Photographer Michael Weintrob has been working in the music industry for twenty-plus years. Since his early days, shooting bands at the Aggie Theatre in Fort Collins while attending Colorado State University, he has allowed his creative juices flow, and back in 2000, while he taking photos of The Derek Trucks Band, the earliest beginnings of his beloved InstrumentHead project was born.The photographer, a staple of New Orleans Jazz Fest, will once again deliver a pop-up exhibit at Jacques Imo’s gallery space from April 27th to May 6th (info here), featuring his collection of works—including images of Bootsy Collins, Mickey Hart, Junior Brown, Scott Avett of the Avett Brothers, Anders Osborne, and more—and live music from some of his longtime musician friends from NOLA and outside the Crescent City.The exhibit will open on April 27th with live performances from Papa Mali and Bobby Vega, which will begin at 9 p.m. and benefit the New Orleans Musicians’ Clinic & Assistance Foundation, an organization that “offers occupational and comprehensive health services for musicians, performers, cultural workers and tradition bearers of New Orleans.” Following the opening-night ceremonies, on Saturday, April 28th, Weintrob’s InstrumentHead exhibit will host a trio of performances, including a solo set from Eric McFadden, a Billy Iuso & Eddie Christmas duo set, and a performance by Will Bernard.Right around Jazz Fest time last year, Weintrob released the official InstrumentHead book, a collection of portraits published by Magnet Bound Press and that includes images of 369 musicians and their instruments. The 11” x 15” full-color book comes with the choice of three different cover options. The book will be on-sale at the exhibit, with Michael Weintrob on hand for a special book signing session as well.We had an opportunity to discuss the InstrumentHead project, the NOLA exhibit, and more with the legendary photographer. Check out what he had to say below!Live For Live Music: How did the concept for this long-time project take form?Michael Weintrob: I was a house photographer at the Aggie Theatre in Fort Collins, Colorado, in the late 90s and early 2000s. The Derek Trucks Band performed there one night in 2000, and I was taking a portrait of the band backstage after their show. Todd Smallie, the bassist, came a little late and had his bass. I said, “Do something crazy. I don’t know put your bass down your shirt.” So he did. From then on out, it became part of my creative process when doing portrait shoots with bands. It wasn’t like I was hit by a bolt of lighting and the InstrumentHead project was born. It was just something I did in photo shoots. It was one of my licks as a photographer.I moved to Brooklyn in 2003 seeking a new life experience, and to learn more about the pro photography world. I met with editors at Spin, Vibe, Rolling Stone, Time, and others. They all basically told me the same thing: that was that my live music photography was excellent, but if I wanted to be a portrait photographer in NYC, I needed to do some studying and find my voice. Over the next five years, I learned about lighting and shooting in the studio. I started shooting these faceless portraits in a controlled lighting situation. The images ended up on album covers, such as George Porter Jr.’s It’s Life and Karl Denson’s Lunar Orbit, and were used for promotional images.In 2008, I wandered into a bookstore on Bedford Avenue and saw a coffee table book with a beautiful cover featuring all of these awesome bands logos on it. I opened it up, and it was a fine art book made by photographer James Mollison called The Disciples. Mollison had photographed fans of bands, and the idea was to be able to tell which bands they were fans of by their appearance. All of the images were shot with the same lighting, look, and background. I thought it was brilliant. I wondered how I could create a guessing game with musicians and photography. I realized that I had been shooting these faceless portraits the whole time.That is the moment I decided to start focusing on this as an ongoing art project. I started contacting musicians I had relationships with from shooting bands for so many years. Eventually, I met their friends and then their friends. I would say to them, “How are we going to tell your story? What is it about you that makes you special?” The musicians would show up with their instruments, clothes, and props that would help to tell the story of who they are.I eventually started traveling around the country using music venues as my studio because they were big open rooms that were empty during the day. In most of the cities I would travel to, I knew a couple of musicians who lived there, and I put a call out looking for musicians who were known for their instrument, look, and style. In 2014, I traveled to Nashville and shot over 35 local musicians who lived in the area for a big exhibit I was going to do at OZ Arts Nashville. My goal was always to do a book of this work. I had met with many book publishers who really did not get it. In 2015, I decided to launch a crowdfunding campaign on Indiegogo to produce the book. In 45 days, I raised the funds to make my own book with my own publishing company I formed called Magnet Bound Press.What Is InstrumentHead?[via Instrumenthead]L4LM: What are a few of the most memorable photo sessions you have had with the InstrumentHead project? Michael Weintrob: There are so many memorable shoots. I like them all for different reasons. The best part about doing this work is the personal connection that I have made with the musicians while shooting these portraits—breaking down walls to get to the real person is what I love. Some of the shoots that stick out in my mind are shooting Mickey Hart of the Grateful Dead at his home studio, Bootsy Collins in Cincinnati, Uncle Lionel Batiste and Big Chief Monk Boudreaux at Preservation Hall, Chris Frantz and Tina Weymouth of the Tom Tom Club and Talking Heads in my studio in Brooklyn, Derek Trucks and Susan Tedeschi at my Brooklyn Studio, the great South African bass player Bakithi Kumalo backstage at the Capetown Jazz Festival, Bill Summers of the Headhunters, Big Chief Donald Harrison in Bill’s home studio in New Orleans, and Johnny Winter at the Carriage House Studios in Stamford when he was recording his final record.L4LM: It seems like New Orleans, especially during Jazz Fest, is the perfect atmosphere for such an exhibit to return back to. How has the city influenced your own art and life over the years?MW: This will be my twentieth year going to New Orleans during Jazz Fest time. For many years, I would shoot the festival during the day and stay out all night shooting the late-night concerts. I still do the daytime shoots on the fairgrounds and some night shows. I have formed so many relationships with people in the music scene in New Orleans. The sites and sounds of the city are infectious. I have had the great honor of working with some of the cities most influential musicians.In 2013, I showed a large-scale exhibit of my InstrumentHead work for the first time on Frenchman Street in the warehouse behind the Frenchman Street Art Market. It was the perfect storm in the perfect location. Over seven-thousand people saw my work that year. I have had so much support from the musicians of New Orleans and the fans of their music. Jazz Fest time is my favorite time of the year to be in the city.L4LM: New Orleans is all about community, and this exhibit will help benefit the New Orleans Musicians’ Clinic & Assistance Foundation. How important is it to you to help a local cause such as this?MW: I have been working with the New Orleans Musicians’ Clinic for over a decade. I believe that all of us in the music scene, from photographers to musicians to the production crew, all eat from the same table. NOMC helps musicians with healthcare when they can not afford it. They are a charity that does good work for the community with the funds that they raise. I have a great relationship with Bethany Bultman and Erica Dudas who run the clinic. We have been helping each other for years.L4LM: An opening night celebration featuring Papa Mali & Bobby Vega will kick your upcoming InstrumentHead exhibit during Jazz Fest off, followed by an equally special event on Saturday, April 28th, with a solo set from Eric McFadden, a Billy Iuso & Eddie Christmas duo set, and a performance byWill Bernard. Sounds like a solid group of musician friends to have!MW: I am really looking forward to it! I have known all of these guys for many years. Throughout my career as a photographer in the music scene, I have developed relationships with many great musicians. I am so excited to be able to create this hang on Oak Street and that all these musicians are open to coming and playing their music in my gallery space. Over the full two week exhibit, there will be musicians popping in to perform.L4LM: Thank you so much for the in-depth responses, Michael. We wish you the best of luck down in NOLA with the InstrumentHead exhibit this year!Check out Weintrob’s InstrumentHead website for more information on the photographer. For more information about his upcoming InstrumentHead exhibit at Jacques Imo’s gallery in New Orleans during Jazz Fest, join the Facebook Event page. Order the InstrumentHead book here.
On Saturday night, Tedeschi Trucks Band returned to New York City’s Beacon Theatre for the second night of their annual residency, which will find the band performing six shows from October 5th to 13th, including shows featuring special guests Steve Earle and JJ Grey on October 9th and 10th, respectively. For their second Beacon show last night, the band offered up one of their classic “Evening With” performance, a two-set show without openers. Following Friday night’s guest-filled second set, TTB kept things “all in the family” last night, offering up two hearty sets of originals and covers.The first set of Saturday night’s show saw the twelve-piece sounding loose and feeling at home, anchored by the husband-and-wife duo of Derek Trucks and Susan Tedeschi. Opening up with a cover of the late Aretha Franklin’s “I Never Loved A Man (The Way I Love You)”, Tedeschi found herself front and center out of the gates, before sandwiching a take on the Derek Trucks Band’s “Mahjoun” between two songs off of 2016’s Let Me Get By, “Laugh About It” and “Just As Strange”. After moving through a soulful rendition of Leonard Cohen’s “Bird On The Wire”, the band launched into one of their setlist staple Bob Dylan covers, “Down In The Flood”, which made way for “Bound For Glory”. Tedeschi Trucks Band closed out their first frame with a cover of Van Morrison’s “Call Me Up In Dreamland”.Tedeschi Trucks Band – “I Never Loved A Man” – 10/6/2018[Video: Sean Roche]Tedeschi Trucks Band – “Call Me Up In Dreamland” – 10/6/2018[Video: Sean Roche]Following a brief set break, Tedeschi Trucks Band opened up set two with “Don’t Let Me Slide”, as the twelve-piece decided to continue delivering original material, with “Midnight In Harlem” and “Right On Time” following suit. Up next was a cover of Johnny Moore’s Three Blazers’ “How Blue Can You Get?”, before offering up renditions of “Going Down Slow”, “Shame”, and “Don’t Know What It Means”, with the band firing off on all cylinders. TTB brought the second set to a close with a pair of covers, Derek & The Domino’s “Keep On Growing” followed by Roosevelt Sykes’ “Night Time Is The Right Time”.After a short break before encore, the twelve-piece band returned, with Susan Tedeschi taking a moment to address her parents in the crowd. Tedeschi got emotional as she dedicated the encore to her loved ones, coasting into a moving rendition of Leon Russel’s “A Song For You”, before closing out the show with a cover of Joe Cocker’s “Space Captain”.Tedeschi Trucks Band – “Shame” – 10/6/2018[Video: Evan Pragliola]Tedeschi Trucks Band – “A Song For You” – 10/6/2018[Video: Evan Pragliola]Tedeschi Trucks Band returns to the Beacon Theatre Tuesday, October 9th, for a show featuring special guest Steve Earle. Head to the band’s website for more information.Setlist: Tedeschi Trucks Band | Beacon Theatre | New York, NY | 10/6/2018Set One: I Never Loved A Man, Laugh About It, Mahjoun, Just As Strange, Bird On The Wire, Down In The Flood, Bound For Glory, Call Me Up In DreamlandSet Two: Don’t Let Me Slide, Midnight In Harlem, Right On Time, How Blue Can You Get?, Going Down Slow, Shame, Don’t Know What It Means, Keep On Growing, Night Time Is The Right TimeEncore: A Song For You, Space Captain
Read Also: Barca cannot afford Martinez and Inter will not negotiate – reportFernandes coolly sent Lloris the wrong way from the penalty spot to deservedly level and moments later went down himself inside the box.Jon Moss pointed to the spot again, but Rashford’s chance to score the winner was taken from him as this time the VAR call went Mourinho’s way.FacebookTwitterWhatsAppEmail分享 Solskjaer left the World Cup winner on the bench from the start, but Pogba won the penalty for United’s equaliser, converted by Bruno Fernandes, with a sublime piece of skill to bamboozle Eric Dier.Pogba has been beset by ankle injuries this season, making just nine appearances, and has been heavily linked with a move away from Manchester.“Paul always has a point to prove because he wants to be the best,” said Solskjaer. “He’s had such a frustrating season with his injuries.“For me Paul has shown today how he can contribute. I just look forward to getting him fitter so he can get back to his best.”A point does little for either side’s chances of breaking into the top four.United remain in fifth, two points behind Chelsea, but Spurs were even more desperate for the points as they remain in eighth, four points further back.Jose Mourinho was on course to get the better of his former club when Steven Bergwijn’s strike gave Spurs a half-time lead.However, Mourinho was left frustrated when United’s second half pressure finally told nine minutes from time when Fernandes converted from the spot.Fernandes then thought he had won a second penalty, but a VAR review decided there was little contact as he went down under another challenge from Dier.“We know Manchester United has an incredible record this season of penalties given, so we knew everything in the box was dangerous for us,” said Mourinho.“I think in the first penalty, the referee made this decision which I admit is difficult for referees, but then the VAR is a different story.“Referees can make mistakes but I don’t think VAR should make mistakes, then the second penalty is incredible for me.”Marcus Rashford takes a knee before kick-off Manchester United manager Ole Gunnar Solskjaer believes he can rekindle Paul Pogba’s best form after the Frenchman made a big impact in his first appearance for six months in a 1-1 draw at Tottenham on Friday night.Advertisement In keeping with all matches since the Premier League’s return earlier this week, all players and officials took a knee before kick in protest against racial injustice.Once the action did get underway, United settled quickest to the eery surroundings of a 62,000 seater stadium draped in banners with the only fans appearing on giant video screens behind each goal.Marcus Rashford has had a momentous week as the English international’s campaign to ensure vulnerable children are not left without food vouchers during the English school holidays forced a government U-turn.Solskjaer described the 22-year-old’s action as far “more important than any game of football that he would probably play.”However, the England international admitted he was also desperate to get back to the day job after being sidelined since January with a back injury prior to the coronavirus-enforced shutdown of football for three months.Rashford had the best chance to turn the visitors’ early control into a goal as his low shot was beaten away by the legs of Hugo Lloris.Prior to lockdown, Mourinho spoke of his desire to fast forward to the end of the season when he would have Harry Kane, Son Heung-min, Moussa Sissoko and Bergwijn fit again.All four were fit to return to the starting line-up and it was an inspired moment from the Dutchman which opened the scoring.Smiling Steven: Bergwijn’s solo effort opened the scoring Bergwijn surged past the leaden-footed Harry Maguire before David de Gea could only parry his powerful shot into the roof of the net.Tottenham sat on their lead after the break and invited plenty of United pressure.Lloris kept United at bay with an incredible save to deny compatriot Anthony Martial.Pogba was then introduced from the bench and made an instant impact in his first appearance since December 26.The midfielder’s quick feet left Eric Dier in his wake and Dier then pushed Pogba over inside the box as he tried to recover. Loading…
By Edward AnschutzSTURGEON BAY, Wis. – The second annual John Soukup Memorial will pay $1,000 to win and a minimum of $150 to start the Friday, July 4 Karl Chevrolet Northern SportMod feature at Thunderhill Raceway.All Northern SportMods must remove their roof and sail panels to be eligible for the $1,000 top prize. If not, standard pay applies for the draw/redraw show. “The winner’s share of the purse could rise. Last year it doubled as local Bernie Reinhardt took home the win,” said promoter Woody Wodack. “John was a great friend and keeping his memory alive at the track he loved makes it a special night for everyone who comes in the gate. We’re looking for some solid competition from visitors and our locals.” Entry fee for the Soukup Memorial will be the same as for weekly events, $20 for members and $25 for non-members. IMCA Xtreme Motor Sports Modifieds and IMCA Sunoco Stock Cars are also on the card. IMCA Speedway Motors Weekly Racing National, regional and Allstar Performance State points, but no local track points will be awarded in those divisions. IMCA Sunoco Hobby Stocks race for all applicable points. Pit gates and the grandstand both open at 3:30 p.m. Hot laps are at 6 p.m. and with racing to follow.Grandstand admission is adults $10, seniors and students ages 13-17 $7, kids 6-12 $3 and five and under free.This race night will count towards the $20,000 contingency. Drivers will be allowed to miss three nights of racing and still remain in the drawing. Luxemburg Speedway races on Thursday, July 3 and is off for the Fourth.
“That’s a good question,” Friedman said when asked what he thought the odds of re-signing Betts were at the time of the trade. “I knew how strong our commitment was.“I was hopeful that we would make a good impression on Mookie just with the communication and the people we have and just the culture that’s been created that Doc had done such a good job of creating in the clubhouse. I think that’s something you can tell right away. And so we were hopeful that he would get here and fall in love with it. We’d go out, late March, Opening Day, win a bunch of games, win the World Series and we’d end up kind of staying together.”The Dodgers had barely five weeks to make that impression — in Arizona, not Los Angeles — before the sport was shut down and players scattered, waiting out a quarantine that will delay the start of the season four months.Friedman said there had been some contract discussions in March but “obviously, the world kind of changed on us, which put things on hold for a while.” Talks resumed “five, six days ago” with Betts requesting that discussions end before the season started.Despite the limited exposure to the culture Friedman boasted about, Betts opted to make a long-term commitment to his new home.“I think just being here, the time I’ve been here, the people here made me feel so comfortable,” said Betts who spent the quarantine at his home in Tennessee, fishing, golfing and spending time with his 21-month old daughter.“The talent all up and down from the minor leagues, everybody in the front office from the owner on down is amazing. I think this organization is a well-oiled machine. I love it. I’m super, super excited to be a part of it for the next 12, 13 years — however many years it is. … I gotta bring some rings back to LA, for sure.”Betts’ use of the plural “rings” brought to mind LeBron James’ famous proclamation of multiple championships — “not one, not two, not three …” after taking his talents to Miami. Betts laughed off the comparison.“I gotta be Mookie Betts. I can’t be LeBron,” he said with a smile that should become very familiar to Dodgers fans over the next 13 years.Betts joins the Dodgers as a four-time All-Star, four-time Gold Glove winner and three-time Silver Slugger with the potential to become just the second player (after Frank Robinson) to win an MVP award in both leagues — and a strong endorsement from one of his new neighbors.“I’m excited for him. Shot him a text earlier,” Angels outfielder Mike Trout said Wednesday afternoon. “Being so close to him now, it’s pretty cool to have him out here.“Playing against him in Boston, was a teammate at a couple of All-Star Games — what a great person. I’ve never heard anything bad about him. … His game is unbelievable. I love how he plays. You never see him upset, always playing the game with passion, always smiling and always putting up big numbers every year.”There was some question about the salary numbers Betts could have put up this winter as a free agent in uncertain times. Teams are taking a financial hit with an abbreviated season in 2020 with the potential for depressed revenues again in 2021 if fans are still unable to attend games. A Collective Bargaining Agreement that will expire following next season added another unknown.Betts did reportedly get some protection, receiving a $65 million signing bonus and accepting low salaries ($17.5 million in 2021 and 2022) up front. A large portion of the salary is deferred for now and there are apparently no opt-outs or no-trade provisions.“From our standpoint back in March, if you would have said, ‘Hey Mookie wants to sign just a two year contract. He just wants to sign for 2021 and 2022’ — what we would have done in March and what we would do now would be very different,” Friedman said.“But I think from ownership on down, this just speaks to the faith we have in things getting back to normal. Obviously this is over a much longer period of time which helps in that confidence. And it’s really high once we kind of get through this. And fortunately when you go 12 years you have nothing but time.” Newsroom GuidelinesNews TipsContact UsReport an Error LOS ANGELES >> Just last week, Dodgers manager Dave Roberts admitted to a valid fear — shared with many fans (and even analysts) — when he acknowledged “there were numerous times over the last few months I wondered if we’d ever see” Mookie Betts play a game in a Dodgers uniform.Before Betts even plays that first official game as a Dodger (Thursday’s delayed season opener), that fear has been put to rest. Roberts and everyone else can look forward to seeing Betts in a Dodgers uniform for years to come after the Dodgers announced that they had signed Betts to a 12-year contract extension Wednesday.The deal could keep the 27-year-old Betts in Dodger blue through the 2032 season when he will be 39 years old.The contract will take effect beginning in 2021 and reportedly pay Betts $365 million, making it the most lucrative contract in Dodgers history and the most lucrative extension in baseball history (surpassing Mike Trout’s $360 million deal with the Angels, though that was a 10-year deal). Betts will make $10 million this season (the prorated portion of his $27 million 2020 salary), making his commitment to the Dodgers a 13-year, $375 million arrangement. “When you’re making an investment of this magnitude, you’re not just betting on the player’s ability,” Dodgers president of baseball operations Andrew Friedman said. “You’re also betting on the person, and with that we couldn’t be more comfortable to make that bet than on Mookie Betts.“Obviously, he’s an extraordinary talent. Mookie can impact the game in every facet. But I think what’s really stood out to us in our couple months of being around him, it’s just the work ethic, the burning desire to get better on a daily basis. I think the tone that he will set with that standard for our young players that are in our clubhouse now and also the ones that come up in the future will leave an indelible mark on this organization so you couldn’t be more excited.”This 13-year marriage is the product of a whirlwind courtship.The Dodgers traded for Betts (and David Price) on the eve of spring training, having swung and missed (to varying degrees) on attempts to give mega-million dollar contracts to free agents Bryce Harper, Gerrit Cole or Anthony Rendon over the past two winters and survived a near breakdown of the deal with the Boston Red Sox.They knew full well at the time that Betts could be a free agent this fall and had already turned down a 10-year, $300 million offer from the Red Sox.
On an interesting note, these home run binges tend to come in clusters. The Braves (Eddie Mathews, Hank Aaron, Joe Adcock, and Frank Thomas) became the first team to do it, in 1961. The Indians did it in 1963, and the Twins followed in 1964. But then it didn’t happen again until 2006, when Jeff Kent, J.D. Drew, Russell Martin, and Marlon Anderson went deep in a game against the Padres. The Red Sox (2007), White Sox (2008) and Diamondbacks (2010) are the three other teams to accomplish the feat.The Nationals went on to beat the Padres, 5-2. The Nationals pulled off one of the rarest feats in baseball Sunday, for the second time in less than two years.Howie Kendrick, Trea Turner, Adam Eaton and Anthony Rendon hit four consecutive home runs off Padres reliever Craig Stammen in the eighth inning. The fireworks happened in the span of only seven pitches. Yankees trade rumors: New York has spoken with Blue Jays about Marcus Stroman What’s better than back-to-back-to-back jacks?Back-to-back-to-back-to-BACK jacks. 😱😱 pic.twitter.com/Iqh3KFehVo— MLB (@MLB) June 9, 2019How rare is it for a team to hit four consecutive home runs? Extremely. It’s happened only nine times in MLB history, according to NationalPastime.com. To put that in perspective, there have been 23 perfect games in baseball history. There have been 15 unassisted triple plays.But only nine times has an MLB team gone back-to-back-to-back-to-back. The Nationals become the first team to do it twice, having been the last team to hit four straight on July 27, 2017 against the Brewers. Brian Goodwin, Wilmer Difo, Bryce Harper, and Ryan Zimmerman were part of that 2017 back-to-back-to-back-to-back onslaught. Related News Max Muncy to Madison Bumgarner after splashing home run: ‘Get it out of the ocean’