#new jersey wedding musicians
Text
Looking for Reliable New Jersey Wedding Musicians? Contact best Wedding Musicians & Arnie can offer some of the best wedding musicians in NJ.
0 notes
Text
Tips To Find the Best Musician for Your Wedding
Finding the bestNew York City and New Jersey Wedding Musicians for your special day can be a daunting task, but with a little research and planning, you can make sure that your wedding music is exactly what you want it to be.
Following are few of the tips which could help you find the Best Wedding Musicians NYC, Philadelphia and New Jersey.
Determine your musical preferences- Before you start searching for Musicians from New Jersey or New York City, it's important to have a clear idea of the type of music you want to have at your wedding. Are you looking for a classical quartet, a jazz band, or a pop band? Do you want a solo singer or a DJ? Knowing your preferences will make it easier to narrow down your search and find the perfect musicians for your wedding. Now a days, live musician are high in demand as they connect with guests and can play various kinds of songs and music
Ask for recommendations - Talk to friends and family who have recently gotten married and ask them who they used for their wedding music. They can give you a first-hand account of their experience with the musicians and can let you know if they were happy with the service they received.
Research local musicians -Look for NYC or New Jersey Wedding Musicians in your area by searching online or checking with your local music schools. Read reviews and listen to samples of their music to get a sense of their style and professionalism.
Meet with potential musicians-Before you make a decision, arrange to meet with the musicians you are considering to hire for the wedding ceremony. This will give you a chance to hear them perform live and get a sense of their personality and professionalism.
Ask for references-Ask the musicians for references from past clients and connect with them to ask about their experience with the musicians.
Consider budget-Once you have narrowed down your list of potential musicians, consider your budget and choose the best option that fits your budget.
Sign a contract-Once you have chosen the musicians for your wedding, make sure to sign a contract that outlines the details of the performance including the date, time, location, and fees.
By following these steps, you can find the best wedding musicians for your special day. With the right music, your Philadelphia, NYC and New Jersey Wedding Musicians will able to offer your guests one of the best wedding parties which will be memorable and entertaining for everyone.
1 note
·
View note
Text
Questions to ask Wedding Musicians
Are you looking to make the wedding party entertaining and memorable? Then you must be looking to book the best New Jersey Wedding entertainment musician for you the wedding event. Before opting to book any live entertainment, you should ask the following questions to the musicians
· Check if the musicians have performed earlier on some similar occasion. Get details about their experience.
· You can get some great feedback on the performance of the musician from the earlier clients. Also check reviews.
· You must ask them about the rates and also the duration that they would perform.
· Does the musician have all the music instruments?
· Can they play various kinds of wedding songs?
· Has the musician won any awards?
You can look for the best NYC and New Jersey wedding entertainment musician and get them to set the floor on fire. Your guests would remember you by the kind of party and entertainment you had arranged. Contact Arnie Abrams and then you can a synopsis of his performance from the website. Entertainment during a wedding is a great feature and people should plan for wedding musicians well in advance. Live wedding musicians always ensure guests are entertained by their music. They make the wedding party fun filled and entertaining for everyone. Therefore, it is important that you shortlist and hire a wedding musician in New York and New Jersey, well in advance to make the wedding reception memorable for everyone.
0 notes
Text
Wedding Ceremony Musician New Jersey
Arnie Abrams is an excellent choice for anyone in New Jersey looking for a talented and experienced wedding ceremony musician. He is also known for his professionalism and dedication to his work. Visit us at https://arnieabramspianist.com/ to book an appointment.
0 notes
Text
A SERENE JAZZ MASTERPIECE TURNS 65
The best-selling and arguably the best-loved jazz album ever, Miles Davis’s Kind of Blue still has the power to awe.
MARCH 06, 2024
At a moment when jazz still loomed large in American culture, 1959 was an unusually monumental year. Those 12 months saw the release of four great and genre-altering albums: Charles Mingus’s Mingus Ah Um, Dave Brubeck’s Time Out (with its megahit “Take Five”), Ornette Coleman’s The Shape of Jazz to Come, and Miles Davis’s Kind of Blue. Sixty-five years on, the genre, though still filled with brilliant talent, has receded to niche status from the culture at large. What remains of that earthshaking year in jazz? “Take Five” has stayed a standard, a tune you might hear on TV or on the radio, a signifier of smooth and nostalgic cool. Mingus, the genius troublemaker, and Coleman, the free-jazz pioneer, remain revered by Those Who Know; their names are still familiar, but most of the music they made has been forgotten by the broader public. Yet Kind of Blue, arguably the best-selling and best-loved jazz album ever, endures—a record that still has the power to awe, that seems to exist outside of time. In a world of ceaseless tumult, its matchless serenity is more powerful than ever.
On the afternoon of Monday, March 2, 1959, seven musicians walked into Columbia Records’ 30th Street Studio, a cavernous former church just off Third Avenue, to begin recording an album. The LP, not yet named, was initially known as Columbia Project B 43079. The session’s leader—its artistic director, the man whose name would appear on the album cover—was Miles Davis. The other players were the members of Davis’s sextet: the saxophonists John Coltrane and Julian “Cannonball” Adderley, the bassist Paul Chambers, the drummer Jimmy Cobb, and the pianist Wynton Kelly. To the confusion and dismay of Kelly, who had taken a cab all the way from Brooklyn because he hated the subway, another piano player was also there: the band’s recently departed keyboardist, Bill Evans.
Every man in the studio had recorded many times before; nobody was expecting this time to be anything special. “Professionals,” Evans once said, “have to go in at 10 o’clock on a Wednesday and make a record and hope to catch a really good day.” On the face of it, there was nothing remarkable about Project B 43079. For the first track laid down that afternoon, a straight-ahead blues-based number that would later be named “Freddie Freeloader,” Kelly was at the keyboard. He was a joyous, selfless, highly adaptable player, and Davis, a canny leader, figured a blues piece would be a good way for the band to limber up for the more demanding material ahead—material that Evans, despite having quit the previous November due to burnout and a sick father, had a large part in shaping.
A highly trained classical pianist, the New Jersey–born Evans fell in love with jazz as a teenager and, after majoring in music at Southeastern Louisiana University, moved to New York in 1955 with the aim of making it or going home. Like many an apprentice, he booked a lot of dances and weddings, but one night, at the Village Vanguard, where he’d been hired to play between the sets of the world-famous Modern Jazz Quartet, he looked down at the end of the grand piano and saw Davis’s penetrating gaze fixed on him. A few months later, having forgotten all about the encounter, Evans was astonished to receive a phone call from the trumpeter: Could he make a gig in Philadelphia?
He made the gig and, just like that, became the only white musician in what was then the top small jazz band in America. It was a controversial hire. Evans, who was really white—bespectacled, professorial—incurred instant and widespread resentment among Black musicians and Black audiences. But Davis, though he could never quite stop hazing the pianist (“We don’t want no white opinions!” was one of his favorite zingers), made it clear that when it came to musicians, he was color-blind. And what he wanted from Evans was something very particular.
One piece that Davis became almost obsessed with was Arturo Benedetti Michelangeli’s 1957 recording of Maurice Ravel’s Piano Concerto in G. The work, inspired by Ravel’s triumphant 1928 tour of the U.S., was clearly influenced by the fast pace and openness of America: It shimmers with sprightly piccolo and bold trumpet sounds, and dances with unexpected notes and chord changes.
Davis wanted to put wide-open space into his music the way Ravel did. He wanted to move away from the familiar chord structures of jazz and use different scales the way Aram Khachaturian, with his love for Asian music, did. And Evans, unlike any other pianist working in jazz, could put these things onto the keyboard. His harmonic intelligence was profound; his touch on the keys was exquisitely sensitive. “I planned that album around the piano playing of Bill Evans,” Davis said.
But Davis wanted even more. Ever restless, he had wearied of playing songs—American Songbook standards and jazz originals alike—that were full of chords, and sought to simplify. He’d recently been bowled over by a Les Ballets Africains performance—by the look and rhythms of the dances, and by the music that accompanied them, especially the kalimba (or “finger piano”). He wanted to get those sounds into his new album, and he also wanted to incorporate a memory from his boyhood: the ghostly voices of Black gospel singers he’d heard in the distance on a nighttime walk back from church to his grandparents’ Arkansas farm.
In the end, Davis felt that he’d failed to get all he’d wanted into Kind of Blue. Over the next three decades, his perpetual artistic antsiness propelled him through evolving styles, into the blend of jazz and rock called fusion, and beyond. What’s more, Coltrane, Adderley, and Evans were bursting to move on and out and lead their own bands. Just 12 days after Kind of Blue’s final session, Coltrane would record his groundbreaking album Giant Steps, a hurdle toward the cosmic distances he would probe in the eight short years remaining to him. Cannonball, as soulful as Trane was boundary-bursting, would bring a new warmth to jazz with hits such as “Mercy, Mercy, Mercy.” And for the rest of his career, one sadly truncated by his drug use, Evans would pursue the trio format with subtle lyrical passion.
Yet for all the bottled-up dynamism in the studio during Kind of Blue’s two recording sessions, a profound, Zenlike quiet prevailed throughout. The essence of it can be heard in Evans and Chambers’s hushed, enigmatic opening notes on the album’s opening track, “So What,” a tune built on just two chords and containing, in Davis’s towering solo, one of the greatest melodies in all of music.
The majestic tranquility of Kind of Blue marks a kind of fermata in jazz. America’s great indigenous art had evolved from the exuberant transgressions of the 1920s to the danceable rhythms of the swing era to the prickly cubism of bebop. The cool (and warmth) that followed would then accelerate into the ’60s ever freer of melody and harmony before being smacked head-on by rock and roll—a collision it wouldn’t quite survive.
That charmed moment in the spring of 1959 was brief: Of the seven musicians present on that long-ago afternoon, only Miles Davis and Jimmy Cobb would live past their early 50s. Yet 65 years on, the music they all made, as eager as Davis was to put it behind him, stays with us. The album’s powerful and abiding mystique has made it widely beloved among musicians and music lovers of every category: jazz, rock, classical, rap. For those who don’t know it, it awaits you patiently; for those who do, it welcomes you back, again and again.
James Kaplan, a 2012 Guggenheim fellow, is a novelist, journalist, and biographer. His next book will be an examination of the world-changing creative partnership and tangled friendship of John Lennon and Paul McCartney.
5 notes
·
View notes
Text
The Baroness of Jazz
By Barry Singer
Oct. 17, 2008
IF the mysterious Baroness Pannonica de Koenigswarter is at all remembered today, it is for her proximity to the deaths of two legendary jazz musicians. In 1955 Charlie Parker died on a sofa in her Fifth Avenue home; 27 years later Thelonious Monk died after secluding himself for years in her New Jersey house.
Both deaths made the baroness an immediate target of tabloid headlines and a long-term subject for scurrilous gossip. Almost no one, though, beyond the insular jazz world, could possibly know her whole story: how, until her death in 1988, she championed jazz as both a friend and a generous, if rather unlikely, benefactor.
A Rothschild heiress, she offered her home to countless jazzmen as a place to work and even live, while quietly paying their bills when they couldn’t find work. She chauffeured them to gigs around New York, toured with them as a kind of racial chaperon, and was even known to confront anyone she felt was taking advantage of her friends because they were black.
“I always likened her to the great royal patrons of Mozart or Wagner’s day,” the saxophonist Sonny Rollins said in a telephone interview. “Yet she never put the spotlight on herself. I try not to talk publicly about people I knew in jazz. But I have to say something about the baroness. She really loved our music.”
The baroness first materialized in New York jazz clubs in the early 1950s like some film noir siren, right down to the raven hair and long cigarette holder. She seduced the music’s greatest figures with her friendship, the revolutionists of the bebop era: Charlie Parker, Dizzy Gillespie, Miles Davis, Thelonious Monk and many others. Her illustrious family has long refused to discuss her. But now a new book, “Three Wishes: An Intimate Look at Jazz Greats” (Abrams Image), offers a window into her personal life, providing details even her jazz intimates were probably unaware of.
The book is primarily a collection of candid photographs of the musicians taken by the baroness, and a compilation of their varied responses to a favorite question: “What are your three wishes?” On Oct. 30 an exhibition of her original notebooks collecting these snapshots and wish lists will open at the Gallery at Hermès in New York.
“Three Wishes” arrives with the implicit sanction of the Rothschild family, including a six-page introduction by a granddaughter, Nadine de Koenigswarter. The book offers more concrete information about the baroness than has ever before appeared between covers. But the source of her extraordinarily deep bond with jazz musicians remains elusive.
She was born, her granddaughter writes, in London on Dec. 10, 1913. Her full name was Kathleen Annie Pannonica Rothschild, according to her 1935 wedding announcement in The New York Times. She was the granddaughter of Nathan Mayer, the first Lord Rothschild, and the great-granddaughter of Mayer Amschel, the Rothschild patriarch who, from the Frankfurt ghetto, orchestrated his family’s rise. Her father was Nathaniel Charles Rothschild, a partner in the family bank, whose greater passion was entomology, a hobby at which he was both gifted and exceedingly accomplished. According to a great-niece, Hannah Rothschild, who is completing a documentary about her for the BBC, the baroness’s father was plagued by clinical depression that sometimes led the family to hospitalize him. He killed himself in 1923, at 46.
Nica Rothschild, as she was known, became an aviation enthusiast and an accomplished pilot. At 21 she met a kindred spirit at Le Touquet airfield in France. Baron Jules de Koenigswarter, 31, was a French mining engineer, banker and pilot. He was also a widower with a young son, and like Nica, he was Jewish. The baron quickly proposed after just three months; her response was flight to New York. They were married at City Hall in October 1935.
The couple took up residence in Abondant, a 17th-century chateau not far from Normandy. Their first-born child, Patrick de Koenigswarter, recalled in May in an interview published in The National, an Abu Dhabi newspaper, that when the Nazis invaded France, the baron, a lieutenant in the reserves, was called up. His father “left my mother a map, with instructions: If the Germans get to this point, take the children and escape any way you can to your family in England.” Shortly thereafter, his mother did, accompanied by a nanny and a maid, on what proved to be the last train out of Paris. The baron’s mother dismissed her son’s entreaties and instructions. She died at Auschwitz.
The baron joined de Gaulle’s Free French forces and was assigned to the Congo. At his instigation his wife next moved their two children to the United States, placing Patrick de Koenigswarter and his younger sister, Janka, with the Guggenheim family on Long Island. The baroness then somehow rejoined her husband in Africa with the Free French, serving in various capacities including ambulance driver and ending the war as a decorated lieutenant.
One little-known wartime detail lends a different sense to her later arrival in the New York jazz world. Her husband’s extended family, as well as her Hungarian-born mother’s, were nearly all killed in the Holocaust. The baroness’s adoption of New York’s predominantly black jazz family in the war’s aftermath thus seems less the act of a louche dilettante than of a survivor bent on resurrection and rebirth.
“I believe that she could no longer live in any ivory tower after what she saw in the war,” Hannah Rothschild said in a telephone interview. “Privilege offered no protection. The fate of her own mother-in-law proved that. She had experienced the very depths of prejudice herself firsthand.”
The baron entered the French diplomatic service after the war, settling his wife and children first in Norway and then in Mexico. “My father was a very controlling person,” Patrick de Koenigswarter said. “He was adamant about punctuality, while Nica was notorious for being late. She missed appointments, sometimes by days.” He continued, “It didn’t help that my father had no particular interest in the subjects that fascinated her: art and music.”
The baroness always credited her brother, Victor, a jazz fan and amateur pianist who studied with Art Tatum and Teddy Wilson, with introducing her to jazz. Shortly before her death, though, she revealed in a rare interview for the Monk documentary "Straight, No Chaser" the moment when her interest in jazz music escalated into something more.
“I was in the throes of the diplomatic life in Mexico,” she remembered of the years 1949 to 1952, “and I had a friend who got hold of records for me. I used to go to his pad to hear them. I couldn’t have listened to them in my own house, with that atmosphere. I heard them and really got the message. I belonged where that music was. This was something I was supposed to be involved in in some way. It wasn’t long afterwards that I cut out.”
It is well known in jazz circles that the great project of the baroness’s life was the torturously unstable Monk, whom she served as a surrogate wife right alongside Monk’s equally devoted actual wife, Nellie. The baroness paid Monk’s bills, dragged him to an endless array of doctors, put him and his family up in her own home and, when necessary, helped Nellie institutionalize him. In 1958 Monk and the baroness were stopped by the police in Delaware. When a small amount of marijuana was discovered, she took the rap for her friend and even served a few nights in jail.
People have always asked why. What drew her to him so intensely? Was it sex, drugs or groupie-esque infatuation? Clearly her steadfast devotion to Monk’s music propelled their relationship, which both maintained was platonic. In light of her father’s history, though, it seems possible that the underlying bond was love and childhood loss. In Monk, she may have been drawn to the same anguished brilliance that had consumed her father, whom she could not save.
he introduction to “Three Wishes” still leaves unanswered many questions that pursued the baroness throughout her life. Did she abandon her children in her headlong embrace of the jazz life, or were they taken from her? Did she enable addiction in the musicians she loved? Did she buy them drugs? Did she use drugs herself?
These questions once loomed large in her mystique. As her back story deepens, however, their sense of enormity recedes. The baron divorced his wife in 1956 after the scandalous publicity surrounding Charlie Parker’s death in her home. Shaun de Koenigswarter, the couple’s youngest son, recently confirmed that the baron also got custody of the three younger children, Berit (born in 1946), Kari (1950) and himself (1948). “I am the only child who never lived with my mother after she settled in New York in 1953,” he said in an e-mail message, adding that his four siblings lived with her during different periods.
That the baroness in fact lost custody of her three youngest children as a consequence of her love of jazz further illuminates the maternal quality of her presence on the scene. Is it any wonder that she clung to her musicians like family?
“She realized that jazz needed any kind of help it could get,” Mr. Rollins said, “especially the musicians. She was monetarily helpful to a lot who were struggling. But more than that, she was with us. By being with the baroness, we could go places and feel like human beings. It certainly made us feel good. I don’t know how you could measure it. But it was a palpable thing. I think she was a heroic woman.”
It has taken the actual family she left behind a long time to arrive at a similar conclusion. “Not all members of our family were enthused about the life she chose to lead (especially our father!),” Shaun de Koenigswarter wrote. “But over the years, many of those who had initially disapproved particularly in light of the many viciously biased and racist press reports about her came to understand and appreciate what she was all about.”
The saxophonist Sonny Rollins, photographed by Pannonica de Koenigswarter.
Thelonious Monk was among the many jazz musicians befriended (and photographed) by Pannonica de Koenigswarter, right.
Thelonious Monk by Pannonica De Koenigswarter
youtube
youtube
youtube
2 notes
·
View notes
Photo
More shows this week! @nardistavern Tues 5-9 @elaines_cm Wed 5-9 @pourhousepa Fri 7:30-10:30 @blackriverfarms Sat 2-4pm @skytoplodge Sat 7-10pm 📸: @serenafillxo #singersongwriter #acoustic #indierock #indie #guitar #guitarist #guitaristsofinstagram #music #musician #musicislife #musiciansofinstagram #songwriter #instamusic #newartist #indiemusic #livemusic #indieartist #musicislife #upcomingartist #acousticguitar #independentartist #aussie #newmusiccomingsoon #gigs #august #weekend #fridaynight #saturday #newjersey #nj (at New Jersey) https://www.instagram.com/p/ChSmmPHOiD-/?igshid=NGJjMDIxMWI=
#singersongwriter#acoustic#indierock#indie#guitar#guitarist#guitaristsofinstagram#music#musician#musicislife#musiciansofinstagram#songwriter#instamusic#newartist#indiemusic#livemusic#indieartist#upcomingartist#acousticguitar#independentartist#aussie#newmusiccomingsoon#gigs#august#weekend#fridaynight#saturday#newjersey#nj
6 notes
·
View notes
Text
Elevate your wedding ceremony in New Jersey with captivating melodies performed by skilled musicians from Arnie Abrams Pianist. Our talented team specializes in creating unforgettable moments through live music, adding an elegant touch to your special day. Trust Arnie Abrams Pianist to elevate your wedding to a symphony of love and celebration. https://www.arnieabramspianist.com/new-jersey-pianist/
0 notes
Text
Taylor Swift Keeps Getting Swarmed. It’s Got To Stop
With Swift’s star power only getting bigger, her recent forays into the public are becoming a lesson on how fandoms should — and should not — behave
In the 2020 documentary Miss Americana, director Lana Wilson gave viewers unparalleled access to the behind-the-scenes life of beloved pop star Taylor Swift— with backstage views of her sold-out concerts, personal hideaways, crushing career disappointments, and first forays into major statements about politics. But what captured fans most online was a singular scene where Swift leaves her New York apartment to a ravenous, frenzied crowd outside her front door.
“So this is my front yard,” she says, eyes wide as she looks at the cheering crowd held back by security and a load of barricades. “And I’m highly aware of the fact that that is not normal.”
In the documentary, the crowds surrounding Swift are often used to juxtapose just how odd and solitary a life built on fame can be. But in the past year, as her successful Eras Tour and album re-recordings have sparked a wave of new Swift stans and reignited the already existing ones, this isn’t just a one-off scene in a film. It’s an everyday part of Taylor Swift’s life. Last week, during the New Jersey wedding of longtime collaborator and producer Jack Antonoff, massive crowds swarmed one of the wedding events to catch a glimpse of the pop star. Yes, that included paparazzi gathered to snap pics of the other famous partygoers. But viral videos from the day showed an overwhelming force of average people, swarming a street she was seen on, blocking traffic, entrances, and an entire intersection — all while chanting her name.
Famous artists have always inspired massive followings and crowds in public spaces. But what appears to be happening here is a rift between the Swift fandom of old and the deluge of “Swifties” that have grown with the singer’s massive popularity. Everyone loves Swift, so the old signifiers of fandom just don’t cut it anymore. And as the fandom grows larger, it’s not enough to buy each colored vinyl, or look for clues in her lyrics, or even bring friendship bracelets to the concerts. The next step is proximity, showing up to the concert even without a ticket, waiting hours outside a hotel she might be in, running after her town car when she leaves a recording studio, or — like last week — surrounding Swift in a small bar in New Jersey and making sure she knows how you feel about her. And while glimpses like this could make a Swiftie’s night, it’s clear that joy might be coming at the expense of the mental health and safety of people’s favorite star.
Let’s be real, it didn’t use to be this popular to like Taylor Swift. In fact, it’s easier to remember her album eras by her public perception at the time. During her debut album, she was criticized for being an unserious one-off, a critique young women musicians often receive. During Fearless and Red, she was called boy-crazy for writing songs about her exes, and even her successful transition from country to pop was eventually overshadowed by an incredibly public feud with Kanye West over his lyrics insinuating that he “made that bitch famous.” But following snubs by both the general public and the music community for her albums Reputation and Lover, Swift entered the 2020 pandemic. She came out of it as an artist who wrote like rent on all of her multi-million dollar homes was due. Now, firmly into the European leg of her groundbreaking Eras Tour, the critical and commercial success of three more studio albums, and her re-recordings, the Taylor Swift who graces the stage today has fans spanning generations and lifestyles. You and your besties are Swifties, your neighbor went to the Eras Tour and sat next to an Emmy-nominated actress, and even the mayors of several major metropolitan eras declared their cities Swifties for a day. Taylormania has gotten so intense it’s genuinely changed the economy, according to the Federal Reserve.
With the rise in popularity also comes a major shift in the way a star is received. This isn’t a new phenomenon on its own — as Elvis, The Beatles, and One Direction grew more popular, so did the response to seeing them in person. But the addition of social media and fan accounts has made the problem that much more inescapable. As an artist, Swift has spent years cultivating personal relationships with her fanbase, in the form of meet-and-greets, personalized deliveries, and intimate listening parties. For people who are part of the Swift “fandom,” it’s not just about playing her songs — it’s a community dedicated to every single aspect of Swift: her performances, her lyrics, her public reception, from the shoes she’s wearing to the people who have disrespected her. The Taylor Swift fandom isn’t a random group of people chatting — it’s its own tiny word. And the same specific, specialized interest that’s brought the Swiftie fandom together has also created agreed-upon insider language, rules, and codes. It’s coordination that has started massive fan projects at concerts, created intricate call and responses to Swift’s songs, and — prior to the pandemic — had an almost militant rule against swarming Swift in public.
But when a group of fans goes from a tight-knit community to a vague amalgamation of every person who’s ever heard and enjoyed a Swift song — things can (and have) gone haywire. Self-policing tools, like public callouts, or Reddit threads encouraging fans to give Swift privacy during trips, which might work on a group of a few hundred people, can’t control an entire New Jersey town. Because, when an artist gets this level of mainstream, the accepted rules of the fandom aren’t just inaccessible to a group of new fans. In some cases, the majority of casual fans don’t even know they exist.
Now instead of paparazzi at a grocery store, or a few hundred people shocked to see their favorite singer out and about, Swift must contend with fans live-tweeting her location to hundreds of thousands of people, while others spend endless hours camped out where she might be — even after she’s publicly stated dozens of times on how scared and uncomfortable it makes her. In her Folklore song “the lakes,” she even refers to intense crowds of gathered fans as “hunters with cellphones.”
If the past three years are any indication, Swift’s level of fame will only continue to rise. And despite intense public shaming that can occur online when Swift’s privacy is disrespected, it hasn’t stopped the gathered crowds from growing and growing and growing. But it’s clear that as these fan scenes get more and more chaotic, Swifties are hurtling towards a tipping point, one that might result in Swift’s appearances becoming fewer and farther between. In the title single for her album Midnights, Swift dissects her insecurities around fame and success in “Anti-Hero,” describing herself as a “monster on a hill,” who’s far too large to hang out. In fact, dozens of Swift’s most heartfelt songs, either about love or friendship, confess an intense desire to experience these things in private — and more intensely, the desire to run away from it all. For an artist who’s built her career on her genuine connection with fans and also her intense desire for just a shred of privacy, seeing Swift disappear from public life entirely would be an outcome unfair to an artist who has refused to put even the most disrespectful fans in their places. So Swifties, say it with me: Sometimes, it’s alright to stay home.
ts1989fanatic:
I couldn’t agree more with this article, every swiftie should take note and read the damn thing it’s gotten ridiculous.
1 note
·
View note
Link
[ad_1] Taylor Swift ‘roasts’ pal Jack Antonoff in ‘hilarious’ toast during his weddingTaylor Swift was prominent presence at pal Jack Antonoff and Margaret Qualley’s wedding held in New Jersey, on Saturday, but she made sure to commemorate the newly-weds with a special toast.According to Page Six insiders, the Grammy-winning musician “hilariously and lovingly ‘roasted’ the couple during her lengthy toast” which they dubbed it as a ‘raucous 15-minute speech.’ It was followed by a song that Lana Del Rey had written for the bride called ‘Margaret.’Swift and Antonoff became fast friends back in 2012. They began their epic collaboration with the the One Chance soundtrack in 2013 and then proceeded to produce the singer’s hit 1989 album in 2014.The two have continued to collaborate over the past decade and won a number of awards for it. The Lover musician has taken home 12 Grammy awards among other accolades, while Antonoff, the frontman for Bleachers, has taken 8 so far.In her wedding toast to pal, Swift quipped that she always thanks Antonoff in her awards show acceptance speeches and that he never mentions her in any of his.Jokes aside, the music producer, 39, has previously acknowledged owing his success to Swift for recognising his potential during a conversation on Time’s Person of the Week podcast.“She’s the first person who recognised me as a producer. A lot of people are afraid to sign off on something that isn’t done by a proven person,” he said at the time.Page Six reported that speakers at the wedding reception also included the bride and groom’s parents, Andie MacDowell, Paul Qualley, and Rick Antonoff and Shira Antonoff and siblings Rainey Qualley, Justin Qualley and Rachel Antonoff, as well as filmmaker Paul Downs Colaizzo.Insiders also dished that the wedding party also had a tattoo artist to ink attendees who were interested. [ad_2]
0 notes
Text
Looking for Reliable New Jersey Wedding Musicians? Contact best Wedding Musicians & Arnie can offer some of the best wedding musicians in NJ.
0 notes
Text
Wedding Musicians: Have some Inspirations to hire for your D-day
A wedding is a D-day in everyone’s life irrespective of country and religion. Are you confused about whether or not you should opt for one of the best-in-class Wedding Musicians New Jersey and NYC? If you want to make your special day even more special and memorable, then wedding musicians can help you to create some magic.
All the dreams that you have preserved in your mind to make them materialize on your wedding day would be fulfilled to the next level if you have some romantic music being played in the background. There are different pieces of music are played based on the moments in a wedding ceremony to create a magnificent ambiance. Needless to say, musicians also keep playing music when guests start arriving at the venue.
Top-class Wedding Musicians New Jersey and New York City can play live music in prime moments in this regard. For instance, they choose to play a soulful piece of music when the bride starts walking down the aisle following the bridesmaids.
Next, they opt for an appropriate piece when it comes to completing the procedures of marriage registration. Last but not least, when the married couple is all set to leave the venue, musicians play one of their masterpieces.
0 notes
Text
Best Wedding Entertainment and Christmas Party Musician in New Jersey
If you are in New Jersey, wedding entertainment New Jersey pianist Arnie Abrams can make it special for you with his live piano performance. He knows over 600 songs and can learn a new song on the go.
New York is a melting pot of diverse music tastes. You can always find the music you want to listen to. Weddings, however, are a personal affair. You may want to create an elegant and joyous atmosphere for wedding entertainment. You can choose a pianist or an ensemble performance from the experienced musicians at Arnie Abrams entertainment.
If you want to create a romantic atmosphere for your wedding and want a playlist of your choice, we will collaborate with you and play your favorite songs on the piano or instruments of your choice.
We customize every ensemble performance based on your vision for your wedding and make it possible to immerse everyone present in a musical atmosphere. Our handpicked musicians are professionals who have years of experience behind them.
A wedding is a special event. You definitely want to make your wedding an event to remember.
From planning to executing, we’ll play the notes you want.
Make this Christmas special with live music
We less than 2 months away from Christmas and New Year and it is time to plan for Christmas party. The good news is that the pandemic is behind us. This festive season would be alive and kicking again.
Music is the soul of every party. A Christmas party is the best way to thank your co-workers or employees after a long year or bring your friends and family together for a cheerful evening. You can make your Christmas special with a Christmas party musician.
Whether you want Christmas songs to be played on a piano or along with a group of musicians, live music can add that extra cheer and create a soulful atmosphere.
Award winning Arnie Abrams Entertainment has been playing live music for the past thirty years. You can plan with us well ahead of time so that you don’t miss out on all the entertainment. Create memories for you and your loved ones this Christmas with a live Christmas party musician.
1 note
·
View note
Text
See photos of wedding guests Taylor Swift, Channing Tatum, more
Margaret Qualley and Jack Antonoff have officially tied the knot.
The actress and musician got married, saying “I do” at an intimate New Jersey ceremony. Several celebrity guests attended their nuptials, including Qualley’s mother, Andie MacDowell, and some of Antonoff’s musical collaborators, such as Taylor Swift and Lana Del Rey.
Representatives for Qualley and Antonoff did not immediately…
View On WordPress
0 notes
Text
Get the Best Music for Your (Visitor's) Ears
Attempting to sort out what music to play for your wedding is like attempting to settle a conundrum enclosed by a puzzler inside an episode of 'Monty Python's Flying Carnival'. With principles slipping and meanings of "music" getting hazier (wedding DJs - ugh!), it pays to find a NJ Musician who understands what's the fitting music to play at a wedding, Jewish right of passage, or another event. All things considered, a necktie and dark suit isn't sufficient to make consistency at a wedding or some other festival. Here, we will investigate the motivations behind why you really want a NJ piano player to praise your next enormous event.
A NJ Piano player Brings Flexibility
Proficient performers don't utilize Fruity Circles to make mind boggling music. Whether its stone, pop, blues, jazz, traditional or country, a performer has prepared for a really long time in their specialty. That expertise adds to the general environment of a wedding or another festival.
Make Your Extraordinary Day Noteworthy
Employing a NJ piano player makes a close to home insight for your visitors, which makes the occasion significantly more critical. How frequently have you heard, "Recall the time we mentioned that George Waterway tune at this and that's wedding?" or something almost identical. That is on the grounds that nothing resounds more than hearing your number one tunes being played as a piano instrumental or group of four as you stroll down the walkway, or while your visitors blend during the festivals.
A Live Performer Can Cooperate with Your Visitors
Live performers can connect with their visitors, which makes your wedding festivity an intelligent encounter for your visitors. Timespure An accomplished NJ piano player comes furnished with an entire rundown of persuasive and mitigating tunes, yet infrequently can ask visitors for ideas or solicitations, which will make your wedding noteworthy to your visitors long after the festivals are finished.
Sensibly Estimated Diversion
Dissimilar to different roads of diversion for weddings or other extraordinary events, the expert administrations of a live NJ piano player will be all the more sensibly evaluated. Since everyone loves to be engaged, particularly while praising a wedding, in the event that you really do employ a musician in New Jersey you will make your wedding festivities more extraordinary.
On the off chance that you're hoping to recruit a Piano player in New Jerseythen look no further, New Jersey's most active wedding piano players Arnie Abrams gives live piano music to weddings, Bar and Bat Mitzvahs, birthdayparties, and some other event. With a huge melodic collection (more than 600 tunes), this NJ musicians will keep your visitors fainting. Country, metropolitan, or dark tie this NJ piano player takes care of you!
0 notes
Text
Event party planner
#Event party planner professional#
Besides her role as a Lead Planner and Educator, Donna is also a Speaker at local events for The International Live Events Association (ILEA), The Special Event Show (TSE), Association of Bridal Consultants (ABC), and Wedding MBA. This Institute was created with the goal to offer education to both novice and seasoned professionals. Donna is also the Co-Founder of the Event Professionals Institute. Her impressive achievements separate Donna from the rest as they represent her unwavering passion for learning and her ambition to keep her brand as one of the most sought out companies in the New York Metropolitan Area. Donna and her team have been widely recognized for their work, with various publications and awards. Founded in 2012, Donna Anello Signature Events has locations in New York City and New Jersey, with Donna personally overseeing every detail, allowing client relations to have a personal approach which is undoubtedly why Donna Anello Signature Events continues to be at the top of its game. Her experience in the classroom has proven to be the core of her business and has proven priceless regarding her growing brand. Donna is an adjunct professor at Fairleigh Dickenson University in Madison, New Jersey. Furthermore, she is extremely passionate about educating the team around her. Donna entered the world of event planning with an extensive background in education having earned a bachelor’s and two master’s degrees, respectively.
Strong multitasking abilities and the ability to function under pressure.With more than a decade of experience in our constantly changing industry, Donna Anello, CSEP, owner of Donna Anello Signature Events, has grown her brand beyond even her own hopes and expectations.
Superb networking skills, customer service, and negotiation tactics.
Excellent time management, attention to detail, and communication skills.
Good client references and testimonials are a plus.
Degree in hospitality, design or a related field may be required.
Creating a portfolio of all events planned and collecting testimonials from satisfied clients.
Staying current on all the latest design and party trends.
Developing timeframes, checklists, and delegating tasks to the relevant parties.
Notifying clients of any changes or problems as soon as possible.
Monitoring guest confirmations and cancellations, and answering any queries.
Ensuring all food, drinks, chairs, tables, and decorations are delivered and set up on time.
Devising floor layouts, menus, parking arrangements, and invitations and ensuring clients are satisfied with them.
#Event party planner professional#
Conducting research, which may include sending emails, searching online, and making phone calls to ensure professional service delivery and a memorable event.Visiting venues, sampling food, liaising with caterers, musicians, and other service providers and vendors.Discussing and confirming all event details, including the number of guests, floor layouts, venue, color schemes, food, decor, theme, and budget with the clients.Outstanding candidates are network-savvy, resilient, flexible, and able to function under pressure. To be successful as a party planner, you should be passionate about entertaining people and coordinating social events. You should be able to negotiate the best contracts and juggle multiple responsibilities. The party planner’s responsibilities include meeting with clients to determine their needs and budget, suggesting and visiting prospective venues, developing floor plans, and liaising with vendors, suppliers, and other service providers. We are searching for a reliable self-starter to be our new party planner.
0 notes
Last Seen Blogs
