Saturday, November 30, 2013

NYC December 2013 Ska Calendar!

Sunday, December 1, 2013 @ 7:30 pm

The Pietasters, Across the Aisle, The Reggay Lords

The Knitting Factory
361 Metropolitan Avenue
Brooklyn, NY
$15

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Saturday, December 7, 2013

Electric Avenue Holiday Party w/King Django, Rude Boy George, The Royal Swindle

Characters NYC
243 West 54th Street (between Broadway and 8th Avenue)
New York, NY
$10/18+

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Friday, December 13, 2013 @ 7:00 pm

Westbound Train w/The Frightnrs and The Screw-Ups
The Studio at Webster Hall
125 East 11th Street
New York, NY
$12

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Saturday, December 14, 2013 @ 9:00 pm

Keith and Tex (backed by Crazy Baldhead), Guest DJ Deadly Dragon Sound System, Dig Deeper Residents Mr. Robinson and DJ Honky

Littlefield
622 Degraw Street
Brooklyn, NY
Tickets: $20-$25
21+

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Friday, December 20, 2013

The Slackers' Holiday Show w/Uzimon, Shivering Brigade, DJ Grace of Spades, DJ 100 Decibels

The Bell House
149 7th Street
Brooklyn, NY 11215
$18 adv/$22 day of show
21+

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Thursday, November 28, 2013

Duff Review: Chris Murray, The Ladrones, and Rude Boy George at Electric Avenue on 11/16/13!

(by Steve Shafer)

While it would be outrageously self-serving to write a review of a show that I helped organize and that also featured a band that I'm in, I'll go the route of cobbling something together here that is somewhere between a just-the-facts-ma'am report and a first person experience of the night.

Rude Boy George, the band that I'm damn lucky to be a part of (singing back-up vocals and playing a smattering of melodica), performed their fifth live show at Electric Avenue on Saturday, November 16, 2013. We formed back in January, after I shared a crazy idea that had been bouncing around my head for a few years with Marc Wasserman, the bassist of Bigger Thomas and writer for Marco on the Bass blog: for kicks, let's form a band that does ska, rocksteady, and reggae covers of New Wave classics (we both were in high school and college during the 1980s and are still fanatic about the "modern rock" bands of that era). Marc loved the idea and almost immediately recruited many of his bandmates from Bigger Thomas (Roger Apollon on vocals, original BT drummer Jim Cooper, and guitarist Spencer Katzman) and keyboardist Dave Barry (Beat Brigade, The Toasters). I had the idea of approaching Across the Aisle singer and friend Megg Howe, who signed up with us on the spot!

After several rehearsals, we forged a respectable set list of tunes by Human League, Soft Cell, The Romantics, Billy Idol, INXS, The Smiths, Cyndi Lauper, Squeeze, Culture Club (we've since added songs by Gary Numan, the Psychedelic Furs, Talking Heads, and Berlin) and debuted at Electric Avenue on April 13, 2013 to a very enthusiastic crowd. Later that spring, we recorded three tracks at Bill Laswell's studio out in West Orange, NJ with ex-General Public/Special Beat/English Beat bassist Wayne Lothian producing. Our five-track digital EP Take One (with "(Keep Feeling) Fascination," "Don't Change," and "Talking in Your Sleep"--plus two remixes) will be released in the near future. And plans are in the works to record additional covers soon that will see the light of day on a more tangible format. Rude Boy George's set list continues to expand with each rehearsal and show (and our line-up has already changed a bit: we now feature Jesse Gosselin of Across the Aisle/The Royal Swindle and Jeff Usamanont of FunkFace/Daft Phunk/Electric Company on guitars). At our recent gig at Hat City Kitchen in Orange, NJ, we unleashed our goth-reggae version of the Psychedelic Furs' "Love My Way," which we had worked out in a three-hour rehearsal the night before (see the video of it from our Electric Avenue show below).

According to Roger, this gig featured some of Rude Boy George's best performances yet. Watch some/all of the videos of our performance below to confirm his assessment (big thanks to Sally Apollon for taping them!). This was our entire set that night, with the exception of Berlin's "The Metro" (which we'll capture at some future date, as it has an excellent Selecter vibe to it and Megg's performance is phenomenal on this track).























Electric Avenue is very interested in linking up with the Spanish ska scene in the NYC area (we've hosted Los Skarroneros in the past), so we were psyched to feature The Ladrones (The Thieves), who are a fantastic, anthemic ska-punk powerhouse (check out their excellent, new digital album Bestias del Chaos--I really dig "Tradicion,""Basta," and "No Hay Futuro," which is below)! The opened their set with a bad-ass rendition of Henry Mancini's "Peter Gunn Theme" and then ripped through a killer set of horn-heavy original tunes. I'm sad to say that my Spanish is very poor, so I can't tell you what they were singing about, but everyone present was captivated by their dynamic and muscular performance. Below are some videos of their performance...





If you didn't already know, Chris Murray was first the singer/songwriter for Canada's super popular King Apparatus (their 1991 debut album is an early 3rd Wave classic--check out my review of it here). Chris went solo in the mid-90s, forgoing Toronto's long, rough winters for the eternal sunshine of Southern California. When Chris approached Moon Records with his decidedly lo-fi, one man ska band debut album (The Four Track Adventures of Chris Murray), Bucket was very wary of releasing it. But Chris' incredible songwriting and lively performances won me over immediately. After some lobbying, I convinced a reluctant Bucket that the album was more than worthy of being released on the label (the saga of the album's release is, of course, memorialized on Chris' "Cooper Station Blues," which he snuck onto the release without our knowledge just before the CD was pressed at DiscMakers!).

Our paths hadn't passed since the late 90s, so when Chris indicated that he was planning an East Coast tour, I was ecstatic that he accepted our invitation to play Electric Avenue. At the last minute, Chris had taken on the opening slot on the Streetlight Manifesto tour. So on this night, Chris played his 30-minute set in Sayerville, NJ, hopped on a train to NYC, and then headlined our show. He performed for about an hour and a half and clearly had a blast (as did everyone in the crowd)--taking requests (see "Ex Darling" below, thanks to Bryan Kremkau of Ska Punk Photos, who also took some amazing photos of each performer), as well as covering The Toasters' "Thrill Me Up" and recounting how his first record came about ("Cooper Station Blues"). It was fantastic catching up with Chris after the show, talking about strategies for releasing his next album, and figuring out how he could get out to where he was staying in Brooklyn later that night/morning without the L train (which was suspended, due to construction). Here's hoping he comes this way again soon...












Sunday, November 24, 2013

NY Loves Brandt Benefit Show This Monday Night (11/25/13)!

For info about Brandt Abner and this show, click here and here.

Go support Abner's family and see some of the best bands in NYC while you're doing it...


Friday, November 15, 2013

Duff Review: "Don Drummond: The Genius and Tragedy of the World's Greatest Trombonist" by Heather Augustyn

McFarland
2013
Paperback book

(Review by Steve Shafer)

Back in the early 80s, before I had ever listened to my first Skatalites record, I was aware of Don Drummond's untimely death. Some pop-culture reference book that was kicking around our house contained a list of musicians who had died terribly young, usually in sordid circumstances (Hendrix, Joplin, Morrison, etc.), and it had an entry that detailed how in 1965 The Skatalites' trombonist Don Drummond had murdered his girlfriend, Anita Mahfood--and after he was tried, found to be criminally insane, and committed to Bellevue Hospital, he died a few years later at age 35, under questionable circumstances. Of course, since this was the pre-internet age, and New York City always has had a large immigrant Jamaican community, I had assumed that Drummond died at the Bellevue Hospital on First Avenue in Manhattan (instead of the one in Kingston, JA). I've since become very familiar with Drummond's and The Skatalites' music (and even had the fantastic opportunity to work a bit with Lester Sterling and Lloyd Brevett during my tenure at Moon Records), but never learned much about the man behind such extraordinary and foundational music as "Man in the Street," "Ringo," "Don D Lion," "Don Cosmic" (the nickname producer Clement "Coxsone" Dodd conferred on him, due to his erratic behavior), "Marcus Junior," "Confucious," "Occupation," "Lawless Street," "Green Island," "Eastern Standard Time," and hundreds of other ska tunes.

Heather Augustyn's terrific new book, "Don Drummond: The Genius and Tragedy of the World's Greatest Trombonist," the first biography of Drummond ever written (!), helps flesh out his life and career--by no means an easy task, given Drummond's struggle with mental illness (he was either bi-polar or schizophrenic); his tendency to keep to himself and only talk about playing the trombone and music; and the multiple (and oftentimes conflicting) versions of Drummond's life presented by his contemporaries (Drummond has no close living relatives).

Given these considerable obstacles, Augustyn was determined to present as complete a portrait of Drummond as possible, traveling to Jamaica repeatedly to visit the legendary Alpha School (where the current students were learning to play Drummond's "Addis Ababa"); the clubs in Kingston where he performed; the areas in the Wareika Hills where he communed and played music with Count Ossie and the rastas; the bleak, one-room flat where he and Mahfood lived (and where she was killed by Drummond); and the asylum where he was treated multiple times before the murder and where he was committed afterwards and later died--and to interview anyone who worked with or was in any way connected to Drummond. (Indeed, while Drummond remains a somewhat elusive figure, Anita "Margarita" Mahfood--the very popular "Rumba Queen"--comes into crisp focus, courtesy of interviews with her children and friends; she was the half-Lebanese, half-white Jamaican professional nightclub dancer who, to some degree, transcended race and class to expose the upper class nightclub patrons to the drumming and culture of the socially outcast rastas.)

Drummond was born in 1932 to a poor, single mother and had the extraordinarily good fortune to be placed by the local court (due to his truancy) at the Alpha School for Boys at age nine. Essentially a vocational school run by Roman Catholic nuns--and led by the extraordinary Sister Mary Ignatius who was particularly supportive of her musically gifted students (she ran the school's sound system at parties and had an extensive record collection)--Alpha was the ideal place for Drummond's innate musical abilities to be discovered and then sharply honed (indeed, had he not come to the attention of the authorities and been enrolled at Alpha, one wonders if Drummond would have had any other opportunity to develop into a world-class musician that he became). It soon became apparent that Don Drummond's "occupation" (his training) should be music; after learning several other instruments, it was manifest that his greatest affinity was for the trombone. Under the tutelage of band leader Reuben Delgado and the mentoring of older student Carl Masters, Drummond flourished and became quite accomplished at his craft--spending most of his free time by himself practicing under the school's Monkey Tambourine Tree (though he did mentor younger trombone students, such as Rico Rodriguez, who went on to great fame in his own right, and worked with bands such as The Skatalites and The Specials).

In 1950, six months shy of graduating from Alpha, Drummond was recruited by guitarist Ernest Ranglin (and with Sister Ignatius' blessing) to join the Eric Deans Orchestra, which played American big band, Latin, and popular jazz pieces in the local clubs frequented by tourists and upper-class Jamaicans. (It was not uncommon for bands to recruit young musicians straight out of Alpha--it was a primary feeder for local acts and the Jamaican military's band.) Drummond further refined his performing chops playing jazz standards in a variety of bands--including his own--to great local acclaim. During this period, Drummond was hailed in Jamaica by his contemporaries--and by visiting international musicians, such as Sarah Vaughn, who declared him to be one of the top five trombonists in the world, and Dave Brubeck, who while performing with Drummond, stopped playing the piano to watch and listen to him, in awe of Drummond's improvisational skills--as one of the best musicians Jamaica had ever produced.

But towards the mid-1950s, as imported American rhythm and blues records began to dominate the Jamaican airwaves and the burgeoning and extraordinarily influential sound systems, popular tastes changed (and, of course, the American jazz, R and B, and early rock music was given a local twist, which eventually gave birth to ska in the early 1960s), and the fierce and often violent competition between the sound system operators (and the opening of the first recording studio on the island--Federal--in 1954) led to the explosion in the local recording of popular tunes (they often simply renamed and re-arranged the originals without giving any credit or royalties to the composers), as well as original tracks. At first these songs were cut on acetates as one-off recordings, to be exclusively used by the sound system operator who paid for it--in order to attract a loyal, paying following to their parties, who came for the great music while parting with their cash for liquor. But soon it was discovered that there was much greater profit in selling these songs as mass-produced 7" singles.

So, as the focus of the music business shifted to a great degree from stage to studio in the late 1950s, musicians were compelled to follow the money (as poor as the wages were). The best live performers such as Don Drummond (and the future members of The Skatalites) were recruited as session men for all of the top sound system operators cum producers (Clement "Coxsone" Dodd, Duke Reid, etc.) and he found himself working many days a week in the studio (his first released recording was Owen Gray's "On the Beach" in 1959), coming up with new arrangements for covers or bringing in his own compositions to be recorded--usually in one take, on the primitive one or two track recorders (they weren't even paid to rehearse--of all the Jamaican producers, only Justin Yap ever did that and, as a result, later captured some of the best Skatalites recordings in existence). Outrageous as it seems now, in the 1960s, Drummond and the other musicians only were compensated for their time in the studio and received nothing else for their work or for their compositions--no mechanical royalties and, in most instances, no publishing royalties on hundreds of their recordings/compositions, and nothing for works/recordings that were licensed to labels in the UK (to this day, Dodd's heirs receive the royalties on an extraordinary number of Drummond's compositions). The producers told the musicians what to play and how to play it. They had the money and all the power.

One particularly heartbreaking episode in Augustyn's book that illustrates the producer's almost complete control over the musicians in the studio (and how Drummond was completely consumed by his music) relates to Coxsone Dodd (he had bought Drummond's trombone on the condition that the musician pay him back over time--and thus had another way of wielding power over Drummond):

"Graeme Goodall recalls, "I remember vividly a session where Don was acting up and Coxsone went and took the horn away from him and said, 'It's my horn. It's my horn,' and Don was almost in tears. 'Let me play.' And Coxsone said, 'Listen, I'll tell you when I want you to play and what I want you to play, it's my horn.' And Don finally realized there was no point in just hanging around, he needed to blow his horn and he behaved himself for Coxsone.""

In a play for increased creative control and a greater share of the financial pie, the best musicians on the Jamaican scene banded together in 1964 to form what would become the preeminent ska supergroup, The Skatalites (Tommy McCook, Roland Alphonso, Lloyd Brevett, Lloyd Knibb, Lester Sterling, Don Drummond, Jah Jerry Haynes, Jackie Mittoo, Johnny Moore, and Jackie Opel)--which showcased Drummond's wonderful brilliance as a composer (he was The Skatalites' primary songwriter), arranger, and performer (make sure to check out the mind-blowing Don Drummond discography by Michael Turner in the back of the book). The Skatalites recorded hundreds of songs during their brilliant, original, 16-month incarnation, but it all crashed and burned with Drummond's murder of Mahfood on January 1, 1965. The band then split into two groups: Roland Alphonso and Soul Vendors and Tommy McCook and the Supersonics.

Throughout Drummond's career, commerce stubbornly trumped art and even though his music wonderfully transcended the ugly business of the nascent Jamaican music industry, he did not. Drummond lacked the connections and respectability (he was too dark-skinned, poor, hung out with the ostracized rastas, and, to be honest, in later years was odd and unpredictable) to be chosen for international promotional tours (like the "uptown" Byron Lee and the Dragonnaires, who represented Jamaica and were presented as the palatable and refined version of ska music at the 1964 World's Fair in NYC) that would have brought him much greater recognition and renumeration (the money and world-wide fame would only come in the decades after his death and line the pockets of others). Some, like band leader Carlos Malcolm, thought Drummond's fame and musical ambitions were stymied (and that he was driven to despondency not madness) by the considerable constraints put on him by the producers (as well as the tastes of the record buying public to some degree--who wanted nothing but ska music in the first half of the 1960s) who dictated how and what he could play in order to earn a very meager living. No doubt, this stress, disappointment, and despair must have exacerbated his mental condition and certainly contributed to his eventual demise.

While Drummond's behavior became increasingly erratic during his adult years (he first checked himself into Bellevue in 1960), his prodigious talents caused his friends and collaborators to overlook his bizarre, anti-social behavior; it was all a matter of Don being Don. There are disturbing stories in this book of Dodd and others checking Drummond out of Bellevue and ferrying him to recording sessions and gigs; of Drummond rolling a peeled banana in the sand and consuming it--and of him literally eating dirt; and times when he would appear on stage, open up his case, polish his trombone, place the instrument back in its case, and walk off stage (and in one instance, he allegedly urinated off the stage). But more often than not, he had it together enough to perform on stage and in the studio brilliantly--his illness didn't always interfere with his craft. (It does appear that Drummond often self-medicated--as many untreated mentally ill people do by abusing alcohol or illicit drugs--by smoking marijuana, though Augustyn cites studies that this may actually have aggravated the symptoms of his mental illness.)

Drummond and Mahfood encountered each other over the years in the various nightclubs where each had been performing and she eventually moved in with him. Mahfood was enamored with Drummond in no small part due to his incredible musical talents and to escape her physically abusive husband, the boxer Rudolph Bent (her father had also beat her as she was growing up). There is some question as to whether their relationship was platonic or not, though she clearly loved him on an emotional level, as illustrated by her declarations of love for Drummond expressed on her one recording (accompanied essentially by The Skatalites), "Woman A Come," found on the seminal ska collection from Mango, More Intensified: Original Ska 1963-1967, Volume 2 (which was one of the few vintage ska comps easily found in the late 1980s and was hugely influential on many traditional third wave bands). What is clear is that after an argument overheard by witnesses (where Mahfood repeatedly referred to a knife wrapped in cloth at Drummond's feet), Drummond stabbed Mahfood several times in the early hours of January 1, 1965 and later reported to the police that Mahfood had stabbed herself. There has been much speculation as to Drummond's motives, but in light of his mental illness, they are essentially rendered moot, as he was most likely delusional during the murder (and justly convicted as criminally insane and committed to Bellevue).

The treatment of schizophrenia and other mental illness in the 1960s was still relatively primitive (lobotomies and electro-shock therapy were in use even at the best first-world mental health facilities), though the development and use of anti-psychotic medication such as Thorazine and Lithium helped alleviate many symptoms, they were often prescribed at such dangerously high doses that they left many patients semi-catatonic and threatened their overall health. According to Augustyn's book, no records exist of Drummond's treatment at Bellevue (they were either thrown out or lost in one of the may hurricanes to hit Jamaica over the years), but she speculates that poor management of his antipsychotic medications may have caused his death from a heart attack (she debunks the myth that Mahfood's father somehow arranged for Drummond to be knocked-off in revenge for his daughter's murder).

While I've omitted a wealth of details in my brief (and probably flawed) sketch of Drummond's life, Augustyn's biography of Drummond provides a compelling and multi-layered rendering of this truly great musician, in a valiant and largely successful attempt at revealing the real Don Drummond, while dispelling some of the tantalizing lurid myths associated with his illness and death. Having served as a caseworker for homeless and formerly homeless people suffering from mental illness (most of whom were diagnosed with schizophrenia), I know first hand that people with mental illness can be very guarded and seem almost opaque. I often found myself learning very small, but still very revelatory, bits of information about their lives (past and present) after years of working with them. So, it comes as no surprise that Drummond's thoughts, feelings, dreams, and fears are largely absent and unexpressed in this narrative--they were trapped or obscured by the symptoms of his mental illness and never shared with others (though the music he made with his trombone was probably the only means he had of expressing that part of his inner life that was free of his illness--Drummond's trombone was his true and hauntingly melancholy "voice"). So, all of us are left to sort through other people's biased recollections and faulty memories, the incomplete official records, and to surmise what other scraps of information have been lost or discarded over the decades--and Augustyn makes every effort to be a trustworthy and reliable guide through this life that will always remain partially uncharted. As you read Augustyn's "Don Drummond: The Genius and Tragedy of the World's Greatest Trombonist," make sure you play some of his records at the same time, so you can marvel at the truly extraordinary and beautiful music Don Drummond was able to create out of a life filled with adversity and madness--and let his music fill in the blank spaces between the lines.

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Check out Heather Augustyn's excellent related blog, Foundation SKA, here.

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Read a terrific interview conducted by Charles Benoit with Heather Augustyn about this book at Reggae, Steady, Ska.

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Monday, November 4, 2013

Next Electric Avenue Show with Chris Murray, The Ladrones, Rude Boy George (11/16/13)!


Here's my shameless plug for the next Electric Avenue show with Chris Murray, The Ladrones, and Rude Boy George on Saturday, November 16, 2013!

Rude Boy George--the band I'm privileged to be part of--does ska and reggae covers of New Wave classics and we're continuing our fall residency at Electric Avenue and should have some totally awesome new covers in our set (the crowd at our last show went crazy for our just unleashed versions of Berlin's "Metro" and Talking Heads' "Psycho Killer"!). To paraphrase Johnny Slash, "Ska-punk? No way. We're new wave ska. Totally different head. Totally!" (the relevant video clip you want is around the three minute mark here). We're fun. Come see us.

The Ladrones ("thieves" in Spanish) are a super-tight, horn-heavy NYC band with a brand new digital album full of anthemic, sing-along ska-punk tunes called Bestias del Chaos (available through their Bandcamp page). We've heard nothing but great things about their electric live show. Bring your ear plugs and be ready to dance.

I had the honor to work with Chris Murray back in the 1990s, both when he was a member of the incredible King Apparatus (their 1991 debut album is an early 3rd Wave ska classic--read my appreciation of it here--it should be in everyone's collection) and then when he struck out on his own as a one man ska band (his 1996 debut, lo-fi solo album, The 4-Track Adventures, highlights Murray's prodigious songwriting skills, which are presented in all their stripped-down-to-the-bone glory; it took a lot of lobbying Bucket to put this one out, but I'm so glad he did). Chris has released a slew of solo records since then (4-Trackaganza!, Raw, Slackness, Yard Sale), plus one with The Chris Murray Combo (Why So Rude). This is a very rare New York City appearance for Chris Murray, so definitely make sure to come out and see his fantastic acoustic set (which, by the way, will be the second ska acoustic Electric Avenue has presented, following Roddy Radiation's and Lynval Golding's performance over the summer).

Hope to see you there!





Friday, November 1, 2013

NYC Fall/Winter 2013 Ska Calendar #81

Saturday, November 2, 2013 @ 9:30 pm

Come Carry a Big Spliff Sound Clash w/Princelionsound, The Frightnrs, Shottie and TeV95, Live Wiers featuring H-Diggy and Jah Fingers aka Top Cat

Danny Screams Studios
220 Leonard Street
Brooklyn, NY
$5

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Saturday, November 2, 2013 @ 8:00 pm

The Pandemics, The Swaggering Growlers, Brook Pridedmore, Foreverinmotion

The Paper Box Theater
17 Meadow Street
Brooklyn, NY
21+

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Sunday, November 3, 2013 @ 8:30 pm

Lawn Chair Bombers, Mrs. Skanatto, Across the Aisle, Scarboro

Matchless
557 Manhattan Avenue
Brooklyn, NY
$8/21+

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Friday, November 8, 2013 @ 7:30 pm

Reggae Meets Ska w/PidginDroppings and Rude Boy George

Hat City Kitchen
459 Valley Street
Orange, NJ
$10

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Friday, November 8, 2013 @ 9:00 pm

Reggay Lords, The Far East, Roots of Natural Sound

Danny Screams Studios
220 Leonard Street
Brooklyn, NY
$5

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Thursday, November 14, 2013 @ 8:30 pm

Version City Party w/King Django, Garden State Line, Milan and the Sour Goat, Dubistry, Miserable Man with the Uplifters

Crossroads
78 North Avenue
Garwood, NJ

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Friday, November 15, 2013 @ 8:00 pm

Dirty Reggae Party #25 w/Obrint Pas, Beat Brigade, Super Hi-Fi, Sweet Lucy--plus Crazy Baldhead crew on the decks

The Swamp @ Don Pedro
90 Manhattan Avenue
Brooklyn, NY
$8/21

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Saturday, November 16, 2013 @ 9:00 pm

Electric Avenue with Chris Murray, Ladrones, Rude Boy George

Characters NYC
243 West 54th Street (between Broadway and 8th Avenue)
New York, NY
$10/18+

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Monday, November 25, 2013 @ 5:30 pm

New York Loves Brandt Abner Benefit Show (all proceeds to benefit his family) w/Beat Brigade, Bigger Thomas, Cannabis Cup Band, Cibo Matto, Dub is a Weapon, Funkface, King Django, Mephiskapheles, Pilfers, Rudie Crew, Skadanks (featuring Rocker T and Jamalski), Abner's Oeuvre (featuring Malcolm Gold, James Yarish, Jon McCain, and Canvass), Netherlands (featuring Timo Ellis), Jeremy Manasia--Plus selectors: Greg Caz (Brazilian Beats Brooklyn), I, Storm (Urban Lounge Kings), and Agent Jay (Crazy Baldhead, Slackers)

B.B. King's Blues Club and Grill
237 West 42nd Street
Manhattan, NY
$15 adults/$10 kids 16 and under

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Saturday, December 7, 2013

Electric Avenue Holiday Party! Bands to be announced soon!

Characters NYC
243 West 54th Street (between Broadway and 8th Avenue)
New York, NY
$8/18+

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Friday, December 13, 2013 @ 7:00 pm

Westbound Train

The Studio at Webster Hall
125 East 11th Street
New York, NY

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Saturday, December 14, 2013 @ 9:00 pm

Keith and Tex (backed by Crazy Baldhead), Guest DJ Deadly Dragon Sound System, Dig Deeper Residents Mr. Robinson and DJ Honky

Littlefield
622 Degraw Street
Brooklyn, NY
Tickets: $20-$25
21+

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Friday, December 20, 2013

The Slackers' Holiday Show w/Uzimon, Shivering Brigade, DJ Grace of Spades, DJ 100 Decibels

The Bell House
149 7th Street
Brooklyn, NY 11215
$18 adv/$22 day of show
21+

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