Metroland_Feb 2025

| contents

staff

editor-in-chief & publisher

Erin Harkes

associate editor

TJ Foster

director of art & photography

Kiki Vassilakis

multimedia manager

Andy Scullin

visual arts editor

Tony Iadicicco

graphic designer

Kevin Wisehart

contributors

Rory Graham, Elissa Ebersold, James Mullen, Tom Miller, Patrick White, Natalie St. Denis, Dana Brady, Becky Daniels, Jaye McBride, Dana Owens, Dan Savage, RM Engelhardt, Izzy Vassilakis, Jessica Hoffman, Ryan Shanahan, Debi Gustafson, Tyler Gandolfo, Michael Slayton, Brad Monkell and Corey Dempsey

by Dana Brady

Cover photo by Kiki Vassilakis

| from our editor

by Erin Harkes

Admission: so far, I’ve kind of been doing this for the people who didn’t believe in me.

Now? I’m gonna start doing it for the people who did

I hate how much spite has been a motivator in my past. Though much good has come from it, even a nano second of reflection on negativity is a waste of my time and energy.

It’ll never entirely go away, but I don’t need to water it. I won’t always be flawless in this execution but I put this out there as a way to hold myself accountable.

To be fair, there were only a couple of people who said this couldn’t happen. The majority of responses to my insane idea were positive and encouraging. So why reflect on the few? Because that’s how my brain has operated for many years. It’s hard to switch that off.

I remember being in a bar very late (or very early, as it were) playing darts with a group of friends. I told my partner to tell me each turn “you can’t make this shot” and he refused because he thought it was mean. I was not playing well at all. I finally insisted and started getting all the numbers I needed including some bullseyes that I didn’t. It worked. We won. Sick, eh?

There’s a certain degree of mental health issues in the artistic community that are kind of a necessary evil. People notice it most with comedians and ask me about it all the time. “Well you have to be a little nuts to do comedy,” they say, referring to someone much more famous than I who was possibly just in the news for something erratic. I’ll agree and then we look at each other awkwardly as they realize they just called me crazy. It doesn’t bother me; “crazy” is one of the kinder things I’ve been called.

But, we all have our issues and they’re more prominent than ever. We’re depressed and anxious, every last one of us. Whether or not we admit it, we’re all suffering to a degree – some much more than others but none of us are without it. The most beautiful thing about art or music or comedy or acting is that we use these traumas to create something wonderful. It’s bittersweet, for sure, and certainly not an invitation for more hardship. But it’s a sign that you can’t break us.

So maybe use your energy for something else as well.

(wink face)

Erin Harkes Editor-In-Chief & Publisher

I have held onto my three favorite monthly gigs which have ended up being my ONLY three a month! For those of you wondering where you can catch me or who thought I stopped performing altogether (I'll NEVER) here they are!

The last Wednesday of every month I'll be at Gaffe Lena for Lena Go Round (my very special singer/songwriter series!) It features the best of the area and beyond performing original music and sharing stories in the most intimate and magical setting of the historic Gaffe Lena.

The first Wednesday of every month I get my yayas out at UPH (Universal Preservation Hall) for my all female comedy series "Women Aren't Funny". I host an incredible line up of the funniest women around!

The first Sunday of every month I host an open mic for kids at Emack and Bolio's. All kids welcome ages 6-16 to play or just sing. I have a piano and a guitar handy or you can perform to a backing track that I can play through the system! You can sign up in advance but we have never had to turn anyone away so come on over to watch or participate and have some ice cream! Sign-ups start at 1 :30, then we rock from 2-4! Special thanks to our new sponsor, Henry Bellagnome, the Capital District Tourism Gnome!

All this information and more can be found at my website. I love these three shows so much, so I truly hope you'll join me!

I certainly don't want to use this paper to promote a/l things Erin, but, until I get a steady paycheck for this endeavor I'm gonna pay myself in ad space.

SURROUND

SURROUND offers a rare and intimate concert experience, seating audiences onstage with the artist for an immersive performance that invites reflection and resonance, bridging deeply personal moments with expansive, universal themes. Made possible with the generous support of Jimmy Zankel ’92 and the Zankel Music Fund.

SUNDAYS 4PM

Onstage seating is limited. Purchase your tickets today! Box Office: Tuesday - Friday, 1pm - 5pm | 518-580-5321

ZANKEL

| newsfront

lake george amphitheater and community rises again by James

In some way, it feels like live music at the Shepard Park Amphitheatre has always been woven into the fabric of summertime in Lake George. As long as many can remember (myself included), the bandstand at the heart of the Canada Street strip has hosted everything from orchestral performances to tribute bands to the best and brightest local 518 artists. With the site being used for entertainment purposes since at least the 1950s, several generations have made memories sitting on the stone near the stage, sometimes with lawn chairs in tow, reveling in the joy of live music and entertainment as the notes ring out and resonate through the trees and across what some call the Queen of American Lakes.

Then, in the wee hours of the morning on June 30th, 2024, tragedy struck as an electrical fire broke out and engulfed the structure, causing

irreparable damage resulting in a total loss.

“It was terrible to hear about it and see it the next morning,” Dan Barusch, Lake George’s Director of Planning and Zoning, tells me. “There were a lot of people that responded quickly, a lot of people that were quite upset about it. The Village did a great job responding to the site and working to clean up the damage and the burnt building, of which there was effectively nothing left.”

For Jose Filomeno, a Village Trustee and owner/operator of the neighboring Lake George Beach Club, the blaze hit especially close to home. “I left work at roughly 11:00 that evening, and then to start getting these calls in the early morning and sitting on my security cameras, [seeing] the property on fire was very surreal.”

He describes the scene as the Village’s Fire Department, made up entirely of local volunteers, valiantly answered the call. “To come down and see our neighbors, people that I see throughout the Village on a daily basis, in their apparatus and gear and equipment trying to put this fire out or contain it… it was very emotional for everyone there.”

Not only was this a tragedy as a local landmark burned along the lakeside, but the timing could not have been worse; Fourth of July weekend was mere days away. As a tourist town with a heavy stake in the hospitality

Mullen

Lake George Village Mayor Ray Perry recalls: “I got a call, I think it was around five in the morning, and we rushed down there to see the last bit of [the fire] being put out. Obviously it was crushing to have happened the Sunday before our summer concert series began, but we only missed one show.”

In the immediate aftermath, things seemed to come together like clockwork as one after another, pillars of the Lake George and grea-ter 518 entertainment community stepped in to fill whatever role they could in the recovery process.

“Every city has a culture…I'm staring at the mountains and the lake in front of me; that's really our culture. So to tie in the amphitheatre with the lake and our surrounding areas, it's amazing. We're at the doorstep of the Adirondacks; you enter the Adirondacks through Lake George.”

and entertainment business, this could have been a physical tragedy that turned into a total unmitigated disaster if the Village were forced to cancel its summer concert series. That’s when it became more than just the volunteer firefighters who answered the call.

“We actually had a programmed event, I think it was that Friday,” Barusch recalls. “We had everything cleaned up and ready to go. We popped a tent up and things continued as normal, sans the structure. It definitely was a great example of the community coming together.”

“We have a great resource of people that really care about the community, Ruben Ellsworth being one of them,” Mayor Perry explains. “He owns a construction company and has heavy highway type stuff. He brought some equipment that morning and took the remains of the building down… we had to wait for the fire inspector to do his thing, and we had the rest of it taken down that Monday morning, and we were back in business.”

Hudson Falls-based business Entertainment One even provided a tent to use until a stage could be rebuilt, which was a major factor in getting

back up and running so quickly.

Filomeno also emphasizes the strength of the community in the face of such adversity, describing a true outpouring of community spirit. He describes experiencing some of their accounts firsthand.

“I’d never seen the lake unimpeded [from that view], because we had the big amphitheatre there. We have a great view of the lake and so this really came into play with the artistic renderings and drawings for our new amphitheater: preserving the view of the lake,” Filomeno explains.

of the Adirondacks; you enter the Adirondacks through Lake George.”

Mayor Perry was kind enough to walk me through the current designs being proposed for the site, which have been updated from previous materials that were publicly available. The main goal is to honor the history

“The locals all came down, and everyone had a story to share,” he tells me. “I met a lot of people here, generationally, whose fathers and mothers were involved in the original building construction. There was a lady, she’s fifth generation, her family was involved in the original amphitheater, and then the renovations during the ‘70s and ‘80s. I got to see our neighbors and really talk to them about what was going on here. And honestly, we had more community support [after the fire]: people were coming down to every event in the park.”

It was in this aftermath that Village officials began to see that this was more than just a tragedy to be mourned. It could also become an opportunity to be celebrated.

He also says that the Village hopes to take the opportunity to make some large scale upgrades and improve on what was there before. And, given the deep ties to the community that have been displayed, they are planning to combine a modern design with the Adirondack roots of the lake.

“We’re gonna be able to create a state of the art amphitheatre that’s less intrusive and connects us to the lake. Every city has a culture. I grew up in Albany, and when I think of Albany, it was a downtown skyline with The Egg, right? Up here, I’m actually in my business now looking out the window. I’m staring at the mountains and the lake in front of me; that’s really our culture. So to tie in the amphitheatre with the lake and our surrounding areas, it’s amazing. We’re at the doorstep

attracting even larger scale artists to the venue to perform. “We’ve actually lost some bigger name acts because there was no green room or amenities, which I’m sure you know all too well how much a band appreciates. Especially a headliner. So with that in mind, we designed the replacement bandstand with less of a roof line, with more visibility to the lake behind, and added a basement to incorporate storage and a green room because we never had one before.”

“Our biggest thing is preserving our view,” Filomeno adds. “We’re looking through the DRI (Downtown Revitalization Initiative) package to upgrade the park infrastructurally, the electrical and seating. So, we’re going to be growing our crowd size for our different events there, and with the new amenities, lights and sound, we’re gonna host a lot of great quality acts.”

of the Village, while also improving the previous structure.

“It’s a three-tiered roof with glass in between,” he describes. “It’s got some more Adirondack characteristics to it, with some curved, laminated beams that will sort of lend themselves to tree branches.

“When we look to replace something, you don’t want to replace exactly what was there because it had its intricacies and deficiencies. This fire, detrimental as it was to the performances, I see it as an opportunity to make improvements. No other amphitheater has the Lake George backdrop. You can’t duplicate that.”

He explains that they would upgrade the facilities with an eye toward

He boasts of the tremendous impact this could have on local business as well. Throughout the dog days of summer, the amphitheatre hosts events nearly every day of the week, all season long. This constant flow of live music and entertainment provides a big opportunity for an even larger draw for the region, which means that an increased crowd capacity and an ability to attract larger acts would undoubtedly benefit the local economy immediately. “I’m looking out my window at all the different businesses that line Canada Street,” Filomeno muses, “From the hotels to the gas stations to the t-shirt shops, we all benefit.”

It goes without saying that a project of this magnitude will require funding. As of now, the plan is to use funding from the aforementioned DRI as well as funding acquired from the Lake George Arts Project. Dan Barusch explains, “It was sort of a last minute addition into the DRI, primarily because we had a slate of projects ironed out and selected by the middle of the summer. Then

the old bandstand burned down, and we thought this was the opportune moment to try and put in a DRI request to pay for some of it. It made the final cut through the local planning committee and with the state agencies, and is now sitting at the governor’s office. They will work to make the final decision on the projects that get funded. If I had to assume, they’ll likely pick this as one of them; it was one of the more highly supported ones from the public.”

“The Lake George arts project secured a wealth of support and donations for a fund to help with some of the costs of rebuilding, and our insurance company has been very good,” Mayor Perry explains. Confirming that this will all be used in conjunction with any DRI funds, he continues: “We have some other potential funding opportunities that have presented themselves as recently as last week that put us in a position where I can safely say this reconstruction and a whole Shepherd Park Refresh is slated to happen, and not to cost the Village or town taxpayer one dime.”

That community spirit mentioned earlier did not end in the immediate aftermath of the fire. It has extended into these design plans as well, with the several Village officials I spoke to emphasizing that virtually all corners

of the local community have made their thoughts known throughout the process. The community was truly an active partner in shaping the new designs.

“The community came together, the neighbors that pulled together and actually worked to put this fire out, rebuild, offer financial support and then offer suggestions on how we should rebuild. We actually listened; we were scouring, listening to our neighbor that’s shopping at Stewarts or Price Chopper. We’re listening on social media to their suggestions. So when you look at the designs, you’ve got to realize it’s a conglomerate, literally, of our neighbors and social media and people talking to us.”

That collaboration will continue with a public workshop scheduled for Thursday, January 30th at 6PM at the Carriage House at Fort William Henry, where the new design will be revealed in detail and public dialogue will take place. If you or anyone you know have any grand ideas for the future of the Shepard Park Amphitheatre, now is the time to be heard.

(Renderings and project details were provided by The Village of Lake George)

Photo credit: Deputy Mayor Joseph Mastrodomenico

| confessions from the underground

connections

by TJ Foster

I’ve been thinking a lot lately about connections. Not the New York Times game (though that consumes a nice chunk of my mornings as well) but the dying art of connecting with another human being. As artists, I think it’s safe to say that our main goal is connecting with people on a deeper level. But there’s also connection as a sheer act of necessity – staying in touch with people in order to maintain relevance, or even just simply to let them know that you’re working on something new and exciting. I immediately thought of my friend Julia Alsarraf, who not only connects with people through her own stunning, original music that’s brought me to the verge of tears on more than one occasion, but she’s also someone who connects with fans in a unique way for 2025: without social media. I caught up with Julia for a spontaneous chat on this topic mere hours before she was going in for a scheduled root canal. (“If I die, I'll be really happy that this is the last conversation I had with someone!”) Spoiler alert: she survived.

TJ Foster: I wanted to chat about “connection” today, specifically with fans and listeners. Obviously, there’s a couple different aspects to this – the emotional connection, which we’ll get into – but first and foremost, I wanted to touch on the literal ‘informational’ connection. How we let fans know when we have something going on. Obviously, the big elephant is social media. And you’re famously not on social media, correct?

Julia Alsarraf: Yeah, and I did anticipate that this might be related to the topic that you were gonna talk to me about!

TF: One of these days, I’m going to surprise someone with one of these. (laughs) I’d love to talk a little bit about your relationship with social media though – were you ever on it? Or was it that, from the get go, you had zero interest in being a part of one of those platforms?

JA: I’ve been on it. I remember when Facebook was a platform where you had to have a .edu email address and all of that. And some of the cool kids at my high school had gotten invited by their friends, and you had to know somebody to get onto that platform. I also had MySpace – multiple MySpaces for multiple band projects and all of that. I got off and on a few times with Facebook in particular, just because that was the one that was around for most of the time that I was on social media. My sister and I made Twitter accounts, which I used for like, a day. One of us made a post about opening a box of crackers, just the

most mundane thing as sort of this self-awareness of what these platforms could become, which largely has happened.

I think in retrospect, having been off for a very long time, and now where I am in other areas, I realized that part of it was a self-protection mechanism, because I do have some obsessive tendencies, and I think I was using it for all of the wrong reasons. I think people have different levels of awareness of that. But it would be like, if I would reach out to a friend and they wouldn’t respond, but then I would see they posted something… that stuff fuels self-doubt like no other. And I just didn’t want that pain. So it was pain avoidance probably that got me off in the first place. But then, I saw many people around me on it every day, and I could start to see the ways that it can impact people. It made it much easier for me to not get back on.

TF: I feel like it’s hard to drop it cold turkey because it’s almost an addiction. But also, as a musician or an artist – or I guess it doesn’t really matter if you’re a musician, actually, it’s any industry you’re in – it’s the thing to promote what you’re doing and it’s not even great for that. I don’t think we need to belabor that point; I guess my question is what are some of the ways that you effectively keep in touch with people about what you have going on?

JA: I keep an email list and I send out emails whenever I have a thing that’s happening that I want people to know about. Sometimes I do that with a little more advanced notice than others. But

it is a pretty effective way I’ve found to let people know about what’s happening. Also, then you get to choose, right? It’s not an algorithm. It’s a specific choice by the audience member of who they want to know about and keep track of versus who is doing the algorithmically correct things to show up in your feed.

I’ll also just reach out to people if I know that they have expressed interest. I’ll send them a text and say, “Hey, I’ve got a thing coming up!” The lack of social media doesn’t seem to have hurt me. The last show that I played, which was at Mojo’s [Cafe and Gallery] on the solstice, I don’t think you could have fit a single other person into that room, which was great. It was the best feeling to have an environment that was that cozy, especially on a cold winter night. And to have done that without social media, I hope, is the kind of thing that can show others that this is not a necessary evil. This is not a thing that you have to do. If you like it, if you want to do it, great. But this mentality that I think people have sometimes like, “I hate it, but I have to do it…” – I challenge that, and I will do it as often as I can.

TF: I love that. And actually, I remember you said to me at a gig once that your hope is that you get famous one day so that you can prove it can be done without social media.

JA: Right. I don’t want any of the other things that would come with that. (laughs) Of course, I’m humble enough not to expect that that’s going to happen any day. But yeah, if it can be the thing that proves that point, great.

TF: I mean, it sounds like you do have an inherent belief that it can be done at least?

JA: Yeah. And I guess what I would say is, it depends more on what your goals are versus your strategy, which is just to say, if somebody wants to be famous, the notion that social media is the only way to get there – it’s not. But that’s almost irrelevant, because I have some problems with that as a goal inherently, right?

TF: Yeah, I guess fame wasn’t necessarily the best word. Maybe ‘success’ is better.

JA: Yes, success. I don’t think you have to have social media to be successful. And everybody gets to define their own definition of it. But certainly for me, social media is not a thing that I feel like I need, and I will love looking back at this ten years from now if I’ve become a social media machine, just the hypocrisy. (laughs)

TF: I loved that point you made though, about an email list not being defined by an algorithm. I’ve never really thought about it before. In that realm… and I think this is interesting too, because you’re not only a musician, but a web developer, right?

JA: Yes. And ironically, I used to work for a marketing agency.

TF: So, I’m curious. Can you think of any other – email list aside – type of platform or method that would really solve some of these pitfalls in keeping artists and their listeners (fans) connected? You referenced MySpace earlier which, at the time, was kind of this cringy sort of thing, but looking back on it now? What an awesome tool we had! Is there anything that we can take from both that experience and what we have now to look ahead and think, “What could a better solution be for artists?”

JA: One method that I love and haven’t employed much for myself is a good old poster on a window, because you’re then tapping into the kinds of communities that you’re interested in having at your shows. So if there are coffee shops and places like that and those are your people, then great. As a web developer, I always love a good website. Mine is not, of course, an example of the latest innovations in web technology, but I do think that it represents me pretty well, and I think that’s one of the things that artists can do for somebody who has not yet heard your music, or has not yet come to a show of yours. And then

there’s always word of mouth. I think that can never be overrated.

But I think too, as far as staying connected with audiences goes, maybe part of the other reason I resist stuff like social media is that, for me, I feel like a lot of the emphasis is that the show is the connection, right? Coming out to a show and being in that environment and having that experience is the unique thing that can’t be replicated anywhere else, and from show to show that varies. And there are moments that only

maintaining that sort of emotional connection with an audience?

JA: For me, I think the first step is in that songwriting process. I only write songs for myself, right? I love to play them for other people, but if the song didn’t do something for me, then it’s much less likely, I think, to do anything for anyone else. Especially in a live experience. We are, most of us, human as far as I know, and we may have vastly varied experiences, but those experiences all share some core elements that we all feel. So

happen when you’ve got a room full of people who are engaged in that moment.

TF: And they only happen once.

JA: Exactly. And that’s the thing: I just love reality. I have an affinity toward real experiences that can be felt and for me, social media just isn’t that.

TF: It’s almost the antithesis of reality. You’re trying to make everything look as good and shiny and beautiful as possible.

That was a fantastic segue, by the way. Because the other thing that I want to touch on is that emotional connection you just referenced. Because yes, it is important that we stay in touch with people, we let them know what’s going on, and we get them to hear or see the thing that we’re doing, right? But once you’re there, there’s also that emotional connection we’re seeking. So what are some ways that you find you’re

there is something in that that I think allows folks to have an entry point, and on a good night, if I’m in that state of flow, then I’m able to not hyper focus on every single note and every single technical element of the performance, and really able to look out and respond to whatever vague sense of energy there might be. I love riffing, and I love that sort of in-between banter and developing inside jokes throughout the course of a show. So that’s one thing, and I think also the comedic element of some of my shows probably serves as a necessary in-between dosage of like, “Okay, now we’re gonna go deep into your darkest fears and insecurities, but then we’ll lighten it up for a moment.”

And then there’s talking to people afterward. I know there are some artists who really don’t like to talk to folks after shows and that’s fine, but for me, maybe because my music is so personal, I often find that if people resonate with my music, then we will also get along well as people. I’ve made a lot of friends from shows.

Photo credit: Ann Kielbasa

TF: Since maybe COVID, I’ve gotten a little bit more outgoing [at shows], but I always used to cringe a little if someone tried to talk to me after a set. I’m so awkward and uncomfortable; I don’t know what to say. But, in the last few years especially, I’ve really found value in what you just said.

JA: It becomes a shared experience for [the audience members]. The community element and the connection element of it just kind of gradually expands, because now you all have this shared repository of things that you’ve done together, and moments that you’ve experienced together, and I think that that ultimately is what community is: to have a cohesive connection with the people in your area.

TF: Yeah, and you’re not only witnessing a performance together, but you’re bonding over things that are potentially very specific to an artist’s life. And you almost have this

shared nostalgia for something you didn’t even experience directly.

JA: Yeah, exactly. And to go back and answer one part of your question about other ways to let people know about things… Of course, there is Metroland, which I don’t just say because I’m talking to you. But it is great. I am really happy that it ended up being in print, because I love to flip through it, and it’s a great way to find out about stuff. It’s that specificity of it too: “I want to know about live music in the Capital Region so I’m going to pick up a Metroland.”

But going back to what we were just saying, there was a guy who came to a show of mine at the Madison Theater in Albany that was reopening, and the Times Union had put out a piece about it. And I think that was the first time someone has ever requested for me to play one of my songs. I’d expect somebody to request a cover or something upbeat. But no, he wanted “Beautiful Disaster,” my slowest, saddest song. And there is something really sweet about that. Which is to say, it’s not bad to have content online, right? He saw the article, looked me up, found my videos on YouTube and decided that he wanted to come and check this out. He had listened to a few songs and connected with, I guess, that one in particular.

that, whether it was staged or not, it felt honest and genuine. The band just seemed like they were having a really good time. And for me, as a listener, and especially as a listener who is a musician, I want to know that you’re not in pain up there, right? If you’re suffering through the set, I won’t be able to enjoy it. Which isn’t to say that we don’t all struggle with anxiety and fears and all of those things. But, I think if it is causing you pain, it’s going to be that much harder for me to engage and relax. And that’s not just a music thing. That’s a psychological phenomenon of like, if somebody walks in in a state of high stress, literally, physiologically, every other person in the room’s stress level would go up.

Beyond that, I don’t have any specifications for what the actual content of the show is. Some people like to talk, and I love to hear some of that, sometimes. There is that element of connection, just the same way that you may not necessarily feel that best friend energy toward literally every person you see. People are going to gravitate toward different artists and different performance styles and stuff like that. But I think it is just that layer of authenticity and doing the thing that feels good for you as a performer.

TF: It’s such a beautiful thing when that happens. Especially when someone requests something that you’ve written versus, like, a cover they just want to hear for the novelty of it. Sure, it is kind of ironic what that person asked you to play, but that’s also awesome! You’ve connected with someone in yet another way.

What are some things that you find you connect to as a listener, or an audience member?

JA: I went to a show in Montreal not too long ago. That was the first time that I had been to a produced show with choreographed lights and everything seemed really polished technically. On top of

TF: It definitely comes across when someone’s doing something authentic; you can really feel it in the room. And for me, as a musician, if I go see a show and I leave that show so motivated to go write a song because that experience left me super inspired, that’s when I know that something has truly connected me to that experience. I mean, live music in general is such a visceral thing that you can connect to no matter what, but at the end of the day, it all comes back to authenticity. And I assume that’s what you want to bring to the table as a musician too.

JA: Totally. And, this isn’t a directly related thought, but just talking about live and local music in particular, that’s why I also think it’s great when cities and organizations put on these outdoor festivals and things like that. Because I remember more than one occasion where I may not have even known that something was happening. There was a time that I drove by when Rockin on the River was happening [in Troy], and it was Girl Blue playing. I had not heard her live before, but I literally pulled over and had to go hear what that was. Authenticity, particularly authenticity that resonates with who you are as a person, just like calls out to you now and then. And so there’s something really special about those kinds

Photo credit: Kiki Vassilakis

Photo credit: Mike Dwyer

of events where you can just get a sampling of everything that’s happening, find your people, sign up for an email list and keep going.

TF: Before we run out of time here, I do like to try and end these chats with some sort of nugget of advice. This would be advice directed to, I guess, really anyone in any industry. We’re obviously focused on music and the arts here, but I’m thinking this applies to literally anyone trying to do a thing, but struggling with clever or impactful ways to reach their fans or their customers. What would you say to those folks?

JA: So, with the caveat that, of course, even if I give good advice, it doesn’t mean that I always follow it for myself – and this may be horrible advice – but one thing that strikes me is I’ve been reading The Artist’s Way by Julia Cameron. Are you familiar with that book?

TF: No, but it sounds like I should be!

JA: It’s a 12 week course, and I think the subtitle is something like “recovering your creative self” or whatever. It has been really interesting. I’ve really enjoyed reading it, and I think there’s a lot of good advice in that book. So, my advice would just be to check out that book! But one thing in particular, or a few things in particular that strike me from that book is to not get fooled by working on your art and working at your art. There are some nuances between like, wanting to make this thing and wanting it to be good or get good reviews or positive feedback. A lot of the encouragement in the book is to really sort of step away from that and turn inward and I think it goes back to what we were talking about with authenticity. That’s the way to be able to make the work that is going to be good and well-received and is going to connect with others.

And then I think it feeds into some of the discussion about social media, because it’s so easy to satisfy the craving of art-making with all the things around it, and then all the comparisons too. The comparisons will fuel the destruction of your inner artist and that’s just totally useless I find. Not to mention, the entertainment of scrolling and the dopamine itself is time that you’re taking away from centering into your own practice. So it’s kind of both sides of that.

Stay in touch with Julia by signing up for her mailing list at www.juliaalsarraf.com.

Photo credit: Elissa Ebersold

| interview: jade warrick

in conversation with educator and visual artist jade warrick (TrashKiD) by Dana Brady

In regards to living in a small city, a friend of mine once quipped: “I’d rather be a cool fish in a small pond.” In other words, if you look around and see that your community needs something, stick around, put in the work to change it, and make it the best it can be. Jade Warrick, also known as the artist TrashKiD, embodies that sentiment to its fullest.

Warrick is the founder of the collaborative art and education initiative Amplified Voices, and host of PBS’s (local affiliate WMHT) A House for Arts (AHA!) public broadcast program. Warrick runs Amplified Voices with fellow artist, educator, and curriculum developer Eugene O’Neill. Many are familiar with Amplified Voices’ origin story, which began in 2020 in the wake of the George Floyd protests and as a reaction to the immediate societal effects of the pandemic.

“I wanted to start something that could be supportive of youth at a really isolating time and I wanted to mold that with the isolation of educators and artists,” Warrick tells me.

After a brief pause, Amplified Voices is back and operating locally. “We needed to build some sustainability in the programming. We took a oneyear hiatus to grow the program and ourselves and figure out how we wanted to do this.”

In 2024, Warrick and O’Neill received a grant through the Arts Center of the Capital Region through which they were able to kick-start the program again for its re-launch. They now have a three-year, strategic plan in place and are aiming to build upon the strong art-focused curriculum they’ve established.

This past September, Amplified Voices partnered with another local organization, Connect Center Youth in Cohoes, NY, where students worked alongside one another to design a mural focused around diversity within the gaming industry.

Warrick and O’Neill are seeking more permanent programming with groups like Connect Center Youth and are continuing to pursue further opportunities to integrate into more libraries, schools, and other learning environments throughout the Capital Region. Eventually, they are hoping to reach not just youth, but people of all ages.

Amplified Voices is recognized most notably for their bright and illustrative murals visible throughout parts of Albany and Troy, including at the Honest Weight Food Co-op, Troy Farmers Market, as well as their traveling murals which are free-standing and can be moved to different locations. However, Warrick and O’Neill ultimately want to expand beyond just painting and muraling in hopes of integrating a variety of creative disciplines to help emerging artists of all skill levels.

In order to best serve the community and continue providing these services in the same capacity, it’s important for a program like Amplified Voices to secure adequate funding.

“It costs about $10,000 to run a decent program and that includes making sure we have food for the kids, making sure we have paint, and that the educators are paid,” Warrick admits. “Eventually I really want to make this into a Youth Employment Program.”

Ideally, Warrick believes that it’s important for students to be compensated for the effort they put into muraling, something that takes time and labor. She also believes that it’s important that the lessons continue even after kids put down their brushes.

“How do we turn [Amplified Voices] into a workforce development program where we’re not just teaching kids how to paint, but also teaching them how to integrate these skills into different parts of the workforce? Doing a mural includes

a lot of financial planning, logistics, organization, teamwork, and those are skills that are transferable to a lot of different careers… We really want this program to go beyond the paintbrush and be more about how to be our best selves through art.”

Warrick has witnessed firsthand how students grow their confidence through participation in Amplified Voices.

Photo credit: Kiki Vassilakis

“We had a student that worked with us in our first [program] ever, then our second, and our third, and they got Junior Mentor status,” she recalls. “This student ended up working on three professional murals with us and they were confident enough due to the skills they got [from us], that we really didn’t have to sit there and watch them the whole time. It was a really cool experience to witness the growth in real time.”

Over the course of the week-long program, Warrick and O’Neill will typically have students engage in an initial few days of introductions and art fundamentals where they cover basic aspects of contrast, color hierarchy, and spatial awareness. Often, the first few days involve a fair share of team building exercises, journaling sessions, and a focus on overall wellness of oneself. On the third day, students start brainstorming a composition and making their ideas real. In spending time

getting to know one another as well as building trust with the educators, the students then spend the remaining days painting and realizing their shared vision.

Warrick is optimistic when speaking about how far local arts programming has come in recent years, however, adult art education programming is something she would like to see more of. Warrick emphasized that by the time many people reach adulthood, the inherent artist within has been discouraged, disempowered, or simply unable to invest their time or money.

“I’ve run into a lot of people that say, ‘I had this one bad experience where my art teacher told me my drawing was ugly; I felt like I couldn’t draw, or somebody I was close to made a negative comment about my work,’ and then they never picked it up again. And I understand how that

feels. It took [local poet, Deirdre] Dee Collins, reading her newsletter, for me to say, ‘I’m going to pick up the pencil [and write poetry] again.’ Just that one person brought me back to something that I once loved.”

Art inaccessibility can show up in a variety of ways, whether you find yourself with a deficit of time between work and family obligations, financial burdens, or you’ve never felt confident in the first place–there are barriers to entry. Warrick and I discussed that many friends and acquaintances of ours share the same desire to set up craft nights, get together to work on a collage, start a band, or even engage in writing exercises with one another. Collaborative artistic endeavors serve not only the individual, but also the group; they can weave relationships closer together and help lower anxiety and daily stresses.

Photo credit: Kiki Vassilakis

“Art doesn’t know an age; being able to heal through art doesn’t know an age… I think everybody can utilize it,” Warrick says. “I don’t think there’s a lot of adult art programming that’s free. I would love to see more of that and since I’m not seeing it, I’m definitely going to make it a goal of mine to start doing it. I think it should be embedded into state institutions, mental health institutions… teach your employees about the value of art and how art can actually make you a better team member! There’s so many ways that you can use it as a vehicle to get to so many different spaces.”

Warrick’s work doesn’t end with just arts programming and education, it’s simply one piece of her mission to make art accessible. In 2022, Warrick began hosting A House for Arts Showcase (AHA!) on WHMT; the show finds local artists and highlights their work on a national scale. Now in its tenth season, AHA! features everything from individual artists and makers to creative institutions in both the Capital Region as well as all over the country, helping to provide artists with a far-reaching viewership. Some of the subjects featured include public installations like the Troy Glow lights festival, art that tackles systemic racism, and art as a means through which to process mental health topics.

“I always want to make sure that wherever I put myself, artists can have the opportunity to express themselves unapologetically.”

The Capital Region boasts a supportive, connected, and strong arts community with artists from nearly every discipline. Locals are fortunate to have places like the Albany Center Gallery as well as a wealth of museums, both big and small, within driving distance.

“One of my favorite organizations is the Albany Center Gallery,” Warrick beams. “They do so much good art programming with the youth particularly. We also have places like the Red Bookshelf which integrates art and reading, and [arts districts] in Saratoga and Schenectady.”

In all of the collective work being done to bolster a diverse community within the arts, it’s important not to overlook on-going research initiatives that can both affirm or make clear where changes need to be made as well as the societal outcomes of art accessibility. About a year ago, Warrick was invited by the Mellon Foundation’s Creatives Rebuild New York initiative (CRNY) to provide some input into their publication with regards to how art can add economic value to communities. CRNY offers financial stability to artists residing in New York state through guaranteed income and employment opportunities.

“Murals bring in tourists,” she notes. ”Public art can, in itself, be a catalyst for economic positivity and there is research behind that… art is also impactful for businesses, parks, recreation, etc. So how do we use art to build a better society and not just be looked at as a painting or drawing?”

The world that creatives find themselves living in today is one of corporate platforms, commercialized social media landscapes, and the expectation that to be a successful working artist, you must produce an endless stream of content for public consumption. It is an overwhelming bottomless pit that leads many of us to burn out. It’s also why a supportive network of fellow artists, teachers, and fact-backed research is so important and why institutions should invest in sustaining creatives.

Artists like Warrick understand this and also know that uncertain and difficult times art can be an incubator for acts of inspired creativity: “As a lot of us know, when bad things happen and things get a little crazy, that’s when artists are at their strongest.”

To learn more about Amplified Voices, follow them on Instagram at @ampifiedvoicesny. You can tune into A House for Arts by visiting their website at www.wmht.org/aha.

Photo credit: Kiki Vassilakis

Photo credit: Kiki Vassilakis

Photo credit: Kiki Vassilakis

| interview: hassanelminyawi

urban aftermath: a haven for creativity, connection and culture by

Nestled on Hamilton Street in Downtown Albany,

beneath the charm of a classic oriel window, lies Urban Aftermath, a cozy bookstore with a passion for used books, art, and community. Surrounded by 19th-century row houses and with a stunning view of the Empire State Plaza with the towers standing like steel and concrete sentinels, this hidden gem is much more than a bookstore—it’s a multidisciplinary creative space.

Owner Hassan Elminyawi’s love for books began in his undergraduate years, but his goal for Urban Aftermath extends far beyond catering to bibliophiles. “I wanted to create community and generate excitement,” Elminyawi explains. “Not just for collectors, but for artists and creatives too.”

Urban Aftermath is a space where creative voices are celebrated, offering platforms for open mic nights, book talks, poetry readings, and art shows. If it’s right-brained, it has a home within these historic brick walls.

“I want to elevate creative voices that I really appreciate,” Elminyawi says. Over the years, local artists have showcased their work, sold their pieces, and found new audiences through Urban Aftermath’s mission. But the store’s purpose reaches further—to address a broader cultural gap.

Elminyawi believes Albany, like many metropolitan areas, has a scarcity of so-called “third places”—spaces that aren’t centered on food or alcohol, where people can gather, share ideas, and build community.

“Albany needs places where people can go that foster culture,” he asserts. Urban Aftermath offers such an alternative: a space where art and creativity take center stage.

Currently, the bookstore hosts work from five local artists, each with their own dedicated space to sell originals and prints. Much like a gallery, the artists keep the bulk of the profits, with Urban Aftermath taking a small commission. Beyond showcasing art, the store aims to become a resource hub, connecting customers with artists and building a comprehensive database of local talent. Whether someone seeks a landscape painting or custom artwork, Urban Aftermath strives to marry them with the right creative mind and body.

With plans to launch on-demand large-format printing in the near future, the bookstore continues to expand its offerings for both artists, patrons, and mere visitors alike.

Elminyawi’s appreciation for art and creativity began early. He credits his father—a PhD physicist who coded a ‘90s-era program generating stunning geometric images somewhat analogous to today’s AI art— for sparking his interest in visual creation. His passion for books, too, has familial roots. Elminyawi fondly

Elissa Ebersold

recalls his father as one of Amazon’s first third-party book dealers, an enterprise he helped with as a child. Years later, a serendipitous purchase at an estate sale catapulted him into the world of bookselling, amassing more than 10,000 books in a single day and launching his career as a dealer.

But, while books are a key part of Urban Aftermath, Elminyawi’s personal dream is to immerse himself in art.

“My dream would be to just make art all day. Wake up, draw, paint, sculpt, collage—any medium I can get my hands on. Creativity and art are already a part of what I do every day. And when I say art, I want to expand on that and say everything and anything can be done artistically. You can be a statistician and be an artist. You can be a book dealer and be an artist. And that’s kind of the

point. [Being an artist] is a style of thinking.”

Elminyawi’s experience as a business owner has shaped his perspective on the intersection of art, commerce, and culture. He emphatically challenges people to rethink their purchasing habits in a world dominated by convenience and programmed obsolescence, and products simply not built to withstand time like their ancestor products did.

“Amazon created a sense of urgency that’s largely a manufactured problem,” he explains. Instead of heading straight for the shiny and new, he encourages consumers to support third-party businesses and local creators. “Put your money where your mouth is when you say you back something. It’s going to be a little bit more of a pain, but when you go to a local business or a third party

Photo credit: Tyler Young

business, you are literally keeping them afloat.”

This shift isn’t limited to books but applies to every aspect of life— clothing, glassware, even shoes that need new soles. While it’s not easy in a world designed for fast consumption, Elminyawi believes in the power of small, deliberate actions to create change. There are virtual spaces designed to do just that, like the Buy Nothing Albany page on Facebook—a forum for free exchange–that he personally recommends.

“It’s an exchange of everything,” he notes. “It’s an exchange of ideas, an exchange of items. ‘My kids are outgrowing these bikes, these clothes, these shoes, these whatever. Does anybody need them?’ That’s

absolutely a step in the right direction of where we’re at in terms of overproduction. Like, how many books by John Grisham can there be? Do we have enough copies of The Firm? Maybe we do.”

Urban Aftermath is more than just a bookstore; it’s a haven for creativity, connection, and culture in Albany. By

championing local artists, fostering community, and encouraging thoughtful consumption, Hassan Elminyawi is building something timeless—a space where art and books unite to inspire and elevate.

So the next time you’re in Downtown Albany, step into Urban Aftermath. Browse the shelves, admire the art, and perhaps leave with something more—a sense of belonging to a community that celebrates creativity in all its forms.

Urban Aftermath is found at 295 Hamilton Street, Albany, and is open to the public on Fridays and Saturdays, and by appointment.

Photo credit: Kiki Vassilakis

Photo credit: Tyler Young

Photo credit: Tyler Young

Photo credit: Tyler Young

| interview: kayla ek

the art witch’s latest brews

The Capital Region has no shortage of creative talent. But artist Kayla Ek has made her own mark since moving to the area in January of 2020.

The self-taught, surreal fine artist, also known as “The Art Witch,” has found herself unafraid of making art that she finds beautiful, but others might tilt their heads at or raise an eyebrow to.

“I’ve always had a liking toward things that are kind of surreal and weird to look at. I love art that starts conversations or, dare I say, makes people uncomfortable. I think that’s the best type of art,” Ek told me.

At as young as ten years old, Ek found herself utilizing art as an outlet, being someone who’s sensitive to her surroundings. She is also one of four kids, and each sibling seemed to have their own calling, whether it was soccer, softball or music. So, naturally, she wanted the one hobby her siblings weren’t already involved in: art.

“I realized just through sketching with pens and my dad’s office supplies – bless him, because I went through a lot of envelopes for no reason – I was like, ‘I’m actually pretty decent at this.’”

in her head. Now, as an adult, Ek likes to think her creative process follows a related tune.

Also at a young age was Ek’s first art gallery. It was because of this opportunity presenting itself at the young age of 13, that she is now better equipped to handle the challenges that come with being an artist some 15 years later.

“When you make art that is not your typical genre, or it’s not considered fine art, or it doesn’t follow suit and follow these categories that I would say ‘mainstream art’ falls into, you deal with a lot of opinions and judgment very early on. I feel like

by Natalie St. Denis

art in a way that’s not necessarily positive and the conversations it evokes.

But Ek, originally from Connecticut, has found a sense of community in the Upstate New York area, where she feels the most at home. She is fortunate to be a part of a collective that allows a wide range of artistic talent to work under the same roof at The Artistry Studios in Schenectady, as created by Albany Barn Inc. This collection of private studios and common gathering spaces provides a non-competitive, relaxing atmosphere that Ek describes as a living, breathing piece of art in and of itself.

Ek also developed an interest for poetry and psychology, with most of her art stemming from a line in a song or a poem she finds inspiring. From there, she makes a visual representation of the inspiration into something that sparks a conversation for viewers. Ek followed a similar process even in her early days as an artist. Similar to other music-loving, imaginative kids, she would make up music videos to songs

the less established you are in those categories, the more open people are to tell you how they feel about it,” Ek said.

Despite the hurdles that come with receiving criticism, Ek believes she has been able to come out on the other side as a better person able to handle differing opinions much easier. She actually loves when individuals comment on her

“There’s just such a wonderful repertoire between the artists there that I’ve never had in my almost 30 years of living as an artist.”

Ek also directly involves herself in the community in many ways, including attending art events where she has offered live portrait paintings of guests. She believes strongly in the way that art brings people together, often engaging in conversations with community members about it. She cherishes the profound connection this level of community involvement can inspire.

“Art, to me, is a language that is not taught to anybody, but we all understand it,” she muses.

“You can’t have art without community, and you can’t have community without art. It’d be silly to think that the two are isolated because they’re not.”

This idea of community collaboration is what inspired Ek to create Schenectady’s The Nightmare Market. With ten years of experience

Photo credit: Debi Gustafson

running galleries and curating art shows, the idea for an alternative market began cultivating while she still lived in Connecticut. After settling into her home in Schenectady, she felt the drive to make the market happen.

The Nightmare Market, which kicked off in 2024, started as an inkling of Ek’s to celebrate all things odd and peculiar with other wicked and weird vendors and artists.

“I’m that artist in a room full of other artists that everybody’s like ‘well, this art’s kind of weird. Is she weird?’ It’s just weird that people have that mentality about these things. So I really wanted to

Ek was amazed by the inaugural event’s turnout last year, which saw record-breaking attendance and riveting energy in Jay Street Marketplace. With even more expansion and growth in the cards, The Nightmare Market has already announced its next date as May 17, 2025.

“Art, to me, is a language that is not taught to anybody, but we all understand it.”

start a market that wasn’t just an alternative market for alternative people. My whole thing about The Nightmare Market is that it’s a celebration of the alternative community for the whole community,” Ek said.

As the founder and “witch in charge” of the operation, Ek encourages people to embrace their innate curiosity and visit the market to learn more about art that throws them off a bit by connecting directly with the artists of such works. Attendees can expect to come across magic, tarot card readings, interactive art displays, live birds of prey and even a fire performance as they stroll

As if she wasn’t busy enough, The Art Witch stays even busier by tapping into her passion for graphic design, which stems from growing up with a “dorky engineer father” who was always showing her the artistic creations she could create on computers. Having that same itch to problem solve, stumbling into graphic design at her technical high school where her trade was graphic technology, proved to be the puzzle piece she never knew was missing. From there, she learned how to take sketches and turn them into something even larger, like scaling a mural to the size of a building.

Her venture down the graphic design path led her to become involved with Foam Brain Games, a company that sells unique dice and RPG accessories online and at conventions. There, she joined their team as the first graphic designer in 2020, and later spearheaded and developed her current role as art director. She tackles everything from packaging design to product development, with her core task being ensuring the visuals

are cohesive across the company’s products and projects.

Her role at Foam Brain Games has helped Ek develop and perfect her graphic design skills, especially because of the company’s innovative nature that gives her the chance to use her creativity freely and fully.

Ek’s artistic reach doesn’t stop there. When asked what she hopes for the future as far as expanding her creative endeavors, she replied:

“Sculpture. I want to make a mess.”

Having painted on canvases for many years now, she has an itch to serve her younger self, when she would make her own cosplay costumes and fake weapons. She hopes to feed her inner child in whatever capacity feels best, now that she has the studio space to do so.

“I gave myself a deadline of two years. I’d like to go bigger, and I’d like to make more sculptural things, which is very exciting for me.”

To see what Kayla Ek creates next, follow her on Instagram @art_witchx

Photo credit: Jenny Zander

down Jay Street.

Photo credit: Debi Gustafson

Photo credit: Debi Gustafson

|interview:

hannahwilliams

a portrait of rebellion: hannah williams makes her own rules with public art by James Mullen

Hannah Williams and I go “way back,” as they say. All the way back to high school in Queensbury, community college at SUNY Adirondack, and now both being active members of the North Country music and arts community. It’s safe to say that she is one of our region’s most prolific artists. You could walk to the Centennial Circle in downtown Glens Falls, pick up a rock, and chuck it in any direction and when it lands, it will have landed a few hundred feet from a public art project she had a hand in, if not one of her very own picturesque murals.

So it should come as no surprise that Hannah’s always been interested in art. She chalks that up to growing up in an artistic household. “I guess I was just lucky to have supportive family members. Both of my parents were really talented artists, and my father’s mother was a big influence on me. She was an amazing artist, and did a lot of still life paintings. She sat me down in front of Bob Ross constantly when I was a little kid.”

She emphasizes how important that encouragement at home was, because the discouragement of a career in arts in the education system is something many creative youths have experienced.

“Unfortunately, if you’re in any way creative and you’re still in school, and you show the passion for it, you’re always told there’s not a career for you, unless you want to be an art teacher and that’s it,” she bemoans. “It was that, or they’re like, ‘Well, even being an art teacher, you don’t make money, so strive for something like being an architect’ and I did take that seriously for a little bit.”

She explains that while she did take some courses in architectural drawing, her challenges with math made her realize that it wasn’t for her.

“Once I got into high school, I really give a lot of

credit to Sandra Jabaut,” Hannah recalls. “She was an amazing mentor and really encouraged all of her students. And I think because of that, and [taking] classes with her every year of high school, she really fostered a confidence in me at the time that was really, really important. I think

next step, Hannah once again found herself clashing with what everyone else was telling her about her path. She wasn’t having it. She would once again take action to define her artistic identity on her own terms.

“I just had to be inventive, and I made a frame out of PVC pipe that was like 10 feet by 10 feet. I would kind of post up bed sheets and I would paint on them, and that's when I fell in love with large scale work. I kind of just had a goal to try to pursue mural work, and it was all self taught.”

that carried over once I really knew that art was my passion.”

It was a passion that was only strengthened the more she explored visual art. Moving on to her

“A lot of artists who are young and graduating from high school, they’re also told they’ve got to go to a private art college to find the best success possible. I’ve kind of learned along the way that it’s not necessary, and sometimes it could be a waste of time and a lot of money. I did have a scholarship to go to a private art college, but I declined, because even with a scholarship, I would have been like $160,000 in debt. So, I landed at SUNY Adirondack and it was probably the best decision I ever made.”

During her studies there, Hannah became enamored with the experience of live painting for the first time. Music has always been a big part of her life, and due to her being in a relationship with a musician at the time she began to consider the visual aspects of live music and the potential of live art. So, she began live painting at music festivals.

“I just had to be inventive, and I made a frame out of PVC pipe that was like 10 feet by 10 feet. I would kind of post up bed sheets and paint on them, and that’s when I fell in love with large-scale work. I just had a goal to try to pursue mural work, and it was all self taught.”

This was a crucial turning point for Hannah, and

Photo provided by: Hanna Williams

she hasn’t looked back. She’s now been working full-time as a muralist for 11 years. While she still considers herself both a painter and a muralist, murals have become her primary source of income. Over those 11 years, she has worked with many local businesses to bring a unique appearance to their spaces, breathing new creative life into spots all over the 518 including places like Kitch A Vibe in Glens Falls, Northway Brewing in Queensbury, and Bitchin’ Donuts in Albany.

Aside from working with local businesses, her own growth as a muralist is also what steered her towards her advocacy for public art. When asked about how much public art in our community means to her, she tells me it means everything.

“Seeing that [mural] come to fruition in Glens Falls is something I wanted to see for a very long time. There’s a lot of benefits to public art that maybe

some people don’t realize, not only with community, but economically it can be such an amazing tool to organically build the economy and help local businesses.

“What happens when public art gets installed into a community? It gives people identity; it can represent the community. It starts conversation and brings people together. Then people feel ownership and a sense of pride. For economics, the minute you have a mural or something that people can view and you start to build on that, it creates a whole niche of tourism and a draw for people to come.”

She also recently served on the board for Muralgarten, a project to revitalize the underserved East End neighborhood of Glens Falls with a free and accessible public art campus that could also serve as a tourist attraction to further elevate the business community there. She takes great pride in the progress of the Glens Falls community in this regard, noting that there was initially some backlash to bringing murals and other public art to the city.

“There was a lot of pushback, and even at the meetings to get the murals approved there was a lot of concern,” Hannah recalls. “[People] didn’t necessarily want the murals to happen.”

Through the advocacy of local artists, the project persevered. Hannah proudly tells me that with the full support of the community, the number of murals in Glens Falls exploded over two years from zero to over 20 just within Glens Falls’ Arts District.

Hannah has always defined her artistic identity on her terms, from her beginnings in childhood to her staunch presence as a public art advocate in the 518. With influences such as Alex Grey and Ron English, her work takes on a psychedelic yet realistic quality that is truly able to convey inspiring and beautiful imagery. It’s a style that is only fitting for someone who continues to inspire

her own community with her vision for a creatively nourished world.

You can follow Hannah Williams on social media at @hannahwilliamsartistry on Instagram, Hannah Williams Artistry on Facebook, and online at www. hwilliamsart.com. She can be reached via email at hanwilliamsart@gmail.com.

Photos provided by: Hanna Williams

| interview: eugene o'neill

mixing the medicine by Erin Harkes

It’s easy to get dismayed by the state of the world these days. Factor in subfreezing temperatures and it’s hard to find anything even worth looking forward to.

Enter Eugene O’Neill. To be reductive, he’s an artist. Somewhat reluctantly, a muralist. One might argue that his true art is finding a way to navigate the system, foster true community, and elevate young, local artists who might otherwise never have access to what is needed to develop their creativity.

Nearly 15 years ago, O’Neill earned a degree in art education with a focus on screen printing/ printmaking. Rather than pursuing a career in public education (due to concerns about job security) he started a clothing business: Made in Truth Clothing.

After about seven years in screen printing, O’Neill felt drawn to another calling.

“I was still wanting to work with kids, work with schools, and work with these organizations that were helping the community,” he says.

He connected with Fourth Family, Inc., a local organization that works with youth and, amongst other things, promotes sports sciences among underserved youth.

“They go into really troubled areas, and they teach kids all the ways that they can form a career without picking up a basketball. Alternatives to sports being their only outlet to safety.”

His first contribution was providing them with clothing for students in the program. Soon after, Fourth Family proposed a mural program to involve local youth in painting condemned buildings in Albany, aligning with a similar idea he had previously pitched to fellow local artist, Tony Iadicicco. After a year of discussions, their vision

became a reality when they collaborated with the Albany Housing Authority and other partners to launch the Corner Canvas mural program. They engaged eight youth artists to create three murals, two of which—featuring ladybugs and balloons alongside a cavalry mural—remain respected by the community at Henry Johnson and Clinton.

The idea behind this was twofold: To put the murals near local libraries to deter nefarious activity and make it safer for kids to walk the neighborhood and to give youth the voice to raise awareness about the increasing amount of Red X buildings with a solution of beautification.

The best part is that it was the first public art project that was executed without city approval and catalyzed a movement that would enrich Albany’s vibrant arts culture – reflecting on Albany’s art scene, which had previously been minimal, with few public art projects limited by

political constraints. O’Neill aimed to depict Albany’s history in a way that was relevant to its residents rather than from authoritative perspectives. Previously, proposed projects involved frustrating and competitive mural calls, including one opportunity for an artist to paint a mural in the concourse cafeteria over eight walls.

“They were making people fight for different roles,” O’Neill recalls. “There are eight walls, and they want one artist to do it instead of just giving it to eight artists. It was the most absurd thing.”

Instead of contributing to this dynamic, he sought to put his energy toward creating opportunities for kids instead of merely competing for space. This program led to more youth art initiatives aimed at revitalizing neglected spaces and fostering safety. Their approach has been inclusive, inviting all ages to participate and challenging the stigma surrounding such areas.

2020 marked a significant turning point for O’Neill. During this time, with the pandemic and social uprisings, Troy was chaotic, and people began to recognize the police’s involvement in fueling protests against racial injustice. O’Neill collaborated with Troy Black Lives Matter, the organization that organized a protest attracting 11,000 people, to create shirts that conveyed deep meaning for the community. A YWCA leader funded the project, and O’Neill worked closely with families affected by police brutality and improper treatment within the Troy police department to design a t-shirt message that spoke for them and the black community.

As civil unrest escalated, the city attempted to downplay the situation by encouraging residents to paint uplifting messages on a multitude of boarded-up buildings. This led to accusations of opportunism, as many outside the community were perceived as acting without genuine investment. Amid this, individuals turned to O’Neill,

Photo credit: Kiki Vassilakis

knowing they were active in the community, for mediation. However, overwhelmed by the rally and too close to the situation, O’Neill had no capacity to intervene.

It was an introduction to Jade Warrick (front cover) that ignited each other’s commitment to empowering the youth, forging a strong partnership. Together, they appreciated the need for kids to express their fears and frustrations during this turbulent time.

O’Neill recognized that the project must be about arts and wellness, not just “arts and crafts.” A place called Root3d – a safe haven for Black and Brown individuals created by Jamel Mosely and Rachelle Pean – provided invaluable support by offering therapy, community circles and various wellness practices. These offerings were able to continue during the pandemic thanks to the generous fundraising efforts of Jammella Anderson.

By emphasizing wellness, they resonated with the community, gaining unexpected acceptance from the city. However, it was a struggle for Warrick, a queer Black artist, amid invasive media inquiries focused on pain and trauma within the Black community. To counter this exploitation, the team leveraged the situation for their benefit and their colleagues, ultimately gaining visibility and increased funding allocation for public arts projects in the entire community.

Navigating political and journalistic insensitivity, while allowing for expansion and uplifting Black and Brown youth, was a challenging but necessary endeavor for positive change. They committed wholeheartedly, supported by allies firmly dedicated to elevating the community. Their mission was to provide platforms for Black and Brown youth’s expression, teach vital wellness practices, and empower them to create social change. While often playing a supportive, behind-thescenes role, O’Neill took pride in contributing meaningfully to the journey.

“I do not care about the politics. I do not care about the bureaucracy. I never was the one rubbing elbows or talking to assemblymen.”

Beyond race, sexism is a whole other subset of these social

issues. O’Neill noted his alignment with womenled organizations during this time, which deeply resonated with him. He admired the unspoken bond among women supporting one another, especially as they lacked male friends and often felt those spaces to be unnecessarily competitive. His commitment to these causes stemmed from recognizing shared experiences of marginalization, and they actively engaged with this community.

After teaching mural-making for years, Warrick encouraged O’Neill to create his own; his first public solo project was on the YWCA building in Troy. This success led to co-leading a program with Mission Accomplished, where they guided aspiring muralists, expanding into Schenectady with the Capitol Walls project. A contest won through the Downtown Albany BID allowed them to create a mural next to the MVP Arena, significantly changing their interaction with the arts community. This opportunity increased their visibility among public officials and broader community members, marking a pivotal moment in his artistic journey.

“I wasn’t in with the public sectors,” he admits. “I was just this person; a ghost in the background making art. Because it’s such a trafficked area for state workers and all that, so many different public officials showed up for that whole time period of it being revealed.

“I know all the artists. I know all the musicians. I know all the performers, but I don’t know anyone else in this city. And now they know me. And that

was a really big deal. It just progressed from there.” O’Neill later worked on a cafeteria for a KIPP public charter school in Troy, leading to additional collaborations with the KIPP network. Their involvement expanded to painting school murals and engaging in public art commissions.

This experience helped when O’Neill’s cousin in California, who operates outdoor adventure camps, reached out after facing complaints from children regarding the heat and physical conditions. He acknowledged their suggestion for creative endeavors and invited O’Neill to run a youth art program in Los Angeles. Funding was secured through the cousin and support from parents, including a space donated by Dangerbird Records on Sunset Blvd. Over the course of two years, the program created impactful murals in Silver Lake and incorporated paid youth mentors, including artist/activist Shepard Fairey’s daughter, which led to a private tour and discussion by the artist himself. O’Neill was honored to lead a screenprinting workshop for his students in the same studio where all of Shepard’s original works are created.

After returning from Los Angeles, O’Neill completed a mural in the fine arts wing of Schenectady High School and collaborated with Warrick on another Amplified Voices program at the Cohoes Connect Center for Youth, transforming an e-gaming room.

This success resulted in a two-year partnership focused on annual collaborations, youth mentorship, and expanded outreach. A year ago, O’Neill reduced their intake of clothing work to 20% to better dedicate time to youth programming, public art, education, wellness and community engagement. He felt it was time to lean into his life’s purpose.

O’Neill’s willingness to collaborate and engage with schools, community organizations, wellness centered spaces and businesses that are looking to do meaningful projects knows no bounds. For those interested in collaborating or finding out more about O’Neill’s endeavors, visit his website www. CheckOutTruth.com or follow him @mixingthemedicine on Instagram and Facebook!

Photo credit: Kiki Vassilakis

| nonprofit spotlight

schenectady city mission ambassadorship expands to saratoga and albany by Rory Graham

It has been wellestablished that the Arts builds community amongst creators and patrons alike, bridging gaps between cultural, economic, and countless other divides. However, in the case of Proctors and the Schenectady City Mission’s Ambassador Program, community building is more than just a social connection— it is a way of improving lives by providing meaningful employment for the men and women of not only the City Mission, but also Albany’s Hope House, an addiction treatment center, and Saratoga’s RISE Housing and Support Services. Mike Saccocio, City Mission Director, spoke with me about the origins of the program and all it has become since.

The partnership began 15 years ago after a dialogue began between two unlikely neighbors.

“City Mission is right across the street from Proctors. If you think about that objectively, you say that might not be a great combination, to hold the shelter across the street from the theater. That naturally would be a place of tension or difficulty,” Sacoccio admits.

Between himself and Proctors’ CEO, Philip Morris, though, that tension would never have a chance to arise. “Philip and I made a commitment that we were going to show people that we could make it a win-win. We were going to be neighbors, not just glaring at each other across Clinton Street.”

a full scale hospitality service that became so popular, it expanded across downtown Schenectady. Now we have not only ambassadors hospitality programs, but ambassadors outreach programs. And the whole purpose of it is to say, in any community, everybody has something to give and something to receive. The men and women of City Mission, although clearly they have problems and struggles that have brought them to the Mission, they have much to give. This became a way for them to demonstrate that they could be real contributing members to the community.”

“...in any community, everybody has something to give and something to receive.”

A plan was devised in which the men and women in the City Mission shelter, as well as City Mission graduates, would greet Proctors’ patrons, welcoming them into the venue with open arms. “Philip had said [welcoming patrons], that’s a need they have,” Sacoccio recalls. “So we started doing it and it became more than just greeting people. It was helping people get to restaurants, directing people to parking, helping people across the street.”

What began as a simple partnership between neighbors quickly expanded beyond what Morris and Saccocio had dreamed. “It really became

While providing a service to local businesses, ambassadors are involved in a workforce development program, what Saccocio refers to as “stepping stone employment”; it has led many of the City Mission men and women to building full careers outside the Mission. And while it may be a stepping stone to a larger career, the work is no doubt challenging and something the ambassadors take seriously.

“I mean, you’re going out in the cold and the heat and the rain. So it’s not just a simple thing. You gotta be paying attention. You’ve got work to do,” Saccocio relays.

Photo credit: Julia Goldstock

The money for this endeavor was initially raised by Morris via Proctors Collaborative, but others soon began to take note and contribute. Most recently, they have received assistance from the Schenectady Metroplex Development Authority after downtown areas like Schenectady Light Opera Company and Jay Street reached out asking for the ambassadors to come to them.

Morris himself noted several different organizations supporting them, noting that “the joint commitment of Whiteman, Osterman and Hanna – the law firm – and BST and Co. CPAs [to] the long term success of the effort to offer opportunity with and through our community cultural organizations is guaranteed!”

The ambassadors have become so renowned in Schenectady that they were asked to be the marshals at this year’s holiday parade. To Saccocio, this honor represented all that they had been working towards.

“We want them to be featured. As I said at a couple events leading up to the parade, we’ve gone from being tolerated to being celebrated.”

The future for the ambassadorship is bright, both within Schenectady and among the region. With new programs created for Albany’s Cap Rep through Hope House and, most recently, for Saratoga’s Universal Preservation Hall with RISE Housing and Support Services, the am-

bassadorship program has become deeply rooted within the Capital Region.

“The key is to not just have it be men and women coming out of a shelter, but into their own town,” Saccocio says. “That’s what’s gonna make it work. They know the streets, they can learn the rules of [the venues]. But if there is stuff that happens, if there’s people panhandling or in need on the streets, the folks from RISE or City of Mission or Hope House have had personal experience with it and they can do good with it.”

For the future of the program, Saccocio has his hopes set on Ambassadors 2.0, an outreach program they have developed. “The folks at the Mission have a wonderful expression. They say my mess has become my message. I love that expression because we all have messes that we have to deal with in life. And there’s a wonderful truth that when you overcome it, it’s not something you have to hide. It really is an asset when you can say, ‘I’ve experienced this, but now I can help someone else who’s there now’. In Schenectady, Ambassadors 2.0 is not just hospitality, but actually goes looking for people who are in need but are not connected to shelters and, for whatever reason, choosing to be on the streets. That is working very well too. I’d love to see over the next 15 years that

each community also develops an Ambassadors 2.0 program.”

“It’s a total honor to work with Michael and the City Mission,” Morris adds. “Bottom line is that we both work to make our communities better.”

As for how you can help the ambassadorships across the region, there are plenty of opportunities from donating your money to donating your time. Proctors Collaborative, City Mission, Hope House, and RISE all accept donations on their websites, listed at the end of this article. If you’d like to put on the red coat alongside the men and women of City Mission, please reach out to them or Proctors Collaborative. And regardless of venue, please thank these ambassadors for their work when you see them at your next show—our local arts communities would not be the same without them.

Websites/Phone Numbers:

City Mission: citymission.com // (518) 346-2275

Proctors Collaborative: proctorscollaborative.org // (518) 382-3884

Hope House: hopehouseinc.org // (518) 482-4673

RISE: riseservices.org // (518) 587-6193

Photo credit: Julia Goldstock

Photo credit: Julia Goldstock

Photo credit: Julia Goldstock

| venue spotlight: lark hall

building a community on lark street

Perched conveniently on the corner of Hudson and Lark in downtown Albany is a lesser-known marvel in the local music scene, housed within a historic building from the early 1900s. Lark Hall is not only one of the best places to see a show in the area, it’s also one of the best places to play a show.

Jenn and Justin Miller purchased the building in 2018 after it went up for auction. As huge fans of live music, they set out to deliver an uplifted concert experience to downtown Albany.

“My husband and I are huge concert goers,” Jenn told us. “We travel all over the country and out of the country to see music.”

An off-handed comment to her husband bemoaning the lack of live music venues in the area prompted Justin to start researching buildings in downtown Albany. When Lark Hall became available, it felt serendipitous.

The building itself was built in 1916 for the Women of the Eastern Star, which was a womenonly chapter of the freemasons. Members would come from all over for meetings until the building was sold and became a nonprofit, woman-owned dance center for the next 40 years.

After buying the building, Jenn quickly set it up as a yoga studio until the pandemic hit and they had to cease operations. For the Millers, that was just the catalyst they needed to begin plans for the venue that exists today.

“We put in an elevator. The upstairs space did not have any bathrooms, so the three that are there now are brand new. The sound booth and the bar are both new, and the mezzanine area used to be three separate offices, so we opened that up for seating.”

Additionally, the Millers had to run new electricity throughout the building to account for live music. Walking in there today, not only do you feel the history of the 100+ old building, you feel the heart and soul that the Millers poured into making this space ready for live music of all genres.

“I really try to bring some diversity to the city,” Jenn admits. “We’re jam band-ish kind of people, and there is a big community of jam band people in the area. But, you know, we worked with Dan Smalls for a while. We work with a couple different promoters that book nationally. And at this point, because I’ve worked with so many different artists and agents, they are coming to me directly.”

Outside of the irresistible aesthetics of the venue, another draw for artists is without a doubt the sound. Before opening to the public, the Millers enlisted the help of local sound extraordinaire,

by Corey Dempsey and TJ Foster

Stan Denis, who tuned the cavernous room to the appropriate standards.

“We have a really clean sound system,” front-ofhouse engineer Alec Lewis says. “Every room has its challenges; here, the ceilings are high and you’ll notice we really don’t have any acoustic treatment on the walls. But the system is perfect for this room.”

In addition to providing an unmatched performance space in the main room, the Millers recently opened The Eleven at Lark Hall downstairs as a smaller, secondary space for live music – mainly singer/songwriter and acousticbased artists – which lends itself well to happy hours or pre-show parties.

“That space has had many iterations,” Jenn says. “It was a shop where they would fix TVs and radios. Then it was an antique shop, a flower

Photo credit: Kiki Vassilakis

shop and a mercantile. When the mercantile left, we just blew the hole in the wall and made it one big space.”

Both of the venues at Lark Hall are not only committed to providing concertgoers and artists at both the local and national level with a first-class concert experience, but they are proud to foster a sense of community for the entire area.

“The way that you treat people is really important,” Jenn says. “That’s kind of the basis of all of this; we’re building a community of people that want to come back because they know everybody. We have 100 members this year. They know all of our bartenders, they know the cooks in the back. It’s really nice. We treat the artists well. I treat my staff well. I pay them well. They can come to any show they want to come to. I’m really flexible. It’s just about trying to make this a space where everybody feels welcome.”

“It’s like a family vibe,” Alec adds. “We’ve been growing constantly and every year we’re getting bigger and bigger acts.”

It’s a testament to all of the hard work the Millers put into Lark Hall that anyone who sees or plays a show there, leaves with a sense of gratitude and respect. It’s a venue that’s worth going out of

one’s way to see a show at, and one that certainly doesn’t get enough recognition. But for Jenn, above all else, the goal is to help revitalize the Albany music scene, and be a diamond in the rough for downtown.

“We live in Albany. We love Albany. We want Albany to be successful. We can’t do that alone.

The bands can’t do it alone. We’re all a part of this; it’s not just us. People are always like, ‘thank you so much!’ But without you, we can’t do this. Without the bands, we can’t do this. It’s a collective thing.”

For more information on Lark Hall, including tickets to upcoming events, visit www.larkhallalbany.com

Photo credit: Jenn Miller

Photo credit: Kiki Vassilakis

SHOWPONY

| listen here

Jacob Shipley Getting Older by Andy Scullin

It is pretty clear by the title of Jacob Shipley’s EP, Getting Older, that there will be some themes of growing and aging intertwined in the songs within. Added to that, the first track is simply called “Older.” The open-ing line,“I think I’m getting older, I’m getting excited about socks…”, had me be-lieving that it was going to be a light-hearted approach to the subject. But by the time the two-and-a-half-minute song wraps up, there are much deeper musings of aging, including losing one’s parents and even losing one’s memory.

As someone beginning my fifties, the last minute of “Older” hit hard.

Luckily, Shipley’s soothing voice and smooth acoustic

guitar were there to act as a guide of sorts, softening the blow of thinking about the inevitable. Even though Shipley is still in his twenties, the song rang with an air of someone who has already experienced a lifetime.

Once I dabbed the tears from the corners of my eyes (I think there was some dust or something in the room), I was ready to move on with Getting Older.

“Kitchen Floor” is the second track and it feels as if it is exploring another aspect of aging, but this time it was the aging of a relationship. Is it a solidifying of two souls bound together, or is it the last moments of a fading love? While the lyrics may be ambiguous enough to leave the song up to interpretation, there is something about the melancholy guitar and the slight urgency in his voice when he repeats, “It’s you, it’s you…” that seems to lean towards the latter.

“Death of Me” has a more straightforward guitar cadence than the previous two, but with more guitar layers and lyrics that are nothing short of pure poetry; this one feels like it takes the EP up a notch.

Getting Older also has a ‘sequel’ to an earlier song. “Kitchen Floor II” is even more melancholic than its predecessor, which does seem to confirm my suspicions above. The line, “There are cracks in the tiles from where we used to dance, and the memories of our long dead plants still float with their siblings where we gave this a chance…” just does not seem to be one

that signifies a love that carries on.

Through the remaining few tracks, Shipley does a masterful job at connecting the themes of aging, retrospect, and looking towards the future. These songs don’t ever feel outright sad, but rather contemplative and even accepting of what is sure to come to all of us. Getting Older feels like his way of letting us know it’s not so bad.

With just an acoustic guitar and Jacob’s voice, both of which are intricately and sparingly layered, Getting Older is a perfect acoustic album. Lovingly written, produced, and recorded by Shipley himself, this one is deserving of accolades on a national level.

Getting Older is out January 30th and can be purchased on Bandcamp. For updates on Jacob Shipley, visit his website at www.jacobshipley.com

Photo credit: Shannen Bamford

| january snapshots

a visual journey across the capital district

by Elissa Ebersold,

Debi Gustafson, Tom Miller, Kiki Vassilakis and Joe Putrock

| january snapshots

a visual journey across the capital district

by Elissa Ebersold, Debi Gustafson, Tom Miller, Kiki Vassilakis and Joe Putrock

| listen here

The Alec Lewis Group Don't Cross Me EP

Throughout the last couple years, Alec Lewis has been making a name for himself. He has become one of our area’s most exciting songwriters, blending genres and an affinity for musical theatre in unique ways within the orbit of what we call “pop” music. As a sucker for well-crafted “pop” music, The Alec Lewis Group’s debut EP checks all the right boxes.

Admittedly, the use of “pop” is a bit of a misnomer

– Don’t Cross Me has more in common with a Steely Dan record than it does a modern pop record, but if you look far enough behind the curtain, you’ll find the sensibilities are all there. There’s hooks for days. There’s tight structures. There’s methodical arrangements. It’s funk music without unnecessarily long jam sessions, and it’s

pop music with real instruments.

by TJ Foster

The EP’s title track is a fantastic introduction to this new project. (Lewis has previously released two solo EPs, 2022’s How Are We Fine? And 2024’s Pocket Pop.) “Don’t Cross Me” is a searing analysis of time spent in Catholic school in his youth; it feels like the rather tongue-in-cheek chorus is being spat at you with conviction and Lewis, with the occasional dip into nearspoken-word territory, sells it oh so well. Elsewhere, “Six Show Week” is a mostly autobiographical look at life as a freelance live sound engineer. “Nothing hits better than a six show week / Coming straight off three hours of sleep…” he sings, reminding us – or maybe himself? – that while sometimes it’s a grind, doing the thing you love comes with an endless set of rewards.

“Half Empty/Half Full” is a true highlight, and not just within the EP’s short track listing; it’s honestly one of the best local songs you’re likely to hear all year. With an ‘everyday guy living his everyday life’ kind of story, the influence of one of Lewis’ favorite bands – Dawes – really comes through here. The vocal delivery is fascinating, the rhythm section is locked at the hip, and the lyrics are just perfection. “I want to trust people, but people fucking suck…” begins the chorus. Not only do I love a well-placed f-bomb, I also love a truth bomb. “Half Empty/ Half Full” is more than half full of those.

Photo credit: Kiki Vassilakis

Furthermore, it can not be overstated just how good this record sounds Expertly mixed by Daniel DeKalb and mastered by Paul Hake, the guitar tones across the board would make John Mayer swoon, and the tight, dry drum tones act as sonic flypaper that everything else sticks to with ease. The fact that this was recorded in a home studio – by Lewis himself, no less! – is truly a feat. This record continues to drive home the fact that you don’t need a giant budget and an expensive studio to make impressive sounding music.

All in all, Don’t Cross Me is an exceptional debut that covers a lot of sonic ground in just four songs. Of course, I would urge anyone who’s a fan of any of the artists name dropped above to go check this out, but really, if you’re a music fan – regardless of the genre – this one’s not to be missed.

Don’t Cross Me is out February 7th on all major streaming services, and Bandcamp.

| hot singles

Each month, we recap the hottest singles released by local artists on our site. Here’s a list of what the 518 delivered in November – be sure to scan that QR code to read more about – and stream! – each tune.

Oobleck - “Purse Candy”

ELIS - “WELL”

Age of the Bear - “Tributaries”

SIRSY - “Stupid Little Heart”

Deanna Deluke - “Sparkles”

Friends Meeting - “some fantastic proportion”

Seize Atlantis - “Bulls on Parade” (RATM Cover)

Xkwisit, Mista Pigz, Shyste and Ab the Audicrat - “Way Too Long”

The Lycan - “Memento”

JJ’s Okay - “Cool Your Jets”

Comic by: Michael Slayton

| ask becky

by Becky Daniels

Becky Daniels is the Founder and Chief Romance Officer of Micropolitan Matchmakers, the first locally-based singles event and matchmaking company in the Capital Region. Each month, Becky tackles reader questions about dating and relationships. Submit your question to askbecky@themetroland.com

Q: I’ve been on two dates with someone new and I have definitely enjoyed my time with them. But, when I reach out to her, the communication back has been a bit slow so far. And she sometimes comes across as a little short. I get the impression she might need more time to figure things out, so I’m planning to take things at her pace and see how they develop but, just wondering if that’s the right move?

- Wondering in Watervliet

Dear Wondering,

Good for you for reading her energy and giving some space - that is always the right move. Oftentimes, when people sense someone is unsure about them, they do the opposite and go full steam ahead trying to convince that person to like you - and 99% of the time, it is overwhelming and drives them away.

Going slow, giving space and staying curious is definitely the move. That said, I also want to make sure you protect yourself from getting strung along. That is where clear communication and careful questions can be useful. Give it a few more dates and if you find yourself still feeling confused or anxious, it’s OK to ask for a check in conversation. Do this at a time when

you can approach from a place of calm openness to conversation. Tell them how much you’re enjoying getting to know them and, if you’re starting to develop feelings for them, say so! Be honest about where you’re at and then give them space to respond. They may need time to process and think - which is normal. If that’s the case, agree on a time that feels comfortable for both of you to revisit the conversation.

Someone needing space isn’t necessarily an indication that they’re not interested - we can never assume we know what someone is thinking, or what history they are bringing along with them. Relationships are a constant exchange of communication and this is a great way to set a foundation of sharing how you’re feeling and giving your partner space to do the same. This is a great place to negotiate fromit’s rare that two people (even when the connection is super strong) want the same things at the same time. But, if you can both express what you want, hear the other person and come to agreements that work for both of you. That’s the key to a long term relationship.

Sometimes, even when you do all the right things, that person just does not return your feelings. That - plain and simple - really sucks. Most of us have been there and know that pain. And, as I always say - it’s better

to know. Hopefully, they take their cues from you and are open and honest about it. Sometimes, people will ghost you and that hurts. But, someone who cannot give another person the courtesy of being honest even when it’s hard? That’s definitely not a person you want to be in a relationship with.

Q: I’ve been going to a lot of events lately (even some of the Singles Events that you host!) and I’m not having any luck. I don’t know what I’m doing wrong, but it’s starting to feel like no matter what I do, I just get rejected. Help!

- Feeling Down in Delmar

Feeling Down,

First things first - good on you for putting yourself out there! It’s not easy and that really is the first step! Without knowing your specific situation here are a few things I share pretty broadly about finding success at Singles Events (or events in general when you’re looking for love):

1. Get ready. This sounds obvious - but it’s not just about what you wear. Take time between work and the event to take a breath (maybe meditate!), change your outfit and maybe listen

to a hype up play list. When you go to an event straight from work, it’s easy to treat events like work - where you might slip into “interview mode” instead of being more open and conversational.

2. On the clothing front - put in effort. I know you want to be comfortable and you want someone who appreciates you no matter what. But, humans are visual creatures and it benefits you to put effort into your appearance. Don’t wear sweats or gym clothes - have some clothes in your closet that are just for dating/singles events. Things that make you feel good about yourself when you put them on and that have a bit of your personality in them. Maybe also have a perfume or cologne that’s just for these outings.

3. Talk to everyone. Let people surprise you. If you immediately decide there’s no one there for you - that is exactly what will happen. But, if you strike up a conversation with someone (even if they’re not a romantic match) and you’re open to ityou never know who could either surprise you or who may have someone in their network that they could introduce you to.

4. Finally, be kind. There are people at many events that might be really nervous or a little awkward. After years of running these events I can tell you that people notice when you are kind to othersand it’s a very attractive quality. Not only are you helping that person practice some conversation skills and feel more comfortable, but you’re putting good energy into the room that I believe will come back to you.

yonder mountain string band at the egg by Rory Graham | live

“The last time we were here, a pie-eating contest opened for us,” began Ben Kauffman, bassist and vocalist of the Yonder Mountain String Band, referencing the convention center inside The Egg. “This time, there’s a gun show… Albany is weird, y’all,” he concluded, eliciting a wave of chuckles from the crowd. And while the audience may not have gotten any less weird (don’t worry, we’ll get there), the five-piece embraced the hoots, hollers, and shouts of encouragement to create an energetic, one-of-a-kind night.

Beginning with a cover of Tom Petty and the Heartbreakers’ “I Need To

Know,” Nick Piccininni (mandolin) and Coleman Smith (fiddle) came out so hard that I worried there would be nowhere for the band to go for the following two hours. Piccininni’s agile playing combined with Smith’s melodic liveliness was a sight and sound to behold, building in pace and intensity for several minutes until the succinct, clean finish.

In their 27th year, the group has a wealth of tracks to choose from and took advantage of the deep catalog. Guitarist Adam Aijala took the lead on a 2008 tune, “Near Me,” where his twang added an edge to harmonies with Piccininni, whose voice is straight out of pop country. Kauffman added his own country rasp to the 2009 track, “Complicated,” a faster

tune in which he traded his upright bass for a Lakland bass to create a bit more of a rock sound. At one point, they even graced us with a mashup of their 1999 “If There’s Still Ramblin’ In The Rambler” and the folk tune “Polly Put The Kettle On,” all grounded in Dave Johnston’s nimble banjo playing.

Photo credit: Tom Miller

Photo credit: Tom Miller

As someone who doesn’t tend to frequent jam bands, I was impressed by the simultaneous cohesion and playfulness that came out of their “jamgrass” style. Space would open up and the taut lines of structure would dissolve into an ever-changing blend of strings. They gave each other the space to experiment, sometimes physically stepping out of their line to put the emphasis on a particular member; they created through-lines with calland-response style melodies among all five instruments. The audience sat within their world and absorbed the tunes for as long as they could, eventually coaxed out by a return of lyrics and a staccato, sharp ending to reveal that, while you had been sliding along the melody, they had been meticulously keeping time.

Although many crowd members were blissfully losing themselves in the strings, others were out of their seats dancing, making use of any moment of relative quiet. They

whooped and shouted to their heart’s content, creating a chorus of encouragement: “I love you guys!” to “Make that noise!” to “Thanks for making me smile!” It’s safe to say I’ve never been in such a rowdy crowd at The Egg.

However, the energy paid off as we were treated to an unplugged acoustic set as an encore. For the first time all night, a complete hush fell across the room as the five men took the front of the stage and sang, letting the room’s acoustics reverberate with their harmonies.

From “Dancing in the Moonlight” to “Goodbye Blue Sky,” they put the Yonder Mountain String Band spin on songs that delighted the audience. “This is the whole point of the gig,” Kaufmann remarked. “To experience joy.” And a joyful night it was.

Photo credit: Tom Miller

Photo credit: Tom Miller

| live

the

dirty nil at empire underground by Corey Dempsey

The Dirty Nil, a punk rock trio from our neighbors in the great white north, kicked off their Winter 2025 Tour in our lovely state capital – a city that, in their words, looks like “a missing persons’ case.”

Amidst the shredding, breakdowns and moshing that come along with any punk rock show, what makes a Dirty Nil performance special is the sense of humor; the good natured barb about our fair city balanced with knowing self-deprecation about their status as “rock stars”. Everyone is joined together in their own alienation. That is punk rock.

On a frigid Tuesday evening in January, the crowd was sparse but eager with anticipation as House & Home took the stage to begin the festivities. The Richmond, Virginia quartet kicked things off with a moment of severely uncomfortable silence. You know that moment when the sound guy cuts off the house music just a touch too early and the band is still fiddling with pedals and tuning knobs? Yeah, it was that.

Lead singer and guitarist Pat Williams acknowledged the moment. “This is my favorite part,” he said, before kindly requesting that the crowd come join them closer to the stage. Happy to share in the collective warmth, the crowd obliged and the band launched into “Cellophane”, an anthemic cut from their 2024 Split

EP with fellow Richmond rockers, Suntitle.

The band’s brief but powerful ninesong set was a mix of newer releases and tracks from their 2020 full length debut, Find Sense. Feel Love. Make Light. Coming halfway through their set, “Tempest” – the opening track from that debut – was the standout. Drummer Matt Stumpf’s tom groove was quickly met by Collin Lassiter’s driving bassline and Joey Grammer’s feedback-heavy guitar riff. Employing the quiet-verse, loud chorus formula made famous by the ‘80s and ‘90s grunge bands that were clearly a

huge influence here, “Tempest” was the moment where the nodding heads of the attendees signaled they had been won over.

The band’s earnestness and genuine appreciation for people coming out early to see a “band

say House & Home gained a handful of new fans with their performance.

Bay Area rockers Grumpster were slated to play next, but according to Williams, “their van shit the bed so they’ll have to join us in Providence tomorrow.”

"The Dirty Nil are serious musicians that don’t take themselves too seriously."

they’d never heard of,” along with their post-grunge musical stylings, were received well and it’s safe to

No worries here. The main attraction, The Dirty Nil, were ready to take the stage early and leading man Luke

Photo credit: Elissa Ebersold

Bentham and bassist Sam Tomlinson came out sporting shirts that would have been more appropriate for the Grand Ole Opry in 1950s Nashville. Bentham was rocking a red cowboy button up that would have made Jerry Lee Lewis jealous, while Tomlinson went for the Johnny Cash all black velvet look. No joke, it looked like he was rocking a velour button up on top.

For the uninitiated, The Dirty Nil are serious musicians that don’t take themselves too seriously. Set opener, “Doom Boy”, from their 2021 album Fuck Art is a song about listening to Slayer in the back of your mom’s Dodge Caravan as a romantic gesture. Early aughts emo kids: eat your heart out.

Right before the epic breakdown that ends this masterpiece of tongue-incheek romantic songwriting, Tomlinson bellowed to the crowd, “Come on Albany, help me make my dreams come true!” He then proceeded to let out a guttural scream that Slayer’s own Tom Araya would be proud of and the pit opened up as the crowd took part in some gentle moshing. It was peak Dirty Nil.

The rest of the set was a career-spanning, 18 song showcase featuring “Wrestle Yü to Hüsker Dü” from their 2016 debut, Higher Power, for the diehards that have been rocking with them from the beginning all the way up to their new single, “I Hate the Internet,” released just last week. They even debuted the unreleased “Spider Dream” to an accepting crowd that let them do their thing before returning to play the hits.

They closed things out with “Blunt Force Concussion” off of Fuck Art before returning to the stage for a one-song encore. As if to remind everyone how incredibly talented they are, drummer Kyle Fisher broke into the incredibly technical hi-hat groove from 2017’s “Fuckin’ Up Young.” The crowd gave it their last ounce of energy for the eponymous chorus before Betham ripped one of his trademark, off-time guitar solos.

Heads were banged. The Dirty Nil departed. The lights in Empire Live’s basement came on. Punk rock dads were home and in bed by 10pm. Good job everybody.

Photo credit: Elissa Ebersold

Photo credit: Elissa Ebersold

Photo credit: Elissa Ebersold

retro | metro checks in with metroland staffers of yore by Erin Harkes

For this month’s Retro Metro, Erin sat with former Metroland Staffer John Brodeur! They discuss his past life at Metroland, for better or worse, and how they some day hope to be extras on Law and Order: SVU! Brooklyn artist John Brodeur adopted Bird Streets as his nom de guerre with the release of a Jason Falkner-produced, self-titled 2018 LP. This refreshing blast of classic-yet-modern melodic rock received accolades from PopMatters (“a rock solid power-pop gem”) and NPR Music, which named Bird Streets a Slingshot artist alongside then-emerging talents like Phoebe Bridgers and The Beths. Lagoon, his second album under the Bird Streets name, widely expands on the project’s collaborative foundation, with production by Patrick Sansone (Wilco) and Michael Lockwood (Fiona Apple), plus guest appearances from Ed Harcourt, Aimee Mann, and Big Star's Jody Stephens. Both epic and intimate, often simultaneously, Lagoon has been called "sublime" (Coachella Valley Weekly) and "an emotional tour de force" (Glide). To hear the full interview, listen to the Mistress of None podcast wherever you stream podcasts!

ERIN HARKES: How are you?

JOHN BRODEUR: Awake. And that’s good. A really big deal

EH: That’s really all you can ask for sometimes. You want me to make a little room for your elbow there?

JB: I’m gonna knock this wall out. It’s a very small studio.

EH: John is having a very clumsy morning, I think. Well, afternoon now.

JB: I’m on my third coffee, and it’s just not working.

EH: Sometimes it just doesn’t take.

JB: Yeah.

EH: So how are you?

JB: I’m all right. You know, I’ve got my feet on the ground. Keep reaching for the stars, you know.

EH: Wonderful. No, I mean, I’m very excited to talk to you for an obvious plethora of reasons…

JB: Plethora?

EH: Plethora. John and I -

JB: Spell that.

EH: Plethora?

JB: Yeah.

EH: P-l-e-t-h-o-r-a.

EH: So for those of you that don’t know, John is a native to the area. Is that fair to say?

JB: Yeah. I was born in Saratoga.

JB: You win. Okay.

EH: Thank you very much. How dare you challenge me? I’m only on cup two, and I haven’t had my morning protein yet.

JB: It may actually be working, it turns out.

EH: Okay. He was born in Saratoga. He left. We just were trying to figure that out… 16 years ago?

JB: 2008, I moved to New York.

EH: New York City.

JB: Yeah.

EH: And I have had the great fortune of meeting you down there a handful of times for a meal and whatnot. John has also come to a handful of comedy shows. You poor thing. And I appreciate that as well.

JB: You’re wonderful.

EH: Well, I’m not talking about me. I mean, you have to sit through the other comics.

JB: It’s the other comics. Yeah, that’s true.

EH: One of my favorite New York stories of meeting with you down there is we had lunch one day, and we had this whole conversation about how whenever there’s a show that displays something that happens in New York, it’s always people bumping into each other, which I thought was such a preposterous thing with a city with that many people. And we went back and forth with that, and not even ten seconds later, we turn the corner, and I see this woman, and she was like, “Erin?” And Brodeur’s like, “You know

Photo credit: Shervin Lainez

her?” What are the odds?

JB: Yeah, it happens all the time. It’s pretty wild. I mean, I know a lot of people in the city at this point, so the odds are a little higher. But, for you to have run into somebody like that, right after that conversation was pretty remarkable.

EH: It was very remarkable. That’s one of my favorite stories. But John, I know you initially as a musician; I knew that you were a guitar player and a singer. And then I saw you playing drums one day, and I was like, “What the…” I always, you know, just instantly hate people like you for being able to dominate more than one instrument.

JB: A little strong, but…

EH: Okay, well, it’s all relative.

JB: Capable.

EH: You’re more than capable... So, you moved to New York, was it, to pursue music?

JB: Well, I mean, that’s certainly part of it. I mean, I moved because I got married. That was the original thing.

EH: Yeah, well at least that marriage got you to a place like New York and not the other way around, you know?

JB: Right. You know, it was like, do I move there or do you move here? I think we know what the answer is. But yeah, I moved there because I was, you know, trying to make a go at the scene and, you know, still trying, I think.

EH: I think you’re doing all right now. You have made a bit of a move into acting again?

JB: A little strong. But, yeah, I’ve done a lot of extra work. Background acting, as we like to call it. We’re

background professionals, artists, you know. It’s a big part of it, but yeah, it’s a good union job. You know, it can’t be beat. There’s always work to do. There’s a lot of things shooting in New York City, so that’s fun.

EH: Yeah. Well, I think with creatives, especially musicians, we’re constantly in positions where we’re having to find other supplemental sources of income. And so I have definitely dipped my toe into the acting pool. And for those of you that are just listening and not watching, I use tremendous air quotes around that because I’m -

JB: Surprised they’re not audible. You’re doing them pretty hard.

EH: I am doing them very hard. Just to quote my husband, when he saw one of my first commercials, he watched it to the end and did not face me. I said, “What do you think?” And he

said, “I think you’re a very good singer.”

JB: Oh, wow. Does he also do comedy or -

EH: He’s one of the funniest people I know. But he was absolutely right. I am not an actor. I have no business doing it. But, you know, sign me up if you’re going to give me $600 to stand by a fence all day. Yeah, I’m gonna take that.

JB: That’s good. Yeah, that’s good.

EH: So can you get me on Law and Order: SVU ?

JB: It ain’t that hard.

EH: That’s what I hear.

JB: Come on down.

To hear the entire interview, visit The Mistress of None at themetroland.com/podcasts!

Photo credit: David Doobinin

| preview

thus love with special guests laveda & closebye by Dana Brady

Vermont natives Thus Love will return to Troy this February to complete the last leg of their U.S. tour with support from New York-based bands Laveda and Closebye. Their latest album, All Pleasure, is out now on the independent record label Captured Tracks – you may recognize “Birthday Song” in heavy rotation at WEQX. I spoke with drummer Lu Racine and bassist Ally Juleen ahead of their appearance at No Fun on the 19th about what they’re listening to, creating work with those closest to you, and what’s next for them as a group.

Dana Brady: Thank you for taking the time to speak with me! You played No Fun back in March of last year and I’m so glad you decided to make it another stop on this tour. Troy and Albany are not necessarily on every band’s radar compared to places like Brooklyn, for example.

Ally Juleen: It’s nice that we’re close because we’re just in Southern Vermont. It feels kind of serendipitous that we get to end our biggest tour to date at No Fun.

Lu Racine: Yeah, honestly how I feel about Troy is kind of how I feel about playing shows in Brattleboro. I feel super connected to small towns like that.

DB: Let’s get into your latest album, All Pleasure! I was really struck by how much range you were able to cover within that one album and still have it sound so uniquely like you. For instance, your song “Get Stable” is very swaggery and has a lot of attitude, but “Face to Face” is almost like a ballad; that’s not so easy to do and you did it!

LR: Yeah, thank you, that’s something we’re all really proud of. I feel like this record really pushed us and I’m excited to explore more as we continue to write together.

AJ: [All Pleasure] feels like a stepping stone; we’re really grateful for how people have been receiving it. It was an amalgamation of all these really awesome songs that we loved and then it was time to release it to the world.

DB: What are some of your musical influ-

ences? Was there one particular creative influence for this album?

LR: I think we were all entering our pop-girly era. Echo [Mars, vocalist] and I read Britney Spears’ book, which was cool.

AJ: We all listen to so much music. We were screenprinting our merch the other day and were listening to Machinedrum’s Boiler Room session. Miles Davis, Beyonce, Thee Oh Sees… I think there was a vibe of joy and yacht pop girly mentality.

DB: I’m really happy that you kept in a lot of the post-punk elements from your last album, Memorial. You haven’t always been a four-piece though, right?

LR: Yeah, it was me, Echo, and Nathaniel [van Osdol, former bassist] for a long time. It’s been Echo and I for almost seven years now. We’ve had a bunch of different line-up changes. Me, Echo, and Nathaniel recorded our first record. Even then, it was a reflection of what we were listening to at that time. It’s funny, we were listening to Gary Numan and Iceage and the Pixies and like, Justin Bieber.

DB: How do you think it’s changed the way you’ve made music now that, Ally, you’ve joined the band?

LR: Echo and I have a very DIY, scrappy, punk mindset. We didn’t go to school for any of this so we have a different way of doing things. Then with Ally and Shane [Blank, guitar/ synth] coming into our lives, they’ve gone to school for a lot of this stuff, so just having that vocabulary puts things into a different perspective for me personally. We’ll be doing something at practice and they’ll name what that thing is. It gives context to what is happening and it’s really helpful for me.

AJ: It feels like we’re all growing as professional musicians. Even though Shane and I went to music school, meeting Lu and Echo who are some of the most talented and inspiring folks that we’ve been able to make music with, I feel like we’re all coming together and vibing really hard. It feels like we’re all hanging with our besties all the time but we’re also

Photo credit: Shervin Lainez / Courtesy

making music. It’s very pleasure-based, which is really cool.

DB: Do you do any art outside of making music? I saw somewhere that Echo is a visual artist as well.

LR: My mom is a painter; she’s been painting my whole life. She makes dope-ass paintings so I feel like I’ve been around that pretty much my whole life. But yes, Echo is a true artist in every sense of the word.

AJ: I don’t think I realized until they showed me some of their sketchbooks and such, it’s unbelievable. None of their stuff is really online.

Dana: How have things changed since the last time you were in Troy? I know you were

on a tour. How was it?

LR: Yeah, it’s been almost a year since we’ve been there, so I feel like a lot has changed. The record’s out and we just have more experience playing together and more time meshing together. That’s been an incredibly beautiful thing. We did a tour over the summer, some big festivals, so I feel like that was a good chunk of experience.

AJ: And that was in the UK so we got to put some miles on and stretch our legs far from home, so it definitely feels like we’re leveling up. Also, the first chunk of this tour we’re opening for The Vaccines and probably some of the biggest rooms we’ve ever played in like Brooklyn Steel and The Fillmore in San Francisco…

LR: The Wiltern, the BIC, all of these legendary places.

AJ: …and then we’re ending at No Fun in Troy!

DB: That’s fantastic. I can’t thank you enough for taking the time to speak with me.

AJ: Thanks for taking the time to hang out with us and write about our music!

All Pleasure is out now on all major streaming services. Tickets to see Thus Love in Troy on 02/19 are available now via www.nofuntroy.com

Photo credit: Shervin Lainez / Courtesy

| preview

girl love to record a live album for LUNA by Rory Graham

The LUNA Series continues this February 10th with none other than Girl Love, also known as Laura Beth Johnson, taking the Mount Ida Preservation Hall “stage”. Beginning in 2023, the LUNA Series’ website states that the project is about “healing and releasing the energies of the full moon” via live music. For Girl Love, who describes her work as “folkish music affirming queer holiness,” playing in a reclaimed church space adds another layer of meaning to the night.

In describing the set up, Johnson explains, “There’s no PA system. There are no mics; you just sit or stand on the steps leading up to the altar and you sing. There are candles all around, so that’s sort of the lighting. It’s a very intimate evening.”

After hearing the space, it became clear that her night would become even more. “I knew that I wanted to do a recording there. It’s a goal of mine this year to release music that sounds more like my live show, so I thought a live album recording would be perfect for that space.”

The night will feature a couple songs off her first record, The Sorrow State, alongside a wealth of new music. Within those new tracks, there is one she’s particularly excited about. Johnson says this song (“Stonewall”), “is a protest song about what’s happening right now in this country concerning trans rights. I feel very strongly that trans folk deserve the rights that everybody has, that they should be called by their name, by their pronouns, and that they should be able to move about the world the way that everyone else does: with the correct gender marker, using the correct restroom, all these things that we take for granted as cis folk.”

With the series focusing on energy and healing, songs like ‘Stonewall’ are bound to be at their

most impactful and emotional in that intimate space. And of course, adding to the healing is the essence of reclaiming a space in which many queer folks have found themselves on the outside.

“It just feels very fitting that it’s taking place in a reclaimed religious space, because sometimes I feel like I’ve kind of reclaimed religious spaces for myself,” Johnson admits. In her music, she “brings religious imagery and spiritual vocabulary to the topic of queerness,” inspired by her evangelical upbringing.

Asked where her mission to affirm queer holiness comes from,

Johnson replies in candor. “I think it comes from the belief that queer people belong everywhere, including in religious spaces. That’s just something that I believe personally, and there’s definitely a legitimate exodus of queer folks from the church just because they can also be spaces of harm. But those stories from the bible,the words of Christ and the religious imagery and language is part of my heritage. So I just feel like it’s mine to meld,” she concludes.

For a series that has proven its worth time and time again, this edition is sure to be all the more powerful with the meaning that Girl Love is bringing to the venue. Whether you’re attending to celebrate the month of love, the full moon, or just some great live music, there’s no better way to spend your Monday night.

For tickets and more information on the LUNA Series, curated by Natalie Seagriff, visit www.lunaseries518.com.

Photo credit: Larry Felton

| preview

once on this island by Metroland Staff

It can often feel difficult for parents to find kidappropriate outings, especially in the winter when it’s necessary for the entertainment to be indoors. That’s also arguably the most essential time to find activities the whole family can enjoy, so as not to fall victim to cold weather induced cabin fever, and kids losing their damn minds.

Thankfully, the Black Theatre Troupe of Upstate NY has this all covered with the first musical production of their 2024-2025 season. Once On This Island is a Caribbean retelling of The Little Mermaid set in a fictionalized version of Haiti.

Directed and choreographed by Hettie Barnhill with musical direction by Emily Rose Rivera, Once On This Island is a one-act, coming-of-age based musical tale that re-imagines the story we all know and love around our protagonist, Ti Moune. Moune is a peasant girl who rescues a wealthy boy named Daniel from the other side of the island. They fall in love (naturally), but of course there’s an Ursula-sized snag: the pompous gods who preside over the island make a bet with one another over which is stronger, love or death–the stakes being Ti Moune’s life. The show is exceedingly funny and touching, the music is passionate and moving, and the characters are especially memorable.

As for the cast, Once On This Island features 24 local BIPOC actors. As is usual with BTTUNY’s productions, the cast contains a combination of both seasoned and newer performers, including five local children. With a production team of over 15 people supporting the actors, this is a true community effort, resulting in a very professional product.

The Black Theatre Troupe of Upstate NY’s goal is to foster cross-cultural understanding and to create more diversity on stage and in theatre by highlighting, producing and promoting performance and theatre arts by marginalized artists in upstate New York. They are truly expanding the cultural landscape here, creating a place for artists of color to grow and thrive.

This award-winning production is a must-see for our community, and thankfully there are a number of opportunities to get out of the house and witness it this month.

Once On This Island is presented through a special arrangement with Music Theatre International (MTI). Performances will be at the MainStage at Capital Repertory Theatre, 251 N. Pearl Street in Albany from February 6-16, 2025, 7:30 p.m. Thursday and Friday and 4 p.m. Saturday and Sunday. To purchase tickets, visit attherep.org or blacktheatretroupeofupstateny.org. Groups of ten or more can get tickets by calling (518) 382-3884 x 139.

| savage love

trump and dump

I am a 30year-old cishet woman from the Pacific Northwest. I am reaching out today about faking orgasms. I have been dating this guy for about six months and he is perfect. I love everything about him and part of that is I feel like we have great sex. The caveat is that I have never had an orgasm during sex with him and consistently fake them. I have always had a very challenging time achieving orgasm with partners, whether male or female. As it turns out, thing he loves most about sex is when his partner starts getting loud right before or during her orgasm. He doesn’t just love it: it turns out that it is almost always the thing that makes him come. So, I started faking orgasms when we first started dating and hoped that things would change as we got to know each other’s bodies. Now, six months later, I’m still not having orgasms — which again, is not unusual for me during partnered sex — but I want him to enjoy sex with me, so I’ve kept faking it. Even the few times where I haven’t faked it, he can still cum, but he really ruminates on it. It’s very clear that he doesn’t have as much fun, which, for me, spoils the whole experience. I want to be clear that having an orgasm isn’t the goal for myself during sex. What I love about sex is the physical intimacy, feeling close to my partner, and providing pleasure to someone I deeply care about. That’s why I feel like I still intensely enjoy sex with him, despite the faking. However, as our relationship progresses, the lie is weighing on me. I can see myself marrying this guy, but I just can’t get past the question: Am I going to be

faking orgasms for forty years? That seems like a horrid betrayal of him. What do I do? How do I unravel this?

Future About Keeping Everything Real

There are two things I want you to do, FAKER: First, go see Babygirl — alone and then watch some gay porn with your boyfriend.

Zooming out for a second…

I’ve advised partnered women who wanted to stop faking orgasms to start faking something else: getting close. After a few months of getting fake close instead of fake there, a woman can say this to her boyfriend or husband: “Something changed with my body when I hit [insert current age] and it’s made my orgasms harder to achieve — it even happens when I try on my own — so it looks like we’re going to have to experiment with some new things to get me there!”

That’s a lie — obviously — but it’s a defensible one.

Now, let the record show that I believe “I’ve been faking it” is something a man should be able to hear without falling apart. I also believe straight men should be able to wrap their heads around why women might fake an orgasm with new partners and then feel obligated to keep faking orgasms. (I also think men should admit that we would fake orgasms if we could.) So, while lies are generally bad, I would argue that there’s a difference between a wholly self-serving lie meant to deceive and a partly self-serving lie meant to spare. Some men do feel humiliated some men feel betrayed — when

they’re told (or they discover) that their partners have been faking orgasms, and if a small lie (“my orgasms have gotten more elusive”) helps a woman back a bigger lie (months or years of faked orgasms) without hurting her partner’s feelings, I will allow it.

But your issue is a little different, FAKER, since your partner sulks when you don’t fake an orgasm — and thinking you’re there helps him get there — which puts you under additional pressure to keep faking it.

Reading your letter made me think of Romy, the powerful CEO played by Nicole Kidman in Babygirl. (Anyone who thinks sharing a couple of details from the first two minutes of a movie that’s been out for months — and has been widely discussed everywhere constitutes a “spoiler” should skip the rest of this response.) The film opens on Romy (Kidman) having sex with her husband Jacob (Antonio Banderas). It looks like Romy is having an orgasm — it looks Romy and Jacob are coming at the same time (that happens a lot in movies) — but then we see Romy slip down the hall and into her home office, where she gets herself off while watching porn. The real orgasm we see Romy have by herself (primal, grunting, animalistic) looks and sounds nothing like the fake orgasm we just watched Romy perform for her husband. Later in the film, Jacob is devastated to learn Romy has been faking orgasms the entire time they’ve been together; that revelation does almost as much damage to their marriage as the affair with her hot male intern.

I think seeing Babygirl — alone — will inspire you to level with your boyfriend now, FAKER, instead of waiting until

by Dan Savage

you’ve been together (and faking it) for twenty years.

As for your boyfriend’s issue — he has a hard time coming unless he thinks you’re coming and sulks if you don’t you need to google “copulatory vocalizations,” share a few articles with your boyfriend, and then sit down to watch some gay porn together.

Copulatory vocalizations are the noises female primates tend to make during sex; sometimes female primates make these sounds — sometimes they howl — because they’re climaxing, sometimes female primates make these sounds because they’re trying to attract other mates, and sometimes female primates make these sounds because hearing them pushes male primates over the edge. (Sometimes it’s all of the above.)

What your boyfriend needs — what’s already working for him — is not your orgasms, FAKER, it’s your copulatory vocalizations. And this is where gay porn comes in.

Now, I’ve encouraged opposite-sex couples who wanna have simultaneous orgasms during PIV to watch gay porn and pay close attention to what the bottoms are doing in scenes where the top and bottom come at the same time: the bottoms are stroking themselves and communicating — verbally and non-verbally — with their tops as their orgasms approach. So, straight men who want their girlfriends or wives to come at the same time they do during PIV need to stimulate their partners’ clits and/or encourage their partners to stimulate their own clits during PIV. (And any straight man who won’t stimulate his partner’s clit

and/or discourages his partner from stimulating her own clit isn’t interested in his partner coming.)

But what I want you and your partner to watch for are scenes where the top comes but the bottom doesn’t. If watching gay PIB turns you off — there are a lot of closeups and anal isn’t for everybody you can close your eyes and listen, FAKER, because it’s actually what you’re gonna hear that’s important: bottoms getting loud and staying loud even when they don’t come. There’s nothing the least bit insincere about their copulatory vocalizations, i.e. the sounds gay bottoms make when they’re getting fucked. And you can see (if you open your eyes) that the sounds gay bottoms make when they’re getting fucked help push the men fucking them over the edge. And they’re not faking it, FAKER, they’re loving it. (In case you live in a red state where Republicans have made online porn harder to access, I transcribed a short gay porn clip for you: Top: “Your ass feels so good!” Bottom: “Your cock feels so good! Fuck me, daddy! Oh, my God! Yes! YES! Fuuuuuuuck! Fuck me! Come in me, daddy! UH! UH! UHHHH! FUCK, YEAH! YES! YES!”)

Like the power bottoms in gay porn, FAKER, you should be able moan and groan and shout encouragement to your boyfriend without having to pretend you’re coming when you’re not. The only way to avoid having to fake orgasms for the next forty years is by getting your boyfriend to understand that your copulatory vocalizations — even in the absence of an orgasm — are signals of your sexual pleasure and (sigh) his sexual prowess. If straight men can wrap their heads around why women sometimes fake orgasms (and they can wrap their heads around it), your boyfriend should be able to wrap his head around the fact that you’re already giving him everything he needs in the runup to his orgasm; even if he can’t make you come during PIV, he can make you howl.

And that — your copulatory vocalizations — aren’t nothing, FAKER, and it sure beats being lied to and/or

having to lie every time you have sex. P.S. I shouldn’t say men can’t fake orgasms, as some men have faked orgasms. But we’re less likely to, less likely to need to, and less likely to get away with it when we try (an empty condom/hole is a bit of a tell.)

I’m a middle-aged gay man who has been out twenty years. I have an awesome boyfriend with whom I have an open relationship. Supportive parents and family. Now, a couple months ago, a gay mate of mine messages me on Grindr asking if I’m in town because he saw seen [sic] my profile online. I say no because I’m about 1500 miles away but then my friend sends me another message telling me someone is apparently using my pic on Grindr to catfish and he sends me a screen shot of the Grindr account. It’s not a picture of me. It’s a picture of my twin brother, who is married to woman and has three kids. He’s always been incredibly supportive, just like you imagine a twin would be, but we’ve never talked about him being bi or gay, so this was a bit of a surprise for me, even if it’s an easy leap based on how supportive he’s been of me.

So, given that he hasn’t said anything to me, I’m wondering what to do. Is he cheating on his wife? Is he gay? Is his marriage a sham? Is he bi and only out to his wife and has her consent to meet up with guys? Do I ask him what’s going on? If he’s not ready to tell me — and we share a lot — then how do I support him? He clearly knows I’m fine with his sexuality but knowing and not saying anything is proving hard since I can’t unknow it! What should I do here?

Outing Unwitting Twin Sibling

I’m gonna take your questions — you packed a lot of them into that last paragraph — one at a time:

1. Is your brother cheating on his wife? He could be!

2. Is your brother gay? He could be!

3. Is your brother’s marriage a sham? It could be!

4. Is your brother bi? He could be!

5. Does your brother have his wife’s consent to fuck around with other guys? He could!

6. Do you ask your brother what’s going on? You should!

If you and your brother were estranged, OUTS, or if your brother was a ranting, raving homophobe and you had cause to fear a violent reaction, I would advise you against asking the dread direct question. But seeing as you two have a good relationship, and seeing as we aren’t required to internalize or mirror other people’s shame about being gay (it’s a question, not an insult), I think you should tell your brother a friend spotted him on Grindr and ask him what’s up.

Zooming out for a second: Posting face pics on Grindr is a little like walking into a gay bar. Guys who are already in the bar are gonna think you’re gay when they see you walk in. And since we can’t know before walking in whether guys we know from school or work or the womb we once shared (!!!) are already in there, to walk into a gay bar is to out yourself. Same goes for posting face pics to Grindr: If someone you know from school or work or womb (!!!) sees your face pics on Grindr, he’s gonna think you’re gay or bi or one of those straight men into dick but not dudes.

The fact that you and your brother share the exact same DNA — and hence the exact same face — gives you more grounds to ask the dread direct question. I’m guessing it’s not a problem when your face appears on Grindr, as you’re in an open relationship and presumably allowed to post face (and other) pics to hookup apps, but the gay world is small. It was inevitable that someone you knew would see your brother’s photos on Grindr and assume they

were yours and it would get back to you. If your brother didn’t know that before he uploaded photos of the face you share to Grindr, he’s about to find out.

P.S. This could still be a catfishing situation — someone could’ve swiped photos of your brother off his social media accounts — but Occam’s razor slices toward your brother getting on Grindr for the same reason the friend who spotted him was on Grindr: for the dick. It’s also possible your brother came out to his wife as bisexual after they married — it’s possible he didn’t realize he was bi until after they married — and his wife agreed to him hooking up with other guys on the condition that no one else (you included) would know their marriage wasn’t monogamous. Or your brother and his wife could be in one of those “lavender marriages” that Gen Z — frustrated with modern dating and modern housing prices — are bringing back into style. Anything is possible.

P.P.S. There are straight men on Grindr looking for trans women who haven’t had bottom surgery; those guys are into dick but not dude. There are a smaller number of straight men on Grindr looking for trans men who haven’t had bottom surgery; those guys are into pussy and willing to overlook dude. So, not all guys on Grindr are gay or bisexual. Straight men on Grindr can be problematic it’s not okay to fetishize the bodies of trans women or mentally disassemble the bodies of trans men — but they’re still straight. Or so I’m told.

Got problems? Yes, you do! Email your question for the column to mailbox@savage.love!

Or record your question for the Savage Lovecast at savage.love/ askdan!

Podcasts, columns and more at Savage.Love

| theater

we saw 290 shows in 2024!!

I I carry great pride for my acting and directing ability but nothing compares with my abilities as an audience member. I am world class. I have found the perfect partner, Chris Foster, who is as excited or more so at seeing new plays with new actors in new venues every night of the week, two or three times a day if we can manage it. We were privileged and pleased to attend 290 theatre productions in 2024 bringing our 10 year total to 2,462.

The Capital Region offers countless choices all year long but to get to these numbers we thankfully have to travel farther afield and Albany is centrally located for trips to the Berkshires, Vermont, West Springfield, Hartford, New Haven, Boston and, regardless of congestion pricing, New York City (our favorite day trip). We also spent a couple of weeks in London seeing 27 shows for Christmas.

We will most likely choose new, unknown plays and if a play advertises it is close to sold out, we figure they don’t need our help and look for venues that are smaller and less attended. We’ve never entered late. We have never left a show at intermission. Only two shows this year have we bought tickets for and then ended up not attending. Our phones have never gone off (ok, once! but it was a neighborhood meeting, NOT a play). We always post a check-in at the theatre we’re attending to boost their profile. We love standing ovations and look forward to congratulating the next performance with one.

Some have asked us, why would you want to see so much? Don’t you forget even the most impactful moments? Doesn’t it all blur together? The answer is no. We have vivid, indelible memories of dozens of shows last year from the arena roller-skating of Starlight Express to the smallest gestures in Jay Sefton’s one-man Unreconciled at Chester Theatre company where he played himself, his parents, boyhood friends and the abusive priest who cast him as Jesus in the church’s “Passion Play.”

by Patrick White

What an awesome year of playgoing! We went to 41 new venues, saw incredible theatre at home and abroad and even created some. It’s not quite our record year of 317 in 2019 or even our pace of 310 last year but we were very busy in rehearsal halls, on stage and in Starbucks holding Capital Region Festival of Theatre board meetings.

We saw five shows with a circus theme or setting, four adaptations of Twelfth Night, three Peter Pans, and we saw a pair of productions of the following shows: Spring Awakening, The Glass Menagerie, Legally Blonde, Guys &

Dolls, A Midsummer Night’s Dream, Native Gardens and Gatsby.”

If there’s a trend in the new plays we’re seeing, it’s in plays written during the lockdown or that are reflecting on the times we are living in; it is that many of the plays are mournful and frequently grapple with end of life issues. Indeed, two musicals this Spring actually feature a corpse in the cast: Operation Mincemeat and Dead Outlaw. If the new plays don’t have a death in the story, they are very much about what are we doing with this very limited time on

earth and how we can make our actions more intentional and purposeful. I was thrilled to act in two that I couldn’t resist auditioning for (The Minutes at Albany Civic Theater and A Moon for the Misbegotten at Schenectady Civic Players) and directed one (The Squirrels for Harbinger at Sand Lake Center for the Arts). Chris acted and directed in one each (The Minutes as Mayor Superba and Maggie May at Albany Civic Theater) and we very successfully produced the two other Harbinger titles In the Blood – the last show at St. Rose Theatre – and Into the Breeches.

AND (MOST IMPORTANTLY!), we created the Capital Region Festival of Theatre which had many hours of planning, especially for its amazingly successful Cast Party benefit fundraiser that had 400 attendees, ten acts and raised $15,000! Thank you Owen Smith & the amazing Playhouse Stage Company team!!! We have chosen to attend, support and promote the over 100 theatres in the Capital Region with CRFT. Look out for our inaugural festival this June!!!

By the Numbers:

290 Shows

135 Capital Region

• 80 Musicals

• 41 New Venues

• 49 NYC

• 27 London

How lucky are we to live and work here?!?

We couldn’t do it anywhere else! The Capital Region is a GREAT place to love theatre your whole life long!

| comedy

untitled document

In the late hours

January

8th, 2025 local alleged comedy writer Ryan Shanahan scrolled countless TikTok videos and Instagram posts in a bizarre attempt to cure his writer’s block. Exhausted from irresponsible holiday grazing and a post-vacation nap deficit, the two-time Metroland contributor found focus on his latest piece in short supply.

From the window of his Troy apartment, dozens gathered in vigil and support hoping their presence would inspire Mr. Shanahan to follow through on the one thing he had to do. Some came prepared with handwritten banners that included premises such as “Election Fraud, But The Election Is For Nicest Hat!” and “Bean Is A Funny Word. Maybe That Could Be Something!”

“He’s tried everything!”, cried one onlooker while a video featuring a duck in a little sweater played on loop.

Sources close to the writer claim that following a quick skim of a Wikipedia article on the subject of writer’s block, Shanahan did three to four minutes of a yoga of his own design before returning to his phone to find the right music to induce a “flow state”. The aforementioned endeavor lasted fifteen minutes, a recommended duration for mindfulness meditation practice, with periodic breaks to log into a chess app, a game he is not proficient at.

Days turned to a week, and by the end of that week some more days were added on top of that, and by then it was January 15th. With February’s Metroland deadline approaching it seemed certain that his creative dry spell would never end. Staring blankly into the middle distance his fingers, in an instant, began typing. The remaining single dozen, weary from lack of sleep and nutrition leaped to their feet and crowded the first floor window, breathless with anticipation. Could this be the sign they had hoped for?

“I hadn’t eaten or gone to the bathroom in days.” said local horse pediatrician Dr. Hotdog. “All of a sudden I heard this clicking sound. I thought ‘nuh uh’ but sure enough, it was ‘yeah huh!’ He was writing! I tried to call my wife, but she was a figment of my imagination so she just floated there without saying anything. I have a lot of trauma.”

Alejandra Vidal Guerrero traveled to Troy from Barcelona to be in attendance at the Shanahan residence. “My name is Alejandra Vidal Guerrero and

I am 28 years old.” said Ms. Guerrero. “I am from Barcelona. I like to drink juice. My favorite color is red. Merry Christmas! Where is the library?”

After several hours of high activity Ryan stopped typing. From outside he could hear for the first time since he began, a growing murmur. The crowd pressed closer to the window. He picked up his laptop and stood and began walking to the window. Their excitement now had reached a fever pitch. There were hollers. Many cheered. Some stood on their children’s shoulders for a better view. Now was the moment they had waited, it felt, an eternity for. Slowly, he turned the laptop to face them.

by Ryan Shanahan

“It’s called RollerCoaster Tycoon 2!” shouted Ryan. “See here? They have a thing where you can design your own ride!” A mile-long celtic knot of digital steel glowed on the screen before them. “I called it ‘The Hell Ride’! With an excitement rating of 1.2 and a nausea rating of 19 it’s the most unpleasant roller coaster in the whole game!” His explanation was then cut short by the sound of breaking glass.

If you have any information on the whereabouts of Ryan Shanahan, please keep it to yourself.

Comic by: Danatoon

visitthewebsite formorearticles

Comic by: Jaye McBride

Art by: Tyler Gandolfo

| the metro poem

shannon lynette by R.M. Engelhardt

Recently I had the opportunity to interview a local, well known indie poet who I’ve known for years. Shannon Lynette has been a writer and poet publishing her work these days mostly on social media but who has been a great influence on many other poets trying to get their work out there to the masses. Poetry these days isn’t just about live readings but also promoting your work through the internet and reaching out to others everywhere.

R.M. Englehardt: First of all , tell us why do you write poetry?

Shannon Lynette: I started writing poetry very young. I remember at about age 10 or 11, I would write in journals and these words and phrases would just come to me. I saw and felt things differently than anyone else and it had become a coping mechanism throughout the rest of my adolescent and teenage years. Now as an adult, it’s not only a coping mechanism, it’s just

who I am. I can’t imagine who I would be if I didn’t write poetry.

RE: I’ve heard you’ve started a new small indie poetry press. Can you tell us a little bit more about that and your new book of poetry?

SL: I started my small poetry press back in 2013 with the idea of helping

other poets get their writing out in the world. I started not knowing what to do or how to do it and with the knowledge I picked up along the way; that’s how Lady Chaos Press was born. After publishing a few anthologies, I had to, at the time, be considerate of things that were happening in my home life. Because of that, LCP went on hiatus for a long time. This past fall, I decided it was time to get back doing what I love and that’s helping other poets. So, Lady Chaos Press has been officially relaunched and with that, we have a new anthology that was just released in December titled Other Side of August, which is a collection of poems of various subjects from some amazing poets. You can find Other Side of August and all our anthologies on Amazon.

RE: What or who inspired you to become a poet? And do you think we need more female poets in these times?

SL: I am heavily inspired by anyone I come across. I observe and listen, and take the time to really absorb someone’s emotions and energy. Each one of us has a story to tell and a lot of my writing comes from looking through someone else’s eyes. I also have some favorite poets that influence my writing. Sylvia Plath, Anne Sexton, Nicole Blackman, and Daphne Gottlieb to name a few. Female poets really resonate with me. I feel like we can relate to each other with our journeys through our struggles and healing process. We certainly can use more female influence in the poetry world.

Our voices are so important to inspire others to not be afraid of our thoughts and feelings, and it’s ok to be who you are.

RE: Do you think poetry can make a difference in people’s lives? Create positive change?

SL: Whether you’re a poet or you just like reading poetry, it’s a powerful outlet for your mind. We all struggle in one way or another and poetry is a door that allows you to open up and relate to something without judgement. It’s a therapeutic tool that helps a lot of people get through their pain, grief, or even trauma. It can most definitely make a positive difference in someone’s life, I know it has for me.

RE: Do you have any projects in the works? Any readings or poetry events coming up in the capital district?

SL: I do have a few projects I’m working on. I’m currently putting together a book of love poems that I challenged myself to write since it’s not my general style. I hope to have it published sometime this year. I’m also working on a new collection of poems with a goal of being released next year. I will also have a couple of things going on related to Lady Chaos Press, another anthology and a couple of contests and events. As of right now, I have no readings scheduled as my two day jobs have made my time very limited. But I do hope I will be able to get some time freed up in the future to attend some local poetry events. If anyone is looking to be inspired, I

highly recommend going to a poetry reading. There are some very talented poets in our community for you to discover.

Shannon Lynette is a poetess who resides in Albany, New York. Her poetry is edgy, razor sharp, and sprinkled with some feminine flair. Shannon is the author of the titles A Place with No Name (2003), Lady on a Wire (2012), Awkward Years (2022), A Place of No Name, Re/Versed (2023), and I’m Not Dead (2024). Ms. Lynette is also the owner/founder of Lady Chaos Press. Her latest book can be found at https://www.amazon.com/author/

| crossword 518 FUN

2 An amateur metal worker in Cohoes didn't see the "don't try this at home" warning on this television series when he caused a fire that raged across three city blocks 15 This governor watched a Bills game at McGeary's

9 According to the Tricentennial Anthem, Albany was older than _______

11 U.S President that attended Union College

The largest community college in Upstate New York

Another Albany nickname due to its historical importance during the American Civil War.

23 This was the most requested feature NOT to be brought back by Metroland (you're welcome!)

25 One of the four counties that technically make up "The Capital District"

Just held this past weekend to raise money for the arts! 14 Albany's Tricentennial Anthem performed by

ACROSS DOWN

1 SPARTACUS! (Born in Amsterdam)

3 One of the four counties that technically make up "The Capital District"

4 It's an Albany expression.

5 An American annual folk music and dance festival held at Altamont Fairgrounds

6 A more current Albany nickname due to places like the Polytechnic Institute ('Silicone Valley' was taken)

7 This fictional comic book character from "Spider-Man" is from Schenectady

8 Played the Knickerbocker Arena's inaugural concert on January 23, 1990

10 Jazz Fest line up this year was just announced and includes this fantastic group

12 You're reminded of this Albany nickname when you bump into your ex at a bar

13 Body of water in a popular Stewart's flavor

16 This NYS ____________ Department Building in Albany has 36 columns, making it the longest colonnade in the country

17 Born in Schenectady, this American businessman, attorney, lobbyist, political commentator, and author founded the "Forward Party" in 2021

20 One of the four counties that technically make up "The Capital District"

21 One of the four counties that technically make up "The Capital District"

22 This instrument can be heard from Guilderland at the Capital District Scottish Games (which is good because you're probably backed up in traffic! LEAVE EARLIER NEXT TIME!)

24 Our editor in chief once appeared on this St. Rose alumni's television program and never shuts the F up about it.

It's gonna be HUUUUGE 27 This was the most requested feature to be brought back by Metroland (you're welcome!)

| horoscope

by Isavella Vassilakis

Isavella Vassilakis is an astrologer based in the Capital District, the founder of First House Rising Astrology, and co-creator of Planetarium, a monthly astrology themed dance party. You can find Izzy on Instagram at @firsthouserisingastrology.

PISCES

Dearest Pisces, it may still be Aquarius season, but YOU are the main character this month! Why is that? Well, because the majority of cosmic activity falls in Pisces, meaning there will be a lot of action in your life. You’ve been hosting Saturn, a planet that teaches via rules and responsibility, in your sign for a long while and, while Venus has been doing her best to inject some fun and pleasure into your life, The Grimness™ persists. The next 18 months will be a journey of exploring who you are right now, and the beginning of February has Venus making two fated connections before moving on from your sign. On the 1st , the planet of love and unity conjoins Neptune, a hazy influence that will ramp up your creativity and empathy while making you more susceptible to illusion, deception, and escapism. Neptune is challenging to predict (how do you predict confusion?!), and while I encourage you to lean into the creative, romantic muse of it all, staying grounded in reality is extra important this month. Vet any new love interests or opportunities — heck, vet everything February throws at you — and watch your escapist tendencies if they begin to feel problematic. On the 3 rd , Venus faces the North Node, a vortex of karmic energy with the power to influence your life path. You may experience fated encounters at this time, or even just some quiet (yet just as powerful) internal shifts surrounding your

approach to relationships. After this one-two punch, Venus moves into Aries and your 2nd house of finances, ushering in one of the biggest themes of 2025. It’s possible you’ll see some extra cash flow, but the real story lies in the upcoming Venus retrograde in this part of your chart, so pay attention to any trends or patterns as they could reveal what you’ll be asked to reevaluate in a few months! February 4th also marks the end of Jupiter’s own retrograde, important for you as that’s your ruling planet. The shift will be subtle, but your likelyflagging hope and faith will slowly begin to restore themselves.

The 9th brings a conjunction between Mercury and the Sun in your 12 th house of isolation and mental health. If you’ve been wallowing in fear and indulging in self-destructive behavior, this day could bring some clarity to light your path. Then, on the 12th , the annual Leo full Moon lights you your 6th house of work and physical health, instigating a moment of peak activity and illumination in those life areas.

The rest of the month returns the focus back to Pisces, with both Mercury and the Sun moving into your sign, completing the barrage of planets you’re now hosting! On the 23rd , it’s Neptune’s turn to face the North Node. If you’re looking for clarity re: your identity and life path, this is certainly not a clarifying moment, but help is on the way on the 25th as Mercury joins forces with Saturn to help cut through the fog

and encourage logical, grounded, practical thinking. All of this eventually leads you to the Pisces New Moon on the 28th , so use all you’ve learned this month to start a new cycle of you. Oh, one more thing: on the 24th , Mars, which has been burning through your 5th house of dating and pleasure, finally stations direct, meaning your dating life should also. Happy February, Pisces!

TEASER HOROSCOPES

ARIES

Healing through isolation is possible, plus one of the biggest transits of 2025 happens in your sign. It may be time for an identity upgrade!

TAURUS

Your community is the focus, and creativity and unity abound. Just make sure to vet any new friends or business associates.

GEMINI

The cosmos seems to want to clarify and confuse re: your career path. Advice within.

CANCER

Journeys, both spiritual and mundane, are on your mind, and reevaluating your career path is on the horizon.

LEO

February brings confusion surrounding shared resources, relationship insight, and a Full Moon in your sign!

VIRGO

So much action within your closest partnerships! Everything is fated and also confusing.

LIBRA

Work, health, and relationships are the February trifecta. How is your approach to dating affecting your long-term commitments?

SCORPIO

February is spicily creative, and you’ll be splitting your time between the bedroom and boardroom. Enjoy!

SAGITTARIUS

Home and family, creativity and pleasure — plus the slow return of faith and optimism.

CAPRICORN

Siblings and your neighborhood are major themes, but so is money. Plus, your relationships start to move forward.

AQUARIUS

Money matters, plus a lunar spotlight on relationships and some clarity re: your identity.

PISCES

You have a lot going on this month. Just read your full horoscope.

FOR MORE GO TO themetroland.com/horoscopes/

| night & day

|art

Albany Center Gallery

1/28/25 - 2/28/25

Light Within Layers

Albany Institute of History & Art

7/27/24 - 2/23/25

Enchanting Threads: The Art of Salley Mavor

1/31/25 - 2/28/25

Americans Who Tell the Truth

3/18/25 - 4/19/25

On the Road to Cragsmoor with Charles Courtney Curran

5/2/25 - 5/31/25

The Hudson River School: Landscape Paintings from the Albany Institute

Ongoing -

Ancient Egypt: Ongoing

Albany Library Pine Hills Branch

12/6/24 - 5/10/25

Repeat Play: The Art of Pattern (Art at APL in partnership with Opalka Gallery)

Opalka Gallery

12/14/24 - 1/11/25

Screenprint Biennial

3/7/25 - 3/2/25

Osi Audu: The Self in African Art

R Gallery at Arlene’s

10/4/24 - 8/30/25

Flat File Program at Arlene’s

1/27/25 - 4/4/25

Sound Waves

3/3/25 - 4/6/25

Forgone: Re-imagining the Figure

3/22/25 - 10/13/25

R Gallery at Arlene’s Creative February Show

4/14/25 - 5/9/25

R Gallery at Arlene’s Member Select Show

The Arts Center of the Capital Region

2/1/25 - 2/27/25

REALMS UNREAL: Artistic Experiments with Artificial Intelligence

3/3/25 - 4/6/25

Formative Expressions

4/4/25 - 4/25/25

Teaching Artist Showcase

The Blooming Artist Gallery

11/5/24 - 2/1/25

Holiday Salon

University Art Museum

1/24/25 - 3/1/25

Vito Acconci: Under-History Lessons

William K. Sanford Town Library

2/1/25 - 7/20/25

R Gallery at Arlene’s Fourth Annual Student Art Show

|theater

Caffé Lena

2/4/25

Playwright’s Jam

Charles Wood Theater

2/14/25 - 2/22/25

Rent

Cohoes Music Hall

1/31/25 - 2/2/25

A Few Good Men - presented by Creative License

2/7/25 - 2/9/25

A Few Good Men - presented by Creative License

2/21/25 - 3/9/25

Heathers The Musical

Empire Live

2/22/25

DYnasty Presents: Heavy Is The Crown

Proctors

1/29/25 - 1/30/25

The Cher Show

Sand Lake Center for the Arts

1/31/25 - 2/9/25

A Raisin in the Sun

Strand Theater

2/20/25

World Cinema Series - Le Samourai

The Glove Theater 2/2/25

Free Family Friendly Matinées Presents: Newsies: The Broadway Musical (PG)

2/9/25

Free Family Friendly Matinées Presents: Follow The Drinking Gourd: A Celebration Of The Underground Railroad

2/23/25 -

Free Family Friendly Matinées Presents: The Secret Garden (G)

The Rep

2/6/25 - 2/16/25 Once on This Island

2/8/25A Friend of a Friend: Tales of the Underground Railroad

Ophelia’s

2/14/25, 5:30 PM REGENERATING LIFE

Proctors

1/28/25, 7:00 PM

A MOTHER APART w/Live Score & Narration

1/30/25, 7:00 PM BARBARELLA (1968)

2/6/25, 7:00 PM

The Color Purple

2/11/25, 7:00 PM SOUNDTRACK TO A COUP D’ETAT (2024)

2/13/25, 7:00 PM

The Woman King

2/14/25, 2:00 PM

Oscar Nominated Shorts: ANIMATION

2/15/25, 2:30 PM

New York CAT Film Festival

2/15/25, 7:00 PM

Oscar Nominated Shorts: ANIMATION

2/19/25, 6:45 PM

Oscar Nominated Shorts: LIVE ACTION

2/22/25, 2:30 PM

New York DOG Film Festival

2/22/25, 4:00 PM

Oscar Nominated Shorts: LIVE ACTION

2/22/25, 7:00 PM

Oscar Nominated Shorts: DOCUMENTARY

2/25/25, 7:00 PM WE HAVE JUST BEGUN (2023)

2/26/25, 2:00 PM

Oscar Nominated Shorts: DOCUMENTARY

2/26/25, 7:00 PM

Love & Basketball

|poetry

Avalon Lounge

2/6/25, 7:00 PM

On The Fly Story Slam: Bad Dates

Bull and Bee Meadery

2/19/25, 7:30 PM

Poetry Open Mic for The Spoken Word

Cafe Euphoria

2/5/25, 6:30 PM

Open Mic & Poetry Slam

2/19/25, 6:30 PM

No Fun

1/28/25, 8:00 PM

VCR Vortex - VHS Night - Total Recall (1990) / Robocop (1987)

2/4/25, 8:00 PM

VCR Vortex - VHS Night - Romeo + Juliet (1996) / Sid and Nancy (1986)

2/18/25, 8:00 PM VCR Vortex - VHS NIGHT

2/25/25, 8:00 PM VCR Vortex - VHS NIGHT

Open Mic & Poetry Slam

Caffé Lena

2/5/25, 7:00 PM

Poetry Open Mic Featuring Adonis Richards, AKA Sincerely, Donnie

Collar City Mushrooms

2/9/25, 2:00 PM

Second Sunday Poetry and Prose Open Mic

Electric Grinch

2/11/25, 5:00 PM

Jay Street Poets

Inquiring Minds Bookstore

1/30/25, 6:30 PM

Open Mic Poetry Night

2/27/25, 6:30 PM

Open Mic Poetry Night

Schenectady Public Library

2/10/25, 6:30 PM Poets’ Circle Open Mic Event

2/17/25, 7:30 PM Poetry Night

3/23/25, 7:30 PM Poetry Night

4/26/25, 7:30 PM Poetry Night

Social Justice Center

2/13/25, 7:30 PM

December Third Thursday

2/20/25, 7:30 PM

Third Thursday Poetry Night Open Mic

3/13/25, 7:30 PM

Third Thursday Poetry Night Open Mic

4/10/25, 7:30 PM

Third Thursday Poetry Night Open Mic

|comedy

Comedy Works

2/1/25, 10:00 PM Open Mic

Lark Street Tavern

1/30/25, 7:00 PM Open Mic

2/6/25, 7:00 PM Open Mic

2/13/25, 7:00 PM Open Mic

2/15/25, 8:00 PM

Albany Comedy Presents My Funny Valentine Showcase

2/20/25, 7:00 PM Open Mic

2/23/25, 7:00 PM

Street Comedy Presents Anthony Devito

2/27/25, 7:00 PM Open Mic

Son of Egg

1/28/25, 8:30 PM Open Mic

2/4/25, 8:30 PM Open Mic

2/11/25, 8:30 PM Open Mic

2/18/25, 8:30 PM Open Mic

2/25/25, 8:30 PM Open Mic

Stacks (Troy) 1/29/25, 7:00 PM Open Mic

| night & day

|comedy (cont'd)

The Local 217

1/30/25, 9:00 PM

Open Mic

Wynantskill American Legion

1/31/25, 8:00 PM

Comedy and Dinner Show ft. Ray Harrington and Travis Stealey

|music

Arthur Zankel Music Center

2/9/2025, 4:00 PM

SURROUND: Niecy Blues

Avalon Lounge

2/1/2025, 9:00 PM

Primal Disco

2/2/2025, 7:30 PM

Upstate Composers Orchestra

2/5/2025, 6:30 PM

Open Mic Night w/ Ryder Cooley

2/5/2025, 7:00 PM

Upstairs Wednesdays: Larry Legend + David Lizmi

2/7/2025, 9:00 PM NIGHTWAVE w/ DJ Tryst

2/8/2025, 8:00 PM

Sam Cohen + Stuert Bogie / Ezra Feinberg / Nora Stanley

2/9/2025, 7:00 PM

Touriszt / Kanal Nula / Birthed / Spreaders

2/12/2025, 7:00 PM

Upstairs Wednesdays: Bram Kincheloe + Nico Soffiato

2/12/2025, 8:00 PM

Ronnie Stone / Die Sexual / SOPDET

2/14/2025, 7:00 PM

A Gothic Valentines Day Party w/ Dust Bowl Faeries & DJ Slinky Von Moss

2/15/2025, 8:00 PM Wrekmeister Harmonies / Mark Trecka / S3V37

2/16/2025, 8:00 PM

Lydia Lunch with Tim Dahl + Kevin Shea / Faccia Brutta

2/19/2025, 7:00 PM

Upstairs Wednesdays: Alex Topornycky

2/20/2025, 7:30 PM

Altadena Fundraiser w/ Florist/ Babehoven/ Ben Seretan/ Zno Scot/ Alex Patrick Dyck/ SVB (DJ)/ B. A Maile (Visuals)

2/21/2025, 8:00 PM

Bruiser and Bicycle / Russel the Leaf / Silver Tree

2/22/2025, 8:00 PM

Dromedary Records Presents: WGXC Fundraiser with Dominick & the Family Band / Hush Woods / $500 / The Entire Earth

2/26/2025, 7:00 PM

Upstairs Wednesdays: Aidan Samp + John Thayer + Alden Slack

2/27/2025, 8:00 PM

TJ Douglas / Katy Pinke / Will Stratton

Bethesda Episcopal Church, 26 Washington St, Saratoga Springs

2/9/2025, 3:00 PM

Excelsior Vocal Ensemble presents Winter Spirits

Caffè Lena

1/31/2025, 8:00 PM

Momentum Series: The Suitcase Junket

2/1/2025, 3:00 PM

Little Folks Series featuring LITTLE ROOTS

2/1/2025, 8:00 PM Ryan Montbleau (Solo)

2/2/2025, 7:00 PM Ryan Montbleau (Solo)

2/3/2025, 7:00 PM

Open Mic Night

2/4/2025, 7:00 PM

Story Telling Open Mic Featuring Kent Busman

2/5/2025, 10:30 AM

Folk Club Kids! New Time For 2025 Dance Tunes, Sing Alongs, & Stories! Free / Infants - Pre K

2/5/2025, 12:00 PM

Irish Music Ensemble with Oona Brady and James Gascoyne

2/6/2025, 1:00 PM

Weekly Slow Jam - Folk, Bluegrass, Blues, and More!

2/6/2025, 7:00 PM

The Clements Brothers

2/7/2025, 8:00 PM

Goodnight Moonshine Feat. Molly of Red Molly

2/8/2025, 8:00 PM

Peak Jazz Series: Soggy Po’ Boys

2/10/2025, 7:00 PM Open Mic Night

2/12/2025, 10:30 AM

Folk Club Kids! New Time For 2025 Dance Tunes, Sing Alongs, & Stories! Free / Infants - Pre K

2/12/2025, 12:00 PM

Irish Music Ensemble with Oona Brady and James Gascoyne

2/12/2025, 7:00 PM

Yasmin Williams

2/13/2025, 1:00 PM

Weekly Slow Jam - Folk, Bluegrass, Blues, and More!

2/13/2025, 7:00 PM

Oshima Brothers with Opener Madeleine

Roger

2/14/2025, 8:00 PM

Heather Maloney with Opener High Tea

2/15/2025, 8:00 PM

Tom Chapin

2/16/2025, 2:30 PM

Jennifer Knapp with Opener Flamy Grant

2/16/2025, 7:00 PM

Momentum Series: Henhouse Prowlers

2/17/2025, 7:00 PM

Open Mic Night

2/18/2025, 8:00 PM

Rochmon Record Club Listening Party: Traffic’s “John Barleycorn Must Die”

2/19/2025, 12:00 PM

Irish Music Ensemble with Oona Brady and James Gascoyne

2/20/2025, 1:00 PM

Weekly Slow Jam - Folk, Bluegrass, Blues, and More!

2/20/2025, 7:00 PM

Peter Miller & The Kindred Souls with Cassandra Kubinski

2/22/2025, 8:00 PM

Mary Fahl - formerly of October Project

2/23/2025, 5:00 PM

“A Joyful Noise!” Gospel Dinner with Soulist Garland Nelson & Friends

2/24/2025, 7:00 PM

Open Mic Night

2/26/2025, 12:00 PM

Irish Music Ensemble with Oona Brady and James Gascoyne

2/27/2025, 1:00 PM

Weekly Slow Jam - Folk, Bluegrass, Blues, and More!

2/28/2025, 8:00 PM

Carolyn Shapiro & Band

Charles Wood Theater

1/31/2025, 7:00 PM

Banff Centre Mountain Film Festival World Tour 2025

2/1/2025, 7:00 PM

Banff Centre Mountain Film Festival World Tour 2025

2/2/2025, 7:00 PM

Banff Centre Mountain Film Festival World Tour 2025

Cohoes Music Hall

1/31/2025, 7:30 PM

A Few Good Men Presented By Creative License

2/14/2025, 7:30 PM

Rock ‘N’ Roll Women of the 80’s

2/15/2025, 7:30 PM

Best Friends Girl: America’s Favorite Cars Experience

2/16/2025, 3:00 PM

ABBA Revisited

Desperate Annie’s

2/3/2025, 8:00 PM

Superdark Presents: Candy Ambulance / Dauber /Asa Morris

2/10/2025, 8:00 PM

Superdark Presents: E.R.I.E., Toriendofstory, God’s Not Buying a Horse Today

El Dorado

2/1/2025, 7:30 PM

Bendt, Yeah Universe and New Monarchy

Emack & Bolio’s

2/8/2025, 7:00 PM

Dan Bernstein

2/15/2025, 7:00 PM

Pearl

2/22/2025, 7:00 PM

Alan Goldberg

Empire Live

2/7/2025, 7:30 PM

Atmosphere - Imagine The Fun Tour

2/8/2025, 8:00 PM Hippo Campus - Flood Tour

2/13/2025, 8:00 PM

Big Head Todd & The Monsters 40th Anniversary Tour

2/14/2025, 8:00 PM

Lauren Mayberry - Viscious Creature Tour

2/18/2025, 8:00 PM

The Get Up Kids - 25 Years of Something To Write Home About

Empire Underground

2/14/2025, 9:00 PM Gimme Gimme Disco

2/15/2025, 9:00 PM Charli Parti

2/16/2025, 8:00 PM Sub-Radio

2/22/2025, 6:00 PM The Erotics

2/27/2025, 6:30 PM Aborted

2/28/2025, 6:30 PM Internal Bleeding

Lake George Beach Club

1/31/2025, 9:00 PM Skeeter Creek

2/1/2025, 9:00 PM Skeeter Creek

2/2/2025, 1:00 PM Ill Funk Ensemble

Lark Hall

2/1/2025, 8:00 PM

Warped Tour Band w/s/g Dookie & All The Blink Things

2/5/2025, 6:00 PM

Caity Gallagher Residency at The Eleven at Lark Hall

2/7/2025, 6:00 PM

Two Planets Away at The Eleven at Lark Hall (FREE SHOW)

2/8/2025, 6:00 PM

Happy Hour with Organ Fairchild at The Eleven at Lark Hall

2/8/2025, 8:00 PM Ominous Seapods

| night & day

|music (cont'd)

2/14/2025, 8:00 PM

Lark Hall presents Gratefully Yours

2/15/2025, 8:00 PM

Weird Phishes: Radiohead and Phish Reimagined

2/21/2025, 8:00 PM

TV Doctors at The Eleven at Lark Hall

Lost & Found Bar & Kitchen

2/13/2025, 8:00 PM

Galentines Day Party with DJ Fearless

2/21/2025, 9:00 PM

Emo Live Band Sing-a-Long with The Story Boys

2/21/2025, 9:00 PM

Femininomenon with Shannon Tehya & Friends

Mojo’s Cafe and Gallery

2/1/2025, 7:00 PM

Little Saints, Sabrina Trueheart, Nate Goyette

2/15/2025, 6:30 PM

Girl Love, TJ Foster, Dylan Patrick Ward

Moon & River Cafe

2/6/2025, 6:00 PM

Dave Kitchen Jazz Trio

2/14/2025, 7:00 PM

Mohawk River Harmony

2/15/2025, 6:00 PM

Bellville Hot Swing

2/19/2025, 6:00 PM

Country Star - Tony King & Friends

2/20/2025, 6:00 PM

Dave Kitchen Jazz Trio

2/22/2025, 7:00 PM

Folk Artist Jon Boulette

2/28/2025, 7:00 PM

Mike Campana & Friends

2/1/2025, 6:00 PM

Beatles Open Mic

2/7/2025, 6:00 PM

Jazz Pianist Pete Van Kuren

2/8/2025, 7:00 PM

Acoustic Guitar Scott Bravo

2/13/2025, 6:00 PM

Dave Kitchen Jazz trio

2/21/2025, 7:00 PM

Electric Wheel

2/27/2025, 6:00 PM

Dave Kitchen Jazz Trio

Mount Ida Preservation Hall

2/10/2025, 6:30 PM

LUNA Series Presents: Girl Love

No Fun

1/31/2025, 7:00 PM

Hellseeker Goth Nite w/ Public Circuit

2/1/2025, 7:00 PM

Ice Queen (Record Release) / Carnwennan / Bloodx3

2/2/2025, 8:00 PM

Kerosene Heights / Senior Living / Elephant

Jake / Everybody That Loves You

2/5/2025, 8:00 PM No Fun Open Mic

2/7/2025, 7:00 PM

Bella’s Bartok / Candy Ambulance

2/14/2025, 8:00 PM

The Annual Valentine’s Cover Show!

2/19/2025, 7:00 PM

Thus Love / Laveda / Closebye

2/23/2025, 7:00 PM

Wifey / Orca Bones / Cheesy Snacks / G.o.L.e.M

2/26/2025, 8:00 PM

Satisfaction Guaranteed - Vinyl Only - w/ DJ Tex & DJ K.Fink

2/27/2025, 7:00 PM

Cinema Stare / Canella / Scotchka

2/28/2025, 8:00 PM

Hellseeker Goth Nite w/ Ghost Cop / Bloodx3 / Architrave

Ophelia’s

2/8/2025, 8:00 PM

Joey Harkum Duo w/ Mike Lashomb of Annie in the Water

2/13/2025, 8:00 PM Darkwave

Saratoga Winery

1/31/2025, 5:00 PM

Steve Candlen

2/7/2025, 5:00 PM

Art N Shawna Duo

2/14/2025, 6:00 PM

Seth Warden & Lovella

2/21/2025, 5:30 PM

Luke Pavlus

2/28/2025, 5:00 PM

Dazey Duo

Singlecut North Taproom

2/8/2025, 6:00 PM

The Growling Hazers

2/16/2025, 6:00 PM

Maurizio Russomanno

2/22/2025, 4:00 PM

The Alec Lewis Group

Stella Pasta Bar & Bistro

2/1/2025, 6:00 PM

The Dave Gleason Trio

2/15/2025, 6:00 PM

The Matt Steckler Trio

2/22/2025, 6:00 PM

The Chad McLoughlin Trio

Tannery Pond Center

2/16/2025, 3:00 PM

Caity Gallagher & Dan DeKalb

The Berlin

2/6/2025, 6:00 PM

Matt Durfee

2/7/2025, 6:00 PM

B.D. Lenz Trio

2/8/2025, 7:00 PM

Burlesque In The Berlin

2/13/2025, 6:00 PM

Serg & Venture

2/20/2025, 6:00 PM

Joanna Feuer & Brian Halliday

2/27/2025, 6:00 PM

The August DuClos Trio

The Cock N’ Bull

1/31/2025, 6:00 PM

Keith Pray Trio

2/6/2025, 7:30 PM

Eldorado Slim featuring Scott Sharrard of Little Feat

2/7/2025, 6:00 PM

Cloudlifter

2/13/2025, 7:00 PM

Jim Gaudet and the Railroad Boys

2/20/2025, 7:00 PM

Reese Fulmer & The Carriage House Band

2/21/2025, 6:00 PM

Drank the Gold

2/25/2025, 6:30 PM

Keith Pray’s Big Soul Ensemble

2/27/2025, 7:00 PM

Peter Mulvey

2/28/2025, 6:00 PM

Keith Pray Trio

The Glove Theatre

1/31/2025, 7:00 PM

The 518 Concert Series Presents: Get Zep!

The Hollow

2/7/2025, 8:00 PM

Sophistafunk w/s/g The Ky McClinton Band

The Park Theater

1/31/2025, 8:00 PM

Adam Mamawala

2/8/2025, 8:00 PM

Blue Sky Brothers

2/13/2025, 8:00 PM

North & South Dakotas

2/20/2025, 7:30 PM

Wyatt Ambrose

2/22/2025, 8:00 PM

Angelina Valente & JP Hubbs

The Parting Glass

2/27/2025, 7:00 PM

The Takes w/ Man Must Explore

The Pinehaven Country Club

2/1/2025, 7:00 PM

LA Wildfire Benefit Concert

The Strand Theatre

1/31/2025, 8:00 PM

The Proudest Monkeys BandDave Matthews Band Tribute

2/1/2025, 8:00 PM

Southbound Renegade - Southern Rock

2/2/2025, 2:00 PM

WailOn Band - Tribute to Outlaw Country Royalty

2/3/2025, 7:00 PM

Lobby Concert: John Lennon Songs with Marc Vincent, Jonathan Newell and friends

2/6/2025, 7:00 PM

A Tribute to The King featuring Matthew Boyce

2/7/2025, 8:00 PM

Led Sabbath - The music of Led Zepplin and Black Sabbath

2/8/2025, 8:00 PM

Dark Sarcasm - Pink Floyd Tribute

2/9/2025, 12:00 PM

Community Fundraiser for Jeremy DiffeeMonsters Of Rock, Tumblin’ Dice and more!

2/15/2025, 7:30 PM

The King in Concert featuring James Cawley

2/16/2025, 3:00 PM

The Cosmic American Music Circus

2/21/2025, 7:30 PM

The Dirty Harri’s - The Music of George Harrison

2/22/2025, 7:30 PM

Parrotbeach - Jimmy Buffet Tribute

2/23/2025, 3:00 PM

Johnny Cash’s 92nd Birthday Bash with A Man Named Cash

2/25/2025, 7:00 PM

Banjo Heartbeat Tour with Scott Hopkins and Joe Newbury

2/27/2025, 9:00 PM

Kaleb Live at the Strand Theater

2/28/2025, 7:30 PM

The Ultimate Journey Experience by LEGEND

The Towne Crier Cafe

2/1/2025, 8:00 PM

The Best of the 70’s by Dizzyfish & the Uptown Horns - Eric’s Birthday Bash!

2/2/2025, 7:00 PM

Genticorum

2/7/2025, 8:00 PM

Last Minute Soulmates

2/8/2025, 8:00 PM

Le Vent Du Nord

2/9/2025, 7:00 PM

Kevin McKrell

2/14/2025, 8:00 PM

Home Again: the Carol King Tribute

2/15/2025, 8:00 PM

Mary Fahl - former lead singer of October Project

2/16/2025, 6:00 PM

Rachel Sage & The Sequins; with guests The Beacon Songsmiths, and Noga w/ Lila Blue

2/20/2025, 7:00 PM

Latin Dance with Beacon Dance Beat

| night & day

|music (cont'd)

2/21/2025, 8:00 PM

Kenny White; also Maia Sharp & Antje Duvekot

2/22/2025, 8:00 PM

Gratefully Yours

2/23/2025, 6:00 PM

Open Mic Invitational

Town of Stony Creek Winter Concert SeriesStony Creek Town Hall

2/6/2025, 7:00 PM

Kevin McKrell FREE ,Town of Stony Creek Winter Concert Series

Troy Savings Bank Music Hall

2/1/2025, 6:00 PM

Pro Musica High School Choral Festival

2/2/2025, 2:30 PM

Some Ways To Keep Workshop #1

2/4/2025, 7:30 PM

Steven Isserlis

2/5/2025, 6:00 PM

Lift Series: Zan and the Winter Folk

2/8/2025, 7:30 PM

Lets Sing Taylor! Celebrating Taylor Swift

2/11/2025, 12:00 PM

Music @ Noon Free Concert Series: Thomas Piercy, Marina Iwao and Daniel Hass

2/12/2025, 7:00 PM

Some Ways To Keep Workshop #2

2/15/2025, 7:30 PM

Loren Loiacono + Rachmaninoff’s Paganini Rhapsody

2/16/2025, 3:00 PM

Loren Loiacono + Rachmaninoff’s Paganini

Rhapsody | Matinee

2/19/2025, 7:00 PM

And We Keep

2/25/2025, 7:00 PM

Sonic Explorations in Troy

Unified Beerworks

2/8/2025, 4:00 PM

Sean Lippin Band

Van Dyck Music Club

2/8/2025, 7:30 PM

An Evening With: Pete Malinverni

2/20/2025, 8:00 PM

Thirdsday Night Show #004 - Shiri Zorn Trio

Van Slycks at Rivers

2/1/2025, 8:00 PM

Country Weekends with Beadle Brothers

2/5/2025, 2:00 PM

The Protones

OPHELIA’S 5 - E R I E (ORIG) 6 - LITTLE SAINTS (ORIG) 7 - ERIN HARKES BAND (ORIG) 8 - HARK! (COVERS)

5-7PM YOUTH STAGE W/ HOST ELLIE FRIDAY-HOHMAN AND FEATURING LULU GREY

5:30 PM JORDAN TAYLOR HILL

2/7/2025, 8:00 PM

Funk Evolution & DJ Nick Papa Giorgio

2/8/2025, 8:00 PM

Lucid Street & DJ Reel

2/9/2025, 2:00 PM

The Big Game Takeover with Decrescente

2/12/2025, 2:00 PM

Whisper Band

2/13/2025, 7:00 PM

DJ RVMBA

2/14/2025, 8:00 PM

Mike Farrer & The House Rockers & DJ Ness Nice

2/15/2025, 8:00 PM

Chasing Neon & DJ Tomb

2/16/2025, 7:00 PM

Latin Nights With Alex Torres and his Latin Orchestra

2/19/2025, 2:00 PM The Rogues

2/20/2025, 7:00 PM

DJ Mix It Up NY

2/21/2025, 8:00 PM

The Refrigerators & DJ Reel

2/22/2025, 8:00 PM

Guilty Pleasure & DJ Tek

2/26/2025, 2:00 PM

Carla Page

2/27/2025, 7:00 PM

DJ Biz

2/28/2025, 8:00 PM

NINEDEEZNITE & DJ Mister Mo

Vapor Nightclub at Saratoga Casino

1/31/2025, 8:30 PM

Electric Rodeo

2/1/2025, 8:00 PM

80’s & 90’s Party with DJ NPG

2/7/2025, 7:30 PM The Accents

2/8/2025, 7:30 PM Skeeter Creek

2/14/2025, 7:30 PM Ill Funk Ensemble

2/15/2025, 8:00 PM

Totally 2000s with DJ NPG

2/21/2025, 7:30 PM Aquanett

2/22/2025, 7:30 PM

Big Sky Country

Weathered Wood

2/21/2025, 6:30 PM

Oobleck & Mixed Roots

The Next-Generation of Heating & Cooling

Bosch IDS Ultra

Our new cold climate heat pump for all seasons, even in sub-zero temperatures

How Does the Bosch IDS ULTRA Work?

Scan to Watch Video

Warm Up Efficiently in Frigid Temperatures

Introducing the Bosch IDS Ultra—a heat pump designed to keep you and your family warm even on the coldest nights. Powered by Bosch inverter technology, the Bosch IDS Ultra Heat Pump is the first Bosch air-to-air heat pump designed to provide reliable, energy efficient heating even in sub-zero temperatures. This cold climate heat pump can provide 100% heating down to an outdoor temperature of 5° F. and will continue to initiate heating even down to -13° F. The IDS Ultra also provides efficient cooling in the warmer months for ultimate home comfort all year long.

Features

 Operational down to -13° F

 100% heating capacity down to 5° F

 10-year residential limited warranty

 Fully modulating inverter drive, precisely matches the heating/cooling load

 Up to 55,000 BTU/hr

 Available up to 5 ton capacities

 Highly efficient: up to 19 SEER2 and up to 10 HSPF2 (Region IV), 8.5 HSPF2 (Region V)

Scan To View Bosch Products

Bosch-HomeComfort.us