Foo Fighters have announced the 2024 Everything Or Nothing At All Tour, in support of their 11th full length record But Here We Are. The tour kicks off with two shows at NYC’s Citi Field on July 17 and 19.
With singles “Rescued” and “Under You,” Foo Fighters acclaimed album But Here We Are was released on June 2. It debuted at #1 on UK charts, marking the group’s sixth official #1 album. But Here We Are is the group’s first release since the passing of their longtime beloved drummer, Taylor Hawkins in March 2022.
Foo Fighters’ 2024 tour begins with two shows at New York’s Citi Field on July 17 and 19, and continues with shows at legendary stadiums, such as Boston’s Fenway Park, San Diego’s Petco Park, and Seattle’s T-Mobile Park. The tour will see support from Pretenders, The Hives, Mammoth WVH, Amyl and The Sniffers, Alex G, and L7 on various dates.
General onsale for tickets begins on Friday, October 6 at 10AM. Citi cardmembers will have access to presale tickets beginning on Tuesday, October 3 at 10AM, until Thursday October 5 at 10PM through the Citi Entertainment Program. More information and tickets are available here.
In honor of hip hop’s 50th anniversary and lasting culture, Genius brought a return to their “IQ/BBQ” summer showcase. In the first edition of the annual event since Covid, hosts Miabelle and Jacques Morel took on the role of emcee, with DJ Saige, DJ Stacks, RNB House Party and DJ S’Wit serenading the crowd with memorable hip hop tracks.
Held at Queens’ Knockdown Center, the day-long festivities provided a fitting end-of-summer experience for guests to enjoy. While in the midst of a year-long celebration of hip hop, IQ/BBQ expertly combined the best of hip hop and urban culture to provide all-around good time.
Guests gather at center stage at IQ/BBQ. Photo by Ki Steiger-Dahl
In light, Knockdown Center’s large terrain set the stage for a diverse live music experience, allowing for the ambience to differ with each change of location. Consequently for performers, it left the crowd scattered. As guests warmed up to performances by opening acts Rich Greedy and Wynne, their attention split between a number of enjoyable experiences at Genius IQ/BBQ.
IQ/BBQ Brought the Culture
After all, aside from a rich lineup of acts, IQ/BBQ offered experiences like the So Fresh, So Clean Shop. Presented By Paco Rabanne 1 Million, attendees had the chance to snag free barber shape-ups by Groomed Guys, along with sneaker cleanings by Fresh Kicks NYC.
Photos by Kia Steiger-Dahl
In like manner, the outdoor Rap Cafeteria, presented by Showtime’s The Chi, created a true backyard barbecue vibe for Genius. This fun space featured picnic tables with designs that paid homage to iconic cities and eras from hip-hop’s first 50 years. Along with games, food from some New York City’s best food trucks and of course, great music.
IQ/ BBQ’s Rap Cafeteria offered delicious eats from some of New York City’s best vendors
Meanwhile, VIPs enjoyed sips of PATRÓN EL ALTO in the VIP Genius Lounge, which was adorned with famous song lyrics featuring PATRÓN.
Photos by Kia Steiger-Dahl
Performances
As the acts warmed up so did the crowd. However, New York City’s “too cool for school” attitude reared its head, as less experienced and less-known performers struggled to captivate the crowd. Yet as the evening waned and guests had eaten and drank their fill, the center stage began to heat up. Performances from Luh Tyler and Lola Brooke got the crowd going. While Armani White showcased true stage presence and talent in getting a stubborn crowd to come alive.
Photos by Spicy Rico
As a result, a now-perked up and fully gathered crowd waited patiently for the headliners, Clipse, to make their appearance. After a near hour-long wait Pusha T dawned the stage, feverishly spitting out lyrics from his Grammy-nominated release, It’s Almost Dry.
Pusha T came out to a very engaged crowd. Photo by Kia Steiger-Dahl,
After performing records performing a slew of solo tracks, he brought out his brother Malice as they performed one of their classic album cuts, “Popular Demand” to a now-fully engaged crowd. The energy levels remained high throughout their set as they ran through a number of hit records including “Mr. Me Too,” and “What Happened to That Boy,” before ultimately performing a run of deep album cuts and closing out with one of hip hop’s classic records, “Grindin’.”
Pusha T and No Malice are in the midst of a reunion 14 years in the making. Photo by Kia Steiger-Dahl.
As Pusha T and Malice performed their last record, the duo thanked the crowd for repeatedly showing the Virginia natives love. Just as suddenly as the electrifying performance began, it was over, and guests dispersed knowing that hip hop delivered them another memorable day.
As hip hop celebrates its 50th year of existence, its stronghold on pop-culture remains ever-present. With exhibits, festivals and documentaries in honor of the world’s most popular genre. As hip hop evolves, nuances and pieces of history tend to be lost in the shuffle. Despite reaching the rest of the world, hip hop got its education in New York City. Before the South had something to say, the boroughs battled for supremacy and laid out a blueprint for all to follow. This is what Best of The Boroughs is for. Capturing the essence of hip hop throughout all of New York’s five boroughs and neighboring towns.
The Formative Years
Emerging from the Bronx in 1973, this counter-culture movement quickly sashayed throughout New York. Meanwhile, in Queens, hip hop’s grimy and raw energy went through a maturation process, unveiling an inner-consciousness and business sense. However, Queens’ family oriented local did little to gain the rappers credibility in what remained a rugged genre. Yet, as the movement grew, the masses learned more about Queens’ underworld and the various project housing’s where terror rained. This is what makes Queens unique, there isn’t one singular identity. Much like its socio-economic makeup, the rap scene emerged as a diverse oasis where mainstream, conscious and hardcore all meet.
Queens is home to a diverse mix of hip hop
Manhattan keeps on makin it, Brooklyn keeps on takin it Bronx keeps creatin’ it, and Queens keeps on fakin’ it
– KRS One, “The Bridge is Over”
Having existed in inner-city communities for years, the genre tasted mild success in 1979 with Kurtis Blow‘s Gold single “The Breaks” giving hip hop its own break into the mainstream. However, this cultural consolidation of styles, fashion, street life and music still lacked true superstars to solidify it. Stars that transcended race and culture.
The Beginning of The Golden Era
In essence, this is where Queens made its biggest imprint on the genre, delivering hip hop its first true superstars in Run DMC and LL Cool J. For their part, the “Kings of Rock” were the first rappers to have a platinum album and to appear on MTV — paving the way for fellow Queens native Ed Lover and the culturally monumental Yo! MTV Raps. In a sense, Run DMC showed that hip hop had arrived and rappers were deserving or major label deals. In turn, LL Cool J broke the mold by showing that sustained stardom could come from a solo act and serve as a segue into other business and entertainment opportunities. With their trademark B-Boy fashion, they brought the culture and style of the street dudes to the mainstream, introducing America to a new wave of urban and youth culture.
Queens MC’s have pioneered several trends in hip hop history
In light of this, Queens’ hearty contribution to hip hop often played into the facade that the rappers were soft. With a hub of African American and Caribbean homeowners, it gave an impression that anyone from the borough was the product of some kind of suburbia. Yet the dichotomy was ever-present in the music. While the West Coast gets credit for gangsta rap, Kool G Rap of Corona, Queens is a forefather of the hardcore, street, story-telling style that made the careers of so many rappers.
Of course, Kool G Rap got his start with Queensbridge natives, The Juice Crew. The fabled hip hop collective — spearheaded by producers Mr. Magic and Marley Marl — introduced several legendary acts to the scene including Big Daddy Kane, Biz Markie and Roxanne Shante who at only 14 became one of the first women to gain notoriety as a rapper.
Equally important are the Queens-adjacent Long Island rappers who paved the way. A list that includes Rakim, Biz Markie, MF Doom, Erick Sermon, Keith Murray and De La Soul. Now these bunch weren’t from Queens but shared similar rap ideologies, and well they’re closer to Queens than anywhere else.
Hip Hop Evolves
Following behind their predecessors, the next generation of Queens rappers brought on a run of genuine, diverse and innovativeness that created a moment-in-time. Before vulgarity and street ethos became the norm in popular music, acts like A Tribe Called Quest, De La Soul (Long Island) and Pharoahe Monch offered variance to the scene. As Gangsta Rap rose in popularity, the alternative acts gave insight to the other black existence. And With their own imagination to draw upon, they helped bridge the gap between hip hop and its preceding genres. Eventually bringing about an implementation of jazz and house music into their production to mix with more easy-going subject matter.
Queens rappers brought a unique blend of conscious and gangeter music
At the same time, Queens’ version of gangster music brought about the philosophical street rapper. Hugely influenced by Islamic — but mostly — mafioso ideologies and tactics — thanks to John Gotti’s celebrity status and the cultural impact of films like Scarface and The Godfather — the methodical, tactical and observatory ways of organized crime played a large role thematically in hip hop, street music. Under this backdrop legendary acts like Nas, Mobb Deep, Capone-N-Noreaga, delivered timeless records that not only depicted the criminal life but instilled valuable life lessons. In contrast, Queens still provided the raucous, wild energy. Both Onyx and The Lost Boyz (R.I.P. Freaky Tah) brought a different frenzied element to the scene, helping showcase how truly diverse in sound Queens was.
The End Of Golden Era
However, for anyone wondering how hip hop became so violent, look no further than the end of the golden era. As popularity grew, so did the stakes. And with the glitz-and-glamour of hip hop at full-force during the late 90’s, it became even harder to blur the lines and separate the streets from the music. Coupled with the monetary benefits of pushing the envelope, name-dropping became the norm as the genre grew to be confrontational.
In Queens, this was epitomized in the beef between Ja Rule and 50 Cent. On the heels of Tupac Shakur’s death, Gangsta Rap had officially taken over. Shakur’s volatile personality and propensity for thought-provoking soundbites — along with his talent — turned him into a media darling. A Queens habitant for a period (being close with E-Moneybags and Stretch of Live Squad), his impact was felt.
Changes
In this aftermath, the Hollis-raised Ja Rule emerged as a star in the late 90’s using similar aesthetics as the now-mythical Tupac. In one of the earlier-instances of the 4th wall breaking, he was mocked by rivals for fabricating a street persona. Which was a cornerstone of something the Southside Jamaica-bred 50 Cent’s image. In essence, their beef stems from 50 feeling slighted because neighborhood hero Kenneth “Supreme” McGriff backed Ja Rule’s music over his. Someone who he felt didn’t have the pedigree of a gangster, not like him. That and many other incidents have led to the two Queens rappers loathing each other for over two decades.
Queens maintained its status throughout the 2000’s
Over the years, the two multi-platinum selling rappers have gone back and forth with numerous diss records and even a physical run-in that resulted in stabbings. As their anomisity towards one another played out in the music and on TV, it continued a trend of street politics making its way to the record label’s marketing rooms. And all in all, the wreckage left behind created animosity city-wide. Although the golden era’s major players were still at their peak, anomisity and testorone filled the air.
Nonetheless, Queens was well represented with the emergence of 50 Cent as a worldwide force. In turn, his G-Unit imprint launched the careers of Lloyd Banks and Tony Yayo. And the old garde of LL Cool J, Nas and Mobb Deep remained relevant.
Present Day Queens Hip Hop
Be that as it may, hip hop in Queens has suffered since veering away from the boom bap sound. However, rather than a host of power players, Queens has one dominant Queen in Nicki Minaj. The last decade-and-a-half saw the South Jamaica native achieve commercial success that puts her in a league of her own among women in hip hop.
But altogether, street culture has taken its toll on the rap game and Queens is no exception. The respective slayings of Stack Bundles and Chinx Drugz ended two buzzing careers set for take-off. Meanwhile, one of the faces of the new generation of Queens music, Shawny Binladen, has had trouble staying under the radar.
However, Queens still generates stars, Lil Tecca had a top 5 Billboard hit at 16-years-old and 10 overall chart entries. While to a lesser degree LoutGotCash has maintained a presence in the local hip hop scene. It may be true that the road ahead is unclear in the era of microwave music, yet the impact of Queens in hip hop is ever-present. For better or worse.
Nas continues his prolific run with his 16th studio album, Magic 2. Since the release of Nasir in 2018 — his first under his Mass Appeal label — the legendary rapper has been on a resurgent run. That’s to say nothing of Nas’ status within hip hop. However, the last few years have seen the fabled rapper get the mainstream acknowledgment his career deserves, winning his first grammy-award in 2021 for King’s Disease.
Magic 2 is Nas’ 5th collaborative project with Hit-Boy in the last 3 years
Magic 2: Nas and Hit-Boy Continue to Create
In like manner, Magic 2 sees Nas’ continue his career victory lap. The 11-track album is another collaborative effort with now-frequent cohort Hit-Boy. This latest release is the duo’s fifth combined effort in the last 3 years, beginning with King’s Disease. Short and succinct, the album’s only two features — 50 Cent and 21 Savage — showcase Nas’ range in the current hip hop landscape.
Notably, burying the hatchet with a former rival and fellow Queens native in 50 Cent on “Office Hours.” The two rap legends last worked together in 2002, with Nas featuring on two songs on 50 Cent’s mixtape Guess Who’s Back? In like manner, Nas exchanges bars with one of contemporary rap’s hottest stars in 21 Savage on the album outro “One Mic, One Gun.” In effect demonstrating the versatility in cadences and flows during this latest Hit-Boy run.
All in all, the grammy-winning producer has been instrumental in Nas fortifying his legacy. Despite his icon status and classic albums, the Queensbridge native has maintained a reputation for not picking the best beats. Together with Hit-Boy Nas has gone a long way towards shedding the skin of being another older rapper. With a healthy mix of contemporary sounds and boom bap records Magic 2 sees Nas and Hit-Boy continue to create more well… Magic.
After teasing their return at Pharell’s Louis Vuitton Fashion Show, legendary rap brothers Pusha T and No Malice — known as Clipse — will continue their resurgence with a headlining performance at Genius’ IQ/BBQ. Presented in partnership with Infiniti, Paco Rabanne, Patron El Alto, and Paramount+ with Showtime’s The Chi, the all-day event takes place on August 19 at Knockdown Center in Queens, N.Y., and will feature live performances from some of the hottest names in hip-hop, including the platinum-selling duo.
In addition to the show, IQ/BBQ will feature experiences like the So Fresh, So Clean Shop from Paco Rabanne 1M, an art installation from Infinity featuring the new QX60, a VIP “Genius Lounge” presented by Patrón El Alto, and a Rap Cafeteriafilled with lyric-inspired dishes from local NYC food vendors – presented by Showtime Original Series, The Chi.
Clipse Making a Comeback
With this performance, The Clipse continue their teased reunion. After previewing their first joint-record in 14 years the Virginia-bred brothers have garnered fans attention with the teased record. Their last collab was the outro to Pusha T’s most recent album It’s Almost Dry, titled “I Pray for You.”
Moreover, since their days as The Clipse, the duo have been part of some of hip hop’s most iconic records. Notably, records like “Grindin’,” “Mr. Me Too,” and “What Happened to That Boy.” Since their last album — 2009’s Til The Casket Drops — Pusha T has embarked on a successful solo career that has resulted in several Grammy nominations and recognition as one of the best rappers ever. Meanwhile, No Malice left the music industry to become a pastor making sporadic feature appearances since, including an album cut on Ye’s 2019 release Jesus Is King.
Tickets for the Genius IQ/BBQ are free and are now available at dice.fm, while the event maintains a 21+ age restriction.
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.
Presented by the Kupferberg Center for the Arts, Live at the Gantries brings free music to the banks of the East River. The concert series runs every Tuesday from July 11 through August 15. Performances are set to take place at Gantry Plaza State Park in Queens.
Each concert is scheduled to start at 7:00 PM. The series looks to support and foster some of the most talented local artists and bands in NYC. This year’s lineup features music from several different genres, including R&B, Afrobeat, Soul, Dance, and Jazz.
The beauty of Live at the Gantries is that it brings together the vibrant Queens community and showcases the incredible musical talent. It’s a celebration of diversity, culture, and the power of music to bring people together
Jon Yanofsky, Director of Kupferberg Center for the Arts
Gantry Plaza State Park sits on 12 acres of land and gives attendees a pristine view of the Manhattan skyline. The park provides the perfect venue to enjoy the sounds of live music as the sun sets over the Big Apple.
Live at the Gantries Lineup
TUE, JUL 11, 7 PM: AJOYO
AJOYO is a groovy mixture of jazz, electronic, and pop all grounded in strong West African rhythms. Spearheaded by Sarah Elizabeth Charles, Yacine Boulares, and Jesse Fischer, their unique sound is perfect for summer.
TUE, JUL 18, 7 PM: Bartlett Contemporaries
Bartlett Contemporaries with the Uptown Funk Sound is a dynamic band influenced by the diverse sounds of Queens, NY. Their music often lies somewhere in the realm of hip-hop. Blending bebop, hip hop, dance and more to create a sound that is both timeless and fresh.
TUE, JUL 25, 7 PM: Afro Dominicano
Afro Dominicano infuses their songs with a captivating Afro-Caribbean soul. Incorporating Dominican styles with African elements, Afro Domincano produces music that encapsulates both the diversity and collectivity of NYC.
TUE, AUG 1, 7 PM: Linda EPO’s Ensemble New Yorkino
Growing up in Queens, New York City and Puebla City, Mexico Linda EPO’s voice has been greatly shaped by her cultural surroundings. As part of her career, Linda has been on a worldwide tour with the Grammy nominated Heritage Blues Orchestra.
TUE, AUG 8, 7 PM: Michael Olatuja & Lagos Pepper Soup
New York-based composer and bassist Michael Olatuja combines the sounds of Lagos, London, and New York City to create “cinematic Afrobeat”. One of the most innovative artists today, Olatuja has worked with the likes of Diana Ross, Stevie Wonder, Shakira, and Angelique Kidjo.
TUE, AUG 15, 7 PM: Slavo Rican Assembly
The Slavo Rican Assembly was founded by Jan Kus, a saxophonist and composer hailing from Slovenia and based in New York City. This seven-piece band combines Latin jazz scene with South Slavic musical heritage.
The Louis Armstrong House Museum in Queens announced it is celebrating its 80th anniversary and officially opening its new state-of-the-art building on July 6.
Photo credit Albert Vercerka/Esto.
Louis Armstrong is a definitive arbiter of Jazz and America’s first Black popular music icon, entertaining millions from heads of state and royalty to the kids on his stoop in the working-class neighborhood of Corona, Queens. The Louis Armstrong House Museum preserves his legacy by offering guided tours of the historic home and preserving Armstrong’s 60,000-piece archives. The brand-new Louis Armstrong Center, located across the street from the historic home, will further help celebrate his legacy by offering year-round exhibitions, performances, readings, lectures, and screenings through an array of public programs for all ages. It now includes the home itself that reflects the personal values of Louis Armstrong and the garden that serves as a place for gatherings and a place for live performances.
This is a landmark moment for the Louis Armstrong House Museum. Standing on the shoulders of the jazz and community greats who have come before us, the new Louis Armstrong Center invites today’s musicians, neighbors, and global fans to discover Louis and Lucille Armstrong’s story from a new perspective. We will bring the Armstrongs’ unique archives alive through new interactive events. And we will ensure that music once again rings out on 107th Street through groundbreaking programs in collaboration with emerging artists and contemporary icons.
Executive Director Regina Bain.
The opening of the 14,000 square foot Center has spurred the creation of new programming. The Museum is announcing 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. Armstrong Now will provide established and emerging artists with a platform to create new work inspired by Armstrong’s legacy, as well as the vast collection of artifacts and documents in the Armstrong archives.
Also included at the Center is the new exhibition curated by Jason Moran, Here To Staywill look at Louis Armstrong’s five-decade career as an innovative musician, rigorous archivist, consummate collaborator, and community builder. “In Here to Stay, we amplify Louis Armstrong’s ability to connect with communities locally and globally. His star shines bright worldwide, but especially here at his home in Corona, Queens. I consider this one of the ‘wonders’ of the world, meaning, we have Lucille and Louis’ magnificent home, and now a museum dedicated to his life and archive,” said Moran.
Photo provided by the Louis Amstrong Museum.
Ticketing and information about all of the Louis Armstong Museum’s events and programs can be found here.
The New York Philharmonic started off summer with a bang on Tuesday, June 13th in the Bronx.
For years, the New York Philharmonic Orchestra has had a yearly summer concert in Van Cortlandt park, and last night continued the tradition. This summer, music director Jaap van Zweden conducts iconic classical pieces Beethoven’s Fifth Symphony and Johan Strauss’ On the Beautiful Blue Danube. The orchestra also plays Copland’s Fanfare for the Common Man, the William Tell overture, and Strauss’ overture to The Bat.
Audience members got to the Van Cortlandt Parade Grounds in the afternoon early before the concert. Hundreds of people were out on the grass before the sun set. With the orchestra playing such famous pieces, everyone was excited. Plus, audiences this summer get to hear recent pieces composed by two graduates of the New York Philharmonic’s Very Young Composers program.
Founded by John Deak, the very Young Composers Program (VYC) mentors kids and gives them the “tools they need to transform their musical ideas into finished compositions.” The kids also get to hear professional New York Philharmonic musicians—and sometimes the full orchestra—playing their work. The 12-week program works to empower children ages 8-15 and help them reach their full creative potential. Then, they can create art to express themselves and the world around them. The New York Philharmonic was founded in 1842, and it’s the oldest symphony orchestra in the country. Educational programs like the VYC ensure the future of music by making sure the next generation is given opportunities to learn. The two pieces that the orchestra are performing this summer were written when the students were in VYC.
Bronx resident Mio Mićić wrote their piece, Raft Dino Spies, in 2013 when they was just 9. “The title reflects the fact that I was 9,” they said to the audience last night. The piece depicts the experience of riding a rollercoaster that they went on as a kid. Mićić tried to compose it “as audibly realistic as possible” to make audiences feel the same experience. They even asks the musicians to do something unusual: to scream as loudly and long “as they’re willingly able.” Even though the music is memorable on its own, the screaming orchestra makes it stand out in audience’s minds.
Rodriguez wrote his piece in 2019. At the age of 12, he was inspired by the moon landing to write Trip to the Moon. He saw the moon landing footage and compared it to musical concepts. As the orchestra counts down from ten, they “[take] you for a ride and [give] you a perspective of such an amazing feat.” (Michael Rodriguez) Lately, Rodriguez has been inspired recently by Latin music, and how to compose for orchestras based in the style.
Just like always, the performance ended with a fireworks show. The New York Philharmonic is still performing free Concerts in the Parks this summer. On the 16th, they’ll be in Queens’ Cunningham Park, then Friday the orchestra plays at Prospect Park in Brooklyn. Both of these outdoor shows start at 8PM. Although sold out, the Philharmonic wraps up their concerts in the parks on the 18th with an indoor concert in Staten Island’s St. George Theatre. Still, concerts in Brooklyn and Queens are open for all! If you can’t make it this summer, you can still listen to some of the NY Philharmonic’s great work online.
Much like the regional differences between rappers from differring coasts, New York MC’s are often the representation of a larger community’s ethos. For instance, Cam’ron‘s slick-talking, flamboyance embodied Harlem, Jay-Z‘s sharp, hustler mentality derived from Brooklyn, while Nas’ profound, thought-out and laissez-faire style is a Queens thing. In that regard Lloyd Banks is a lot like Nas. The veteran rapper has taken the long-winding road to artistic nirvana and his latest project, The Course of the Inevitable 3: Pieces of My Pain, sees the Queens native at his songwriting best, while capturing the essence of New York City’s underbelly.
Widely recognized as the punchline king, Banks’ cultural relevance within hip hop often relied on his hard-hitting punches. However, the platinum-selling rapper has re-emerged and reinvented himself through his COTI series, showcasing never before seen vulnerability and earnestness. Through a hue of sinister, 90’s inspired boom-bap production, Banks plays the role of philosopher and commentator. After all, the rap game has changed drastically since Banks released his platinum-selling debut, The Hunger for More.
Invariably talented, the knock on Lloyd Banks has been his indifference to the promotional aspects of a rap career. While that apathy played a part in Banks not releasing a studio album for over a decade, the boom bap sound’s re-emergence in niche form was the perfect opportunity to return to the scene and Banks struck while the iron was hot. “I was like, ‘Yo, it’s time for me to attack now.’ he reveals. “The boom bap wave was kind of reemerging. I was like, “Yo, it’s no better time than now.” “Let me get my feet wet.”
Album’s Best
With a New York-centric supporting cast, the 16-track, 54-minute project was curated to capture New York City’s hardened nature. Hence, Banks alternates between first person tales and analysis of the state of the culture. Furthermore, the PLK’s more descriptive form of songwriting led to a few vulnerable album cuts. Records like “Voices,” “Pieces Of My Pain,” “Daddy’s Little Girl” and “Deceitful Intentions” provide insight into Banks’ mental state. Meanwhile, songs like “Automatic Pilot,” “101 Razors,” “Money Machine” and “LSD” sees the veteran rapper provide commentary on the current state of street ethics, making numerous mention to the current trend of recording one’s death and disrespecting the dead that has been brought about by drill culture. Moreover, Banks’ improved beat selection and swift, hard-hitting rhymes make for a incredible coherent project with plenty of replay value.
My album’s flawless for your rap genius to scrutinize They told me sharks was in that water, watch me scuba dive
– Lloyd Banks, “Money Machine”
Album’s Worst
If there can be a knock on this project, it would be the redundancy in Lloyd Banks’ voice. While the songs vary enough in beats, flows and rhyme patterns, Banks’ grizzled, monotone voice remains a constant. Established fans should have no issue with this, while first-time listeners may be thrown off by the lack of variance in Banks’ pitch. Correspondingly, Banks featured a host of New York rappers throughout the album, making it a very east-coast friendly project. Moreover, Vado and Dave East hold their own in supporting roles, while Method Man delivers one of the album’s best verses on “101 Razors.” However, it was lackluster features from former G-Unit cohort Tony Yayo and Rochester native, 38 Speech, that left more to be desired. The duo share the stage on the album’s 10th track, “Red Alert.” While 38 Spesh came with potent rhymes, the lack of chemistry between the two was apparent. Meanwhile, Tony Yayo’s verse began decently enough, but quickly tales off as his flow did not mesh with the beat.
