Category Archives: The TVD Storefront

TVD Radar: Miss Pat:
My Reggae Music Journey
from Patricia Chin, founder of VP Records, in stores 3/17

VIA PRESS RELEASE | The book, decades in the making, will be of interest to music fans (especially reggae, soca and calypso) as well as those interested in NYC cultural / immigrant success stories, entrepreneurship and women’s empowerment. It tells the important history of Patricia Chin, 84-year-old co-founder of VP Records, whose 60-year journey in music has taken her from Kingston, Jamaica to Jamaica, Queens, and far beyond.

It would be an understatement to say that reggae matriarch Patricia “Miss Pat” Chin has seen and accomplished a great deal in her life. Born in Kingston, Jamaica in 1937, she helped build a reggae empire in her homeland (the Randy’s Record Mart store and Studio 17; where the careers of artists ranging from Bob Marley & the Wailers to Augustus Pablo and Toots & The Maytals were started and nurtured) alongside husband, Vincent “Randy” Chin.

After nurturing one of her children, reggae music, alongside her four children throughout the ‘70s, she uprooted her business and family to emigrate to New York in 1978, landing in Queens, where she still lives today. At that point another challenging and fascinating journey—the history of VP Records, “the world’s largest reggae label” (New York Daily News, Jared McCallister)—began.

VP was—and is—  family owned-and-run business, and a deeply important and inspiring American immigrant success story. VP’s first release was in 1979 and the history of the label, which built a new wave of reggae legends from scratch, including Beenie Man, Bounty Killer, Lady Saw and Sean Paul, can be heard and seen in the acclaimed deluxe 2019 VP box set, Down In Jamaica: 40 Years of VP Records.

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Graded on a Curve:
KISS, Alive!

Celebrating Paul Stanley on his 69th birthday.Ed.

Kiss: The McDonald’s of Rock! The ultimate mass-produced fast food for your ears! Over 100 million albums served and counting! Hell, they actually kinda LOOK LIKE Ronald McDonald! And their concerts should have drive thru windows!

Which is to say that while other bands may produce better songs, when it comes to dependable lowest-common-denominator rock product, Kiss makes most (if not all) of your other hard rock outfits look like mom and pop burger joints.

But I’m not slagging ‘em. No matter highly evolved your tastebuds may be, don’t you ever get the unshakable hankering to sink your teeth into a Mickey D’s cheeseburger? They’re so wrong they’re right! And it’s just like that with Kiss. I can make fun of the make-up and the dumbed down music (they make Grand Funk sound smart!) but when push comes to shove I can’t resist songs like “Strutter” and “Black Diamond” and “Rock and All Nite” any more than I can a holster of McDonald’s fries. They’re greasy and taste great with salt on ‘em!

And THEE DEFINITIVE Kiss product is of course 1975’s Alive!, which in the great seventies live el pee tradition is a twofer and as such probably one LP too long, but who’s counting? Think of it as a double Happy Meal! As a graduate of the Class of ’76 I couldn’t escape this baby, everybody owned a copy on 8-track and played it nonstop in their cars as they rolled down the main drag of Littlestown, Pennsylvania (which was so small it didn’t EVEN HAVE a McDonald’s) looking for girls WHO DIDN’T EXIST, that is when they weren’t playing Frampton Comes Alive! (which in the great seventies live tradition was a double album as well).

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Graded on a Curve: Richard Hell and
the Voidoids,
Blank Generation

Of New York punk’s first wave, only Richard Hell and the Voidoids truly embraced the nihilism that punk has come to represent in the popular imagination. The Ramones, great as they were, were one step away from being a joke band; Television was far too ascetic and monk-like; and the Talking Heads were too intellectually frigid. As for Patti Smith, she flirted with the idea of anarchy, but was far too positive a soul to be a nihilist. It’s not her fault; nihilists never hail from New Jersey.

I could go on but I won’t, because the only point I want to make is that Hell was the only musician at that time and place asking the only question the existentialists found pertinent, to wit, “Why should I bother living?” And his grappling with this question—along with the excellence of his band, which included the late, great guitarist Robert Quine—are what makes 1977’s Blank Generation such a seminal punk recording.

Hell, aka Richard Mayers, was born in Kentucky and took the scenic route to the Voidoids. Having moved to New York City, he commenced his rock career as a member of the Neon Boys, which became Television. Friction with Television’s Tom Verlaine led Hell to leave and co-found the Heartbreakers with Johnny Thunders, but Hell found it no easier to work with Thunders than he did with Verlaine, so he finally set about establishing a band in which he was boss. The Voidoids—they got their name from a novel Hell was writing—included Hell on vocals and bass, Quine and Ivan Julian on guitars, and Marc Bell on drums.

Hell—he took his name from A Season in Hell by that enfant terrible of French letters, Arthur Rimbaud, whose life and work made him a totem amongst the intellectual wing of the CBGB’s crowd—was a well-read poet who gravitated towards literature’s dark side, and found there—just as I did—plenty of reasons to give the gimlet eye to human existence.

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Richard Hell,
The TVD Interview

PHOTO: ROBERTA BAYLEY | First released in 1982, Destiny Street was the second of only two albums ever issued by Richard Hell and the Voidoids. After starting the Neon Boys with Tom Verlaine and helping form Television, Hell helped define punk by being one of the first with spiky hair, ripped tight clothes and safety pins—fashion trends quickly picked up by England’s forming punk scene. But mostly he influenced through his music and the anthemic 1977 Blank Generation that helped define the moment.

Voidoids Ivan Julien and Marc Bell left the band after British tours with The Clash and Elvis Costello. Only guitarist Robert Quine remained for the second album, alongside drummer Fred Maher (who, like Quine, would go on to famously work with Lou Reed). Also added to the band was guitarist Juan Maciel, whose stage name was Naux.

While Destiny Street had the material Hell wanted, he was never happy with the production, and having been told that the master tapes were lost, he gave up the idea of a remix, until he ran across a cassette for with the basic rhythm tracks in the early 2000s. He was about to have Julian and Quine come in to re-record their parts when the guitarist died in 2004 at 61. Faux died soon after. So Hell brought in two other acclaimed guitarists with original styles, Marc Ribot and Bill Frissell to join Julian for a remade album called Destiny Street Repaired in 2009.

A decade later, the original 24-track master tapes were found after all, so he embarked on a remix of the original with Nick Zinner, the producer and Yeah Yeah Yeahs guitarist. Rather than decide which was best, Omnivore Recordings is releasing all three—plus some leftover live tracks and demos—in a two CD deluxe set, Destiny Street Complete on January 22. (A stand-alone vinyl edition of Destiny Street Remixed is also on its way.)

We talked to Hell, who has been a writer the past few decades, about the project, the pandemic and his poetry. He assesses his future in music (dim), names the three records that formed him, and dismisses a longstanding myth about his punk legacy.

How are you handling the pandemic?

I was about mentally prepared for it to be winding down by now, so it is dreadful, literally. It fills one with dread to picture the coming months. It’s a good thing about the vaccinations.

But the thing is, for me, as it turned out, I kind of thrived on the isolation. The outside things I was doing, the assignments that I was accepting, the journalism and that kind of thing that I had been doing pretty regularly over the last 20 years or so just kind of dried-up, and I didn’t make any attempt to solicit that kind of work, so I literally had nothing to do all day except what I had my own initiative to do. I’ve been doing a lot of writing in a way that I hadn’t really since my teens and early 20s, so even though It’s been a really anxiety-filled and horror-filled period, for me it’s also been productive. So I have mixed feelings about it.

The thing I was describing kind of got interrupted by the big push for this music release. For the past couple of months, that’s been a full time job. And I’m kind of glad that I can go back to what it was before, where I just get up and have nothing in particular to do, so I start writing in a way that has no other purpose except to meet my needs instead of anybody else’s needs. So, yeah. It’s been mixed.

Is it poetry?

It’s funny you say that because people are always asking me about poetry. I have to remind them I’m not a poet. As a young man I had that ambition for a few years, and then it kind of got replaced by music. Then I started doing other kind of writing—fiction and journalism, non-fiction. Just because I had that couple of three years in my late teens, people focus on that and I always try to correct them about that, because it’s not really accurate. But all that being said, you’re right. It is poetry. And that’s what’s been fun. And it’s weird to call it fun because the writing itself is very work-intensive and takes a lot of focus.

It’s not confessional but I try not to hold anything back. So it’s intense. The actual act of doing it can be really exhausting. But it is fun in the sense that it’s very fulfilling for me. It’s weird, for the last eight months, up until I had to work on the Destiny Street Complete thing, I feel like it is the first time I’ve actually been a poet. At the age of 71, I hit this situation where it’s my identity, it’s what I was doing. It’d be, like, a poem or two a week, which is a big output—way larger than I’ve ever done before. So yeah, as long as you ask, that is what I’ve been doing for the first time since I was 19.

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Graded on a Curve:
Ngozi Family,
45,000 Volts

In 2017, the Now-Again label released the compilations Welcome to Zamrock Vols. 1 and 2 on double vinyl and compact disc, with the sets delivering an ample serving of the fuzzy, funky rock music made in 1970s Zambia. Two tracks from the Ngozi Family stood out as highlights, one of them from the band’s ’77 LP 45,000 Volts, which is fresh out on wax through Now-Again in its first official reissue. Featuring guitarist-lead singer-band leader Paul Ngozi with bassist Tommy Mwale and drummer Chrissy Zebby Tembo (both of whom add appealing harmonies), the contents groove and glide amid plentiful amplifier bite. Rather than a mere approximation of US-UK hard rock, this album is its own sweet thing.

A characteristic that’s often shared by compilations shedding retrospective light upon hitherto unheard realms of sound, especially when the music on the records is of consistently high quality (this is the case with the Zamrock volumes detailed above), is the sense of mystery over whether the assembled music constitutes the tip of a worthiness iceberg or instead represents the delectable cream skimmed from atop a larger but lesser body of work.

Of course, mileage will frequently vary depending on an individual’s level of investment in a particular style. To elaborate: if some enterprising label dishes a comp of previously unheard vault recordings by ’60s garage bands from the state of Nebraska, what many listeners will chalk up as not much more than competence will strike a fervent few as another delightful chapter in the history of the genre.

A big part of the Ngozi Family’s success on 45,000 Volts derives from its solidity as an album as it’s the most recent reissue illuminating Zamrock’s qualitative depth, following earlier editions from Now-Again by Chrissy Zebby Tembo, Witch, and indeed, a prior set from the Ngozi Family, the 1976 album Day of Judgement.

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TVD Radar: Neil Young, Way Down in the Rust Bucket live 4LP and film in stores 2/26

VIA PRESS RELEASE | Neil Young announces the release of Way Down in the Rust Bucket, a never-before released, incendiary and essential live album and concert film documenting a legendary 1990 show with Crazy Horse in Santa Cruz, California.

Available for pre-order today and out on February 26, 2021, Way Down in the Rust Bucket features the debut public performances and much of the songwriter’s grungy, cranked-up 1990 album, Ragged Glory. Vinyl, CD and Deluxe box sets will be available via The Greedy Hand Store at Neil Young Archives and music retailers everywhere and digitally via NYA and all DSP’s. Purchasers of Way Down In The Rust Bucket from the Greedy Hand Store will also receive free hi-res digital audio downloads from the Xstream Store © at NYA.

After recording Ragged Glory at Broken Arrow Ranch in the spring of 1990 and releasing it that September, Young and Crazy Horse took the stage at The Catalyst in Santa Cruz on November 13 to unleash the songs upon a live audience. In true Crazy Horse fashion, the incendiary show ran across three sets and over three hours, with songs like “Love and Only Love” and “Like a Hurricane” hypnotically stretching past ten minutes.

The Catalyst gig also marked the first time “Danger Bird”—a cut from Young’s 1975 album Zuma—was played for a live audience, thundering on into psychedelic six-string fireworks. Other live debuts on Way Down in the Rust Bucket include “Surfer Joe and Moe the Sleaze,” “Love to Burn,” “Farmer John,” “Over and Over,” “Fuckin’ Up,” “Mansion on the Hill,” and “Love and Only Love.”

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Lisa Remar,
The TVD First Date

“I was talking to someone the other day and it dawned on me that I would not have started making music if I only had access to Spotify.”

“The three LPs that I started my own vinyl collection with are Mariah Carey (Charm Bracelet), Jennifer Lopez (On the Six), Songs in A Minor (Alicia Keys)—I listened to their CDs religiously on my pink Walkman, so it was a no-brainer to get them in another format.

These artists in particular taught me how to sing. Vinyl really gives you the chance to immerse yourself in the music. I honestly don’t think I would have chosen music as a life without the intimacy of experiencing music the way the artist intended.

Personally, vinyl gave me the opportunity to actually think about the music and sit with it, paying attention to the details. Non-digital audio is still so important. Listeners are active in making the sound come out of the stereo and you actually get to touch it! Vinyl definitely makes me feel closer to the artist.

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TVD Radar: The Podcast with Evan Toth, Episode 20: New Music Mix

It’s a Radar music mix this week! Something old, and something new, just for you.

I unearthed a very rare album this week by the Cairo Jazz Band, apparently the first jazz band to ever exist in Egypt! There is a reason this album is so collectible: it’s blend of east and west with expertly executed funk and jazz making it a very unique recording. Gearbox Records has recently released a lost gem with rare material from the legendary trumpeter and cornet-player, Don Cherry. The release entitled “Cherry Jam” (GB1559OBI) was previously only available as a Record Store Day release and features new unheard recordings by Cherry. The EP is to be released as part of the label’s Official Japanese Edition series with a unique obi strip and Japanese liner notes. You’ll hear “Nigeria.”

I continue to delve through some filthy 45s that I recently purchased in an attempt to clean them up and bring them back to life. This week we play Nina Simone’s “Love Me, or Leave Me” which I literally found in a plastic bag at the bottom of a box. Boy, do these old records clean up well; tune in to hear how great it sounds!

Creedence Clearwater Revival’s Pendulum and Mardi Gras albums are set for half-speed mastered 180-gram vinyl reissues so we’re getting into the CCR swing with a tune you know and probably love; we’ll look at some deeper cuts in the weeks to come. Got any requests? Little Richard’s Southern Child album also gets taken out for a spin this week; it’s a country album that Richard recorded in the early ’70s, but was mysteriously left unreleased…until Omnivore Records found it and gave it the release it deserves.

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Graded on a Curve:
Kiwi Jr.,
Cooler Returns

Cooler Returns is the sophomore full-length from Kiwi Jr. and is additionally the Toronto four-piece’s first record for Sub Pop. The titular suffix and the releasing label are representative of an unreservedly indie state of mind, with the use of the affectionate nickname for New Zealanders insinuating that the album’s 13 songs will dig a little deeper than the expected norm. Theirs is a bright, catchy, energetic sound with an undeniable likeness to Pavement, and if Kiwi Jr. don’t reach the heights of that ’90s indie behemoth, the resemblance is one of shading rather than mimicry. Cooler Returns is out on vinyl, CD, cassette and digital January 22.

Kiwi Jr. consists of vocalist-guitarist Jeremy Gaudet, bassist Mike Walker, drummer Brohan Moore, and guitarist Brian Murphy (he of Alvvays). To get right down to it, the similarity to Pavement is directly related to Gaudet’s singing, as the man frequently just sounds like Stephen Malkmus. In fact, at a few points, Gaudet really sounds like Malkmus, though more often there is a liveliness (that can border on exuberance) that brings tangible distinctiveness to the table.

Some whose ears were active during Pavement’s original tenure may wonder if there is a difference between Kiwi Jr. and ’90s acts of a decidedly Pavement-like bent such as Silkworm and The Grifters. Well, there is, and it’s absorbed through Cooler Returns’ straightforward pop sensibility, a consistent facet that is inextricably tied the Gaudet’s spirited approach at the mic.

And instrumentally, Kiwi Jr. are tidy rather than disheveled (as was Pavement’s wont). But this pop inclination maybe isn’t such a surprise for a band whose 2019 debut Football Money came out on noted Canadian indie label Mint (distinguished for releasing or co-releasing the first few records by the New Pornographers). The connection is plainly discernible in the strummy, then punchy, then anthemic opener “Tyler,” but it’s really driven home in the infectious but muscular “Undecided Voters.”

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We’re closed.

We’ve closed the HQ today for the Martin Luther King Jr. Day holiday. While we’re away, why not fire up our free Record Store Locator app and visit one of your local indie record stores, either online, curbside, or with some sound social distancing?

Perhaps there’s an interview, review, or feature you might have missed? Catch up and we’ll see you back here tomorrow, 1/19.

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Graded on a Curve:
Gary Numan,
Replicas, The Pleasure Principle, Telekon

Out of the UK’s punk scrap yard came Gary Numan, first as part of the ever more synth-imbued Tubeway Army and then as a solo artist for a long string of albums. His chart dominance in the waning moments of the ‘70s was fleeting but huge, and his most commercially successful run of LPs detail a pop-savvy artist of much deeper value than his hit singles.

Gary Webb started out in the bands Mean Street and The Lasers; recording with neither (Mean Street waxed one song after his exit for the Live at the Vortex comp LP), after departing the latter with bassist Paul Gardiner they formed Tubeway Army with Webb’s uncle Jess Lidyard in the drum chair. Promptly signed by Beggars Banquet, with Webb on guitar they initially dished out beefy Bowie-influenced punk, the singles “That’s Too Bad” and “Bombers” later compiled with a mess of demos from the same era as The Plan.

It’s a cool acquisition for serious punk collectors, but ’78’s Tubeway Army was even better. By the point of its release Webb had adopted the name Gary Numan (he’d briefly wielded the handle Valerian) but his signature sound was still in development, the debut augmenting the punk excursions (which occasionally leaned into a hard rock/glam merger) and sci-fi themes (impacted by Phil K. Dick and William Burroughs) with interjections from a Minimoog discovered in the studio by Numan after recording began.

Tubeway Army is very good record with a few excellent spots and conversely a handful of lags; ‘79’s Replicas is more fully-formed, and while the group’s name remains on the cover it’s flanked by Numan’s on later editions; the LP is clearly his show and any doubts over such will be quickly dispelled by the icy/edgy opener “Me! I Disconnect from You.”

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TVD Radar: The Podcast with Evan Toth, Episode 19: Sam Phillips

Yes, Sam Phillips, right? The independent recording mogul responsible for Elvis Presley and the explosion of rock and roll? No, no, no this is the other Sam Phillips. The Sam Phillips who was once known as Christian Contemporary music star Leslie Phillips who turned her back on the Christian corporate music machine in favor of a new identity: that of a beautifully clever and eclectically creative singer-songwriter, Sam Phillips.

After a Grammy nom for 1994’s Martinis and Bikinis album—and a high-profile acting gig portraying the evil villainess Katya in Die Hard 3 (1995)—Phillips decided it was time to strip the production and arrangements down to basics and record Fan Dance in 2001. In doing so, she ended up creating an early 21st century pièce de résistance.

Phillips joins me this week to celebrate the 20th anniversary of Fan Dance and to discuss the album’s first vinyl release which came out last year on Run Out Groove Records. We talk about the genesis of the album’s reissue, her life during the fabled recording process, the top-notch musicians who worked on the project (T Bone Burnett, Marc Ribot, Jim Keltner, Van Dyke Parks, and Gillian Welch), and we get into the filmic quality of her lyrics and their creation.

I do a little gushing, of course, as she certainly is one of the most creative and unique songwriters of my generation. So, please join me in welcoming Ms. Phillips to Radar as she grants us the pleasure of discussing one of her many artistic highlights.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector and hi-fi aficionado. Toth hosts and produces The Sharp Notes each Saturday evening at 6pm and TVD Radar on Sundays at 5AM on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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Graded on a Curve:
Moving Waves

In a 2017 poll, Focus’ 1971 “Hocus Pocus” was voted the best song of all time. By exactly three people. Two are natives of Liechtenstein and probably fibbing, seeing as how they hail from a country whose very name begins with a lie. The third is an ardent alpine yodeler, who followed Focus everywhere until the Dutch progressive band filed a restraining order. This did not stop the ledenhoser from yodeling at them from a great distance.

But if “Hocus Pocus” isn’t the greatest song ever, I never hear it without an admixture of mirth, awe and admiration. Within the framework of a kick-ass rock song you’ll find a killer hook, a pair of whizz-bang guitars solos, “yodeling gnomes” (thanks for the phraseology go out to my Dutch pal, Martijn de Vries), non-lexicable vocals, whistling, tasty jazz flute, and to quote Martijn again, “a drummer who makes me want to head butt the Eiffel Tower.” No one in English and America, and I’m including Frank Zappa, could have created a song so utterly off the wall. From my description you may get the impression that the song is all over the place. In reality it’s as tightly wound as a Swiss clock, and far more cuckoo.

Unfortunately, the remaining four remaining songs on side one are letdowns. The too winsome by far instrumental “Le Clochard (Bread)” is moldy guitar strum; on follow-up instrumental “Janis” the flute does the heavy lifting. “Moving Waves” is a Keith Emerson doppelganger right down to its pseudo-classical piano and portentous vocals by resident genius Thijs van Leer. The side’s closing track is “Focus II,” an exact replica in miniature of “Hocus Pocus,” Focus’ theory being (I can only assume) that there’s no sin in flogging a dead horse so long as the horse in question won the Kentucky Derby while alive. That or “Focus II” is a radio edit and no one got around to telling me.

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TVD Radar: John Coltrane, Lush Life ‘Small Batch’ limited edition reissue in stores 2/19

VIA PRESS RELEASE | Craft Recordings is thrilled to announce their Small Batch series—a carefully curated audiophile collection devoted to creating the highest quality vinyl reissues of legendary recordings from their vast catalog.

Each album selected for the series will undergo all-analog mastering, and then be pressed on 180-gram vinyl in a one-step lacquer process—as opposed to the standard three-step process—allowing for the highest level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record. The limited nature of these pressings guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording. Authentic sound, distilled to its purest form.

Each pressing, available exclusively on, will be individually numbered and housed in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The vinyl disc—extractable through a unique frictionless ribbon pull tab—will be housed in a reproduction of the original album jacket, complete with tip-on jacket, and protected by an archival-quality, anti-static, non-scratching inner sleeve. New liner notes from some of music’s best educators, historians, and journalists will accompany each title.

Launching the Small Batch series will be John Coltrane’s iconic 1961 album, Lush Life—celebrating its 60th anniversary this year—available on February 19th and limited to 1,000 copies worldwide. For this reissue, the original analog tapes—recorded at Rudy Van Gelder’s Hackensack, NJ studios—were sent to GRAMMY®-Award winning mastering engineer Bernie Grundman, who utilized a custom tube pre-amp and analog mixing console with discrete electronics—both made in-house—as well as a Scully solid-state lathe with custom electronics.

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TVD Radar: 34th Annual Tibet House US Benefit Concert streaming 2/17

VIA PRESS RELEASE | One of the longest-running and most renowned live cultural events in New York City, The 34th Annual Tibet House US Benefit Concert will return this year for a special virtual edition combining live and pre-recorded segments streaming via Mandolin, the premiere concert livestream platform for artists, venues, and fans.

For the first time ever, this year’s concert offers viewers around the world the unique opportunity to experience the warmth, sense of community and amazing music the evening has provided for so many years at Carnegie Hall. Joining esteemed composer and artistic director Philip Glass, who once again curated this year’s line-up, will be Eddie Vedder, Phoebe Bridgers, Brittany Howard, Valerie June, Angélique Kidjo, Laurie Anderson, Tenzin Choegyal, Rubin Kodheli and many, many more to be announced soon. We are also deeply honored to announce that the concert will begin with a personal video message from His Holiness the 14th Dalai Lama.

There are few events that stand the test of time, and for more than three decades this annual event has been a standout. For over 33 years, this consistently sold-out concert has assembled some of the most legendary and exciting names in music and art, dazzling concertgoers with its unique mix of surprises and mesmerizing performances. Tickets for this year’s special virtual concert are on sale now ($25-$250). Also available now are unique sponsor level cyber-tables starting at $5,000. To purchase and for more information on packages, please PRESS HERE.

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