Category: Features

Meet Me @ The Altar – Irving Plaza Edition

Meet Me @ The Altar, the vibrant and genre-defying trio, is redefining the punk and pop-punk scene with their electrifying energy and empowering anthems. With lead vocalist Edith Victoria, guitarist Tea Campbell, and drummer Ada Juarez, the band’s dynamic sound reflects their diverse influences and shared passion for breaking barriers in the music industry. Hailing from different corners of the U.S., MMATA found their common ground, and swiftly became a force to be reckoned within the world of punk.

MMATA’s “Say it To My Face Tour” stop at Irving Plaza on January 25 was an exhilarating celebration of punk, diversity, and unapologetic self-expression. The night kicked off with stellar performances by Elliot Lee, John Hardie, and Honey Revenge, setting the stage for a high-octane headlining act.

As MMATA took the stage, the atmosphere crackled with excitement. A fan in the front row held a sign that declared “Ada is my everything,” a testament to the profound connection the band fosters with their supporters. The show became a participatory experience when Edith let the crowd choose between two songs, playfully warning them about the sad backstory of “A Few Tomorrows” before launching into it, resulting in playful banter between the band and their adoring audience.

Edith, Tea, and Ada’s banter with the crowd showcased not only their musical prowess but also their genuine connection with fans. They acknowledged a dedicated fan who had attended 10 shows with applause, reinforcing the reciprocal love between the band and their followers. The concert marked a significant milestone for MMATA, as they headlined at Irving Plaza for the first time, reflecting on their journey from opening for MUNA in 2022 to sharing the stage at Madison Square Garden with 5 Seconds of Summer.

Inflatable beach balls bounced through the crowd, adding to the playful atmosphere, while Edith’s confusion about the continued existence of BeReal revealed a charming, down-to-earth side. The concert took unexpected turns, such as Tea’s witty remarks during the intro to “Hit’s Like a Girl,” celebrating love and adding a personal touch to the night.

A standout segment dubbed “Songs We Wish We Wrote” featured spirited covers, including “Since You’ve Been Gone” and “Burnin’ Up,” showcasing the band’s versatility and sense of humor. The fan project during “Garden,” where paper flowers bloomed in the crowd, was a visually stunning moment, and Edith’s acceptance of a flower from a fan emphasized the symbiotic relationship between the band and their admirers.

Meet Me @ The Altar used their platform for more than music, incorporating activism into the show with the presence of Headcount volunteers promoting voter registration. Crowdsurfing added a final touch of chaos to the night, encapsulating the raw, unfiltered spirit of punk.

In summary, Meet Me @ The Altar’s concert at Irving Plaza wasn’t just a show; it was a riotous celebration of individuality, shared experiences, and the unifying power of music. The trio’s ability to seamlessly blend punk, pop-punk, and heartfelt lyrics created an atmosphere that resonated with the diverse audience, making it a night to remember.

Setlist: Same Language, Now or Never, Try, A Few Tomorrows (Crowd voted for this over May the Odds Be Ever In Your Favor), Hit Like a Girl, It’s Over for Me, Since U Been Gone (Partial Kelly Clarkson cover), Take Me Away (Partial Christina Vidal cover), Burnin’ Up (Partial Jonas Brothers cover), T.M.I, Garden, Feel a Thing, Kool, Say It (to My Face)

February 4, 2024
The Massive Memoir From a Glorious Star, “My Name Is Barbra”

“You knew instantly that she was an original,” Alan Bergman. For those who have waited a lifetime for this memoir, it was worth it. For all who were uncertain it would ever happen, arriving just before holidays 2023, finally in her own words, Barbra Streisand sets the record straight on her private and public life in My Name is Barbra.

The EGOT winner chronicles her 60 year career with honesty, poignancy, humor and questioning. Her achievements have made her legendary, which includes 46 GRAMMY nominations.

In addition to her fabulous music career, Barbra Streisand was also the first woman to write, produce, direct and star in a major motion picture. She is also the only recording artist in history earning number one albums over six decades.

New York is where it began, growing up in Brooklyn, on to Catskills summer camp which she hated, Summer Stock at Malden Bridge Playhouse at 15, the Cecilwood Theatre in Fishkill, then her beginnings in New York Nightclubs. Later on with success, Hello Dolly! would film scenes in West Point and Garrison, then scenes from The Way We Were were shot in Schenectady.

Singing as a start, was a way to earn a living. Early on, success came from the musical and film versions of Funny Girl.

From her early career and throughout it, Barbra Streisand’s talents were often overshadowed by society’s labels pertaining to beauty and unfair comments directed towards her. She serenely handled this and carried on with creativity, not letting it defeat her. Thankfully by the time she reached twenty, some would refer to her looks as “pharaonic” “Nefertiti” and “Babylonian Queen” appreciating the beauty that she so obviously had in addition to her immense talent and drive.

The cover of My Name is Barbra

As she mentions straightaway beginning the memoir, the negativity pertaining to her appearance was disheartening. As she also points out, it would stick with her throughout her career.

She had been asked to write her memoir for so long, finally deciding it was time to set things straight and correct any misconceptions lingering about her.

Her memoir is an inspiration to anyone that doubts following their dreams, because success “actually makes you more of who you really are” she states.

Like with so many talented and creative people, perhaps Barbra Streisand’s journey into music and theater stemmed from early dissatisfaction with everyday life being unfulfilling. At 14, journeying into Manhattan seeing marquees everywhere showed her seemingly “endless possibilities.”

Movies showed her a world “so much more vivid and alive than anything I was experiencing.” Barbra recalls the excitement of her first play Teahouse of the August Moon at Malden Bridge Playhouse where she performed with her best friend. She refers to that time as a “glorious summer.”

A local newspaper gave her performances great reviews, bolstering her confidence. Not unlike Ella Fitzgerald, she declared on the playground that one day she would be famous.

It was in the Catskills at 13, that her mother was told about a studio where you could make your own record; Barbra and her mother would then go to Nola Studios in December 1955 to do that. She recalls how inspirational that experience was for her. One of the memoir’s themes is that of honesty.

Barbra Streisand gives us a compelling glimpse into the creative process of her movies and albums, her journey from struggle to star, along with personal anecdotes on her friendships and romances. Life includes loss, and loss is another of the memoir’s themes with what comes across as the pain of losing her father while she was so young and some of her close friends and colleagues.

When once asked: “How do you hold a note so long?” “Because I wanted to” was her response.

Barbra Streisand has received the American Film Institute’s Lifetime Achievement Award, the Kennedy Center Honor, the National Medal of Arts, France’s Légion d’Honneur, and America’s highest civilian honor, the Presidential Medal of Freedom. She founded The Barbra Streisand Women’s Heart Center at Cedars-Sinai, raising awareness for more research into women’s heart disease.

The Streisand Foundation, which she established in 1986, has supported national organizations working on preservation of the environment, voter education, the protection of civil liberties and civil rights, women’s issues, and nuclear disarmament. In 2021 she launched the Barbra Streisand Institute at UCLA, dedicated to finding solutions to the most vital social issues.

February 4, 2024
Hearing Aide: Gregory McLoughlin, “Hemispheres”

Prolific bassist and songwriter Gregory McLoughlin has released his latest single, “Hemispheres” on January 15. Gregory McLoughlin, hailing from Jersey City, NJ, creates bass-forward, and acoustic tracks that can best fit into the category of folk or soft rock.

A first thought on Gregory’s single, “Hemispheres,” is the opening sounds quite reminiscent of Bob Seger’s “Against the Wind.” It begins with a subtle bassline, melodic piano, and a recognizable acoustic riff. You can also hear accordion kick in as the vocals do. Backing vocal harmonies on this track are quite smooth and relaxing.

The song tells a tale about a sort-of yearning for summer adventure with loved one. Certainly, a vibe any Northeasterner in the winter can get behind. The song has a mix of a tropical, Margaritaville sound, and American Folk. There is a smooth, guitar solo between verses and the chorus, which remains in the background for the remainder of the tune.

The single has the same melody throughout, with little to no diversion in neither vocals nor instrumentation. That said, the song is sweet-sounding, and one where emotion and hope are the defining narratives.

This is a song about summertime, but specifically inspired by the beautiful landscape of
New England’s Cape Cod National Seashore. I am releasing it in the dead of Winter to
remind us of warm summer memories and help push us through the cold months.
Gregory McLoughlin, on “Hemispheres”

To listen to Gregory McLoughlin’s latest single, check him out on Spotify, or YouTube. To learn more about the artist, visit his website at GregoryMcLoughlin.com.

February 3, 2024
Selett Releases Breathtaking Self-Titled EP

NYC-based songwriter Selett just released her new EP on January 26, Selett. The EP features a total of four tracks and comes across just under 15 minutes that showcase the artist’s potential and the power of self-discovery.

Selett has been creating music and performing consistently, thrusting her sound into the spotlight and solidifying her mark in the NYC music scene. In the four track EP Sellet, the songs work together to create a message and the feeling of dread, worldly unknowns that lie ahead, and scars and memories from the past that one would prefer to forget. For instance in “Mourning Dove”, the theme takes form in the context of people’s relationships– both healthy and unhealthy– with one another and with themselves, intense vocals, and overwhelming yet amazing instrumentals backing each message.

Each song on the EP takes the artist and the audience in a striking direction while also staying consistent in theme and tone. In “Wheels Within Wheels”, the anachronistic tune starts a very lifting piano before the singer’s vocal introduce the track’s dizzying themes of infinite regression, while in the beginning moments on “Hey Hey”, Selett immediately grasps the listeners with an intoxicating beat that builds in each measure as the singer adds in one instrument after another.

In celebration of her self-titled EP release, the singer also released the visualizer for the subtly magnificent single. In the visually pleasing visualizer for “Hey Hey”, the artist notes the delving deep into the human quest for dignity and meaning. “It’s like a dance, intimate moments unfolding, kissing away fog, and passion expanding into the cosmos. There’s a lot of metaphorical guidance and searching. It’s a poetic journey, inviting you into this shared mystery, where each heart finds echoes of its own history. It’s emotional, it’s transformative, and it’s all about resonating with the messy, beautiful human experience.” Selett states.

In the self-titled EP, Selett shows a testament to the power of vulnerability, self-discovery, and just a taste of what the songwriter’s creative being is about. The singer/songwriter is known for working with artists like David Terranova who has been producing emotive and immersive voice, Charley Drayton, Parker Kindred and others whose artistry has enriched her layers of sound and meaning within each track.

Selett has been on a run which has given the singer various reasons to celebrate. Not only will the artist have new songs to perform to and share with her fans, but she will also be performing on February 16 at the Connolly’s Klub 45 in NY. Tickets and more information about the artist can be found here.

February 2, 2024
Hearing Aide: “Flight of The BumBillB” – A Few Laughs and One Very Uncomfortable History Lesson on The Latest Release from Buffalo’s Bill Bachmann

Flight of The BumBillB is the latest release from Buffalo native Bill Bachmann. This is the third full length album from the multi instrumentalist songwriter, who plays every instrument on the album’s 14 songs. Bachmann is a true wordsmith who expertly uses wit and humor in his music.

Flight of The BumBillB lands between Weird Al Yankovic and Bob Dylan and somewhere between the city of Buffalo and the heart of Appalachia – Bluegrass, Americana, DooWop, Blues and even a parody of a Christmas classic, it’s all in there.

“Size Don’t Matter on a Banjo” kicks off the album and is a tone setter for the humor and music that is about to come. In a song that would fit perfectly in Disney’s Country Bear Jamboree, Bachmann takes shots at lawyers, harmonica players (who only suck half of the time), and even himself.

The jazzy and funky sounds of “I’m a Real Man” are a stark contrast to the Bluegrass of the opening track. The lyrics are almost pure stand up comedy and some of Bachman’s finest on the album. Couples beware! You will relate to this one, and that’s where it’s beauty truly lies.

As the title suggests, “Telecasterbatur” is full of sexual innuendos and double entendres. Bachmann is not very subtle on this not for kids tune which features some nice slide guitar.

“Big Bad Josh” is a parody of Jimmy Dean’s classic “Big Bad John”. Big Bad Josh is in fact Buffalo Bills quarterback Josh Allen and this tune sounds like it could be heard around tailgates and bars in Buffalo. Bachmann professes his love for his hometown team and predicts The Bills in “The Big Game” and Josh Allen heading to The Hall of Fame…maybe next year.

Bachmann gets back to comedy through the middle of the album with parodies of “Turkey in The Straw” and “Blue Yodel”, the latter singing the laments of a big trust fund.

“Double Negative” has a classic folk sound and lyrics like “How Much I Do Not, Not Love You.” A simple ditty that’s either a grammar teacher’s dream or worst nightmare.

“Buffalo To Washington” is a musical journey from Buffalo, New York south through Pennsylvania and Maryland enroute to our nation’s capital and features a very catchy sing-a-long chorus.

Nine songs deep into the album “Full Moon” finally delivers a serious love song. The production on this one sounds very modern, almost garage band like or “band in a box”. The production, or lack of, seems to take away from the classic style of “Full Moon” which harkens back to great songs like “Blue Moon” and other classics from The Great American Songbook.

Things seem to get a little jumbled and repetitive heading into the final stretch of “Flight of The BumBillB”. “Girls and Boys in The Ivy” is a parody of The Drifters classic “Poison Ivy”, taking shots at Ivy League students “memorizing elements and fighting about statistics”. “Male in The Czech” sounds like it could be a Monkees song with a bad punchline and “Pissed Off at Christoph” seems to miss the mark.

What starts as a parody of “Ghost Riders In The Sky”, “Check Writers in Disguise” soon becomes a very uncomfortable and almost vulgar bio of The Kennedy Family. Blaming Marilyn Monroe’s death on her singing “or the drugs”, Hush Money, Harvard scandals, and the death of Mary Jo Kopechne in Chappaquiddick leading to a “permanent senate seat” for Ted Kennedy are just a few of the ways Bachmann shows his disdain for the Kennedy Family. A song that is irreverent at the least, crosses any line appropriateness with the songwriter’s account of a rape on the beach. This song is vulgar and politically incorrect with total lack of taste and empathy. It is the only track on the entire album which evokes any real thought or emotion other than the occasional chuckle. In today’s watered down, politically correct “Me Too” world is this true art or just shock value amid an album of fluff?

Flight of The BumBillB concludes with “Santa Claws Are Coming To Town”, Bachman’s dark twist on the holiday classic.

You can find Flight of The BumBillB on streaming platforms including Bill Bachman’s YouTube page and his official website BillBachmannMusic.com.

February 2, 2024
Down in the Hollow: Fireside Collective and Airshow Ignite in Albany

Sooner or later, they say everything old is eventually new again. This seems particularly true when it comes to the surging revival of Americana/Bluegrass music and on Wednesday, January 24, concert fans in Albany found that out firsthand. Sharing the stage at The Hollow for a co-headlining night of frantic finger pickin’ and foot stompin’ brilliance, Ashville, NC’s Fireside Collective and Nashville’s Airshow demonstrated beyond the shadow of a doubt why they are two of the hottest emerging forces in ‘Newgrass” music today.

Fireside Collective brought the heat to The Hollow on 1/24/24.

First on the docket put together by Guthrie Bell Productions was Airshow. Originally formed in Reading, PA, it wasn’t until childhood best friends Steve Gallagher (guitar/vocal) and Cody Chelius (mandolin/vocals) met up with Bill Baker (bass/vocals) and John Rodrigue (drums/vocals) in Nashville that their high energy jams really started to soar. Two studio albums and a boatload of live recordings later, Airshow finally landed in Albany for the first time.

Nashville’s Airshow made their Albany debut at The Hollow on 1/24/24.

After filling up their bellies at The Hollow’s adjoing restaurant, the guys quickly started burning off the calories by opening with “Burning the Hardwood Floor.” As tardy fans slowly filled in the room while the band worked their way through numbers like “Up Dog,” “On’ry and Mean” and “Up in the Clouds,” it wasn’t long before you could see what all the fuss was about. More jammy and electric sounding than traditional Bluegrass, the Oysterhead shirt worn by Chelius gave the band instant street credit and signified they were students of improvisation by some of the best to ever do it.

Through a bevy of effects pedals, guitarist Steve Gallagher effortlessly made his acoustic sound like a raunchy electric axe, which paid huge dividends on songs like the funky “Skydiver” and “Up on the Ridge.” After showcasing their chops and technicality on the high-octane barn burner called “Spider Bite,” Airshow would ignite the crowd even further by their hilarious synchronized dance moves on their final number, “Up On The Hill.” An excellent set that surpassed my expectations, this certainly was not your father’s bluegrass I was expecting. It was better.

Cody Chelius of Airshow performing at The Hollow on 1/24/24.

As the pouring rain outside The Hollow continued, things inside were just starting to heat up. Making their return to the Capital Region after wowing fans at last year’s Eastbound Throwdown and again at Cohoes Music Hall opening for Kitchen Dwellers, Fireside Collective have quickly earned a reputation for their ferocious and infectious live shows. Consisting of Joe Cicero (guitar); Jesse Iaquinto (mandolin); Tommy Maher (resonator guitar) and Carson White (bass), this tour also marks the latest addition to Collective by way of drummer Mike Tillis.

Fireside Collective performing in Albany on 1/24/24.

Kicking things into high gear with a “Devil’s On the Hillside” > “Choctaw Hayride” combo, the band was firing on all cylinders from the very start. Seamlessly trading vocal harmonies and instrumental leads at the drop of a hat, the band jelled together like a well-oiled machine. A tender, more, country styled vibe emerged on “Done Deal” from the bands 2020 album Elements, before a stellar re-imaged cover of “It’s All Over Now Baby Blue” endeared itself upon unsuspecting ears resulting in big time smiles both on stage and off.

Fireside Collective performing at The Hollow on 1/24/24.

Shifting focus to songs from the latest Fireside Collective album Across the Divide, “Let it Ride” threw caution to the wind, while extended jams on “Your Song Goes On” and “When You Fall” showcased some of the hottest licks and best interplay of the night between Tommy Maher and Jesse Iaquinto. After “Don’t Stop Lovin’ Me” came a special treat for those in attendance at The Hollow. Announcing a brand-new song saved for this specific night, the band would debut “Down in the Hollow” in the most appropriate and satisfying way possible. Check out fan shot footage of that exciting moment in the clip below.

Throwing it back to an oldie but a goodie from Larry Sparks and the Lonesome Ramblers on “These Old Blues,” Fireside Collective kept it classy while paying proper respect to the forefathers of the Americana/folk genre. From the past to the present, the extended jam out of “And the Rain Came Down” felt like hearing a bit of the future. This was Newgrass and the fun-loving crowd at The Hollow couldn’t get enough. So much so that local promoter Greg Bell of Guthrie Bell Productions approached the stage and asked the boys to play one more. Happy to oblige and perhaps pander to the obvious Deadheads in the audience, Fireside Collective spontaneously uncorked a 12-minute rendition of the Grateful Dead classic “Scarlet Begonias” to bring the already hot show to a scorching close. Watch fan shot footage of that in the clip below.

Guthrie Bell Productions does it again, I mean what a show! Two great young bands with musical chops and maturity far beyond their years. I suppose I walked in expecting some sort of hump day hoedown, but what I got felt more akin to a Saturday night rock ‘n roll rager. With choice cover songs, original debuts and a gorgeous commemorative poster designed Chelsea Housand, Fireside Collective and Airshow at The Hollow was an absolute barn burner.

Fireside Collective | January 24, 2024 | The Hollow | Albany, NY

Setlist: Devils On the Hillside > Choctaw Hayride, Done Deal, It’s All Over Now Baby Blue, Let It Ride, Your Song Goes On, When You Fail > Jam, Don’t Stop Lovin’ Me, Down in the Hollow*, These Old Blues, And the Rain Came Down > Jam

Encore: Scarlet Begonias

*Original debut

Airshow | January 24, 2024 | The Hollow | Albany, NY

Setlist: Burning the Hardwood Floor, Up Dog, Lonesome On’ry and Mean, Up in the Clouds, Skydiver, Up on the Ridge, Greenway, Spider Bite, Up on the Hill.

February 2, 2024
fivebyfive Stuns at Strasenburgh In Celebration of the Coming Eclipse

On the 8th of April, Rochester will be one of the cities in the direct pathway of a total solar eclipse. A rare celestial event worthy of celebration and awe. In anticipation of the event, local chamber ensemble fivebyfive played a series of three sold out concerts at the Rochester Science and Museum’s Strasenburgh Planetarium the past two weekends.

“Light and Dark: Eclipse Music,” two years in the making, included five world premier pieces commissioned specifically for this concert, each written specifically in celebration of this monumental event. Each composer interpreted the concept of a solar eclipse in their own way. fivebyfive’s audio and visual engineer, and Executive Director, Marc Webster added his own interpretations, developing visuals for each to project on the dome of the planetarium. He approached the video treatments from a musician’s standpoint, taking cues directly from the scores. It was a feast for the ears and eyes for the audience, comfortably seated in recliners encircling the intimate space.

A unique event deserves to be celebrated in a unique way by a unique ensemble. Made up of Laura Lentz on flute, Marcy Bacon on clarinet, Ken Luk on electric guitar, Eric J. Polenik on bass and Haeyeun Jeun on piano, fivebyfive certainly fit the bill. But the compositions called for the band to stretch it’s legs even more with some auxiliary sounds and techniques. Finger-tapped guitar added to the data-driven melodies of Glenn McClure’s set opening “Totality,” as numbers rained down from the skies. Bass clarinet, alto flute and a bowed guitar added warmth to Jessica Meyer’s “In the Path of Totality,” tapping into the human emotional response to the eclipse’s grandness and beauty. Light literally controlled the music for Julie Herndon’s “I Can Take.” Guest conductor Armand Hall conducted using only light bulbs strewn through the band’s setup. Through composed sections and even some improvisation, the bulbs dimmed and brightened in the darkened room, as the music ebbed and flowed along the way.

The venue, the visuals, the music. It all came together perfectly in celebration and anticipation of an event that Rochester will remember forever. Las Vegas may have it’s much-hyped Sphere, but Rochester’s Strasenburgh Planetarium made an excellent host for these shows, and only one of those city’s is in the path of totality. With two more months to go there’s plenty more time to keep the celebration going so stay tuned for more events to come.

February 1, 2024
How New York City Shaped “Rhapsody in Blue,” 100 years later

Even if they can’t name the tune, most people will recognize the iconic clarinet intro of the famed composition, “Rhapsody in Blue,” by George Gershwin. That song, now a timeless masterpiece, made its debut 100 years ago on February 14, 1924. The origins of the song are as wild a ride as the composition itself; and almost all of it traces back to the influence of New York City.

Composer George Gershwin (1925) – Photo from Encyclopedia Britannica

It was in Brooklyn, New York, that George Gershwin was born in the late 1800s, as Jacob Gershwin, a son of Russian Jewish Immigrants. From an early age he exhibited fantastic musical abilities on the piano and was tutored by the notable Charles Hambitzer, who saw greatness in Gershwin.

At age 15, Gershwin dropped out of school and began playing piano in various nightclubs around New York City. It was in Tin Pan Alley that Gershwin worked as a song-plugger and honed his craft. And it was on Broadway that Gershwin worked as pianist for rehearsals and performances of theater productions. Both experiences stirred Gershwin’s penchant for jazz and popular music. In 1916, he released his first published song “When You Want ’Em You Can’t Get ’Em (When You’ve Got ’Em You Don’t Want ’Em)”

In the following years, Gershwin’s work was commissioned by broadway composers and performed by popular singers and entertainers. His song “Swanee” (1919) was performed Al Jolson in the musical Sinbad and went on to sell more than two million recordings and a million copies of sheet music.

The start of Rhapsody in Blue began in the years 1920-1924. Gershwin, composed for an annual production put on by musician Paul White. In 1922, Gershwin pushed to have a one-act opera titled “Blue Monday.” The reception was lackluster in a time period where Jazz was not accepted by the mainstream. Still, the bandleader Paul Whiteman, (who like Gershwin, wanted to see jazz gain respectability) later decided to commission Gershwin to write a jazz piece for a concert in 1923.

As the story goes, Gershwin completely forgot about the show until he read about it in the paper, only a few weeks before the concert date. It was in this mad scramble that he created the faed, “Rhapsody in Blue.” Once again, the soundscape of New York would have its hands in this composition.

Gershwin later recalled that it was on a train from New York to Boston that he was hit with the inspiration for the song.

“It was on a train…that I suddenly heard–and even saw on paper–the complete construction of the Rhapsody in Blue, from beginning to end. I heard it as a sort of musical kaleidoscope of America–of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.”

When the piece made its debut it was slightly different from what would appear in the published recording which came after the fact . While the band’s parts were ready in time for the show, Gershwin reportedly improvised much of the piano solo which existed only in his mind. The show was performed at the Aeolian Hall in New York City on February 14th, 1924. Composer Ferde Grofé completed a score for piano and full symphony orchestra in 1926.

In later years, Gershwin would go on to compose hits such as “Embraceable You” and the Broadway adaptation of Porgy and Bess. Gershwin died in 1937 while undergoing surgery to remove a brain tumor. While he was only 38, Gershwin made an indelible impact on jazz compositions and music as a whole.

In a final nod to the big apple, “Rhapsody in Blue” reached new heights when Woody Allen introduced the composition to a new generation in his 1979 film titled Manhattan – 42 years after Gershwin’s death.

February 1, 2024
Juliana Hatfield Live in NYC at City Winery

Juliana Hatfield performed at the intimate City Winery Main Stage on January 28 in NYC. Outside of her solo work, Juliana is known for her involvement in indie rock acts such as Blake Babies and The Lemonheads. Opening for her was Leslie Mendelson. Leslie opened the show with an acoustic set of originals and cover songs. Juliana then took the stage and performed a solo set filled with older deep cuts, songs from her 2021 album Blood, and excerpts from cover albums she’s released in the last few years.

Juliana Hatfield at City Winery NYC

In November, Juliana released an album of Electric Light Orchestra covers. Motifs of loneliness and escapism were apparent. Even in a room filled with people, you could feel these prevailing themes. Substituting parts of ELO’s full orchestra, Juliana made her own adjustments that added a unique personal spin to the songs. On her record, Juliana used vocal keyboards to emulate the string instruments to accompany the lead guitar.
Juliana Hatfield Sings ELO by Juliana Hatfield
Leslie Mendelson at City Winery NYC

This album followed two other cover collections Juliana has released, including The Police and Olivia Newton-John. The blue twinkling lights that filled City Winery’s ceiling felt like the perfect throwback to the cosmic imagery of ELO’s early stage shows. The crowd was equally entranced by both her performance and witty stage banter.
Juliana Hatfield Sings Olivia Newton-John by Juliana Hatfield
Setlist: Dancin’ ‘Round and ‘Round (Olivia Newton‐John cover), Candy Wrappers, Hotels, Forever, Everybody Loves Me but You, Necessito (Some Girls song), Wonder Why, Telephone Line (Electric Light Orchestra cover), Please Mr. Please (Olivia Newton‐John cover), Hole in My Life (The Police cover), Tourist, Everything’s for Sale, My Sister (The Juliana Hatfield Three song), There’s Always Another Girl, Ugly, I Got No Idols (The Juliana Hatfield Three song), Had a Dream, Bottles and Flowers, June 6th, Shining On, Nirvana, Spin the Bottle, I Wanna Be Your Disease, Choose Drugs

January 31, 2024
A Night of Laughter and Reflection at the LIMEHOF with Jackie Martling

In a recent event at the LIMEHOF, the spotlight shone on the legendary comedian, writer, and actor, Jackie Martling, following a screening of his much-anticipated documentary, “Joke Man.” The intimate setting brought together fans, both familiar and new, creating an atmosphere that resonated with warmth and nostalgia.

Martling opened the evening by expressing his gratitude for the audience’s presence, noting that while previous screenings took place among family, this particular event welcomed strangers as well. As the evening unfolded, Tom Needham, host of the event, guided the conversation through key moments of Martling’s career, providing insights into the making of the documentary and shedding light on the comedian’s multifaceted talents.

“The Journey to ‘Joke Man’”

The transition of the LIMEHOF to embrace comedians and entertainers of all kinds was highlighted during the interview. Martling, an integral part of the Hall of Fame since its inception, played a crucial role in this evolution. Needham praised the comedian for his diverse career, acknowledging his contributions as a writer, comic, actor, filmmaker, and even a musician.

Martling shared the serendipitous story of how “Joke Man” came to be, emphasizing the collaborative efforts with director and producer Ian Karr.

The Musical Side of Jackie Martling

The conversation then shifted towards Martling’s lesser-known but equally significant role in music. The documentary showcased Martling’s musical journey, featuring his contributions to the soundtrack. Martling humorously confessed that they “stole” his music for the film, recounting his early attempts at music and how he eventually found his comedic calling. The discussion touched upon his initial struggles with music, the evolution of his comedy, and the unexpected joys of making music albums.

Audience members were treated to a sample of Martling’s musical talents as his songs played in the lobby, emphasizing the versatile nature of his artistic pursuits. The interview delved into Martling’s enduring love for music, tracing it back to his early attempts at songwriting and the humorous anecdotes surrounding his musical endeavors.

The Howard Stern Show and Beyond

A significant portion of the interview focused on Martling’s legendary tenure on the Howard Stern Show. The comedian provided a detailed account of how he initially joined the show, highlighting the organic nature of his collaboration with Howard Stern, Robin Quivers, and Fred Norris. Martling debunked the myth of instant success, narrating how he committed to the show for three years without pay before becoming a permanent fixture.

The interview explored Martling’s role as the behind-the-scenes joke writer, detailing the intricacies of how he seamlessly contributed to the show’s comedic brilliance. His reflections on the challenges and successes of the show, including its move to mornings and eventual syndication, underscored the lasting impact of the Howard Stern Show on both Martling’s career and the world of radio.

The evening concluded with Martling reminiscing about the show’s close-knit camaraderie, the fine line between breaking balls and reality, and the unique dynamics that fueled its success. The audience left with a deeper understanding of the man behind the jokes, as well as a renewed appreciation for Jackie Martling’s enduring legacy in the world of entertainment.

January 31, 2024