The Rooftop at Pier 17, one of New York City’s most scenic venues, has announced the addition of a one-of-a-kind glass structure to the space, enabling winter shows upon its installation in late 2025.
artist rendition of the indoor structure atop Pier 17
With Manhattan’s skyline, the Statue of Liberty, and the Brooklyn Bridge as its backdrop, The Rooftop at Pier 17 has quickly become one of the city’s most iconic new venues.
Opening in 2018 alongside the complete reinvention of Pier 17 in the wake of Hurricane Sandy’s destruction, The Rooftop has hosted some of New York City and the world at large’s biggest names as a part of its annual concert series.
In its nature as an outdoor venue, The Rooftop has been limited in its ability to host concerts when the weather becomes too cold to bear- however, in a revolutionary new announcement, this constraint will soon be no more.
Starting in late 2025, The Rooftop is set to become a year-round live performance venue with the introduction of a custom-designed glass structure that will completely transform the space’s capabilities.
Jordana at The Rooftop at Pier 17
This innovative enclosure will take the once warm-weather exclusive venue into a climate-controlled, indoor setting without compromising the stellar views it’s become synonymous with.
“We look forward to The Rooftop at Pier 17 transforming into a year-round concert venue. Our state-of-the-art space will deliver an unparalleled experience for both artists and guests, providing the quintessential New York City live music venue no matter the season.”
– Anton Nikodemus, CEO of Seaport Entertainment Group
Accommodations for fans will shift slightly, limiting The Rooftop’s regular capacity of 3,500 down to 3,000, however the introduction of the enclosing structure will also provide ample opportunity for a brand new VIP balcony level.
In addition to its standard season of 60+ shows a year, The Rooftop’s new glass structure will enable an additional estimated 25 performances throughout the late fall and into the winter months.
Each spring, the structure will be removed and The Rooftop will return to its original state as an open-air venue with a capacity of 3,500, maintaining the space’s signature charm while elevating the audience experience entirely.
This development marks an exciting expansion of what was thought of as possible for fans of the venue and New York’s music scene at large- attendees and artists alike.
For more information on this revolutionary expansion, upcoming shows, and other announcements about The Rooftop at Pier 17, be sure to check out their official website here.
Silver Bay YMCA’s bluegrass festival, Bluegrass in Heaven, is undergoing a rebrand to open the festival up to more people. The festival will now be known as “Silver Bay’s Mountain Music Festival.”
The new name aims to open the festival up to more people who enjoy the genres that fall into the mountain music category such as americana and folk. In addition to the new name, the festival is also sporting a new logo to help the rebrand along. The logo features a sun with some music notes behind a mountain range with the text Silver Bay’s Mountain Music Festival below it.
Silver Bay’s bluegrass festival originated in 2023, with the planning for it starting in 2022, when a long-time Silver Bay employee and volunteer, Terry Baker, approached Silver Bay with the idea. Silver Bay’s Mountain Music Festival is set to take place September 12 – 14. The lineup for the festival will be announced in the new year.
Silver Bay YMCA, founded in 1902, is in Silver Bay, NY, just minutes south of Hague. Its 700-acre campus along one mile of Lake George shoreline offers a breadth of programs for all ages. Silver Bay YMCA is consistently ranked one of the top ten family reunion sites in the country and is on the National Register of Historic Places with the U.S. Department of the Interior. As a mission-based charity, Silver Bay YMCA offers outreach programs in addition to its core activities as a premier conference and family retreat center.
For more information on Silver Bay YMCA and their upcoming Silver Bay’s Mountain Music Festival, click here.
Park Street Hospitality has unveiled its latest project, Doc’s Bar & Lounge, a newly renovated event space located within The Park Theater in Glens Falls.
Formerly known as Doc’s Restaurant, this reimagined space on the lower level of the theater now offers a chic and versatile setting for intimate gatherings, corporate events, and special occasions. The floor plan has been reconfigured, removing the booths of the former restaurant to serve as a more functional multi-purpose event space, perfect for cocktail hours, family style dinners and more.
Combining stylish ambiance with enhanced functionality, Doc’s Bar & Lounge provides an elevated experience, perfect for catering to the diverse needs of its guests. This exciting expansion highlights Park Street Hospitality’s dedication to delivering unforgettable moments for the Glens Falls community and beyond.
Built in 1911, The Park Theater is the premier entertainment venue located in the heart of downtown Glens Falls, NY. This century-old theater holds a vast and rich history within the community and has been revitalized as a destination for performing arts, weddings, events and more. In 2021, The Park Theater Foundation was established, launching its inaugural outdoor Summer Concert Series and highly anticipated 2021/22 season.
The Park Theater remains a state-of-the-art performing arts center, featuring national and international touring performers, as well as local community artists and productions. With the renovation of Doc’s Bar & Lounge, the venue just got another exciting and stylish addition to its fan-favorite atmosphere.
For more information on The Park Theater and to stay up to date on future events, click here.
On Sunday, Dec. 15 from 3- 5 pm, the Brooklyn Conservatory of Music (BKCM) will present its inaugural Holiday Extravaganza featuring Caroling, Klezmer, Calypso, tea, dance lessons, and more.
Brooklyn Conservatory of Music‘s multicultural celebration invites New Yorkers of all ages to enjoy a variety of musical performances in its historic Park Slope Victorian mansion, including the surrounding gardens and front stoop. Guests can look forward to shows from BKCM’s Klezmer Hanukkah Ensemble, David Bertrand’s Calypso holiday band, and Christmas carolers, among others.
Attendees can visit the delicious Tea Station provided by Tea Arts & Culture and can also participate in dance lessons offered by Asase Ya Cultural Arts Foundation. Additionally, everyone is welcome to join in a special sing-along of Handel’s Messiah, suitable for all ages and skill levels. Guests will also be able to engage in holiday crafts from around the world and can bring their children to explore various musical instruments available at BKCM.
“The more, the merrier,” says Chad Cooper, Executive Director of the BKCM. “We love the holiday season at BKCM, but we truly embrace the spirit of togetherness year-round. We regularly host community events for our neighbors across the city to sing, dance, and enjoy each other’s company through the shared experience of live music. So, whether you celebrate Christmas, Kwanzaa, or Hanukkah—whether you’re a professional musician or simply a singer in the shower—we hope you’ll join our festivities. You won’t find five floors of music anywhere else!”
This inaugural holiday event follows in the tradition of other beloved celebrations at the Conservatory, including its annual benefit, House Party, and the yearly outdoor summer music festival, Open Stages.
Proceeds from the event will support the nonprofit’s programs and its mission to transform lives and build community through the expressive, educational, and therapeutic powers of music. To ensure accessibility for all, the Conservatory is offering pay-what-you-wish ticket pricing for the Holiday Extravaganza, with a suggested donation of $20 per ticket for those who are able. You can RSVP and learn more here.
“Give peace a chance, not shoot people for peace. All we need is love. I believe it. It’s damn hard, but I absolutely believe it… We’re carrying that torch, passing it from hand to hand, to each other, to each country, to each generation. That’s our job.”
There is no better way to capture the whit of music legend and galactic dreamer, John Lennon, than amidst his own words. In hindsight, a dramatic quote proves ever important on the icon’s 40th death anniversary. His words spark a flame in young and old, seasoned and aspiring; to carry on a tradition, to be one, to share your quirks through this thing we call music. It’s why you’re here, reading.
Three days later, Lennon was shot dead in the archway of the Dakota apartment building, in New York’s upper west side. Living with wife Yoko Ono, and inseparable, they were on their way back from a recording session when Lennon was pointlessly gunned down.
John Lennon – December 5, 1980.
“Welcome to the inner sanctum!”
Lennon’s words in comparrison were wilful, he knew exactly what he was doing. Even pro-Beatle Lennon, wanted to get away from any grounds on his blooming self exposition. It’s a continuous flow of self exploration that Lennon created over. It seems overly introverted, yet Lennon learned about himself in a roundabout, extroverted way. “We write lyrics, and I write lyrics that you don’t realise what they mean until after… like ‘Walrus.’ The whole first verse was written without any knowledge, and ‘Tomorrow Never Knows‘— I didn’t know what I was saying, and you just find out later.”
As we delve into Lennon interviews over the years it is clear why he has reached monumental stature. According to Writer Jonathan Cott, Lennon was unlike almost any other artist, “he allowed himself to be interviewed at crucial points in his life in order to reveal and, perhaps, define for himself where he was in his world,” Shadow In The Night.
Jann Wenner said his interview with Lennon was “The most important, and the peak, of the whole concept of the Rolling Stone Interview. He [Lennon] went all the way to the theory of it, to the hilt.” Wenner never did another one, except with the Grateful Dead’s Jerry Garcia.
John Lennon’s Self Portrait elusive in value, yet monumental in pop-culture.
Mark Chapman, a troubled American “Beatles fan” had travelled from Hawaii to NYC. After Lennon kindly signed his copy of Double Fantasy, Chapman would seek out the star and fire five hollow-point bullets from a .38 special revolver. Four hit Lennon in the back. Chapman claimed he was angered by Lennon’s lifestyle and public statements, thus remained at the scene, reading The Catcher in the Rye until he was arrested. Lennon was pronounced dead on scene. The world was devastated.
Yoko: There’s no bullshit.
John: There’s no bullshit.
But, this was bullshit.
It wasn’t until ten years ago that these last interviews began to see light. With each passing year Lennon would grow stronger in our hearts. His music, and moreover, his philosophy would continue to inspire for generations to come.
“Ive never claimed divinity. I’ve Never claimed purity of soul. I’ve never claimed to have the answer to life. I only put out songs and answer questions as honestly as I can, but only as honest as I can—
John Lennon, Dec. 5, 1980.
With earlier Rolling Stone interviews, on Sept. 17 and 18, 1968, John Lennon was much less raw in his response. His light and airy nature was apparent, walking around the room of his apartment, singing “Hold Me Tight,” and sitting on the floor to chat, despite two hours’ sleep.
Still distinctively Lennon, he remised about his past and heightened personal nature of his work. Lennon is direct. It’s wasn’t a child’s feeling, it was mine. “It was writing about my past, so it does get the kids because it was me at school, my whole bit,” on “Good Morning, Good Morning,” and the same with “Penny Lane.”
“We really got into the grove of imagining Penny Lane— the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there, it was just reliving childhood.”
“I don’t like the Blood, Sweat and Tears shit. I think all that is bullshit. Rock & roll is going like jazz, as far as i can see, and the bullshitters are going off into that excellentness which I never believed in and other going off… I consider myself in the avant grade of rock & roll.”
Here John begins, and was the only to explicitly, demystify his Beatles persona. “We were like kings of the jungle back then,” and later on when asked if Lennon would take it all back he says: If i could be a fuckin’ fisherman, I would. If I hat the capabilities of being something other than I am, I would.
Love, love, love
Love, love, love
Love, love, love
There's nothing you can do that can't be done
Nothing you can sing that can't be sung
Nothing you can say, but you can learn how to play the game
It's easy
Nothing you can make that can't be made
No one you can save that can't be saved
Nothing you can do, but you can learn how to be you in time
It's easy
A mass of John Lennon interviews is worth the read. Don’t listen or analyse too much, just be free in the moment like he was. Put a record on and recount Lennon’s LSD trips, gripes with The Beatles, his love for Yoko and pure artistic outlook on the world. It’s enlightening.
John Lennon is the musical equalizer. He says it how he sees it, and sadly he unexpectedly paid for those words 40 years ago today. The simple minded Lennon (in principle) fancied classic rock like “Spirit in the Sky,” and was “influenced by acid and got psychedelic, like the whole generation, but really, I like rock & roll, and I express myself best in rock.
“Because that’s what’s happened, all these songs just came out of me. I didn’t sit down to write. They all came out , like the best work that anybody ever does, wether it is an article or what, it’s just the best ones that come out.”
The dream is NOT over.
Why Can’t Lennon be alone, without Yoko?
I can be, but I don’t wish to be. Theres is no reason on earth why I should be without her. There is nothing more important than our relationship, nothing. We dig being together all the time, and both of us could survive apart m but what for? Im not going to sacrifice love, real love for any… 🙂 …
Rest In Peace John Lennon: to the one you loved most and to a world you continually inspire.
Months earlier marked Lennon’s 80th birthday. On October 9, a live stream from London’s Hard Rock Hotel celebrated the 2nd annual Dear John concert. The event supported a heartfelt charity, War Child U.K., an organization that helps impoverished families across war zones throughout the world.
Blurred Vision frontman, Sepp Osley, hosted the virtual show featuring tributes from Peter Gabriel, Richard Curtis CBE, Maxi Jazz of Faithless, Lindsay Ell, PP Arnold, Lawrence Gowan (Styx), Andy Fairweather Low, KT Tunstall, Larkin Poe, John Ilsley of Dire Straits, Nick Van Eede (Cutting Crew), Mollie Marriott and Laura Jean Anderson.
Long Island bands Bad Mary and Mega Infinity have teamed up through SPI (Ska Punk International), to release a split 7-inch single, “Mega Bad Disaster Party.” Each band contributed two newly recorded tracks. The single will be released digitally on Dec. 3, with a vinyl release party on Feb. 21 at Industry in Huntington.
“Mega Bad Disaster Party” begins with two songs from Mega Infinity, “Eyelids 2024” and “Let Me Drive My Van Into Your Heart” followed by “Disaster(er) Party” and “Want What I Want” from Bad Mary. The collection of songs sounds like if Scott Pilgrim vs. the World was a Broadway Musical.
Bad Mary reached out to SPI about doing an EP and adding some ska elements to their songs. SPI suggested collaborating with Mega Infinity, since they’ve been friends with Mega for a decade, the collaboration was a no-brainer. Many of the songs on the single are rerecorded and reimagined versions of songs from previous projects. These new versions are cleaner, more aggressive, and harder-hitting.
“Eyelids” was written for an EP several years ago, drawing inspiration from ska-punk, riot grrrl, and bands like Catch 22, Veruca Salt, and Big D. Joystick! is featured on the song, enhancing its ska-punk influences. “Disaster(er) Party” was originally titled “Disaster Party” and was written for The Return of Space Girl. For this single, the song has been reimagined with horns added by Kevin Jackson from Title Holder and Crisis Crayons.
Bad Mary consists of Amanda Mac (vocals), Mike Staub (bass/vocals), Bill Mac (drums), and David Henderson (guitar). They have received airplay on SiriusXM’s Underground Garage, earning the New Music Spotlight. The band has released two albums and six EPs since 2014 including their 2019 album, The Return of Space Girl that inspired an award-winning animated movie. Their latest release, Better(er) Days, arrived in 2024.
Mega Infinity is comprised of Michi and Mike DiGiulio. The band released their EP Behind Glass Walls in 2017 and their debut album Rainbow Heartache in December 2021. They joined SPI with their 2023 EP Chaos Magick, which was named a favorite by Punk News and On the Upbeat. They are featured in the ska documentary This is New Tone as a part of ska punk’s future.
Co-Chairmen of the New York Philharmonic Board, Peter W. May and Oscar L. Tang announced that beginning Jan. 1, 2025, Matías Tarnopolsky will be the New York Philharmonic’s new President and CEO.
Photo credit: Jeff Fusco
Over the last 20 years, Tarnopolsky has held prominent artistic positions at orchestras worldwide. Before being the current the president and CEO of The Philadelphia Orchestra and Ensemble Arts, Tarnopolsky was the executive and artistic director of Cal Performances at the University of California, Berkeley. He has also served as Vice President of Artistic Planning at the New York Philharmonic from 2005 to 2009, and has held that position with the Chicago Symphony Orchestra and the BBC Symphony Orchestra as well.
During his tenure with the Philadelphia Orchestra from 2018 to 2024, he achieved many significant milestones including the merger of the orchestra with the Kimmel Center in 2021, resulting in the establishment of The Philadelphia Orchestra and Ensemble Arts. He also oversaw the rededication of the orchestra’s home as Marian Anderson Hall, which represented a groundbreaking approach to diverse programming. From 2009 to 2018, he worked at Cal Performances at UC Berkeley, the largest multidisciplinary arts presenter and producer based at a university in the country. During his time there, he launched Berkeley RADICAL (Research and Development Initiative in Creativity Arts and Learning), which included a residency featuring Gustavo Dudamel and the Simón Bolívar Orchestra of Venezuela.
New York Philharmonic Board Co-Chairmen Peter W. May and Oscar L. Tang said: “Matías Tarnopolsky is a singular figure among orchestral leaders. Building on his lifelong love for our art form, he has forged impactful collaborations with orchestral musicians and dynamic artistic leaders. He is also a force for innovation who has created new ways of connecting with communities and tapping into emerging technologies. His extensive executive experience is enhanced by his time on the ground at the Philharmonic, when he oversaw artistic planning, giving him unusual insight into New York City’s vibrant cultural landscape. We know that Matías will be a visionary partner for Gustavo Dudamel as we prepare for his arrival as our next Music and Artistic Director.”
The Wild Center in Tupper Lake has announced the fifth season of Wild Lights which runs from November 29 to February 22, 2025.
The evening experience transforms The Wild Center’s 115-acre campus into a winter wonderland, with thousands of bulbs and a variety of activities and displays. This family-friendly winter event offers a chance to experience The Wild Center in a new light.
Visitors can look forward to a New Immersive Projection Experience. Visitors can explore Wild Lights like never before with indoor and outdoor immersive projection art installations by Echo, an Adirondack artist and co-founder of The Station in Onchiota. Snack at the Mobile Sugar Shack: the shack will be converted into a food truck, serving hot and cold treats at The Wild Center’s patio space.
Wild Lights Light Lager: Raquette River Brewing’s festive creation will be returning and can be purchased at The Wild Center, as well as in-store and on tap at Raquette River Brewing Co. and other local stores. Forest Music: the looped trail with over 130 trees wrapped in colorful lights synchronized to a 10-track musical compilation from Whatever Penny entitled Songs for an Old Pine Forest. Lit Photo Ops: oversized neon bird wings that provide a perfect photo op and other new illuminated sculptures guide visitors through the different paths and trails. The Wild Supply Co. will be available for shopping, and indoor experiences will be open, including Planet Adirondack and the Living River Trail, where guests can watch North American River Otters play.
Located in Tupper Lake, NY, The Wild Center uses science-based experiences, exhibits and programs to open new ways to look into the relationship that people have with nature and to promote environmental best practices. A 54,000-square-foot facility, The Wild Center features outdoor space, live animals, and its popular Wild Walk, an elevated trail across the Adirondack treetops. Tupper Lake is a great little town for music heads too. The town constantly sees stages full of local artists at venues including The Wild Center.
From Nov. 29 to Feb. 22 the Wild Lights show is held on Friday and Saturday evenings. The event is open nightly during Holiday Week on Dec. 26 to 31 and Winter Week on Feb. 14 to 22. Admission to Wild Lights is to be purchased separately from day-time admission to The Wild Center. From Nov. 29 to Feb. 22, member pricing is $7 for adults and $2 for children ages 5-17, and non-member pricing is $12 for adults, and $7 for youth. Admission is free for children 4 and under.
For more information on Wild Lights and to purchase tickets, click here.
The Empower Federal Credit Union Amphitheater in Syracuse has announced a controversial ban on personal lawn chairs for all shows presented by Live Nation.
Photo via syracuseamphitheater.com
Opening its doors to the people of Syracuse and beyond in 2015, the Empower FCU Amphitheater at Lakeview has hosted a wide variety of household acts throughout its career thus far.
Quickly becoming both a local and fan favorite, one of the Amphitheater’s most beloved aspects is certainly its expansive opportunities for outdoor seating beyond its pavilion- though a newly announced policy indicates a major shift in their outdoor concert experience.
Alongside the announcement of country artist Cody Jinks being added to their already impressive 2025 concert roster, the Empower FCU Amphitheater has published disclaimers prior to new ticket sales indicating a new lawn chair policy that has received mixed responses.
In a new pop-up seemingly applicable to all dates including and following Jinks’ show on August 17, The Empower FCU venue has announced a ban on the usage of personal lawn chairs for all shows presented by Live Nation.
“For the safety, comfort and experience of all fans, outside lawn chairs will NOT be permitted inside the venue for Live Nation shows. A limited number of lawn chair rentals will be available for advance purchase online or at the venue on the day of the event, while supplies last.”
– Live Nation
It should be noted that while this announcement comes as a shocking upset to the local community and fans of outdoor live music from beyond Syracuse, it seems to be within the routine policy of all venues in partnership with Live Nation.
It is uncertain how the newly introduced up-charge for venue-provided seating will affect the success and sales of events held within the Amphitheater, as its open lawn typically provides an additional 12,000 tickets for concert goers beyond the pavilion’s 5,000.
With their updated policy, lawn chairs will come at an additional cost to concert-goers. For reference, lawn tickets for Thomas Rhett’s show on August 21 are categorized as either a standard general admission $41.75 ticket or a “Take A Seat – Lawn Ticket + Chair Rental” package for an additional $11.
Photo via syracuseamphitheater.com
While limitations on lawn chair usage are not new to the venue with several sold-out shows instituting the Amphitheater’s 2022 policy similarly banning outside lawn chairs for concerts with attendance above 14,000, a shift to this degree is new and certainly jarring for veterans and folks new to the venue alike who will now experience a large majority of concerts with rental fees in the place of personal belongings.
For more information on the Empower FCU Amphitheater’s events and policies, visit the venue’s official Live Nation page here.
The SAMMYS board has announced the dates of the 2025 Syracuse Area Music Awards Hall of Fame Dinner and subsequent Awards Show.
The Syracuse Area Music Awards, more commonly referred to as the SAMMYS, is an annual awards show created to honor and celebrate the works from the brightest musical minds of the Syracuse area.
Newly announced, the 2025 SAMMYS Hall of Fame Dinner will be held on Thursday, March 6, and The SAMMYS Award Show will be held the following night on Friday, March 7.
The award show will feature performances by local musicians interspersed throughout awards presented in a wide variety of categories including four People’s Choice Awards, the Brian Bourke Award for Best New Artist, the Jack O Bocchino Spirit of the Sammys Award, and the SAMMYS Community Spirit Award.
The SAMMYS People’s Choice online open submission phase will open on January 1. Everyone is encouraged to nominate their personal favorite artist, band, event, music series, academic/musical organization, and live music venue. For more information on how to submit and vote for your favorites, visit here.
From the Central New York area and want to have your work considered for a SAMMY? Online-only recorded submissions will be accepted from December 1- January 3. Each artist must select one category they wish to be judged in, and eligibility for submission is limited to commercially released albums or EPs that were published between January 1- December 31, 2024. The online entry form is live now, accessible here.
