Shooter Jennings just announced he will celebrate the late, great Warren Zevon with the first-ever East Coast performance of SHOOTER JENNINGS AND THE WEREWOLVES OF LOS ANGELES DO ZEVON, a very special evening of wall-to-wall Zevon songs set for Nov. 1 at Brooklyn Made.
Shooter Jennings and the Werewolves of Los Angeles – which includes multi-instrumentalist Brian Whelan (Dwight Yoakum, Jim Lauderdale) alongside longtime Jennings collaborators drummer Jamie Douglass, bassist Ted Russell Kamp, and guitarist John Schreffler, will celebrate the iconic Warren Zevon on this special night.
This last year we had a blast doing two separate shows paying tribute to one of my favorite artists of all time, Los Angeles legend Warren Zevon. When Zevon was picked to be potentially inducted into the Rock & Roll Hall of Fame this year we, along with millions of Zevon fans, were hoping that he would finally get his due in the halls of Rock & Roll History. Unfortunately, Zevon didn’t make it in this year and won’t be honored on November 4, 2023, in New York City at the Rock & Roll Hall of Fame ceremony. Upon hearing this news, the Werewolves of Los Angeles gathered in our Wolfcave to discuss what we could do about it. We decided that even though Warren wasn’t going into the Hall of Fame, we could take a special trip up to New York City that weekend and do our own celebration of Warren’s bad-ass music.
Shooter Jennings
Jennings, a three-time Grammy award winner, has defied expectations while constantly expanding the parameters of country, rock ‘n’ roll, and beyond. He is a truly limitless artist whose ambitious experimentation spans myriad genres and creative platforms, from releasing eight solo LPs, and countless EPs, and founding his label and multimedia outlet, Black Country Rock, as well as much more. Named “Hot New Producer” in Rolling Stone‘s 2020 “Hot List” issue, Jennings honed his production skills by helming sessions from such iconic artists as Jamey Johnson, Wanda Jackson, Billy Ray Cyrus, and his mom, Jessi Colter, and has kept up the pace with several acclaimed productions.
Shooter Jennings and the Werewolves of Los Angeles will make their first ever East Coast performance on Nov. 1 at Brooklyn Made. Tickets are on sale now.
The Perelman Performing Arts Center (PAC) has recently announced shows for their inaugural season, with “Refuge: A Concert Series to Welcome the World” kicking off the season in Sept. 2023. PAC is located in the World Trade Center and was the final public piece of the reconstruction.
Perelman Performing Arts Center Aerial View. Credit: Bill Saltzstein
The facility was named after Ronald O. Perelman, a businessman, philanthropist, and benefactor, the building was designed by the architecture firm REX, with many interior spaces being designed by Rockwell Group. Leading the opening of PAC is the Chair of the PAC Board of Directors Mike Bloomberg, Executive Director Khady Kamara, and Artistic Director Bill Rauch.
The opening of Perelman Performing Arts Center is going to add light and hope to the World Trade Center site in a manner that respects its role as a place for reflection. PAC NYC’s impact will extend far beyond downtown, as we know the impact of the power of the arts – bringing energy and excitement to bolster neighborhoods, spur investment and build a stronger city.
Mike Bloomberg, Chair of PAC Board of Directors
Inaugural Season Showings
Refuge: A Concert Series to Welcome the World
The opening five-night series with over 30 internationally acclaimed artists, Refuge is a pay-what-you-wish event focused on the theme of refuge. A wide range of music will be played, from Afro-Latin rhythms to futuristic electronic beats, from traditional Klezmer melodies to soulful Rock and Funk.
Sept. 22 is “Relatively Speaking: Family as Refuge” and will feature Fanoos Ensemble, The HawtPlates, Martha Redbone, The Villalobos Brothers, as well as Amal Murkus & Firas Zreik.
“Watch Night” from Nov. 3-18 2023 is an all-new premiere for the production that explores justice and forgiveness. It was co-conceived, directed, and choreographed by Tony Award-winning Bill T. Jones, with Marc Bamuthi Joseph also co-conceiving the production and responsible for the libretto.
“Number Our Days” will be held from April 12-14, 2024, and is a multi-media oratorio based on Jamie Livingston’s “Photo of the Day” series. This series was made by Jamie Livingston, who documented his life by taking a Polaroid every day until he died at age 41.
From May 12-19, 2024, “An American Soldier,” a new opera based on the true story of U.S. Private Danny Chen, will be held. This will be the production’s New York premiere.
“Cats” will be held sometime between June and July of 2024, reimagining Andrew Lloyd Webber’s beloved musical. The original musical itself was based on T.S. Eliot’s Old Possum’s Book of Practical Cats.
Theater and Comedy
“The Following Evening,” held from Feb. 1 to 18, 2024, will be an intimate portrait of two theater-making couples: Ellen Maddow and Paul Zimet of Talking Band and Abigail Browde and Michael Silverstone of 600 Highwaymen. This may be the final performance for the two couples.
“Between Two Knees” is a comedy by Indigenous sketch comedy group The 1491s, taking place Feb. 3 through 24, 2024. Spanning 90 years in the life of a fictional Native American family, “Between Two Knees” is an “outrageously funny ride through American history.” “Good Medicine” is an all-Native stand-up evening event on Feb. 9, 2024. It features Indigenous comedians from all across the country and will be curated and hosted by Jackie Keliiaa.
“Like They Do in The Movies,” which will be at PAC from March 10 to 31, 2024, is the world premiere of the “tour-de-force” written and performed by Tony and Emmy-winning Laurence Fishburne. Fishburne is known for his work as Ike Turner in “What’s Love Got to Do with It?,” Sterling Johnson in August Wilson’s “Two Trains Running,” and as Morpheus in the blockbuster film series The Matrix.
Laurence Fishburne.
Dance
“Is It Thursday Yet?” held from Dec. 8-23, 2023, is a commissioned display of Jenn Freeman’s neurodivergent journey through a mix of dance, live music, and home video footage.
“March” by Big Dance Theater will be held Dec. 10 to 16, 2023. It is an evening of contemporary dance split into three parts, featuring Tendayi Kuumba, Annie-B Parson, and Donna Uchizono.
“Motion/Matter: Street Dance Festival,” held from Jan. 5 to 14, 2024, is a celebration of street dance movements, both those that have originated in NYC and those from around the world.
Nov. 13, 2023 – Jenna Bush Hager and Barbara Pierce Bush
Cover for Kerry Washington’s new memoir, “Thicker than Water.”
Perelman Performing Arts Center memberships are now available for $10 for the inaugural season. Members receive early access to tickets and other perks. Tickets for inaugural season events are starting at $39. More information on memberships, tickets, and shows can be found on PAC’s website.
NYC-based house-meets-indie duo DJibouti and Feinte released their debut collaborative project, Run Riot on June 23. The EP is a vulnerable story of heartbreak that blossomed from an abundance of pent-up angst in Feinte’s world, all layered over pastel dance tracks. DJibouti’s expertise for creating fun, dance-yourself-clean new wave house music gave him the outlet to release that hurt.
DJibouti and Feinte met in a college Ottoman History class when they realized their shared love of music. DJibouti, a DJ and producer, is currently taking the New York City house scene by storm. Playing a groovy, eclectic mix of house and funk, he’s established himself as one of the the up-and-coming DJs out of the NYC scene. He burst onto the scene through underground raves and parties, already racking up over a million streams on Spotify alone.
Feinte has a range of influences. He is based in New York as an indie-tronica singer-songwriter, but grew up in Los Angeles and also spent time living in Berlin, London, and Tel Aviv.
Inspiration Behind Run Riot
After Feinte moved to Berlin, the project was put on pause until he returned to NYC. Through those six months, he experienced intense heartbreak. Quickly, he learned that the way they deal with it in Berlin is to dance through it. Run Riot invites everyone to dance through their pain with accessible but never boring four-on-the-floor beats.
“Every weekend I released all my excess emotions to a soundtrack of Sylvester, Skatebård, and Daphni. The collaborative aspect of the various dance floors gave me the feeling that I had people listening to everything I needed to say,” Feinte said speaking about his time in Berlin. With Run Riot, Feinte and DJibouti aim to recreate that feeling.
Of Run Riot, Feinte continues, “over the Spring and Summer of 2022, [DJibouti] would send me different beats, and I would smoke a little too much and dance over them. After a few demos, we realized we had a unique sound that the dance music world had never heard; The Indie-loverboy over the jazzy house keys and DJibouti Drums.”
Diana Ross, the legendary diva and iconic figure in the music industry, mesmerized a sold-out crowd at Radio City Music Hall during her Music Legacy Tour. The concert was a celebration of her numerous chart-topping hits, and it was an evening that will forever be etched in the memories of her fans.
Diana Ross at Radio City Music Hall 6.29.23
Accompanied by a magnificent 19-piece band, Diana Ross took the stage and immediately captivated the audience with her timeless charm and magnetic presence. The show was a true testament to her enduring talent and the incredible impact she has had on the world of music.
Throughout the evening, Ross graced the stage in five stunning costume changes, each one adding to the spectacle of the performance. Her elegant outfits perfectly complemented her larger-than-life persona, making her a vision of beauty and grace.
Diana Ross at Radio City Music Hall 6.29.23
In addition to performing her greatest #1 hits, Diana Ross took a moment to speak about her latest album, Thank You, which she recorded during the pandemic. With heartfelt sincerity, she expressed her gratitude to the audience, dedicating the album to each and every one of them. She shared her realization during the challenging times of the pandemic, acknowledging that true happiness could be found in the simplest thingsâbeing with loved ones and maintaining good health.
The setlist for the evening was a nostalgic journey through Diana Ross’s remarkable career. The crowd was treated to unforgettable renditions of classics such as “Come See About Me,” “Reflections,” “You Can’t Hurry Love,” and “Ain’t No Mountain High Enough.” The performance also included gems like “Mirror, Mirror” and “I’m Still Waiting” from her 1970 album Everything is Everything. The energy soared during the disco hit “The Boss,” and Diana Ross playfully encouraged the crowd to get on their feet and dance.
Diana Ross at Radio City Music Hall 6.29.23
During the iconic song “Upside Down,” Diana Ross injected a dose of humor into the performance. Addressing her age, she exclaimed, “Move it or lose it… if I can move my body like this at 47… you know I’m 79, right?” Her vitality and enthusiasm were infectious, inspiring the audience to join in the celebration and embrace the joy of music.
Diana Ross’s Music Legacy Tour at Radio City Music Hall was a testament to her enduring talent and her indomitable spirit. Her enchanting presence, combined with her timeless hits, created an evening that will be treasured by her fans for years to come. The sold-out show served as a reminder of the impact she has had on the music industry and the love and admiration she continues to receive from audiences worldwide.
Setlist: I’m Coming Out, More Today Than Yesterday, Come See About Me, Reflections, You Can’t Hurry Love, Love Child, The Boss, Touch Me in the Morning, Mirror, Mirror, Upside Down, Chain Reaction, He Lives In You, I’m Still Waiting, Endless Love, Home, Love Hangover, Take Me Higher, Ease on Down the Road, Don’t Explain, God Bless the Child, Tomorrow, I Still Believe, If the World Just Danced, Why Do Fools Fall In Love, Theme From Mahogany, Ain’t No Mountain High Enough, I Will Survive
In a year where hip hop is on a commercial downturn, it’s nice to see an essential part of the culture remains. This latest edition of rap beef kicked-off with Jim Jones challenging Pusha T’s validity among rap’s royalty on various hip hop platforms. However, it wasn’t Jones’ opinion on Pusha T that sparked the brouhaha, but rather his determined effort to make it seem like Pusha had little to no cultural relevance. With Jones saying, “Nobody has dressed like him. Nobody wants to be like Pusha T. I don’t remember nothing.”
Jim Jones vs Pusha T is hip hop’s latest beef
In turn, Pusha T’s expectedly cunning response created a moment on social media. In sinister tone and fashion, Push gave his reply at the Louis Vuitton fashion show, where record producer — and longtime Pusha T cohort — Pharell Williams debuted his collection as men’s creative director. With this intention, Pusha and his brother, No Malice, who make up Clipse, walked the runway in the show as their new track played. With the fabled duo sharing their first collaboration in 14 years.
Pusha T & Malice walking the LV runway for Pharrell’s new menswear collection to their new (rebuttal) track is a monumental moment. pic.twitter.com/MHPSf2utrb
Although the diss-record was previewed inconspicuously, the public pieced together the Jim Jones disses within the track. Addressing Jones’ comments, Push raps, “beware of my name, that there’s delegate/ You know I know where you’re delicate/ Crush you to pieces, I’ll hum a breath of it…I’m watching your fame escape relevance/ We all in a room but here’s the elephant/ You chasing a feature out of your element.”
https://www.youtube.com/shorts/vFSAG90jYZo
By the same token, Push continuously attacks Jim for his own public financial troubles, while reminding of his own mercurial standing within his circle.
“And those lab diamonds under inspection/ The question marks block your blessings/ It’s no tombstones in the desert/ I know by now you get the message,” he goes on to say.
All in all, it was a masterful move by Push to withhold his reply until the time was right. Despite Jim Jones’ assertion that Pusha T held little relevance musically, here he is walking in a fashion show for one of the world’s preeminent brands to his own record, while A-list stars like Jay-Z and Beyoncé were seen boppin’ to the song in the crowd. Jones gave an instant reply on social media, although his perceived carefree attitude did little to sway fans, Jones needed to reply with bars and couldn’t finesse his way out of this one.
Bomb First, Jim Jones Replies
To Jim Jones’ credit, he did reply, albeit with a stellar yet not quite up-to-snuff effort when compared to his adversary. His “Summer Collection, From The Block” video performance saw the Dipset rapper try his hand at Pusha T’s beat. Altogether, Jim held his own with his brand of witty wordplay and street tales, however his flow and presence on the record failed to match Pusha T’s output. That is to say nothing of Jim’s own lyrical expertise as he had his own ammo for Push. Namely, attacking his street cred and claiming that he knew little of the drug dealing he rapped about and for his association with Ye, who helped Pusha launch his solo career on his Good Music label. But nonetheless, it seemed a mistake to rap over a beat that was curated specifically for Pusha and No Malice.
“These two roach niggas don’t know what to do in no raid/ Kanye gave you whips, but that’s what they do to the slaves/ you tryna act bad, but we ain’t doin’ charades/ I really have bombs on the block just like I threw a grenade.”
Jim Jones might have felt similar sentiments as he continued to hop on airwaves and diminish Pusha’s efforts. The one they call Capo phoned in to the Joe Budden Podcast and share more colorful sentiments about this battle. Namely, called Pusha T’s diss-track “cute” and claimed that things might get violent if Pusha goes to similar extents as he did in his beef with Drake. With Capo hilariously quipping “whose going to spin the block for him, Pharrell?”
What Comes Next?
Hopefully more music. Although with Push leading the vote in public opinion, Jim may need to double-down on his attacks to get ahead of things, but would he want to poke to proverbial bear? As things stand, what else can Jim Jones say as it relates to Pusha T? Despite his best efforts, the “Diet Coke” MC remains in the upper echelon of rappers. Altogether, Push has tallied an impressive resume, with platinum-selling albums as a member of the Clipse and as a solo artist. His last two albums, 2018’s DAYTONA and 2022’s It’s Almost Dry got him Grammy nominations and he is still one of the only artists that can snag a Jay – Z feature.
All things considered, Jims’s best bet is to throw a few haymakers and hope his witty-ness is able to catch the public’s ears, basically play the social media battle. Pusha T, meanwhile, seems to be more patient and isn’t as keen to respond through the media. After all, he knows he has the advantage lyrically. Moreover, his abrupt releases and ability to find his opponents hidden skeletons seems to leave foes on edge.
Long Island Music and Entertainment Hall of Fame (LIMEHOF) Museum has awarded five of its annual music scholarships to graduating Long Island students, including their Pat DeRosa Memorial Scholarship. The museum is based in Stony Brook, and the students were given their scholarships in a ceremony held there.
From left to right: LIMEHOF 2023 music scholarship winners Jacob Leshnower, Alexis Pabebianco, Chris Hummel, Coleman Schubert, and Luca Alexandru.
LIMEHOF is an organization founded in 2004 that is dedicated to the celebration and preservation of Long Island’s rich musical and entertainment history. Their first Hall of Fame location was opened in 2022 in Stony Brook Village. LIMEHOF, which encompasses New York State’s Nassau, Suffolk, Queens, and Kings Counties, has inducted more than 120 musicians and music industry executives.
For the Distinction in Music scholarship, winners include: Chris Hummel of Harborfields High School; Jacob Leshnower of Half Hallow High School East; Alexis Pabebianco of Mineola High School; and Luca Alexandru of Syosset High School. Coleman Schubert from Babylon Junior-Senior High School was this year’s winner of the Pat DeRosa Memorial Scholarship, created to honor the memory of Pat DeRosa.
We are immensely proud of our scholarship winners who have been granted the opportunity to pursue their passion for music through higher education. Their talent, dedication, and commitment to their craft inspire us all. We believe that their journey will not only shape their own futures but also contribute to the rich musical legacy of our community and beyond.
LIMEHOF’s Educational Programs Director, Tom Needham
Pat DeRosa was named by the Guinness Book of World Records as the ‘Oldest Professional Saxophone Player’ in 2018. DeRosa passed away earlier this year at the age of 101, continuing to play through 2022. He was born in Brooklyn, picking up the saxophone when he was 12. After playing with the Glenn Miller Army/Air Force Band during his service during WWII, he played in The Latin Quarter and the Copacabana among other NYC venues.
The scholarship honoring him was to be awarded specifically to a high school senior seeking to continue their music studies on the saxophone or on a woodwind instrument. For this scholarship, a 95 or above in Music and a 90 overall average is necessary to qualify. In addition, an essay should be written by the student to explain why they’d like to continue their studies.
More information on the scholarships can be found here.
The internationally renowned Louis Armstrong House Museum in Corona, Queens held a ceremonial ribbon cutting with fitting trumpet fanfare to celebrate its new state-of-the-art center and archive – the world’s largest for a jazz musician. Opening to the public on Thursday, July 6, the new center will preserve and expand the legacy and ideals of America’s first Black popular music icon, Louis Armstrong.
Opening remarks were made by the museum’s Executive Director Regina Bainand and Board Chair Jay Hershenson, followed by speeches from New York State Senator Jessica Ramos, New York State Assemblyman Jeffrion Aubry, Queens Borough President Donovan Richards, NYC Council Member Francisco Moya, The City University of New York (CUNY) Chancellor Félix V. Matos Rodríguez, Queens College President Frank H. Wu, Cultural Affairs Commissioner Laurie Cumbo and community leaders.
Guests were treated to performances by Kennedy Center Artistic Director for Jazz, pianist, composer and curator of the new Center’s Here to Stay exhibition Jason Moran, Danny Jonokuchi, Christopher McBride and the Queens College All-Stars, Calvin Johnson and Native Soul, as well as students from Frank Sinatra High School. Fittingly, the day featured a trumpet fanfare with a line-up of world renown trumpeters: Bria Skonberg, Jon Faddis, Jon-Erik Kellso, Steven Bernstein, Frank Greene, Bruce Harris, Riley Mulherkar, Linda Briceño, Summer Camargo, Kali Rodriguez, David Adewumi, Tatum Greenblatt, and Danny Jonokuchi. The day concluded with a jam session, center open house with tours, archival sneak peek and a special toast.
The Louis Armstrong Center
The Louis Armstong Center will officially open to the public on Thursday, July 6th. Armstrong’s values of Artistic Excellence, Education and Community will be fostered in Here to Stay, a new exhibition curated by Jason Moran that looks at Armstrong’s five-decade career as an innovative musician, rigorous archivist, consummate collaborator and community builder. Grounded in the new building design by Caples Jefferson Architects, the new Center will also be a permanent home for the 60,000-piece Louis Armstrong Archive and a 75-seat venue offering performances, lectures, films, and educational experiences.
It will be a new international destination celebrating Armstrong’s distinctive role in African-Diaspora history and vitality, offering year-round exhibitions, performances, readings, lectures, and screenings through an array of public programs for all ages. With longstanding partners Queens College and the Louis Armstrong Educational Foundation, and with a growing list of members, supporters and programmatic collaborators, the museum and center will become a Queens-based hub for inspiration and learning, economic development and tourism – from New Yorkers to the world.
“Louis Armstrong was one of the greatest musicians of the 20th century, and also a beloved member of the community here in Corona, Queens,” said NYC Cultural Affairs Commissioner Laurie Cumbo. “This new education center and archive will keep both aspects of Armstrong’s legacy alive for generations to come – both the consummate artist and musician, and the incredible neighbor who treated local kids to ice cream each year on the 4th of July. We’re proud of the city’s major investment of over $10 million in this project, a long term commitment to the cultural vitality of Corona and in preserving the legacy of Louis Armstrong. Schedule your visit to Satchmo’s house today!”
The opening of the Center has spurred the creation of new programming. The Museum just announced the upcoming season of its groundbreaking Armstrong Now, which will feature the creation and debut of new works by Esperanza Spalding, Amyra León and Antonio Brown. An outreach program to local schools was also recently launched, providing trumpet lessons made possible by a donation of musical instruments from Ken Karnofsky, a descendant of the same family who helped Armstrong buy his first instrument.
This National Historic Landmark museum welcomes its new addition across the street during the 80th anniversary of Louis and Lucille Armstrong moving to the legendary jazz trumpeter & singer’s restored home. Visitors have included Wynton Marsalis, Quincy Jones, Tony Bennett, Charlie Watts, Ken Burns, Jon Batiste, Ron Howard, Bette Midler and many more.
Louis Armstrong is the greatest of all American virtuosos. With his trumpet and voice, Armstrong redefined what it meant to be modern by testifying to the range and depth of humanity from the vantage point of the bottom social strata in post-Reconstruction America. Louis Armstrong’s trumpet is the sound of freedom and with it, he left the world so much richer than how he found it. We need his consciousness, intelligence and broad understanding now, more than ever. The Louis Armstrong Educational Foundation was the baseline grantor of the Louis Armstrong House Museum and we have been in full support throughout the growth of this historic site. We are so proud of the Museum, and now, the new Armstrong Center. This great achievement is a physical representation of the down-home soulful world of Pops. It is much, much more than just a place. It’s a way for all people from everywhere to physically interact with the profound and deeply moving legacy of Lucille and Louis Armstrong.
Wynton Marsalis, President of the Louis Armstrong Educational Foundation and Managing and Artistic Director of Jazz at Lincoln Center.
Working with the museum’s Grammy-winning Director of Research Collections Ricky Riccardi and Executive Director Regina Bain, C&G Partners (MoMA, 9/11 Memorial & Museum, Smithsonian, NASA) designed the exhibition with Art Guild(Brooklyn Botanic Garden, Martin Guitar Museum). The 60,000 photos, recordings, manuscripts, letters & mementos in the Louis Armstrong Archive will be returning home to the block where the Armstrongs lived and built the collection.
Guests at the opening of the Louis Armstrong House Museum on June 29
Caples Jefferson Architects designed the 14,000-square-foot building to expand the capacity of the historic house museum and to allow many more people to appreciate the legacy of Louis Armstrong, the man and his music. Armstrong was both down-home and revolutionary and this building reflects that breadth. Caples Jefferson kept the building at the scale of the modest neighborhood that he loved, while creating an urban precinct for his music that welcomes in all visitors.
This new building establishes the final piece of the campus that now comprises the museum as whole; it now includes the home itself that reflects the personal values of Louis Armstrong, the garden that serves as a place for gathering and a place for live performances, the donated home of next-door neighbor Selma Heraldo, reflecting the deep roots within the community, and the new center, designed as an interpretation of Armstrong’s music, where the public can learn even more about the icon who is Louis Armstrong.
The Louis Armstrong Educational Foundation donated the Armstrong archives in the 1980s and provided the funds to purchase the lot on which the new Center sits. CUNY and Queens College officials, working with state and city legislators and executive offices, led the advocacy for the funding of the $26 million building across the street from the original Armstrong home. Funds were awarded by the Office of the Governor, the New York State Senate, New York State Assembly, Office of the New York City Mayor, Office of the Queens Borough President, and the New York City Council. The Dormitory Authority of the State of New York(DASNY) led the construction project. The staff and board of the museum for the past 15 years, including former Director, Michael Cogswell, worked tirelessly to ensure the new building’s success.
The Center and the historic house will be open to the public Thursdays through Saturdays. Tickets and more information are available on the Museum’s website. Advance purchase is highly recommended as tours of the Center and the historic house have limited capacity. Authors, researchers and other scholars can visit the Armstrong archives by advance appointment.
In order to drive oneself to new heights – you must obsess. Moderately, everything arrives in due time. The contextual irony cloaked within the bubbling progression shown by lowkey Nas of my generation amounts to Don’t Feed the Pigeons. One to cause contemplation, it truly remains an honor and a privilege to witness YL’s progression.
Carrier Pigeon v. Passenger Pigeon
Heretofore, any endeavor relies upon its core components. The way that YL of the RRR Music Group drops content tends to resonate. Indubitably, he facilitates his functions with multiple cryptic previews and properly timed balance of project releases. Again, core components derive from learning all facets of music – production, promotion, precision. Intellectually appealing aesthetics and scenarios never hurt either.
Aside: As a thorough interviewer and journalist – I pay attention to my surroundings. Twice a week, time is spent at the Empire State Plaza displays and interesting walks of life. Ironically, many public moments with her occur in the opposite manner – as if surrounding glances hold absolutely no weight. Yet it goes to show how incredibly poignant Upstate NY foliage genuflects the rhythmic nature of existence.
Additionally, the simplistic nature of mathematical musical lens’ lends generously beneficial outcomes. Simply done, YL provides ample time to build up hype revolving around upcoming releases. “Illusions” proved worthwhile with staying power as a skit and small verse sample hit airwaves last October. Clearly, this album serves reminiscent of previous intellectually calculated releases with thematic imagery via intros/skits/outros too.
Artistically, one of the first, Pigeon singles to drop made its way onto timelines one month before RRR dropped their project titled after their music group.
Wholeheartedly, the most ideal characteristic about thee Triple R timing propels any life joy. One thing is for sure – two for certain – any listener cannot hear their collections and resist the urge to feel. The feeling elicited by some of these smooth synchronous samples creeps up on a meticulous listener and hits ‘em where it counts.
Contextually, many of YL’s albums released within just the right era to help me navigate dark times. The songs have carried cruises for extended views and such. Alas, nobody needs to brave this world or music industry alone – big shouts to Waqas.Ghani [RRR Orchestrator] Also loved was a Roper Williams reunion – the top rope from whence the producer duo struck!
Among the highlights of Don’t Feed the Pigeons: YL lets the beat speak on Nothing’s Changed ft. Ankhlejohn, YL says: “Gettin poppin on some present day fame – kind of strange how you hate but stuck in the same place,” and Beat says: “Guess nothing’s changed”
‘Tis impossible to undermine the magnitude of giving space to three man weave with the beat speak.
Real artists make you look inward via introspection. With that being said, i find it very intriguing the way in which @youngwhybaby approaches the notion of $20 pic.twitter.com/mQczHClIUL
“Can’t dwell on what it once was – you finally getting bread that’s wassup.” – YL consistently taps in and touches upon thematic lines. He simply rearranges placements and tests out pockets where words, phrases and lingo might interact more beneficially.
Seemingly, his concept of $20 has escalated to $100 on this project – listen closely.
“$100 dollars on the floor Y’s it seem like a test?”
The West Indian American Day Carnival Association (WIADCA) has announced their annual celebration of New York City’s West Indian Labor Day Parade. The festival is a celebration of West Indian culture that entails a full day of soca/dancehall music, vibrant costumes, dancing, and food for sale nearby. This all day event will occur on September 4th in Crown Heights, Brooklyn.
Traditions of the West Indian Labor Day Parade Festival dates back to the 1920s. A Trinidadian immigrant named Ms. Jesse Waddle met with other immigrants to find a solution to their homesickness. The people missed celebrating cultural carnivals in their hometowns. As a result, Ms. Waddle organized a carnival celebration to take place in the months of February or March. The carnivals were held indoors at places such as the Savoy, the Renaissance, and the Audubon Ballroom due to New York’s cold winter weather. Eventually the indoor carnivals became an issue because of its space limitations. Ms. Waddle applied for and received a street parade permit in the 1940s. This shifted the celebrations to the summer.
The permit was originally used in Harlem but was revoked because of a violent riot. Five years later, a committee organized by Trinidadian Carlos Lezama acquired another permit for a parade on Eastern Parkway. Since then, the parade has begun from Eastern Parkway and Utica Avenue ending at Grand Army Plaza. The West Indian Labor Day Parade has grown into one of the biggest parades of New York City, attracting up to four million people.
Some Caribbean Islands celebrated by the parade include Trinidad and Tobago, Haiti, Barbados, Dominica, Saint Lucia, Jamaica, Saint Vincent and Grenada, Afro-Panamanians, etc. The festival is a representation of Caribbean’s pride in their country, heritage, and culture. Participants of the celebration invest both money and time to brainstorm themes, costumes, and floats for the festivities. Face masks come in a variety of styles inspired by natural and spiritual elements, mythical creatures, political events, and popular culture. The artistic and historical value of the parade are displayed through costumes which are later recognized with prizes.
The march from Eastern Parkway to Grand Army Plaza is accompanied by the sounds of drums, whistles, calypso, soca, dancehall, kompa, and reggae music. Oftentimes people enjoy a battle of throwing paint and powder. There is also a wide range of ethnic treats to fuel up on to keep the party going. Although the parade itself is on Labor Day, the partying starts days before.
A celebration called J’ouvert marks the official start of carnival. It means “daybreak,” and occurs during early morning hours. J’ouvert was celebrated as the opportunity to embrace the emancipation of Caribbean slaves. During slavery the French excluded Black people from their masquerade balls so J’ouvert and Carnival became a celebration of culture. Like carnival, people are dressed in costumes with bright colorful feathers, glitter and sometimes you can even catch people walking on five- foot stilts. Both events are also used as a way for Caribbean immigrants to adjust to society without forgetting their roots.
The West Indian Labor Day Festival is welcome to all and free for everyone. End your summer with a bang by enjoying one of the most exhilarating parades of the summer with the Carribbean residents of New York City.
Rock & Roll Hall of Fame inductees The Zombies will perform in Adler Hall at New York Society for Ethical Culture in NYC on October 27. The stop comes as the group celebrates their long awaited album Different Game which was released earlier this year.
Tom Toomey
The Zombies are one of the most iconic bands in Rock & Roll history. The group came together in 1961 and grew in large part because of their role in the British Invasion. The Zombies have fostered a massive fan base throughout the years due to their unmistakable melodies, breathy vocals, and elegant harmonies.
In 1967 the band found worldwide success after their song “Time of the Season” reached #3 on the Billboard charts. The song would go onto be one of the most recognizable tracks of the 60s. It has since appeared throughout pop-culture, featuring in hit TV shows like “Friends” and “NCIS”.
Rod Argent
Rolling Stone has named The Zombies’ 1968 album Odyssey and Oracle to the “Greatest Albums of All Time” list twice. In total the band has released nine albums and has established itself as one of the most influential groups in music.
For tickets and more information about the show in Adler Hall click here.
Different Game Tour (North America)
Oct, 1 – New Westminster, BC – Massey Theatre
Oct, 2 – Seattle, WA – Washington Hall
Oct, 3 – Portland, OR – Aladdin Theater
Oct, 5 – San Francisco, CA – Palace of Fine Arts
Oct, 6 – Glendale, CA – Alex Theatre
Oct, 7 – Solana Beach, CA – Belly Up Tavern
Oct, 9 – Santa Fe, NM – Lensic Performing Arts Center
Oct, 11 – Boulder, CO – Boulder Theater
Oct, 13 – St. Paul, MN – Fitzgerald Theater
Oct, 14 – Milwaukee, WI – South Milwaukee PAC
Oct, 15 – Chicago, IL – Old Town School of Folk Music
Oct, 17 – Toronto, ON – Queen Elizabeth Theatre
Oct, 18 – Royal Oak, MI – Royal Oak Music Theatre
Oct, 19 – Nashville, IN – Brown County Music Center
Oct, 20 – Cincinnati, OH – Ludlow Garage
Oct, 22 – Northfield, OH – MGM Northfield Park
Oct, 24 – Alexandria, VA – The Birchmere
Oct, 26 – Beverly, MA – The Cabot
Oct, 27 – New York, NY – Adler Hall at the NY Society of Ethical Culture
