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Swaye for Music Signs Agreement with Trebel to Reach Superfans of Its Artists

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Swaye for Music proudly announces the upcoming launch of its innovative platform, empowering superfans to amplify their relationship with their favorite performers. Swaye for Music has signed an agreement with TREBEL, one of the fastest-growing digital music services in the Americas, and the first licensed music platform to deliver offline song play at no cost to users, to connect with superfans through tailored advertisements.

TREBEL will enable Swaye for Music artists to reach their most devoted fans with updates on fan club opportunities, announcements of new releases, upcoming concert dates, and much more.

“Swaye for Music is the only fan platform that allows superfans to interact with their favorite artists in a whole new way that offers fun and engaging benefits,” said Garland Brown, founder of Swaye for Music. “TREBEL’s unique platform allows us to reach our artists’ superfans effectively and efficiently.”

“TREBEL’s download-then-listen app allows superfans to build libraries of their favorite artists’ music in a unique way,” said Gary Mekikian, founder and CEO of TREBEL. “Informing our superfans about the opportunities offered by Swaye for Music is a win for our users and a win for hundreds of Swaye for Music artists looking to turn their superfans into super-engaged fans.”

Swaye for Music is a premier fan platform connecting artists with their superfans. Swaye provides music fans with innovative ways to connect, including exclusive access to content, social media updates, and events, fostering deeper engagement between artists and their audiences. Learn more at www.swaye.com

TREBEL is one of the fastest-growing music services in the Americas and the first licensed platform that delivers offline music playback at no cost to users. With its innovative app, TREBEL empowers fans to download and enjoy their favorite music anytime, anywhere, while helping artists and labels connect directly with audiences through its unique advertising model and eliminating the need for music piracy.

Mellon Foundation Launches $35 Million Jazz Initiative Aimed at Championing Celebrated Jazz Luminaries and Bolstering the Broader Jazz Ecosystem

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The Mellon Foundation today announced a multifaceted $35 million initiative aimed at supporting the cultural preservation of jazz, championing the legacy of the artists who have played a pivotal role in its formation, and strengthening the broader jazz ecosystem. The initiative, which will provide support for scholarly and storytelling initiatives, and partnerships with the archives, clubs, and other institutions critical to preserving and amplifying jazz’s impact on future generations, is anchored by the ‘Jazz Legacies Fellowship’ – a newly created $15 million fellowship founded in partnership with the Jazz Foundation of America (JFA). The inaugural class of 20 Jazz Legacies Fellows, also announced today, represent the pinnacle of creative achievement, technical mastery and boundary-pushing expression, and are the first of 50 artists to be named fellows over the next four years.

Building on Mellon’s commitment to creating a more robust ecosystem that champions care for art and its creators, the foundation’s jazz initiative advances preservation, scholarship, and celebration of the art form by providing strategic support for organizations that present, advocate for, and produce jazz music.  As part of the broader jazz initiative, Mellon has granted $4 million to eight organizations critical to the artform including: the 369th Experience, connecting military and jazz history through the legacy of the Harlem Hellfighters Band; Arts for Art, championing avant-garde jazz in New York City; Afro Latin Jazz Alliance/Belongo, advancing Latin jazz traditions through education and performance; DC Jazz Festival, providing a major platform for emerging and established artists; the Ellis Marsalis Center, offering vital jazz education in New Orleans; JazzMobile, bringing free concerts to communities since 1964; the Philadelphia Clef Club, preserving the city’s rich jazz heritage; and the Pittsburgh International Jazz Festival ‘calling home’ jazz artists for its 25th anniversary.

“Jazz is a quintessentially American art form, central to our vast and varied American culture, and this initiative rightly and broadly honors the work of those who continue to drive the evolution of jazz while also safeguarding its histories,” said Elizabeth Alexander, President of the Mellon Foundation. “We at Mellon are proud to join JFA in recognizing the artists, scholars, and community coalitions that continue to amplify our understanding and appreciation of this dynamic musical form and the deep generational knowledge that will accumulate from it long into the future.”

The Jazz Legacies Fellowship was designed for artists, and in close collaboration with a host of celebrated musician advisors, including Terri Lyne CarringtonChristian McBrideJason MoranArturo O’FarrillEsperanza Spalding, and presenter Sunny Sumter with the aim to foster intergenerational dialogue, honor lifelong artistic contributions, and ensure the integrity of our multivocal historical record.

“My peers and I rely on the artistic bravery of our mentors — these are the artists that churned a vibrant language with the knowledge that it was useful for not only society, but also for the soul,” said celebrated pianist and Jazz Legacies Fellowship artistic advisor, Jason Moran. “This initial cohort of musicians are the gardeners, and the work of Mellon and JFA, the bulbs that – along with water, soil and sun — allow us to cherish their work from the past and into the future.”

“The jazz community is unmatched in its reverence and affection for its heroes,” said Joe Petrucelli, Executive Director of the Jazz Foundation of America. “JFA is proud to have launched this fellowship, in partnership with Mellon, and guided by input from over 100 musicians, presenters, educators, and organizers to select 20 inaugural recipients. Our process balanced creativity, generational impact, and the realities of being a working jazz musician in America. With urgency and consensus, we recognize these artists as mentors, trailblazers, and inspirational figures. This fellowship not only celebrates their contributions but also provides much-needed financial security—an all-too-rare resource in the field.”

Administered by JFA’s Jazz Legacies Fellowship team led by Program Director, Veronika Châtelain, the fellowship will support 50 seasoned jazz artists aged 62 and older. Each recipient will be honored with a lifetime achievement award and receive an unrestricted grant of $100,000. Recipients will also be provided with resources for tailored professional and personal support, including master class and performance opportunities, production assistance, legal and financial counsel and more.

The diverse cohort of fellows comprises artists across a range of instruments, including bass, drums, flugelhorn, saxophone, organ, piano, reeds, trombone, trumpet, and vocals, and spans styles from avant-garde and free jazz to hard bop and fusion. Fellows represent a mix of internationally renowned and locally celebrated talents – all of whom have profoundly shaped the jazz landscape.

Celebrated vocalist, Carmen Lundy notes, “I am deeply touched by this important recognition and also inspired to continually contribute to the art form as it is one of America’s greatest gifts to the world. I am grateful to the Jazz Foundation of America and to Mellon for their commitment to the preservation of the jazz artist and their legacies.”

The 2025 Jazz Legacies Fellows are:

  • George Cables, 80, pianist, Queens, NY
    Humble keyboard genius with impeccable technique and distinctive songbook

  • Valerie Capers, 89, pianist, Bronx, NY
    Groundbreaking artist-educator melding classical and jazz

  • George Coleman, 89, saxophonist, New York, NY
    Peerless soloist from fabled ’50s Memphis scene and bridge between jazz eras

  • Akua Dixon, 76, cellist, Westchester, NY
    String specialist who blazed new trails in all styles of music

  • Manty Ellis, 92, guitarist, Milwaukee, WI
    Local icon known as the Godfather of Milwaukee Jazz

  • Tom Harrell, 78, trumpeter, New York, NY
    Beloved bandleader-soloist with a deep emotional resonance

  • Billy Hart, 84, drummer, Montclair, NJ
    Hero of jazz rhythm and esteemed mentor known to fans worldwide as “Jabali

  • Bertha Hope88, pianist, New York, NY
    Bebop torchbearer and pioneering advocate for women in jazz

  • Roger Humphries, 81, drummer, Pittsburgh, PA
    Jazz phenom who committed career to nurturing his hometown scene

  • Carmen Lundy, 70, vocalist, Los Angeles, CA
    Multi-instrumentalist and composer who sets a standard for artistic independence

  • Amina Claudine-Myers 82, pianist, New York, NY
    Avant-garde legend firmly grounded in gospel and blues traditions

  • Roscoe Mitchell, 84, multireedist, Fitchburg, WI
    Illustrious experimental composer and educator; Art Ensemble of Chicago mainstay

  • Johnny O’Neal, 68, pianist, New York, NY
    A musicians’ musician with a “million-dollar touch”

  • Shannon Powell, 62, drummer, New Orleans, LA
    New Orleans jazz ambassador known as the King of Tremé

  • Julian Priester, 89, trombonist, Seattle, WA
    Multifaceted jazz virtuoso and invaluable educator

  • Dizzy Reece, 94, trumpeter, Bronx, NY
    Enigmatic musical metaphysician whose influence spans generations

  • Herlin Riley, 68, drummer, New Orleans, LA
    Irrepressible bandleader bringing the rhythm of New Orleans to the world

  • Michele Rosewoman, 71, pianist, New York, NY
    Singular composer, bandleader and teacher fusing jazz, Cuban folkloric sounds

  • Dom Salvador, 87, pianist, Long Island, NY
    Brazilian visionary who fuses samba, jazz and funk

  • Reggie Workman, 87, bassist, New York, NY
    Master artist-educator; jazz luminary for nearly 70 years

The inaugural cohort of the Jazz Legacies Fellowship was selected by a distinguished panel of artists, scholars, and jazz professionals including Aja Burrell WoodBrian BladeHelen SungJackie HarrisJerome JenningsJoe FarnsworthMelanie CharlesNicole GloverNicole MitchellRegina CarterRobert HurstSuraya MohamedTheo CrokerWillard Jenkins, and Yosvany Terry.

To learn more about the Jazz Legacies Fellows and their work please visit: jazzfoundation.org/jazz-legacies-fellowship/. To stay informed of additional funding for Mellon’s jazz initiative, subscribe to the Mellon Foundation newsletter at mellon.org/newsletter.

About The Andrew W. Mellon Foundation

The Andrew W. Mellon Foundation is the nation’s largest supporter of the arts and humanities. Since 1969, the Foundation has been guided by its core belief that the humanities and arts are essential to human understanding. The Foundation believes that the arts and humanities are where we express our complex humanity, and that everyone deserves the beauty, transcendence, and freedom that can be found there. Through our grants, we seek to build just communities enriched by meaning and empowered by critical thinking, where ideas and imagination can thrive. Learn more at mellon.org.

About The Jazz Foundation of America

The Jazz Foundation of America is a national nonprofit that provides financial assistance, social services, and employment opportunities to jazz, blues, and roots musicians affected by circumstances such as financial crises, health problems, natural disasters, and lack of work. It is our belief that in offering aid that enhances the wellbeing of artists, we contribute intrinsically to the legacy of the artform. With a licensed clinical social work team, JFA strives to find creative solutions for the struggles that musicians face anywhere in their lives. Our methodology is rooted in fostering long-term, personal relationships to empower clients and restore hope and dignity in their most trying times. Our performance programs create meaningful gigs for hundreds of musicians every month and bring free concerts to thousands of listeners at public schools, nursing homes, parks, and other community venues across the country. The organization was founded in 1989 and now assists artists and their families in 7,000 cases a year.

WavMaker Launches Cue Packs: Seamless Music Scoring for Filmmakers

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WavMaker, a next-generation music licensing platform for video creators, introduces Cue Packs, curated bundles of modular music designed to streamline the film scoring process. By offering pre-arranged themes, intros, outros, and transitions in a variety of popular film genres, Cue Packs eliminate the hassle of hunting for, licensing, and syncing music—allowing filmmakers to focus on storytelling. Available via subscription for full commercial use, these packs instantly bring professional-quality soundscapes to any project.

“Cue Packs are built to solve one of the biggest pain points for filmmakers—finding and assembling cohesive music quickly and efficiently,” said Matt Arcaini, co-founder of WavMaker. “We designed these packs to simplify workflow, making high-quality scoring accessible to all creators.”

Inspired by Hollywood-style cue libraries, Cue Packs offer pre-matched tracks tailored for specific storytelling needs. Instead of searching the entire library for compatible pieces, editors can drag and drop professionally curated cues that fit together seamlessly within their scenes. Each pack includes essential variations such as stingers, transitions, and mood-building elements, making the scoring process faster and more intuitive.

Available Cue Packs Include:
  • Action Drama – High-energy scores for pulse-pounding twists and climactic showdowns.
  • Food & Travel – A flavorful soundtrack for every bite, every journey, and every unforgettable moment.
  • Kidventure – Playful, energetic, and full of wonder—music that brings childhood imagination to life.
  • ⁠Nature – Majestic scores that capture the awe of the great outdoors—without the bug spray.
  • ⁠Real Estate – Polished, inviting, and effortlessly upscale—music that helps seal the deal.
  • Sports – High-energy anthems packed with intensity, momentum, and game-winning emotion.

New Cue Packs will be released monthly, expanding the collection to meet filmmakers’ evolving needs.

The Fray Announces Global Tour to Celebrate 20 Years of ‘How to Save a Life’

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Multi-Platinum band The Fray is set to embark on a highly anticipated global tour to celebrate the 20th anniversary of their groundbreaking debut album, How to Save a Life. How to Save a Life: The 20th Anniversary Tour will span 20 U.S. cities and 14 international stops, giving fans across the globe the chance to relive the music that defined a generation and has amassed over 12B total streams.

Released in 2005, How to Save a Life became a defining album of the 2000s, earning critical acclaim and producing chart-topping singles like “Over My Head (Cable Car)” and the 5X Platinum title track. Reaching the top spot on the Billboard 200 Chart, the album’s deeply personal lyrics and emotive sound resonated with fans worldwide, cementing The Fray as a household name. Two decades later, the music continues to inspire and connect generations.

“We wrote songs in our parents’ basements and our grandpa’s barn, dreaming of playing our music with the world one day. We never imagined that the songs from How to Save a Life would still hold new meaning 20 years later,” said lead vocalist Joe King. “It’s an incredible honor to celebrate the album’s 20th anniversary on tour this summer. We can’t wait to perform these songs and share their stories with you. Come sing with us—we’ll see you soon!”

The Fray, consisting of King, longtime guitarist Dave Welsh, and drummer Ben Wysocki, will kick off How to Save a Life: The 20th Anniversary Tour on July 25 in Dallas, TX. The tour will stop in major cities like New York, Los Angeles, Chicago, and Nashville before concluding internationally in Dublin, Ireland on November 22. The Strike will support all U.S. dates, with Landon Barker joining select shows. International support will be announced soon.

The newly added dates are in addition to the previously announced stops on The Fray Is Back Tour, supporting their 6-song EP of the same name, released last fall. This includes their Top 30 single, “Time Well Wasted.”

Following a triumphant return in 2024 after a decade-long hiatus, The Fray is continuing their headlining tour, The Fray Is Back, through the spring. Named after their recently released EP, this is a new chapter for the multi-Platinum-selling band, with vocalist, guitarist, and primary songwriter Joe King taking over lead vocals alongside longtime guitarist Dave Welsh and drummer Ben Wysocki. This summer, The Fray will launch their How to Save a Life: The 20th Anniversary Tour in July, celebrating the milestone of their iconic debut album. When the Colorado-bred group first emerged in the early 2000s, The Fray introduced the world to a deeply emotional, alt-rock sound—timeless yet inventive, arena-sized yet profoundly intimate. Over the years, their soul-searching songwriting and dynamic sound earned them four GRAMMY Award nominations, three Billboard Music Awards, multiple Billboard Top 10 hits, and a devoted global fanbase. Their breakout single, “How To Save A Life,” spent an incredible 58 weeks on the Billboard Hot 100 and became the unofficial anthem of ABC’s Emmy-winning show “Grey’s Anatomy.” Rolling Stone praised their “stick-in-your-head hooks and eloquent narratives,” while the Los Angeles Times called their music “melodically rich.” Their 2005 debut full length project, How To Save A Life, is RIAA-certified 4x Platinum in the U.S. and remains one of the best-selling digital debuts of all time. The band is working on new music to come later this year.

THE FRAY TOUR DATES
March 15 – Chandler, AZ | Ostrich Festival +
April 17 – Charleston, SC | Charleston Music Hall +
April 18 – Norfolk, VA | The NorVa +
April 19 – Bristol, VA | Hard Rock Live – Bristol +
April 24 – Raleigh, NC | The Ritz +
April 25 – Richmond, VA | The National +
April 26 – Charles Town, WV | Hollywood Casino +
May 9 – Louisville, KY | Mercury Ballroom +
May 10 – Columbia, MO | Blue Note +
May 16 – Las Vegas, NV | Bel-Aire Backyard +
May 18 – San Diego, CA | Wonderfront +
May 23 – Ft. Wayne, IN | The Clyde Theatre +
May 24 – Decatur, IL | Devon Lakeshore Amphitheatre +
June 27 – Grand Rapids, MI | 20 Monroe +
June 28 – Milwaukee, WI | Summerfest +
July 6 – Trois-Rivieres, QC | FestiVoix de Trois-Rivieres +
July 25 – Dallas, TX | South Side Ballroom *
July 26 – Austin, TX | ACL Live at The Moody Theatre *
July 27 – Houston, TX | Bayou Music Center *
July 29 – Orlando, FL | House of Blues
July 30 – Atlanta, GA | Tabernacle *
August 1 – Washington, DC | Anthem *
August 2 – Philadelphia, PA | Fillmore *
August 3 – Boston, MA | Leader Bank Pavilion *
August 5 – New York, NY | The Rooftop at Pier 17 *
August 7 – Toronto, ONT | History *
August 8 – Detroit, MI | Fillmore *
August 9 – Cleveland, OH | Agora Theatre *
August 12 – Nashville, TN | Ryman Auditorium *
August 14 – Indianapolis, IN | Rock the Ruins *
August 15 – Chicago, IL | Chicago Theatre *
August 16 – Minneapolis, MN | Fillmore *
August 19 – Seattle, WA | Paramount Theatre *
August 20 – Portland, OR | Crystal Ballroom *
August 22 – Oakland, CA | Fox Theater *^
August 23 – Los Angeles, CA | Wiltern *
September 26 – Ocean City, MD | Ocean’s Calling Festival *
November 1 – Warsaw, Poland | Progresja
November 2 – Berlin, Germany | Huxleys Neue Welt
November 4 – Stockholm, Sweden | Annexet
November 5 – Oslo, Norway | Union Scene
November 7 – Copenhagen, Denmark | Vega
November 8 – Hamburg, Germany | Docks
November 10 – Utrecht, Netherlands | TivoliVredenburg
November 11 – Cologne, Germany | E-Werk
November 13 – Paris, France | Salle Pleyel
November 15 – Glasgow, UK | SWG3 TV Studio
November 17 – Manchester, UK | Albert Hall
November 18 – London, UK | O2 Shepherd’s Bush Empire
November 21 – Belfast, Northern Ireland | The Telegraph Building
November 22 – Dublin, Ireland | 3Olympia
+ previously announced dates for The Fray is Back Tour
* The Strike as direct support
^ Landon Barker opening

ROCK FOR RONNIE 2025 Announces A Star-Studded Tribute and Fundraiser for Cancer Research

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This year’s ROCK FOR RONNIE Concert in the Park fund-raiser, benefiting the Ronnie James Dio Stand Up and Shout Cancer Fund, is set for Sunday afternoon, May 18, 2025, 11AM to 6PM, at the outdoor space adjacent to the Autry Museum of the West in Griffith Park. ROCK FOR RONNIE, an afternoon of live rock music, silent and live auctions, food trucks and fun geared to the entire family, celebrates the memory of the late singer who succumbed to gastric cancer in 2010.

Headlining this year’s ROCK FOR RONNIE will be actor and heavy metal singer Sebastian Bach and his band. Entrepreneur, author and producer Ahmet Zappa will be this year’s host. Also joining the bill will be Dio Disciples; southern rock band Jason Charles Miller; hard rock band Kill Devil Hill and the All-Stars Band, which in past years has included noted musicians such as Doug Aldrich, Steven Adler, Chris Broderick, Phil Demmel, Dave Grohl, Adrian Vandenberg, Ricky Warwick and Brian Tichy, among many others.

General Admission tickets for $65 and a limited number of VIP seating tickets for $125 are now on sale. For information, visit: www.diocancerfund.org/events

There will be ample additional opportunities to support to the Dio Cancer Fund at the ROCK FOR RONNIE via a silent auction and raffle, beverage, food and merchandise sales, artist meet and greets, a specially-created Garden of Hope and, of course, direct contributions on site. A silent auction with many exciting items available to bid on throughout the afternoon, while live auctions, featuring one-of-a-kind rock collectibles, will be held from the stage between artist performances.  Beer, wine, sodas and water will be available for sale, as well as food from various participating food trucks, plus assorted vendor booths selling unusual crafts and other items.

The new location for the event will also make it more special. “The Autry Museum park is a beautiful setting for ROCK FOR RONNIE with plenty of room for the event to grow in future years,” explains Dio Cancer Fund President-Founder Wendy Dio.  “It will be an exciting afternoon for the whole family.”  

The Ronnie James Dio Stand Up and Shout Cancer Fund was founded in memory of the legendary singer, who lost his life to gastric cancer in 2010.  A privately funded 501(c)(3) public charity, the Ronnie James Dio Stand Up and Shout Cancer Fund has already raised over $2 million since its inception. Monies raised have been committed to the cancer research work of the T. J. Martell Foundation for Cancer, AIDS and Leukemia Research, the gastric cancer research unit of the M.D. Anderson Cancer Center in Houston, where Ronnie was treated for gastric cancer during the last six months of his life, and other cancer research projects. Since 2016, the Dio Cancer Fund has committed funds to support the research of Dr. David Wong and his team at the UCLA School of Dentistry in developing a simple, non-invasive saliva test for the early detection of cancer.

100% of the net proceeds from the ROCK FOR RONNIE will go to the Dio Cancer Fund, which is now in its 14th year of raising awareness and much-needed funding for cancer prevention, education and research for a cure.  The organization also hosts the annual Bowl for Ronnie Celebrity Bowling Party in November.

Ronnie James Dio is the subject of an acclaimed documentary film, DIO: DREAMERS NEVER DIE, which is currently streaming and available on DVD and Blu-Ray+4K.

For more information, visit: www.diocancerfund.org

Moving to Brookline – Guidance for a successful relocation

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By Mitch Rice

Moving to Brookline, MA, offers the best of both worlds—quick access to downtown Boston with the charm of a tree-lined suburb. Known for its diverse neighborhoods, vibrant shopping districts, and excellent schools, Brookline continues to attract families, young professionals, and students alike. Below is a comprehensive guide to help you navigate the moving process, from choosing the right movers to obtaining a Brookline moving permit.

1. Get to Know Brookline’s Neighborhoods

Coolidge Corner

  • Highlights: Home to the iconic Coolidge Corner Theatre, a variety of restaurants, and local shops.
  • Vibe: A bustling commercial district retaining a neighborhood feel; many apartments and condos along Beacon Street.

Washington Square

  • Highlights: Centered around the intersection of Beacon Street and Washington Street, known for its restaurant scene and local pubs.
  • Vibe: A lively area served by the Green Line (C branch), with both green spaces and dense residential streets.

Brookline Village

  • Highlights: Historic architecture, small businesses, and close proximity to the Longwood Medical Area.
  • Vibe: A quaint “village” feel with tree-lined streets, cozy eateries, and easy access via the Green Line (D branch).

Cleveland Circle

  • Highlights: Straddling the Brookline-Boston border, near multiple MBTA lines (B, C, and D) at or around Cleveland Circle and Reservoir stations.
  • Vibe: Popular with students and young professionals, offering a range of dining and entertainment options.

2. Planning Your Move

Timing

  • Off-Peak Seasons: Late fall or winter moves can be easier to schedule and often cost less than peak summer months.
  • Mid-Month Moves: The beginning and end of the month can be hectic due to common lease turnover dates.

Budget

  • Moving Costs: Obtain multiple estimates from moving companies to compare pricing and services.
  • Permits and Parking: Include Brookline’s permit fees in your budget if you need to reserve on-street parking.

Building Requirements

  • Elevator Reservations: If moving into a high-rise or building with restricted elevator use, reserve the elevator beforehand.
  • Certificate of Insurance (COI): Many condo associations or property managers require a COI from the moving company.

3. Top-Rated Moving Companies

Choosing a trustworthy mover is crucial for a smooth transition. Here are three reputable companies to consider:

  1. Safe Responsible Movers 
  • Why They Stand Out: Reliable crews noted for punctuality and careful handling of your belongings.
  • Pro Tip: They have extensive experience navigating Brookline’s sometimes narrow or heavily trafficked streets.
  1. Brookline Moving Company 
  • Why They Stand Out: Local expertise, deep familiarity with the Brookline area, and a focus on customer satisfaction.
  • Pro Tip: Because they’re Brookline-based, they can often offer valuable tips on street parking, building requirements, and local regulations.
  1. Big City Moving 
  • Why They Stand Out: Known for their efficient, friendly service and flexible scheduling options.
  • Pro Tip: They offer a wide range of services, including packing, storage, and specialty moves for delicate items.

Tips for Hiring Movers

  • In-Home or Virtual Estimates: Let the moving company see your items beforehand for a more accurate quote.
  • Check Reviews: Look at Google, Yelp, or local forums for honest feedback on performance and reliability.
  • Book Early: This is especially important if you’re moving during the high-demand months (spring/summer).

4. Brookline Moving Permits

Brookline enforces strict parking rules, and you may need a Brookline moving permit (also referred to as a “No Parking” or “Moving Van Permit”).

When Do You Need a Permit?

  • Large Trucks: If using a sizable box truck or moving container.
  • High-Traffic or Narrow Streets: If your move might block lanes or occupy multiple parking spaces.

How to Apply

  1. Town of Brookline Website: Look for the Transportation Division or Department of Public Works page to find application forms and guidelines.
  2. In Person (Optional): Visit Brookline Town Hall if you prefer an in-person application process.
  3. Fees: Expect a base fee plus a daily rate for each parking space. Check the official website for current pricing.
  4. Lead Time: Submit your request 1–2 weeks before the move date for best results—longer if moving during peak periods.

Posting “No Parking” Signs

  • Sign Pickup: After approval, you’ll receive or print official signs.
  • 48-Hour Rule: Signs must typically be posted at least 48 hours before the move so neighbors are notified.

5. Moving Day Logistics

Parking

  • Arrive Early: Ensure your reserved space is clear of other vehicles.
  • Respect Regulations: Even with a permit, keep driveways, hydrants, and crosswalks accessible.

Traffic & Access

  • Map the Route: Brookline has some narrow roads and ongoing construction. Check for any local detours.
  • Communicate with Movers: Let the crew know about stairs, elevator usage, or any unusual building quirks.

Weather

  • Unpredictable Climate: Brookline’s weather can change quickly—keep protective tarps or plastic covers ready.
  • Winter Moves: Salt or sand stairs and walkways to prevent slips.

6. Settling In

Address Updates

  • Massachusetts RMV: You have 30 days to update your driver’s license and vehicle registration with your new address.
  • Utilities: Electric service is typically with Eversource; gas with National Grid. Cable/internet providers include Comcast (Xfinity) and Verizon Fios, depending on location.
  • Voter Registration: Can be done online or at Brookline Town Hall once you have proof of residency.

Explore Brookline

  • Shop & Dine: Coolidge Corner, Washington Square, Brookline Village, and Cleveland Circle each offer unique atmospheres and amenities.
  • Green Spaces: Enjoy local parks, the Brookline Reservoir, and nearby segments of the Emerald Necklace.
  • Public Transportation: The MBTA’s Green Line (B, C, and D branches) serves much of Brookline.

Resident Parking Options

  • Overnight Parking Restrictions: Brookline typically does not allow overnight on-street parking without a special permit or arrangement.
  • Limited Permits: If you need overnight street parking, contact the Transportation Division to see if you qualify for any available permit programs.

Conclusion

Brookline combines suburban charm with urban convenience, boasting excellent schools, lively commercial districts, and easy access to Boston. A well-planned move—complete with the right movers (such as Safe Responsible Movers, Brookline Moving Company, or Big City Moving) and a Brookline moving permit—can make settling in a breeze. Once you’ve unpacked, explore each neighborhood’s unique character, from Coolidge Corner and Washington Square to Brookline Village and Cleveland Circle. Welcome to your new Brookline home!

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

5 Surprising Facts About Jeff Buckley’s ‘Grace’

Discovering someone else has that same cherished record is like finding a kindred spirit in a sea of strangers. Suddenly, you’re not just two people, but two souls connected by the same album. Jeff Buckley’s Grace is that album album— an ethereal, once-in-a-generation masterpiece that still has the ability to bond strangers into friends and lovers by the very nature of having it in both your collections. Released in 1994, it was overlooked at first but grew to be one of the most beloved records of all time. With Buckley’s soaring vocals, poetic lyricism, and breathtaking arrangements, Grace remains a touchstone for musicians and music lovers alike.

1. The Title Track Was Inspired by a Heartbreaking Goodbye

The haunting, celestial title track of Grace has a deeply personal origin. Buckley wrote the song after saying an emotional farewell to his girlfriend at an airport before moving to New York City. The sweeping, melancholic sound of the track perfectly encapsulates the feeling of longing and letting go. Every soaring note in Buckley’s vocal performance feels like a desperate attempt to hold onto something fleeting—making it one of his most powerful compositions.

2. “Hallelujah” Was Almost Left Off the Album

Buckley’s iconic rendition of Leonard Cohen’s Hallelujah is now considered one of the greatest covers of all time, but it almost didn’t make it onto Grace. Originally, Buckley recorded over 20 takes of the song, meticulously crafting the final version from different recordings. Columbia Records wasn’t convinced of its commercial potential, but Buckley insisted on including it. Years later, the song would go on to introduce him to an entirely new generation of listeners, proving his instincts were spot on.

3. A Last-Minute Song Change Upset Columbia Executives

In the final stages of recording Grace, Buckley had a dilemma—he had two songs competing for a spot on the album: Forget Her and So Real. The label saw Forget Her as a hit, but Buckley felt it was too commercial and ultimately decided to go with So Real instead. His decision left executives frustrated, but Buckley believed So Real was a better artistic fit. Looking back, it’s hard to argue with his choice—its eerie, dreamlike sound became one of the album’s standout moments.

4. Jeff Buckley Wasn’t Happy with Studio Recording

Buckley was known for his improvisational brilliance in live performances, and he struggled with the structured nature of studio recording. He likened it to “sound painting” and found it nerve-wracking because every recorded take was permanent. While he worked tirelessly on his vocal performances and guitar arrangements, he felt confined by the recording process. This tension may explain why his live recordings, such as Live at Sin-é, feel even more raw and transcendent than his studio work.

5. The Album Cover Was a Pure Accident

The now-iconic cover of Grace wasn’t staged—it was a candid moment. Photographer Merri Cyr captured Buckley mid-listen during a playback session of Dream Brother, his eyes closed, completely lost in the music. He was wearing a sequined jacket he had picked up from a thrift store, which added to the photo’s mystique. Columbia executives initially rejected the image, saying Buckley looked too much like a lounge singer. But Buckley insisted, and the photo went on to become one of the most memorable album covers of the ‘90s.

Like the best art and friends, Grace has only become more powerful over time. Whether you’re rediscovering it or listening for the first time, these stories make the album even more of an emotional experience. Buckley poured his soul into every note, and that spirit continues to reach new fans decades later. So put on Grace, close your eyes, and let it take you somewhere transcendent—because that’s exactly what Jeff Buckley intended.

5 Surprising Facts About Blondie’s ‘Parallel Lines’

Blondie’s Parallel Lines is the record that catapulted the band from underground new wave heroes to global superstars, thanks to the disco-infused genius of “Heart of Glass,” the raw energy of “One Way or Another,” and the sleek production of Mike Chapman. But even if you’ve spun this album a thousand times, there are still secrets buried in its grooves. Here are five little-known facts about Parallel Lines that will change the way you hear it forever, and get you on the dancefloor quicker.

1. The Album Almost Didn’t Happen Because of Studio Chaos

When producer Mike Chapman walked into the studio, he was met with a band that—by his account—was “the worst” he had ever worked with in terms of musicianship. Chris Stein was too stoned to play, Clem Burke had timing issues on the drums, and bassist Nigel Harrison was so frustrated that he once threw a synthesizer at Chapman. The tension was palpable. Debbie Harry, already skeptical of working with an L.A. producer, was moody and sometimes disappeared for hours in the middle of sessions. Despite all this, Chapman whipped them into shape, transforming their scrappy punk energy into polished pop perfection. If not for his obsessive drive, Parallel Lines could have been an entirely different album—or never finished.

2. “Heart of Glass” Was Almost Scrapped—And Rock Fans Hated It

Before it became one of the defining songs of the disco era, “Heart of Glass” was a completely different beast. Originally written as “Once I Had a Love” in the early ‘70s, it had a funky, reggae-tinged sound. When Chapman suggested giving it a more electronic, Euro-disco feel inspired by Kraftwerk and Giorgio Moroder, the band hesitated. But after layering the Roland CR-78 drum machine with live percussion, the track took on new life. The song’s success, however, came with backlash—Blondie was accused of “selling out” to disco, a controversial move at a time when rock and punk fans were firmly anti-disco. Ironically, “Heart of Glass” was never meant to be a disco song at all.

3. Robert Fripp Secretly Played Guitar on “Fade Away and Radiate”

Yes, that Robert Fripp, the mastermind behind King Crimson’s progressive rock wizardry. Fripp was brought in to add guitar textures to the dreamy, eerie track “Fade Away and Radiate,” and his signature sound gave it an otherworldly quality. But what most people don’t know is that Fripp’s contribution was entirely improvised. He listened to the track once, plugged in, and delivered a mesmerizing performance in a single take. It was so perfect that Chapman didn’t even ask him for another go. Blondie had unknowingly captured a prog-rock legend in his purest form.

4. Debbie Harry’s Stalker Inspired “One Way or Another”

“One Way or Another” isn’t just a catchy anthem—it’s a chilling real-life story. Debbie Harry wrote the lyrics based on her terrifying experience with an ex-boyfriend who turned into a stalker. He followed her obsessively, called her constantly, and even forced her to move out of New Jersey in fear for her safety. To cope with the trauma, Harry infused the lyrics with dark humor and relentless energy, transforming fear into empowerment. The menacing “getcha, getcha, getcha” chant? That wasn’t just a catchy hook—it was Harry channeling her survival instinct into music.

5. The Album Cover Wasn’t Blondie’s First Choice

The black-and-white Parallel Lines cover is now iconic, but the band actually hated it. The concept was chosen by their manager, Peter Leeds, and shot by photographer Edo Bertoglio. The idea of the male band members in uniform suits with Debbie Harry standing out in a white dress was meant to create a contrast, but Harry found it cliché. What’s more, the album title came from an unused song Harry wrote, and the lyrics to it were included on the first vinyl pressing—but the track itself never made the final cut. Despite the band’s reservations, the cover went on to become one of the most recognizable in rock history.

With Parallel Lines, Blondie shattered expectations and redefined what a rock band could be. They fused punk, new wave, disco, and pop in ways that hadn’t been done before, and in the process, they gave us one of the most enduring albums of all time. From studio chaos to secret guest musicians, from stalker nightmares to industry-defying reinventions, Parallel Lines is proof that sometimes, the best music comes from the most unexpected places.

CEIPA to Host Matsuri ’25: Japanese Music Experience in Los Angeles

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The Japan Culture and Entertainment Industry Promotion Association – known throughout its home country as CEIPA – is set to make its mark in the United States on March 16 by staging Matsuri ’25: Japanese Music Experience LOS ANGELES, a world-class J-pop concert starring Ado, ATARASHII GAKKO!, and YOASOBI, at the Peacock Theater in L.A. Tickets are on sale for the show and can be purchased here.

With this first-of-its-kind concert, CEIPA aims to bridge the gap between Japanese musicians and U.S. audiences, and to further develop and strengthen those bonds, in conjunction with Peacock owner-promoter Goldenvoice/AEG.

“One of CEIPA’s core missions since its establishment has been to promote Japanese music and culture to the world. Los Angeles, a city where diverse cultures converge and the global entertainment industry thrives, serves as the perfect stage for our first-ever live event. Being able to launch this initiative here holds immense significance for us. Furthermore, in keeping with the Japanese cultural spirit of valuing community connections, we see it as our mission to support those affected by the recent wildfires in Los Angeles through this event. We sincerely hope that this event will serve as a catalyst for new exchanges and deeper understanding between Japanese and American artists, creators, and fans through the power of music.” – Taro Kumabe, Executive Director at CEIPA

The Matsuri ’25 lineup features three of Japan’s hottest acts:

Ado, a 22-year-old utaite, burst onto the music scene in 2020 with her major debut single “Usseewa,” which quickly became a cultural phenomenon. In February 2024, she embarked on her first world tour, “Wish,” captivating fans worldwide. Just two months later, she made history as the first female solo artist to perform at Japan’s National Stadium during the Ado SPECIAL LIVE 2024 “Shinzou.”

ATARASHII GAKKO!, the self-proclaimed “Youth Representative of Japan,” have captured attention with their powerful dance performances and live shows, where every piece of choreography is created by the members themselves. Debuting globally in 2021 under 88rising, a label that promotes Asian culture worldwide, their track “Otona Blue” went viral on TikTok, amassing over 3.3 billion views and 15 million+ followers across social media. In 2023, they performed at NHK’s Kouhaku Uta-Gassen, and in 2024, they headlined the Gobi Stage at Coachella for two consecutive weeks. Additionally, they successfully completed a world tour, drawing a total of 110,000 fans across 26 cities worldwide and 7 cities in Japan, continuing to make waves both domestically and internationally.

YOASOBI is a unit that turns novels into music, consisting of composer Ayase and vocalist Ikura. Their debut song, “Yoru ni Kakeru (Into The Night),” released in November 2019, became the first song in Japan’s history to surpass 1.1 billion streams. In April 2023, their release “Idol” topped major global charts, including the Billboard Global Excl. U.S. and Apple Music’s Top 100: Global, setting groundbreaking records in J-pop history.

Domestically, they successfully completed their first-ever dome tour in the fall of 2024. In December, they launched their second Asia tour, further solidifying their presence as leading J-pop artists making waves on the global stage. Their remarkable success continues to shine in various arenas both in Japan and abroad.

The Saints ’73-’78 to Make U.S. Debut in November

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Following a hugely successful debut Australian tour in 2024, The Saints ’73-’78 will make their US debut this November. Featuring founding Saints members, guitarist Ed Kuepper and drummer Ivor Hay, alongside honorary Saints; singer Mark Arm of Seattle rockers Mudhoney, former The Birthday Party / Bad Seeds guitarist Mick Harvey and bassist Peter Oxley of Australia’s legendary Sunnyboys, The Saints ’73 -’78 carry on where the original band left off in 1978, performing the material from their three incendiary albums (I’m) Stranded (1977), Eternally Yours (1978), and Prehistoric Sounds (1978).

The November tour will be the first time the material from the original band and their three albums, plus respective EPs and singles, will have ever been performed in the USA.

“The Saints first three albums rank among the best records ever made. They have been a part of my life since stumbling upon them in the early 80s. Their influence looms large in Mudhoney world. I am stoked, stunned, and humbled that I get to join in on this Rock ‘n’ Roll Reality Camp with Ed, Ivor, Peter and Mick,” says Mark Arm

The tour also comes off the back of a recent 4-LP box set of 1977’s ground breaking debut (I’m) Stranded, which features the original album remastered for vinyl for the first time in over 40 years, the previously unreleased 1976 mix of the album, a 5-song live performance from April 1977 at Sydney’s Paddington Town Hall, a full live show from the London’s Hope and Anchor in November 1977, plus all recordings from the 1977 Top 40-charting This Perfect Day and 1-2-3-4 EP sessions.

“The Saints came down from Brisbane (to Melbourne) with a sound that they had worked out entirely on their own, which really sat before the punk thing happened in Britain. They got there first. There was one prevailing emotion that came from those live shows and that was complete contempt, about everything, and that was really unbelievably exciting. They had it all down. We were just flailing around.” – Nick Cave

In their original guise, The Saints existed from 1973-1978. Self-releasing the legendary (I’m) Stranded single in September 1976, and in the process pre-dating releases – and the yet-to be-named ‘punk’ scene – from the Sex Pistols, the Damned, the Buzzocks and the Clash. Following the release of their debut album, also titled (I’m) Stranded, in February 1977, The Saints would move first to Sydney and then in May, to the UK, playing their first show at the London Roundhouse with the Ramones. Over the next twelve months, the band would release their only UK-charting record; the exquisite 7″ This Perfect Day, record and release the 1-2-3-4 EP and record two further albums, the critically acclaimed Eternally Yours, and Prehistoric Sounds (both 1978), before calling it quits.

Following their demise, guitarist Ed Kuepper, having provided the bulk of the material and the sonic pallet that was The Saints, resisted the urge to perform under the banner of The Saints, instead returned to Australia to begin his new group, the equalling as incendiary Laughing Clowns, who would prove a significant influence on the post-punk scene and in particular (yet again) on Nick Cave and The Birthday Party. Eventually, Kuepper would turn to his own name as a recording artist, producing over 15 solo albums and earning himself numerous ARIA awards at home, as well as Hall of Fame entries for both his solo work and with The Saints. He would also record movie soundtracks, revert to his rock mode via albums with The Aints and The Aints!, enjoy a spell as guitarist with Nick Cave & The Bad Seeds, co-create the experimental jazz outfit Asteroid Ekosystem and is shortly to release the album After the Flood, a collaboration with the brilliant Jim White, drummer for Dirty Three, The Hard Quartet and The Double.

Saints singer and lyricist Chris Bailey would carry on with the name The Saints over the next 40 years, moving more into the folk and r’n’b of his youth and finding some chart success in Australia during the mid-eighties. ‘The Boss’ Bruce Springsteen even covering the Bailey-penned track (Just Like) Fire Would for his 2014 live album, High Hopes.

Drummer Ivor Hay, whose contribution to those first three albums was so unique and identifiable, would dip in and out of the post-Kuepper lineups of The Saints, performing on those mid-eighties hits, and also forming his own post-punk outfit, Wildlife Documentaries, before dropping out of music altogether for the domestic sector and, among other things, wrote the first Instruction Manual for the Fairlight CMI!

On 9/11/2001, Saints founding members Bailey, Kuepper and Hay reformed for their induction into the Australian Music Hall of Fame playing the song (I’m) Stranded for the first time in over 30 years, but other things on that day overshadowed their achievement.

Moving on to 2007, and The Saints would then reunite for real performing at the State Government-backed Pig City concert, headlining to 7000 euphoric Saints fans, which lead to the release of a live album of the same name. Then in 2009, at the behest of Mr. Cave and Mick Harvey, The Saints reformed again, this time for the Australian leg of the All Tomorrow’s Parties Festivals, playing shows in Melbourne, Mt. Buller, Hobart, Brisbane, and on an island in Sydney Harbour. These would be the last shows the original three would perform together.

In 2023, with the announcement of The Saints (I’m) Stranded box set and following the 2022 death of Chris Bailey, the decision was made to assemble a band who could most represent the songs performed on those first three incendiary albums. In Mudhoney’s Mark Arm, they found a singer, different in tone to Bailey, but someone who could deliver with intensity and a real passion for the material. As one of the rare few to have seen the band perform on home soil in 1977, Mick Harvey (ex-Bad Seeds) was a natural choice to help replicate the extras parts played on the albums, be it guitar or keyboard. Bassist Peter Oxley of Sydney’s legendary Sunnyboys has been a long-time foil of Kuepper’s across various solo and band entities and remains a firm disciple of 1977-78-era Saints bassist, Algy Ward. Rounding out The Saints ’73-’78 is a three-piece brass section featuring both tenor and baritone sax, trumpet and French horn and includes masters of their craft; Eamon Dilworth and Julien Wilson.

And joining The Saints ’73-’78 on all dates across the USA and UK are fast-rising Australia duo, Chimers. Recipients of numerous end-of-year ‘best of 2024’ album nods for their sophomore effort, Through Today. 10 tracks of laser-focused intensity that has seen them receive friends and favour from Henry Rollins to Built to Spill, Mudhoney to Mick Harvey! Indeed; Gerard Cosloy of Matador Records notoriety signed them to his 12XU label having witnessed them just the once. Crikey!

The Saints ’73-’78 Live Shows:
October 31 – Auckland, NZ – Powerstation
November 1 – Wellington, NZ – MeowNui

US:
November 5 – Los Angeles, CA – Teragram Ballroom
November 6 & 7 – San Francisco, CA – Great American Music Hall
November 8 – Portland, OR – Revolution Hall
November 9 – Seattle, WA – Neptune Theatre
November 11 – Chicago, IL – Cabaret Metro
November 13 – Toronto, ON – Phoenix Concert Theatre
November 14 – Brooklyn, NY – Music Hall of Williamsburg
November 15 – Philadelphia, PA – Union Transfer
November 16 – Washington, D.C. – Union Stage

UK:
November 21 – Bristol – Trinity
November 22 – Leeds – Project House
November 23 – Glasgow – Garage
November 24 – Manchester – Academy 2
November 26 – London – Electric Ballroom

EUROPE:
November 28 – Stockholm – Debasser Strand
November 29 – Malmo – Plan B.
November 30 – Berlin – Astra