w/ DJ Herbert Holler (Freedom Party) , Maurice Brown , and many more
About This Event
Doors Open:7:00 PM
Show Time:7:00 PM
Admission is FREE with donation of CLEAN, new or used coats, hats, scarves, gloves, boots, shoes, long underwear, tee shirt, pants, etc. in all sizes, including for children. These items will be given to the SAFE HORIZON STREETWORK PROJECT, which helps thousands of homeless young people in New York each year.
RSVP at email@example.com
Monetary donations will benefit the CONEY ISLAND GENERATION GAP (tax-deductible), which is doing extensive Hurricane Sandy relief work.
Music by DJ HERBERT HOLLER with special guest, Grammy Award-winning trumpet player, MAURICE BROWN
and featuring a musical selection by CHAZ SHEPHERD, actor/singer-songwriter (check his cd “Love & Truth” on iTunes)
Live Art by AMY ISD and MARTHALICIA
Live Comedy by ALEX CARABANO, STU LARGE, and KATE WOLFF
Live Music in The Acoustic Lounge featuring some of NYC’s best indie artists
(curated by MARITRI, and featuring house band THE SOULFOLK EXPERIENCE)
Slide show courtesy of OCCUPY SANDY
Free Massages by GRAE THERAPY, GO SPA, and THE KENKOU GROUP
You must be 21 or over with I.D.
Attire: Fashionably Chic or Business Casual
“When I was little, I had problems sleeping. I wasn’t putting myself to bed ever, really. My parents tried everything in the book to get me out, but nothing worked. One night, my dad was at the bar doing his funny dance to Survivor’s “Eye of the Tiger,” and I asked him to pick me up. Less than five minutes later, I was out. Every night thereafter, he slung me over his shoulder just before bedtime and danced me to sleep—to Queen, Styx, Chicago, Meatloaf and lots and lots of Electric Light Orchestra.
ELO was our personal favorite. I ended up memorizing every word to every song off “Out of the Blue.” Anytime we were in his Honda Accord ’87, that 8-track went in. My mom had her input, too. Mostly Billy Joel, Tom Jones, maybe some Diana Ross. She tried singing me to sleep some nights, but “Why Do Fools Fall in Love” doesn’t really set the mood for deep slumber. She gave me my very first piece of vinyl—1966’s “The Best of the Beach Boys.” After the needle gave up trying to stick to that record, she handed me the soundtrack to “Hair.” When the day finally came for me to start learning the value of a dollar and buy my own music, the first tape I went out and purchased was…Run DMC’s “Raising Hell.”
How I got from 70s operatic rock, surf ditties, and Broadway musicals to hip-hop, I’ll never know. But that diversity has stuck with me through this day. Just when I pledge allegiance to some new rap artist, I’m a bloodthirsty digger searching for a new, synthetic electronic sound I heard on satellite radio or on somebody’s blog. And then I’m back frantically Googling a soul or disco sample I recognized from an old tune, or putting the finishing touches on a Dubstep mix I took way too much time obsessing over, or re-organizing my playlists so I know the difference between bounce, trap and an old dirty-South anthem.
The question of how I ended up spending half my waking hours in a nightclub is easy: I practically grew up in one. Again, my father’s to blame. He used to be the Food & Beverage Manager at Resorts Casino Hotel in Atlantic City, NJ, my hometown. I clocked in more hours at that place than some of the people on payroll. And this was the 80s, mind you, when the casino strip was as glamorous as ever: fur coats, pearl necklaces, big Cadillacs and Liberace (who I saw live…many times). The lights, the sounds, the electricity in the air, even the smells…these things never left.
Nor has my penchant for making people smile. In grade school I brought class clown to a new level. It cost me my grades, and also led to a few suspensions. But there was nothing I enjoyed more than leaving my classmates in stitches. Sometimes, even the teacher had to take a second to regain composure. I thought maybe I’d make a good Psychologist, helping people smile, so I went Premed at NYU, till I realized the night before classes started that I’d have to sit still and study a lot. (Hence the B.A..) Naturally, I tried my hand at comedy, but I couldn’t afford to be broke, and I was already getting gigs and discovering my knack for making dance floors pop. So, it was settled. I was to be a professional DJ.
Today, my career is in its 11 about every lounge, bar and dance club from Wall Street to 125 with a growing list of high-profile clients and world-renown artists, have held residences and guest spots across the globe, and claim ownership of the longest running weekly Friday-night party in NYC history: The Freedom Dance Party. After years of hard work, dedication and professionalism, my name and reputation as a DJ in the music and entertainment industry precedes itself. And though I don’t get to play nearly as much ELO at the gigs as I’d like to, and 8-track tapes (and Liberace) are long gone, my love for the music, the night, and for making people smile are still here.” – Herbert Holler
To contact Herbert Holler, send an email to firstname.lastname@example.org.
Grammy award winning trumpet virtuoso/super-producer Maurice “Mobetta” Brown enters 2012 with a wealth of projects, recording dates and concert appearances that will keep his fans abuzz with anticipation.
Later this year, Maurice will release the follow-up to his critically acclaimed sophomore release, “The Cycle of Love” (Brown Records). This project will again feature his dynamic quintet, the Maurice Brown Effect, who recorded the Cycle of Love, one of 2010′s cutting edge jazz recordings. When Maurice picks up his horn, his trademark soulful melodies soar into a rarefied space that uniquely marries traditional be-bop to hip-hop, producing a sound where neither genre is watered down.
In the two years since Cycle of Love hit the music world with full force, Maurice has balanced a tightly packed schedule of live appearances with in-depth studio recordings. 2011 saw the touring debut of the rock blues chart toppers, the Tedeschi-Trucks Band after the release of their debut album Revelator (Sony Masterworks), which recently won a 2012 Grammy. Maurice is the horn arranger for the 11-piece band. The year long tour spanned more than 100 cities in the United States, twenty-five countries in Europe, Asia, and South America as well as late-night national appearances on Conan O’Brien and the Tonight show. Maurice has also been hard at work on a remix album of “The Cycle of Love”, titled “Maurice vs. Mobetta” (Brown Records, to be released in this summer). This dynamic album features some of today’s top producers & artist who partner with Maurice on a groundbreaking, track by track remix that solidifies him as one of the trailblazers who weds jazz to hip-hop. Additionally, Maurice produced “Self Savior”, the last track on Talib Kweli’s latest release “Gutter Rainbows” and is working with the legendary Prodigy (of Mobb Deep). In April, Maurice will begin a 6-week European tour with the pre-eminent bassist, Marcus Miller, before hitting the road with both Tedeschi-Trucks and his own groups, the Maurice Brown Effect and Mobetta & Soul’d U Out.
Eight years after his highly celebrated debut album “HIP TO BOP” hit the jazz world with a staggering, original sound, Brown continues to explore and expand all musical boundaries. His intuitive musical vision lights a fire under traditional jazz, adds sonic horn playing to rock n’ roll and pushes the production edge in hip-hop & r&b to new creative heights.