ensemble was renamed the American Classical Orchestra in 1999. Founder and Artistic Director Thomas Crawford established its new and permanent home in New York City in 2005. It is now the City’s only full-scale orchestra dedicated to performing 17th, 18th, and 19th century music on period instruments.
The band will have two consecutive New York shows, first on July 29 at Bethel Woods Center for the Arts followed by the Darien Lake Amphitheater on July 30, and their third performance in the empire state will be on Sept. 20 at the MegaCorp Pavilion in Newport. The performances follow the release of the band’s latest EP, What If I, due for release June 2.
Nathaniel Rateliff & The Night Sweats. Credit: Danny Clutch.
The band is also slated to appear at Brandi Carlile’s Mothership Weekend, Willie Nelson’s 90th Birthday Celebration, and Outlaw Music Festival with Willie Nelson & Family. See below for full tour routing.
Rateliff grew up in Missouri and his career spans more than two decades. His music career began with his first band, Born in the Flood, followed by Nathaniel Rateliff & the Wheel, which only released one album in 2007, after which he released three solo albums: In Memory of Loss (2010), Falling Faster Than You Can Run (2013) and And It’s Still Alright (2020.) The Night Sweats released their self-titled debut album in 2015, and have released a total of three albums, most recently 2021’s The Future.
The title track of What If I will have audiences anxious and ready to hear more music by The Night Sweats. The track’s lyrics speak to audiences at a crossroads in their lives, wondering “what if.” What if I’m taking too long? What if I just quit tomorrow? Listen to the track here.
What If I will feature four previously unreleased songs recorded during The Future sessions as well as a newly written and recorded track called “Buy My Round.” All songs on What If I were produced by Bradley Cook (Bon Iver, Kevin Morby, The War on Drugs) and R.M.B.—the production trio of Rateliff, Meese, and James Barone (Beach House). In addition, the track “Slow Pace of Time” features The Preservation Hall Jazz Band’s leader and clarinetist, Charlie Gabriel.
Tickets to see Nathaniel Rateliff & The Night Sweats on their world tour, which includes three performances at New York music venues, go on sale April 21 at 10 a.m.
Nathaniel Rateliff & The Night Sweats Live
April 29-April 30—Los Angeles, CA—Hollywood Bowl * May 12—Miramar Beach, FL—Seascape Resort June 3—Chattanooga, TN—Riverbend Festival June 4—Lexington, KY—Railbird Music Festival June 16—Tunbridge Wells, United Kingdom—Black Deer Festival June 18—Landgraaf, The Netherlands—Pinkpop Festival June 20—Cologne, Germany—Live Music Hall † June 21—Berlin, Germany—Huxley’s Neue Welt † Jun 23—Vienna, Austria—Arena Wien Open Air † June 25—Munich, Germany—Backstage Werk † June 26—Zürich, Switzerland—Kaufleuten † June 28—Paris, France—Cabaret Sauvage † June 29—Rotselaar, Belgium—Rock Werchter July 2—Ferrara, Italy—Comfort Festival July 3—Milan, Italy—Magnolia Open Ai July 6—Madrid, Spain—Mad Cool Festival July 7—Algés, Portugal—Nos Alive July 23—Redmond, OR—Fairwell Festival July 28—Columbia, MD—Merriweather Post Pavilion ‡ July 29—Bethel, NY—Bethel Woods Center For The Arts ‡ July 30—Darien Center, NY—Dairen Lake Amphitheater ‡ August 1—Pittsburgh, PA—Stage AE § August 3—Grand Rapids, MI—GLC Live at 20 Monroe § August 4—Rochester Hills, MI—Meadow Brook Amphitheatre § August 5—Columbus, OH—KEMBA Live! August 7—Madison, WI—The Sylvee § August 9-10—Chicago, IL—The Salt Shed § August 12—Minneapolis, MN—Surly Brewing Festival Field § August 15—Moorhead, MN—Bluestem Amphitheater § August 18-19—Missoula, MT—Kettlehouse Amphitheater || August 22-23—Morrison, CO—Red Rocks Amphitheatre || September 16—Asbury Park, NJ—Sea Hear Now Festival September 19—Cleveland, OH—Jacobs Pavilion at Nautica September 20—Newport, KY—MegaCorp Pavilion September 22—Milwaukee, WI—BMO Pavilion September 24—Franklin, TN—Pilgrimage Music & Cultural Festival September 26—Asheville, NC—ExploreAsheville.com Arena # September 27—Raleigh, NC—Red Hat Amphitheater # September 30—Bridgeport, CT—Sound On Sound Music Festival October 1—Ocean City, MD—Oceans Calling Festival
* Willie Nelson’s 90th Birthday Celebration † with William the Conqueror ‡ with Willie Nelson & Family § with Thee Sacred Souls || with Waxahatchee # with Sierra Ferrell
The Moscot Mobileyes Foundation has announced a partnership with national music education nonprofit, Music Will, for Punk & Beyond: Legends of the Lower East Side, at the Mark Miller Gallery in New York City.
Punk & Beyond: Legends of the Lower East Side is an immersive art experience celebrating the musicians that rose to fame in the Lower East Side of Manhattan. The exhibit is free and open to the public, running Wednesday to Sunday from 12 p.m. to 8 p.m. from April 20th – July 9th.
“My Love Rains” by artist Hektad, from a previous exhibition at the Mark Miller Gallery. Credit: Hektad
With support from legendary music producers Perry Margouleff and Steve Rosenthal, Punk & Beyond: Legends of the Lower East Side will raise funds for the launch and expansion of Music Will’s music programming in public schools, and The Moscot Mobileyes Foundation has kicked off the initiative with a $26,000 donation to open four music programs in local public schools to fund teacher training, instrument donations, curricular resources, and scholarships to attend the Music Will Modern Band Summit. Both organizations hope to continue this initiative annually, building lifelong connections between students and music worldwide.
I’m delighted to have the opportunity to evolve Moscat Mobileyes from one passion of providing eye care to those in need, to my other great joy in life—music, by providing music education to local public-school kids. I am dedicated to finding ways to give back to the city that has been so good to Moscat.
Dr. Harvey Moscot
Designed by Daniel Kershaw, Exhibition Design Manager at the Metropolitan Museum of Art, Punk & Beyond: Legends of the Lower East Side will feature artifacts from Johnny Thunders, Lou Reed, Norah Jones, David Peel, and more.
“We are so grateful to Moscot Mobileyes for their invaluable support of our mission promoting music education in the Lower East Side, and to Perry Margouleff for his unwavering dedication to our cause,” says Janice Polizzotto, Music Will Interim CEO. “We are so proud to be part of an exhibit that commemorates the rich musical heritage of this historic neighborhood and celebrates its vibrant diversity.”
Moscot Music originated in 2004 when Harvey Moscot grabbed his guitar and started jamming on a rainy Saturday. Since then, Moscot has added a music element to its repertoire, by connecting fans worldwide with emerging and established musical artists. Presently, their initiative has shifted from solely providing medical eyecare to supporting the needs of the community as a whole.
The largest nonprofit music program for schools in the United States, Music Will, in the last 20 years, has provided teacher training, curriculum, and instruments to over 6,000 schools across all 50 states – impacting over 1.2 million students to date. The organization strives to restore and transform music education in schools as districts continue to lose funding for music and arts programs. Music Will hopes to reach one million more students in the next five years.
