Music festival looks to jazz up Little Rock | KLRT


LITTLE ROCK, Ark. – An arts festival happening this month looks to “jazz” up Little Rock with the help of music students.

Art Porter Music Education’s “A Work of ART” kicked off in City Hall Monday with performances by music students from across the metro area.

The festival hopes to celebrate jazz and the legacy of little rock natives Art Porter, Senior and Art Porter, Junior, musicians who spread their love of jazz across the nation. 

One student performer says the education program taught him much more than just how to play, but ALSO how to appreciate everything music is.

“Over time, I met a lot of people who taught me what music is supposed to be and what it means to you,” Blake Bennett said. “So, music is also kind of just a journey in itself of just like self-discovery and just community. So, music can be a lot of things but to me, it’s education and community.”

The festival includes six performances in venues across the city, half of which are free. Upcoming performances include:

  • Tuesday, Aug. 1 at noon: Jazz on the River Plaza featuring Minors in Music, River Market Pavilions, 400 President Clinton Ave. (FREE) 
  • Wednesday, Aug. 2, 7 p.m.: Ronnie McBride, Ron Robinson Theater, 100 River Market Ave.
  • Thursday, Aug. 3: 7 p.m.: Dr. Chelsey Green, The Rep, 601 Main St.
  • Friday, Aug. 4, 7 p.m.: Porter Players Jam Session, AC Hotel, 201 W. Capitol Ave. (FREE) 
  • Saturday, Aug. 5, 8 p.m.: Norman Brown, with a special performance by Lex Porter, Still Ballroom at the Robinson Center, 426 W. Markham St.

Tickets can be found on the program’s website,

All proceeds go to the APME scholarship fund.

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Overkill, Joe Jack Talcum, Steal Your Peach


The top 3 Lehigh Valley-area concerts this week include legendary East Coast acts and a tribute band that takes fusion to a whole new level. First is a thrash metal band from New Jersey that is partially responsible for the popularity of the thrash metal scene it helped start in the ‘80s, bringing decades of hard-hitting hits to the neighborhood. Next is a tribute act that not only covers songs by the Grateful Dead and Allman Brothers Band but fuses them together adding a touch of improv for a unique experience. And last is a legendary Philadelphia punk rocker hitting the stage as a solo artist as part of the Powertone Records Showcase in Sellersville.


When: 6:45 p.m. Thursday

Where: Sherman Theater, 524 Main St., Stroudsburg

How much: $20

Tickets: 570-420-2808

Musical style: Thrash metal, speed metal, heavy metal

Known for hits like: “Elimination,” “Mean Green, Killing Machine,” “Coma,” and, “Last Man Standing.”

Honors: They started out playing covers of punk rock songs by bands like The Ramones and The Dead Boys before becoming one of the founders of Thrash Metal, alongside bands like Metallica, Anthrax, and Slayer. They were one of the first bands in the genre to achieve mainstream success, signing to Atlantic in 1987, with their first six albums making the Billboard charts. They’ve sold over 16 million records worldwide and continue touring and recording.

Check them out if you like: Megadeth, Metallica, Exodus, Testament, Anthrax, Pantera, Slayer

Steal Your Peach

When: 8 p.m. Saturday

Where: Penn’s Peak, 325 Maury Rd., Jim Thorpe

How much: $20-$25

Tickets: 866-605-7325

Musical style: Rock, folk, jam band

Known for hits like: Fusing the songs of The Grateful Dead and Allman Brothers Band like, “Touch of Grey,” “Friend of the Devil,” “Ripple,” “Ramblin’ Man,” and, “Midnight Rider.”

Meet the band: Made up of former members of Live at The Fillmore, Tom Hamilton’s American Babies, Dead on Live, Rainbow Full of Sound, and Splintered Sunlight, Steal Your Peach fuses the music of the Grateful Dead and Allman Brothers Band creating a unique mix of the original tracks while adding an original Steal Your Peach touch of improvisation. The Philadelphia-based band is known for their interactive performances and impressive musicianship that has earned them spots on stages at Brooklyn Bowl, Trocadero Theater, Ardmore Music Hall, and Musikfest Cafe.

Check them out if you like: Grateful Dead, Allman Brothers Band, Phish, Little Feat, Gov’t Mule, The Band, The String Cheese Incident

Joe Jack Talcum (of Dead Milkmen)

When: 7 p.m. Sunday as part of Powertown Records Showcase

Where: Sellersville Theater, 24 West Temple Avenue, Sellersville

How much: $19.50-$29.50

Tickets: 215-257-5808

Musical style: Punk, folk, acoustic rock

Known for hits like: “Dean’s Dream,” “Photograph,” “Ryan’s Song,” “Weed Whacker,” and, “Sex Sting.”

Meet the band: Most often celebrated as the guitarist and co-lead vocalist for the punk band, The Dead Milkmen (formed in Philadelphia in 1983), Joe Jack Talcum (Joe Genaro) is also an accomplished solo artist that tours behind his solo records regularly. He keeps up a YouTube channel that archives many of his livestream performances and music videos, and he has a regular newsletter fans can sign up for on his website.

Check him out if you like:  The Dead Milkmen, Ween, They Might Be Giants, The Residents, King Missile, Weird Al Yankovic, Descendents

Jay Honstetter is a freelance writer. Follow him on Twitter @jayhonstetter

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“I Was Almost Dead”- 58-Year-Old UFC Legend, Famous for


UFC legend Mark Coleman blazed a trail in the octagon like a boss. The ‘Godfather of Ground and Pound,’ as he was known to all, was a monstrous fighter whose raw strength and persistence allowed him to overwhelm his opponents. Coleman had a significant influence on the sport as both the first-ever UFC Heavyweight Champion and a forerunner in MMA .

America’s Favorite Video Today

The heavyweight bigwig has gained attention recently due to his projected return to the world of combat sports. But did you know? The legendary heavyweight has experienced a tougher time in his life. Well, he had a lot to say about remembering that phase and how he came out of its clutches.

Mark Coleman shed light on that frightening phase


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On his Instagram handle, Coleman had a bossing story to share regarding his personal life. He spilled his guts on how he suffered in that frightening phase and also managed to come out of it.

The ten-slide-post had a caption, which was enough to paint the entire picture. It stated, “Two years three months ago and me today was almost dead very close. I had been drinking and doing drugs for 12 years straight. The doctor gave me a handicap sticker absolutely ZERO training! I was living in an extended stay hotel a dump for over a year and a half I didn’t shave I didn’t shower long as I had my booze I thought life was fine, my best friend Wes Sims, convinced me to check in to the hospital to detox and then I committed to a rehabilitation center in Columbus, Ohio. It was the best decision choice I have ever made. They told me the skill to live life sober, and now I have saved my life. This is me today.”

The 58-year-old further stated how laid back he is in the recent times, “I’ve never been more at peace, more happy more life in my entire life. I am so grateful.”

Coleman’s words make it evident how proud he is of his journey. When he described his current circumstances, he appeared enthusiastic. As his remarks indicate; it was a hard voyage, but now that he had arrived, he must be feeling at ease and calm. Speaking of the anecdote, the heavyweight bigwig also had a funny one in the past with UFC commentator Joe Rogan.

An amusing incident with Joe Rogan?

Podcast host and commentator Joe Rogan is widely known for delivering hilarious hoots capable of contagious guffaws echoing across the MMA world. He might be admired for his martial arts expertise, but it seemed tiny in front of the heavyweight legend. A YouTube video from the past revealed the entire story. During a quick-witted wrestling session, Rogan was pushed into a wall, revealing he was no match for Coleman in the altercation.


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The interaction between the two appeared comical, but Rogan had previously experienced another episode with Coleman that he didn’t find amusing. Rogan discussed a time when he panicked and became anxious during an interview with Coleman.

Read MoreJorge Masvidal Reacts to Resurfaced Video of Joe Rogan Being Shoved Into a Wall by UFC Legend: “Smack and Sleep”


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Coleman had a lot revolving around his life. While his anticipated return is coming closer, it will be interesting to see how he penetrates the combat sports world. What do you think? Let us know in the comments.

Watch this story: How Much Is Francis Ngannou Paid for His Fight Against Tyson Fury?

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Crescent City Chamber Music Festival Celebrates Eighth Anni…


The Crescent City Chamber Music Festival (CCCMF) will mark its eighth year with a week-long celebration of classical chamber music from October 12 to 22, 2023. Seven free public concerts will occur at various venues across New Orleans, inviting music enthusiasts to partake in this year’s theme: “Songs of the Earth.”

Crescent City Chamber Music Festival Director and New Orleans native, Luke Fleming, a faculty member at the University of New Orleans School of the Arts, expressed his excitement for the upcoming event. “We are thrilled to present our eighth season of extraordinary chamber music-making in some of New Orleans’ most acoustically and aesthetically stellar venues, all free and open to the public,” he shared.

The festival’s commitment to community outreach will again be integral to its mission. In addition to the seven free public concerts, the Crescent City Chamber Music Festival artists will engage in over thirty outreach performances at schools, retirement communities, missions, and charitable organizations throughout Greater New Orleans. Local student chamber music groups will also have the opportunity to be mentored and coached by the artists.

The Crescent City Chamber Music Festival 2023 schedule is as follows:

1. Opening Night with “The Four Seasons” Date: Thursday, October 12, 2023, at 7:30 PM Venue: Trinity Episcopal Church – 1329 Jackson Avenue, NOLA 70130

2. “Music Without End” Date: Friday, October 13, 2023, at 7:30 PM Venue: Dixon Concert Hall, Tulane University

3. “The Sunset” Date: Sunday, October 15, 2023, at 5:30 PM Venue: Felicity Church – 1220 Felicity Street, 70130

4. “Quelled Longing” Date: Monday, October 16, 2023, at 7:30 PM Venue: Saint Charles Avenue Presbyterian Church – corner of State St. and St. Charles Ave., 70118

5. Urban South Brewery Concert Date: Wednesday, October 18, 2023, at 6 PM Venue: Urban South Brewery, 1645 Tchoupitoulas St, NOLA 70130

6. “The Gryphon Trio’s Debut” Date: Friday, October 20, 2023, at 7:30 PM Venue: UNO Performing Arts Center, Recital Hall

7. “The Trout” – Season Finale Concert Date: Sunday, October 22, 2023, at 4 PM Venue: Rayne Memorial United Methodist Church – 3900 St Charles Ave, NOLA 70115

Doors open one hour before each performance, and an informal pre-concert talk and Q&A session will commence thirty minutes before each concert (except for the Urban South Brewery concert). For more information about the festival, schedule, and locations, please visit the Crescent City Chamber Music Festival website. 

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San Mateo County, CA, Streamlines Procurement Processes


On the search for an end-to-end procurement solution, OpenGov was the clear choice for the forward-thinking County.

CALIFORNIA, UNITED STATES, July 31, 2023/ — Looking for a comprehensive system to support and manage the entire procurement lifecycle, San Mateo County, CA, embarked on a search for a new software solution to revolutionize the procurement process. The County found the perfect fit in OpenGov, the leading provider of an end-to-end procurement solution, promoting transparency, improving vendor engagement, and streamlining operations.

Believing that technology can help improve government by building stronger connections, leaders at the County recognized the need for a modern and efficient procurement solution. The team needed an eProcurement system with the ability to effectively handle all aspects of the procurement process, from initial requests to contract execution. OpenGov Procurement presented the ideal solution, offering the features and benefits the County was looking for: one streamlined system, transparency in solicitation results and awarded contracts, and easier access to information for the public.

With the implementation of OpenGov Procurement, San Mateo County anticipates transformative changes in procurement efficiency. The software’s comprehensive capabilities will enable the County to handle all procurement tasks seamlessly, from initial approval to contract award, promoting more structured and documented processes. Moreover, the increased efficiency will lead to a 75% reduction in the time required to write and release RFPs, attracting more supplier responses and facilitating a 100% paperless procurement process.

San Mateo County joins thousands of public sector organizations leveraging OpenGov to revolutionize work processes with cloud-based software designed specifically for the needs of government.

About OpenGov

OpenGov is the leader in modern cloud software for cities, counties, state agencies, school districts, and special districts. With a mission to power more effective and accountable government, OpenGov serves thousands of public sector leaders and their organizations. We are built exclusively for the unique budgeting and planning, accounting, permitting and licensing, procurement, and asset management needs of the public sector. The OpenGov Cloud makes organizations more collaborative and efficient, enabling best-in-class communication with stakeholders and your community.

Steph Beer, Senior Director of Communications
email us here

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Bronx judge quotes Grateful Dead while lowering bail for


When it came to highlighting the “confusing mess” created by New York’s attempt at bail reform, a judge invoked the power of rock-and-roll — literally.

“‘Maybe you’ll find direction/ Around some corner where it’s been waiting to meet you,’” Bronx Criminal Court Judge Jeffrey Zimmerman wrote in an opinion last week, quoting lyrics from the Grateful Dead’s 1970 song “Box of Rain.”

“Clearly, the bass player and lyricist of the Grateful Dead have never read New York’s bail reform statutes,” Zimmerman continued. “Instead of direction, the statutes provide judges with obfuscation and legislative sleight of hand.”

The Dead-infused court decision meant to explain why Zimmerman reduced bail for Edward Santiago, who was charged with attempted murder and gun possession and was initially held on a $335,000 bond. But it also offered a “very truncated history” of the state’s attempts at bail reform — with Zimmerman laying out the inconsistencies found in a system that prohibits judges from considering community safety when setting bail, while simultaneously requiring them to do so when it comes to alleged violent crimes.

Class, race and geography emerge as flashpoints in New York’s bail reform debate

In New York, the statute overhaul came in 2019, when the state moved to eliminate cash bail for most misdemeanors and some nonviolent felonies. When it came to “qualifying offenses,” or more serious crimes, the law mandated courts to find “the least restrictive alternative” to ensure a defendant’s return to court.

The idea was to stop punishing poor people who can’t afford to post bail while they’re awaiting trial and to address racial disparities in the criminal justice system. Soon after, though, the state’s legislature began weakening the law, following outcry over public safety.

Since 2020, the law has been amended three times to add more bail-qualifying crimes, including violent felonies, sex offenses and terrorism charges, and, most recently, to remove “the least restrictive alternative” provision — something Gov. Kathy Hochul (D) touted in April as a way to give judges “more authority to set bail and detain dangerous defendants” who may be committing other crimes after posting bail.

The result, however, has been “a Swiss cheese of a sanction,” said Elizabeth Glazer, former director of the New York Mayor’s Office of Criminal Justice, “because it’s a confusing and opaque system with a free-for-all of standards.”

“We need a clear system in which everybody knows what the factors are that are being used and what the true reasons are,” said Glazer, who now heads Vital City, a policy journal that addresses public safety issues. “States like New Jersey, that have done this thoughtfully and carefully and have provided judges with the right tools, have seen reductions in their detained population and reductions in pretrial offending.”

New Manhattan DA wants to stop prosecuting some offenses, make prison a ‘last resort’

Zimmerman’s July 24 court opinion, she added, “masterfully highlighted that we don’t have a rational law, and it makes it virtually impossible to write a clear decision.”

In explaining his reasoning in setting bail for Santiago, Zimmerman said he considered the combination of factors required by the law: whether Santiago is a flight risk, whether he has a criminal record and whether he allegedly caused serious harm. Santiago is charged with weapons possession and firing a gun at three men in an incident that was captured by video.

An attorney for Santiago declined to comment. In court, though, she argued that Santiago didn’t cause serious harm because the bullets missed their intended targets.

Zimmerman found that Santiago is a flight risk and that his alleged actions caused serious harm but balanced those factors with Santiago’s lack of a previous adult criminal record to ultimately reduce his bond to $200,000.

Though Zimmerman’s use of the Grateful Dead was reduced to a lyric from “Box of Rain,” there’s another song in the band’s repertoire that touches on their run-ins with the law: “Truckin’” from the same 1970 album, “American Beauty.”

That song immortalizes the wee hours of a Saturday in New Orleans in 1970 when the Grateful Dead were infamously busted down on Bourbon Street and arrested on drug charges.

It would take a couple of hours for their manager to arrange a combined bail of $37,500, equivalent to what the band had earned for the previous night’s gig. The charges were eventually dismissed.

The Dead stayed around for two extra nights — one of which was used to raise a bail fund for other artists who might face a similar situation.

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Thuisblijvers kunnen nu ook met het Delft Chamber Music Fes…


Net als zo’n beetje alle klassieke muziekfestivals de laatste jaren gaat nu ook het Delft Chamber Music Festival muzikaal ‘Op reis’. Althans zo luidt deze zomer het thema van het Delftse kamermuziekfestival. Het motto ‘Live life with no excuses, travel with no regret’, een citaat van Oscar Wilde, prijkt vooraan in het programmaboekje en ligt uitgeprint op elke stoel. Met de verse hitterecords in het achterhoofd is het eerste gevoel bij binnenkomst: een beetje spijt mag wel, hoor.

Thema van het openingsconcert vrijdag: muziek van de Roma. Violist Frederieke Saeijs heeft in Haydns Pianotrio nr. 39 (het ‘Zigeunertrio’) een moeilijke partij te verwerken, en dat gaat in de snellere delen met wat horten. De voorgrond nemen, voor de cello (Harriet Krijgh) en piano (artistiek leider Nino Gvetadze), lukt prima, maar als ze ruimte wil maken, klinkt het iets nasaal.

Violist Candida Thompson heeft in Brahms’ Eerste pianokwartet een prettiger toon, en na even inkomen klinkt het gebalanceerd, vooral als de drie strijkers lange tonen tegelijk spelen of juist om de beurt in elkaar haken.

Maar geen van beide stukken krijgen de lichtvoetigheid, zwierigheid en ademruimte die je je bij ‘zigeunermuziek’ voorstelt – al vraag je je in de loop van de avond wel even af of die voorstelling klopt, of dat-ie in de loop der eeuwen óók hopeloos geromantiseerd is.

Gvetadze en haar musici kiezen voor zware en dikke interpretaties. Gelukkig zorgt Gvetadze waar ze kan wel voor contrastrijke en vrolijk murmelenend notenregentjes op de achtergrond. Soms lijkt ze in haar eentje te dromen.

Daar tussenin krijgt violist en boventoonzanger Gareth Lubbe het podium, die aan John Corigliano’s muziek uit de film Le Violon rouge boventoonzang toevoegde. Bij lange tonen uit zijn viool past hij het natuurkundige fenomeen toe dat er, wanneer je je wangen en lippen met veel oefening goed weet te plooien, in je mond fluittonen meeklinken bij je stem. Lubbe kan daar vooral net hoorbare stijgende en dalende ladders mee maken; een leuke rariteit, maar niet oneindig boeiend. Zijn aandeel als altviolist in het Brahmskwartet is belangrijker.

Lees ook een interview met Nino Gvetadze toen ze twee jaar geleden het festival overnam: ‘Eigenlijk wilde ik in mijn eentje stiekem een klein Holland Festival maken’

Erg sympathiek is een halfuur later het gratis concert op een aardig volgepakte Delftse Markt, goeddeels ook met toevallige voorbijgangers die even blijven staan. Iedereen is gekomen voor bandoneonist Carel Kraayenhof en zijn kwartet, maar als voorafje spelen Saeijs en Gvetadze nog een mijmerende Romance op.23 van Amy Beach, waar Saeijs (zelfs door de buitenversterking) veel beter bij uit de verf komt.

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NYC judge quotes Grateful Dead rock hit to slam state bail


Call him the Dead Head judge.

A Bronx jurist who labels the state’s soft-on-crime bail reform laws “a confusing mess” is stepping up his game — using the legendary Grateful Dead to make his point.

“Maybe you’ll find direction/ Around some corner where it’s been waiting to meet you,” Bronx Acting Supreme Court Justice Jeffrey Zimmerman wrote in a ruling last week, quoting lyrics from the rock hit “Box of Rain.”

“Clearly, the bass player and lyricist of the Grateful Dead have never read New York’s bail reform statutes,” Zimmerman wrote. “Instead of direction, the statutes provide judges with obfuscation and legislative sleight of hand.

“The legislature’s cynical attempt to mollify the public’s concerns about safety, without expressly giving judges the tools to address them, has created a confusing mess.”

Zimmerman’s lengthy diatribe came Thursday, when he explained why he reduced bail on Edward Santiago, 23, who is charged with attempted murder and gun possession — while making it clear a new $200,000 amount was sufficient to ensure Santiago would return to court, as the law requires.

pictured is Acting Bronx Supreme Court Justice Jeffrey Zimmerman.
Acting Bronx Supreme Court Justice Jeffrey Zimmerman has spoken out against the state’s controversial bail reform statutes. In a written opinion last week he quoted the legendary rock band the Grateful Dead to make his point.
Bronx Criminal Court

The judge called the prior bail of $335,000 “somewhat complicated” because it was set by two separate judges for two separate criminal complaints — and said it was “higher than necessary to secure his return.”

It’s not the first time he’s railed against the criminal justice reforms — last year Zimmerman penned an op-ed piece for the Daily News criticizing the state’s “disingenuous” bail debate.

Zimmerman’s written rants stem from the 2019 reforms that barred judges from setting bail on most cases, and mandated the “least restrictive” bail on bail-eligible cases to ensure defendants return to court.

In subsequent years, Gov. Kathy Hochul and state lawmakers have made changes to the law, diluting the “least restrictive” requirement, adding more bail-eligible charges and allowing judges to consider a defendant’s potential harm to the community.

Critic of state bail reform is seen holding sign.
New York State’s controversial 2019 criminal justice reforms barred judges from setting bail on most cases. The law has been tweaked several times since to add gun charges and other crimes to the list of bail-eligible offenses.
William Farrington

Yet despite the tweaks, Zimmerman said judges are still dissuaded from considering a defendant’s “dangerousness” — and still harp on setting bail that merely ensures they return to court.

“What does the end of ‘least restrictive mean? Short answer: Not much,” he wrote. “The governor’s fixation on removing the ‘least restrictive means’ requirement seemed rooted in her belief that judges somehow don’t understand all the tools in their bail box.

“Although nobody really knows — or wants to know — exactly how the sausage is made in Albany, you don’t need to get inside the casing to see that the legislature is trying to have it both ways.

Bronx Criminal Court is pictured
Bronx Criminal Court, where the borough’s criminal cases are first heard. Empire State judges are prohibited from setting bail on most cases, and are required, under a 2019 reform package, to consider only enough to ensure a return to court.
Christopher Sadowski

“They want to mollify those critics who believe that bail reform is letting more dangerous people out to do dangerous things, while still limiting the purpose of bail to making sure people come back to court,” Zimmerman wrote, “foregoing the ‘public safety’ rational that’s a third rail for the most progressive members of the legislature.”

In Santiago’s case, he set bail at a $200,000 bond or $100,000 cash.

According to city jail records, he posted bail and was released from Rikers Island earlier this month.

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