record release show

what she says: I’m fine 

what she means: I don’t understand why they can’t professionally record broadway shows and release them to the public, there would be no need for bootlegs, broadway fans FROM ALL OVER THE WORLD could watch, it would help expand the theatre community and preserves something that is so beautiful and special to so many people.


Brendon singing My Funny Valentine, by Frank Sinatra.

This has probably been posted somewhere, but if you haven’t listened to it yet, DO IT.

The thing that gets me about the fact that they don’t release professional recordings of Broadway shows is that they literally record all of them anyway

I’d get it if it was too much of an undertaking to record and release every show. I’d understand. But they already do that, and they’re archived at the Library of Performing Arts at Lincoln Center and people with a New York library card can set up screenings of any show they want. The thing is, hardly anyone knows about it, and it’s only open to NY residents.  

If you’re recording them anyway, if you have them on file, why not release the recordings to the public after the show closes? No harm done, and theatre is accessible to people who don’t have the means to see shows live.


the last shadow puppets - everything you’ve come to expect // 01 april 2016


Show Pony

Fan video of Show Pony dancing at the record release party/show on November 22, 2010.


Show Pony

A nine-minute fan video of Show Pony dancing at the record release party/show on November 22, 2010.



So, I went to the Dreamcar record release show in Long Beach last night and had a blast. The guys did incredible and it was cool to hear some of the songs acoustic and stripped down. 

Anyway, here’s a video in which Davey decides he’d rather perform on the balcony behind the rest of the band “like Madonna” instead of sit on the chair provided for him. :D Sorry about the bad video quality and shaky camera work! Enjoy!

why legal recordings should be made of broadway musicals: a text post by a kid from new york state

listen. i live in the same fuckin state as broadway and i can’t get to new york city because i live all the way across the state. and lemme tell u new york is a pretty large state. its a 6-hour drive from my city to nyc and I’d probably have to get a hotel in addition to paying the tolls along the way and paying for a ticket to the show and the price of gas. thats a lot of god damn money and i dont even live far enough that id have to buy a plane ticket. i get why creators & actors dont like bootlegs but for a lot of people, its the only way they can see their favourite shows. the amount of bootlegs being recorded could easily be diminished if a legal recording was released for every show. and the thing is, creators wouldn’t lose any money from releasing legal recordings! people who can afford to see the show are gonna buy tickets to see the show, and maybe even a dvd on top of it to be able to watch it again and again. the majority of the people buying dvds would be people who wouldn’t be able to see the show anyway, and if thousands or even millions of people bought a ten dollar dvd on top of the people already buying tickets for hundreds of dollars, that would only get the creators more money! in short, releasing legal recordings is the best thing for the broadway industry and it would give millions of fans access to something they would kill to see live

We Cool? We Cool. Why Jeff Rosenstock Matters

by Erik van Rheenen

Most “this band means a lot to me” stories follow a certain narrative tack. They start with discovering the band as an impressionable, bright-eyed teenager, probably introduced by a wise older sibling, a mixtape burned from a best friend’s CD-R drive, or maybe headphones shared with a crush on a long ride somewhere, falling in love over four chords and split earbuds. That’s followed by enthusiastic discography-diving, tracking down the most obscure B-sides and splits that bootleg music blogs offered under their proverbial trench coats. And the stories usually culminate in finally sharing the same sweaty, small room with that band, shouting back the lyrics you fell in love with as your slightly younger self. Sound familiar? Probably.

So maybe it’s poetic justice that my story of how Jeff Rosenstock’s music brashly marched its way into my heart waves a casual middle finger to that narrative before dismantling it completely.

When I found myself gravitating towards ska-punk in high school – I didn’t go as far as to wear all-checkered-everything and sign up for skanking lessons, but an impossible number of Less Than Jake and Goldfinger songs occupied prime real estate on my iPod — I became tangentially familiar with Rosenstock’s foray into the genre with The Arrogant Sons of Bitches. I figured that, like a more punk Paul McCartney, Rosenstock just felt like filling the world with silly ska songs.

But lets bypass all the childhood nostalgia bullshit. I discovered Bomb the Music Industry! in college, in a soundproofed radio station tucked in the basement of Syracuse University’s student center. I was a freshman who wore his dorm room key on a lanyard, thought naming a fledgling radio show “Stage Dives and Sing-alongs” was cool, and trekked half a mile every Monday at 6:30 in the morning, wind whipping in my face, so I could settle into the WERW (What Everybody Really Wants!) studio for two hours and test just how soundproof those station walls were.

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