Mood Music is a real phenomenon. No, not the Joe Budden mixtape series. Although his melancholy brand of rap does allude to this actuality. Nonetheless, the idea that music is best served for a particular time, place and mind-frame is common thought. After all, your average hip hop fan more than likely has a favorite artist/playlist for several settings; a night out, late night drive, the gym. In turn, rappers cater their music to what they believe resonates best with their audience.
Well, as we trek through another brisk winter, what kind of music resonates best with the social dystopia that is this time of year? Spring, summer and fall are all backdropped with feel-good hysteria and scenery as those are America’s most profitable periods. However, the post-christmas doom-and-gloom is real. Thus, from January through April we sludge through murky streets mired in snow too dirty to appreciate, yet too cold to melt as we plunge into our seasonal depressions and await a return to the good times.
Enter: Grea8Gawd’s SNOWDAY
As we stew in our mental confinement and realize that our happiness was brought to us by Xerox in four parts without commercial interruptions, we plot an escape. But the best escape is to plunge deeper into our reality. In essence, Grea8Gawd’s SNOWDAY album epitomizes the phrase “Mood Music.” Yet, music is a funny thing. In what other context does it make sense to relate more to what can best be described as a play-by-play for drug dealing. Nonetheless, the upstate, New York native’s raw presence as he weaves through emotions and stages of “the game” throughout SNOWDAY is realer than almost anything else we get this time of year.
You’re not even supposed to see the source anyway. I said it in one of my records, I probably bought 44 birds before I met the plug. Ya’ll don’t need to who I am. What I’m saying is far more important than what I look like.
Album Review
In 14-tracks totaling only 31 minutes, Grea8Gawd embodies the polarizing underworld figure that we’ve come to devour in all forms of entertainment. With his trademark “shiesty” mask and a trunk-full of drawn out soul and jazz samples, he recounts the age-old story of meteoric rise and notoriety to evanescence. Moreover, with hip hop as glamorous as ever, Grea8Gawd capture’s the genre’s true gritty essence with story-telling gems like “Trafficking,” one of the standout tracks in what is described by Roc Marciano as a “cocaine bible.”
When I write it I want you to see it. ‘Cause really all I’m doing is recollecting.
– Grea8Gawd to NYS Music
Moreover, he album’s solemn tone is refreshing and feels appropriate with the harsh winter winds. Not to worry, SNOWDAY isn’t all doom-and-gloom. On “The 3rd Coming” he displays enough boastful exuberance to claim that “If Jesus is the 2nd then Grea8Gawd is the 3rd coming.” However, songs like “Thanks 4 Nothing,” and “Entitled” whose levels of angst, despair and somber-ness are so palpable that they inadvertently bring about empathy and offer perspective.
Theme
After all, imagery on records like “Masuca,” where the drugs boiling in the pot take the form of a woman, ought to resonate with those familiar with the lifestyle, while serving as a warning shot to the novices about how real this all can get. In essence, SNOWDAY is like watching a gangster movie and enjoying the part where everything is going right and they’re all making money. Then when it all goes to hell and you see the cost, you realize you’re happy you never went down that path.
“I can’t tell glorify that drug life without giving them [the kids] the ups and the downs. In that game when you be going so hard, sometimes people forget about their families. They forget about what’s really important.”
– Grea8Gawd to NYS Music
Even so, the album’s potency has reverberating effects for each affected party. For family and foes alike, lessons turn into tent poles to reach. With family issues arising due to the job’s demands. When that happens, money and lavish gifts can’t make up for lost time. While the underlying message of treachery, deceit and despair remains with the listener, just trying to get through winter. On “Entitled,” Grea8Gawd and Hell Rell face the fallout from their time in the streets. With the former agonizingly acknowledging “on my birthday I bought my son a watch, on Father’s Day he never even called to say ‘I love you pop.’”
In that game when you be going so hard, sometimes people forget about their family and what’s really important. With me and my son personally it was a disconnect because I was always there but I feel as though he felt like he had to try to outdo me. But, nah, I did those things so you don’t have to
– Grea8Gawd to NYS Music
SNOWDAY album cover
All in all, Grea8Gawd is well on his way. Having signed with an underground king in Roc Marciano and with the innate ability to bring his experiences to life bringing some real-ness back to the game.
On Saturday, February 3, 2024, Lucius returned home to a sold-out crowd at Brooklyn Steel. At the grand finale of their highly anticipated “Wildewoman, The Anniversary Tour,” fans poured into the venue with palpable enthusiasm. Opening act Jeff Taylor kicked off the festivities, setting the stage for the iconic duo’s entrance.
Originating from Brooklyn, Lucius, the indie band and songwriting duo composed of Jess Wolfe and Holly Laessig, curated a series of select shows to commemorate the album’s tenth anniversary that catapulted them to stardom. Returning to their roots in the city where it all began, the night held special significance for the band and their devoted fans. With multiple critically acclaimed albums under their belt and collaborations with esteemed artists such as Harry Styles, Roger Waters, and John Legend, Lucius has solidified their place in the music industry.
With vibrant hues and bold colors, the audience matched the band’s dynamic energy as the lights dimmed. The anticipation had almost reached a breaking point before they stepped out onto the stage. Made more magical by a beautiful set design, mirrors enveloping the band and reflecting back out onto the audience, the connection between the audience and the band was undeniable as the beginning notes rang out. The evening featured an array of highlights that included a special sit in by long time friend and collaborator, Louis Cato. The band also took time to read aloud letters from fans, each one recounting the impact of their music on their lives. The band played through “Wildewoman” in its entirety, interweaving a few other special songs into the setlist.
Taking an immersive turn, Lucius ventured into the crowd for their encores, symbolizing the evening’s themes of unity and celebration. Amidst the audience, they delivered an emotionally charged rendition of “Two of Us On The Run” and a fitting Beatles cover of “Goodbye.” As the evening concluded and the band navigated back through the crowd, a sense of nostalgia intertwined with excitement lingering for Lucius’ next move.
Setlist: Woman, Right Down the Line, Wildewoman, Turn It Around, Go Home, Tempest, Hey Doreen, Nothing Ordinary, Housewarming, Dusty Trails, Until We Get There, Wild Heart, Dont Just Sit There, Stranger Danger, Ice Cream, Monsters, It Doesn’t Matter Anymore, Wonderful, How Loud Your Heart Gets, Genevieve
At an event at Sirius Studio in New York City, Benny the Butcher marked a pivotal moment in his career as he celebrated the release of his latest album, “Everybody Can’t Go.” The album, a significant milestone as his first major label release under Def Jam, has already been making waves in the hip-hop scene.
The studio session was nothing short of electrifying, featuring an exclusive interview with Benny conducted by DStroy and Gray Rizzy. The atmosphere was charged with excitement as the rapper delved into the creative process behind the album and shared insights into the journey that led him to this groundbreaking release.
Benny treated the audience to a captivating live performance, showcasing his lyrical talent with renditions of three tracks from the album. “Big Dog,” “Jermaine’s Graduation,” and “Back Again” echoed through the studio, leaving an indelible mark on everyone present. The raw and authentic energy in Benny’s delivery resonated with fans and further solidified his status as a force to be reckoned with in the rap game.
The studio audience played an integral role in the event, engaging with Benny through a series of thought-provoking questions. This interactive element provided a unique glimpse into the artist’s mindset and the stories behind the tracks that make up “Everybody Can’t Go.”
A surprise guest appearance by none other than Bun B elevated the celebration to new heights. The special call from the legendary rapper not only underscored the impact of Benny’s work but also emphasized the camaraderie and respect within the hip-hop community.
“Everybody Can’t Go” is not just an album but a testament to Benny the Butcher’s evolution as an artist. The Def Jam release marks a significant chapter in his career, and the Sirius Studio event served as a fitting tribute to the hard work and dedication that went into crafting this masterpiece.
On February 2, Annie Trezza provided the tunes and ensued the grooves at Arlene’s Grocery, a Lower East Side treasure. From the most eastern point of New York State, Annie and her band descended into the city from Montauk, bringing their east coast surf-rock demeanor with them in blue suitcases, fur coats, and their soulful sound.
Bass rattled the vintage infrastructure of Arlene’s as Annie prepped her stage. She twirled around her staple acoustic and a sky blue electric-guitar perched behind the microphone, sipping a Tecate and dancing to the pre-show tunes. Huddled on stage was the Arlene’s grocery drum set, a bass guitar, and a pedal set that her bandmates fiddled with. Friends and family members of the band milled about the tight-spaced room, and curious New Yorkers in search of live music filed down the stairs into the pit.
Annie and her whole crew made their way onto stage. “Hey everyone! We track from the east end, AKA Montauk – the coolest place on Earth!” She wore a memorable coat with fur trimmed cuffs, velvet cowboy boots, bell bottoms, and a cowboy hat. Her style matched her sound, as she strummed her band into play.
After her first couple of songs, Annie Trezza introduced her band: Jack Marshall on the steel guitar, Andrew Winthrop on the drums, and Kevin L. on the bass. Their stage presence was commanded by Annie’s charisma, and they gelled together seamlessly. After the song “Ave. A,” Annie was excited to play her song “Summer//Winter,” which can be heard in the neo-western thriller “The Last Victim” on Hulu.
With drinkable influence from iconic artists like The Doors and Fleetwood Mac, and more modern-scale groups like Houndmouth or The Growlers, Trezza has combined classic riffs and the jam-band groove with her own poetry and life-style flair.
Each song threaded a narrative with unique lyrics. In the span of the mere hour long set, we were pulled from New York City, to Montauk, to Florida, to the French countryside. With strong influences from the ocean, surfing, relationships, and the seasons changing, Trezza holds an earthy and empathetic discography.
Their set deserved more time, for the storytelling between songs had to be nipped in order for Annie to perform the entirety of her setlist. Trezza acknowledged the time passing, “ All of these songs have a story, and I do like to ramble…” The crowd replied, “Ramble on!” The collective reference to Led Zeppelin couldn’t be missed.
A story that seemed to resonate with the audience was that behind her song “French Countryside.” Sleeping in the room next door to the person you’re in love with. The song had a tremendous build that mirrored the feeling of emotional climax – when feelings can no longer be contained and the body becomes an emotional well.
The bridge warranted dancing and Annie’s pal Kate grooved front and center. She bounced around the rim of the stage, and her energy encouraged others to move their feet. Annie invited the audience to fill in the dance floor. Bodies pushed towards the stage and the motion met the music.
“Alright, that was the acoustic set. We’re gonna go surfing again!” Annie swapped her acoustic guitar for her electirc as she geared up for the last couple of surf-inspired songs “Surf Crush,” and “Pitted.” “This song is about surfing, the greatest thing in the world! We’re in New York City, let’s get pitted!”
“Pitted” was the final song of the evening, and it ended the night on a high note. Once the show concluded, Annie hung around the Arlene’s chatting with her audience. Her artistry as well as her connective nature was genuine.
Indie-rock Sam Roberts Band has announced they are embarking on a major North American tour with support from Grand Public, JayWood, Altameda, Miina, Brandon Wolfe Scott, Brandon Wolfe Scott, Art d’Ecco, and Social Creatures.
The North American tour features a stop at the Town Ballroom in Buffalo on February 16, and at the Le Poisson Rouge New York on March 16.
SAM ROBERTS BAND
Budweiser Stage, Toronto. August 19, 2021.
Photo by Dustin Rabin – 2853
Canadian based Sam Roberts first released his debut in 2002, following a popular independent demo recording he had made in Montreal. Before that point, he had been a violin player who eventually moved on to guitar and started a rock band with his friends. In 2003 he released his first full-length album, We Were Born in a Flame. The Certified Double-Platinum selling album was a huge hit in Canada and won the Juno Awards for Album of the Year, Rock Album of the Year, and Artist of the Year. The artist continued to release hit albums for the remainder of the decade, like in 2006 he released Chemical City which became Platinum-certified andLove at the End of the World in 2008 which became Gold-certified and each album winning him the Juno for Rock Album of the Year.
Sam Roberts Band continue to deliver their legacy of hit singles to take over the airwaves. The band’s legendary live show has seen them performing around the world including Australia, Japan, and other extensive tours through Europe and North America and brought them to festivals such as Bonnaroo, Austin City Limits, Lollapalooza and Bumbershoot, and alongside giants like the Rolling Stones and AC/DC.
With the tour announcement, the band also celebrated the release of their new LP, Adventures of Ben Blank. The new LP is also the singer/songwriter Sam Roberts’ eighth album, and 5th under the Sam Roberts Band moniker. The new record takes a twangy and conceptual turn, seeing Roberts embody the titular character, a lone wolf type with a hardened exterior that slowly fractures as the album runs on.
Sam Roberts Band will perform at the Town Ballroom in Buffalo on February 16, and at the Le Poisson Rouge New York on March 16 and fans can find tickets here.
SAM ROBERTS BAND TOUR DATES
2-Feb-2024 Montreal, QC, Théatre Beanfield w/ Grand Public
3-Feb-2024 Ottawa, ON, Bronson Centre w/ Grand Public
8-Feb-2024 Kitchener, ON, Centre in The Square w/ JayWood
9-Feb-2024 Toronto, ON, History w/ JayWood
10-Feb-2024 London, ON, London Music Hall w/ JayWood
16-Feb-2024 Buffalo, NY, Town Ballroom w/ Altameda
17-Feb-2024 Detroit, MI, St. Andrew’s Hall w/ Altameda
23-Feb-2024 Victoria, BC, The Capital Ballroom w/ Miina
24-Feb-2024 Vancouver, BC, The Commodore Ballroom w/ Brandon Wolfe Scott
25-Feb-2024 Vancouver, BC, The Commodore Ballroom w/ Brandon Wolfe Scott
27-Feb-2024 Kelowna, BC, Kelowna Community Theatre w/ Brandon Wolfe Scott
29-Feb-2024 Calgary, AB, Southern Jubilee Auditorium w/ Art d’Ecco
1-Mar-2024 Edmonton, AB, Northern Jubilee Auditorium w/ Art d’Ecco
2-Mar-2024 Red Deer, AB, Red Deer Memorial Centre w/ Art d’Ecco
14-Mar-2024 Philadelphia, PA, Underground Arts w/ Social Creatures
15-Mar-2023 Washington, DC, Union Stage w/ Social Creatures
16-Mar-2024 New York, NY, Le Poisson Rouge w/ Social Creatures
The leading fan-to-fan social ticketing platform, CashorTrade, has revealed their new collaborations with Joe Russo’s Almost Dead and the String Cheese Incident. These band partners are an effort to keep tickets in the hands of fans for two forthcoming concert runs, and also to enhance the company’s fight against ticket scalping.
Dusty and Brando Rich, founders of CashorTrade.org
As String Cheese Incident are getting ready to perform their most anticipated three-night performance at Red Rocks Amphitheatre in July, CashorTrade held a pre-sale on Thursday, February 1 through CashorTrade.org.
Additionally, the platform has also announced their collaboration with Joe Russo’s Almost Dead to make tickets available for the band’s forthcoming performance at The Fillmore in Charlotte, North Carolina on February 8.
CashorTrade proudly defines itself as the world’s only social network where fans can buy, sell and trade tickets at face value. The Vermont-based company was launched in 2009 through the efforts of Brando Rich and his older brother Dusty, who are passionate music fans. Their website includes the pre-sale feature as part of their continuous effort to help artists and guarantee fair ticketing procedures. By bypassing the middlemen and online ticket resale marketplaces, artists can establish direct connections with their fan base through their website.
“CashorTrade is thrilled to partner with The String Cheese Incident and JRAD to empower fans and combat scalping in the live music industry. Our mission has always been to prioritize the fan experience and provide a platform where tickets are traded ethically and securely.”
Brando Rich, CashorTrade co-founder
With more than a million followers on its social media, website, and app, CashorTrade has made a name for itself as a reliable spot for fans to exchange, buy, and sell face-value tickets. With its headquarters located in Vermont, the company employs thirty passionate music lovers and is getting ready to release its next-generation software, which will improve the ticketing experience for both artists and fans.
For more information about CashorTrade and the upcoming presale, fans can visit CashorTrade.org.
Dylan was at Proctors Theatre on Monday, October 30, and although he did not entertain one of the songs that follow, here is a look at the many songs written about Schenectady, as well as the songs that reference the notoriously difficult to spell Upstate city.
Prior to being settled by the Dutch in 1661, the Mohican originally lived in the area around the Mohawk River. The Mohawk referred to the area as “Schau-naugh-ta-da,” meaning ‘Over the Pine Plains” which eventually morphed into “Sche-nec-ta-dee” and finally, Schenectady. Part of the colony of New Netherland settled by Arent Van Curler of Nijkerk, Netherlands. The town was famously burned by the French and their Indian allies in February 1690 in what has been known as “The Schenectady Massacre,” killing nearly all inhabitants. Home to Union College and General Electric, the town’s sobriquet is “The City that Lights and Hauls the World,” a little more wordy than ‘The Electric City’ that many also refer to the town.
With 350 years of history, and a cultural landmark in Proctors Theatre, the historic Stockade District, miSci (Museum of Innovation and Science), Jazz on Jay, Music Haven Concert Series, the Schenectady-Saratoga Symphony Orchestra, and the still relatively new Rivers Casino, the town on the shores of the Mohawk River is experiencing a downtown Renaissance, with events for all tastes and interests found all throughout the city.
So this ‘Electric City’ of Schenectady is notable enough, both for spelling and history, that over time, a few songs have been written about the town. Two of the most notable, “I Can’t Spell Schenectady” and “Schenectady” from Synecdoche, New York, we’ll get to in a moment, but let’s look at a pair of songs written for the town.
First, there’s “Schenectady Song” from Jason Martin. A ‘love ballad to the Electric City,’ the tune was originally released on cassette in 1998 and a re-edited version from Martin’s Magic Recording Eye (2001) can be heard below. Featuring samples at the start and end mentioning ‘High Voltage Hall’ and tests of electricity, the experimental song is unique, odd, and worth a listen.
Then there’s “Schenectady’s the Place,” the Official City Song, written by Cliff Brucker in 2016, a graduate of The Crane School of Music at SUNY Potsdam and The College of Saint Rose. Brucker’s song has the ‘commissioned by the local Chamber of Commerce’ vibe, although the version by SCCC School of Music heard below does have a certain panache and inviting nature to it. For an official city song, this is spot on for style, lyrics and music.
Then there are quite a few songs – much to this author’s surprise – that reference Schenectady, including “Hamilton Hill” by Demmene Syronn, released in 2020 and referencing a small neighborhood near Mont Pleasant. “I was a witness to the cultural birth of Hip Hop / From Hamilton Hill, Schenectady, Upstate New York”
“Starlight in Schenectady” by Peter JB Carman, the first track on Life the Pain, was released on Stockade Records in 2019. The song was first played at Moon and River where Carman and wife Lynn can often be found playing. Carman is a Baptist minister, writing hymns, poems and songs about Massachusetts, Rhode Island, North Carolina and Upstate New York, all places where he has served churches.
“Walking by starlight in old Schenectady And I don’t know where I’m bound Listen to the songs from the café down the street I surely love the sound And the years they do so swiftly roll And all day long it’s trouble and toil But I’m walking by starlight in old Schenectady And it’s home, it’s home I’ve found”
“Starlight in Schenectady”
“Afro Angel” by Will Smith (yup, that Will Smith) “Nothing” by Raekwon – “He felt bad but respected me / Pass the watch and the chain off respectably / Moseyed off, ran through Schenectady” – and “Someone to Love” by Fountains of Wayne – “Seth Shapiro got his law degree / He moved to Brooklyn from Schenectady, ’93 / Got some clients in the food industry” – all mention the town.
There’s also “Grim Reaper” by MC Zappa – “Try me; you might find I’m not in my right mind / Heads will roll, and I’ll repossess ya soul / I’m murderin’ rappers from here to Schenectady / Turn around, you see a sight you didn’t expect to see” “DECAP” by Dicaprio – “And I’m from Brazil, but I’ll always representing the County of that city, electricity, Schenectady” and “Bon Soirée” by Clay Coughlin – “I was laid up in Schenectady / But I’ll be bedding down on rue Sainte-Catherine.”
But for a double dose of local Upstate references, look no further than “The End’s The Same” by Off Balance, who drop a Stewart’s reference – “So sweet you make me feel at home just like some Stewart’s ice cream” as well as one for the town – “Disorder’s light to me / I hear these grimy synths like Ludwig on the ivories / and ebonies / Like nights I’m in Schenectady”
Getting back to the history of Schenectady, the Dutch settlement was burned to the ground in February 1690 by a war party of French soldiers and allied Mohawk and Algonquin. This event may have produced the first song in the 1840s, “The Burning of Schenectady.” Originally a broadside, featuring just lyrics and sometimes a suggestion for a familiar tune to pair with, the ballad can be sung to the tune of “Auld Lang Syne.”
The Burning of Schenectady – from a painting by Giles F. Yates, owned by A. A. Yates of Schenectady
There is some debate on the origin of the poem/ballad that led to the song, with folklorist ad historian Harold Thompson noting in his 1939 book Body, Boots & Britches that the original was written by Walter Wilie of Albany in June of 1690. Wilie notes before the lyrics (abbreviated below) “A Ballad – In which is set forth the horrid cruelties practiced by the French and Indians on the 8th of last February. The which I did compose last night, in the space of one hour, and am now writing, the morning of Friday, June 12th, 1690 – W.W.” Still, a debate continues as to the true origin of the first song of Schenectady.
God prosper long our King and Queen, Our lives and safeties all, A sad misfortune once there did Schenectady befall.
From forth the woods of Canada The Frenchmen tooke their way The people of Schenectady To captivate and slay.
They marched for two and twenty daies, All thro’ the deepest snow; And on a dismal winter night They strucke the cruel blow.
….
They then were murthered in their Beddes. Without shame or remorse; And soon the Floores and Streets were strew’d With many a bleeding corse.
The Village soon began to Blaze, Which show’d the horrid sight – But, O, I scarce can Beare to Tell The Mis’ries of that night.
They threw the Infants in the Fire, The Men they did not spare; But killed All which they could find Tho’ Aged or tho’ Fair.
O Christe ! In the still Midnight Air, It sounded dismally, The Women’s Prayers and the loud screams’ Of their great Agony.
…
And Here I End the long Ballad The Which you have just redde; And wish that it may stay on earth, Long after I am Dead.
Lyrics (partial) to “The Burning of Schenectady” – Walter Wilie, 1690
The aforementioned “Schenectady” from the motion picture Synecdoche, New York, stands out as one of the two most notable songs on the town. The title of the film makes a play on pronouncing the town name – Synecdoche (Sin-eck-duh-kee) while also being a literary expression alluding to a larger concept by bringing to mind a single part of the whole. Raul Yang notes “It perfectly captures the essence of the movie it was written for, and it stands on its own as a beautiful piece of music.” The deeply surreal film with a focus on aging and death, with director Charlie Kaufman including “Schenectady,” which introduces the idea of death in its last verse: “There’s always a never again.”
But of all these songs about Schenectady, the standard bearer has to be “I Can’t Spell Schenectady.” Written in 1948, let’s glance at the lyrics first.
Reading, writing and geography; But when it comes to spelling, I’m confessin’ There’s just one word that stumps me constantly. I can spell Dakota, can handle Minnesota, but I can’t spell Schenectady, I can spell Havana and figure out Savannah, but I can’t spell Schenectady. Why, one time at a spelling bee Said teacher all at once, “Now, Willie, spell ‘Schenectady’,” I felt just like a dunce! I spelled Anaconda and even Tonawanda, So what does she expect of me? I just can’t spell Schenectady. I can spell Pomona, Seattle and Tacoma, but I can’t spell Schenectady, I mastered Ypsilanti and Agua Caliente, but I can’t spell Schenectady.
Written by Al Trace, Arthur Terker, Abner Silver and Harry Clarkson, “I Can’t Spell Schenectady” is not in the range of “Weird” Al Yankovic for comedic songs, but rather resides in the realm of satire he would come to be known for, More so, this song is akin to a Bob Hope “Road To…” film featured song.
Starting out with a high pitched Alvin and the Chipmunks voice, the song laments Schenectady’s spelling difficulties with multiple voices joining in to drive home the orthographic dilemma they face.
The song was released on vinyl in July 1953, with a B-Side of “The Who is it Song,” both songs performed by Big Jon Arthur and No School Today Cast, and released on a 45 RPM Decca (9-88153) 7″ record, Children’s Series 1-252, with artwork by Sam Norkin.
Schenectady is the home of General Electric, the early radio-drama pioneer WGY, the first television station with WRGB, not to mention bread so delicious, Jack Nicholson had Perreca’s ship him loaves of bread following the filming of Ironweed in 1987. Yet for all these, Schenectady does not get respect in song or other media as should be afforded. Sure, the town name is difficult to spell, but ‘Place Beyond the Pines’ is a bit wordy. Schen-ec-ta-dy – it’s just that easy!
Album art for “I Can’t Spell Schenectady”
FormerLate Show with David Letterman head writer Bill Scheft once referred to Schenectady as “the Xanadu of funny-sounding places” in an interview with the Daily Gazette. “Four syllables, good rhythm and that hard comedy ‘K’ right in the middle. It scans perfectly. Of course, it’s no Cohoes, but what is?” And with that, check back soon following a search for songs about Cohoes.
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)
“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.
The Cayuga Chamber Orchestra in Ithaca/Finger Lakes has announced its introduction of a third Orchestral Series Program, Beethoven’s playful, exuberant Symphony No. 2 caps the evening. The show will begin on 7:30 pm on February 24.
Conductor Michelle Di Russo (Left) and Kebra-Seyoun Charles (Right)
The concert opens with Astor Piazzolla’s whimsical Tangazo, followed by Andrés Martin’s soulful Concerto for Contra Bass.
The program is led by Argentinian-Italian conductor Michelle Di Russo is known for her compelling interpretations, passionate musicality, and mastery of contemporary music.
Di Russo has served as Interim Director of Orchestras at Cornell University, Assistant Conductor for the Phoenix Youth Symphony Orchestra. Along with this, she was a conductor for San Diego Symphony, Ballet Arizona, and The Phoenix Symphony.
The show will also feature double-bassist, Kebra-Seyoun Charles. The versatile bassist has an extensive and impressive musical history. Kebra has experience with chamber orchestras, jazz musicians, and various notable composers like Jon Batiste.
With a combination of Di Russo, Kebra-Seyoun Charles, and the orchestra, the show should be one to honor the legendary Beethoven like never before.
Tickets are on sale now. To find out more about the Cayuga Chamber Orchestra performance of Beethoven’s music, the acts and ticket sales, click here. The Cayuga Chamber Orchestra has been “Ithaca’s Orchestra” since 1976. Don’t miss out on a piece of New York history, buy before time runs out.
